Sadhana : the realisation of life Part 6

As for ourselves, it is only when we wholly submit to the bonds of truth that we fully gain the joy of freedom. And how? As does the string that is bound to the harp. When the harp is truly strung, when there is not the slightest laxity in the strength of the bond, then only does music result; and the string transcending itself in its melody finds at every chord its true freedom. It is because it is bound by such hard and fast rules on the one side that it can find this range of freedom in music on the other. While the string was not true, it was indeed merely bound; but a loosening of its bondage would not have been the way to freedom, which it can only fully achieve by being bound tighter and tighter till it has attained the true pitch.

The ba.s.s and treble strings of our duty are only bonds so long as we cannot maintain them steadfastly attuned according to the law of truth; and we cannot call by the name of freedom the loosening of them into the nothingness of inaction. That is why I would say that the true striving in the quest of truth, of _dharma_, consists not in the neglect of action but in the effort to attune it closer and closer to the eternal harmony. The text of this striving should be, _Whatever works thou doest, consecrate them to Brahma._ [Footnote: Yadyat karma prakurvita tadbrahmani samarpayet.] That is to say, the soul is to dedicate itself to Brahma through all its activities. This dedication is the song of the soul, in this is its freedom. Joy reigns when all work becomes the path to the union with Brahma; when the soul ceases to return constantly to its own desires; when in it our self-offering grows more and more intense. Then there is completion, then there is freedom, then, in this world, comes the kingdom of G.o.d.

Who is there that, sitting in his corner, would deride this grand self-expression of humanity in action, this incessant self-consecration? Who is there that thinks the union of G.o.d and man is to be found in some secluded enjoyment of his own imaginings, away from the sky-towering temple of the greatness of humanity, which the whole of mankind, in suns.h.i.+ne and storm, is toiling to erect through the ages? Who is there that thinks this secluded communion is the highest form of religion?

O thou distraught wanderer, thou _Sannyasin_, drunk in the wine of self-intoxication, dost thou not already hear the progress of the human soul along the highway traversing the wide fields of humanity--the thunder of its progress in the car of its achievements, which is destined to overpa.s.s the bounds that prevent its expansion into the universe? The very mountains are cleft asunder and give way before the march of its banners waving triumphantly in the heavens; as the mist before the rising sun, the tangled obscurities of material things vanish at its irresistible approach. Pain, disease, and disorder are at every step receding before its onset; the obstructions of ignorance are being thrust aside; the darkness of blindness is being pierced through; and behold, the promised land of wealth and health, of poetry and art, of knowledge and righteousness is gradually being revealed to view. Do you in your lethargy desire to say that this car of humanity, which is shaking the very earth with the triumph of its progress along the mighty vistas of history, has no charioteer leading it on to its fulfilment? Who is there who refuses to respond to his call to join in this triumphal progress?

Who so foolish as to run away from the gladsome throng and seek him in the listlessness of inaction? Who so steeped in untruth as to dare to call all this untrue--this great world of men, this civilisation of expanding humanity, this eternal effort of man, through depths of sorrow, through heights of gladness, through innumerable impediments within and without, to win victory for his powers? He who can think of this immensity of achievement as an immense fraud, can he truly believe in G.o.d who is the truth? He who thinks to reach G.o.d by running away from the world, when and where does he expect to meet him? How far can he fly--can he fly and fly, till he flies into nothingness itself? No, the coward who would fly can nowhere find him. We must be brave enough to be able to say: We are reaching him here in this very spot, now at this very moment. We must be able to a.s.sure ourselves that as in our actions we are realising ourselves, so in ourselves we are realising him who is the self of self. We must earn the right to say so unhesitatingly by clearing away with our own effort all obstruction, all disorder, all discords from our path of activity; we must be able to say, "In my work is my joy, and in that joy does the joy of my joy abide."

Whom does the Upanishad call _The chief among the knowers of Brahma?_ [Footnote: Brahmavidamvaristhah.] He is defined as _He whose joy is in Brahma, whose play is in Brahma, the active one._ [Footnote: Atmakrirha atmaratih kriyavan.] Joy without the play of joy is no joy at all--play without activity is no play.

Activity is the play of joy. He whose joy is in Brahma, how can he live in inaction? For must he not by his activity provide that in which the joy of Brahma is to take form and manifest itself? That is why he who knows Brahma, who has his joy in Brahma, must also have all his activity in Brahma--his eating and drinking, his earning of livelihood and his beneficence.

