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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
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