Reading section 36

{FN28-1} The will, projected from the point between the eyebrows, is known by yogis as the broadcasting apparatus of thought. When the feeling is calmly concentrated on the heart, it acts as a mental radio, and can receive the messages of others from far or near. In telepathy the fine vibrations of thoughts in one person’s mind are transmitted through the subtle vibrations of astral ether and then through the grosser earthly ether, creating electrical waves which, in turn, translate themselves into thought waves in the mind of the other person.

{FN28-2} Every soul in its pure state is omniscient. Kashi’s soul remembered all the characteristics of Kashi, the boy, and therefore mimicked his hoarse voice in order to stir my recognition.

{FN28-3} Prokash Das is the present director of our Yogoda Math (hermitage) at Dakshineswar in Bengal.

CHAPTER: 29

RABINDRANATH TAGORE AND I COMPARE SCHOOLS

“Rabindranath Tagore taught us to sing, as a natural form of self-expression, like the birds.”

Bhola Nath, a bright fourteen-year-old lad at my Ranchi school, gave me this explanation after I had complimented him one morning on his melodious outbursts. With or without provocation, the boy poured forth a tuneful stream. He had previously attended the famous Tagore school of “Santiniketan” (Haven of Peace) at Bolpur.

“The songs of Rabindranath have been on my lips since early youth,” I told my companion. “All Bengal, even the unlettered peasants, delights in his lofty verse.”

Bhola and I sang together a few refrains from Tagore, who has set to music thousands of Indian poems, some original and others of hoary antiquity.

“I met Rabindranath soon after he had received the Nobel Prize for literature,” I remarked after our vocalizing. “I was drawn to visit him because I admired his undiplomatic courage in disposing of his literary critics.” I chuckled.

Bhola curiously inquired the story.

“The scholars severely flayed Tagore for introducing a new style into Bengali poetry,” I began. “He mixed colloquial and classical expressions, ignoring all the prescribed limitations dear to the pundits’ hearts. His songs embody deep philosophic truth in emotionally appealing terms, with little regard for the accepted literary forms.

“One influential critic slightingly referred to Rabindranath as a ‘pigeon-poet who sold his cooings in print for a rupee.’ But Tagore’s revenge was at hand; the whole Western world paid homage at his feet soon after he had translated into English his GITANJALI (‘Song Offerings’). A trainload of pundits, including his one-time critics, went to Santiniketan to offer their congratulations.

“Rabindranath received his guests only after an intentionally long delay, and then heard their praise in stoic silence. Finally he turned against them their own habitual weapons of criticism.

“‘Gentlemen,’ he said, ‘the fragrant honors you here bestow are incongruously mingled with the putrid odors of your past contempt. Is there possibly any connection between my award of the Nobel Prize, and your suddenly acute powers of appreciation? I am still the same poet who displeased you when I first offered my humble flowers at the shrine of Bengal.’

“The newspapers published an account of the bold chastisement given by Tagore. I admired the outspoken words of a man unhypnotized by flattery,” I went on. “I was introduced to Rabindranath in Calcutta by his secretary, Mr. C. F. Andrews, {FN29-1} who was simply attired in a Bengali DHOTI. He referred lovingly to Tagore as his GURUDEVA.

“Rabindranath received me graciously. He emanated a soothing aura of charm, culture, and courtliness. Replying to my question about his literary background, Tagore told me that one ancient source of his inspiration, besides our religious epics, had been the classical poet, Bidyapati.”

Inspired by these memories, I began to sing Tagore’s version of an old Bengali song, “Light the Lamp of Thy Love.” Bhola and I chanted joyously as we strolled over the VIDYALAYA grounds.

About two years after founding the Ranchi school, I received an invitation from Rabindranath to visit him at Santiniketan in order to discuss our educational ideals. I went gladly. The poet was seated in his study when I entered; I thought then, as at our first meeting, that he was as striking a model of superb manhood as any painter could desire. His beautifully chiseled face, nobly patrician, was framed in long hair and flowing beard. Large, melting eyes; an angelic smile; and a voice of flutelike quality which was literally enchanting. Stalwart, tall, and grave, he combined an almost womanly tenderness with the delightful spontaneity of a child. No idealized conception of a poet could find more suitable embodiment than in this gentle singer.