Just as the joy of the poet in his poem, of the artist in his art, of the brave man in the output of his courage, of the wise man in his discernment of truths, ever seeks expression in their several activities, so the joy of the knower of Brahma, in the whole of his everyday work, little and big, in truth, in beauty, in orderliness and in beneficence, seeks to give expression to the infinite.

Brahma himself gives expression to his joy in just the same way.

_By his many-sided activity, which radiates in all directions, does he fulfil the inherent want of his different creatures._ [Footnote: Bahudha cakti yogat varnananekan nihitartho dadhati.]

That inherent want is he himself, and so he is in so many ways, in so many forms, giving himself. He works, for without working how could he give himself. His joy is ever dedicating itself in the dedication which is his creation.

In this very thing does our own true meaning lie, in this is our likeness to our father. We must also give up ourselves in many-sided variously aimed activity. In the Vedas he is called _the giver of himself, the giver of strength._ [Footnote: Atmada balada.] He is not content with giving us himself, but he gives us strength that we may likewise give ourselves. That is why the seer of the Upanishad prays to him who is thus fulfilling our wants, _May he grant us the beneficent mind_ [Footnote: Sa no buddhya cubhaya samyunaktu.], may he fulfil that uttermost want of ours by granting us the beneficent mind. That is to say, it is not enough he should alone work to remove our want, but he should give us the desire and the strength to work with him in his activity and in the exercise of the goodness. Then, indeed, will our union with him alone be accomplished. The beneficent mind is that which shows us the want (_swartha_) of another self to be the inherent want (_nihitartha_) of our own self; that which shows that our joy consists in the varied aiming of our many-sided powers in the work of humanity. When we work under the guidance of this beneficent mind, then our activity is regulated, but does not become mechanical; it is action not goaded on by want, but stimulated by the satisfaction of the soul. Such activity ceases to be a blind imitation of that of the mult.i.tude, a cowardly following of the dictates of fas.h.i.+on.

Therein we begin to see that _He is in the beginning and in the end of the universe_ [Footnote: Vichaiti chante vicvamadau.], and likewise see that of our own work is he the fount and the inspiration, and at the end thereof is he, and therefore that all our activity is pervaded by peace and good and joy.

The Upanishad says: _Knowledge, power, and action are of his nature._ [Footnote: Svabhavikijnana bala kriya cha.] It is because this naturalness has not yet been born in us that we tend to divide joy from work. Our day of work is not our day of joy--for that we require a holiday; for, miserable that we are, we cannot find our holiday in our work. The river finds its holiday in its onward flow, the fire in its outburst of flame, the scent of the flower in its permeation of the atmosphere; but in our everyday work there is no such holiday for us. It is because we do not let ourselves go, because we do not give ourselves joyously and entirely up to it, that our work overpowers us.

O giver of thyself! at the vision of thee as joy let our souls flame up to thee as the fire, flow on to thee as the river, permeate thy being as the fragrance of the flower. Give us strength to love, to love fully, our life in its joys and sorrows, in its gains and losses, in its rise and fall. Let us have strength enough fully to see and hear thy universe, and to work with full vigour therein. Let us fully live the life thou hast given us, let us bravely take and bravely give. This is our prayer to thee. Let us once for all dislodge from our minds the feeble fancy that would make out thy joy to be a thing apart from action, thin, formless, and unsustained. Wherever the peasant tills the hard earth, there does thy joy gush out in the green of the corn, wherever man displaces the entangled forest, smooths the stony ground, and clears for himself a homestead, there does thy joy enfold it in orderliness and peace.

O worker of the universe! We would pray to thee to let the irresistible current of thy universal energy come like the impetuous south wind of spring, let it come rus.h.i.+ng over the vast field of the life of man, let it bring the scent of many flowers, the murmurings of many woodlands, let it make sweet and vocal the lifelessness of our dried-up soul-life. Let our newly awakened powers cry out for unlimited fulfilment in leaf and flower and fruit.

VII

THE REALISATION OF BEAUTY

Things in which we do not take joy are either a burden upon our minds to be got rid of at any cost; or they are useful, and therefore in temporary and partial relation to us, becoming burdensome when their utility is lost; or they are like wandering vagabonds, loitering for a moment on the outskirts of our recognition, and then pa.s.sing on. A thing is only completely our own when it is a thing of joy to us.

The greater part of this world is to us as if it were nothing.

But we cannot allow it to remain so, for thus it belittles our own self. The entire world is given to us, and all our powers have their final meaning in the faith that by their help we are to take possession of our patrimony.

But what is the function of our sense of beauty in this process of the extension of our consciousness? Is it there to separate truth into strong lights and shadows, and bring it before us in its uncompromising distinction of beauty and ugliness? If that were so, then we would have had to admit that this sense of beauty creates a dissension in our universe and sets up a wall of hindrance across the highway of communication that leads from everything to all things.

