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XVI

Indian Literature

THE ARTS which appeal to the soul through the eye are able to arrive at a peculiarly concentrated expression of the spirit, the aesthesis and the creative mind of a people, but it is in its literature that we must seek for its most flexible and many-sided self-expression, for it is the word used in all its power of clear figure or its threads of suggestion that carries to us most subtly and variably the shades and turns and teeming significances of the inner self in its manifestation. The greatness of a literature lies first in the greatness and worth of its substance, the value of its thought and the beauty of its forms, but also in the degree to which, satisfying the highest conditions of the art of speech, it avails to bring out and raise the soul and life or the living and the ideal mind of a people, an age, a culture, through the genius of some of its greatest or most sensitive representative spirits. And if we ask what in both these respects is the achievement of the Indian mind as it has come down to us in the Sanskrit and other literatures, we might surely say that here at least there is little room for any just depreciation and denial even by a mind the most disposed to quarrel with the effect on life and the character of the culture. The ancient and classical creations of the Sanskrit tongue both in quality and in body and abundance of excellence, in their potent originality and force and beauty, in their substance and art and structure, in grandeur and justice and charm of speech and in the height and width of the reach of their spirit stand very evidently in the front rank among the world's great literatures. The language itself, as has been universally recognised by those competent to form a judgment, is one of the most magnificent, the most perfect and wonderfully sufficient literary instruments developed by the human mind, at once majestic and sweet and flexible, strong and clearly-formed and full and vibrant and subtle, and its quality and character would be  

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of itself a sufficient evidence of the character and quality of the race whose mind it expressed and the culture of which it was the reflecting medium. The great and noble use made of it by poet and thinker did not fall below the splendour of its capacities. Nor is it in the Sanskrit tongue alone that the Indian mind has done high and beautiful and perfect things, though it couched in that language the larger part of its most prominent and formative and grandest creations. It would be necessary for a complete estimate to take into account as well the Buddhistic literature in Pali and the poetic literatures, here opulent, there more scanty in production, of about a dozen Sanskritic and Dravidian tongues. The whole has almost a continental effect and does not fall so far short in the quantity of its really lasting things and equals in its things of best excellence the work of ancient and mediaeval and modern Europe. The people and the civilisation that count among their great works and their great names the Veda and the Upanishads, the mighty structures of the Mahabharata and the Ramayana, Kalidasa and Bhavabhuti and Bhartrihari and Jayadeva and the other rich creations of classical Indian drama and poetry and romance, the Dhammapada and the Jatakas, the Panchatantra, Tulsidas, Vidyapati and Chandidas and Ramprasad, Ramdas and Tukaram, Tiruvalluvar and Kamban and the songs of Nanak and Kabir and Mirabai and the southern Shaiva saints and the Alwars, — to name only the best-known writers and most characteristic productions, though there is a very large body of other work in the different tongues of both the first and the second excellence, — must surely be counted among the greatest civilisations and the world's most developed and creative peoples. A mental activity so great and of so fine a quality commencing more than three thousand years ago and still not exhausted is unique and the best and most undeniable witness to something extraordinarily sound and vital in the culture.

A criticism that ignores or belittles the significance of this unsurpassed record and this splendour of the self-expressing spirit and the creative intelligence, stands convicted at once of a blind malignity or an invincible prejudice and does not merit  

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refutation. It would be a sheer waste of time and energy to review the objections raised by our devil's advocate: for nothing vital to the greatness of a literature is really in dispute and there is only to the credit of the attack a general distortion and denunciation and a laborious and exaggerated cavilling at details and idiosyncracies which at most show a difference between the idealising mind and abundant imagination of India and the more realistically observant mind and less rich and exuberant imagination of Europe. The fit parallel to this motive and style of criticism would be if an Indian critic who had read European literature only in bad or ineffective Indian translations, were to pass it under a hostile and disparaging review, dismiss the Iliad as a crude and empty semi-savage and primitive epos, Dante's great work as the nightmare of a cruel and superstitious religious fantasy, Shakespeare as a drunken barbarian of considerable genius with an epileptic imagination, the whole drama of Greece and Spain and England as a mass of bad ethics and violent horrors, French poetry as a succession of bald or tawdry rhetorical exercises and French fiction as a tainted and immoral thing, a long sacrifice on the altar of the goddess Lubricity, admit here and there a minor merit, but make no attempt at all to understand the central spirit or aesthetic quality or principle of structure and conclude on the strength of his own absurd method that the ideals of both Pagan and Christian Europe were altogether false and bad and its imagination afflicted with a "habitual and ancestral" earthiness, morbidity, poverty and disorder. No criticism would be worth making on such a mass of absurdities, and in this equally ridiculous philippic only a stray observation or two less inconsequent and opaque than the others perhaps demands a passing notice. But although these futilities do not at all represent the genuine view of the general European mind on the subject of Indian poetry and literature, still one finds a frequent inability to appreciate the spirit or the form or the aesthetic value of Indian writing and especially its perfection and power as an expression of the cultural mind of the people. One meets such criticisms even from sympathetic critics as an admission of the vigour, colour and splendour of Indian poetry followed by a

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intuitive vision and a deep, clear and greatly outlined intellectual and ethical thinking and heroic action and creation which founded and traced the plan and made the permanent structure of her unique culture and civilisation, is represented by four of the supreme productions of her genius, the Veda, the Upanishads and the two vast epics, and each of them is of a kind, a form and an intention not easily paralleled in any other literature. The two first are the visible foundation of her spiritual and religious being, the others a large creative interpretation of her greatest period of life, of the ideas that informed and the ideals that governed it and the figures in which she saw man and Nature and God and the powers of the universe. The Veda gave us the first types and figures of these things as seen and formed by an imaged spiritual intuition and psychological and religious experience; the Upanishads constantly breaking through and beyond form and symbol and image without entirely abandoning them, since always they come in as accompaniment or undertone, reveal in a unique kind of poetry the ultimate and unsurpassable truths of self and God and man and the world and its principles and powers in their most essential, their profoundest and most intimate and their most ample realities, — highest mysteries and clarities vividly seen in an irresistible, an unwalled perception that has got through the intuitive and psychological to the sheer spiritual vision. And after that we have powerful and beautiful developments of the intellect and the life and of ideal, ethical, aesthetic, psychic, emotional and sensuous and physical knowledge and idea and vision and experience of which the epics are the early record and the rest of the literature the continuation; but the foundation remains the same throughout, and whatever new and often larger types and significant figures replace the old or intervene to add and modify and alter the whole ensemble, are in their essential build and character transmutations and extensions of the original vision and first spiritual experience and never an unconnected departure. There is a persistence, a continuity of the Indian mind in its literary creation in spite of great changes as consistent as that which we find in painting and sculpture.  

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The Veda is the creation of an early intuitive and symbolical mentality to which the later mind of man, strongly intellectualised and governed on the one side by reasoning idea and abstract conception, on the other hand by the facts of life and matter accepted as they present themselves to the senses and positive intelligence without seeking in them for any divine or mystic significance, indulging the imagination as a play of the aesthetic fancy rather than as an opener of the doors of truth and only trusting to its suggestions when they are confirmed by the logical reason or by physical experience, aware only of carefully intellectualised intuitions and recalcitrant for the most part to any others, has grown a total stranger. It is not surprising therefore that the Veda should have become unintelligible to our minds except in its most outward shell of language, and that even very imperfectly known owing to the obstacle of an antique and ill-understood diction, and that the most inadequate interpretations should be made which reduce this great creation of the young and splendid mind of humanity to a botched and defaced scrawl, an incoherent hotch-potch of the absurdities of a primitive imagination perplexing what would be otherwise the quite plain, flat and common record of a naturalistic religion which mirrored only and could only minister to the crude and materialistic desires of a barbaric life mind. The Veda became to the later scholastic and ritualistic idea of Indian priests and pundits nothing better than a book of mythology and sacrificial ceremonies; European scholars seeking in it for what was alone to them of any rational interest, the history, myths and popular religious notions of a primitive people, have done yet worse wrong to the Veda and by insisting on a wholly external rendering still farther stripped it of its spiritual interest and its poetic greatness and beauty.

But this was not what it was to the Vedic Rishis themselves or to the great seers and thinkers who came after them and developed out of their pregnant and luminous intuitions their own wonderful structures of thought and speech built upon an unexampled spiritual revelation and experience. The Veda was  

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to these early seers the Word discovering the Truth and clothing in image and symbol the mystic significances of life. It was a divine discovery and unveiling of the potencies of the word, of its mysterious revealing and creative capacity, not the word of the logical and reasoning or the aesthetic intelligence, but the intuitive and inspired rhythmic utterance, the mantra. Image and myth were freely used, not as an imaginative indulgence, but as living parables and symbols of things that were very real to their speakers and could not otherwise find their own intimate and native shape in utterance, and the imagination itself was a priest of greater realities than those that meet and hold the eye and mind limited by the external suggestions of life and the physical existence. This was their idea of the sacred poet, a mind visited by some highest light and its forms of idea and ´ word, a seer and hearer of the Truth, kavayah satyasrutah. The poets of the Vedic verse certainly did not regard their function as it is represented by modern scholars, they did not look on themselves as a sort of superior medicine-men and makers of hymn and incantation to a robust and barbarous tribe, but as   seers and thinkers, rsi, dhīra. These singers believed that they were in possession of a high, mystic and hidden truth, claimed to be the bearers of a speech acceptable to a divine knowledge, and expressly so speak of their utterances, as secret words which   declare their whole significance only to the seer, kavaye nivacanā ninyā vacāmsi. And to those who came after them the Veda was a book of knowledge, and even of the supreme knowledge, a revelation, a great utterance of eternal and impersonal truth as it had been seen and heard in the inner experience of inspired and semi-divine thinkers. The smallest circumstances of the sacrifice around which the hymns were written were intended to carry a symbolic and psychological power of significance, as was well known to the writers of the ancient Brahmanas. The sacred verses, each by itself held to be full of a divine meaning, were taken by the thinkers of the Upanishads as the profound and pregnant seed-words of the truth they sought and the highest authority they could give for their own sublime utterances was a supporting citation from their predecessors with the formula,  

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tad esā rcābhyuktā, "This is that word which was spoken by the Rig Veda." Western scholars choose to imagine that the successors of the Vedic Rishis were in error, that, except for some later hymns, they put a false and non-existent meaning into the old verses and that they themselves, divided from the Rishis not only by ages of time but by many gulfs and separating seas of an intellectualised mentality, know infinitely better. But mere common sense ought to tell us that those who were so much nearer in both ways to the original poets had a better chance of holding at least the essential truth of the matter and suggests at least the strong probability that the Veda was really what it professes to be, the seeking for a mystic knowledge, the first form of the constant attempt of the Indian mind, to which it has always been faithful, to look beyond the appearances of the physical world and through its own inner experiences to the godheads, powers, self-existence of the One of whom the sages speak variously — the famous phrase in which the Veda utters its own central secret, ekam sad viprā bahudhā vadanti.

The real character of the Veda can best be understood by taking it anywhere and rendering it straightforwardly according to its own phrases and images. A famous German scholar rating from his high pedestal of superior intelligence the silly persons who find sublimity in the Veda, tells us that it is full of childish, silly, even monstrous conceptions, that it is tedious, low, commonplace, that it represents human nature on a low level of selfishness and worldliness and that only here and there are a few rare sentiments that come from the depths of the soul. It may be made so if we put our own mental conceptions into the words of the Rishis, but if we read them as they are without any such false translation into what we think early barbarians ought to have said and thought, we shall find instead a sacred poetry sublime and powerful in its words and images, though with another kind of language and imagination than we now prefer and appreciate, deep and subtle in its psychological experience and stirred by a moved soul of vision and utterance. Hear rather the word itself of the Veda.  

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States upon states are born, covering over covering¹ awakens to knowledge: in the lap of the mother he wholly sees. They have called to him, getting a wide knowledge, they guard sleeplessly the strength, they have entered into the strong city. The peoples born on earth increase the luminous (force) of the son of the White Mother; he has gold on his neck, he is large of speech, he is as if by (the power of) this honey wine a seeker of plenty. He is like pleasant and desirable milk, he is a thing uncompanioned and is with the two who are companions and is as a heat that is the belly of plenty and is invincible and an overcomer of many. Play, O Ray, and manifest thyself.²

Or again in the succeeding hymn, —

Those (flames) of thee, the forceful (godhead), that move not and are increased and puissant, uncling the hostility and crookedness of one who has another law. O Fire, we choose thee for our priest and the means of effectuation of our strength and in the sacrifices bringing the food of thy pleasure we call thee by the word. . . . O god of perfect works, may we be for the felicity, for the truth, revelling with the rays, revelling with the heroes.

And finally let us take the bulk of the third hymn that follows couched in the ordinary symbols of the sacrifice, —

As the Manu we set thee in thy place, as the Manu we kindle thee: O Fire, O Angiras, as the Manu sacrifice to the gods for him who desires the godheads. O Fire, well pleased thou art kindled in the human being and the ladles go to thee continually. . . . Thee all the gods with one pleasure (in thee) made their messenger and serving thee, O seer, (men) in the sacrifices adore the god. Let the mortal adore the divine Fire with sacrifice

1 Or, "the coverer of the coverer".

2 Literally, "become towards us".  

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to the godheads. Kindled, flame forth, O Bright One. Sit in the seat of Truth, sit in the seat of peace.³

That, whatever interpretation we choose to put on its images, is a mystic and symbolic poetry and that is the real Veda.

