\n| <\/p>\n <\/span> <\/p>\n
\n
\nThe Age of Kalidasa <\/b><\/span><\/p>\n <\/p>\n <\/p>\n <\/p>\n
\n
\nV<\/span>ALMIKI<\/span><\/b>, Vyasa and Kalidasa are the essence of the history of ancient India; if all else were lost, they would still
\nbe its sole and sufficient cultural history. Their poems are types and exponents of three periods in the development
\nof the human soul, types and exponents also of the three great powers which dispute and clash in the imperfect and half-formed
\ntemperament and harmonise in the formed and perfect. At the same time their works are pictures at once minute and grandiose
\nof three moods of our Aryan civilisation, of which the first was predominatingly moral, the second predominatingly intellectual,
\nthe third predominatingly material. The fourth power of the soul, the spiritual, which can alone govern and harmonise the
\nothers by fusion with them, had not, though it pervaded and powerfully influenced each successive development, any separate
\nage of predominance, did not like the others possess the whole race with a dominating obsession. It is because, conjoining in
\nthemselves the highest and most varied poetical gifts, they at the same time represent and mirror their age and humanity by their
\ninterpretative largeness and power that our three chief poets hold their supreme place and bear comparison with the greatest
\nworld-names, with Homer, Shakespeare and Dante. It has been said, truly, that the Ramayana represents an ideal
\nsociety and assumed, illogically, that it must therefore represent an altogether imaginary one. The argument ignores the alternative of a real society idealised. No poet could evolve entirely out of his own imagination a picture at once so colossal, so minute
\nand so consistent in every detail. No number of poets could do it without stumbling into fatal incompatibilities either of fact or
\nof view, such as we find defacing the Mahabharata. This is not the place to discuss the question of Valmiki’s age and authorship. This much, however, may be said that after excluding the
\n<\/span><\/span><\/p>\n <\/p>\n
\nPage<\/span> \u2013 156<\/span><\/span><\/p>\n <\/p>\n
\n <\/p>\n
\nUttarakanda, which is a later work, and some amount of interpolation, for the most part easy enough to detect, and reforming
\nthe text which is not unfrequently in a state of truly shocking confusion, the Ramayana remains on the face of it the work of a
\nsingle mighty and embracing mind. It is not easy to say whether it preceded or followed in date Vyasa’s epic; it is riper in form
\nand tone, has some aspects of a more advanced and mellow culture, and yet it gives the general impression of a younger
\nhumanity and an earlier less sophisticated and complex mind. The nature of the poem and much of its subject matter might
\nat least justify the conclusion that Valmiki wrote in a political and social atmosphere much resembling that which surrounded
\nVyasa. He lived, that is to say, in an age of approaching if not present disorder and turmoil, of great revolutions and unbridled
\naristocratic violence, when the governing chivalry, the Kshatriya caste, in its pride of strength was asserting its own code
\nof morals as the one rule of conduct. We may note the plain assertion of this stand-point by Jarasandha in the Mahabharata
\nand Valmiki’s emphatic and repeated protest against it through the mouth of Rama. This ethical code was like all aristocratic
\ncodes of conduct full of high chivalry and the spirit of noblesse<\/i> oblige<\/i>, but a little loose in sexual morality on the masculine side
\nand indulgent to violence and the strong hand. To the pure and delicate moral temperament of Valmiki, imaginative, sensitive,
\nenthusiastic, shot through with rays of visionary idealism and ethereal light, this looseness and violence were shocking and abhorrent. He could sympathise with them, as he sympathised with all that was wild and evil and anarchic, with the imaginative and
\npoetical side of his nature, because he was a universal creative mind driven by his art-sense to penetrate, feel and re-embody
\nall that the world contained; but to his intellect and peculiar emotional temperament they were distasteful. He took refuge
\ntherefore in a past age of national greatness and virtue, distant enough to be idealised, but near enough to have left sufficient
\nmaterials for a great picture of civilisation which would serve his purpose, -an age, it is important to note, of grandiose imperial
\nequipoise, such as must have existed in some form at least since <\/span><\/span><\/p>\n <\/p>\n <\/p>\n
\nPage<\/span> \u2013 157<\/span><\/span><\/p>\n <\/p>\n
\n <\/p>\n
\na persistent tradition of it runs through Sanskrit literature. In the framework of this imperial age, his puissant imagination
\ncreated a marvellous picture of the human world as it might be if the actual and existing forms and material of society were
\nused to the best and purest advantage, and an equally marvellous picture of another non-human world in which aristocratic
