Reviews

The King and the Corpse, by Heinrich Zimmer, Edited by Joseph Campbell. (Pantheon Books, Washington. D.C. Price $ 3.75).

A TALE is told. It either moves a rock of sins in us to plunge into an ocean of repentance or transforms the diverse egos harassing us to many processes of disintegration. A tale is repeated through generations. Its author is forgotten, still the tale travels from land to land inspiring the human imagination, stripping life nude before the dull vision of man and attempting to harmonise conflicting emotions. We call such a tale an aspect of life painted in words. Those words may be the echo of the tides of the stormy seas; they may glow as a live electric wire; they may be sweeter than honeydew or the milk of paradise. We are the creators of words and not their eaters. We are interested not in the words of the tale but in its purpose. If human life is a little world of purpose, human destiny is a web of purposes to be woven and disentangled.

A true and magnificent tale is a castle of words treasuring the secrets of existence, survival and consummation. The tale may moralise or may not. It makes dead civilizations appear lively. We are not to question the truth of the folk-tales; myths are the thoughts of the glorious dead of any country or any race of people.

We are born, we live and we die. Why is it that we are born? Why should we live? Thoughts difficult as these to solve flashed across the master minds of the world. The little tales of the Upanishads; the birth and growth of gods and goddesses; the ideal heroes and chaste heroines; the worship of the Sun; the search for the One in the many–Man looked strange before his own eternal self. He was a problem unto himself which he could not solve. He thinks every day that he has found a way out for himself. Really it is not so. He is enchanted by Maya, impelled by his own Karma. His deliverance is in that kind of self-absorption where he merges into that Solitary who too yields for a time to the wishes of the Creator and the Preserver. He yielded and sacrificed, he sacrificed and renounced to win the lost peace again.

Through struggle man rediscovers his identity with the Supreme. Any tale mythological in nature is only a symbol of life, a significance of birth. Death is only revival, a revival very essential for the trinities to labour in love.

Dr. Heinrich Zimmer is no more with us but the reader of The King and the Corpse hears a great metaphysician, a psychologist who studied the hearts of the personalities found in folk-tales. To Zimmer life took a curious form, different from its multi-manifestations, and talked of its own joys and sorrows. The philosopher listened to its strange voice and started interpreting it, making use of the immortal characters found in the fancy tales of the incense-breathing Arabia, the modern mechanical West and the superstitions, spiritual East. To him the East is not East and the West is not West. To him Man is a universe unto himself and the external world is only a toy of Maya.

In his intelligent exposition of the character of Abu Kasem, Dr. Zimmer writes: “Not only our actions, but also our omissions, become our destiny. Even the things that we have failed to will are reckoned among our intentions and accomplishments, and may develop into events of grave concern. This is the law of Karma. Each becomes his own executioner, each his own victim, and, precisely as in the case of Abu Kasem, each his own fool.”

The King and the Corpse relates to the experiences of the famous Hindu monarch Vikramaditya. Dr. Zimmer’s interpretation unfolds the philosophy of intuition. Knowledge is not intuition, and mere magic is not religion. Salvation is not attained through the submission of elemental forces to the human will. No ceremonious ritual is essential to obtain the serenity of the wandering self. Superb beyond criticism the interpretation is done in exquisite style with no intentions to dissect abstract sciences. “Change yourself (that is the lesson), and you inhabit a renovated world. Whether stately in the room of splendor, tortured among the ghosts and corpses of one’s past, or communing with the supreme powers of existence, one never goes even a step beyond the pale of one’s own circumference and self. The world and all the worlds up to the heavens and down to hell are but ourselves: spheres, externalized, of our own being; productions, outbursts, of the creative, all powerful Maya that brings about our existence-form and holds us spell-bound within the precincts of our life.”

Four Episodes from the Romance of the Goddess, unravel that Sakti, the Supreme Power which creates, preserves and destroys is the source of even the trinities of Hindu mythology who are the symbols of birth, life and death. With the birth of knowledge desire emerged in the human heart to create passions and emotions. To perpetuate those emotions man grew to death when he lost his own knowledge of himself.

To Dr. Zimmer the study of symbols was a passionate delight; his wisdom to perceive the mysterious link between opposing principles draws our unqualified admiration.

M. S. GOPALAKRISHNAN

Buddhi Yoga of the Gita, by Magdal Rarnachandra. (Gitashram, Chamarajpet, Bangalore City. Price Rs. 4-8).