The character of Vedic poetry apparent from these typical verses need not surprise or baffle us when we see what will be evident from a comparative study of Asiatic literature, that though distinguished by its theory and treatment of the Word, its peculiar system of images and the complexity of its thought and symbolised experience, it is in fact the beginning of a form of symbolic or figurative imagery for the poetic expression of spiritual experience which reappears constantly in later Indian writing, the figures of the Tantras and Puranas, the figures of the Vaishnava poets, — one might add even a certain element in the modern poetry of Tagore, — and has its kindred movements in certain Chinese poets and in the images of the Sufis. The poet has to express a spiritual and psychical knowledge and experience and he cannot do it altogether or mainly in the more abstract language of the philosophical thinker, for he has to bring out, not the naked idea of it, but as vividly as possible its very life and most intimate touches. He has to reveal in one way or another a whole world within him and the quite inner and spiritual significances of the world around him and also, it may well be, godheads, powers, visions and experiences of planes of consciousness other than the one with which our normal minds are familiar. He uses or starts with the images taken from his own normal and outward life and that of humanity and from visible Nature, and though they do not of themselves actually express, yet obliges them to express by implication or to figure the spiritual and psychic idea and experience. He takes them selecting freely his notation of images according to his insight or imagination and transmutes them into instruments of another significance and at the same time pours a direct spiritual

3 I have translated these passages with as close a literalness as the English language will admit. Let the reader compare the original and judge whether this is not the sense of the verses.  

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meaning into the Nature and life to which they belong, applies outward figures to inner things and brings out their latent and inner spiritual or psychic significance into life's outward figures and circumstances. Or an outward figure nearest to the inward experience, its material counterpart, is taken throughout and used with such realism and consistency that while it indicates to those who possess it the spiritual experience, it means only the external thing to others, — just as the Vaishnava poetry of Bengal makes to the devout mind a physical and emotional image or suggestion of the love of the human soul for God, but to the profane is nothing but a sensuous and passionate love poetry hung conventionally round the traditional human-divine personalities of Krishna and Radha. The two methods may meet together, the fixed system of outward images be used as the body of the poetry, while freedom is often taken to pass their first limits, to treat them only as initial suggestions and transmute subtly or even cast them aside or subdue into a secondary strain or carry them out of themselves so that the translucent veil they offer to our minds lifts from or passes into the open revelation. The last is the method of the Veda and it varies according to the passion and stress of the sight in the poet or the exaltation of his utterance.

The poets of the Veda had another mentality than ours, their use of their images is of a peculiar kind and an antique cast of vision gives a strange outline to their substance. The physical and the psychical worlds were to their eyes a manifestation and a twofold and diverse and yet connected and similar figure of cosmic godheads, the inner and outer life of man a divine commerce with the gods, and behind was the one spirit or being of which the gods were names and personalities and powers. These godheads were at once masters of physical Nature and its principles and forms their godheads and their bodies and inward divine powers with their corresponding states and energies born in our psychic being because they are the soul powers of the cosmos, the guardians of truth and immortality, the children of the Infinite, and each of them too is in his origin and his last reality the supreme Spirit putting in front one of his aspects. The life of  

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man was to these seers a thing of mixed truth and falsehood, a movement from mortality to immortality, from mixed light and darkness to the splendour of a divine Truth whose home is above in the Infinite but which can be built up here in man's soul and life, a battle between the children of light and the sons of Night, a getting of treasure, of the wealth, the booty given by the gods to the human warrior, and a journey and a sacrifice; and of these things they spoke in a fixed system of images taken from Nature and from the surrounding life of the war-like, pastoral and agricultural Aryan peoples and centred round the cult of Fire and the worship of the powers of living Nature and the institution of sacrifice. The details of outward existence and of the sacrifice were in their life and practice symbols, and in their poetry not dead symbols or artificial metaphors, but living and powerful suggestions and counterparts of inner things. And they used too for their expression a fixed and yet variable body of other images and a glowing web of myth and parable, images that became parables, parables that became myths and myths that remained always images, and yet all these things were to them, in a way that can only be understood by those who have entered into a certain order of psychic experience, actual realities. The physical melted its shades into the lustres of the psychic, the psychic deepened into the light of the spiritual and there was no sharp dividing line in the transition, but a natural blending and intershading of their suggestions and colours. It is evident that a poetry of this kind, written by men with this kind of vision or imagination, cannot either be interpreted or judged by the standards of a reason and taste observant only of the canons of the physical existence. The invocation "Play, O Ray, and become towards us" is at once a suggestion of the leaping up and radiant play of the potent sacrificial flame on the physical altar and of a similar psychical phenomenon, the manifestation of the saving flame of a divine power and light within us. The Western critic sneers at the bold and reckless and to him monstrous image in which Indra son of earth and heaven is said to create his own father and mother; but if we remember that Indra is the supreme spirit in one of its eternal and constant aspects, creator of earth  

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and heaven, born as a cosmic godhead between the mental and physical worlds and recreating their powers in man, we shall see that the image is not only a powerful but in fact a true and revealing figure, and in the Vedic technique it does not matter that it outrages the physical imagination since it expresses a greater actuality as no other figure could have done with the same awakening aptness and vivid poetical force. The Bull and Cow of the Veda, the shining herds of the Sun lying hidden in the cave are strange enough creatures to the physical mind, but they do not belong to the earth and in their own plane they are at once images and actual things and full of life and significance. It is in this way that throughout we must interpret and receive the Vedic poetry according to its own spirit and vision and the psychically natural, even if to us strange and supranatural, truth of its ideas and figures.

The Veda thus understood stands out, apart from its interest as the world's first yet extant Scripture, its earliest interpretation of man and the Divine and the universe, as a remarkable, a sublime and powerful poetic creation. It is in its form and speech no barbaric production. The Vedic poets are masters of a consummate technique, their rhythms are carved like chariots of the gods and borne on divine and ample wings of sound, and are at once concentrated and wide-waved, great in movement and subtle in modulation, their speech lyric by intensity and epic by elevation, an utterance of great power, pure and bold and grand in outline, a speech direct and brief in impact, full to overflowing in sense and suggestion so that each verse exists at once as a strong and sufficient thing in itself and takes its place as a large step between what came before and what comes after. A sacred and hieratic tradition faithfully followed gave them both their form and substance, but this substance consisted of the deepest psychic and spiritual experiences of which the human soul is capable and the forms seldom or never degenerate into a convention, because what they are intended to convey was lived in himself by each poet and made new to his own mind in expression by the subtleties or sublimities of his individual vision. The utterances of the greatest seers, Vishwamitra, Vamadeva,  

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Dirghatamas and many others, touch the most extraordinary heights and amplitudes of a sublime and mystic poetry and there are poems like the Hymn of Creation that move in a powerful clarity on the summits of thought on which the Upanishads lived constantly with a more sustained breathing. The mind of ancient India did not err when it traced back all its philosophy, religion and essential things of its culture to these seer-poets, for all the future spirituality of her people is contained there in seed or in first expression.

It is one great importance of a right understanding of the Vedic hymns as a form of sacred literature that it helps us to see the original shaping not only of the master ideas that governed the mind of India, but of its characteristic types of spiritual experience, its turn of imagination, its creative temperament and the kind of significant forms in which it persistently interpreted its sight of self and things and life and the universe. It is in a great part of the literature the same turn of inspiration and self-expression that we see in the architecture, painting and sculpture. Its first character is a constant sense of the infinite, the cosmic, and of things as seen in or affected by the cosmic vision, set in or against the amplitude of the one and infinite; its second peculiarity is a tendency to see and render its spiritual experience in a great richness of images taken from the inner psychic plane or in physical images transmuted by the stress of a psychic significance and impression and line and idea colour; and its third tendency is to image the terrestrial life often magnified, as in the Mahabharata and Ramayana, or else subtilised in the transparencies of a larger atmosphere, attended by a greater than the terrestrial meaning or at any rate presented against the background of the spiritual and psychic worlds and not alone in its own separate figure. The spiritual, the infinite is near and real and the gods are real and the worlds beyond not so much beyond as immanent in our own existence. That which to the Western mind is myth and imagination is here an actuality and a strand of the life of our inner being, what is there beautiful poetic idea and philosophic speculation is here a thing constantly realised and present to the experience. It is this turn of the Indian  

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mind, its spiritual sincerity and psychic positivism, that makes the Veda and Upanishads and the later religious and religio-philosophic poetry so powerful in inspiration and intimate and living in expression and image, and it has its less absorbing but still very sensible effect on the working of the poetic idea and imagination even in the more secular literature.  

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XVII

THE UPANISHADS are the supreme work of the Indian mind, and that it should be so, that the highest self-expression of its genius, its sublimest poetry, its greatest creation of the thought and word should be not a literary or poetical masterpiece of the ordinary kind, but a large flood of spiritual revelation of this direct and profound character, is a significant fact, evidence of a unique mentality and unusual turn of spirit. The Upanishads are at once profound religious scriptures, — for they are a record of the deepest spiritual experiences, — documents of revelatory and intuitive philosophy of an inexhaustible light, power and largeness and, whether written in verse or cadenced prose, spiritual poems of an absolute, an unfailing inspiration inevitable in phrase, wonderful in rhythm and expression. It is the expression of a mind in which philosophy and religion and poetry are made one, because this religion does not end with a cult nor is limited to a religio-ethical aspiration, but rises to an infinite discovery of God, of Self, of our highest and whole reality of spirit and being and speaks out of an ecstasy of luminous knowledge and an ecstasy of moved and fulfilled experience, this philosophy is not an abstract intellectual speculation about Truth or a structure of the logical intelligence, but Truth seen, felt, lived, held by the inmost mind and soul in the joy of utterance of an assured discovery and possession, and this poetry is the work of the aesthetic mind lifted up beyond its ordinary field to express the wonder and beauty of the rarest spiritual self-vision and the profoundest illumined truth of self and God and universe. Here the intuitive mind and intimate psychological experience of the Vedic seers passes into a supreme culmination in which the Spirit, as is said in a phrase of the Katha Upanishad, discloses its own very body, reveals the very word of its self-expression and discovers to  

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the mind the vibration of rhythms which repeating themselves within in the spiritual hearing seem to build up the soul and set it satisfied and complete on the heights of self-knowledge.

This character of the Upanishads needs to be insisted upon with a strong emphasis, because it is ignored by foreign translators who seek to bring out the intellectual sense without feeling the life of thought vision and the ecstasy of spiritual experience which made the ancient verses appear then and still make them to those who can enter into the element in which these utterances move, a revelation not to the intellect alone, but to the soul and the whole being, make of them in the old expressive word not intellectual thought and phrase, but Sruti, spiritual audience, an inspired Scripture. The philosophical substance of the Upanishads demands at this day no farther stress of appreciation of its value; for even if the amplest acknowledgement by the greatest minds were wanting, the whole history of philosophy would be there to offer its evidence. The Upanishads have been the acknowledged source of numerous profound philosophies and religions that flowed from it in India like her great rivers from their Himalayan cradle fertilising the mind and life of the people and kept its soul alive through the long procession of the centuries, constantly returned to for light, never failing to give fresh illumination, a fountain of inexhaustible life-giving waters. Buddhism with all its developments was only a restatement, although from a new standpoint and with fresh terms of intellectual definition and reasoning, of one side of its experience and it carried it thus changed in form but hardly in substance over all Asia and westward towards Europe. The ideas of the Upanishads can be rediscovered in much of the thought of Pythagoras and Plato and form the profoundest part of Neo-platonism and Gnosticism with all their considerable consequences to the philosophical thinking of the West, and Sufism only repeats them in another religious language. The larger part of German metaphysics is little more in substance than an intellectual development of great realities more spiritually seen in this ancient teaching, and modern thought is rapidly absorbing them with a closer, more living and intense receptiveness which  

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promises a revolution both in philosophical and in religious thinking; here they are filtering in through many indirect influences, there slowly pouring through direct and open channels. There is hardly a main philosophical idea which cannot find an authority or a seed or indication in these antique writings — the speculations, according to a certain view, of thinkers who had no better past or background to their thought than a crude, barbaric, naturalistic and animistic ignorance. And even the larger generalisations of Science are constantly found to apply to the truth of physical Nature formulas already discovered by the Indian sages in their original, their largest meaning in the deeper truth of the spirit.

And yet these works are not philosophical speculations of the intellectual kind, a metaphysical analysis which labours to define notions, to select ideas and discriminate those that are true, to logicise truth or else to support the mind in its intellectual preferences by dialectical reasoning and is content to put forward an exclusive solution of existence in the light of this or that idea of the reason and see all things from that viewpoint, in that focus and determining perspective. The Upanishads could not have had so undying a vitality, exercised so unfailing an influence, produced such results or seen now their affirmations independently justified in other spheres of inquiry and by quite opposite methods, if they had been of that character. It is because these seers saw Truth rather than merely thought it, clothed it indeed with a strong body of intuitive idea and disclosing image, but a body of ideal transparency through which we look into the illimitable, because they fathomed things in the light of self-existence and saw them with the eye of the Infinite, that their words remain always alive and immortal, of an inexhaustible significance, an inevitable authenticity, a satisfying finality that is at the same time an infinite commencement of truth, to which all our lines of investigation when they go through to their end arrive again and to which humanity constantly returns in its minds and its ages of greatest vision. The Upanishads are Vedanta, a book of knowledge in a higher degree even than the Vedas, but knowledge in the profounder Indian sense of  

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the word, Jnana. Not a mere thinking and considering by the intelligence, the pursuit and grasping of a mental form of truth by the intellectual mind, but a seeing of it with the soul and a total living in it with the power of the inner being, a spiritual seizing by a kind of identification with the object of knowledge is Jnana. And because it is only by an integral knowing of the self that this kind of direct knowledge can be made complete, it was the self that the Vedantic sages sought to know, to live in and to be one with it by identity. And through this endeavour they came easily to see that the self in us is one with the universal self of all things and that this self again is the same as God and Brahman, a transcendent Being or Existence, and they beheld, felt, lived in the inmost truth of all things in the universe and the inmost truth of man's inner and outer existence by the light of this one and unifying vision. The Upanishads are epic hymns of self-knowledge and world-knowledge and God-knowledge. The great formulations of philosophic truth with which they abound are not abstract intellectual generalisations, things that may shine and enlighten the mind, but do not live and move the soul to ascension, but are ardours as well as lights of an intuitive and revelatory illumination, reachings as well as seeings of the one Existence, the transcendent Godhead, the divine and universal Self and discoveries of his relation with things and creatures in this great cosmic manifestation. Chants of inspired knowledge, they breathe like all hymns a tone of religious aspiration and ecstasy, not of the narrowly intense kind proper to a lesser religious feeling, but raised beyond cult and special forms of devotion to the universal Ananda of the Divine which comes to us by approach to and oneness with the self-existent and universal spirit. And though mainly concerned with an inner vision and not directly with outward human action, all the highest ethics of Buddhism and later Hinduism are still emergences of the very life and significance of the truths to which they give expressive form and force, — and there is something greater than any ethical precept and mental rule of virtue, the supreme ideal of a spiritual action founded on oneness with God and all living beings. Therefore even when the life of the forms of the  

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Vedic cult had passed away, the Upanishads still remained alive and creative and could generate the great devotional religions and motive the persistent Indian idea of the Dharma.

