no philosophy which does not include this and accept
this and continually return to this, can satisfy these demands.

The complex vision requires the reality of this objective spectacle
but it also requires recognition of certain basic assumptions, implicit
in this spectacle, which the materialist refuses to consider.

And the most comprehensive of these assumptions is nothing less
than the complex vision itself, with that "something," which is the
soul, as its inscrutable base. Thus I am permitted to retain, in spite
of its arbitrary fantasy, my pictorial image of a pyramidal arrow of
fire, moving from darkness to darkness. My picture were false to my
conception if it did not depict the whole pyramid, with the soul itself
as its base, moving, in its complete totality, from mystery to
mystery.

It may move upwards, downwards, or, as I myself seem to see it,
horizontally. But as long as it keeps its apex-point directed to the
mystery in front of it, it matters little how we conceive of it as
moving. That it should _move_, in some way or another, is the gist
of my demand upon it; for, if it does not move, nothing moves; and
life itself is swallowed up in nothingness.

This swallowing up of life in nothingness, this obliteration of life by
nothingness is what the emotion of malice ultimately desires. The
eternal conflict between love and malice is the eternal contest
between life and death. And this contest is what the complex vision
reveals, as it moves from darkness to darkness.

CHAPTER II.

THE ASPECTS OF THE COMPLEX VISION

The aspects of the complex vision may be separated from one
another according to many systems of classifications. As long as, in
the brief summary which follows, I include the more obvious and
more important of these aspects, I shall be doing all that the
philosophy of the complex vision demands.

The reader is quite at liberty to make a different classification from
mine, if mine appears unconvincing to him. The general trend of my
argument will not be in any serious way affected, as long as he
admits that I have followed the tradition of ordinary human
language, in the classification which I have preferred.

It seems to me, then, that the aspects of the complex vision are
eleven in number; and that they may be summarized as consisting of
reason, self-consciousness, will, the aesthetic sense, or "taste,"
imagination, memory, conscience, sensation, instinct, intuition and
emotion.