How much do I want to read more? 9/10

It feels great and profound, like all Neville work. This one emphasize on the Bible's symbolism.


People do not understand that the Bible is written in the language of symbolism.
Not knowing that all of its characters are personifications of the laws and functions of mind; that the Bible is psychology rather than history, they puzzle their brains over it for awhile and then give up. It is all too mystifying. To understand the significance of its imagery, the reader of the Bible must be imaginatively awake.

According to the Scriptures, we sleep with Adam and wake with Christ. That is, we sleep collectively and wake individually.
“And the Lord God caused a deep sleep to fall upon Adam, and he slept.” [Genesis 2:21]

If Adam, or generic man, is in a deep sleep, then his experiences as recorded in the Scriptures must be a dream. Only he who is awake can tell his dream, and only he would understand the symbolism of dreams can interpret the dream.

The Bible is a revelation of the laws and functions of Mind expressed in the language of that twilight realm into which we go when we sleep. Because the symbolical language of this twilight realm is much the same for all men, the recent explorers of this realm – human imagination – call it the “collective unconscious.”

The purpose of this book, however, is not to give you a complete definition of Biblical symbols or exhaustive interpretations of its stories.
All I hope to have done is to have indicated the way in which you are most likely to succeed in realizing your desires.
“What things soever ye desire” can be obtained only through the conscious, voluntary exercise of imagination in direct obedience to the laws of Mind.
Somewhere within this realm of imagination there is a mood, a feeling of the wish fulfilled which, if appropriated, means success to you.
This realm, this Eden – your imagination – is vaster than you know and repays exploration.
“I Give you the end of a golden string;” You must wind it into a ball.


“And a river went out of Eden to water the garden; and from thence it was parted, and became into four heads.” [Genesis 2:10]

“Four Mighty Ones are in every man.” -Blake

The “Four Mighty Ones” constitute the selfhood of man, or God in man. There are “Four Mighty Ones” in every man, but these “Four Mighty Ones” are not four separate beings, separated one from the other as are the fingers of his hand.

The “Four Mighty Ones” are four different aspects of his mind, and differ from one another in function and character without being four separate selves inhabiting one man’s body.

The “Four Mighty Ones” may be equated with the four Hebrew characters: [Yodh, He, Waw, He, from right to left] which form the four-lettered mystery-name of the Creative Power ["Yahweh" or even occasionally as "Jehovah"] from and combining within itself the past, present and future forms of the verb “to be.”

The Tetragrammaton is revered as the symbol of the Creative Power in man – I AM – the creative four functions in man reaching forth to realize in actual material phenomena qualities latent in Itself.

The producer, the author, the director and the actor are the four most important characters in the production of a play.
In the drama of life, the producer’s function is to suggest the theme of a play. This he does in the form of a wish, such as, “I wish I were successful”; “I wish I could take a trip”; “I wish I were married:, and so on. But to appear on the world’s stage, these general themes must somehow be specified and worked out in detail. It is not enough to say, “I wish I were successful” – that is too vague. Successful at what?
the first “Mighty One” only suggests a theme.

The dramatization of the theme is left to the originality of the second “Might One”, the author.
In dramatizing the theme, the author writes only the last scene of the play – but this scene he writes in detail.
The scene must dramatize the wish fulfilled. He mentally constructs as life-like a scene as possible of what he would experience had he realized his wish. When the scene is clearly visualized, the author’s work is done.

The third “Mighty One” in the production of life’s play is the director. The director’s tasks are to see that the actor remains faithful to the script and to rehearse him over and over again until he is natural in the part.
This function may be likened to a controlled and consciously directed attention – an attention focused exclusively on the action which implies that the wish is already realized.

“The form of the Fourth is like the Son of God” – human imagination, the actor.
This fourth “Mighty One” performs within himself, in imagination, the pre-determined action which implies the fulfillment of the wish. This function does not visualize or observe the action. This function actually enacts the drama, and does it over and over again until it takes on the tones of reality.

Without the dramatized vision of fulfilled desire, the theme remains a mere theme and sleeps forever in the vast chambers of unborn themes. Nor without the co-operant attention, obedient to the dramatized vision of fulfilled desire, will the vision perceived attain objective reality.

The “Four Mighty Ones” are the four quarters of the human soul. The first is Jehovah’s King, who suggests the theme; the second is Jehovah’s servant, who faithfully works out the theme in a dramatic vision; the third is Jehovah’s man, who was attentive and obedient to the vision of fulfilled desire, who brings the wandering imagination back to the script “seventy times seven”. The “Form of the Fourth” is Jehovah himself, who enacts the dramatized theme on the stage of the mind.

The drama of life is a joint effort of the four quarters of the human soul.
“All that you behold, tho’ it appears without, it is within, in your imagination, of which this world of mortality is but a shadow.”
-- Blake

All that we behold is a visual construction contrived to express a theme – a theme which has been dramatized, rehearsed and performed elsewhere. What we are witnessing on the stage of the world is an optical construction devised to express the themes which have been dramatized, rehearsed and performed in the imagination of men.

The “Four Mighty Ones” constitute the Selfhood of man, or God in man: and all that man beholds, tho’ it appears without, are but shadows cast upon the screen of space – optical constructions contrived by Selfhood to inform him in regard to the themes which he has conceived, dramatized, rehearsed and performed within himself.

“The creature was made subject unto vanity” that he may become conscious of Selfhood and its functions, for with consciousness of Selfhood and its functions, he can act to a purpose; he can have a consciously self-determined history.
Without consciousness, he acts unconsciously, and cries to an objective God to save him from his own creation.
“O Lord, how long shall I cry, and Thou wilt not hear! Even cry outuntoTheeofviolence,andThouwiltnotsave!”[Habakkuk 1:2]

When man discovers that life is a play which he, himself, is consciously or unconsciously writing, he will cease from the blind, self-torture of executing judgment upon others.
Instead, he will rewrite the play to conform to his ideal, for he will realize that all changes in the play must come from the cooperation of the “Four Mighty Ones” within himself. They alone can alter the script and produce the change.

All the men and women in his world are merely players and are as helpless to change his play as are the players on the screen of the theatre to change the picture. The desired change must be conceived, dramatized, rehearsed and performed in the theatre of his mind.

When the fourth function, the imagination, has completed its task of rehearsing the revised version of the play until it is natural, then the curtain will rise upon this so seemingly solid world and the “Mighty Four” will cast a shadow of the real play upon the screen of space.

We are one. We are all playing the four parts of producer, author, director and actor in the drama of life. Some of us are doing it consciously, others unconsciously. It is necessary that we do it consciously. Only in this way can we be certain of a perfect ending to our play.

“I saw the mystic vision flow And live in men and woods and streams. Until I could no longer know The stream of life from my own dreams.”
-- George William Russell