The Upanishads are the creation of a revelatory and intuitive mind and its illumined experience, and all their substance, structure, phrase, imagery, movement are determined by and stamped with this original character. These supreme and all-embracing truths, these visions of oneness and self and a universal divine being are cast into brief and monumental phrases which bring them at once before the soul's eye and make them real and imperative to its aspiration and experience or are couched in poetic sentences full of revealing power and suggestive thought-colour that discover a whole infinite through a finite image. The One is there revealed, but also disclosed the many aspects, and each is given its whole significance by the amplitude of the expression and finds as if in a spontaneous self-discovery its place and its connection by the illumining justness of each word and all the phrase. The largest metaphysical truths and the subtlest subtleties of psychological experience are taken up into the inspired movement and made at once precise to the seeing mind and loaded with unending suggestion to the discovering spirit. There are separate phrases, single couplets, brief passages which contain each in itself the substance of a vast philosophy and yet each is only thrown out as a side, an aspect, a portion of the infinite self-knowledge. All here is a packed and pregnant and yet perfectly lucid and luminous brevity and an immeasurable completeness. A thought of this kind cannot follow the tardy, careful and diffuse development of the logical intelligence. The passage, the sentence, the couplet, the line, even the half line follows the one that precedes with a certain interval full of an unexpressed thought, an echoing silence between them, a thought which is carried in the total suggestion and implied in the step itself, but which the mind is left to work out for its own profit, and these intervals of pregnant silence are large, the steps of this thought are like the paces of a Titan striding from rock to distant rock across infinite waters. There is a perfect totality, a comprehensive connection of harmonious parts in the structure  

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of each Upanishad; but it is done in the way of a mind that sees masses of truth at a time and stops to bring only the needed word out of a filled silence. The rhythm in verse or cadenced prose corresponds to the sculpture of the thought and the phrase. The metrical forms of the Upanishads are made up of four half lines each clearly cut, the lines mostly complete in themselves and integral in sense, the half lines presenting two thoughts or distinct parts of a thought that are wedded to and complete each other, and the sound movement follows a corresponding principle, each step brief and marked off by the distinctness of its pause, full of echoing cadences that remain long vibrating in the inner hearing: each is as if a wave of the infinite that carries in it the whole voice and rumour of the ocean. It is a kind of poetry — word of vision, rhythm of the spirit, — that has not been written before or after.

The imagery of the Upanishads is in large part developed from the type of imagery of the Veda and though very ordinarily it prefers an unveiled clarity of directly illuminative image, not unoften also it uses the same symbols in a way that is closely akin to the spirit and to the less technical part of the method of the older symbolism. It is to a great extent this element no longer seizable by our way of thinking that has baffled certain Western scholars and made them cry out that these scriptures are a mixture of the sublimest philosophical speculations with the first awkward stammerings of the child mind of humanity. The Upanishads are not a revolutionary departure from the Vedic mind and its temperament and fundamental ideas, but a continuation and development and to a certain extent an enlarging transformation in the sense of bringing out into open expression all that was held covered in the symbolic Vedic speech as a mystery and a secret. It begins by taking up the imagery and the ritual symbols of the Veda and the Brahmanas and turning them in such a way as to bring out an inner and a mystic sense which will serve as a sort of psychical starting-point for its own more highly evolved and more purely spiritual philosophy. There are a number of passages especially in the prose Upanishads which are entirely of this kind and deal, in a manner recondite, obscure  

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and even unintelligible to the modern understanding, with the psychic sense of ideas then current in the Vedic religious mind, the distinction between the three kinds of Veda, the three worlds and other similar subjects; but, leading as they do in the thought of the Upanishads to deepest spiritual truths, these passages cannot be dismissed as childish aberrations of the intelligence void of sense or of any discoverable bearing on the higher thought in which they culminate. On the contrary we find that they have a deep enough significance once we can get inside their symbolic meaning. That appears in a psycho-physical passing upward into a psycho-spiritual knowledge for which we would now use more intellectual, less concrete and imaged terms, but which is still valid for those who practise Yoga and rediscover the secrets of our psycho-physical and psycho-spiritual being. Typical passages of this kind of peculiar expression of psychic truths are Ajatashatru's explanation of sleep and dream or the passages of the Prasna Upanishad on the vital principle and its motions, or those in which the Vedic idea of the struggle between the Gods and the demons is taken up and given its spiritual significance and the Vedic godheads more openly than in Rik and Saman characterised and invoked in their inner function and spiritual power.

I may cite as an example of this development of Vedic idea and image a passage of the Taittiriya in which Indra plainly appears as the power and godhead of the divine mind:

He who is the Bull of the Vedas of the universal form, he who was born in the sacred rhythms from the Immortal, — may Indra satisfy me through the intelligence. O God, may I become a vessel of the Immortal. May my body be full of vision and my tongue of sweetness, may I hear the much and vast with my ears. For thou art the sheath of Brahman covered over and hidden by the intelligence.

And a kindred passage may also be cited from the Isha in which Surya the Sun-God is invoked as the godhead of knowledge whose supreme form of effulgence is the oneness of the Spirit and his rays dispersed here on the mental level are the shining  

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diffusion of the thought mind and conceal his own infinite supramental truth, the body and self of this Sun, the truth of the spirit and the Eternal:

The face of the Truth is covered with a golden lid: O fostering Sun, that uncover for the law of the truth, for sight. O fosterer, O sole Rishi, O controlling Yama, O Surya, O son of the Father of creatures, marshal and mass thy rays: the Lustre that is thy most blessed form of all, that I see, He who is this, this Purusha, He am I.

The kinship in difference of these passages with the imagery and style of the Veda is evident and the last indeed paraphrases or translates into a later and more open style a Vedic verse of the Atris:

Hidden by your truth is the Truth that is constant for ever where they unyoke the horses of the Sun. There the ten thousands stand together, That is the One: I have seen the supreme Godhead of the embodied gods.

This Vedic and Vedantic imagery is foreign to our present mentality which does not believe in the living truth of the symbol, because the revealing imagination intimidated by the intellect has no longer the courage to accept, identify itself with and boldly embody a psychic and spiritual vision; but it is certainly very far from being a childish or a primitive and barbarous mysticism; this vivid, living, luminously poetic intuitive language is rather the natural expression of a highly evolved spiritual culture.

The intuitive thought of the Upanishads starts from this concrete imagery and these symbols, first to the Vedic Rishis secret seer words wholly expressive to the mind of the seer but veils of their deepest sense to the ordinary intelligence, link them to a less covertly expressive language and pass beyond them to another magnificently open and sublime imagery and diction which at once reveals the spiritual truth in all its splendour. The prose Upanishads show us this process of the early mind of India at its work using the symbol and then passing beyond it to the  

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overt expression of the spiritual significance. A passage of the Prasna Upanishad on the power and significance of the mystic syllable AUM illustrates the earlier stage of the process:

This syllable OM, O Satyakama, it is the supreme and it is the lower Brahman. Therefore the man of knowledge passeth by this house of the Brahman to the one or the other. And if one meditate on the single letter, he getteth by it knowledge and soon he attaineth on the earth. And him the Riks lead to the world of men and there perfected in Tapas and Brahmacharya and faith he experienceth the greatness of the spirit. Now if by the double letter he is accomplished in the mind, then is he led up by the Yajus to the middle world, to the moon-world of Soma. He in the world of Soma experienceth the majesty of the spirit and returneth again. And he who by the triple letter again, even this syllable OM, shall meditate on the highest Purusha, is perfected in the light that is the Sun. As a snake putteth off its skin, even so is he released from sin and evil and is led by the Samans to the world of Brahman. He from this dense of living souls seeth the higher than the highest Purusha who lieth in this mansion. The three letters are afflicted by death, but now they are used undivided and united to each other, then are the inner and the outer and the middle action of the spirit made whole in their perfect using and the spirit knows and is not shaken. This world by the Riks, the middle world by the Yajus and by the Samans that which the seers make known to us. The man of knowledge passeth to Him by OM, his house, even to the supreme spirit that is calm and ageless and fearless and immortal.

The symbols here are still obscure to our intelligence, but indications are given which show beyond doubt that they are representations of a psychical experience leading to different states of spiritual realisation and we can see that these are three, outward, mental and supramental, and as the result of the last a  

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supreme perfection, a complete and integral action of the whole being in the tranquil eternity of the immortal Spirit. And later in the Mandukya Upanishad the other symbols are cast aside and we are admitted to the unveiled significance. Then there emerges a knowledge to which modern thought is returning through its own very different intellectual, rational and scientific method, the knowledge that behind the operations of our outward physical consciousness are working the operations of another, subliminal, — another and yet the same, — of which our waking mind is a surface action, and above — perhaps, we still say — is a spiritual superconscience in which can be found, it may well be, the highest state and the whole secret of our being. We shall see, when we look closely at the passage of the Prasna Upanishad, that this knowledge is already there, and I think we can very rationally conclude that these and similar utterances of the ancient sages, however perplexing their form to the rational mind, cannot be dismissed as a childish mysticism, but are the imaged expression, natural to the mentality of the time, of what the reason itself by its own processes is now showing us to be true and a very profound truth and real reality of knowledge.

The metrical Upanishads continue this highly charged symbolism but carry it more lightly and in the bulk of their verses pass beyond this kind of image to the overt expression. The Self, the Spirit, the Godhead in man and creatures and Nature and all this world and in other worlds and beyond all cosmos, the Immortal, the One, the Infinite is hymned without veils in the splendour of his eternal transcendence and his manifold self-revelation. A few passages from the teachings of Yama, lord of the Law and of Death, to Nachiketas, will be enough to illustrate something of their character.

OM is this syllable. This syllable is the Brahman, this syllable is the Supreme. He who knoweth the imperishable OM, whatso he willeth, it is his. This support is the best, this support is the highest; and when a man knoweth it, he is greatened in the world of Brahman. The omniscient is not born, nor dies, nor has he come into being from  

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anywhere, nor is he anyone. He is unborn, he is constant and eternal, he is the Ancient of Days who is not slain in the slaying of the body. . . .

He is seated and journeys far, and lying still he goes to every side. Who other than I should know this ecstatic Godhead? The wise man cometh to know the great Lord and Self established and bodiless in these bodies that pass and has grief no longer. This Self is not to be won by teaching nor by brain-power nor by much learning: he whom the Spirit chooses, by him alone it can be won, and to him this Spirit discloses its own very body. One who has not ceased from ill-doing, one who is not concentrated and calm, one whose mind is not tranquil, shall not get him by the brain's wisdom. He of whom warriors and sages are the food and death is the spice of his banquet, who knoweth where is He? . . .

The Self-born has cloven his doors outward, therefore man sees outward and not in the inner self: only a wise man here and there turns his eyes inward, desiring immortality, and looks on the Self face to face. The child minds follow after surface desires and fall into the net of death which is spread wide for us; but the wise know of immortality and ask not from things inconstant that which is constant. One knoweth by this Self form and taste and odour and touch and its pleasures and what then is here left over? The wise man cometh to know the great Lord and Self by whom one seeth all that is in the soul that wakes and all that is in the soul that dreams and hath grief no longer. He who knoweth the Self, the eater of sweetness close to the living being, the lord of what was and what will be, shrinks thereafter from nothing that is. He knoweth him who is that which was born of old from Tapas and who was born of old from the waters and hath entered in and standeth in the secret cavern of being with all these creatures. He knoweth her who is born by the life force, the infinite Mother with all the gods in her, her who hath entered in and standeth in the  

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secret cavern of being with all these creatures. This is the Fire that hath the knowledge and it is hidden in the two tinders as the embryo is borne in pregnant women; this is the Fire that must be adored by men watching sleeplessly and bringing to him the offering. He is that from which the Sun rises and that in which it sets: and in him all the gods are founded and none can pass beyond him. What is here, even that is in other worlds, and what is there, even according to that is all that is here. He goes from death to death who sees here only difference. A Purusha no bigger than a thumb stands in man's central self and is the lord of what was and what shall be, and knowing him thenceforth one shrinks from nothing that is. A Purusha no bigger than a man's thumb and he is like a light without smoke; he is the Lord of what was and what shall be; it is he that is today and it is he that shall be tomorrow.

