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of “superior worth, goodness and value” (the degree of “worth, goodness and value” being determined by the comparative resemblance of such things to the accepted “standard of excellence, beauty, efficiency, utility, etc.,”) it follows that Desire, Faith, and Will are always (consciously or unconsciously) striving to reach, achieve, or attain an Ideal. To the end of such achievement or attainment, the forces of Creative Power, Desire Power, Faith Power, and Will Power are set into activity.

      In many cases the Ideal manifests in the form of “purpose or plan of action” (one of the above definitions of Idea, you will remember); but in other cases it manifests rather as “a mental or spiritual germ, striving to express and manifest itself in objective, material form; drawing to itself, and reaching out after, that which promises to contribute to or aid in such objective and material expression and manifestation.”

      Here, then, we have the concept of the Ideal seeking to express and manifest itself in objective and material expression and manifestation, and, by reason of this inner urge, drawing to itself and reaching out after that which promises to contribute or aid in such expression and manifestation. But, you may ask, “Why and how is this Ideal entitled to be termed ‘Creative’?” Let us answer this question, in the first place, by asking you another question: “Thinking over the subject discussed in the preceding section of this book, of what does this concept of the striving, seeking, acting ‘mental or spiritual germ’ remind you?” We think that the following several paragraphs will represent the essence and spirit of your answer.

      You will be reminded, first of all, of the fact that in all man’s material creations there has been, and necessarily must have been, a preceding “mental image or form”—an Ideal, in fact—of which the later material, objective form of the created thing was merely a copy; that there must always be the “mental pattern, map, design, or mold” which is reproduced in the material creation. There must always be the Inner Form, before there can be the Outer Form! “But,” you may object, “here the Ideal is merely the pattern, model, or mold, which the Imagination and Will employ in their creative work; the Ideal, in itself, is not ‘creative’.” This is true, at least to a certain extent; we need not here argue the fine distinctions, however, for we have a clear case presented in Nature’s activities, to the consideration of which we shalt now proceed.

      Letting your mind dwell upon the subject considered in the preceding section of this book, you will remember that in all material creations of form—in all purposive groupings, arrangements, conformations, configurations—there is found to be present an inner Ideal Form, composed of the aggregate of mental forms, striving to express itself in action and objective manifestation. You will remember that we found this inner Ideal Form operative in the cases of the grouping of the atoms (and of the smaller particles composing the atoms); in all chemical processes; in the processes of crystalization; in the life­processes and the growth of plants; in the sprouting of seeds; of the development and evolution of the germ in the egg. You will remember the interesting description of the development of the newt’s egg given by Huxley. You will remember the instances of great power exerted by growing roots, plants, and sprouting seeds. You will remember what was said concerning the evolution of needed physical instruments manifested by the lower animals—the explanation of the long legs of the wading­birds, the claws and beaks of the birds­of­prey, the long neck and legs of the giraffe.

      Finally, you will remember the logical conclusion arrived at by those observing these and similar instances of this wonderful working of Nature’s Forces, viz., “That there exists, and is manifest in all Nature, the operation of a mighty principle which proceeds from the inner form to the outer manifestation—from the ideal image to its materialization in objective form.” You will find yourself compelled to think that in all of Nature’s activities and processes, in which is performed the work of “creation” of form, combination, composition, or coordination, there certainly exists an Ideal Form serving as a pattern, plan, mold, map, chart or design, upon which and by means of which, Nature builds and creates.

      More than this: when you carefully reason concerning this matter, you will find yourself becoming impressed by the idea and conviction that the essence and spirit of such manifestations and expressions abide in the germ Ideal Form itself and that instead of being a mere inert pattern, model or mold, the Ideal Form is a living, acting, creative Force, drawing to itself the materials needed for its outward, objective expression and manifestation—such expression and manifestation being the essential desire, need, and energizing principle of its being. Thus the Ideal Form is seen to be not only an Inner Form, but also a Something or Somewhat which may be described as “a Power with the Desire to act, or a Desire with the Power to act”—a definition which has also been applied to Will, it may be noted. Here, once more, is seen the close relation of Imagination to Will; a resemblance which by many philosophers (and by all occultists) is regarded as of the deepest significance.

      That there is a dynamic force in the Ideal Forms which are found to be present in Nature’s creative processes, cannot be doubted. Everything points to this conclusion. On all sides proofs supporting this contention may be found. In Nature, it is seen that there is a Creative Ideal Form as the nucleus of every creative process. Forms, combinations, coordinated activities,—arrangements of parts, elements and factors of composition—are found to group themselves around the nucleus furnished by the Creative Ideal.

      Just as the germ in the seed or egg gathers to itself the material that it needs for growth; just as the seed or egg freely employs the natural forces at its disposal (and they are always at its disposal, you should note) in order to manifest and express itself in creative growth; so in every Creative Ideal Form there is found to be present that power to employ natural forces for its purposes; the instinctive knowledge how and when to employ those forces efficiently; and the desire, will and ability to draw to itself the material needed for its growth, development, expression and objective manifestation.

      Proceeding from the Macrocosm to the Microcosm—from Nature to Man—and applying the ancient Hermetic axiom, “As above, so below,” we would consider it logically certain that in Man, the individual, we should find a corresponding condition of things, i. e., the presence and power of the Creative Ideal Form; the action of the latter in the direction of drawing to itself the material required for its objective expression and manifestation; and the capacity for employing natural forces for the purpose of accomplishing its end. We should expect to find that, in Man as in Nature, the Creative Ideal Form not only seeks to express and manifest itself in objective form and action, but also actually does so express and manifest itself, and also is able to press into its service the subtle forces of Nature—provided, always, that the Creative Ideal Form be (1) sufficiently strong and active, and (2) sufficiently clear and definite; the spirit of the requirements being that of Concentrated Power, discover that we have not been deceived nor Conducting the above­mentioned inquiry, we mocked; we find that the axiom, “As above, so below,” holds good in this as in many another case. We find that the men and women who have accomplished great things have always possessed these Dynamic Creative Ideals; and that those who have so possessed them have found operating within themselves a mighty power of Nature, and have been conscious of the effects of these activities manifesting in the world outside of themselves.

      The individuals of great attainments sooner or later have become aware of this correspondence between the inner Dynamic Creative Ideal, and the events and happenings of the outside world which are correlated to the inner purpose. The individual with the Dynamic Creative Ideal has established within himself a great focal centre of Energy and Power—and to that centre are being attracted and drawn things, persons, circumstances, thoughts, ideas, powers, and other things which are needed for the objective expression and manifestation of the Inner Ideal Form.

      Even in the lesser activities of man, in the more mechanical forms of work, he is able to perform better work, and to perform his work more efficiently, if he maintains a sufficiently clear and strong Creative Ideal Form of that which he wishes to materialize in objective form. Psychologists have told us that the best workmen are those who visualize the whole of what they propose to do, before they take a tool in their hands; this being equally true of strategists, artists of all kinds, physicists who contrive new experiments, and all others who do not follow mere routine. They have told us, for instance, that no man can be a good plumber

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