[Illustration: Rabindranath Tagore, inspired poet of Bengal, and Nobel Prizeman in literature—see tagore.jpg]

Tagore and I were soon deep in a comparative study of our schools, both founded along unorthodox lines. We discovered many identical features-outdoor instruction, simplicity, ample scope for the child’s creative spirit. Rabindranath, however, laid considerable stress on the study of literature and poetry, and the self-expression through music and song which I had already noted in the case of Bhola. The Santiniketan children observed periods of silence, but were given no special yoga training.

The poet listened with flattering attention to my description of the energizing “Yogoda” exercises and the yoga concentration techniques which are taught to all students at Ranchi.

Tagore told me of his own early educational struggles. “I fled from school after the fifth grade,” he said, laughing. I could readily understand how his innate poetic delicacy had been affronted by the dreary, disciplinary atmosphere of a schoolroom.

“That is why I opened Santiniketan under the shady trees and the glories of the sky.” He motioned eloquently to a little group studying in the beautiful garden. “A child is in his natural setting amidst the flowers and songbirds. Only thus may he fully express the hidden wealth of his individual endowment. True education can never be crammed and pumped from without; rather it must aid in bringing spontaneously to the surface the infinite hoards of wisdom within.” {FN29-2}

I agreed. “The idealistic and hero-worshiping instincts of the young are starved on an exclusive diet of statistics and chronological eras.”

The poet spoke lovingly of his father, Devendranath, who had inspired the Santiniketan beginnings.

“Father presented me with this fertile land, where he had already built a guest house and temple,” Rabindranath told me. “I started my educational experiment here in 1901, with only ten boys. The eight thousand pounds which came with the Nobel Prize all went for the upkeep of the school.”

The elder Tagore, Devendranath, known far and wide as “Maharishi,” was a very remarkable man, as one may discover from his AUTOBIOGRAPHY. Two years of his manhood were spent in meditation in the Himalayas. In turn, his father, Dwarkanath Tagore, had been celebrated throughout Bengal for his munificent public benefactions. From this illustrious tree has sprung a family of geniuses. Not Rabindranath alone; all his relatives have distinguished themselves in creative expression. His brothers, Gogonendra and Abanindra, are among the foremost artists {FN29-3} of India; another brother, Dwijendra, is a deep-seeing philosopher, at whose gentle call the birds and woodland creatures respond.

Rabindranath invited me to stay overnight in the guest house. It was indeed a charming spectacle, in the evening, to see the poet seated with a group in the patio. Time unfolded backward: the scene before me was like that of an ancient hermitage-the joyous singer encircled by his devotees, all aureoled in divine love. Tagore knitted each tie with the cords of harmony. Never assertive, he drew and captured the heart by an irresistible magnetism. Rare blossom of poesy blooming in the garden of the Lord, attracting others by a natural fragrance!

In his melodious voice, Rabindranath read to us a few of his exquisite poems, newly created. Most of his songs and plays, written for the delectation of his students, have been composed at Santiniketan. The beauty of his lines, to me, lies in his art of referring to God in nearly every stanza, yet seldom mentioning the sacred Name. “Drunk with the bliss of singing,” he wrote, “I forget myself and call thee friend who art my lord.”

The following day, after lunch, I bade the poet a reluctant farewell. I rejoice that his little school has now grown to an international university, “Viswa-Bharati,” where scholars of all lands have found an ideal setting.

“Where the mind is without fear and the head is held high; Where knowledge is free; Where the world has not been broken up into fragments by narrow domestic walls; Where words come out from the depth of truth; Where tireless striving stretches its arms toward perfection; Where the clear stream of reason has not lost its way into the dreary desert sand of dead habit; Where the mind is led forward by Thee into ever-widening thought and action; Into that heaven of freedom, my Father, let my country awake!” {FN29-4} RABINDRANATH TAGORE

{FN29-1} The English writer and publicist, close friend of Mahatma Gandhi. Mr. Andrews is honored in India for his many services to his adopted land.