The Upanishads abound with passages which are at once poetry and spiritual philosophy, of an absolute clarity and beauty, but no translation empty of the suggestions and the grave and subtle and luminous sense echoes of the original words and rhythms can give any idea of their power and perfection. There are others in which the subtlest psychological and philosophical truths are expressed with an entire sufficiency without falling short of a perfect beauty of poetical expression and always so as to live to the mind and soul and not merely be presented to the understanding intelligence. There is in some of the prose Upanishads another element of vivid narrative and tradition which restores for us though only in brief glimpses the picture of that extraordinary stir and movement of spiritual enquiry and passion for the highest knowledge which made the Upanishads possible. The scenes of the old world live before us in a few pages, the sages sitting in their groves ready to test and teach the comer, princes and learned Brahmins and great landed nobles going about in search of knowledge, the king's son in his chariot and the illegitimate son of the servant-girl,  

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seeking any man who might carry in himself the thought of light and the word of revelation, the typical figures and personalities, Janaka and the subtle mind of Ajatashatru, Raikwa of the cart, Yajnavalkya militant for truth, calm and ironic, taking to himself with both hands without attachment worldly possessions and spiritual riches and casting at last all his wealth behind to wander forth as a houseless ascetic, Krishna son of Devaki who heard a single word of the Rishi Ghora and knew at once the Eternal, the ashramas, the courts of kings who were also spiritual discoverers and thinkers, the great sacrificial assemblies where the sages met and compared their knowledge. And we see how the soul of India was born and how arose this great birth-song in which it soared from its earth into the supreme empyrean of the spirit. The Vedas and the Upanishads are not only the sufficient fountain-head of Indian philosophy and religion, but of all Indian art, poetry and literature. It was the soul, the temperament, the ideal mind formed and expressed in them which later carved out the great philosophies, built the structure of the Dharma, recorded its heroic youth in the Mahabharata and Ramayana, intellectualised indefatigably in the classical times of the ripeness of its manhood, threw out so many original intuitions in science, created so rich a glow of aesthetic and vital and sensuous experience, renewed its spiritual and psychic experience in Tantra and Purana, flung itself into grandeur and beauty of line and colour, hewed and cast its thought and vision in stone and bronze, poured itself into new channels of self-expression in the later tongues and now after eclipse reemerges always the same in difference and ready for a new life and a new creation.  

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XVIII

THE VEDA is thus the spiritual and psychological seed of Indian culture and the Upanishads the expression of the truth of highest spiritual knowledge and experience that has always been the supreme idea of that culture and the ultimate objective to which it directed the life of the individual and the aspiration of the soul of the people: and these two great bodies of sacred writing, its first great efforts of poetic and creative self-expression, coming into being at a time preceding the later strong and ample and afterwards rich and curious intellectual development, are conceived and couched in the language of a purely psychic and spiritual mentality. An evolution so begun had to proceed by a sort of enriching descent from the spirit to matter and to pass on first to an intellectual endeavour to see life and the world and the self in all their relations as they present themselves to the reasoning and the practical intelligence. The earlier movement of this intellectual effort was naturally accompanied by a practical development and organisation of life consciously expressive of the mind and spirit of the people, the erection of a strong and successful structure of society shaped so as to fulfil the mundane objects of human existence under the control of a careful religious, ethical and social order and discipline, but also so as to provide for the evolution of the soul of man through these things to a spiritual freedom and perfection. It is this stage of which we get a remarkably ample and effective representation in the immediately succeeding period of Indian literary creation.

This movement of the Indian mind is represented in its more critical effort on one side by a strenuous philosophical thinking crystallised into the great philosophic systems, on the other by an equally insistent endeavour to formulate in a clear body and with a strict cogency an ethical, social and political ideal and  

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practice in a consistent and organised system of individual and communal life and that endeavour resulted in the authoritative social treatises or Shastras of which the greatest and the most authoritative is the famous Laws of Manu. The work of the philosophers was to systematise and justify to the reasoning intelligence the truths of the self and man and the world already discovered by intuition, revelation and spiritual experience and embodied in the Veda and the Upanishads, and at the same time to indicate and systematise methods of discipline founded upon this knowledge by which man might effectuate the highest aim of his existence. The characteristic form in which this was done shows the action of the intuitive passing into that of the intellectual mentality and preserves the stamp and form expressive of its transitional character. The terse and pregnant phrase of the sacred literature abounding in intuitive substance is replaced by a still more compact and crowded brief expression, no longer intuitive and poetic, but severely intellectual, — the expression of a principle, a whole development of philosophic thought or a logical step burdened with considerable consequences in a few words, sometimes one or two, a shortest decisive formula often almost enigmatic in its concentrated fullness. These Sutras or aphorisms became the basis of ratiocinative commentaries developing by metaphysical and logical method and with a considerable variety of interpretation all that was contained at first in the series of aphoristic formulas. Their concern is solely with original and ultimate truth and the method of spiritual liberation, moksa.

The work of the social thinkers and legislators was on the contrary concerned with normal action and practice. It attempted to take up the ordinary life of man and of the community and the life of human desire and aim and interest and ordered rule and custom and to interpret and formulate it in the same complete and decisive manner and at the same time to throw the whole into an ordered relation to the ruling ideas of the national culture and frame and perpetuate a social system intelligently fashioned so as to provide a basis, a structure, a gradation by which there could be a secure evolution of the life  

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from the vital and mental to the spiritual motive. The leading idea was the government of human interest and desire by the social and ethical law, the Dharma, so that it might be made, — all vital, economic, aesthetic, hedonistic, intellectual and other needs being satisfied duly and according to the right law of the nature, — a preparation for the spiritual existence. Here too we have as an initial form the aphoristic method of the Vedic grhya sūtras, afterwards the diffuser, fuller method of the Dharma Shastras, — the first satisfied with brief indications of simple and essential socio-religious principle and practice, the later work attempting to cover the whole life of the individual, the class and the people. The very character of the effort and its thoroughness and the constant unity of idea that reigns through the whole of it are a remarkable evidence of a very developed intellectual, aesthetic and ethical consciousness and a high turn and capacity for a noble and ordered civilisation and culture. The intelligence at work, the understanding and formative power manifested is not inferior to that of any ancient or modern people, and there is a gravity, a unified clarity and nobility of conception which balances at least in any true idea of culture the greater suppleness, more well-informed experience and science and eager flexibility of experimental hardihood which are the gains that distinguish our later humanity. At any rate it was no barbaric mind that was thus intently careful for a fine and well unified order of society, a high and clear thought to govern it and at the end of life a great spiritual perfection and release.

The pure literature of the period is represented by the two great epics, the Mahabharata, which gathered into its vast structure the greater part of the poetic activity of the Indian mind during several centuries, and the Ramayana. These two poems are epical in their motive and spirit, but they are not like any other two epics in the world, but are entirely of their own kind and subtly different from others in their principle. It is not only that although they contain an early heroic story and a transmutation of many primitive elements, their form belongs to a period of highly developed intellectual, ethical and social culture, is enriched with a body of mature thought and uplifted  

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by a ripe nobility and refined gravity of ethical tone and therefore these poems are quite different from primitive edda and saga and greater in breadth of view and substance and height of motive — I do not speak now of aesthetic quality and poetic perfection — than the Homeric poems, while at the same time there is still an early breath, a direct and straightforward vigour, a freshness and greatness and pulse of life, a simplicity of strength and beauty that makes of them quite another kind than the elaborately constructed literary epics of Virgil or Milton, Firdausi or Kalidasa. This peculiar blending of the natural breath of an early, heroic, swift and vigorous force of life with a strong development and activity of the ethical, the intellectual, even the philosophic mind is indeed a remarkable feature; these poems are the voice of the youth of a people, but a youth not only fresh and fine and buoyant, but also great and accomplished, wise and noble. This however is only a temperamental distinction: there is another that is more far-reaching, a difference in the whole conception, function and structure.

One of the elements of the old Vedic education was a knowledge of significant tradition, Itihasa, and it is this word that was used by the ancient critics to distinguish the Mahabharata and the Ramayana from the later literary epics. The Itihasa was an ancient historical or legendary tradition turned to creative use as a significant mythus or tale expressive of some spiritual or religious or ethical or ideal meaning and thus formative of the mind of the people. The Mahabharata and Ramayana are Itihāsas of this kind on a large scale and with a massive purpose. The poets who wrote and those who added to these great bodies of poetic writing did not intend merely to tell an ancient tale in a beautiful or noble manner or even to fashion a poem pregnant with much richness of interest and meaning, though they did both these things with a high success; they wrote with a sense of their function as architects and sculptors of life, creative exponents, fashioners of significant forms of the national thought and religion and ethics and culture. A profound stress of thought on life, a large and vital view of religion and society, a certain strain of philosophic idea runs through these poems  

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and the whole ancient culture of India is embodied in them with a great force of intellectual conception and living presentation. The Mahabharata has been spoken of as a fifth Veda, it has been said of both these poems that they are not only great poems but Dharmashastras, the body of a large religious and ethical and social and political teaching, and their effect and hold on the mind and life of the people have been so great that they have been described as the bible of the Indian people. That is not quite an accurate analogy, for the bible of the Indian people contains also the Veda and Upanishads, the Purana and Tantras and the Dharmashastras, not to speak of a large bulk of the religious poetry in the regional languages. The work of these epics was to popularise high philosophic and ethical idea and cultural practice; it was to throw out prominently and with a seizing relief and effect in a frame of great poetry and on a background of poetic story and around significant personalities that became to the people abiding national memories and representative figures all that was best in the soul and thought or true to the life or real to the creative imagination and ideal mind or characteristic and illuminative of the social, ethical, political and religious culture of India. All these things were brought together and disposed with artistic power and a telling effect in a poetic body given to traditions half legendary, half historic but cherished henceforth as deepest and most living truth and as a part of their religion by the people. Thus framed the Mahabharata and Ramayana, whether in the original Sanskrit or rewritten in the regional tongues, brought to the masses by Kathakas, — rhapsodists, reciters and exegetes, — became and remained one of the chief instruments of popular education and culture, moulded the thought, character, aesthetic and religious mind of the people and gave even to the illiterate some sufficient tincture of philosophy, ethics, social and political ideas, aesthetic emotion, poetry, fiction and romance. That which was for the cultured classes contained in Veda and Upanishad, shut into profound philosophical aphorism and treatise or inculcated in dharma-shastra and artha-shastra, was put here into creative and living figures, associated with familiar story and legend,  

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fused into a vivid representation of life and thus made a near and living power that all could readily assimilate through the poetic word appealing at once to the soul and the imagination and the intelligence.

The Mahabharata especially is not only the story of the Bharatas, the epic of an early event which had become a national tradition but on a vast scale the epic of the soul and religious and ethical mind and social and political ideals and culture and life of India. It is said popularly of it and with a certain measure of truth that whatever is in India is in the Mahabharata. The Mahabharata is the creation and expression not of a single individual mind, but of the mind of a nation; it is the poem of itself written by a whole people. It would be vain to apply to it the canons of a poetical art applicable to an epic poem with a smaller and more restricted purpose, but still a great and quite conscious art has been expended both on its detail and its total structure. The whole poem has been built like a vast national temple unrolling slowly its immense and complex idea from chamber to chamber, crowded with significant groups and sculptures and inscriptions, the grouped figures carved in divine or semi-divine proportions, a humanity aggrandised and half uplifted to superhumanity and yet always true to the human motive and idea and feeling, the strain of the real constantly raised by the tones of the ideal, the life of this world amply portrayed but subjected to the conscious influence and presence of the powers of the worlds behind it, and the whole unified by the long embodied procession of a consistent idea worked out in the wide steps of the poetic story. As is needed in an epic narrative, the conduct of the story is the main interest of the poem and it is carried through with an at once large and minute movement, wide and bold in the mass, striking and effective in detail, always simple, strong and epic in its style and pace. At the same time though supremely interesting in substance and vivid in the manner of the telling as a poetic story, it is something more, — a significant tale, Itihasa, representative throughout of the central ideas and ideals of Indian life and culture. The leading motive is the Indian idea of the Dharma. Here the Vedic notion of the struggle between the  

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godheads of truth and light and unity and the powers of darkness and division and falsehood is brought out from the spiritual and religious and internal into the outer intellectual, ethical and vital plane. It takes there in the figure of the story a double form of a personal and a political struggle, the personal a conflict between typical and representative personalities embodying the greater ethical ideals of the Indian Dharma and others who are embodiments of Asuric egoism and self-will and misuse of the Dharma, the political a battle in which the personal struggle culminates, an international clash ending in the establishment of a new rule of righteousness and justice, a kingdom or rather an empire of the Dharma uniting warring races and substituting for the ambitious arrogance of kings and aristocratic clans the supremacy, the calm and peace of a just and humane empire. It is the old struggle of Deva and Asura, God and Titan, but represented in the terms of human life.

The way in which this double form is worked out and the presentation of the movement of individual lives and of the national life first as their background and then as coming into the front in a movement of kingdoms and armies and nations show a high architectonic faculty akin in the sphere of poetry to that which laboured in Indian architecture, and the whole has been conducted with a large poetic art and vision. There is the same power to embrace great spaces in a total view and the same tendency to fill them with an abundance of minute, effective, vivid and significant detail. There is brought too into the frame of the narrative a very considerable element of other tales, legends, episodes, most of them of a significant character suitable to the method of Itihasa, and an extraordinary amount of philosophical, religious, ethical, social and political thinking sometimes direct, sometimes cast into the form of the legend and episode. The ideas of the Upanishads and of the great philosophies are brought in continually and sometimes given new developments, as in the Gita; religious myth and tale and idea and teaching are made part of the tissue; the ethical ideals of the race are expressed or are transmuted into the shape of tale and episode as well as embodied in the figures of the story,  

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political and social ideals and institutions are similarly developed or illustrated with a high vividness and clearness and space is found too for aesthetic and other suggestions connected with the life of the people. All these things are interwoven into the epic narrative with a remarkable skill and closeness. The irregularities inevitable in so combined and difficult a plan and in a work to which many poets of an unequal power have contributed fall into their place in the general massive complexity of the scheme and assist rather than break the total impression. The whole is a poetic expression unique in its power and fullness of the entire soul and thought and life of a people.

