" In miracle no new powers, instituted or stimulated by God's creative action, are at work, but merely the general order of nature "; but " the manifold physical and spiritual powers in actual existence so blend together as to produce a startling result " (Dorner's System of Christian Doctrine, ii.
The creative thought of the middle ages is clerical thought.
Brahma (n.) is the designation generally applied to the Supreme Soul (paramatman), or impersonal, all-embracing divine essence, the original source and ultimate goal of all that exists; Brahma (m.), on the other hand, is only one of the three hypostases of that divinity whose creative activity he represents, as distinguished from its preservative and destructive aspects, ever apparent in life and nature, and represented by the gods Vishnu and Siva respectively.
Yet this primordial creative nature is endowed with volition with regard to its own development.
Whether God's action is creative, or only (selective and directive in miracles, is beyond our knowledge; we at least do not know the powers exercised, whether new or old.
It is the companion of God in His creative work, itself created before the world; in Ecclus.
He dwelt upon the illumination of the mind and soul by direct communion with the Creative Spirit; upon the spiritual and poetic monitions of external nature; and upon the benefit to man of a serene mood and a simple way of life.
Thus they regard the devil as the creative agent of the Supreme God, a reinstated fallen angel who is the author of evil.
Bundahish, 1, 4) encounter one another, their creative activity and at the same time their permanent conflict begin.
While conspicuously lacking in creative genius, the Ottomans have always shown themselves possessed of receptive and assimilative powers to a remarkable degree, the result being that the number of their writers both in prose and verse is enormous.
The general results of the last fifty years of the first period (130 to 80) may be thus summed up. In poetry we have the satires of Lucilius, the tragedies of Accius and of a few successors among the Roman aristocracy, who thus exemplified the affinity of the Roman stage to Roman oratory; various annalistic poems intended to serve as continuations of the great poem of Ennius; minor poems of an epigrammatic and erotic character, unimportant anticipations of the Alexandrian tendency operative in the following period; works of criticism in trochaic tetrameters by Porcius Licinus and others, forming part of the critical and grammatical movement which almost from the first accompanied the creative movement in Latin literature, and which may be regarded as rude precursors of the didactic epistles that Horace devoted to literary criticism.
His greatest contribution to poetic art consisted in the perfection which he attained in the phalaecian, the pure iambic, and the scazon metres, and in the ease and grace with which he used the language of familiar intercourse, as distinct from that of the creative imagination, of the rostra, and of the schools, to give at once a lifelike and an artistic expression to his feelings.
The imitative impulse, which had much of the character of a creative impulse, and had resulted in the appropriation of the forms of poetry suited to the Roman and Italian character and of the metres suited to the genius of the Latin language, no longer stimulated to artistic effort.
In this way the Good was made to appear as an end imposed upon things from without by a creative intelligence instead of as an inner principle of adaptation.
But the new creative effort in language was accompanied by considerable crudeness of execution, and the novel word-formations and varieties of inflexion introduced by Pacuvius exposed him to the ridicule of the satirist Lucilius, and, long afterwards, to that of his imitator Persius.
The idea underlying these councils was to create, as it were, a certain constitution for factories by which the workman who had hitherto been a mere machine should become a creative factor, closely identified with the organization of the undertaking, conscious of responsibility, and thus making of democracy the same reality in economic life as it had already become in political life.
The Latin Renaissance in Italy aimed at recovering and verbally imitating the ancient literature; the Greek Renaissance in Germany sought inspiration from the creative originality of Greek literature with a view to producing an original literature in the German language.
Their creative religious ideas had become the common property of religious-minded Jews, at least in the somewhat imperfect shape in which they were embodied in the law, and their work on this side was carried on by the great religious, poets.
The elements of this Christian Latin language may be enumerated as follows: - (i.) it had its origin, not in the literary language of Rome as developed by Cicero, but in the language of the people as we find it in Plautus and Terence; (ii.) it has an African complexion; (iii.) it is strongly influenced by Greek, particularly through the Latin translation of the Septuagint and of the New Testament, besides being sprinkled with a large number of Greek words derived from the Scriptures or from the Greek liturgies; (iv.) it bears the stamp of the Gnostic style and contains also some military expressions; (v.) it owes something to the original creative power of Tertullian.
In no department did activity immediately stop; but the old freshness and creative exuberance was gone.
If indeed the earlier ages had been those of creative and spontaneous life, the Hellenistic age was that of conscious criticism and book-learning.
To this attitude he offered uncompromising opposition, and by the synthetical production of numerous hydrocarbons, natural fats, sugars and other bodies he proved that organic compounds can be formed by ordinary methods of chemical manipulation and obey the same laws as inorganic substances, thus exhibiting the "creative character in virtue of which chemistry actually realizes the abstract conceptions of its theories and classifications - a prerogative so far possessed neither by the natural nor by the historical sciences."
But when the Panama "scandal" has been forgotten, for centuries to come the traveller in saluting the statue of Ferdinand de Lesseps at the entrance of the Suez Canal will pay homage to one of the most powerful embodiments of the creative genius of the 19th century.
In our survey of the career of Napoleon, we have now reached the time of the Consulate (November 1799 - May 1804), which marks the zenith of his mental powers and creative activity.
All creatures exist only through the continuous creative energy of the Divine Being, and are no more independent of his will than are our thoughts independent of us, - or rather less, for there are thoughts which force themselves upon us whether we will or not.
Both spirits possess creative power, which manifests itself positively in the one and negatively in the other.
He had mastered his manner and, as one may say, learned his trade, in the exercise of criticism and the reflective parts of literature, before he surrendered himself to that powerful creative impulse which had long been tempting him, so that when, in mature life, he essayed the portraiture of invented character he came to it unhampered by any imperfection of language.
These acts of consciousness are manifestations of will, which is the motive and creative power of the intellectual life.
Hence it may be said that the universals are in the individuals, constituting their essential reality (and it is an express part of Erigena's system that the created but creative Word, the second division of Nature, should pass into the third stage of created and non-creating things); or rather, perhaps, we ought to say that the individuals exist in the bosom of their universal.
Though without claims to creative originality, Terence must have had not only critical genius, to enable him fully to appreciate and identify himself with his originals, but artistic genius of a high and pure type.
He makes no claim to the creative exuberance of Plautus, but he is entirely free from his extravagance and mannerisms. The superiority of his style over that of Lucilius, who wrote his satires a generation later, is immeasurable.