{"id":97,"date":"2013-07-13T01:25:53","date_gmt":"2013-07-13T01:25:53","guid":{"rendered":"http:\/\/localhost\/?p=97"},"modified":"2013-07-13T01:25:53","modified_gmt":"2013-07-13T01:25:53","slug":"00-contents-vol-03-the-harmony-of-virtue-volume-03","status":"publish","type":"post","link":"https:\/\/worksofthemotherandsriaurobindo.org\/index.php\/01-works-of-sri-aurobindo\/01-sabcl\/03-the-harmony-of-virtue-volume-03\/00-contents-vol-03-the-harmony-of-virtue-volume-03","title":{"rendered":"-000_Contents.htm"},"content":{"rendered":"
\n\n\n
\n

\nTHE HARMONY OF VIRTUE<\/font><\/span><\/p>\n

\n <\/p>\n

\n SRI
\nAUROBINDO
\n<\/font>
\n<\/span><\/p>\n

\n <\/p>\n

\n
\nContents<\/font> <\/font><\/b>
\n<\/span><\/p>\n

 <\/p>\n

\n\n\n\n

\n PRE CONTENT<\/span><\/a><\/font><\/td>\n<\/tr>\n

\n POST CONTENT<\/span><\/a><\/font><\/td>\n<\/tr>\n<\/table>\n<\/div>\n
\n\n\n\n\n\n
 \n<\/td>\n\n

\n
\n\t\tSection One<\/font><\/b><\/span><\/p>\n

\n
\n
\nTHE HARMONY OF VIRTUE<\/font><\/b><\/span><\/td>\n

 \n<\/td>\n<\/tr>\n
\n

  <\/td>\n

\n\t\t\t\t
\n\t\t\t\tTHE
\n HARMONY OF VIRTUE<\/span><\/a><\/font><\/td>\n		 \n\t\t\t\t\t\t<\/td>\n<\/tr>\n
\n

  <\/td>\n
\n
\n BEAUTY IN THE
\n REAL<\/span><\/font><\/a><\/font><\/span><\/td>\n		 \n\t\t\t\t\t\t<\/td>\n<\/tr>\n
\n

  <\/td>\n

\n\t\t\t\t
\n\t\t\t\tSTRAY
\n THOUGHTS<\/span><\/a><\/font><\/td>\n		 \n\t\t\t\t\t\t<\/td>\n<\/tr>\n<\/table>\n

 <\/p>\n

\n\n\n\n\n\n\n\n\n\n
 \n<\/td>\n\n

\n
\n\t\tSection Two<\/font><\/b><\/span><\/p>\n

\n
\n
\nBANKIM CHANDRA CHATTERJEE<\/font><\/b><\/span><\/td>\n

 <\/td>\n\n

\n
\n
\nSection Three<\/font><\/b><\/span><\/p>\n

\n
\n
\nTHE SOURCES OF POETRY <\/font><\/p>\n

<\/b>AND OTHER ESSAYS<\/font><\/b><\/font><\/span><\/td>\n

 \n<\/td>\n<\/tr>\n
 \n\t\t\t\t\t\t\t<\/td>\n\n


\n
\n I.   
\n HIS YOUTH AND COLLEGE LIFE<\/span><\/a><\/font><\/td>\n

 <\/td>\n\n


\n
\n THE SOURCES
\n OF POETRY<\/span><\/font><\/a><\/font><\/span><\/td>\n

 \n\t\t\t\t\t\t\t<\/td>\n<\/tr>\n
\n

 \n <\/td>\n
\n
\n II. 
\n THE BENGAL HE LIVED IN<\/span><\/font><\/a><\/font><\/td>\n		 <\/td>\n\n


\n ON
\n ORIGINAL THINKING<\/span><\/font><\/a><\/font><\/td>\n

 \n\t\t\t\t\t\t\t<\/td>\n<\/tr>\n
\n

 \n <\/td>\n
\n
\n III.
\n HIS OFFICIAL CARRIER<\/span><\/font><\/a><\/font><\/td>\n		 <\/td>\n\n


