RABINDRANATH TAGORE'S
SADHANA

< previous chapter   index     next chapter >

THE REALISATION OF BEAUTY

Things in which we do not take joy are either a burden upon our minds to be got rid of at any cost; or they are useful, and therefore in temporary and partial relation to us, becoming burdensome when their utility is lost; or they are like wandering vagabonds, loitering for a moment on the outskirts of our recognition, and then passing on. A thing is only completely our own when it is a thing of joy to us.

The greater part of this world is to us as if it were nothing. But we cannot allow it to remain so, for thus it belittles our own self. The entire world is given to us, and all our powers have their final meaning in the faith that by their help we are to take possession of our patrimony.

But what is the function of our sense of beauty in this process of the extension of our consciousness? Is it there to separate truth into strong lights and shadows, and bring it before us in its uncompromising distinction of beauty and ugliness? If that were so, then we would have had to admit that this sense of beauty creates a dissension in our universe and sets up a wall of hindrance across the highway of communication that leads from everything to all things.

But that cannot be true. As long as our realisation is incomplete a division necessarily remains between things known and unknown, pleasant and unpleasant. But in spite of the dictum of some philosophers man does not accept any arbitrary and absolute limit to his knowable world. Every day his science is penetrating into the region formerly marked in his map as unexplored or inexplorable. Our sense of beauty is similarly engaged in ever pushing on its conquests. Truth is everywhere, therefore everything is the object of our knowledge. Beauty is omnipresent, therefore everything is capable of giving us joy.

In the early days of his history man took everything as a phenomenon of life. His science of life began by creating a sharp distinction between life and non-life. But as it is proceeding farther and farther the line of demarcation between the animate and inanimate is growing more and more dim. In the beginning of our apprehension these sharp lines of contrast are helpful to us, but as our comprehension becomes clearer they gradually fade away.

The Upanishads have said that all things are created and sustained by an infinite joy. To realise this principle of creation we have to start with a division--the division into the beautiful and the non-beautiful. Then the apprehension of beauty has to come to us with a vigorous blow to awaken our consciousness from its primitive lethargy, and it attains its object by the urgency of the contrast. Therefore our first acquaintance with beauty is in her dress of motley colours, that affects us with its stripes and feathers, nay, with its disfigurements. But as our acquaintance ripens, the apparent discords are resolved into modulations of rhythm. At first we detach beauty from its surroundings, we hold it apart from the rest, but at the end we realise its harmony with all. Then the music of beauty has no more need of exciting us with loud noise; it renounces violence, and appeals to our heart with the truth that it is meekness inherits the earth.

In some stage of our growth, in some period of our history, we try to set up a special cult of beauty, and pare it down to a narrow circuit, so as to make it a matter of pride for a chosen few. Then it breeds in its votaries affections and exaggerations, as it did with the Brahmins in the time of the decadence of Indian civilisation, when the perception of the higher truth fell away and superstitions grew up unchecked.

In the history of æsthetics there also comes an age of emancipation when the recognition of beauty in things great and small become easy, and when we see it more in the unassuming harmony of common objects than in things startling in their singularity. So much so, that we have to go through the stages of reaction when in the representation of beauty we try to avoid everything that is obviously pleasing and that has been crowned by the sanction of convention. We are then tempted in defiance to exaggerate the commonness of commonplace things, thereby making them aggressively uncommon. To restore harmony we create the discords which are a feature of all reactions. We already see in the present age the sign of this æsthetic reaction, which proves that man has at last come to know that it is only the narrowness of perception which sharply divides the field of his æsthetic consciousness into ugliness and beauty. When he has the power to see things detached from self-interest and from the insistent claims of the lust of the senses, then alone can he have the true vision of the beauty that is everywhere. Then only can he see that what is unpleasant to us is not necessarily unbeautiful, but has its beauty in truth.

