Romanticism and Classicism in Hindu Mythology

ROMANTICISM AND CLASSICISM IN HINDU RELIGION
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R. N. D. Sanjeeva Rao
(Contd. from the previous issue)

PART – II

Coming to the instances of Romanticism and Classicism in the Hindu scriptures and Mythology, we observe that they exhibit a perfect blend of these two tendencies.  On the one hand they display such romantic traits as expression of wonder and mystery, assertion of independence, free play of emotions and licentiousness in behaviour even  relegating all considerations of ‘dharma’ into the ground at times.  On the other hand they exhibit such classical traits as respect for tradition and authority, regard for moral virtue, adherence to ‘dharma’ devotion for duty etc., even at the expense of the human element involved in certain situations.

Thus, to begin with, the attribution of the Vedas to the divine authorship, the ‘apourusheya’ concept, has a romantic flavour about it, as it evokes a lot of mystic and spiritual apprehension about their origin, in our minds.  But the romantic vision of the invisible authorship slowly takes a classical turn when it is said that the Vedas are ‘infallible’.  The classicist attitude goes one step further when it says that any statement or theory that contradicts the Vedas should be rejected forthwith as untrue. Again the Vedanta is quite romantic in its outlook when it declares “tat tvam asi” meaning ‘you are that Reality’ or more specifically when Sankara says “Jeevo Brahmaiva na paraha” meaning, the living being is none else than the Supreme Being Himself.  Nothing can be more creative and more wonderful than visualising man in his infinite proportions as the Universal Being and nothing can be more democratic than raising the man in the street to the glory and majesty of the Almighty.  Similarly, there is Romanticism in the imaginative beauty and primitive charm of the Vedic hymns, in the mysterious and uncanny ritualistic practices of the Brahmanas, the lonely and introvert lives of the Rishis engaged in their spiritual contemplations in the Aranyakas and the Supreme beauty and power of the glorious visions and experiences of the Upanishadic sages.

Coming to the puranas and the epics we see that Vasudeva’s handing over his issues to Kamsa in the Bhagavata Purana is attended by a rare classical tenacity because the feelings of a father are suppressed for the sake of fulfilling a promise even though it is given to a villain under compelling circumstances.  But the advent of Krishna provides a great romantic relief with the opening of the prison-gates and exchange of the issues at midnight.  Most of the Lord’s actions show the romantic trait of freeing the virtuous from the shackles of the formalistic dharma even by hoodwinking it, if necessary.  So also in the great epic Ramayana we see that Sri Rama’s exile to the forest is brought by his classical eagerness to obey his father’s instructions even though the latter wishes that his son disobeyed him.  It is also effected by Dasaradha’s classical inability to withdraw his word given to Kaikayi even though she is prepared to subvert it for a selfish purpose.  In both the cases, the genuine filial relationship between the father and the son is unjustly strained and the fortunes of many others are adversely affected just because of an unqualified adherence to ‘dharma’ and truth.  But the reactions of Lakshmana and Bharata provide a romantic relief to the classical suffering as they threaten a total upheaval of all institutions with their non-conformist and anti-traditional outbursts.  But Surpanaka’s is a romantic adventure brought with a classical disaster because it is on the wrong side.  Ravana and Maricha are romantic villains because they have imagination though for doing wrong things.  Hanuman provides a great romantic relief to an otherwise classical epic by exhibiting his independence and originality in destroying the Asoka Vana and burning the city of Lanka.  Sita’s ordeal by fire is again charged with a strong classical fervour on the part of Sri Rama because his feelings for his trusted wife are suppressed for the sake of enlightening the ignorant.  The Mahabharata is romantic in its vastness of form and complexity of detail.  The patience of Yudhisthira in undergoing sufferings for the sake of ‘dharma’ makes him a classical hero.  But Bhimasena and Draupadi provide a romantic relief with their occasional out-bursts against his cold ruling. The Kauravas are romantic villains as they show imagination in ditching the Pandavas at every stage. Arjuna’s hysterical breakdown on the battle-field overcome by great concern for his kinsmen is romantic to the core, but again the Lord’s preaching which makes him regain his balance is as classical in its appeal. Again, there is Romanticism in the Karma, Bhakti and Jnana Yogas as taught in the Gita in their mystic and spiritual associations with the Supreme Being.  The hair-raising and awe-inspiring ‘Viswaroopa’ or the Universal form of God as revealed to Arjuna on the battle field is only a vision and an experience betraying the romantic propensities of the highest kind.

Now coming to the Hindu Gods we see the Lord Siva with his matted locks, snake ornaments, triad of eyes and the crescent moon is but a romantic representation of the Supreme Being.  His primitive, strange and fantastic appearance and his impetuous and passionate nature amply justify this view. But we see Lord Vishnu with his love of order and beauty, his tranquility of disposition, his intolerance of arrogance and his love of the good and the obedient is a classical representation of the self-same Reality.  But most of his incarnations, with the exception of Sri Rama, are romantic in one way or another.  Thus, the Fish protecting the sacred knowledge of the Vedas in the primordial waters of Dissolution, the mighty Varaha raising the earth from the depths of the sea and holding it safe on its translucent tusk, Narasimha suddenly emerging out of a pillar in a fantastic form and tearing the demon to pieces, Vamana growing to the Universal dimensions before our very eyes and measuring the worlds with his feet, Parasu Rama, determined to wipe off the tyrants from the face of the earth and attacking them with his savage axe, Krishna, the lad, lifting the Govardhana hill and holding it on his little finger etc., are all marvelous and mysterious accounts, not begging us for “a willing suspension of disbelief” but compelling our belief by striking us with an awe-inspiring wonder.

Thus we understand that Romanticism and Classicism are only the different tendencies of the human mind found in Religion and Mythology also. We also understand that they are not only contradictory but complementary as well for in addition to checking each other’s excesses, they also fill up each other’s gaps.  Mere freedom of spirit without a regulating authority is most likely to go on rocks.  Very much in the same way, mere rules and regulations without the moving force of the spirit, do not make any progress at all.  But one thing we must mention here, especially in these days of waning faith and formal religion, that of the two, the former, i.e., the freedom of spirit is superior to the vapid and formalistic preoccupation with dry rituals which lead us nowhere.  Hence, let us go like the wild horses first, leaving the bridle and the curb to those who want to toy with them for their own pleasure and satisfaction.

(Paper presented in the Seminar at the Academic Staff College, Andhra University, Visakhapatnam in December, 2001.)