\n THE
\n INTERPRETATION OF SCRIPTURE<\/span><\/font><\/a><\/font><\/td>\n

 \n\t\t\t\t\t\t\t<\/td>\n<\/tr>\n
\n

 \n <\/td>\n
\n IV.
\n HIS VERSATILITY<\/span><\/font><\/a><\/font><\/td>\n		 <\/td>\n\n


\n SOCIAL
\n REFORM<\/span><\/font><\/a><\/font><\/td>\n

 \n\t\t\t\t\t\t\t<\/td>\n<\/tr>\n
\n

  <\/td>\n
\n V. 
\n HIS LITERARY HISTORY<\/span><\/font><\/a><\/font><\/td>\n		 <\/td>\n\n


\n EDUCATION<\/span><\/font><\/a><\/font><\/td>\n

 \n\t\t\t\t\t\t\t<\/td>\n<\/tr>\n
\n

 \n <\/td>\n
\n
\n VI.
\n WHAT HE DID FOR BENGAL<\/span><\/font><\/a><\/font><\/td>\n		 <\/td>\n\n


\n
\n\t\t\t\t\tLECTURE
\n IN BARODA COLLEGE<\/span><\/a><\/font><\/span><\/td>\n

 \n\t\t\t\t\t\t\t<\/td>\n<\/tr>\n
\n

 \n <\/td>\n
\n
\n VII.
\n OUR HOPE IN THE FUTURE<\/span><\/font><\/a><\/font><\/td>\n		 <\/td>\n <\/td>\n <\/td>\n<\/tr>\n<\/table>\n

 <\/p>\n

\n\n\n\n\n\n\n
 \n<\/td>\n\n

\n
\n\t\tSection Four<\/font><\/b><\/span><\/p>\n

\n
\n
\nVALMIKI AND VYASA<\/font><\/b><\/span><\/td>\n

 \n<\/td>\n<\/tr>\n
\n

  <\/td>\n
\n
\n THE GENIUS
\n OF VALMIKI<\/span><\/font><\/a><\/font><\/span><\/td>\n		 \n\t\t\t\t\t\t\t\t<\/td>\n<\/tr>\n
\n

  <\/td>\n
\n NOTES
\n ON THE MAHABHARATA<\/span><\/font><\/a><\/font><\/td>\n		 \n\t\t\t\t\t\t\t\t<\/td>\n<\/tr>\n
\n

  <\/td>\n
\n
\n VYASA:
\n SOME CHARACTERISTICS<\/span><\/font><\/a><\/font><\/span><\/td>\n		 \n\t\t\t\t\t\t\t\t<\/td>\n<\/tr>\n
\n

  <\/td>\n
\n
\n THE PROBLEM
\n OF THE MAHABHARATA<\/span><\/font><\/a><\/font><\/span><\/td>\n		 \n\t\t\t\t\t\t\t\t<\/td>\n<\/tr>\n<\/table>\n

 <\/p>\n

\n\n\n\n\n\n\n\n\n\n
 \n\t\t<\/td>\n\n

\n\t\t
\n\t\tSection Five<\/b><\/font><\/span><\/p>\n

\n\t\t
\n\t\tKALIDASA<\/b><\/font><\/span><\/td>\n

 \n\t\t<\/td>\n<\/tr>\n
\n

  <\/td>\n
\n KALIDASA<\/span><\/font><\/a><\/font><\/td>\n		 \n\t\t\t\t\t\t\t\t\t<\/td>\n<\/tr>\n
\n

  <\/td>\n
\n THE
\n AGE OF KALIDASA<\/span><\/font><\/a><\/font><\/td>\n		 \n\t\t\t\t\t\t\t\t\t<\/td>\n<\/tr>\n
\n

  <\/td>\n
\n THE
\n HISTORICAL METHOD<\/span><\/font><\/a><\/font><\/td>\n		 \n\t\t\t\t\t\t\t\t\t<\/td>\n<\/tr>\n
\n

  <\/td>\n
\n ON
\n TRANSLATING KALIDASA<\/span><\/font><\/a><\/font><\/td>\n		 \n\t\t\t\t\t\t\t\t\t<\/td>\n<\/tr>\n
\n