When we say that beauty is everywhere we do not mean that the word ugliness should be abolished from our language, just as it would be absurd to say that there is no such thing as untruth. Untruth there certainly is, not in the system of the universe, but in our power of comprehension, as its negative element. In the same manner there is ugliness in the distorted expression of beauty in our life and in our art which comes from our imperfect realisation of Truth. To a certain extent we can set our life against the law of truth which is in us and which is in all, and likewise we can give rise to ugliness by going counter to the eternal law of harmony which is everywhere.

Through our sense of truth we realise law in creation, and through our sense of beauty we realise harmony in the universe. When we recognise the law in nature we extend our mastery over physical forces and become powerful; when we recognise the law in our moral nature we attain mastery over self and become free. In like manner the more we comprehend the harmony in the physical world the more our life shares the gladness of creation, and our expression of beauty in art becomes more truly catholic. As we become conscious of the harmony in our soul, our apprehension of the blissfulness of the spirit of the world becomes universal, and the expression of beauty in our life moves in goodness and love towards the infinite. This is the ultimate object of our existence, that we must ever know that "beauty is truth, truth beauty"; we must realise the whole world in love, for love gives it birth, sustains it, and takes it back to its bosom. We must have that perfect emancipation of heart which gives us the power to stand at the innermost centre of things and have the taste of that fullness of disinterested joy which belongs to Brahma.

Music is the purest form of art, and therefore the most direct expression of beauty, with a form and spirit which is one and simple, and least encumbered with anything extraneous. We seem to feel that the manifestation of the infinite in the finite forms of creation is music itself, silent and visible. The evening sky, tirelessly repeating the starry constellations, seems like a child struck with wonder at the mystery of its own first utterance, lisping the same word over and over again, and listening to it in unceasing joy. When in the rainy night of July the darkness is thick upon the meadows and the pattering rain draws veil upon veil over the stillness of the slumbering earth, this monotony of the rain patter seems to be the darkness of sound itself. The gloom of the dim and dense line of trees, the thorny bushes scattered in the bare heath like floating heads of swimmers with bedraggled hair, the smell of the damp grass and the wet earth, the spire of the temple rising above the undefined mass of blackness grouped around the village huts--everything seems like notes rising from the heart of the night, mingling and losing themselves in the one sound of ceaseless rain filling the sky.

Therefore the true poets, they who are seers, seek to express the universe in terms of music.

They rarely use symbols of painting to express the unfolding of forms, the mingling of endless lines and colours that goes on every moment on the canvas of the blue sky.

They have their reason. For the man who paints must have canvas, brush and colour-box. The first touch of his brush is very far from the complete idea. And then when the work is finished the artist is gone, the windowed picture stands alone, the incessant touches of love of the creative hand are withdrawn.

But the singer has everything within him. The notes come out from his very life. They are not materials gathered from outside. His idea and his expression are brother and sister; very often they are born as twins. In music the heart reveals itself immediately; it suffers not from any barrier of alien material.

Therefore though music has to wait for its completeness like any other art, yet at every step it gives out the beauty of the whole. As the material of expression even words are barriers, for their meaning has to be constructed by thought. But music never has to depend upon any obvious meaning; it expresses what no words can ever express.

What is more, music and the musician are inseparable. When the singer departs, his singing dies with him; it is in eternal union with the life and joy of the master.

This world-song is never for a moment separated from its singer. It is not fashioned from any outward material. It is his joy itself taking never-ending form. It is the great heart sending the tremor of its thrill over the sky.

There is a perfection in each individual strain of this music, which is the revelation of completion in the incomplete. No one of its notes is final, yet each reflects the infinite.

What does it matter if we fail to derive the exact meaning of this great harmony? Is it not like the hand meeting the string and drawing out at once all its tones at the touch? It is the language of beauty, the caress, that comes from the heart of the world straightway reaches our heart.

Last night, in the silence which pervaded the darkness, I stood alone and heard the voice of the singer of eternal melodies. When I went to sleep I closed my eyes with this last thought in my mind, that even when I remain unconscious in slumber the dance of life will still go on in the hushed arena of my sleeping body, keeping step with the stars. The heart will throb, the blood will leap in the veins, and the millions of living atoms of my body will vibrate in tune with the note of the harp-string that thrills at the touch of the master.