The Process of Evolution THE end of a stage of evolution is usually marked by a powerful recrudescence of all that has to go out of the evolution. It is a principle of Nature that in order to get rid of any powerful tendency or deep-seated association in humanity, whether in the mass or in the individual, it has first to be exhausted by bhoga or enjoyment, afterwards to be dominated and weakened by nigraha or control and, finally, when it is weak, to be got rid of by samyama, rejection or self-dissociation. The difference between nigraha and samyama is that in the first process there is a violent struggle to put down, coerce and, if possible, crush the tendency,

SIX What He Did for Bengal I HAVE kept so far to Bankim's achievement looked at purely as literature. I now come to speak of it in the historic sense, of its relations to the Bengali language and potency over the Bengali race. Of this it is not easy to suggest any image without speaking in superlatives. I had almost said in one place that he created the language, and if one couples his name with Madhusudan Dutt's, the statement is hardly too daring. Before their advent the Bengali language, though very sweet and melodious, was an instrument with but one string to it. Except the old poet Bharatchandra, no supreme genius had taken it in hand; hence while prose ha

SECTION SEVEN FROM THE "KARMAYOGIN" All the articles collected in this section first appeared in the weekly review, the Karmayogin (1909-10), except the last two — Hathayoga and Rajayoga — which came out in The Standard Bearer (1920-21) Karmayoga WE HAVE spoken of Karmayoga as the application of Vedanta and Yoga to life. To many who take their knowledge of Hinduism secondhand this may seem a doubtful definition. It is ordinarily supposed by "practical" minds that Vedanta as a guide to life and Yoga as a method of spiritual communion are dangerous things which lead me

-33_Kalidasa's Characters.htm Kalidasa's Characters I. PURURAVAS PURURAVAS is the poet's second study of kinghood; he differs substantially from Agnimitra. The latter is a prince, a soldier and man of the world yielding by the way to the allurements of beauty, but not preoccupied with passion; the sub-title of the piece might be, in a more innocent sense than Victor Hugo's Le Roi s'amuse. He is the mirror of a courteous and self-possessed gentleman, full of mildness and grace, princely tact, savoir faire, indulgent kindness, yet energetic withal and quietly resolute in his pleasure as well as in his serious affairs. "Ah, Sire," says Dharinie with sharp irony, "if you only showed as much dip

             

The Revival of Indian Art THE MAIN DIFFERENCE THE greatness of Indian art is the greatness of all Indian thought and achievement. It lies in the recognition of the persistent within the transient, of the domination of matter by spirit, the subordination of the insistent appearances of Prakriti to the inner reality which, in a thousand ways, the Mighty Mother veils even while she suggests. The European artist, cabined within the narrow confines of the external, is dominated in imagination by the body of things and the claims of the phenomenon. Western painting starts from the eye or the imagination; its master word is either beauty or reality, and, according as

The Principle of Evil THE problem of evil is one that has taxed human thought and evolved various and conflicting solutions. To the rationalist who does not believe in anything not material, the problem does not exist. Everything is in nature as the result of evolution. Nature is blind and unintelligent and has therefore no conception of good or evil, the conception belongs to the human mind and is the result of the social sense and the ideas of pleasure and pain developed in human beings by a perfectly intelligible natural process. It is to men who believe in Intelligence as governing and developing the world that the problem exists. Why did evil come into existenc

SECTION THREE THE SOURCES OF POETRY AND OTHER ESSAYS The Sources of Poetry THE swiftness of the muse has been embodied in the image of Pegasus, the heavenly horse of Greek legend; it was from the rapid beat of his hoofs on the rock that Hippocrene flowed. The waters of Poetry flow in a current or a torrent; where there is a pause or a denial, it is a sign of obstruction in the stream or of imperfection in the mind which the waters have chosen for their bed and continent. In India we have the same idea; Saraswati is for us the goddess of poetry, and her name means the stream or "she who has flowing motion". But even Saraswati is only an intermediary. Ganga

On Original Thinking THE attitude of mankind towards originality of opinion is marked by a natural hesitation and inconsistency. Admired for its rarity, brilliancy and potency, yet in practice and for the same qualities it is more generally dreaded, ridiculed or feared. There is no doubt that it tends to disturb what is established. Therefore tamasic men and tamasic states of society take especial pains to discourage independence of opinion. Their watchword is authority. Few societies have been so tamasic, so full of inertia and contentment in increasing narrowness as Indian society in later times; few have been so eager to preserve themselves in inertia. Few therefor

IV. APSARAS There is nothing more charming, more attractive in Kalidasa than his instinct for sweet and human beauty; everything he touches becomes the inhabitant of a moonlit world of romance and yet — there is the unique gift, the consummate poetry — remains perfectly natural, perfectly near to us, perfectly human. Shelley's Witch of Atlas and Keats' Cynthia are certainly lovely creations, but they do not live; misty, shimmering, uncertain, seen in some half-dream where the moon is full and strange indefinable shapes begin to come out from the skirts of the forest; they charm our imagination, but our hearts take no interest in them. They are the creations of the mystic Celtic i