Reading section 5

God's manifestation is in his work of creation and it is said in the Upanishad, _Knowledge, power, and action are of his nature_ [Footnote: "Svābhāvikī jnāna bala kriyācha."]; they are not imposed upon him from outside. Therefore his work is his freedom, and in his creation he realises himself. The same thing is said elsewhere in other words: _From joy does spring all this creation, by joy is it maintained, towards joy does it progress, and into joy does it enter_. [Footnote: Ānandādhyēva khalvimāni bhūtāni jāyantē, ānandēna jātāni jīvanti, ānandamprayantyabhisamviçanti.] It means that God's creation has not its source in any necessity; it comes from his fullness of joy; it is his love that creates, therefore in creation is his own revealment.

The artist who has a joy in the fullness of his artistic idea objectifies it and thus gains it more fully by holding it afar. It is joy which detaches ourselves from us, and then gives it form in creations of love in order to make it more perfectly our own. Hence there must be this separation, not a separation of repulsion but a separation of love. Repulsion has only the one element, the element of severance. But love has two, the element of severance, which is only an appearance, and the element of union which is the ultimate truth. Just as when the father tosses his child up from his arms it has the appearance of rejection but its truth is quite the reverse.

So we must know that the meaning of our self is not to be found in its separateness from God and others, but in the ceaseless realisation of _yoga_, of union; not on the side of the canvas where it is blank, but on the side where the picture is being painted.

This is the reason why the separateness of our self has been described by our philosophers as _māyā_, as an illusion, because it has no intrinsic reality of its own. It looks perilous; it raises its isolation to a giddy height and casts a black shadow upon the fair face of existence; from the outside it has an aspect of a sudden disruption, rebellious and destructive; it is proud, domineering and wayward; it is ready to rob the world of all its wealth to gratify its craving of a moment; to pluck with a reckless, cruel hand all the plumes from the divine bird of beauty to deck its ugliness for a day; indeed man's legend has it that it bears the black mark of disobedience stamped on its forehead for ever; but still all this _māyā_, envelopment of _avidyā_; it is the mist, it is not the sun; it is the black smoke that presages the fire of love.

Imagine some savage who, in his ignorance, thinks that it is the paper of the banknote that has the magic, by virtue of which the possessor of it gets all he wants. He piles up the papers, hides them, handles them in all sorts of absurd ways, and then at last, wearied by his efforts, comes to the sad conclusion that they are absolutely worthless, only fit to be thrown into the fire. But the wise man knows that the paper of the banknote is all _māyā_, and until it is given up to the bank it is futile. It is only _avidyā_, our ignorance, that makes us believe that the separateness of our self like the paper of the banknote is precious in itself, and by acting on this belief our self is rendered valueless. It is only when the _avidyā_ is removed that this very self comes to us with a wealth which is priceless. For _He manifests Himself in forms which His joy assumes_. [Footnote: Ānandarūpamamritam yadvibhāti.] These forms are separate from Him, and the value that these forms have is only what his joy has imparted to them. When we transfer back these forms into that original joy, which is love, then we cash them in the bank and we find their truth.

When pure necessity drives man to his work it takes an accidental and contingent character, it becomes a mere makeshift arrangement; it is deserted and left in ruins when necessity changes its course. But when his work is the outcome of joy, the forms that it takes have the elements of immortality. The immortal in man imparts to it its own quality of permanence.

Our self, as a form of God's joy, is deathless. For his joy is _amritham_, eternal. This it is in us which makes us sceptical of death, even when the fact of death cannot be doubted. In reconcilement of this contradiction in us we come to the truth that in the dualism of death and life there is a harmony. We know that the life of a soul, which is finite in its expression and infinite in its principle, must go through the portals of death in its journey to realise the infinite. It is death which is monistic, it has no life in it. But life is dualistic; it has an appearance as well as truth; and death is that appearance, that _māyā_, which is an inseparable companion to life. Our self to live must go through a continual change and growth of form, which may be termed a continual death and a continual life going on at the same time. It is really courting death when we refuse to accept death; when we wish to give the form of the self some fixed changelessness; when the self feels no impulse which urges it to grow out of itself; when it treats its limits as final and acts accordingly. Then comes our teacher's call to die to this death; not a call to annihilation but to eternal life. It is the extinction of the lamp in the morning light; not the abolition of the sun. It is really asking us consciously to give effect to the innermost wish that we have in the depths of our nature.

We have a dual set of desires in our being, which it should be our endeavour to bring into a harmony. In the region of our physical nature we have one set of which we are conscious always. We wish to enjoy our food and drink, we hanker after bodily pleasure and comfort. These desires are self-centered; they are solely concerned with their respective impulses. The wishes of our palate often run counter to what our stomach can allow.