\nviolence, strength, self-will, lust and pride ruled supreme and idealised or rather colossalised. He brought these two worlds
\ninto warlike collision by the hostile meeting of their champions and utmost evolutions of their peculiar character-types, Rama
\nand Ravana, and so created the Ramayana, the grandest and most paradoxical poem in the world, which becomes unmatchably sublime by disdaining all consistent pursuit of sublimity, supremely artistic by putting aside all the conventional limitations of art, magnificently dramatic by disregarding all dramatic illusion, and uniquely epic by handling the least as well as the
\nmost epic material. Not all perhaps can enter at once into the spirit of this masterpiece; but those who have once done so, will
\nnever admit any poem in the world as its superior. My point here, however, is that it gives us the picture of
\nan entirely moralised civilisation, containing indeed vast material development and immense intellectual power, but both
\nmoralised and subordinated to the needs of purity of temperament and delicate ideality of action. Valmiki’s mind seems
\nnowhere to be familiarised with the high-strung intellectual gospel of a high and severe Dharma culminating in a passionless
\nactivity, raised to a supreme spiritual significance in the Gita, which is one great keynote of the Mahabharata. Had he known
\nit, the strong leaven of sentimentalism and femininity in his nature might well have rejected it; such temperaments when they
\nadmire strength, admire it manifested and forceful rather than self-contained. Valmiki’s characters act from emotional or imaginative enthusiasm, not from intellectual conviction; an enthusiasm of morality actuates Rama, an enthusiasm of immorality
\ntyrannises over Ravana. Like all mainly moral temperaments, he instinctively insisted on one old established code of morals being
\nuniversally observed as the only basis of ethical stability, avoided <\/span><\/span><\/p>\n <\/p>\n <\/p>\n
\nPage<\/span> \u2013 158<\/span><\/span><\/p>\n <\/p>\n
\n <\/p>\n
\ncasuistic developments and distasted innovators in metaphysical thought as by their persistent and searching questions dangerous
\nto the established bases of morality, especially to its wholesome ordinariness and everydayness. Valmiki, therefore, the father
\nof our secular poetry, stands for that early and finely moral civilisation which was the true heroic age of the Hindu spirit.
\n<\/span><\/span><\/p>\n
\nThe poet of the Mahabharata lives nearer to the centre of an era of aristocratic turbulence and disorder. If there is any
\nkernel of historic truth in the story of the poem, it records the establishment of those imperial forms of government and
\nsociety which Valmiki had idealised. Behind its poetic legend it celebrates and approves the policy of a great Kshatriya leader
\nof men who aimed at the subjection of his order to the rule of a central imperial power which should typify its best tendencies
\nand control or expel its worst. But while Valmiki was a soul out of harmony with its surroundings and looking back to an
\nideal past, Vyasa was a man of his time, profoundly in sympathy with it, full of its tendencies, hopeful of its results and looking
\nforward to an ideal future. The one might be described as a conservative idealist advocating return to a better but departed
\nmodel, the other is a progressive realist looking forward to a better but unborn model. Vyasa accordingly does not revolt
\nfrom the aristocratic code of morality; it harmonises with his own proud and strong spirit and he accepts it as a basis for
\nconduct, but purified and transfigured by the illuminating idea . \u00af<\/i>
\nof the niskama dharma<\/i>. <\/span><\/span><\/p>\n
\nBut above all intellectuality is his grand note, he is profoundly interested in ideas, in metaphysics, in ethical problems; he subjects morality to casuistic tests from which the more
\ndelicate moral tone of Valmiki’s spirit shrank; he boldly erects above ordinary ethics a higher principle of conduct having its
\nsprings in intellect and strong character; he treats government and society from the standpoint of a practical and discerning
\nstatesmanlike mind, idealising solely for the sake of a standard. He touches in fact all subjects, and whatever he touches he
\nmakes fruitful and interesting by originality, penetration and a sane and bold vision. In all this he is the son of the civilisation<\/span><\/span><\/p>\n <\/span><\/p>\n
\nPage<\/span> \u2013 159<\/span><\/span><\/p>\n <\/p>\n
\n <\/p>\n he has mirrored to us, a civilisation in which both morality and material development are powerfully intellectualised. Nothing
\nis more remarkable in all the characters of the Mahabharata than this puissant intellectualism; every action of theirs seems
\nto be impelled by an immense driving force of mind solidifying in character and therefore conceived and outlined as in stone.