{FN29-2} “The soul having been often born, or, as the Hindus say, ‘traveling the path of existence through thousands of births’ . . . there is nothing of which she has not gained the knowledge; no wonder that she is able to recollect . . . what formerly she knew. . . . For inquiry and learning is reminiscence all.”-EMERSON.

{FN29-3} Rabindranath, too, in his sixties, engaged in a serious study of painting. Exhibitions of his “futuristic” work were given some years ago in European capitals and New York.

{FN29-4} GITANJALI (New York: Macmillan Co.). A thoughtful study of the poet will be found in THE PHILOSOPHY OF RABINDRANATH TAGORE, by the celebrated scholar, Sir S. Radhakrishnan (Macmillan, 1918). Another expository volume is B. K. Roy’s RABINDRANATH TAGORE: THE MAN AND HIS POETRY (New York: Dodd, Mead, 1915). BUDDHA AND THE GOSPEL OF BUDDHISM (New York: Putnam’s, 1916), by the eminent Oriental art authority, Ananda K. Coomaraswamy, contains a number of illustrations in color by the poet’s brother, Abanindra Nath Tagore.

CHAPTER: 30

THE LAW OF MIRACLES

The great novelist Leo Tolstoy wrote a delightful story, THE THREE HERMITS. His friend Nicholas Roerich {FN30-1} has summarized the tale, as follows:

“On an island there lived three old hermits. They were so simple that the only prayer they used was: ‘We are three; Thou art Three-have mercy on us!’ Great miracles were manifested during this naive prayer.

“The local bishop {FN30-2} came to hear about the three hermits and their inadmissible prayer, and decided to visit them in order to teach them the canonical invocations. He arrived on the island, told the hermits that their heavenly petition was undignified, and taught them many of the customary prayers. The bishop then left on a boat. He saw, following the ship, a radiant light. As it approached, he discerned the three hermits, who were holding hands and running upon the waves in an effort to overtake the vessel.

“‘We have forgotten the prayers you taught us,’ they cried as they reached the bishop, ‘and have hastened to ask you to repeat them.’ The awed bishop shook his head.

“‘Dear ones,’ he replied humbly, ‘continue to live with your old prayer!’”

How did the three saints walk on the water?

How did Christ resurrect his crucified body?

How did Lahiri Mahasaya and Sri Yukteswar perform their miracles?

Modern science has, as yet, no answer; though with the advent of the atomic bomb and the wonders of radar, the scope of the world-mind has been abruptly enlarged. The word “impossible” is becoming less prominent in the scientific vocabulary.

[Illustration: A GURU AND DISCIPLE, Forest hermitages were the ancient seats of learning, secular and divine, for the youth of India. Here a venerable guru, leaning on a wooden meditation elbow-prop, is initiating his disciple into the august mysteries of Spirit.—see guru.jpg]

The ancient Vedic scriptures declare that the physical world operates under one fundamental law of MAYA, the principle of relativity and duality. God, the Sole Life, is an Absolute Unity; He cannot appear as the separate and diverse manifestations of a creation except under a false or unreal veil. That cosmic illusion is MAYA. Every great scientific discovery of modern times has served as a confirmation of this simple pronouncement of the rishis.

Newton’s Law of Motion is a law of MAYA: “To every action there is always an equal and contrary reaction; the mutual actions of any two bodies are always equal and oppositely directed.” Action and reaction are thus exactly equal. “To have a single force is impossible. There must be, and always is, a pair of forces equal and opposite.”

Fundamental natural activities all betray their mayic origin. Electricity, for example, is a phenomenon of repulsion and attraction; its electrons and protons are electrical opposites. Another example: the atom or final particle of matter is, like the earth itself, a magnet with positive and negative poles. The entire phenomenal world is under the inexorable sway of polarity; no law of physics, chemistry, or any other science is ever found free from inherent opposite or contrasted principles.