But we have another set, which is the desire of our physical system as a whole, of which we are usually unconscious. It is the wish for health. This is always doing its work, mending and repairing, making new adjustments in cases of accident, and skilfully restoring the balance wherever disturbed. It has no concern with the fulfilment of our immediate bodily desires, but it goes beyond the present time. It is the principle of our physical wholeness, it links our life with its past and its future and maintains the unity of its parts. He who is wise knows it, and makes his other physical wishes harmonise with it.

We have a greater body which is the social body. Society is an organism, of which we as parts have our individual wishes. We want our own pleasure and license. We want to pay less and gain more than anybody else. This causes scramblings and fights. But there is that other wish in us which does its work in the depths of the social being. It is the wish for the welfare of the society. It transcends the limits of the present and the personal. It is on the side of the infinite.

He who is wise tries to harmonise the wishes that seek for self-gratification with the wish for the social good, and only thus can he realise his higher self.

In its finite aspect the self is conscious of its separateness, and there it is ruthless in its attempt to have more distinction than all others. But in its infinite aspect its wish is to gain that harmony which leads to its perfection and not its mere aggrandisement.

The emancipation of our physical nature is in attaining health, of our social being in attaining goodness, and of our self in attaining love. This last is what Buddha describes as extinction--the extinction of selfishness--which is the function of love, and which does not lead to darkness but to illumination. This is the attainment of _bodhi_, or the true awakening; it is the revealing in us of the infinite joy by the light of love.

The passage of our self is through its selfhood, which is independent, to its attainment of soul, which is harmonious. This harmony can never be reached through compulsion. So our will, in the history of its growth, must come through independence and rebellion to the ultimate completion. We must have the possibility of the negative form of freedom, which is licence, before we can attain the positive freedom, which is love.

This negative freedom, the freedom of self-will, can turn its back upon its highest realisation, but it cannot cut itself away from it altogether, for then it will lose its own meaning. Our self-will has freedom up to a certain extent; it can know what it is to break away from the path, but it cannot continue in that direction indefinitely. For we are finite on our negative side. We must come to an end in our evil doing, in our career of discord. For evil is not infinite, and discord cannot be an end in itself. Our will has freedom in order that it may find out that its true course is towards goodness and love. For goodness and love are infinite, and only in the infinite is the perfect realisation of freedom possible. So our will can be free not towards the limitations of our self, not where it is _māyā_ and negation, but towards the unlimited, where is truth and love. Our freedom cannot go against its own principle of freedom and yet be free; it cannot commit suicide and yet live. We cannot say that we should have infinite freedom to fetter ourselves, for the fettering ends the freedom.

So in the freedom of our will, we have the same dualism of appearance and truth--our self-will is only the appearance of freedom and love is the truth. When we try to make this appearance independent of truth, then our attempt brings misery and proves its own futility in the end. Everything has this dualism of _māyā_ and _satyam_, appearance and truth. Words are _māyā_ where they are merely sounds and finite, they are _satyam_ where they are ideas and infinite. Our self is _māyā_ where it is merely individual and finite, where it considers its separateness as absolute; it is _satyam_ where it recognises its essence in the universal and infinite, in the supreme self, in _paramātman_. This is what Christ means when he says, "Before Abraham was I am." This is the eternal _I am_ that speaks through the _I am_ that is in me. The individual _I am_ attains its perfect end when it realises its freedom of harmony in the infinite _I am_. Then is it _mukti_, its deliverance from the thraldom of _māyā_, of appearance, which springs from _avidyā_, from ignorance; its emancipation in _çāntam çivam advaitam_, in the perfect repose in truth, in the perfect activity in goodness, and in the perfect union in love.

Not only in our self but also in nature is there this separateness from God, which has been described as _māyā_ by our philosophers, because the separateness does not exist by itself, it does not limit God's infinity from outside. It is his own will that has imposed limits to itself, just as the chess-player restricts his will with regard to the moving of the chessmen. The player willingly enters into definite relations with each particular piece and realises the joy of his power by these very restrictions. It is not that he cannot move the chessmen just as he pleases, but if he does so then there can be no play. If God assumes his rôle of omnipotence, then his creation is at an end and his power loses all its meaning. For power to be a power must act within limits. God's water must be water, his earth can never be other than earth. The law that has made them water and earth is his own law by which he has separated the play from the player, for therein the joy of the player consists.

