om a higher to a lower potential, he will be able to do
nothing with it; but let him observe this fundamental law and there is
nothing that electricity will not do for him within the field of its own
nature. In this sense, then, of specializing the general Law in a
particular direction, we may lay down the maxim that "The Law flows from
the Word, and not _vice versa_."

When we use our Word in this way, not as expressing a self-will that
seeks to crush all that does not submit to it, but as a portion, however
small, of the Universal Cause, and therefore with the desire of acting
in harmony with that Cause, then our word becomes a constructive,
instead of a destructive power. Its influence may be very small at
first, because there is still a great mass of doubt at the back of our
mind, and every doubt is, in reality, a Negative Word warring against
our Affirmative Word; but, by adhering to our principle, we shall
gradually gain experience in these things, and the creative value of our
word will grow accordingly.

CHAPTER IV

THE LAW OF WHOLENESS

It may seem a truism to say that the whole is made up of its parts, but
all the same we often lose sight of this in our outlook on life.

The reason we do so is because we are apt to take too narrow a view of
the whole; and also because we do not sufficiently consider that it is
not the mere arithmetical sum of the parts that makes the whole, but
also the harmonious agreement of each part with all the other parts. The
extent of the whole and the harmony of the parts is what we have to look
out for, and also its objective; this is a universal rule, whatever the
whole in question may be.

Take, for instance, the case of the artist. He must start by having a
definite objective, what in studio phrase is called a "motif"; something
that has given him a certain impression which he wants to convey to
others, but which cannot be stated as an isolated fact without any
surroundings. Then the surroundings must be painted so as to have a
natural relation to the main motif; they must lead up to it, but at the
same time they must not compete with it. There must be only one definite
interest in the picture, and minor details must not be allowed to
interfere with it. They are there only because of the main motif, to
help to express it. Yet they are not to be treated in a slovenly manner.
As much as is seen of them must be drawn with an accuracy that correctly
suggests their indiv