Creative Unity E-Book

Rabindranath Tagore

• Herausgeber: Seltzer Books
• Kategorie: Geisteswissenschaft
• Sprache: Englisch
• Veröffentlichungsjahr: 2018

Seitenzahl: 183

Beschreibung

According to Wikipedia: "Rabindranath Tagore (7 May 1861 – 7 August 1941), sobriquet Gurudev, was an Indian-Bengali polymath who reshaped his region's literature and music. Author of Gitanjali and its "profoundly sensitive, fresh and beautiful verse", he became the first non-European Nobel laureate by earning the 1913 Prize in Literature. In translation his poetry was viewed as spiritual and mercurial; his seemingly mesmeric personality, flowing hair, and other-worldly dress earned him a prophet-like reputation in the West. His "elegant prose and magical poetry" remain largely unknown outside Bengal."

Leseprobe

CREATIVE UNITY BY RABINDRANATH TAGORE

Published by Seltzer Books

established in 1974, now offering over 14,000 books

feedback welcome: [email protected]  

Works of Rabindanath Tagore available from Seltzer Books:

Chitra, a Play in Play in One Act

Creative Unity

The Fugitive

Glimpses of Bengal

The Home and the World

The Hungry Stones and Other Stories

The King of the Dark Chamber

Mashi and Other Stories

Sadhana the Realisation of Life

Stories from Tagore

 TO DR. EDWIN H. LEWIS

INTRODUCTION

1.  THE POET'S RELIGION

2.  THE CREATIVE IDEAL

3. THE RELIGION OF THE FOREST

4. AN INDIAN FOLK RELIGION

5. EAST AND WEST

6. THE MODERN AGE

7. THE SPIRIT OF FREEDOM

8. THE NATION

9. WOMAN AND HOME

10. AN EASTERN UNIVERSITY

INTRODUCTION

 It costs me nothing to feel that I am; it is no burden to me. And yet if the mental, physical, chemical, and other innumerable facts concerning all branches of knowledge which have united in myself could be broken up, they would prove endless. It is some untold mystery of unity in me, that has the simplicity of the infinite and reduces the immense mass of multitude to a single point.

This One in me knows the universe of the many. But, in whatever it knows, it knows the One in different aspects. It knows this room only because this room is One to it, in spite of the seeming contradiction of the endless facts contained in the single fact of the room. Its knowledge of a tree is the knowledge of a unity, which appears in the aspect of a tree.

This One in me is creative. Its creations are a pastime, through which it gives expression to an ideal of unity in its endless show of variety. Such are its pictures, poems, music, in which it finds joy only because they reveal the perfect forms of an inherent unity.

This One in me not only seeks unity in knowledge for its understanding and creates images of unity for its delight; it also seeks union in love for its fulfilment. It seeks itself in others. This is a fact, which would be absurd had there been no great medium of truth to give it reality. In love we find a joy which is ultimate because it is the ultimate truth. Therefore it is said in the Upanishads that the _advaitam_ is _anantam_,—"the One is Infinite"; that the _advaitam_ is _anandam_,—"the One is Love."

To give perfect expression to the One, the Infinite, through the harmony of the many; to the One, the Love, through the sacrifice of self, is the object alike of our individual life and our society.

THE POET'S RELIGION

                                    I

 Civility is beauty of behaviour. It requires for its perfection patience, self-control, and an environment of leisure. For genuine courtesy is a creation, like pictures, like music. It is a harmonious blending of voice, gesture and movement, words and action, in which generosity of conduct is expressed. It reveals the man himself and has no ulterior purpose.

Our needs are always in a hurry. They rush and hustle, they are rude and unceremonious; they have no surplus of leisure, no patience for anything else but fulfilment of purpose. We frequently see in our country at the present day men utilising empty kerosene cans for carrying water. These cans are emblems of discourtesy; they are curt and abrupt, they have not the least shame for their unmannerliness, they do not care to be ever so slightly more than useful.

The instruments of our necessity assert that we must have food, shelter, clothes, comforts and convenience. And yet men spend an immense amount of their time and resources in contradicting this assertion, to prove that they are not a mere living catalogue of endless wants; that there is in them an ideal of perfection, a sense of unity, which is a harmony between parts and a harmony with surroundings.

The quality of the infinite is not the magnitude of extension, it is in the _Advaitam_, the mystery of Unity. Facts occupy endless time and space; but the truth comprehending them all has no dimension; it is One. Wherever our heart touches the One, in the small or the big, it finds the touch of the infinite.

