These eleven aspects or attributes are not to be regarded as
absolutely separate "functions," but rather as relatively separate
"energies" of the one concrete soul-monad. The complex vision is
the vision of an irreducible living entity which pours itself as a
whole into every one of its various energizings. And though it pours
itself as a whole into each one of these, and though each one of
these contains the latent potentiality of all the rest, the nature of
the complex vision is such that it necessarily takes colour and form
from the particular aspect or attribute through which at the moment
it is especially energizing.

It is precisely here that the danger of "disproportion" was found. For
the complex vision with the whole weight of all its aspects behind it
receives the colour and the form of only one of them. We can see
the result of this from the tenacity--implying the presence of
emotion and will--with which some philosopher of pure reason
passionately and imaginatively defends his logical conclusion.

But we are ourselves proof of it in every moment of our lives.
Confronted with some definite external situation, of a happy or
unhappy character, we fling ourselves upon this new intrusion with
the momentum of our whole being; and it becomes largely a matter
of accident whether our reaction of the moment is coloured by
reason or by will or by imagination or by taste. Immersed in the tide
of experience, receiving shock after shock from alien and hostile
forces, we struggle with the weight of our whole soul against each
particular obstacle, not stopping to regulate the complicated
machinery of our vision but just seizing upon the thing, or trying to
avoid it, with whatever energy serves our purpose best at the
moment.

This is especially true of small and occasional pleasures or small
and occasional annoyances. A supreme pleasure or a supreme pain
forces us to gather our complex vision together, forces us to make
use of its apex-thought, so that we can embrace the ecstasy or fling
ourselves upon the misery with a co-ordinated power. It is the little
casual annoyances and reliefs of our normal days which are so hard
to deal with in the spirit of philosophic art, because these little
pleasures and pains while making a superficial appeal to the reason
or the emotion or the will or the conscience, are not drastic or
formidable enough to drive us into any concentration of the
apex-thought which shall harmonize our co