  <\/td>\n
\n KALIDASA’S
\n "SEASONS"<\/span><\/font><\/a><\/font><\/td>\n		 \n\t\t\t\t\t\t\t\t\t<\/td>\n<\/tr>\n
\n

  <\/td>\n
\n
\n VIKRAM
\n AND THE NYMPH<\/span><\/font><\/a><\/font><\/td>\n		 \n\t\t\t\t\t\t\t\t\t<\/td>\n<\/tr>\n
 \n\t\t\t\t\t\t\t\t\t<\/td>\n\n
\nKALIDASA’S CHARACTERS
\n<\/font>
\n\t\t\t\t\t\t\t\t\t<\/span><\/p>\n
\n\n\n\n\n\n\n\n\n
 <\/td>\n
\n
\n I.
\n PURURAVAS<\/span><\/font><\/a><\/font><\/span><\/td>\n<\/tr>\n
 <\/td>\n
\n II.
\n URVASIE<\/span><\/font><\/a><\/font><\/td>\n<\/tr>\n
 <\/td>\n
\n III.
\n MINOR CHARACTERS<\/span><\/font><\/a><\/font><\/td>\n<\/tr>\n
 <\/td>\n
\n IV.
\n APSARAS<\/span><\/font><\/a><\/font><\/td>\n<\/tr>\n<\/table><\/div>\n<\/td>\n		 \n\t\t\t\t\t\t\t\t\t<\/td>\n<\/tr>\n
\n

 \n <\/td>\n
\n HINDU
\n DRAMA<\/span><\/font><\/a><\/font><\/td>\n		 \n\t\t\t\t\t\t\t\t\t<\/td>\n<\/tr>\n
\n

  <\/td>\n
\n
\n\t\t\t\t\tSKELETON
\n NOTES ON THE KUMARASAMBHAVAM<\/span><\/a><\/font><\/span><\/td>\n		 \n\t\t\t\t\t\t\t\t\t<\/td>\n<\/tr>\n
\n

  <\/td>\n
\n A
\n PROPOSED WORK ON KALIDASA<\/span><\/font><\/a><\/font><\/td>\n		 \n\t\t\t\t\t\t\t\t\t<\/td>\n<\/tr>\n<\/table>\n

 <\/p>\n

\n\n\n\n
\n

 \n<\/td>\n

\n
\n
\nSection Six
\nTHE BRAIN OF INDIA<\/font><\/b><\/span><\/td>\n		 \n\t\t\t\t\t\t\t\t\t\t<\/td>\n<\/tr>\n
\n

  <\/td>\n
\n
\n THE
\n BRAIN OF INDIA<\/span><\/font><\/a><\/font><\/td>\n		 \n\t\t\t\t\t\t\t\t\t\t<\/td>\n<\/tr>\n<\/table>\n

 <\/p>\n

\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
\n

 \n<\/td>\n

\n
\n
\nSection Seven
\nFROM THE "KARMAYOGIN"<\/font><\/b><\/span><\/td>\n		 \n\t\t\t\t\t\t\t\t\t\t\t<\/td>\n<\/tr>\n
\n

  <\/td>\n
\n
\n KARMAYOGA<\/span><\/font><\/a><\/font><\/td>\n		 \n\t\t\t\t\t\t\t\t\t\t\t<\/td>\n<\/tr>\n
\n

  <\/td>\n

\n\t\t\t\t\t\t
\n
\n THE
\n PROCESS OF EVOLUTION<\/span><\/a><\/font><\/td>\n		 \n\t\t\t\t\t\t\t\t\t\t\t<\/td>\n<\/tr>\n
\n

 \n <\/td>\n

\n
\n\t\t\t\t\t\t THE
\n GREATNESS OF THE INDIVIDUAL<\/span><\/a><\/font><\/td>\n		 \n\t\t\t\t\t\t\t\t\t\t\t<\/td>\n<\/tr>\n
\n

  <\/td>\n
\n
\n YOGA
\n AND HUMAN EVOLUTION<\/span><\/font><\/a><\/font><\/td>\n		 \n\t\t\t\t\t\t\t\t\t\t\t<\/td>\n<\/tr>\n
\n