I was speaking to some one of the joy we have in our personality. I said it was because we were made conscious by it of a spirit of unity within ourselves. He answered that he had no such feeling of joy about himself, but I was sure he exaggerated. In all probability he had been suffering from some break of harmony between his surroundings and the spirit of unity within him, proving all the more strongly its truth. The meaning of health comes home to us with painful force when disease disturbs it; since health expresses the unity of the vital functions and is accordingly joyful. Life's tragedies occur, not to demonstrate their own reality, but to reveal that eternal principle of joy in life, to which they gave a rude shaking. It is the object of this Oneness in us to realise its infinity by perfect union of love with others. All obstacles to this union create misery, giving rise to the baser passions that are expressions of finitude, of that separateness which is negative and therefore _máyá_.

The joy of unity within ourselves, seeking expression, becomes creative; whereas our desire for the fulfilment of our needs is constructive. The water vessel, taken as a vessel only, raises the question, "Why does it exist at all?" Through its fitness of construction, it offers the apology for its existence. But where it is a work of beauty it has no question to answer; it has nothing to do, but to be. It reveals in its form a unity to which all that seems various in it is so related that, in a mysterious manner, it strikes sympathetic chords to the music of unity in our own being.

What is the truth of this world? It is not in the masses of substance, not in the number of things, but in their relatedness, which neither can be counted, nor measured, nor abstracted. It is not in the materials which are many, but in the expression which is one. All our knowledge of things is knowing them in their relation to the Universe, in that relation which is truth. A drop of water is not a particular assortment of elements; it is the miracle of a harmonious mutuality, in which the two reveal the One. No amount of analysis can reveal to us this mystery of unity. Matter is an abstraction; we shall never be able to realise what it is, for our world of reality does not acknowledge it. Even the giant forces of the world, centripetal and centrifugal, are kept out of our recognition. They are the day-labourers not admitted into the audience-hall of creation. But light and sound come to us in their gay dresses as troubadours singing serenades before the windows of the senses. What is constantly before us, claiming our attention, is not the kitchen, but the feast; not the anatomy of the world, but its countenance. There is the dancing ring of seasons; the elusive play of lights and shadows, of wind and water; the many-coloured wings of erratic life flitting between birth and death. The importance of these does not lie in their existence as mere facts, but in their language of harmony, the mother-tongue of our own soul, through which they are communicated to us.

We grow out of touch with this great truth, we forget to accept its invitation and its hospitality, when in quest of external success our works become unspiritual and unexpressive. This is what Wordsworth complained of when he said:

    The world is too much with us; late and soon,     Getting and spending, we lay waste our powers.     Little we see in Nature that is ours.

But it is not because the world has grown too familiar to us; on the contrary, it is because we do not see it in its aspect of unity, because we are driven to distraction by our pursuit of the fragmentary.

Materials as materials are savage; they are solitary; they are ready to hurt one another. They are like our individual impulses seeking the unlimited freedom of wilfulness. Left to themselves they are destructive. But directly an ideal of unity raises its banner in their centre, it brings these rebellious forces under its sway and creation is revealed—the creation which is peace, which is the unity of perfect relationship. Our greed for eating is in itself ugly and selfish, it has no sense of decorum; but when brought under the ideal of social fellowship, it is regulated and made ornamental; it is changed into a daily festivity of life. In human nature sexual passion is fiercely individual and destructive, but dominated by the ideal of love, it has been made to flower into a perfection of beauty, becoming in its best expression symbolical of the spiritual truth in man which is his kinship of love with the Infinite. Thus we find it is the One which expresses itself in creation; and the Many, by giving up opposition, make the revelation of unity perfect.

                                   II

I remember, when I was a child, that a row of cocoanut trees by our garden wall, with their branches beckoning the rising sun on the horizon, gave me a companionship as living as I was myself. I know it was my imagination which transmuted the world around me into my own world—the imagination which seeks unity, which deals with it. But we have to consider that this companionship was true; that the universe in which I was born had in it an element profoundly akin to my own imaginative mind, one which wakens in all children's natures the Creator, whose pleasure is in interweaving the web of creation with His own patterns of many-coloured strands. It is something akin to us, and therefore harmonious to our imagination. When we find some strings vibrating in unison with others, we know that this sympathy carries in it an eternal reality. The fact that the world stirs our imagination in sympathy tells us that this creative imagination is a common truth both in us and in the heart of existence. Wordsworth says:

                              I'd rather be     A pagan suckled in a creed outworn;     So might I, standing on this pleasant lea,     Have glimpses that would make me less forlorn;     Have sight of Proteus rising from the sea,     Or hear old Triton blow his wreathèd horn.