IN his elaborate Introduction occupying nearly sixty-two pages of his work, the author acquaints us with his point of view. According to him the dominant trend of the Gita teaching is Buddhi Yoga. He evinces an eagerness similar to that of Lokamanya Tilak to show that it is Buddhi Yoga that is the golden thread that fastens together the several chapters of the Gita. The commentators have always shown a tendency to stress one or the other element in the Gita philosophy of life. The modern tendencies, however, seem to be in the direction of a synthesis of Jnana, Bhakti and Karma, corresponding respectively to the cognitive, affective, and conative aspects of the religious consciousness. Both in the West and in the East, theories of religion have been put forward which are known as intellectualist, ‘Romantic’ and moralist. The element of belief, the element of feeling, or the element of ritualism has been held up in turn as constituting the essence of religion. The contemplative life has frequently been held up as superior to the active life and the active life to the contemplative life. The spirit of Mary and the spirit of Martha have often been mutually opposed. It is being increasingly recognized in modern thought that a balanced religious life necessitates a harmony between the different elements that go to the making of human personality. In terms of Indian thought, Jnana without Bhakti may lead to an arid intellectualism. Similarly Bhakti without Jnana may lead to an unbalanced emotionalism, which may assume protean pathological forms. It may lead to what William James calls ‘sickmindness’ in religion. Without the element of Karma, Jnana and Bhakti may come to be deprived of a healthy objectivity which is very necessary for religious life. Karma again without Jnana and Bhakti may deteriorate to a soulless ritualism. It is only when Jnana ripens
into Bhakti or love, and this issues out in an active life of service to God and man, that we may be said to have reached the acme of religious endeavour.

By emphasizing ‘Buddhi’ is the author treading the familiar road of working out the ramifications of a fixed idea? Is the teaching of the Gita the attaining the Absolute by way of thought? These are the questions that arise in the mind of the reader at the outset. The author takes Buddhi to mean the ‘process of intellectual reasoning’ and avers at the same time that Buddhi is not self-sufficient as the source of knowledge of ultimate Reality. Buddhi, he says, must be supported by Shraddha, for “the intellect unsupported by Shraddha (faith) can never comprehend Adhyatmic knowledge” (p. 26). He also translates Shraddha as intuition. He says that “the Gita appeals to Shraddha as well as Buddhi” (p. 25) meaning thereby that it appeals to intuition as well as logic. This raises rather difficult issues for the Philosophy of Religion to solve. Is intuition the same as faith? When intuition gives us the truth, what is the function of Logic in relation to it? Shall we say with Bradley that Metaphysics is the finding of bad reasons for what we believe on instinct? The discussion of these questions may perhaps take us away from the purview of the book which is an exposition of the Gita philosophy of life. But these questions have to be faced in the formulation of a consistent philosophy of life based on the Gita.

The author is of the view that “the Gita is not a mere exposition of philosophic ideas” and that “it is a unique and perfect system of spiritual science specifically named Buddhi Yoga by Lord Krishna.” It is evident from this that the author does not mean by ‘Buddhi Yoga’ an exclusively intellectual method of attaining truth. “The process of intellectual reasoning, according to the Gita, is complete only when aided by intuition...If, however, we eschew intuition altogether and merely rely on Logic, the riddle of creation will remain unsolved for ever” (p. 25). ‘Intellectual Intuition’ will perhaps satisfy the author’s requirements in interpreting Buddhi Yoga. His whole thesis, that the Gita teaches this Buddhi Yoga, hinges on three texts, II-49, X-10, XVIII-57:

(1)   O Dhananjaya, action is far inferior to Buddhi Yoga.
(2)   I bestow that Buddhi Yoga by which they come to me.
(3)   Taking to Buddhi Yoga, do you fix your Buddhi constantly, on me.

The author clinches the whole matter in his comment on the last of the above texts. To him attunement of Buddhi to the overlord, the Purushottama is the goal of all human endeavour. He says, “The Buddhi must withdraw its attachment to outward impulses. But unless its natural love for the Overlord is given full scope to assert itself, it can never become unattached or one-pointed. When devotion to the Over-lord becomes implanted in the Buddhi, its one-pointedness is called chetas. When the Buddhi becomes thus one-pointed, the man is in tune with the Overlord even in his minutest doings. This is Buddhi Yoga.”

Such is the practical philosophy of the Gita impressed by the author. This is perhaps the same conclusion that is drawn for practical life by all the different commentators, whether they stress Jnana, Bhakti or Karma. What is in a name? The rose smells as sweet by any other
name.