But that cannot be true. As long as our realisation is incomplete a division necessarily remains between things known and unknown, pleasant and unpleasant. But in spite of the dictum of some philosophers man does not accept any arbitrary and absolute limit to his knowable world. Every day his science is penetrating into the region formerly marked in his map as unexplored or inexplorable. Our sense of beauty is similarly engaged in ever pus.h.i.+ng on its conquests. Truth is everywhere, therefore everything is the object of our knowledge. Beauty is omnipresent, therefore everything is capable of giving us joy.

In the early days of his history man took everything as a phenomenon of life. His science of life began by creating a sharp distinction between life and non-life. But as it is proceeding farther and farther the line of demarcation between the animate and inanimate is growing more and more dim. In the beginning of our apprehension these sharp lines of contrast are helpful to us, but as our comprehension becomes clearer they gradually fade away.

The Upanishads have said that all things are created and sustained by an infinite joy. To realise this principle of creation we have to start with a division--the division into the beautiful and the non-beautiful. Then the apprehension of beauty has to come to us with a vigorous blow to awaken our consciousness from its primitive lethargy, and it attains its object by the urgency of the contrast. Therefore our first acquaintance with beauty is in her dress of motley colours, that affects us with its stripes and feathers, nay, with its disfigurements. But as our acquaintance ripens, the apparent discords are resolved into modulations of rhythm. At first we detach beauty from its surroundings, we hold it apart from the rest, but at the end we realise its harmony with all. Then the music of beauty has no more need of exciting us with loud noise; it renounces violence, and appeals to our heart with the truth that it is meekness inherits the earth.

In some stage of our growth, in some period of our history, we try to set up a special cult of beauty, and pare it down to a narrow circuit, so as to make it a matter of pride for a chosen few. Then it breeds in its votaries affections and exaggerations, as it did with the Brahmins in the time of the decadence of Indian civilisation, when the perception of the higher truth fell away and superst.i.tions grew up unchecked.

In the history of aesthetics there also comes an age of emanc.i.p.ation when the recognition of beauty in things great and small become easy, and when we see it more in the una.s.suming harmony of common objects than in things startling in their singularity. So much so, that we have to go through the stages of reaction when in the representation of beauty we try to avoid everything that is obviously pleasing and that has been crowned by the sanction of convention. We are then tempted in defiance to exaggerate the commonness of commonplace things, thereby making them aggressively uncommon. To restore harmony we create the discords which are a feature of all reactions. We already see in the present age the sign of this aesthetic reaction, which proves that man has at last come to know that it is only the narrowness of perception which sharply divides the field of his aesthetic consciousness into ugliness and beauty. When he has the power to see things detached from self-interest and from the insistent claims of the l.u.s.t of the senses, then alone can he have the true vision of the beauty that is everywhere. Then only can he see that what is unpleasant to us is not necessarily unbeautiful, but has its beauty in truth.

When we say that beauty is everywhere we do not mean that the word ugliness should be abolished from our language, just as it would be absurd to say that there is no such thing as untruth.

Untruth there certainly is, not in the system of the universe, but in our power of comprehension, as its negative element. In the same manner there is ugliness in the distorted expression of beauty in our life and in our art which comes from our imperfect realisation of Truth. To a certain extent we can set our life against the law of truth which is in us and which is in all, and likewise we can give rise to ugliness by going counter to the eternal law of harmony which is everywhere.

Through our sense of truth we realise law in creation, and through our sense of beauty we realise harmony in the universe.

When we recognise the law in nature we extend our mastery over physical forces and become powerful; when we recognise the law in our moral nature we attain mastery over self and become free. In like manner the more we comprehend the harmony in the physical world the more our life shares the gladness of creation, and our expression of beauty in art becomes more truly catholic. As we become conscious of the harmony in our soul, our apprehension of the blissfulness of the spirit of the world becomes universal, and the expression of beauty in our life moves in goodness and love towards the infinite. This is the ultimate object of our existence, that we must ever know that "beauty is truth, truth beauty"; we must realise the whole world in love, for love gives it birth, sustains it, and takes it back to its bosom. We must have that perfect emanc.i.p.ation of heart which gives us the power to stand at the innermost centre of things and have the taste of that fullness of disinterested joy which belongs to Brahma.