As by the limits of law nature is separated from God, so it is the limits of its egoism which separates the self from him. He has willingly set limits to his will, and has given us mastery over the little world of our own. It is like a father's settling upon his son some allowance within the limit of which he is free to do what he likes. Though it remains a portion of the father's own property, yet he frees it from the operation of his own will. The reason of it is that the will, which is love's will and therefore free, can have its joy only in a union with another free will. The tyrant who must have slaves looks upon them as instruments of his purpose. It is the consciousness of his own necessity which makes him crush the will out of them, to make his self-interest absolutely secure. This self-interest cannot brook the least freedom in others, because it is not itself free. The tyrant is really dependent on his slaves, and therefore he tries to make them completely useful by making them subservient to his own will. But a lover must have two wills for the realisation of his love, because the consummation of love is in harmony, the harmony between freedom and freedom. So God's love from which our self has taken form has made it separate from God; and it is God's love which again establishes a reconciliation and unites God with our self through the separation. That is why our self has to go through endless renewals. For in its career of separateness it cannot go on for ever. Separateness is the finitude where it finds its barriers to come back again and again to its infinite source. Our self has ceaselessly to cast off its age, repeatedly shed its limits in oblivion and death, in order to realise its immortal youth. Its personality must merge in the universal time after time, in fact pass through it every moment, ever to refresh its individual life. It must follow the eternal rhythm and touch the fundamental unity at every step, and thus maintain its separation balanced in beauty and strength.

The play of life and death we see everywhere--this transmutation of the old into the new. The day comes to us every morning, naked and white, fresh as a flower. But we know it is old. It is age itself. It is that very ancient day which took up the newborn earth in its arms, covered it with its white mantle of light, and sent it forth on its pilgrimage among the stars.

Yet its feet are untired and its eyes undimmed. It carries the golden amulet of ageless eternity, at whose touch all wrinkles vanish from the forehead of creation. In the very core of the world's heart stands immortal youth. Death and decay cast over its face momentary shadows and pass on; they leave no marks of their steps--and truth remains fresh and young.

This old, old day of our earth is born again and again every morning. It comes back to the original refrain of its music. If its march were the march of an infinite straight line, if it had not the awful pause of its plunge in the abysmal darkness and its repeated rebirth in the life of the endless beginning, then it would gradually soil and bury truth with its dust and spread ceaseless aching over the earth under its heavy tread. Then every moment would leave its load of weariness behind, and decrepitude would reign supreme on its throne of eternal dirt.

But every morning the day is reborn among the newly-blossomed flowers with the same message retold and the same assurance renewed that death eternally dies, that the waves of turmoil are on the surface, and that the sea of tranquillity is fathomless. The curtain of night is drawn aside and truth emerges without a speck of dust on its garment, without a furrow of age on its lineaments.

We see that he who is before everything else is the same to-day. Every note of the song of creation comes fresh from his voice. The universe is not a mere echo, reverberating from sky to sky, like a homeless wanderer--the echo of an old song sung once for all in the dim beginning of things and then left orphaned. Every moment it comes from the heart of the master, it is breathed in his breath.

And that is the reason why it overspreads the sky like a thought taking shape in a poem, and never has to break into pieces with the burden of its own accumulating weight. Hence the surprise of endless variations, the advent of the unaccountable, the ceaseless procession of individuals, each of whom is without a parallel in creation. As at the first so to the last, the beginning never ends--the world is ever old and ever new.

It is for our self to know that it must be born anew every moment of its life. It must break through all illusions that encase it in their crust to make it appear old, burdening it with death.

For life is immortal youthfulness, and it hates age that tries to clog its movements--age that belongs not to life in truth, but follows it as the shadow follows the lamp.

Our life, like a river, strikes its banks not to find itself closed in by them, but to realise anew every moment that it has its unending opening towards the sea. It is a poem that strikes its metre at every step not to be silenced by its rigid regulations, but to give expression every moment to the inner freedom of its harmony.

The boundary walls of our individuality thrust us back within our limits, on the one hand, and thus lead us, on the other, to the unlimited. Only when we try to make these limits infinite are we launched into an impossible contradiction and court miserable failure.

This is the cause which leads to the great revolutions in human history. Whenever the part, spurning the whole, tries to run a separate course of its own, the great pull of the all gives it a violent wrench, stops it suddenly, and brings it to the dust. Whenever the individual tries to dam the ever-flowing current of the world-force and imprison it within the area of his particular use, it brings on disaster. However powerful a king may be, he cannot raise his standard or rebellion against the infinite source of strength, which is unity, and yet remain powerful.

It has been said, _By unrighteousness men prosper, gain what they desire, and triumph over their enemies, but at the end they are cut off at the root and suffer extinction._ [Footnote: Adharmēnaidhatē tāvat tatō bahdrāņi paçyati tatah sapatnān jayati samūlastu vinaçyati.] Our roots must go deep down into the universal if we would attain the greatness of personality.