The Ramayana is a work of the same essential kind as the Mahabharata; it differs only by a greater simplicity of plan, a more delicate ideal temperament and a finer glow of poetic warmth and colour. The main bulk of the poem in spite of much accretion is evidently by a single hand and has a less complex and more obvious unity of structure. There is less of the philosophic, more of the purely poetic mind, more of the artist, less of the builder. The whole story is from beginning to end of one piece and there is no deviation from the stream of the narrative. At the same time there is a like vastness of vision, an even more wide-winged flight of epic sublimity in the conception and sustained richness of minute execution in the detail. The structural power, strong workmanship and method of disposition of the Mahabharata remind one of the art of the Indian builders, the grandeur and boldness of outline and wealth of colour and minute decorative execution of the Ramayana suggest rather a transcript into literature of the spirit and style of Indian painting. The epic poet has taken here also as his subject an Itihasa, an ancient tale or legend associated with an old Indian dynasty and filled it in with detail from myth and folklore, but has exalted all into a scale of grandiose epic figure that it may bear more worthily the high intention and significance. The subject is the same as in the Mahabharata, the strife of the divine with the titanic forces in the life of the earth, but in more purely ideal forms, in frankly supernatural dimensions and an imaginative heightening of both the good and the evil in human  

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character. On one side is portrayed an ideal manhood, a divine beauty of virtue and ethical order, a civilization founded on the Dharma and realising an exaltation of the moral ideal which is presented with a singularly strong appeal of aesthetic grace and harmony and sweetness; on the other are wild and anarchic and almost amorphous forces of superhuman egoism and self-will and exultant violence, and the two ideas and powers of mental nature living and embodied are brought into conflict and led to a decisive issue of the victory of the divine man over the Rakshasa. All shade and complexity are omitted which would diminish the single purity of the idea, the representative force in the outline of the figures, the significance of the temperamental colour and only so much admitted as is sufficient to humanise the appeal and the significance. The poet makes us conscious of the immense forces that are behind our life and sets his action in a magnificent epic scenery, the great imperial city, the mountains and the ocean, the forest and wilderness, described with such a largeness as to make us feel as if the whole world were the scene of his poem and its subject the whole divine and titanic possibility of man imaged in a few great or monstrous figures. The ethical and the aesthetic mind of India have here fused themselves into a harmonious unity and reached an unexampled pure wideness and beauty of self-expression. The Ramayana embodied for the Indian imagination its highest and tenderest human ideals of character, made strength and courage and gentleness and purity and fidelity and self-sacrifice familiar to it in the suavest and most harmonious forms coloured so as to attract the emotion and the aesthetic sense, stripped morals of all repellent austerity on one side or on the other of mere commonness and lent a certain high divineness to the ordinary things of life, conjugal and filial and maternal and fraternal feeling, the duty of the prince and leader and the loyalty of follower and subject, the greatness of the great and the truth and worth of the simple, toning things ethical to the beauty of a more psychical meaning by the glow of its ideal hues. The work of Valmiki has been an agent of almost incalculable power in the moulding of the cultural mind of India: it has presented to it to be loved and imitated in figures  

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like Rama and Sita, made so divinely and with such a revelation of reality as to become objects of enduring cult and worship, or like Hanuman, Lakshmana, Bharata the living human image of its ethical ideals; it has fashioned much of what is best and sweetest in the national character, and it has evoked and fixed in it those finer and exquisite yet firm soul tones and that more delicate humanity of temperament which are a more valuable thing than the formal outsides of virtue and conduct.

The poetical manner of these epics is not inferior to the greatness of their substance. The style and the verse in which they are written have always a noble epic quality, a lucid classical simplicity and directness rich in expression but stripped of superfluous ornament, a swift, vigorous, flexible and fluid verse constantly sure of the epic cadence. There is a difference in the temperament of the language. The characteristic diction of the Mahabharata is almost austerely masculine, trusting to force of sense and inspired accuracy of turn, almost ascetic in its simplicity and directness and a frequent fine and happy bareness; it is the speech of a strong and rapid poetical intelligence and a great and straightforward vital force, brief and telling in phrase but by virtue of a single-minded sincerity and, except in some knotted passages or episodes, without any rhetorical labour of compactness, a style like the light and strong body of a runner nude and pure and healthily lustrous and clear without superfluity of flesh or exaggeration of muscle, agile and swift and untired in the race. There is inevitably much in this vast poem that is in an inferior manner, but little or nothing that falls below a certain sustained level in which there is always something of this virtue. The diction of the Ramayana is shaped in a more attractive mould, a marvel of sweetness and strength, lucidity and warmth and grace; its phrase has not only poetic truth and epic force and diction but a constant intimate vibration of the feeling of the idea, emotion or object: there is an element of fine ideal delicacy in its sustained strength and breath of power. In both poems it is a high poetic soul and inspired intelligence that is at work; the directly intuitive mind of the Veda and Upanishads has  

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retired behind the veil of the intellectual and outwardly psychical imagination.

This is the character of the epics and the qualities which have made them immortal, cherished among India's greatest literary and cultural treasures, and given them their enduring power over the national mind. Apart from minor defects and inequalities such as we find in all works set at this pitch and involving a considerable length of labour, the objections made by Western criticism are simply expressions of a difference of mentality and aesthetic taste. The vastness of the plan and the leisurely minuteness of detail are baffling and tiring to a Western mind accustomed to smaller limits, a more easily fatigued eye and imagination and a hastier pace of life, but they are congenial to the spaciousness of vision and intent curiosity of circumstance, characteristic of the Indian mind, that spring as I have pointed out in relation to architecture from the habit of the cosmic consciousness and its sight and imagination and activity of experience. Another difference is that the terrestrial life is not seen realistically just as it is to the physical mind but constantly in relation to the much that is behind it, the human action is surrounded and influenced by great powers and forces, Daivic, Asuric and Rakshasic, and the greater human figures are a kind of incarnation of these more cosmic personalities and powers. The objection that the individual thereby loses his individual interest and becomes a puppet of impersonal forces is not true either in reality or actually in the imaginative figures of this literature, for there we see that the personages gain by it in greatness and force of action and are only ennobled by an impersonality that raises and heightens the play of their personality. The mingling of terrestrial nature and supernature, not as a mere imagination but with an entire sincerity and naturalness, is due to the same conception of a greater reality in life, and it is as significant figures of this greater reality that we must regard much to which the realistic critic objects with an absurdly misplaced violence, such as the powers gained by Tapasya, the use of divine weapons, the frequent indications of psychic action and influence. The complaint of exaggeration is equally invalid  

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where the whole action is that of men raised beyond the usual human level, since we can only ask for proportions consonant with the truth of the stature of life conceived in the imagination of the poet and cannot insist on an unimaginative fidelity to the ordinary measures which would here be false because wholly out of place. The complaint of lifelessness and want of personality in the epic characters is equally unfounded: Rama and Sita, Arjuna and Yudhisthira, Bhishma and Duryodhana and Karna are intensely real and human and alive to the Indian mind. Only the main insistence, here as in Indian art, is not on the outward saliences of character, for these are only used secondarily as aids to the presentation, but on the soul life and the inner soul quality presented with as absolute a vividness and strength and purity of outline as possible. The idealism of characters like Rama and Sita is no pale and vapid unreality; they are vivid with the truth of the ideal life, of the greatness that man may be and does become when he gives his soul a chance and it is no sound objection that there is only a small allowance of the broken littleness of our ordinary nature.

These epics are therefore not a mere mass of untransmuted legend and folklore, as is ignorantly objected, but a highly artistic representation of intimate significances of life, the living presentment of a strong and noble thinking, a developed ethical and aesthetic mind and a high social and political ideal, the ensouled image of a great culture. As rich in freshness of life but immeasurably more profound and evolved in thought and substance than the Greek, as advanced in maturity of culture but more vigorous and vital and young in strength than the Latin epic poetry, the Indian epic poems were fashioned to serve a greater and completer national and cultural function and that they should have been received and absorbed by both the high and the low, the cultured and the masses and remained through twenty centuries an intimate and formative part of the life of the whole nation is of itself the strongest possible evidence of the greatness and fineness of this ancient Indian culture.  

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XIX

THE CLASSICAL age of the ancient literature, the best known and appraised of all, covers a period of some ten centuries and possibly more, and it is marked off from the earlier writings by a considerable difference, not so much in substance, as in the moulding and the colour of its thought, temperament and language. The divine childhood, the heroic youth, the bright and strong early manhood of the people and its culture are over and there is instead a long and opulent maturity and as its sequence an equally opulent and richly coloured decline. The decline is not to death, for it is followed by a certain rejuvenescence, a fresh start and repeated beginning, of which the medium is no longer Sanskrit but the derived languages, the daughters of the dialects raised into literary instruments and developing as the grand and ancient tongue loses its last forces and inspiring life. The difference in spirit and mould between the epics and the speech of Bhartrihari and Kalidasa is already enormous and may possibly be explained by the early centuries of Buddhism when Sanskrit ceased to be the sole literary tongue understood and spoken by all educated men and Pali came up as its successful rival and the means of expression for at least a great part of the current of the national thought and life. The language and movement of the epics have all the vigour, freedom, spontaneous force and appeal of a speech that leaps straight from the founts of life; the speech of Kalidasa is an accomplished art, an intellectual and aesthetic creation consummate, deliberate, finely ornate, carved like a statue, coloured like a painting, not yet artificial, though there is a masterly artifice and device, but still a careful work of art laboured by the intelligence. It is carefully natural, not with the spontaneous ease of a first, but the accomplished air of ease of a habitual second nature. The elements of artifice and device increase and  

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predominate in the later writers, their language is a laborious and deliberate though a powerful and beautiful construction and appeals only to an erudite audience, a learned elite. The religious writings, Purana and Tantra, moving from a deeper, still intensely living source, aiming by their simplicity at a wider appeal, prolong for a time the tradition of the epics, but the simplicity and directness is willed rather than the earlier natural ease. In the end Sanskrit becomes the language of the Pundits and except for certain philosophical, religious and learned purposes no longer a first-hand expression of the life and mind of the people.

The alteration in the literary speech corresponds however, apart from all inducing circumstances, to a great change in the centre of mentality of the culture. It is still and always spiritual, philosophical, religious, ethical, but the inner austerer things seem to draw back a little and to stand in the background, acknowledged indeed and overshadowing the rest, but nevertheless a little detaching themselves from them and allowing them to act for their own enlargement and profit. The exterior powers that stand out in front are the curious intellect, the vital urge, the aesthetic, urbanely active and hedonistic sense life. It is the great period of logical philosophy, of science, of art and the developed crafts, law, politics, trade, colonisation, the great kingdoms and empires with their ordered and elaborate administrations, the minute rule of the Shastras in all departments of thought and life, an enjoyment of all that is brilliant, sensuous, agreeable, a discussion of all that could be thought and known, a fixing and systemising of all that could be brought into the compass of intelligence and practice, — the most splendid, sumptuous and imposing millennium of Indian culture.

The intellectuality that predominates is not in any way restless, sceptical or negative, but it is enormously inquiring and active, accepting the great lines of spiritual, religious, philosophical and social truth that had been discovered and laid down by the past, but eager too to develop, to complete, to know minutely and thoroughly and fix in perfectly established system and detail, to work out all possible branches and ramifications,  

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to fill the intelligence, the sense and the life. The grand basic principles and lines of Indian religion, philosophy, society have already been found and built and the steps of the culture move now in the magnitude and satisfying security of a great tradition; but there is still ample room for creation and discovery within these fields and a much wider province, great beginnings, strong developments of science and art and literature, the freedom of the purely intellectual and aesthetic activities, much scope too for the hedonisms of the vital and the refinements of the emotional being, a cultivation of the art and rhythmic practice of life. There is a highly intellectualised vital stress and a many-sided interest in living, an indulgence of an at once intellectual and vital and sensuous satisfaction extending even to a frankness of physical and sensual experience, but in the manner of the oriental mind with a certain decorousness and order, an element of aesthetic restraint and the observance of rule and measure even in indulgence that saves always from the unbridled licence to which less disciplined races are liable. The characteristic, the central action is the play of the intellectual mind and everywhere that predominates. In the earlier age the many strands of the Indian mind and life principle are unified and inseparable, a single wide movement set to a strong and abundant but simple music; here they seem to stand side by side related and harmonised, curious and complex, multiply one. The spontaneous unity of the intuitive mind is replaced by the artificial unity of the analysing and synthetising intelligence. Art and religion still continue the predominance of the spiritual and intuitive motive, but it is less to the front in literature. A division has been settled between religious and secular writing that did not exist to any appreciable extent in the previous ages. The great poets and writers are secular creators and their works have no chance of forming part of the intimate religious and ethical mind of the people as did the Ramayana and Mahabharata. The stream of religious poetry flows separately in Purana and Tantra.

The great representative poet of this age is Kalidasa. He establishes a type which was preparing before and endured after him with more or less of additional decoration, but substantially  

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unchanged through the centuries. His poems are the perfect and harmoniously designed model of a kind and substance that others cast always into similar forms but with a genius inferior in power or less rhythmically balanced, faultless and whole. The art of poetic speech in Kalidasa's period reaches an extraordinary perfection. Poetry itself had become a high craft, conscious of its means, meticulously conscientious in the use of its instruments, as alert and exact in its technique as architecture, painting and sculpture, vigilant to equate beauty and power of the form with nobility and richness of the conception, aim and spirit and the scrupulous completeness of its execution with fullness of aesthetic vision or of the emotional or sensuous appeal. There was established here as in the other arts and indeed during all this era in all human activities a Shastra, a well recognised and carefully practised science and art of poetics, critical and formulative of all that makes perfection of method and prescriptive of things to be avoided, curious of essentials and possibilities but under a regime of standards and limits conceived with the aim of excluding all fault of excess or of defect and therefore in practice as unfavourable to any creative lawlessness, even though the poet's native right of fantasy and freedom is theoretically admitted, as to any least tendency towards bad or careless, hasty or irregular workmanship. The poet is expected to be thoroughly conscious of his art, as minutely acquainted with its conditions and its fixed and certain standard and method as the painter and sculptor and to govern by his critical sense and knowledge the flight of his genius. This careful art of poetry became in the end too much of a rigid tradition, too appreciative of rhetorical device and artifice and even permitted and admired the most extraordinary contortions of the learned intelligence, as in the Alexandrian decline of Greek poetry, but the earlier work is usually free from these shortcomings or they are only occasional and rare.