The verses of the Gita are all translated into clear English with the author’s own commentary. A glossary and an index complete the volume. Coming from the pen of an aspirant, eager and intelligent, and full of faith and devotion, the book is undoubtedly a valuable study of the spirit of the Gita.

M. YAMUNACHARYA

Acharya J. B. Kripalani: A Symposium, Edited by P. D. Tandon. (Hind Kitabs Ltd., Bombay, Price Rs. 2-8).

To speak of one, of whom no less a person than Mahatma Gandhi had said: “There is something in Acharya Kripalani’s way of thinking and writing which distinguishes him from others,” certainly it requires much closer association with his life and keener observation of his work than normally would be considered enough. But the fact that not a dozen but more individuals have come forward to review the life and activities of one who has risen to the highest position among Congress workers reveals the immense goodwill he has received from his own kind. There are here estimates from co-workers, appreciations of veteran leaders, tributes from former disciples, accounts of classmates and anecdotes from Ashramites of this best interpreter of Gandhi and the Gandhian way. Even penmen of the distinction of the Editor of the National Herald have been included in this collection in order to give us an exact measure of the Acharya’s title to conspicuousness in the Indian Political Scene of today.

There is a good lot of repetition of details in some of the contributions which .evidently became unavoidable owing to the restricted scope for editing in the already commendably brief sketches. One or two writers cannot escape special notice for their effective portraiture of the man. For instance, G. Ramachandran’s penpicture of the abundant good sense and humour in the erstwhile Congress President only whets our appetite for more, such fare. Again the insight and sympathy which Krishna Kripalani brings to bear upon her account of him, show how much real humility and sense of proportion have gone into the making of a tried Congressman, who though to the outer world was a Rashtrapati, was none-the-less so devoted like a Rashtrapatni to her own real Rashtrapati of a Gandhiji.

K. C.

Introducing Our Flag, by G. P. Rajaratnam. (Hind Kitabs Ltd., Bombay. Price As. 12).

THE national Flag of India must necessarily assume importance with our emergence into a Republican State within the Commonwealth. Its tricolour pattern with the Asoka Wheel of Dharma symbolizes a great deal which our boys and girls need to understand in order to evince the right way of honouring it. The three colours of green, white and saffron representing Production, Conservation and Utilization respectively–processes implicit in the true progress of a nation–and the Wheel denoting by its shape, colour and number of spokes, the growth, dimension and passage of Time needed to make for a nation’s prosperity and vitality of an enduring kind, are dealt with here succinctly and analytically. The National Songs and their import form also a useful addition to the pamphlet of such topical value.

K. C.

Swaraj for the Masses, by J. C. Kumarappa. (Hind Kitabs Ltd., Bombay. Price Re. 1-4as.).

NOTHING is needed more today to famished India than a clear solution for bridging over the economic crisis overtaking us. Without confusing issues with too many statistical data or technical expressions un-understandable to the ordinary man, these articles collected from journals like Harijan and Gram Udyog Patrika provide us in a nutshell some of the evils to be eradicated at once with popular ministries in power. Much plain-speaking and clear-thinking the author has shown in his writings. Though in practicality the best solution may sometimes prove of slow results, still there is everything to be said in favour of a highly qualified man, like Kumarappa, having tackled the imminent problems awaiting immediate answers. His suggestion of an economic planning strikes us very unostentatious. Some of his recommendations regarding Balanced Cultivation, Marketing and Grading and Industries, and his attempts to place the primary requirements to make our country first and foremost a self-sufficient and economically independent unit appear convincing enough. Some of his ideas are pregnant with touches of accurate study and the right method of approach. It is, no doubt, for the governments of the Provinces of this vast agricultural country to give deep consideration to Kumarappa’s timely warning of any post-ponement-policy landing the country in greater financial deficits and greater countrywide famines.

The Poet as a ‘Stitha Pragna,’ by K. Chandrasekharan, M.A., B.L. (S. Viswanathan, Central Art Press, Madras. Price Re. 1).

IT is wonder which creates delight in the mind. How to define wonder when you have not learnt to wonder at yourself? Great poets wondered at themselves, that means they abandoned themselves, they surrendered themselves to the Spirit of Delight in them. Delight is not attained or achieved by anyone, one becomes conscious of it the moment one becomes a Sthitha Pragna. It is an integrated consciousness that is a loss to itself; but the self-absorbed poet communes with his characters and passively watches their lives without projecting his personality. He is a glorious spectator who does not interpret life but shows through rhythmic, balanced words that the course of human life is an incurable defect ever necessary for the moral and spiritual evolution of man.

