At this stage of perfection, the Bodhisattva’s spiritual condition is compared to that of a person who, attempting when in a dreamy state to cross deep waters, musters all his energy, plans all schemes, and, while at last at the point of starting on the journey, suddenly wakes up and finds all his elaborate preparations to no purpose. The Bodhisattva hitherto showed untiring spiritual efforts to attain the highest knowledge, steadily practised all virtues tending to the acquirement of Nirvâna, and heroically endeavored to exterminate all evil passions, and at the culmination of all these exercises, he enters all of a sudden upon the stage of Acalâ and finds the previous elaboration mysteriously vanished from his conscious mind. He cherishes {324} now no desire for Buddhahood, Nirvâna, or Bodhicitta, much less after worldliness, egoism, or the satisfaction of evil passions. The conscious striving that distinguished all his former course has now given way to a state of spontaneous activity, of saintly innocence, and of divine playfulness. He wills and it is done. He aspires and it is actualised. He is nature herself, for there is no trace in his activity that betrays any artificial lucubration, any voluntary or compulsory restraint. This state of perfect ideal freedom may be called esthetical, which characterises the work of a genius. There is here no trace of consciously following some prescribed laws, no pains of elaborately conforming to the formula. To put this poetically, the inner life of the Bodhisattva at this stage is like the lilies of the field whose glory is greater than that of Solomon in all his human magnificence. Kant’s remarks on this point are very suggestive, and I will quote the following from his _Kritik der Urteilskraft_ (Reclam edition, p. 173): “Also muss die Zweckmässigkeit im Produkte der schönen Kunst, ob sie zwar absichtlich ist, doch nicht absichtlich scheinen: d.i., schöne Kunst muss als Natur anzusehen sein, ob man sich ihrer zwar als Kunst bewusst ist. Als Natur aber erscheint ein Produkt der Kunst dadurch, dass zwar alle Pünktlichkeit in der Uebereinkunst mit Regeln, nach denen allein das Produkt das werden kann, was es soll sein, angetroffen wird, aber ohne Peinlichkeit, d.i., ohne eine Spur zu zeigen, dass die Regel dem Künstler vor Augen {325} geschwebt und seinen Gemüthskräften Fesseln angelegt haben.”[130] (9) _The Sâdhumatî._ Sâdhumatî, meaning “good intelligence,” is the name given to the ninth stage of Bodhisattvahood. All the Bodhisattvas are said to have reached here, when sentient beings are benefitted by the Bodhisattva’s attainment of the highest perfect knowledge, which is unfathomable by the ordinary human intelligence. The knowledge leads them to the Dharma of the deepest mystery, to the Samâdhi of perfect spirituality, to the Dhâranî of divine spontaneity, to Love of absolute purity, to the Will of utmost freedom.