\nThis orgiastic force of the intellect is at least as noticeable as the impulse of moral or immoral enthusiasm behind each great
\naction of the Ramayana. Throughout the poem the victorious and manifold mental activity of an age is prominent and gives its
\ncharacter to its civilisation. There is far more of thought in action than in the Ramayana, far less of thought in repose; the one
\npictures a time of gigantic creative ferment and disturbance; the other, as far as humanity is concerned, an ideal age of equipoise,
\ntranquillity and order. <\/span><\/p>\n <\/p>\n Many centuries after these poets, perhaps a thousand years
\nor even more, came the third great embodiment of the national consciousness, Kalidasa. There is a far greater difference
\nbetween the civilisation he mirrors than between Vyasa’s and Valmiki’s. He came when the daemonic orgy of character and
\nintellect had worked itself out and ended in producing at once its culmination and reaction in Buddhism. There was everywhere
\nnoticeable a petrifying of the national temperament, visible to us in the tendency to codification; philosophy was being codified,
\nmorals were being codified, knowledge of any and every sort was being codified; it was on one side of its nature an age of scholars,
\nlegists, dialecticians, philosophical formalisers. On the other side the creative and aesthetic enthusiasm of the nation was pouring
\nitself into things material, into the life of the senses, into the pride of life and beauty. The arts of painting, architecture, song, dance,
\ndrama, gardening, jewellery, all that can administer to the wants of great and luxurious capitals, received a grand impetus which
\nbrought them to their highest technical perfection. That this impetus came from Greek sources or from the Buddhists seems
\nhardly borne out: the latter may rather have shared in the general tendencies of the time than originated them, and the Greek
\ntheory gives us a maximum of conclusions with a minimum <\/span><\/p>\n <\/p>\n
\nPage<\/span> \u2013 1<\/span>60<\/span><\/p>\n <\/p>\n
\n <\/p>\n of facts. I do not think, indeed, it can be maintained that this period, call it classical or material or what one will, was marked
\noff from its predecessor by any clear division: such a partition would be contrary to the law of human development. Almost all
\nthe concrete features of the age may be found as separate facts in ancient India: codes existed from old time; art and drama were
\nof fairly ancient origin, to whatever date we may assign their development; physical yoga processes existed almost from the
\nfirst, and the material development portrayed in the Ramayana and Mahabharata is hardly less splendid than that of which the
\nRaghuvamsa is so brilliant a picture. But whereas, before, these were subordinated to more lofty ideals, now they prevailed and
\nbecame supreme, occupying the best energies of the race and stamping themselves on its life and consciousness. In obedience
\nto this impulse the centuries between the rise of Buddhism and the advent of Shankaracharya became, though not agnostic and
\nsceptical, for they rejected violently the doctrines of Charvak, yet profoundly scientific and outward-going even in their spiritualism. It was therefore the great age of formalised metaphysics, science, law, art and the sensuous luxury which accompanies the
\narts. <\/span><\/p>\n <\/p>\n Nearer the beginning than the end of this period, when
\nIndia was systematising her philosophies and developing her arts and sciences, turning from Upanishad to Purana, from the high
\nrarefied peaks of early Vedanta and Sankhya with their inspiring sublimities and bracing keenness to physical methods of ascetic
\nyoga and the dry intellectualism of metaphysical logic or else to the warm sensuous humanism of emotional religion, -before
\nits full tendencies had asserted themselves, in some spheres before it had taken the steps its attitude portended, Kalidasa arose
\nin Ujjayini and gathered up in himself its present tendencies while he foreshadowed many of its future developments. He
\nhimself must have been a man gifted with all the learning of his age, rich, aristocratic, moving wholly in high society, familiar with and fond of life in the most luxurious metropolis of his time, passionately attached to the arts, acquainted with
\nthe sciences, deep in law and learning, versed in the formalised <\/span><\/p>\n <\/p>\n
\nPage<\/span> \u2013 16<\/span><\/span>1<\/span><\/p>\n <\/p>\n
\n <\/p>\n philosophies. He has some notable resemblances to Shakespeare; among others his business was, like Shakespeare’s, to sum up the
\nimmediate past in the terms of the present: at the same time he occasionally informed the present with hints of the future. Like
\nShakespeare also he seems not to have cared deeply for religion. In creed he was a Vedantist and in ceremony perhaps a
\nSiva-worshipper, but he seems rather to have accepted these as the orthodox forms of his time and country, recommended to him
\nby his intellectual preference and aesthetic affinities, than to have satisfied with them any profound religious want. In morals
\nalso he accepted and glorified the set and scientifically elaborate ethics of the codes, but seems himself to have been destitute
\nof the finer elements of morality. We need not accept any of the ribald and witty legends with which the Hindu decadence
\nsurrounded his name; but no unbiased student of Kalidasa’s poetry can claim for him either moral fervour or moral strictness.
