The Equinox (Volume I, Number II)

THE EQUINOX sions are represented by pictorial glyphs, so each reflection upon an impression is accompanied by either one or two (more only when the control is imperfect) critical glyphs, as it were in small type, an annotation of approval or otherwise. Thus, a chain of thought A—B—C will have three approving pictures in a fainter key; the soul justifying the sequence. Should one continue A—B—C—E an opposing glyph will warn of the falsity, or at least cast doubt upon it. In the generally un- stable condition of the thought, such a critical glyph may be strong enough to become the dominant; and then the whole line of thought breaks down. Let me give an example: Thought, Criticisms and their glyphs. 1. Man. a man reaping—meaning “ Good—go on.” a horse = “ True—Mill’s definition.” 2, Featherless Biped. Three horses in a field = “Are there no other featherless bipeds ?” a stream = “ Stop—Stop—Stop.” 3. Was it Mill ? A tombstone on ahill = “ Was it Locke ?” 4. Locke? Locke? a battle. thousands of other violent glyphs. The whole mind is now a raging sea of confused thought: doubts, attempts to remember accurately who on earth first said “ featherless biped,” even an agony to recover thought 1, and start again. This one unfortunate weakness of thought 2 has drawn the thought-current away from the consideration of “man” to an academic question; and, as hashish goes, one is unlikely ever to get back to it. On the contrary, one of the critical glyphs attacking the thought “ Locke? Locke?” will probably be strong enough to carry away the thought into a new channel, in its turn to be diverted. This at the best : for one is now ready to fall into the Maelstrom of effect (6). 48