The classical Sanskrit is perhaps the most remarkably finished and capable instrument of thought yet fashioned, at any rate by either the Aryan or the Semitic mind, lucid with the utmost possible clarity, precise to the farthest limit of precision, always compact and at its best sparing in its formation of phrase,  

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but yet with all this never poor or bare: there is no sacrifice of depth to lucidity, but rather a pregnant opulence of meaning, a capacity of high richness and beauty, a natural grandeur of sound and diction inherited from the ancient days. The abuse of the faculty of compound structure proved fatal later on to the prose, but in the earlier prose and poetry where it is limited, there is an air of continent abundance strengthened by restraint and all the more capable of making the most of its resources. The great and subtle and musical rhythms of the classical poetry with their imaginative, attractive and beautiful names, manifold in capacity, careful in structure, are of themselves a mould that insists on perfection and hardly admits the possibility of a mean or slovenly workmanship or a defective movement. The unit of ´ this poetical art is the śloka, the sufficient verse of four quarters   ´ or padas, and each śloka is expected to be a work of perfect art in itself, a harmonious, vivid and convincing expression of an object, scene, detail, thought, sentiment, state of mind or emotion that can stand by itself as an independent figure; the succession of ślokas must be a constant development by addition of completeness to completeness and the whole poem or canto of a long poem an artistic and satisfying structure in this manner, the succession of cantos a progression of definite movements building a total harmony. It is this carefully artistic and highly cultured type of poetic creation that reached its acme of perfection in the poetry of Kalidasa.

This preeminence proceeds from two qualities possessed in a degree only to be paralleled in the work of the greatest world-poets and not always combined in them in so equable a harmony and with so adequate a combination of execution and substance. Kalidasa ranks among the supreme poetic artists with Milton and Virgil and he has a more subtle and delicate spirit and touch in his art than the English, a greater breath of native power informing and vivifying his execution than the Latin poet. There is no more perfect and harmonious style in literature, no more inspired and careful master of the absolutely harmonious and sufficient phrase combining the minimum of word expenditure with the fullest sense of an accomplished ease  

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and a divine elegance and not excluding a fine excess that is not excessive, an utmost possible refined opulence of aesthetic value. More perfectly than any other he realises the artistic combination of a harmonious economy of expression, not a word, syllable, sound in superfluity, and a total sense of wise and lavish opulence that was the aim of the earlier classical poets. None so divinely skilful as he in imparting without any overdoing the richest colour, charm, appeal and value, greatness or nobility or power or suavity and always some kind and the right kind and the fullest degree of beauty to each line and each phrase. The felicity of selection is equalled by the felicity of combination. One of the most splendidly sensuous of poets in the higher sense of that epithet because he has a vivid vision and feeling of his object, his sensuousness is neither lax nor overpowering, but always satisfying and just, because it is united with a plenary force of the intelligence, a gravity and strength sometimes apparent, sometimes disguised in beauty but appreciable within the broidered and coloured robe, a royal restraint in the heart of the regal indulgence. And Kalidasa's sovereign mastery of rhythm is as great as his sovereign mastery of phrase. Here we meet in each metrical kind with the most perfect discoveries of verbal harmony in the Sanskrit language (pure lyrical melody comes only afterwards at the end in one or two poets like Jayadeva), harmonies founded on a constant subtle complexity of the fine assonances of sound and an unobtrusive use of significant cadence that never breaks the fluent unity of tone of the music. And the other quality of Kalidasa's poetry is the unfailing adequacy of the substance. Careful always to get the full aesthetic value of the word and sound clothing his thought and substance, he is equally careful that the thought and the substance itself should be of a high, strong or rich intellectual, descriptive or emotional value. His conception is large in its view though it has not the cosmic breadth of the earlier poets and it is sustained at every step in its execution. The hand of the artist never fails in the management of its material, — exception being made of a fault of composition marring one, the least considerable of his works, — and his  

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imagination is always as equal to its task as his touch is great and subtle.

The work to which these supreme poetic qualities were brought was very much the same at bottom, though differing in its form and method, as that achieved by the earlier epics; it was to interpret in poetic speech and represent in significant images and figures the mind, the life, the culture of India in his age. Kalidasa's seven extant poems, each in its own way and within its limits and on its level a masterpiece, are a brilliant and delicately ornate roll of pictures and inscriptions with that as their single real subject. His was a richly stored mind, the mind at once of a scholar and observer possessed of all the learning of his time, versed in the politics, law, social idea, system and detail, religion, mythology, philosophy, art of his time, intimate with the life of courts and familiar with the life of the people, widely and very minutely observant of the life of Nature, of bird and beast, season and tree and flower, all the lore of the mind and all the lore of the eye; and this mind was at the same time always that of a great poet and artist. There is not in his work the touch of pedantry or excessive learning that mars the art of some other Sanskrit poets, he knows how to subdue all his matter to the spirit of his art and to make the scholar and observer no more than a gatherer of materials for the poet, but the richness of documentation is there ready and available and constantly brought in as part of incident and description and surrounding idea and forms or intervenes in the brilliant series of images that pass before us in the long succession of magnificent couplets and stanzas. India, her great mountains and forests and plains and their peoples, her men and women and the circumstances of their life, her animals, her cities and villages, her hermitages, rivers, gardens and tilled lands are the background of narrative and drama and love poem. He has seen it all and filled his mind with it and never fails to bring it before us vivid with all the wealth of description of which he is capable. Her ethical and domestic ideals, the life of the ascetic in the forest or engaged in meditation and austerity upon the mountains and the life of the householder, her familiar customs and social standards and  

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observances, her religious notions, cult, symbols give the rest of the surroundings and the atmosphere. The high actions of gods and kings, the nobler or the more delicate human sentiments, the charm and beauty of women, the sensuous passion of lovers, the procession of the seasons and the scenes of Nature, these are his favourite subjects.

He is a true son of his age in his dwelling on the artistic, hedonistic, sensuous sides of experience and preeminently a poet of love and beauty and the joy of life. He represents it also in his intellectual passion for higher things, his intense appreciation of knowledge, culture, the religious idea, the ethical ideal, the greatness of ascetic self-mastery, and these too he makes a part of the beauty and interest of life and sees as admirable elements of its complete and splendid picture. All his work is of this tissue. His great literary epic, the "House of Raghu", treats the story of a line of ancient kings as representative of the highest religious and ethical culture and ideals of the race and brings out its significances environed with a splendid decoration of almost pictorially depicted sentiment and action, noble or beautiful thought and speech and vivid incident and scene and surrounding. Another unfinished epic, a great fragment but by the virtue of his method of work complete in itself so far as the tale proceeds, is in subject a legend of the gods, the ancient subject of a strife of Gods and Titans, the solution prepared here by a union of the supreme God and the Goddess, but in treatment it is a description of Nature and the human life of India raised to a divine magnitude on the sacred mountain and in the homes of the high deities. His three dramas move around the passion of love, but with the same insistence on the detail and picture of life. One poem unrolls the hued series of the seasons of the Indian year. Another leads the messenger cloud across northern India viewing as it passes the panorama of her scenes and closes on a vivid and delicately sensuous and emotional portrayal of the passion of love. In these varied settings we get a singularly complete impression of the mind, the tradition, the sentiment, the rich, beautiful and ordered life of the India of the times, not in its very deepest things, for these have to be sought elsewhere,  

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but in what was for the time most characteristic, the intellectual, vital and artistic turn of that period of her culture.

The rest of the poetry of the times is of one fundamental type with Kalidasa's; for it has with individual variations the same thought mind, temperament, general materials, poetic method, and much of it has a high genius or an unusual quality and distinction though not the same perfection, beauty and felicity. The literary epics of Bharavi and Magha reveal the beginning of the decline marked by the progressive encroachment of a rhetorical and laborious standard of form, method and manner that heavily burdens and is bound eventually to stifle the poetic spirit, an increasing artificiality of tradition and convention and gross faults of taste that bear evidence of the approaching transmission of the language out of the hands of the literary creator into the control of the Pundit and pedant. Magha's poem is more constructed by rule of rhetoric than created and he displays as merits the very worst puerilities of melodious jingle, intricate acrostic and laborious double meaning. Bharavi is less attainted by the decadence, but not immune, and he suffers himself to be betrayed by its influence to much that is neither suitable to his temperament and genius nor in itself beautiful or true. Nevertheless Bharavi has high qualities of grave poetic thinking and epic sublimity of description and Magha poetic gifts that would have secured for him a more considerable place in literature if the poet had not been crossed with a pedant. In this mixture of genius with defect of taste and manner the later classical poets resemble the Elizabethans with the difference that in one case the incoherence is the result of a crude and still unripe, in the other of an overripe and decadent culture. At the same time they bring out very prominently the character of this age of Sanskrit literature, its qualities but also its limitations that escape the eye in Kalidasa and are hidden in the splendour of his genius.

This poetry is preeminently a ripe and deliberate poetic representation and criticism of thought and life and the things that traditionally interested an aristocratic and cultured class in a very advanced and intellectual period of civilisation. The intellect predominates everywhere and, even when it seems to  

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stand aside and leave room for pure objective presentation, it puts on that too the stamp of its image. In the earlier epics the thought, religion, ethics, life movements are all strongly lived; the poetic intelligence is at work but always absorbed in its work, self-forgetful and identified with its object, and it is this that is the secret of their great creative force and living poetic sincerity and power. The later poets are interested in the same things but with an intensely reflective experience and critical intelligence that always observes more than it lives with its objects. In the literary epics there is no real movement of life, but only a close brilliant description of life. The poet makes to pass before us a series of pictured incidents, scenes, details, figures, attitudes richly coloured, exact, vivid, convincing to the eye and attractive, but in spite of the charm and interest we speedily perceive that these are only animated pictures. Things are indeed seen vividly but with the more outer eye of the imagination, observed by the intellect, reproduced by the sensuous imagination of the poet, but they have not been deeply lived in the spirit. Kalidasa alone is immune from this deficiency of the method because there is in him a great thinking, imaginative, sensuous poetic soul that has lived and creates what he pictures and does not merely fabricate brilliant scenes and figures. The rest only occasionally rise above the deficiency and do then great and not only brilliant or effective work. Their ordinary work is so well done as to deserve great and unstinted praise for what it possesses, but not the highest praise. It is in the end more decorative than creative. There ensues from the character of this poetic method a spiritual consequence, that we see here very vividly the current thought, ethics, aesthetic culture, active and sense life of contemporary India, but not the deeper soul of these things so much as their outer character and body. There is much ethical and religious thought of a sufficiently high ideal kind, and it is quite sincere but only intellectually sincere, and therefore there is no impression of the deeper religious feeling or the living ethical power that we get in the Mahabharata and Ramayana and in most of the art and literature of India. The ascetic life is depicted, but only in its ideas and outward figure:  

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the sensuous life is depicted in the same scrupulous manner — it is intensely observed and appreciated and well reproduced to the eye and the intelligence, but not intensely felt and created in the soul of the poet. The intellect has become too detached and too critically observant to live things with the natural force of the life or with the intuitive identity. This is the quality and also the malady of an overdeveloped intellectualism and it has always been the forerunner of a decadence.

The predominantly intellectual turn appears in the abundance of another kind of writing, the gnomic verse, subhāsita. This is the use of the independent completeness of the śloka to be the body in its single sufficiency of the concentrated essence and expression of a thought, an apercu or significant incident of life, a sentiment so expressed as to convey its essential idea to the intelligence. There is a great plenty of this kind of work admirably done; for it was congenial to the keen intellect and the wide, mature and well-stored experience of the age: but in the work of Bhartrihari it assumes the proportions of genius, because he writes not only with the thought but with emotion, with what might be called a moved intellectuality of the feeling and an intimate experience that gives great potency and sometimes poignancy to his utterance. There are three centuries or śatakas of his sentences, the first expressing high ethical thought or worldly wisdom or brief criticisms of aspects of life, the second concerned with erotic passion, much less effective because it is the fruit of curiosity and the environment rather than the poet's own temperament and genius, and the third proclaiming an ascetic weariness and recoil from the world. Bhartrihari's triple work is significant of the three leading motives of the mind of the age, its reflective interest in life and turn for high and strong and minute thinking, its preoccupation with the enjoyment of the senses, and its ascetic spiritual turn — the end of the one and the ransom of the other. It is significant too by the character of this spirituality; it is no longer the great natural flight of the spirit to the fullness of its own high domain, but rather a turning away of the intellect and the senses wearied of themselves and life, unable to find there the  

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satisfaction they sought, to find peace in a spiritual passivity in which the tired thought and sense could find their absolute rest and cessation.

The drama however is the most attractive though not therefore the greatest product of the poetical mind of the age. There its excessive intellectuality was compelled by the necessities of dramatic poetry to be more closely and creatively identified with the very mould and movement of life. The Sanskrit drama type is a beautiful form and it has been used in most of the plays that have come down to us with an accomplished art and a true creative faculty. At the same time it is true that it does not rise to the greatnesses of the Greek or the Shakespearian drama. This is not due to the elimination of tragedy, — for there can be dramatic creation of the greatest kind without a solution in death, sorrow, overwhelming calamity or the tragic return of Karma, a note that is yet not altogether absent from the Indian mind, — for it is there in the Mahabharata and was added later on to the earlier triumphant and victorious close of the Ramayana; but a closing air of peace and calm was more congenial to the sattwic turn of the Indian temperament and imagination. It is due to the absence of any bold dramatic treatment of the great issues and problems of life. These dramas are mostly romantic plays reproducing the images and settled paces of the most cultured life of the time cast into the frame of old myth and legend, but a few are more realistic and represent the type of the citizen householder or other scenes of the times or a historical subject. The magnificent courts of kings or the beauty of the surroundings of Nature are their more common scene. But whatever their subject or kind, they are only brilliant transcripts or imaginative transmutations of life, and something more is needed for the very greatest or most moving dramatic creation. But their type still admits of a high or a strong or delicate poetry and a representation, if not any very profound interpretation of human action and motive and they do not fall short in this kind. A great charm of poetic beauty and subtle feeling and atmosphere, — reaching its most accomplished type in the Shakuntala of Kalidasa, the most perfect and captivating romantic drama in  

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all literature, — or an interesting turn of sentiment and action, a skilful unobtrusive development according to the recognised principle and carefully observed formula of the art, in temperate measure without violent noise of incident or emphatic stress on situation or crowded figures, the movement subdued to a key of suavity and calm, a delicate psychology, not a strongly marked characterisation such as is commonly demanded in the dramatic art of Europe, but a subtle indication by slight touches in the dialogue and action, these are the usual characteristics. It is an art that was produced by and appealed to a highly cultured class, refined, and intellectual and subtle, loving best a tranquil aesthetic charm, suavity and beauty, and it has the limitations of the kind but also its qualities. There is a constant grace and fineness of work in the best period, a plainer and more direct but still fine vigour in Bhasa and the writers who prolong him, a breath of largeness and power in the dramas of Bhavabhuti, a high and consummate beauty in the perfection of Kalidasa.