\nHis writings show indeed a keen appreciation of high ideal and lofty thought, but the appreciation is aesthetic in its nature: he
\nelaborates and seeks to bring out the effectiveness of these on the imaginative sense of the noble and grandiose, applying to
\nthe things of the mind and soul the same aesthetic standard as to the things of sense themselves. He has also the natural high
\naristocratic feeling for all that is proud and great and vigorous, and so far as he has it, he has exaltation and sublimity; but
\naesthetic grace and beauty and symmetry sphere in the sublime and prevent it from standing out with the bareness and boldness which is the sublime’s natural presentation. His poetry has, therefore, never been, like the poetry of Valmiki and Vyasa, a
\ngreat dynamic force for moulding heroic character or noble or profound temperament. In all this he represented the highly vital
\nand material civilisation to which he belonged. <\/span><\/p>\n <\/p>\n Yet some dynamic force a poet must have, some general human inspiration of which he is the supreme exponent; or else he cannot rank with the highest. Kalidasa is the great, the supreme
\npoet of the senses, of aesthetic beauty, of sensuous emotion. His main achievement is to have taken every poetic element, all
\ngreat poetical forms, and subdued them to a harmony of artistic <\/span><\/p>\n <\/p>\n
\nPage<\/span> \u2013 162<\/span><\/span><\/p>\n <\/p>\n
\n <\/p>\n perfection set in the key of sensuous beauty. In continuous gift of seizing an object and creating it to the eye he has no rival in literature. A strong visualising faculty such as the greatest poets have in their most inspired descriptive moments, was with Kalidasa
\nan abiding and unfailing power, and the concrete presentation which this definiteness of vision demanded, suffused with an
\nintimate and sovereign feeling for beauty of colour and beauty of form, constitutes the characteristic Kalidasian manner. He is
\nbesides a consummate artist, profound in conception and suave in execution, a master of sound and language who has moulded
\nfor himself out of the infinite possibilities of the Sanskrit tongue a verse and diction which are absolutely the grandest, most
\npuissant and most full-voiced of any human speech, a language of the Gods. The note struck by Kalidasa when he built Sanskrit
\ninto that palace of noble sound, is the note which meets us in almost all the best work of the classic literature. Its characteristic
\nfeatures of style are a compact but never abrupt brevity, a soft gravity and smooth majesty, a noble harmony of verse, a strong
\nand lucid beauty of chiselled prose, above all an epic precision of phrase, weighty, sparing and yet full of colour and sweetness.
\nMoreover it is admirably flexible, suiting itself to all forms from the epic to the lyric, but most triumphantly to the two greatest,
\nthe epic and the drama. In his epic style Kalidasa adds to these permanent features a more than Miltonic fullness and grandiose
\npitch of sound and expression, in his dramatic an extraordinary grace and suavity which makes it adaptable to conversation and
\nthe expression of dramatic shade and subtly blended emotion. <\/span><\/p>\n <\/p>\n With these supreme gifts Kalidasa had the advantage of
\nbeing born into an age with which he was in temperamental sympathy and a civilisation which lent itself naturally to his
\npeculiar descriptive genius. It was an aristocratic civilisation, as indeed were those which had preceded it, but it far more nearly
\nresembled the aristocratic civilisations of Europe by its material luxury, its aesthetic tastes, its polite culture, its keen worldly
\nwisdom and its excessive appreciation of wit and learning. Religious and ethical thought and sentiment were cultivated much
\nas in France under Louis XIV, more in piety and profession than <\/span><\/p>\n <\/p>\n
\nPage<\/span> \u2013 163<\/span><\/span><\/p>\n <\/p>\n
\n <\/p>\n as swaying the conduct; they pleased the intellect or else touched the sentiment, but did not govern the soul. It was bad taste to
\nbe irreligious, but it was not bad taste to be sensual or even in some respects immoral. The splendid and luxurious courts
\nof this period supported the orthodox religion and morals out of convention, conservatism, the feeling for established order
\nand the inherited tastes and prejudices of centuries, not because they fostered any deep religious or ethical sentiment. Yet they
\napplauded high moral ideas if presented to them in cultured and sensuous poetry much in the same spirit that they applauded
\nvoluptuous description similarly presented. The ideals of morality were much lower than of old; free drinking was openly
\nrecognised and indulged in by both sexes; purity of life was less valued than in any other period of our civilisation. Yet the
