Under the influence of this new consciousness the shadows of life can no longer disturb us. We have the confidence and courage of our inmost convictions. The new life has not only brought us into harmony with ourselves, but has dispelled all the things that we feared in the past. We have left death and the grave behind. Sorrow and pain no longer affright us; we consciously know that we are one with all Life, with all Intelligence, with all Power; that we are not only a part of the Whole, but it is the Whole that is working within us to will and to do. All the discords and all the imperfect chords have ceased, and we are now in full accord with all the music and harmony of life. This constitutes that state of consciousness to which a writer some years ago prefixed the word Cosmic. When one has fully entered into this Cosmic Consciousness, he has attained to that state which the Scriptures refer to as having passed from death unto life, as having consciously realised Sonship with God. Then to such a man that which has been secret is revealed, that which has been hidden is found. Cosmic Consciousness is perhaps best illustrated by such wonderful lives as those of Krishna, Buddha, and Jesus. The world has had its countless thousands of men and women, who, while not fully entering into it, nevertheless have had glimpses of its fulness and were able to bring back from it some of its wondrous knowledge and beauty, were able to write that insight into music, and to give it form, and endow that form with the soul of music. And some others were able to chisel into the cold white marble such a warmth and a glow of life that the marble seemed a living thing, and into it they wrote a character so wonderful and so marvellous that the beholder feels as though the very soul of the sculptor had entered into the marble symbol of what a man should be - a god on earth, having dominion and power over all things. Some of this consciousness has been caught by the painter, and he has received a message from God to man, a command, as it were, to convey to the world something of divinity, so that those looking at the painting might catch something of its spirit, something of that illumination which the painter must have felt when he painted into his picture a part of his own soul, and made the picture so great that one looking at it through the eyes of the soul can never forget it while life lasts. And, again, from the Cosmic Consciousness there came to the architect who designed the great Duomo of St. Peter's the inspiration necessary to build a cathedral that should be a true outer expression of inner beauty and power. And St. Peter's stands to-day as a monument of the divinity that lived in a man who was able to give expression to it on earth. It is said that Beethoven kept constantly on his work-table these lines found by Champollion Figeac on an Egyptian temple: "I am that which is. I am all that is, that has been, and that shall be. No mortal hand has lifted my veil. He is by Himself and it is to Him that everything owes existence."
Beethoven was, at times, a remarkable illustration of receptivity to Cosmic Consciousness. His ninth symphony is a striking example of this. Because of his deafness and irritability he was not always a fit instrument through which Cosmic Consciousness could function. But whenever he was under its influence, he produced his most wonderful and beautiful music. But among all the composers, Mozart stands preeminent as being in closest relation, from childhood up, with this Consciousness. Listening to Mozart's music is like looking into a crystal pool in which the eye can see to its greatest depths. With the first bar you feel that here is the work of a master mind. Somehow, you get the impression that he knows the end with the beginning, that he has listened to the music before, and writes down what he has heard. Among all the great makers of music, Mozart is the heaven-born, the one who was more constantly in touch with Cosmic Consciousness than any of the master musicians that preceded or followed him. As a child he was a true representative of rhythm, melody, and harmony. He was literally an expression of music; but the music that lived and expressed itself through him made him so delicately sensitive that he never became attuned to the outer world in which he lived. The world, as yet, has no full realising sense of what Mozart gave to it, and the extent to which he inspired and influenced other composers no man can know. There is that directness and certainty in his music that no composer has been able to put into his work in the same degree. Beethoven wrote and rewrote until he was satisfied with his work, but all that Mozart wrote poured out in music as a finished work, in the first instance, without the infinite labor expended by other musicians. Schubert was also a striking example of a born musician. With very little technical knowledge, he was able to write far more beautiful music - music filled with melody and rhythm - than many others who had a full command of technique. He is simply a fountain head, as it were, through which rhythm and melody bubble into song. His music is not of the same order as that of Mozart; it has not that high compelling force, but it has a simplicity and a beauty that few composers have been able to put into their music. You hear the songs of the birds, the running waters, the wind in the trees. You literally see and hear nature portrayed in a way that few have been able to compass. He wins the way to the heart. There is something so wholesome that it inspires one to brighter, happier living. Mendelssohn was also a wonderful interpreter of nature; though differing from Schubert in that his music has more of the classical, cultured setting than is to be found in Schubert's compositions. Both were great, each in his own way, and both drew the most beautiful music from Cosmic Consciousness. I use these few illustrations to show the relation that Cosmic Consciousness has to the composer in the production of his highest music. When we speak of music as being new or original, that newness and originality may be largely the result of the composer's mentality in the form he has given his music, but if it is a newness that consists in its rhythm and melody, then it is the result of his being inspired from the Cosmic Consciousness. All music proceeds from one Source. All music is governed by one Law. The composer who is attuned to the Source and is governed by the Law can draw a never-ending supply; for, while this Source and the Law are one, yet there is an infinity of diversity of expression in rhythm, melody, and harmony. The sun is one great body, but from it proceed millions of rays; so it is with music. Some in going to the Fountain-head of music draw but little; others bring away in greater abundance, but the spring never runs dry, for the supply is inexhaustible. It may be mortifying to the man who thinks he has wrought out a great work solely through his own mentality to be confronted by the fact that he has only been the instrument used to make manifest the work. The greatest minds know that of themselves they can do nothing. So the Founder of Christianity testified: "The words that I speak unto you I speak not of myself; but the Father that dwelleth in me, He doeth the works." "If I bear witness of myself, my witness is not true. I can of mine own self do nothing. . . . The son can do nothing of himself but what he seeth the Father do." And this is the testimony of all who are spiritually illuminated. It is something greater than the personal self that works in them to will and to do. It is at times when the mind is relaxed and at peace that the illumination will come, or when a man is so absorbed in his work that he forgets the personal self and all his surroundings. It is something new and wonderful that brings some new light or discloses some new truth. We may think of such a man as being, what we call, visionary; but if it were not for the visions, we all would become of the earth earthy.