In this passage the poet says we are less forlorn in a world which we meet with our imagination. That can only be possible if through our imagination is revealed, behind all appearances, the reality which gives the touch of companionship, that is to say, something which has an affinity to us. An immense amount of our activity is engaged in making images, not for serving any useful purpose or formulating rational propositions, but for giving varied responses to the varied touches of this reality. In this image-making the child creates his own world in answer to the world in which he finds himself. The child in us finds glimpses of his eternal playmate from behind the veil of things, as Proteus rising from the sea, or Triton blowing his wreathèd horn. And the playmate is the Reality, that makes it possible for the child to find delight in activities which do not inform or bring assistance but merely express. There is an image-making joy in the infinite, which inspires in us our joy in imagining. The rhythm of cosmic motion produces in our mind the emotion which is creative.

A poet has said about his destiny as a dreamer, about the worthlessness of his dreams and yet their permanence:

    I hang 'mid men my heedless head,     And my fruit is dreams, as theirs is bread:     The goodly men and the sun-hazed sleeper,     Time shall reap; but after the reaper     The world shall glean to me, me the sleeper.

The dream persists; it is more real than even bread which has substance and use. The painted canvas is durable and substantial; it has for its production and transport to market a whole array of machines and factories. But the picture which no factory can produce is a dream, a _máyá_, and yet it, not the canvas, has the meaning of ultimate reality.

A poet describes Autumn:

    I saw old Autumn in the misty morn     Stand shadowless like Silence, listening     To silence, for no lonely bird would sing     Into his hollow ear from woods forlorn.

Of April another poet sings:

        April, April,     Laugh thy girlish laughter;     Then the moment after     Weep thy girlish tears!     April, that mine ears     Like a lover greetest,     If I tell thee, sweetest,     All my hopes and fears.

        April, April,     Laugh thy golden laughter.     But the moment after     Weep thy golden tears!

This Autumn, this April,—are they nothing but phantasy?

Let us suppose that the Man from the Moon comes to the earth and listens to some music in a gramophone. He seeks for the origin of the delight produced in his mind. The facts before him are a cabinet made of wood and a revolving disc producing sound; but the one thing which is neither seen nor can be explained is the truth of the music, which his personality must immediately acknowledge as a personal message. It is neither in the wood, nor in the disc, nor in the sound of the notes. If the Man from the Moon be a poet, as can reasonably be supposed, he will write about a fairy imprisoned in that box, who sits spinning fabrics of songs expressing her cry for a far-away magic casement opening on the foam of some perilous sea, in a fairyland forlorn. It will not be literally, but essentially true. The facts of the gramophone make us aware of the laws of sound, but the music gives us personal companionship. The bare facts about April are alternate sunshine and showers; but the subtle blending of shadows and lights, of murmurs and movements, in April, gives us not mere shocks of sensation, but unity of joy as does music. Therefore when a poet sees the vision of a girl in April, even a downright materialist is in sympathy with him. But we know that the same individual would be menacingly angry if the law of heredity or a geometrical problem were described as a girl or a rose—or even as a cat or a camel. For these intellectual abstractions have no magical touch for our lute-strings of imagination. They are no dreams, as are the harmony of bird-songs, rain-washed leaves glistening in the sun, and pale clouds floating in the blue.

The ultimate truth of our personality is that we are no mere biologists or geometricians; "we are the dreamers of dreams, we are the music-makers." This dreaming or music-making is not a function of the lotus-eaters, it is the creative impulse which makes songs not only with words and tunes, lines and colours, but with stones and metals, with ideas and men:

    With wonderful deathless ditties     We build up the world's great cities,     And out of a fabulous story     We fashion an empire's glory.

I have been told by a scholar friend of mine that by constant practice in logic he has weakened his natural instinct of faith. The reason is, faith is the spectator in us which finds the meaning of the drama from the unity of the performance; but logic lures us into the greenroom where there is stagecraft but no drama at all; and then this logic nods its head and wearily talks about disillusionment. But the greenroom, dealing with its fragments, looks foolish when questioned, or wears the sneering smile of Mephistopheles; for it does not have the secret of unity, which is somewhere else. It is for faith to answer, "Unity comes to us from the One, and the One in ourselves opens the door and receives it with joy." The function of poetry and the arts is to remind us that the greenroom is the greyest of illusions, and the reality is the drama presented before us, all its paint and tinsel, masks and pageantry, made one in art. The ropes and wheels perish, the stage is changed; but the dream which is drama remains true, for there remains the eternal Dreamer.

