ons.

Don't be worried! There is no real difficulty in using your hand; it is
only trying to compromise between your redundancy and my brevity.

Earth is like a gallery of sculpture. (Note by E. K. B.--This simile had
flashed through my brain, and H. D. at once said: "Yes, that is very
good; you started it, and I pick it up and apply it.") All the figures
and groups are perfected and complete in their marble or bronze or
terra-cotta, as the case may be.

Some groups or figures are noble, others mediocre, others again may be
sensual and degrading, but they have one quality in common--for good or
bad, they are _ready made_.

Now go into the sculptor's studio, having studied well in the great
sculpture galleries of the world. You go to the studio, we will suppose,
as a pupil. He puts a lump of clay into your hands, and for the first
time you are invited to model your own statues and figures, to embody
your own ideas in this clay, which corresponds to thought stuff _here_.
You are even made to understand that your houses will only be worthily
furnished by the work of your own hands. _Here_ it is the work of your
own hearts, of your loving or unloving thoughts.

So the first lesson we learn over here is that THOUGHT is not only
Creative Power, as you are often told on earth, but it is also the very
stuff out of which the creation must be moulded. It is, in very truth,
the clay of the modeller.

Shakespeare said truly enough "We are such stuff as dreams are made of,"
but he was referring to our embodied selves.

The difference between the two worlds seems to me, so far as I have
arrived, as the difference between the pupil in the sculpture gallery
and in the experimental studio. The chief part of the earth modelling is
ready made--made by the racial thought stuff and the racial manipulation
of it.

_Here_, for the first time, we must turn to and take a hand in the work
ourselves. It would not be possible to give such individual power in any
lower sphere than this, for it would be misused, and would lead to
terrible tragedies.

You see some slight hints of this in what is called Black Magic--the
wilful and intentional throwing of evil conditions on other people,
making hard and cruel images of them in the mind, and so forth. But all
that is as child's play to what would happen if the absolute clay were
put into their hands, as it is here.

It is the difference between thinking out an ugly picture; and painting
it