ESSAYS DIVINE AND HUMAN

 

 

 

CONTENTS  

 

Pre-content

 

 

 

Part One

Essays Divine and Human

 

Section One (circa 1911)

 

Certitudes

Moksha

Man

Philosophy

The Siddhis

The Psychology of Yoga

 

 

 

Section Two (1910 ­ 1913)

 

Na Kinchidapi Chintayet

The Sources of Poetry

The Interpretation of Scripture

On Original Thinking

The Balance of Justice

Social Reform

Hinduism and the Mission of India

 

The Psychology of Yoga

 

The Claims of Theosophy

Science and Religion in Theosophy

Sat

Sachchidananda

The Silence behind Life

 

 

 

Section Three (circa 1913)

 

The Psychology of Yoga

Initial Definitions and Descriptions

The Object of Our Yoga

 

Purna Yoga

I. The Entire Purpose of Yoga

II. Parabrahman, Mukti and Human Thought-Systems

III. Parabrahman and Parapurusha

 

Natural and Supernatural Man

The Evolutionary Aim in Yoga

The Fullness of Yoga—In Condition

Nature

Maya

 

 

 

Section Four (1914 ­ 1919)

 

The Beginning and the End

The Hour of God

Beyond Good and Evil

The Divine Superman

 

 

Section Five (1927 and after)

 

The Law of the Way

Man and the Supermind

The Involved and Evolving Godhead

The Evolution of Consciousness

The Path

 

 

 

 

Part Two

From Man to Superman: Notes and Fragments on Philosophy, Psychology and Yoga

 

Section One. Philosophy: God, Nature and Man

 

God: The One Reality

Nature: The World-Manifestation

Man and Superman

 

 

Section Two. Psychology: The Science of Consciousness

 

The Problem of Consciousness

Consciousness and the Inconscient

The Science of Consciousness

 

 

Section Three. Yoga: Change of Consciousness and Transformation of Nature

 

The Way of Yoga

Partial Systems of Yoga

Integral Yoga

 

 

 

Part Three

Notes and Fragments on Various Subjects

 

 

Section One. The Human Being in Time

 

The Marbles of Time

A Theory of the Human Being

A Cyclical Theory of Evolution

 

 

Section Two. The East and the West

 

A Misunderstanding of Continents

Towards Unification

China, Japan and India

 

 

Section Three. India

 

Renascent India

Where We Stand in Literature

 

 

 

Section Four. Genius, Poetry, Beauty

 

The Origin of Genius

Poetic Genius

The Voices of the Poets

Pensées

A Dream

The Beauty of a Crow's Wings

 

 

Section Five. Science, Religion, Reason, Justice

 

Science

Religion

Reason and Society

Justice

 

 

 

Part Four

Thoughts and Aphorisms

 

Jnana

Karma

Bhakti

Additional Aphorisms

 

 

 

NOTE ON THE TEXTS

 

 

Pensées

 

God has a personality but no character; He is as we say in our Eastern thought, Anantaguna, of an infinite variation of qualities without fixed limitation or rigid distinction and incompatibility. His superhuman cruelty melts into and harmonises with His ineffable pity; His fierce enmity is one mask of His intensest love. For, being alone existent, He is irresponsible and the harmonies He creates, are the figment of His own plastic will and governed by laws of aesthetics determined in His own unfettered but infallible fantasy. Out of His infinite personality He creates all these characters & their inevitable actions & destinies. So it is with every divine creator,—with Homer, Shakespeare, Valmiki, Kalidasa. It is perfectly true that each has his own style of language & creation, his own preferred system or harmony of the poetic Art, just as the creator of this universe has fashioned it in a particular style & rhythm & on certain preferred & fixed canons, differing from that of the other universes He may have built in His infinite Being. But within that style & harmony they are not bound by any fixed personality. It is rather the infinite they express though through their personality, than their personality through their works. The writers who are limited by their personality may be among the fine artists of literature; they cannot be among the greatest creators; for to the creator freedom & infinity are necessary attributes. It is the infinite alone that can create; the finite can only manufacture, reproduce or at the most bring out a fine art & craftsmanship. Among all the Elizabethan dramatists Shakespeare alone has produced living men; the rest are only admirable, trivial or monstrous sketches, caricatures or images of men. There is, however, one exception to this rule; every man can at his best moments cast out, create in some way or another—for in our Indian languages the word for creating is casting out, letting free out of one's own being—one living   

 

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creature & character,—himself. Milton has produced several bold & beautiful or fine outlines or descriptions, but only one living being, the rebel Archangel Satan, and only so in the first four books of Paradise Lost does Satan really live. When Milton ceases to portray himself in his fallen state and thinks only of his plot & subject, Satan also ceases to live. But the great impersonal creators even in their slightest creations, cannot help creating life. Impersonal, I say, but I do not mean by impersonality the nirguna, devoid or pure of quality, but rather the unfixed & unlimited by quality,—an infinite & indefinable personality out of which is not manufactured or cunningly shaped but perfectly & inevitably arises under the compelling eye of an intuitive Will to be this created world of innumerable brilliantly-coloured variously outlined individual existences.

 

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