Great scholars can interpret the verses of the Ramayana in a thousand and odd ways to reveal the contents of Valmiki’s heart. There they find the definition of wonder and the fulfillment of delight. Are we to appreciate the valour of Ravana or Vali, are we to shed tears with Sita separated from Rama, are we to show our sympathy for Rama who takes the brother onto his lap in the field of battle thinking him dead, are we to worship Hanuman, the saviour of saviours, the prince of yogis? Wonder defines itself for us and where are we?

It is because the poet has known That which should be known he has known everything, and everything known by him is given in shapes which create wonder and fear. So in accordance with the approach the individual makes towards the poet, the poet responds to that individual.

As a rasika Mr. Chandrasekharan is able to show us Valmiki as a Sthitha Pragna. His method is clear and analytical though not exhaustive, and it is good he has not played the part of a critic. He writes a prose that is truly soaked in fervour and he attracts one with his unerring taste. Poetry is not for critics but for minds capable of expanding to God-relationship.

M. S. GOPALAKRISHNAN

Raggs and Raginis, by O. C. Gangoly. (Nalanda Publications. Post Box No. 1353. Bombay 1).

O. C. GANGOLY needs no introduction, especially to the readers of the Triveni; one of the few leading art-authorities of the country, he has made valuable contribution to the study and understanding of Indian art; his articles and books on Indian Painting, Iconography and Sculpture have been numerous and noteworthy alike for scholarship and aesthetic perception. Through his Rupam, he has rendered distinguished service to Indian culture.

Few students of Indian art could afford to neglect the field of Indian music. Besides, a branch of Indian Painting, in the Rajput School, is closely related to music: in a series of pictures referred to as Ragamalas, painters had tried to portray melody-types of Indian music in the form of certain visual images; naturally a study of this branch led our author into an examination of its musical bases and the result is, we have here this attractive volume Ragas and Raginis from his pen.

Standing between the ancient Raga-Bhasha-Vibhasha-Antarabhasha classification and the South Indian Mela-Janya scheme, is the classification of Ragas on the analogy of a family into male Ragas, their brides, Raginis, their issues and so on, which is current only in North India. The evidence of the texts on music clearly shows that this Raga-Ragini classification was a product of the Muhammedan-Rajput age. Even the Sangita Makaranda in the Gaekwad series which mentions male and female Ragas is really a later text, as the author himself suspects on p. 179, though elsewhere he follows the general wrong impression about its antiquity. Similarly, the conception of each melody-type having its divine prototype in the form of a beautiful goddess in heaven is also a product of the same age, though the divine conception and origin of Nada and Svara are themselves ancient. To the same age belongs also the detailed description in Rupa (Dhyana) Slokas of the form of each Raga and Ragini on the basis of which painters began drawing their portraits of these melody-types. Thus in the best-known Todi Ragini picture, the melody-type is portrayed as a damsel playing her lyre and attracting around her deer eagerly lifting their heads up to drink the strains of her melody.

Raga by its very name has an emotional significance but how far the detailed picturisation of particular Ragas in the above manner is valid is a question requiring experimentation with scientific apparatus. Some Ragas like Hindol associated with ‘Swing’ and Vasanta, with ‘Spring’ can however be easily picturised with appropriate images. A detailed study of the Raga-mala naturally leads one to a detailed study of the vast and complex mass of Raga-material. The author has therefore devoted the preliminary portion of his book to a survey of the history and evolution of Raga from the earliest times. Some attention is paid also to a consideration of the related issues like the Time-theory of Ragas, which again pertains more to Hindusthani music. In all these sections the author has covered wide ground, not only using the work of many authors who have worked on music works in print and manuscripts, but himself analysing for the first time some manuscript material available in Calcutta libraries. He has also appended many fables of Ragas as given in classified schemes in the various leading texts. There are also plates of some Raga-mala paintings like Desa Varati, Kakubha, Sarangi, Todi and Malavagaudi.

The present publication is a re-issue of the first deluxe edition of a limited number of 36 copies brought out by the author in 1935, the high price of which prevented even well-to-do music academies from purchasing it at that time. The author’s preface emphasises that this is only a reprint and not a second edition, except for some supplementary additions in the Bibliography given in the end. This draws our attention to the absence of revision and addition which should have been made; there are numerous slips and wrong references in the citation of author and work-names, but it is not necessary to refer to them in detail. Modern Indian musicology is yet in its infancy and works like the present one, written with a wide intellectual ground and systematic research work, are to be warmly welcomed.

V. RAGHAVAN