SCEPTICISM OF THE INSTRUMENT
sal Evil in which unthinking men believe. And it is obviously in no way contradictory to this philosophy, for me, if I find others responding sympathetically to any notes of mine or if I find myself responding sympathetically to notes sounding about me, to give that common resemblance between myself and others a name, to refer these others and myself in common to this thing as if it were externalised and spanned us all.
Scepticism of the Instrument is for example not incompatible with religious association and with organisation upon the basis of a common faith. It is possible to regard God as a Being synthetic in relation to men and societies, just as the idea of a universe of atoms and molecules and inorganic relationships is analytical in relation to human life.
The repudiation of demonstration in any but immediate and verifiable cases that this Scepticism of the Instrument amounts to, the abandonment of any universal validity for moral and religious propositions, brings ethical, social and religious teaching into the province of poetry, and does something to correct the estrangement between knowledge and beauty that is a feature of so much mental existence at this time. All these things are self-expression. Such an opinion sets a new and greater value on that penetrating and illuminating quality of mind we call insight, insight which when it faces towards the contradictions that arise out of the imperfections of the mental instrument is called humour. In these innate, unteachable qualities I hold—in humour and the sense of beauty—lies such hope of intellectual salvation from the original sin of our intellectual instrument as we may
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