Let Us All Work For the Greatness Of India

The Greatness of India and Its Culture (28)


5. The Greatness of Indian Literature

IV. The Age of Darshanas, Smritis and Sutras

“THE VEDA… 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 systemsa, 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 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, mokØa.

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 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 grhyasutras, 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.”1

V. The Mahabharata and the Ramayana: the Itihasas

“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 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 Itihasas 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 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 Dharma-shastras, 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, 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.”2

A. The Ramayana and the Mahabharata

“It has been said, truly, that the Ramayana represents an ideal society 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 and so consistent in every detail. No number of poets could do it without stumbling into fatal incompatibilities either of fact or of 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 Uttarakanda, which is a later work, and some amount of interpolation, for the most part easy enough to detect, and reforming the text which is not unfrequently in a state of truly shocking confusion, the Ramayana remains on the face of it the work of a single 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 and tone, has some aspects of a more advanced and mellow culture, and yet it gives the general impression of a younger humanity and an earlier less sophisticated and complex mind. The nature of the poem and much of its subject matter might at least justify the conclusion that Valmiki wrote in a political and social atmosphere much resembling that which surrounded Vyasa. He lived, that is to say, in an age of approaching if not present disorder and turmoil, of great revolutions and unbridled aristocratic violence, when the governing chivalry, the Kshatriya caste, in its pride of strength was asserting its own code of morals as the one rule of conduct. We may note the plain assertion of this stand-point by Jarasandha in the Mahabharata and Valmiki’s emphatic and repeated protest against it through the mouth of Rama. This ethical code was like all aristocratic codes of conduct full of high chivalry and the spirit of noblesse oblige, but a little loose in sexual morality on the masculine side and indulgent to violence and the strong hand. To the pure and delicate moral temperament of Valmiki, imaginative, sensitive, enthusiastic, 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 poetical side of his nature, because he was a universal creative mind driven by his art-sense to penetrate, feel and re-embody all that the world contained; but to his intellect and peculiar emotional temperament they were distasteful. He took refuge therefore in a past age of national greatness and virtue, distant enough to be idealised, but near enough to have left sufficient materials for a great picture of civilisation which would serve his purpose, – an age, it is important to note, of grandiose imperial equipoise, such as must have existed in some form at least since a persistent tradition of it runs through Sanskrit literature. In the framework of this imperial age, his puissant imagination created a marvellous picture of the human world as it might be if the actual and existing forms and material of society were used to the best and purest advantage, and an equally marvellous picture of another non-human world in which aristocratic violence, strength, self-will, lust and pride ruled supreme and idealised or rather colossalised. He brought these two worlds into warlike collision by the hostile meeting of their champions and utmost evolutions of their peculiar character-types, Rama and 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 most epic material. Not all perhaps can enter at once into the spirit of this masterpiece; but those who have once done so, will never admit any poem in the world as its superior.

My point here, however, is that it gives us the picture of an entirely moralised civilisation, containing indeed vast material development and immense intellectual power, but both moralised and subordinated to the needs of purity of temperament and delicate ideality of action. Valmiki’s mind seems nowhere to be familiarised with the high-strung intellectual gospel of a high and severe Dharma culminating in a passionless activity, raised to a supreme spiritual significance in the Gita, which is one great keynote of the Mahabharata. Had he known it, the strong leaven of sentimentalism and femininity in his nature might well have rejected it; such temperaments when they admire 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 tyrannises over Ravana. Like all mainly moral temperaments, he instinctively insisted on one old established code of morals being universally observed as the only basis of ethical stability, avoided casuistic developments and distasted innovators in metaphysical thought as by their persistent and searching questions dangerous to the established bases of morality, especially to its wholesome ordinariness and everydayness. Valmiki, therefore, the father of our secular poetry, stands for that early and finely moral civilisation which was the true heroic age of the Hindu spirit.

The poet of the Mahabharata lives nearer to the centre of an era of aristocratic turbulence and disorder. If there is any kernel of historic truth in the story of the poem, it records the establishment of those imperial forms of government and society which Valmiki had idealised. Behind its poetic legend it celebrates and approves the policy of a great Kshatriya leader of men who aimed at the subjection of his order to the rule of a central imperial power which should typify its best tendencies and control or expel its worst. But while Valmiki was a soul out of harmony with its surroundings and looking back to an ideal past, Vyasa was a man of his time, profoundly in sympathy with it, full of its tendencies, hopeful of its results and looking forward to an ideal future. The one might be described as a conservative idealist advocating return to a better but departed model, the other is a progressive realist looking forward to a better but unborn model. Vyasa accordingly does not revolt from the aristocratic code of morality; it harmonises with his own proud and strong spirit and he accepts it as a basis for conduct, but purified and transfigured by the illuminating idea of the niØkÀma dharma.

But 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 delicate moral tone of Valmiki’s spirit shrank; he boldly erects above ordinary ethics a higher principle of conduct having its springs in intellect and strong character; he treats government and society from the standpoint of a practical and discerning statesmanlike mind, idealising solely for the sake of a standard. He touches in fact all subjects, and whatever he touches he makes fruitful and interesting by originality, penetration and a sane and bold vision. In all this he is the son of the civilisation he has mirrored to us, a civilisation in which both morality and material development are powerfully intellectualised. Nothing is more remarkable in all the characters of the Mahabharata than this puissant intellectualism; every action of theirs seems to be impelled by an immense driving force of mind solidifying in character and therefore conceived and outlined as in stone. This orgiastic force of the intellect is at least as noticeable as the impulse of moral or immoral enthusiasm behind each great action of the Ramayana. Throughout the poem the victorious and manifold mental activity of an age is prominent and gives its character to its civilisation. There is far more of thought in action than in the Ramayana, far less of thought in repose; the one pictures a time of gigantic creative ferment and disturbance; the other, as far as humanity is concerned, an ideal age of equipoise, tranquillity and order.”3

B. The Mahabharata

“The Mahabharata… 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 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, 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.”4

C. The Ramayana

“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 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 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 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.”5


  1. Complete Works of Sri Aurobindo, Vol.20, pp.342-44, Sri Aurobindo Ashram, Pondicherry
  2. Ibid, pp.344-47
  3. Complete Works of Sri Aurobindo, Vol.1, pp.156-60, Sri Aurobindo Ashram, Pondicherry
  4. Complete Works of Sri Aurobindo, Vol.20, pp.347-49, Sri Aurobindo Ashram, Pondicherry
  5. Ibid, pp.349-52
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