Music is the purest form of art, and therefore the most direct expression of beauty, with a form and spirit which is one and simple, and least enc.u.mbered with anything extraneous. We seem to feel that the manifestation of the infinite in the finite forms of creation is music itself, silent and visible. The evening sky, tirelessly repeating the starry constellations, seems like a child struck with wonder at the mystery of its own first utterance, lisping the same word over and over again, and listening to it in unceasing joy. When in the rainy night of July the darkness is thick upon the meadows and the pattering rain draws veil upon veil over the stillness of the slumbering earth, this monotony of the rain patter seems to be the darkness of sound itself. The gloom of the dim and dense line of trees, the th.o.r.n.y bushes scattered in the bare heath like floating heads of swimmers with bedraggled hair, the smell of the damp gra.s.s and the wet earth, the spire of the temple rising above the undefined ma.s.s of blackness grouped around the village huts--everything seems like notes rising from the heart of the night, mingling and losing themselves in the one sound of ceaseless rain filling the sky.

Therefore the true poets, they who are seers, seek to express the universe in terms of music.

They rarely use symbols of painting to express the unfolding of forms, the mingling of endless lines and colours that goes on every moment on the canvas of the blue sky.

They have their reason. For the man who paints must have canvas, brush and colour-box. The first touch of his brush is very far from the complete idea. And then when the work is finished the artist is gone, the windowed picture stands alone, the incessant touches of love of the creative hand are withdrawn.

But the singer has everything within him. The notes come out from his very life. They are not materials gathered from outside. His idea and his expression are brother and sister; very often they are born as twins. In music the heart reveals itself immediately; it suffers not from any barrier of alien material.

Therefore though music has to wait for its completeness like any other art, yet at every step it gives out the beauty of the whole. As the material of expression even words are barriers, for their meaning has to be constructed by thought. But music never has to depend upon any obvious meaning; it expresses what no words can ever express.

What is more, music and the musician are inseparable. When the singer departs, his singing dies with him; it is in eternal union with the life and joy of the master.

This world-song is never for a moment separated from its singer.

It is not fas.h.i.+oned from any outward material. It is his joy itself taking never-ending form. It is the great heart sending the tremor of its thrill over the sky.

There is a perfection in each individual strain of this music, which is the revelation of completion in the incomplete. No one of its notes is final, yet each reflects the infinite.

What does it matter if we fail to derive the exact meaning of this great harmony? Is it not like the hand meeting the string and drawing out at once all its tones at the touch? It is the language of beauty, the caress, that comes from the heart of the world straightway reaches our heart.

Last night, in the silence which pervaded the darkness, I stood alone and heard the voice of the singer of eternal melodies.

When I went to sleep I closed my eyes with this last thought in my mind, that even when I remain unconscious in slumber the dance of life will still go on in the hushed arena of my sleeping body, keeping step with the stars. The heart will throb, the blood will leap in the veins, and the millions of living atoms of my body will vibrate in tune with the note of the harp-string that thrills at the touch of the master.

VIII

THE REALISATION OF THE INFINITE

The Upanishads say: "Man becomes true if in this life he can apprehend G.o.d; if not, it is the greatest calamity for him."

But what is the nature of this attainment of G.o.d? It is quite evident that the infinite is not like one object among many, to be definitely cla.s.sified and kept among our possessions, to be used as an ally specially favouring us in our politics, warfare, money-making, or in social compet.i.tions. We cannot put our G.o.d in the same list with our summer-houses, motor-cars, or our credit at the bank, as so many people seem to want to do.

We must try to understand the true character of the desire that a man has when his soul longs for his G.o.d. Does it consist of his wish to make an addition, however valuable, to his belongings?

Emphatically no! It is an endlessly wearisome task, this continual adding to our stores. In fact, when the soul seeks G.o.d she seeks her final escape from this incessant gathering and heaping and never coming to an end. It is not an additional object the she seeks, but it is the _nityo 'nityanam_, the permanent in all that is impermanent, the _rasanam rasatamah_, the highest abiding joy unifying all enjoyments. Therefore when the Upanishads teach us to realise everything in Brahma, it is not to seek something extra, not to manufacture something new.

_Know everything that there is in the universe as enveloped by G.o.d._ [Footnote: Ichavasyamdiam sarvam yat kincha jagatyanjagat.] _Enjoy whatever is given by him and harbour not in your mind the greed for wealth which is not your own._ [Footnoe: Tena tyaktena bhunjitha ma gridhah kasyasviddhanam.]

When you know that whatever there is is filled by him and whatever you have is his gift, then you realise the infinite in the finite, and the giver in the gifts. Then you know that all the facts of the reality have their only meaning in the manifestation of the one truth, and all your possessions have their only significance for you, not in themselves but in the relation they establish with the infinite.