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Into his brain streamed one momentary lightning-flash of the Brahmic Splendor which has ever since lightened his life; upon his heart fell one drop of Brahmic Bliss, leaving thenceforward for always an aftertaste of heaven.

Among other things he did not come to believe, he saw and knew that the Cosmos is not dead matter but a living Presence, that the soul of man is immortal, that the universe is so built and ordered that without any peradventure all things work together for the good of each and all, that the foundation principle of the world is what we call love and that the happiness of every one is in the long run absolutely certain.

Although the illumination only lasted a moment, Burke felt that he learned more in those few seconds than in all his years of study, more even than what could ever possibly be taught by the standard modes of scholarship. Bucke identifies three layers of consciousness, each built upon the lower: Along with the consciousness of the cosmos there occurs an intellectual enlightenment or illumination which alone would place the individual on a new plane of existence — would make him almost a member of a new species.

To this is added a state of moral exaltation, an indescribable feeling of elevation, elation, and joyousness, and a quickening of the moral sense, which is fully as striking and more important both to the individual and to the race than is the enhanced intellectual power.

With these come, what may be called a sense of immortality, a consciousness of eternal life, not a conviction that he shall have this, but the consciousness that he has it already.

In language that closely parallels the way people describe the effects of psychedelics , Bucke limns the nature and sequence of this revelatory experience:. He does not come to believe merely; but he sees and knows that the cosmos, which to the self conscious mind seems made up of dead matter, is in fact far otherwise — is in very truth a living presence.

He sees that instead of men being, as it were, patches of life scattered through an infinite sea of non-living substance, they are in reality specks of relative death in an infinite ocean of life. The person who passes through this experience will learn in the few minutes, or even moments, of its continuance more than in months or years of study, and he will learn much that no study ever taught or can teach.

Especially does he obtain such a conception of THE WHOLE, or at least of an immense WHOLE, as dwarfs all conception, imagination or speculation, springing from and belonging to ordinary self consciousness, such a conception as makes the old attempts to mentally grasp the universe and its meaning petty and even ridiculous. The illumination is truer and richer, Bucke suggest, when experienced at a later age:. Should we hear of a case of cosmic consciousness occurring at twenty, for instance, we should at first doubt the truth of the account, and if forced to believe it we should expect the man if he lived to prove himself, in some way, a veritable spiritual giant.

Drawing on the memoirs, biographies, and letters of historical figures, he goes on to compose a kind of ledger of such spiritual giants who have reported experiences indicative of cosmic consciousness, noting next to each person the age at which they underwent the illumination.

Among them he lists:. The immediate future of our race… is indescribably hopeful. There are at the present moment impending over us three revolutions, the least of which would dwarf the ordinary historic upheaval called by that name into absolute insignificance.

They are: And 3 The psychical revolution of which there is here question.


Either of the first two would and will radically change the conditions of, and greatly uplift, human life; but the third will do more for humanity than both of the former, were their importance multiplied by hundreds or even thousands. The three operating as they will together will literally create a new heaven and a new earth.

Old things will be done away and all will become new. The net result, Bucke envisions, will be nothing less than a revolution of the human soul. While human beings will remain resolutely spiritual, this revolution would be predicated on the dissolution of organized religion:.

Religion will… not depend on tradition. It will not be believed and disbelieved. It will not be a part of life,belonging to certain hours, times, occasions. It will not be in sacred books nor in the mouths of priests. It will not dwell in churches and meetings and forms and days. Its life will not be in prayers,hymns nor discourses. It will not depend on special revelations, on the words of gods who came down to teach, nor on any bible or bibles. It will have no mission to save men from their sins or to secure them entrance to heaven.

It will not teach a future immortality nor future glories, for immortality and all glory will exist in the here and now. The evidence of immortality will live in every heart as sight in every eye. In truth, it is literature, in the primordial sense, which establishes the context for social and political action in the first place. It is the writer as artist, not the social or political engineer or even the philosopher, who first comes to realize when the time is out of joint.

It is the storyteller working on his own terms as mythmaker and by implication, as value maker , who defines the conflict, identifies the hero which is to say the good man — perhaps better, the adequate man , and decides the outcome; and in doing so he not only evokes the image of possibility, but also prefigures the contingencies of a happily balanced humanity and of the Great Good Place.

To examine the mechanics and ideals of cultural mythmaking is to inevitably consider what makes a hero. The image of the sword being forged is inseparable from the dynamics of antagonistic cooperation, a concept which is indispensable to any fundamental definition of heroic action, in fiction or otherwise. The fire in the forging process, like the dragon which the hero must always encounter, is of its very nature antagonistic, but it is also cooperative at the same time.

For all its violence, it does not destroy the metal which becomes the sword. It functions precisely to strengthen and prepare it to hold its battle edge, even as the all but withering firedrake prepares the questing hero for subsequent trials and adventures.

The function of the hammer and the anvil is to beat the sword into shape even as the most vicious challengers no less than the most cooperatively rugged sparring mates jab, clinch, and punch potential prize-fighters into championship condition. Heroism, which like the sword is nothing if not steadfast, is measured in terms of the stress and strain it can endure and the magnitude and complexity of the obstacles it overcomes.

Thus difficulties and vicissitudes which beset the potential hero on all sides not only threaten his existence and jeopardize his prospects; they also, by bringing out the best in him, serve his purpose. They make it possible for him to make something of himself. Such is the nature of every confrontation in the context of heroic action.

Such a conception of heroism is romantic, to be sure, but after all, given the range of possibilities in human nature and conduct, so is the notion of the nobility of man. And so inevitably, whether obvious or not, are the fundamental assumptions underlying every character, situation, gesture, and story line in literature. For without the completely romantic presuppositions behind such elemental values as honor, pride, love, freedom, integrity, human fulfillment, and the like, there can be no truly meaningful definition either of tragedy or of comedy.

Nor without such idealistic preconceptions can there be anything to be realistic about, to protest about, or even to be cynical about. A century and a half after Emerson pioneered the American ideal of self-reliance as fundamental to a healthy society, Murray writes:. Heroism, which is, among other things, another word for self-reliance, is not only the indispensable prerequisite for productive citizenship in an open society; it is also that without which no individual or community can remain free.

Moreover, as no one interested in either the objectives of democratic institutions or the image of democratic man can ever afford to forget, the concept of free enterprise has as much to do with adventurous speculations and improvisations in general as with the swashbuckling economics of, say, the Robber Barons. In a passage of striking timeliness amid our present cultural drama, Murray returns to the notion of antagonistic cooperation as a centerpiece of heroism, in literature and life:.

The writer who deals with the experience of oppression in terms of the dynamics of antagonistic cooperation works in a context which includes the whole range of human motivation and possibility. Not only does such a writer regard anti-black racism, for instance, as an American-born dragon which should be destroyed, but he also regards it as something which, no matter how devastatingly sinister, can and will be destroyed because its very existence generates both the necessity and the possibility of heroic deliverance.

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Privacy policy. National Archives In June , five days before the first installment of Silent Spring made its debut in The New Yorker , the terminally ill Carson summoned the remnants of her strength to take her very first cross-country jetliner flight and deliver a long-awaited commencement address at Scripps College in California, excerpted in Figuring public library , from which this piece is adapted. She told graduates: Therein lies our hope and our destiny. Retrieved December 17, June 24, Retrieved February 3, Retrieved October 17, Retrieved October 7, March 28, Retrieved April 4, Retrieved August 8, Inside the Actors Studio.

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