\nunconquerable monogamous instinct of the high-class Hindu woman seems to have prevented promiscuous vice and the disorganisation of the home which was the result of a similar state of society in ancient Rome, in Italy of the Renascence, in France
\nunder the Bourbons and in England under the later Stuarts. The old spiritual tendencies were also rather latent than dead, the
\nmighty pristine ideals still existed in theory, -they are outlined with extraordinary grandeur by Kalidasa, -nor had they yet
\nbeen weakened or lowered to a less heroic key. It was a time in which one might expect to meet the extremes of indulgence side
\nby side with the extremes of renunciation; for the inherent spirituality of the Hindu nature finally revolted against the splendid
\nand unsatisfying life of the senses. But of this phase Bhartrihari and not Kalidasa is the poet. The greater writer lived evidently
\nin the full heyday of the material age, and there is no sign of any setting in of the sickness and dissatisfaction and disillusionment
\nwhich invariably follow a long outburst of materialism. The flourishing of the plastic arts had prepared surroundings
\nof great external beauty of the kind needed for Kalidasa’s poetic work. The appreciation of beauty in nature, of the grandeur of
\nmountain and forest, the loveliness of lakes and rivers, the charm of bird and beast life had become a part of contemporary culture.
\nThese and the sensitive appreciation of trees and plants and hills <\/span><\/p>\n <\/p>\n
\nPage<\/span> \u2013 164<\/span><\/span><\/p>\n <\/p>\n
\n <\/p>\n as living things, the sentimental feeling of brotherhood with
\nanimals which had influenced and been encouraged by Buddhism,
\nthe romantic mythological world still farther romanticised by Kalidasa’s warm humanism and fine poetic sensibility, gave him
\nexquisite grace and grandeur of background and scenic variety.
\nThe delight of the eye, the delight of the ear, smell, palate, touch,
\nthe satisfaction of the imagination and taste are the texture of
\nhis poetical creation, and into
\nthis he has worked the most beautiful flowers of emotion and intellectual or aesthetic ideality. The
\nscenery of his work is a universal paradise of beautiful things. All
\ntherein obeys one law of earthly grace; morality is aestheticised, intellect suffused and governed with the sense of beauty. And
\nyet this poetry does not swim in languor, does not dissolve itself in sensuous weakness; it is not heavy with its own dissoluteness,
\nheavy of curl and heavy of eyelid, cloyed by its own sweets, as
\nthe poetry of the senses usually is. Kalidasa is saved from this by the chastity of his style, his aim at burdened precision and
\nenergy of phrase, his unsleeping artistic vigilance. As in the Ramayana and
\nMahabharata we have an absorbing intellect impulse or a dynamic force of moral or immoral
\nexcitement driving the characters, so we have in Kalidasa an
\nintense hedonistic impulse
\nthrilling through speech and informing action. An imaginative pleasure in all shades of thought
\nand of sentiment, a rich delight of the mind in its emotions, a luxuriousness of ecstasy and grief, a free abandonment to
\namorous impulse and rapture, a
\ncontinual joy of life and seeking for beauty mark the period when India, having for the time
\nexhausted the possibilities of soul-experience attainable through
\nthe spirit and the imaginative reason, was now attempting to find
\nout the utmost each sense could feel, probing and sounding the
\nsoul-possibilities in matter and even seeking God through the senses. The emotional religion of the Vaishnava Puranas which takes as its type of the relation between the human soul and
\nthe Supreme the passion of a woman for her lover, was already
\ndeveloping. The corresponding Tantric development of Shaivism may not yet have established itself fully; but the concretisation of the idea of Purusha-Prakriti, the union of Ishwara and Shakti,
\n<\/span><\/p>\n <\/p>\n
\nPage<\/span> \u2013 165<\/span><\/span><\/p>\n <\/p>\n
\n <\/p>\n
\nfrom<\/span> which it arose, was already there in the symbolic legends of
\nthe Puranas and one of these is the subject of Kalidasa’s greatest
\nepic poem. The Birth of the War-God stands on the same height in classical Sanskrit as the Paradise Lost in English literature: it is
\nthe masterpiece and magnum opus
\n<\/i>of the age on the epic level. The central idea of this great unfinished poem, the marriage of Siva and Parvati, typified in its original idea the union of Purusha and Prakriti, the supreme Soul and dynamic Nature by
\nwhich the world is created; but this type of divine legend was used esoterically to typify also the Nature-Soul’s search for and
\nattainment of God, and something of this conception pierces