                                   III

Poetry and the arts cherish in them the profound faith of man in the unity of his being with all existence, the final truth of which is the truth of personality. It is a religion directly apprehended, and not a system of metaphysics to be analysed and argued. We know in our personal experience what our creations are and we instinctively know through it what creation around us means.

When Keats said in his "Ode to a Grecian Urn":

    Thou, silent form, dost tease us out of thought,     As doth eternity,...

he felt the ineffable which is in all forms of perfection, the mystery of the One, which takes us beyond all thought into the immediate touch of the Infinite. This is the mystery which is for a poet to realise and to reveal. It comes out in Keats' poems with struggling gleams through consciousness of suffering and despair:

    Spite of despondence, of the inhuman dearth     Of noble natures, of the gloomy days,     Of all the unhealthy and o'er-darken'd ways     Made for our searching: yes, in spite of all,     Some shape of beauty moves away the pall     From our dark spirits.

In this there is a suggestion that truth reveals itself in beauty. For if beauty were mere accident, a rent in the eternal fabric of things, then it would hurt, would be defeated by the antagonism of facts. Beauty is no phantasy, it has the everlasting meaning of reality. The facts that cause despondence and gloom are mere mist, and when through the mist beauty breaks out in momentary gleams, we realise that Peace is true and not conflict, Love is true and not hatred; and Truth is the One, not the disjointed multitude. We realise that Creation is the perpetual harmony between the infinite ideal of perfection and the eternal continuity of its realisation; that so long as there is no absolute separation between the positive ideal and the material obstacle to its attainment, we need not be afraid of suffering and loss. This is the poet's religion.

Those who are habituated to the rigid framework of sectarian creeds will find such a religion as this too indefinite and elastic. No doubt it is so, but only because its ambition is not to shackle the Infinite and tame it for domestic use; but rather to help our consciousness to emancipate itself from materialism. It is as indefinite as the morning, and yet as luminous; it calls our thoughts, feelings, and actions into freedom, and feeds them with light. In the poet's religion we find no doctrine or injunction, but rather the attitude of our entire being towards a truth which is ever to be revealed in its own endless creation.

In dogmatic religion all questions are definitely answered, all doubts are finally laid to rest. But the poet's religion is fluid, like the atmosphere round the earth where lights and shadows play hide-and-seek, and the wind like a shepherd boy plays upon its reeds among flocks of clouds. It never undertakes to lead anybody anywhere to any solid conclusion; yet it reveals endless spheres of light, because it has no walls round itself. It acknowledges the facts of evil; it openly admits "the weariness, the fever and the fret" in the world "where men sit and hear each other groan"; yet it remembers that in spite of all there is the song of the nightingale, and "haply the Queen Moon is on her throne," and there is:

    White hawthorn, and the pastoral eglantine,     Fast-fading violets covered up in leaves;             And mid-day's eldest child,     The coming musk-rose, full of dewy wine,     The murmurous haunt of flies on summer eves.

But all this has not the definiteness of an answer; it has only the music that teases us out of thought as it fills our being.

Let me read a translation from an Eastern poet to show how this idea comes out in a poem in Bengali:

        In the morning I awoke at the flutter of thy boat-sails,     Lady of my Voyage, and I left the shore to follow the beckoning waves.         I asked thee, "Does the dream-harvest ripen in the             island beyond the blue?"         The silence of thy smile fell on my question like             the silence of sunlight on waves.         The day passed on through storm and through calm,     The perplexed winds changed their course, time after time,             and the sea moaned.         I asked thee, "Does thy sleep-tower stand somewhere beyond the             dying embers of the day's funeral pyre?"     No answer came from thee, only thine eyes smiled like             the edge of a sunset cloud.         It is night. Thy figure grows dim in the dark.     Thy wind-blown hair flits on my cheek and thrills my             sadness with its scent.         My hands grope to touch the hem of thy robe, and     I ask thee—"Is there thy garden of death beyond the stars,             Lady of my Voyage, where thy silence blossoms into songs?"         Thy smile shines in the heart of the hush like the             star-mist of midnight.

                                   IV