It is the end of our self to seek that union. It must bend its head low in love and meekness and take its stand where great and small all meet. It has to gain by its loss and rise by its surrender. His games would be a horror to the child if he could not come back to his mother, and our pride of personality will be a curse to us if we cannot give it up in love. We must know that it is only the revelation of the Infinite which is endlessly new and eternally beautiful in us, and which gives the only meaning to our self.

V

REALISATION IN LOVE

We come now to the eternal problem of co-existence of the infinite and the finite, of the supreme being and our soul. There is a sublime paradox that lies at the root of existence. We never can go round it, because we never can stand outside the problem and weigh it against any other possible alternative. But the problem exists in logic only; in reality it does not offer us any difficulty at all. Logically speaking, the distance between two points, however near, may be said to be infinite because it is infinitely divisible. But we _do_ cross the infinite at every step, and meet the eternal in every second. Therefore some of our philosophers say there is no such thing as finitude; it is but a _māyā_, an illusion. The real is the infinite, and it is only _māyā_, the unreality, which causes the appearance of the finite. But the word _māyā_ is a mere name, it is no explanation. It is merely saying that with truth there is this appearance which is the opposite of truth; but how they come to exist at one and the same time is incomprehensible.

We have what we call in Sanskrit _dvandva_, a series of opposites in creation; such as, the positive pole and the negative, the centripetal force and the centrifugal, attraction and repulsion. These are also mere names, they are no explanations. They are only different ways of asserting that the world in its essence is a reconciliation of pairs of opposing forces. These forces, like the left and the right hands of the creator, are acting in absolute harmony, yet acting from opposite directions.

There is a bond of harmony between our two eyes, which makes them act in unison. Likewise there is an unbreakable continuity of relation in the physical world between heat and cold, light and darkness, motion and rest, as between the bass and treble notes of a piano. That is why these opposites do not bring confusion in the universe, but harmony. If creation were but a chaos, we should have to imagine the two opposing principles as trying to get the better of each other. But the universe is not under martial law, arbitrary and provisional. Here we find no force which can run amok, or go on indefinitely in its wild road, like an exiled outlaw, breaking all harmony with its surroundings; each force, on the contrary, has to come back in a curved line to its equilibrium. Waves rise, each to its individual height in a seeming attitude of unrelenting competition, but only up to a certain point; and thus we know of the great repose of the sea to which they are all related, and to which they must all return in a rhythm which is marvellously beautiful.

In fact, these undulations and vibrations, these risings and fallings, are not due to the erratic contortions of disparate bodies, they are a rhythmic dance. Rhythm never can be born of the haphazard struggle of combat. Its underlying principle must be unity, not opposition.

This principle of unity is the mystery of all mysteries. The existence of a duality at once raises a question in our minds, and we seek its solution in the One. When at last we find a relation between these two, and thereby see them as one in essence, we feel that we have come to the truth. And then we give utterance to this most startling of all paradoxes, that the One appears as many, that the appearance is the opposite of truth and yet is inseparably related to it.

Curiously enough, there are men who lose that feeling of mystery, which is at the root of all our delights, when they discover the uniformity of law among the diversity of nature. As if gravitation is not more of a mystery than the fall of an apple, as if the evolution from one scale of being to the other is not something which is even more shy of explanation than a succession of creations. The trouble is that we very often stop at such a law as if it were the final end of our search, and then we find that it does not even begin to emancipate our spirit. It only gives satisfaction to our intellect, and as it does not appeal to our whole being it only deadens in us the sense of the infinite.

A great poem, when analysed, is a set of detached sounds. The reader who finds out the meaning, which is the inner medium that connects these outer sounds, discovers a perfect law all through, which is never violated in the least; the law of the evolution of ideas, the law of the music and the form.

But law in itself is a limit. It only shows that whatever is can never be otherwise. When a man is exclusively occupied with the search for the links of causality, his mind succumbs to the tyranny of law in escaping from the tyranny of facts. In learning a language, when from mere words we reach the laws of words we have gained a great deal. But if we stop at that point, and only concern ourselves with the marvels of the formation of a language, seeking the hidden reason of all its apparent caprices, we do not reach the end--for grammar is not literature, prosody is not a poem.

When we come to literature we find that though it conforms to rules of grammar it is yet a thing of joy, it is freedom itself. The beauty of a poem is bound by strict laws, yet it transcends them. The laws are its wings, they do not keep it weighed down, they carry it to freedom. Its form is in law but its spirit is in beauty. Law is the first step towards freedom, and beauty is the complete liberation which stands on the pedestal of law. Beauty harmonises in itself the limit and the beyond, the law and the liberty.