This drama, this poetry, the prose romances crowded with descriptive detail, monographs like Bana's biography of Harsha or Jonaraja's history of Cashmere, the collections of religious or romantic or realistic tales, the Jatakas, the Kathāsaritsāgara with its opulence and inexhaustible abundance of narrative in verse, the Panchatantra and the more concise Hitopadesha which develop the form of the animal fable to make a piquant setting for a mass of acute worldly wisdom and policy and statecraft, and a great body of other less known work are only the surviving remnants of what, as many indications show, must have been an immense literary activity, but they are sufficiently abundant and representative to create a crowded and splendid impression, a many-toned picture of a high culture, a rich intellectuality, a great and ordered society with an opulent religious, aesthetic, ethical, economic, political and vital activity, a many-sided development, a plentiful life-movement. As completely as the earlier epics they belie the legend of an India lost in metaphysics and religious dreamings and incapable of the great things of life. The other element which has given rise to this conception, an intense strain of philosophic thinking and religious experience, follows

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in fact at this time an almost separate movement and develops gradually behind the pomp and motion of this outward action the thought, the influences, the temperament and tendencies that were to govern another millennium of the life of the Indian people.  

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XX

THE DOMINANT note in the Indian mind, the temperament that has been at the foundation of all its culture and originated and supported the greater part of its creative action in philosophy, religion, art and life has been, I have insisted, spiritual, intuitive and psychic: but this fundamental tendency has not excluded but rather powerfully supported a strong and rich intellectual, practical and vital activity. In the secular classical literature this activity comes very much to the front, is the prominent characteristic and puts the original spirit a little in the background. That does not mean that the spirit is changed or lost or that there is nothing psychic or intuitive in the secular poetry of the time. On the contrary all the type of the mind reflected there is of the familiar Indian character constant through every change, religio-philosophic, religio-ethical, religio-social, with all the past spiritual experience behind it and supporting it though not prominently in the front; the imagination is of the same kind that we have found in the art of the time; the frames of significant image, symbol and myth are those which have come down from the past subjected to the modifications and new developments that get their full body in the Puranas, and they have a strong psychic suggestion. The difference is that they take in the hands of these poets more of the form of a tradition well understood and worked upon by the intellect than of an original spiritual creation, and it is the intelligence that is prominent, accepting and observing established ideas and things in this frame and type and making its critical or reproductive observation and assent vivid with the strong lines and rich colours of artistic presentation and embellishing image. The original force, the intuitive vision work most strongly now in the outward, in the sensuous, the objective, the vital aspects of existence, and it is these that in this age are being more fully  

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taken up, brought out and made in the religious field a support for an extension of spiritual experience.

The sense of this evolution of the culture appears more clearly outside the range of pure literature in the philosophic writings of the time and in the religious poetry of the Puranas and Tantras. It was these two strains which mixing together and soon becoming a single whole proved to be the most living and enduring movement of the classical age, had the most abiding result in the mind of the people, were the creating force and made the most conspicuous part of the later popular literatures. It is a remarkable proof of the native disposition, capacity and profound spiritual intelligence and feeling of the national mind that the philosophic thinking of this period should have left behind it this immense influence; for it was of the highest and severest intellectual character. The tendency that had begun in earlier times and created Buddhism, Jainism and the great schools of philosophy, the labour of the metaphysical intellect to formulate to the reason the truths discovered by the intuitive spiritual experience, to subject them to the close test of a logical and severely dialectical ratiocination and to elicit from them all that the thought could discover, reaches its greatest power of elaborate and careful reasoning, minute criticism and analysis and forceful logical construction and systematisation in the abundant philosophical writing of the period between the sixth and thirteenth centuries marked especially by the work of the great southern thinkers, Shankara, Ramanuja and Madhwa. It did not cease even then, but survived its greatest days and continued even up to our own times throwing up sometimes great creative thinking and often new and subtle philosophical ideas in the midst of an incessant stream of commentary and criticism on established lines. Here there was no decline but a continued vigour of the metaphysical turn in the mind of the race. The work it did was to complete the diffusion of the philosophic intelligence with the result that even an average Indian mentality, once awakened, responds with a surprising quickness to the most subtle and profound ideas. It is notable that no Hindu religion old or new has been able to come into existence  

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without developing as its support a clear philosophic content and suggestion.

The philosophical writings in prose make no pretension to rank as literature; it is in these that the critical side is prominent, and they have no well-built creative shape, but there are other productions in which a more structural presentation of the complete thought is attempted and here the literary form adopted is ordinarily the philosophical poem. The preference for this form is a direct continuation of the tradition of the Upanishads and the Gita. These works cannot be given a very high place as poetry: they are too overweighted with thought and the preoccupation of an intellectual as distinguished from an intuitive adequacy in the phrase to have the breath of life and impetus of inspiration that are the indispensable attributes of the creative poetic mind. It is the critical and affirmative intelligence that is most active and not the vision seeing and interpretative. The epic greatness of the soul that sees and chants the self-vision and God-vision and supreme world-vision, the blaze of light that makes the power of the Upanishads, is absent, and absent too the direct thought springing straight from the soul's life and experience, the perfect, strong and suggestive phrase and the living beauty of the rhythmic pace that make the poetic greatness of the Gita. At the same time some of these poems are, if certainly not great poetry, yet admirable literature combining a supreme philosophical genius with a remarkable literary talent, not indeed creations, but noble and skilful constructions, embodying the highest possible thought, using well all the weighty, compact and sparing phrase of the classical Sanskrit speech, achieving the harmony and noble elegance of its rhythms. These merits are seen at their best in poems like the Vivekacūdāmani attributed to Shankara, and . there we hear even, in spite of its too abstract turn, an intellectual echo of the voice of the Upanishads and the manner of the Gita. These poems, if inferior to the grandeur and beauty of earlier Indian work, are at least equal in poetic style and superior in height of thought to the same kind anywhere else and deservedly survive to fulfil the aim intended by their writers. And one must not omit to mention a few snatches of philosophic song here  

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and there that are a quintessence at once of philosophic thought and poetic beauty, or the abundant literature of hymns, many of them consummate in their power and fervour and their charm of rhythm and expression which prepare us for the similar but larger work in the later regional literature.

The philosophical creations of India differ in this respect from the bulk of the metaphysical thinking of Europe that even when they most adopt the intellectual form and method, yet their real substance is not intellectual, but is rather the result of a subtle and very profound intelligence working on the stuff of sight and spiritual experience. This is the result of the constant unity India has preserved between philosophy, religion and Yoga. The philosophy is the intuitive or intellectual presentation of the truth that was sought for first through the religious mind and its experiences and it is never satisfied by discovering truth to the idea and justifying it to the logical intelligence, although that is admirably done, but has its eye always turned to realisation in the soul's life, the object of Yoga. The thinking of this age, even in giving so much prominence to the intellectual side, does not depart from this constant need of the Indian temperament. It works out from spiritual experience through the exact and laborious inspection and introspection of the intellect and works backward and in again from the intellectual perceptions to new gains of spiritual experience. There is indeed a tendency of fragmentation and exclusiveness; the great integral truth of the Upanishads has already been broken into divergent schools of thought and these are now farther subdividing into still less comprehensive systems; but still in each of these lessened provinces there is a gain of minute or intensive searching and on the whole, if a loss of breadth on the heights, in recompense some extension of assimilable spiritual knowledge. And this rhythm of exchange between the spirit and the intelligence, the spirit illumining, the intelligence searching and arriving and helping the lower life to absorb the intuitions of the spirit, did its part in giving Indian spirituality a wonderful intensity, security and persistence not exampled in any other people. It is indeed largely the work of these philosophers who were at the same time Yogins that  

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saved the soul of India alive through the gathering night of her decadence.

This however could not have been done without the aid of a great body of more easily seizable ideas, forms, images, appealing to the imagination, emotions, ethical and aesthetic sense of the people, that had to be partly an expression of the higher spiritual truth and partly a bridge of transition between the normal religious and the spiritual mentality. The need was met by the Tantras and Puranas. The Puranas are the religious poetry peculiar to this period: for although the form probably existed in ancient times, it is only now that it was entirely developed and became the characteristic and the principal literary expression of the religious spirit, and it is to this period that we must attribute, not indeed all the substance, but the main bulk and the existing shape of the Puranic writings. The Puranas have been much discredited and depreciated in recent times, since the coming in of modern ideas coloured by Western rationalism and the turning of the intelligence under new impulses back towards the earlier fundamental ideas of the ancient culture. Much however of this depreciation is due to an entire misunderstanding of the purpose, method and sense of the mediaeval religious writings. It is only in an understanding of the turn of the Indian religious imagination and of the place of these writings in the evolution of the culture that we can seize their sense.

In fact the better comprehension that is now returning to us of our own self and past shows that the Puranic religions are only a new form and extension of the truth of the ancient spirituality and philosophy and socio-religious culture. In their avowed intention they are popular summaries of the cosmogony, symbolic myth and image, tradition, cult, social rule of the Indian people continued, as the name Purana signifies, from ancient times. There is no essential change, but only a change of forms. The psychic symbols or true images of truth belonging to the Vedic age disappear or are relegated to a subordinate plan with a changed and diminished sense: others take their place more visibly large in aim, cosmic, comprehensive, not starting with conceptions drawn from the physical universe, but supplied  

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entirely from the psychic universe within us. The Vedic gods and goddesses conceal from the profane by their physical aspect their psychic and spiritual significance. The Puranic trinity and the forms of its female energies have on the contrary no meaning to the physical mind or imagination, but are philosophic and psychic conceptions and embodiments of the unity and multiplicity of the all-manifesting Godhead. The Puranic cults have been characterised as a degradation of the Vedic religion, but they might conceivably be described, not in the essence, for that remains always the same, but in the outward movement, as an extension and advance. Image worship and temple cult and profuse ceremony, to whatever superstition or externalism their misuse may lead, are not necessarily a degradation. The Vedic religion had no need of images, for the physical signs of its godheads were the forms of physical Nature and the outward universe was their visible house. The Puranic religion worshipped the psychical forms of the Godhead within us and had to express it outwardly in symbolic figures and house it in temples that were an architectural sign of cosmic significances. And the very inwardness it intended necessitated a profusion of outward symbol to embody the complexity of these inward things to the physical imagination and vision. The religious aesthesis has changed, but the meaning of the religion has been altered only in temperament and fashion, not in essence. The real difference is this that the early religion was made by men of the highest mystic and spiritual experience living among a mass still impressed mostly by the life of the physical universe: the Upanishads casting off the physical veil created a free transcendent and cosmic vision and experience and this was expressed by a later age to the mass in images containing a large philosophical and intellectual meaning of which the Trinity and the Shaktis of Vishnu and Shiva are the central figures: the Puranas carried forward this appeal to the intellect and imagination and made it living to the psychic experience, the emotions, the aesthetic feeling and the senses. A constant attempt to make the spiritual truths discovered by the Yogin and the Rishi integrally expressive, appealing, effective to the whole nature of man and to  

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provide outward means by which the ordinary mind, the mind of a whole people might be drawn to a first approach to them is the sense of the religio-philosophic evolution of Indian culture.

It is to be observed that the Puranas and Tantras contain in themselves the highest spiritual and philosophical truths, not broken up and expressed in opposition to each other as in the debates of the thinkers, but synthetised by a fusion, relation or grouping in the way most congenial to the catholicity of the Indian mind and spirit. This is done sometimes expressly, but most often in a form which might carry something of it to the popular imagination and feeling by legend, tale, symbol, apologue, miracle and parable. An immense and complex body of psycho-spiritual experience is embodied in the Tantras, supported by visual images and systematised in forms of Yogic practice. This element is also found in the Puranas, but more loosely and cast out in a less strenuous sequence. This method is after all simply a prolongation, in another form and with a temperamental change, of the method of the Vedas. The Puranas construct a system of physical images and observances each with its psychical significance. Thus the sacredness of the confluence of the three rivers, Ganga, Yamuna and Saraswati, is a figure of an inner confluence and points to a crucial experience in a psychophysical process of Yoga and it has too other significances, as is common in the economy of this kind of symbolism. The so-called fantastic geography of the Puranas, as we are expressly told in the Puranas themselves, is a rich poetic figure, a symbolic geography of the inner psychical universe. The cosmogony expressed sometimes in terms proper to the physical universe has, as in the Veda, a spiritual and psychological meaning and basis. It is easy to see how in the increasing ignorance of later times the more technical parts of the Puranic symbology inevitably lent themselves to much superstition and to crude physical ideas about spiritual and psychic things. But that danger attends all attempts to bring them to the comprehension of the mass of men and this disadvantage should not blind us to the enormous effect produced in training the mass mind to respond to a psycho-religious and psycho-spiritual appeal that prepares a capacity  

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for higher things. That effect endures even though the Puranic system may have to be superseded by a finer appeal and the awakening to more directly subtle significances, and if such a supersession becomes possible, it will itself be due very largely to the work done by the Puranas.