\nthrough the description of Parvati’s seeking after Siva. Such was the age of Kalidasa, the temper of the civilisation which produced him; other poets of the time expressed one side of it or
\nanother, but his work is its splendid integral epitome, its picture of many composite hues and tones. Of the temperament of that
\ncivilisation the Seasons is an immature poetic self-expression, the
\nHouse of Raghu the representative epic, the Cloud Messenger
\nthe descriptive elegy, Shakuntala with its two sister loveplays intimate dramatic pictures and the Birth of the War-God the
\ngrand religious fable. Kalidasa, who expressed so many sides
\nand facets of it in his writings, stands for its representative man
\nand genius, as was Vyasa of the intellectual mood of Indian
\ncivilisation and Valmiki of its moral side. <\/span><\/p>\n <\/p>\n It was the supreme misfortune of India that before she was
\nable to complete the round of her experience and gather up the fruit of her long millenniums of search and travail by commencing a fourth and more perfect age in which moral, intellectual
\nand material development should be all equally harmonised and all spiritualised, the inrush of barbarians broke in finally on her endless solitary tapasya of effort and beat her national life into
\nfragments. A preparation for such an age may be glimpsed in the
\nnew tendencies of spiritual seeking that began with Shankara
\nand continued in later Vaishnavism and Shaivism and in new turns of poetry and art, but it found no opportunity of seizing on the total life of the nation and throwing it into another
\nmould. The work was interrupted before it had well begun;
\n<\/span><\/p>\n <\/p>\n
\nPage<\/span> \u2013 166<\/span><\/span><\/p>\n <\/p>\n
\n <\/p>\n
\nand<\/span> India was left with only the remnants of the culture of the
\nmaterial age to piece out her existence. Yet even the little that was done afterwards, proved to be much; for it saved her from
\ngradually petrifying and perishing as almost all the old civilisations, Assyria, Egypt, Greece, Rome, petrified and perished, as the material civilisation of Europe, unless spiritualised, must before long petrify and perish. That there is still an unexhausted
\nvitality in her, that she yet nourishes the seeds of re-birth and
\nrenewal, we owe to Shankara and his successors and the great
\nminds and souls that came after them. Will she yet arise, new
\ncombine her past and continue the great dream where she left it off, shaking off on the one hand the soils and filth that have
\ngrown on her in her period of downfall and futile struggle, and
\nre-asserting on the other her peculiar individuality and national
\ntype against the callow civilisation of the West with its dogmatic and intolerant knowledge, its still more dogmatic and intolerant
\nignorance, its deification of selfishness and force, its violence
\nand its ungoverned Titanism? In doing so lies her one chance of salvation.
\n<\/span><\/p>\n <\/p>\n Page<\/span>
\n\u2013 167<\/span><\/span><\/p>\n <\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n <\/p>\n <\/p>\n","protected":false},"excerpt":{"rendered":" The Age of Kalidasa VALMIKI, Vyasa and Kalidasa are the essence of the history of ancient India; if all else…<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[49],"tags":[],"class_list":["post-2348","post","type-post","status-publish","format-standard","hentry","category-01-early-cultural-writings","wpcat-49-id"],"_links":{"self":[{"href":"https:\/\/worksofthemotherandsriaurobindo.org\/index.php\/wp-json\/wp\/v2\/posts\/2348","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/worksofthemotherandsriaurobindo.org\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/worksofthemotherandsriaurobindo.org\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/worksofthemotherandsriaurobindo.org\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/worksofthemotherandsriaurobindo.org\/index.php\/wp-json\/wp\/v2\/comments?post=2348"}],"version-history":[{"count":1,"href":"https:\/\/worksofthemotherandsriaurobindo.org\/index.php\/wp-json\/wp\/v2\/posts\/2348\/revisions"}],"predecessor-version":[{"id":11855,"href":"https:\/\/worksofthemotherandsriaurobindo.org\/index.php\/wp-json\/wp\/v2\/posts\/2348\/revisions\/11855"}],"wp:attachment":[{"href":"https:\/\/worksofthemotherandsriaurobindo.org\/index.php\/wp-json\/wp\/v2\/media?parent=2348"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/worksofthemotherandsriaurobindo.org\/index.php\/wp-json\/wp\/v2\/categories?post=2348"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/worksofthemotherandsriaurobindo.org\/index.php\/wp-json\/wp\/v2\/tags?post=2348"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
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