5. The Greatness of Indian Literature
V. The Mahabharata and the Ramayana: the Itihasas
D. The Worth of the Western Criticism of the Great Epics
“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 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.”1
VI. Kalidas
“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 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, 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 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…”2
References:
- Complete Works of Sri Aurobindo, Vol.20, pp.352-53, Sri Aurobindo Ashram, Pondicherry
- Ibid, pp.354-57