The Puranas are essentially a true religious poetry, an art of aesthetic presentation of religious truth. All the bulk of the eighteen Puranas does not indeed take a high rank in this kind: there is much waste substance and not a little of dull and dreary matter, but on the whole the poetic method employed is justified by the richness and power of the creation. The earliest work is the best — with one exception at the end in a new style which stands by itself and is unique. The Vishnu Purana for instance in spite of one or two desert spaces is a remarkable literary creation of a very considerable quality maintaining much of the direct force and height of the old epic style. There is in it a varied movement, much vigorous and some sublime epic writing, an occasional lyrical element of a lucid sweetness and beauty, a number of narratives of the finest verve and skilful simplicity of poetic workmanship. The Bhagavat coming at the end and departing to a great extent from the more popular style and manner, for it is strongly affected by the learned and more ornately literary form of speech, is a still more remarkable production full of subtlety, rich and deep thought and beauty. It is here that we get the culmination of the movement which had the most important effects on the future, the evolution of the emotional and ecstatic religions of Bhakti. The tendency that underlay this development was contained in the earlier forms of the religious mind of India and was slowly gaining ground, but it had hitherto been overshadowed and kept from its perfect formation by the dominant tendency towards the austerities of knowledge and action and the seeking of the spiritual ecstasy only on the highest planes of being. The turn of the classical age outward to the exterior life and the satisfaction of the senses brought in a new inward turn of which the later ecstatic forms of the Vaishnava religion were the most complete manifestation. Confined to the secular and outward this fathoming of vital  

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and sensuous experience might have led only to a relaxation of nerve and vigour, an ethical degeneracy or licence; but the Indian mind is always compelled by its master impulse to reduce all its experience of life to the corresponding spiritual term and factor and the result was a transfiguring of even these most external things into a basis for new spiritual experience. The emotional, the sensuous, even the sensual motions of the being, before they could draw the soul farther outward, were taken and transmuted into a psychical form and, so changed, they became the elements of a mystic capture of the Divine through the heart and the senses and a religion of the joy of God's love, delight and beauty. In the Tantra the new elements are taken up and assigned their place in a complete psycho-spiritual and psycho-physical science of Yoga. Its popular form in the Vaishnava religion centres round the mystic apologue of the pastoral life of the child Krishna. In the Vishnu Purana the tale of Krishna is a heroic saga of the divine Avatar: in later Puranas we see the aesthetic and erotic symbol developing and in the Bhagavat it is given its full power and prepared to manifest its entire spiritual and philosophic as well as its psychic sense and to remould into its own lines by a shifting of the centre of synthesis from knowledge to spiritual love and delight the earlier significance of Vedanta. The perfect outcome of this evolution is to be found in the philosophy and religion of divine love promulgated by Chaitanya.

It is the later developments of Vedantic philosophy, the Puranic ideas and images and the poetic and aesthetic spirituality of the religions of devotion that inspired from their birth the regional literatures. The literature of the Sanskrit tongue does not come to any abrupt end. Poetry of the classical type continues to be written especially in the South down to a comparatively late period and Sanskrit remains still the language of philosophy and of all kinds of scholarship: all prose work, all the work of the critical mind is written in the ancient tongue. But the genius rapidly fades out from it, it becomes stiff, heavy and artificial and only a scholastic talent remains to keep it in continuance. In every province the local tongues arise here earlier, there a little later to the dignity of literature and become the vehicle of  

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poetic creation and the instrument of popular culture. Sanskrit, although not devoid of popular elements, is essentially and in the best sense an aristocratic speech developing and holding to the necessity of a noble aspiration and the great manner a high spiritual, intellectual, ethical and aesthetic culture, then possible in this manner only to the higher classes, and handing it down by various channels of impression and transfusion and especially by religion, art and social and ethical rule to the mass of the people. Pali in the hands of the Buddhists becomes a direct means of this transmission. The poetry of the regional tongues on the contrary creates, in every sense of the word, a popular literature. The Sanskrit writers were men of the three highest castes, mostly Brahmins and Kshatriyas, and later they were learned men writing for a highly cultured elite; the Buddhist writers too were for the most part philosophers, monks, kings, preachers writing sometimes for themselves, sometimes in a more popular form for the mass of the people; but the poetry of the regional tongues sprang straight from the heart of the people and its writers came from all classes from the Brahmin to the lowest Shudra and the outcaste. It is only in Urdu and to a less degree in the Southern tongues, as in Tamil whose great period is contemporaneous with the classical Sanskrit, its later production continuing during the survival of independent or semi-independent courts and kingdoms in the South, that there is a strong influence of the learned or classical temperament and habit; but even here there is a very considerable popular element as in the songs of the Shaiva saints and Vaishnava Alwars. The field here is too large to be easily known in its totality or to permit of a rapid survey, but something must be said of the character and value of this later literature that we may see how vital and persistently creative Indian culture remained even in a period which compared with its greater times might be regarded as a period of restriction and decadence.

As the Sanskrit literature begins with the Vedas and Upanishads, these later literatures begin with the inspired poetry of saints and devotees: for in India it is always a spiritual movement that is the source or at least imparts the impulse of formation  

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to new ideas and possibilities and initiates the changes of the national life. It is this kind that predominated almost throughout the creative activity of most of these tongues before modern times, because it was always poetry of this type that was nearest to the heart and mind of the people; and even where the work is of a more secular spirit, the religious turn enters into it and provides the framework, a part of the tone or the apparent motive. In abundance, in poetic excellence, in the union of spontaneous beauty of motive and lyrical skill this poetry has no parallel in its own field in any other literature. A sincerity of devotional feeling is not enough to produce work of this high turn of beauty, as is shown by the sterility of Christian Europe in this kind; it needs a rich and profound spiritual culture. Another part of the literature is devoted to the bringing of something of the essence of the old culture into the popular tongues through new poetic versions of the story of the Mahabharata and the Ramayana or in romantic narrative founded on the ancient legends; and here again we have work of the very greatest genius as well as much of a lesser but still high order. A third type presents vividly the religious beliefs and feelings of the people, the life of court and city and village and hamlet, of landholder and trader and artisan and peasant. The bulk of the work done in the regional tongues falls under one or other of these heads, but there are variations such as the religio-ethical and political poems of Ramdas in Maharashtra or the gnomic poetry, the greatest in plan, conception and force of execution ever written in this kind, of the Tamil saint, Tiruvalluvar. There is too in one or two of these languages a later erotic poetry not without considerable lyrical beauty of an entirely mundane inspiration. The same culture reigns amid many variations of form in all this work of the regional peoples, but each creates on the lines of its own peculiar character and temperament and this gives a different stamp, the source of a rich variety in the unity, to each of these beautiful and vigorous literatures.

Thus under the stress of temperamental variation the poetry of the Vaishnavas puts on very different artistic forms in different provinces. There is first the use of the psychical symbol created  

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by the Puranas, and this assumes its most complete and artistic shape in Bengal and becomes there a long continued tradition. The desire of the soul for God is there thrown into symbolic figure in the lyrical love cycle of Radha and Krishna, the Nature soul in man seeking for the Divine Soul through love, seized and mastered by his beauty, attracted by his magical flute, abandoning human cares and duties for this one overpowering passion and in the cadence of its phases passing through first desire to the bliss of union, the pangs of separation, the eternal longing    and reunion, the līlā of the love of the human spirit for God. There is a settled frame and sequence, a subtly simple lyrical rhythm, a traditional diction of appealing directness and often of intense beauty. This accomplished lyrical form springs at once to perfect birth from the genius of the first two poets who used the Bengali tongue, Vidyapati, a consummate artist of word and line, and the inspired singer Chandidas in whose name stand some of the sweetest and most poignant and exquisite love-lyrics in any tongue. The symbol here is sustained in its most external figure of human passion and so consistently that it is now supposed by many to mean nothing else, but this is quite negatived by the use of the same figures by the devout poets of the religion of Chaitanya. All the spiritual experience that lay behind the symbol was embodied in that inspired prophet and incarnation of the ecstasy of divine love and its spiritual philosophy put into clear form in his teaching. His followers continued the poetic tradition of the earlier singers and though they fall below them in genius, yet left behind a great mass of this kind of poetry always beautiful in form and often deep and moving in substance. Another type is created in the perfect lyrics of the Rajput queen Mirabai, in which the images of the Krishna symbol are more directly turned into a song of the love and pursuit of the divine Lover by the soul of the singer. In the Bengal poetry the expression preferred is the symbolic figure impersonal to the poet: here a personal note gives the peculiar intensity to the emotion. This is given a still more direct turn by a southern poetess in the image of herself as the bride of Krishna. The peculiar power of this kind of Vaishnava religion and poetry  

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is in the turning of all the human emotions Godward, the passion of love being preferred as the intensest and most absorbing of them all, and though the idea recurs wherever there has been a strong development of devotional religion, it has nowhere been used with so much power and sincerity as in the work of the Indian poets.

Other Vaishnava poetry does not use the Krishna symbol, but is rather addressed in language of a more direct devotion to Vishnu or centres sometimes around the Rama Avatar. The songs of Tukaram are the best known of this kind. The Vaishnava poetry of Bengal avoids except very rarely any element of intellectualising thought and relies purely on emotional description, a sensuous figure of passion and intensity of feeling: Maratha poetry on the contrary has from the beginning a strong intellectual strain. The first Marathi poet is at once a devotee, a Yogin and a thinker; the poetry of the saint Ramdas, associated with the birth and awakening of a nation, is almost entirely a stream of religious ethical thinking raised to the lyrical pitch; and it is the penetrating truth and fervour of a thought arising from the heart of devotion that makes the charm and power of Tukaram's songs. A long strain of devotee poets keeps sounding the note that he struck and their work fills the greater space of Marathi poetry. The same type takes a lighter and more high-pitched turn in the poetry of Kabir. In Bengal again at the end of the Mahomedan period there is the same blending of fervent devotion with many depths and turns of religious thought in the songs of Ramprasad to the divine Mother, combined here with a vivid play of imagination turning all familiar things into apt and pregnant images and an intense spontaneity of feeling. In the South a profounder philosophic utterance is often fused into the devotional note, especially in the Shaiva poets, and, as in the early Sanskrit poetry, vivified by a great power of living phrase and image, and farther north the high Vedantic spirituality renews itself in the Hindi poetry of Surdas and inspires Nanak and the Sikh gurus. The spiritual culture prepared and perfected by two millenniums of the ancient civilisation has flooded the mind of all these peoples and given birth to great new literatures and  

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its voice is heard continually through all their course.

The narrative poetry of this age is less striking and original except for a certain number of great or famous works. Most of these tongues have felt the cultural necessity of transferring into the popular speech the whole central story of the Mahabharata or certain of its episodes and, still more universally, the story of the Ramayana. In Bengal there is the Mahabharata of Kashiram, the gist of the old epic simply retold in a lucid classical style, and the Ramayana of Krittibas, more near to the vigour of the soil, neither of them attaining to the epic manner but still written with a simple poetic skill and a swift narrative force. Only two however of these later poets arrived at a vividly living recreation of the ancient story and succeeded in producing a supreme masterpiece, Kamban, the Tamil poet who makes of his subject a great original epic, and Tulsidas whose famed Hindi Ramayana combines with a singular mastery lyric intensity, romantic richness and the sublimity of the epic imagination and is at once a story of the divine Avatar and a long chant of religious devotion. An English historian of the literature has even claimed for Tulsidas's poem superiority to the epic of Valmiki: that is an exaggeration and, whatever the merits, there cannot be a greater than the greatest, but that such claims can be made for Tulsidas and Kamban is evidence at least of the power of the poets and a proof that the creative genius of the Indian mind has not declined even in the narrowing of the range of its culture and knowledge. All this poetry indeed shows a gain in intensity that compensates to some extent for the loss of the ancient height and amplitude.

While this kind of narrative writing goes back to the epics, another seems to derive its first shaping and motive from the classical poems of Kalidasa, Bharavi and Magha. A certain number take for their subject, like that earlier poetry, episodes of the Mahabharata or other ancient or Puranic legends, but the classical and epic manner has disappeared, the inspiration resembles more that of the Puranas and there is the tone and the looser and easier development of the popular romance. This kind is commoner in western India and excellence in it is the title to fame of Premananda, the most considerable of the Gujerati  

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poets. In Bengal we find another type of half-romantic half-realistic narrative which develops a poetic picture of the religious mind and life and scenes of contemporary times and has a strong resemblance in its motive to the more outward element in the aim of Rajput painting. The life of Chaitanya written in a simple and naive romance verse, appealing by its directness and sincerity but inadequate in poetic form, is a unique contemporary presentation of the birth and foundation of a religious movement. Two other poems that have become classics, celebrate the greatness of Durga or Chandi, the goddess who is the Energy of Shiva, — the "Chandi" of Mukundaram, a pure romance of great poetic beauty which presents in its frame of popular legend a very living picture of the life of the people, and the "Annadamangal" of Bharatchandra repeating in its first part the Puranic tales of the gods as they might be imagined by the Bengali villager in the type of his own human life, telling in the second a romantic love story and in the third a historical incident of the time of Jehangir, all these disparate elements forming the development of the one central motive and presented without any imaginative elevation but with an unsurpassable vividness of description and power of vital and convincing phrase. All this poetry, the epic and the romance, the didactic poem, of which Ramdas and the famous Kural of Tiruvalluvar are the chief representatives, and the philosophic and devotional lyrics are not the creation or meant for the appreciation of a cultivated class, but with few exceptions the expression of a popular culture. The Ramayana of Tulsidas, the songs of Ramprasad and of the Bauls, the wandering Vaishnava devotees, the poetry of Ramdas and Tukaram, the sentences of Tiruvalluvar and the poetess Avvai and the inspired lyrics of the southern saints and Alwars were known to all classes and their thought or their emotion entered deeply into the life of the people.

I have dwelt at this length on the literature because it is, not indeed the complete, but still the most varied and ample record of the culture of a people. Three millenniums at least of a creation of this kind and greatness are surely the evidence of a real and very remarkable culture. The last period shows no  

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doubt a gradual decline, but one may note the splendour even of the decline and especially the continued vitality of religious, literary and artistic creation. At the moment when it seemed to be drawing to a close it has revived at the first chance and begins again another cycle, at first precisely in the three things that lasted the longest, spiritual and religious activity, literature and painting, but already the renewal promises to extend itself to all the many activities of life and culture in which India was once a great and leading people.  

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