  <\/td>\n

\n
\n\t\t\t\t\t\t THE
\n STRESS OF THE HIDDEN SPIRIT<\/span><\/a><\/font><\/td>\n		 \n\t\t\t\t\t\t\t\t\t\t\t<\/td>\n<\/tr>\n
\n

  <\/td>\n
\n
\n THE
\n STRENGTH OF STILLNESS<\/span><\/font><\/a><\/font><\/td>\n		 \n\t\t\t\t\t\t\t\t\t\t\t<\/td>\n<\/tr>\n
\n

  <\/td>\n
\n
\n THE
\n THREE PURUSHAS<\/span><\/font><\/a><\/font><\/span><\/td>\n		 \n\t\t\t\t\t\t\t\t\t\t\t<\/td>\n<\/tr>\n
\n

 \n <\/td>\n
\n
\n MAN
\n \u2014 SLAVE OR FREE?<\/span><\/font><\/a><\/font><\/td>\n		 \n\t\t\t\t\t\t\t\t\t\t\t<\/td>\n<\/tr>\n
\n

  <\/td>\n
\n
\n FATE
\n AND FREE-WILL<\/span><\/font><\/a><\/font><\/td>\n		 \n\t\t\t\t\t\t\t\t\t\t\t<\/td>\n<\/tr>\n
\n

  <\/td>\n
\n
\n THE
\n PRINCIPLE OF EVIL<\/span><\/font><\/a><\/font><\/td>\n		 \n\t\t\t\t\t\t\t\t\t\t\t<\/td>\n<\/tr>\n
\n

  <\/td>\n
\n
\n YOGA
\n AND HYPNOTISM<\/span><\/font><\/a><\/font><\/td>\n		 \n\t\t\t\t\t\t\t\t\t\t\t<\/td>\n<\/tr>\n
\n

 \n <\/td>\n

\n\t\t\t\t\t\t
\n
\n STEAD
\n AND THE SPIRITS<\/span><\/a><\/font><\/td>\n		 \n\t\t\t\t\t\t\t\t\t\t\t<\/td>\n<\/tr>\n
\n

 \n <\/td>\n
\n
\n STEAD
\n AND MASKELYNE <\/span> <\/font> <\/a> <\/font> <\/td>\n		 \n\t\t\t\t\t\t\t\t\t\t\t<\/td>\n<\/tr>\n
\n

 \n <\/td>\n

\n\t\t\t\t\t\t
\n\t\t\t\t\t\t HATHAYOGA<\/span><\/a><\/font><\/td>\n		 \n\t\t\t\t\t\t\t\t\t\t\t<\/td>\n<\/tr>\n
\n

  <\/td>\n
\n RAJAYOGA<\/span><\/font><\/a><\/font><\/td>\n		 \n\t\t\t\t\t\t\t\t\t\t\t<\/td>\n<\/tr>\n<\/table>\n

 <\/p>\n

\n\n\n\n\n\n\n\n\n\n
\n

 \n<\/td>\n

\n
\nSection Eight
\nART AND LITERATURE<\/b><\/font><\/span><\/td>\n		 <\/td>\n\n

\n\t\t\t\t\t\t\t\t\t\t\t\t
\n\t\t\t\t\t\t\t\t\t\t\t\tSection Nine
\nPASSING THOUGHTS<\/font><\/b><\/span><\/td>\n

 \n\t\t\t\t\t\t\t\t\t\t\t\t<\/td>\n<\/tr>\n
\n

  <\/td>\n
\n ART<\/span><\/font><\/a><\/font><\/td>\n		 <\/td>\n\n


\n PASSING
\n THOUGHTS<\/span><\/font><\/a><\/font><\/td>\n

 \n\t\t\t\t\t\t\t\t\t\t\t\t<\/td>\n<\/tr>\n
\n

  <\/td>\n
\n
\n THE
\n REVIVAL OF INDIAN ART<\/span><\/font><\/a><\/font><\/td>\n		 <\/td>\n\n