Physical science, then, cannot formulate laws outside of MAYA, the very texture and structure of creation. Nature herself is MAYA; natural science must perforce deal with her ineluctable quiddity. In her own domain, she is eternal and inexhaustible; future scientists can do no more than probe one aspect after another of her varied infinitude. Science thus remains in a perpetual flux, unable to reach finality; fit indeed to formulate the laws of an already existing and functioning cosmos, but powerless to detect the Law Framer and Sole Operator. The majestic manifestations of gravitation and electricity have become known, but what gravitation and electricity are, no mortal knoweth. {FN30-3}

To surmount MAYA was the task assigned to the human race by the millennial prophets. To rise above the duality of creation and perceive the unity of the Creator was conceived of as man’s highest goal. Those who cling to the cosmic illusion must accept its essential law of polarity: flow and ebb, rise and fall, day and night, pleasure and pain, good and evil, birth and death. This cyclic pattern assumes a certain anguishing monotony, after man has gone through a few thousand human births; he begins to cast a hopeful eye beyond the compulsions of MAYA.

To tear the veil of MAYA is to pierce the secret of creation. The yogi who thus denudes the universe is the only true monotheist. All others are worshiping heathen images. So long as man remains subject to the dualistic delusions of nature, the Janus-faced MAYA is his goddess; he cannot know the one true God.

The world illusion, MAYA, is individually called AVIDYA, literally, “not-knowledge,” ignorance, delusion. MAYA or AVIDYA can never be destroyed through intellectual conviction or analysis, but solely through attaining the interior state of NIRBIKALPA SAMADHI. The Old Testament prophets, and seers of all lands and ages, spoke from that state of consciousness. Ezekiel says (43:1-2): “Afterwards he brought me to the gate, even the gate that looketh toward the east: and, behold, the glory of the God of Israel came from the way of the east: and his voice was like a noise of many waters: and the earth shined with his glory.” Through the divine eye in the forehead (east), the yogi sails his consciousness into omnipresence, hearing the Word or Aum, divine sound of many waters or vibrations which is the sole reality of creation.

Among the trillion mysteries of the cosmos, the most phenomenal is light. Unlike sound-waves, whose transmission requires air or other material media, light-waves pass freely through the vacuum of interstellar space. Even the hypothetical ether, held as the interplanetary medium of light in the undulatory theory, can be discarded on the Einsteinian grounds that the geometrical properties of space render the theory of ether unnecessary. Under either hypothesis, light remains the most subtle, the freest from material dependence, of any natural manifestation.

In the gigantic conceptions of Einstein, the velocity of light-186,000 miles per second-dominates the whole Theory of Relativity. He proves mathematically that the velocity of light is, so far as man’s finite mind is concerned, the only CONSTANT in a universe of unstayable flux. On the sole absolute of light-velocity depend all human standards of time and space. Not abstractly eternal as hitherto considered, time and space are relative and finite factors, deriving their measurement validity only in reference to the yardstick of light-velocity. In joining space as a dimensional relativity, time has surrendered age-old claims to a changeless value. Time is now stripped to its rightful nature-a simple essence of ambiguity! With a few equational strokes of his pen, Einstein has banished from the cosmos every fixed reality except that of light.

In a later development, his Unified Field Theory, the great physicist embodies in one mathematical formula the laws of gravitation and of electromagnetism. Reducing the cosmical structure to variations on a single law, Einstein {FN30-4} reaches across the ages to the rishis who proclaimed a sole texture of creation-that of a protean MAYA.

On the epochal Theory of Relativity have arisen the mathematical possibilities of exploring the ultimate atom. Great scientists are now boldly asserting not only that the atom is energy rather than matter, but that atomic energy is essentially mind-stuff.

“The frank realization that physical science is concerned with a world of shadows is one of the most significant advances,” Sir Arthur Stanley Eddington writes in THE NATURE OF THE PHYSICAL WORLD. “In the world of physics we watch a shadowgraph performance of the drama of familiar life. The shadow of my elbow rests on the shadow table as the shadow ink flows over the shadow paper. It is all symbolic, and as a symbol the physicist leaves it. Then comes the alchemist Mind who transmutes the symbols. . . . To put the conclusion crudely, the stuff of the world is mind-stuff. . . . The realistic matter and fields of force of former physical theory are altogether irrelevant except in so far as the mind-stuff has itself spun these imaginings. . . . The external world has thus become a world of shadows. In removing our illusions we have removed the substance, for indeed we have seen that substance is one of the greatest of our illusions.”