\n
\n STRAY
\n THOUGHTS AND GLIMPSES<\/span><\/font><\/a><\/font><\/span><\/td>\n

 \n <\/td>\n<\/tr>\n
\n

  <\/td>\n
\n T<\/span><\/font>wo
\n <\/font><\/span>PICTURES<\/span><\/font><\/a><\/font><\/td>\n		 <\/td>\n\n


\n
\n ACADEMIC
\n THOUGHTS<\/span><\/font><\/a><\/font><\/td>\n

 \n <\/td>\n<\/tr>\n
\n

 \n <\/td>\n
\n
\n INDIAN
\n ART AND AN OLD CLASSIC<\/span><\/font><\/a><\/font><\/td>\n		 <\/td>\n\n

\n\t\t\t\t\t\t\t
\n
\n THINGS
\n SEEN IN SYMBOLS<\/span><\/a><\/font><\/td>\n

 \n <\/td>\n<\/tr>\n
\n

 \n <\/td>\n
\n
\n SUPRABHAT:
\n A REVIEW<\/span><\/font><\/a><\/font><\/td>\n		 <\/td>\n\n


\n
\n EPISTLES
\n FROM ABROAD<\/span><\/font><\/a><\/font><\/td>\n

 \n <\/td>\n<\/tr>\n
 <\/td>\n <\/td>\n <\/td>\n\n


\n
\n IN
\n THE SOCIETY’S CHAMBERS<\/span><\/font><\/a><\/font><\/span><\/td>\n

 \n <\/td>\n<\/tr>\n
 <\/td>\n <\/td>\n <\/td>\n\n


\n
\n AT
\n THE SOCIETY’S CHAMBERS<\/span><\/font><\/a><\/font><\/td>\n

 \n <\/td>\n<\/tr>\n<\/table>\n

 <\/p>\n

\n\n\n\n\n\n\n\n
\n

 \n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/p>\n<\/td>\n

\n\t\t\t\t\t\t\t\t\t\t\t\t\t
\n\t\t\t\t\t\t\t\t\t\t\t\t\t
\n\t\t\t\t\t\t\t\t\t\t\t\t\tSection Ten
\nCONVERSATIONS OF THE DEAD<\/b><\/font><\/span><\/td>\n		 \n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/td>\n<\/tr>\n
\n

  <\/td>\n
\n
\n I.
\n <\/span><\/font> DINSHAH\u2014P<\/font><\/span>ERIZADE<\/span><\/font><\/a><\/font><\/span><\/td>\n		 \n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/td>\n<\/tr>\n
\n

 \n <\/td>\n
\n
\n\t\t\t\t\t\t\t
\n II.
\n <\/span><\/font> TURIU\u2014U<\/font><\/span>RIU<\/font><\/span><\/a><\/font><\/span><\/td>\n		 \n <\/td>\n<\/tr>\n
\n

  <\/td>\n
\n
\n III.
\n <\/span><\/font> MAZZINI
\n \u2014 CAVOUR \u2014 G<\/font><\/span>ARIBALDI<\/span><\/font><\/a><\/font><\/span><\/td>\n		 \n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/td>\n<\/tr>\n
\n

 \n <\/td>\n
\n
\n IV.
\n <\/span><\/font> SHIVAJI
\n \u2014 JAI S<\/font><\/span>INGH<\/span><\/font><\/a><\/font><\/span><\/td>\n		 \n <\/td>\n<\/tr>\n
\n

  <\/td>\n
\n
\n V.
\n <\/span><\/font> LITTLETON\u2014P<\/font><\/span>ERCIVAL<\/span><\/font><\/a><\/font><\/span><\/td>\n		 \n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/td>\n<\/tr>\n<\/table>\n

 <\/p>\n

\n\n\n
\n

\n
\n Bibliographical
\n Notes<\/span><\/a><\/font><\/td>\n<\/tr>\n<\/table><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n

 <\/td>\n<\/tr>\n<\/table>\n<\/div>\n


\n 
\n\t\t<\/span><\/font><\/p>\n","protected":false},"excerpt":{"rendered":"

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