India, in her days of spiritual greatness tried to not only explore the various lanes and by lanes and highways of the Spirit but also laboured in many ways to integrate the spiritual life with the material. Before the doctrine of Mayavada with its attendant disastrous consequences took hold of the Indian mind, there was a great stress of life turning into a play-field of the higher consciousness. How far did they go and how much they succeeded; how and why did the decline come is another matter to ponder? But the footprints of a great effort at Synthesis are there prominently for all to see. Our present talk deals with one such area of synthesis, in the field of Indian dance, so to say.
Words of Sri Aurobindo
The mere mass of the intellectual production during the period from Asoka well into the Mahomedan epoch is something truly prodigious, as can be seen at once if one studies the account which recent scholarship gives of it, and we must remember that that scholarship as yet only deals with a fraction of what is still lying extant and what is extant is only a small percentage of what was once written and known. There is no historical parallel for such an intellectual labour and activity before the invention of printing and the facilities of modern science; yet all that mass of research and production and curiosity of detail was accomplished without these facilities and with no better record than the memory and for an aid the perishable palm-leaf. Nor was all this colossal literature confined to philosophy and theology, religion and Yoga, logic and rhetoric and grammar and linguistics, poetry and drama, medicine and astronomy and the sciences; it embraced all life, politics and society, all the arts from painting to dancing, all the sixty-four accomplishments, everything then known that could be useful to life or interesting to the mind, even, for instance, to such practical side minutiae as the breeding and training of horses and elephants, each of which had its Shastra and its art, its apparatus of technical terms, its copious literature. In each subject from the largest and most momentous to the smallest and most trivial there was expended the same all-embracing, opulent, minute and thorough intellectuality. On one side there is an insatiable curiosity, the desire of life to know itself in every detail, on the other a spirit of organisation and scrupulous order, the desire of the mind to tread through life with a harmonised knowledge and in the right rhythm and measure.
Thus an ingrained and dominant spirituality, an inexhaustible vital creativeness and gust of life and, mediating between them, a powerful, penetrating and scrupulous intelligence combined of the rational, ethical and aesthetic mind each at a high intensity of action, created the harmony of the ancient Indian culture. Indeed without this opulent vitality and opulent intellectuality India could never have done so much as she did with her spiritual tendencies. It is a great error to suppose that spirituality flourishes best in an impoverished soil with the life half-killed and the intellect discouraged and intimidated. The spirituality that so flourishes is something morbid, hectic and exposed to perilous reactions. It is when the race has lived most richly and thought most profoundly that spirituality finds its heights and its depths and its constant and many-sided fruition. In modern Europe it is after a long explosion of vital force and a stupendous activity of the intellect that spirituality has begun really to emerge and with some promise of being not, as it once was, the sorrowful physician of the malady of life, but the beginning of a large and profound clarity. The European eye is struck in Indian spiritual thought by the Buddhistic and illusionist denial of life. But it must be remembered that this is only one side of its philosophic tendency which assumed exaggerated proportions only in the period of decline. In itself too that was simply one result, in one direction, of a tendency of the Indian mind which is common to all its activities, the impulse to follow each motive, each specialisation of motive even, spiritual, intellectual, ethical, vital, to its extreme point and to sound its utmost possibility. Part of its innate direction was to seek in each not only for its fullness of detail, but for its infinite, its absolute, its profoundest depth or its highest pinnacle. It knew that without a “fine excess” we cannot break down the limits which the dull temper of the normal mind opposes to knowledge and thought and experience; and it had in seeking this point a boundless courage and yet a sure tread. Thus it carried each tangent of philosophic thought, each line of spiritual experience to its farthest point, and chose to look from that farthest point at all existence, so as to see what truth or power such a view could give it. It tried to know the whole of divine nature and to see too as high as it could beyond nature and into whatever there might be of supradivine.
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India has lived and lived greatly, whatever judgment one may pass on her ideas and institutions. What is meant after all by life and when is it that we most fully and greatly live? Life is surely nothing but the creation and active self-expression of man’s spirit, powers, capacities, his will to be and think and create and love and do and achieve. When that is wanting or, since it cannot be absolutely wanting, depressed, held under, discouraged or inert, whether by internal or external causes, then we may say that there is a lack of life. Life in its largest sense is the great web of our internal and external action, the play of Shakti, the play of Karma; it is religion and philosophy and thought and science and poetry and art, drama and song and dance and play, politics and society, industry, commerce and trade, adventure and travel, war and peace, conflict and unity, victory and defeat and aspirations and vicissitudes, the thoughts, emotions, words, deeds, joys and sorrows which make up the existence of man. In a narrower sense life is sometimes spoken of as the more obvious and external vital action, a thing which can be depressed by a top-heavy intellectuality or ascetic spirituality, sicklied over with the pale cast of thought or the paler cast of world-weariness or made flat, stale and uninteresting by a formalised, conventional or too strait-laced system of society. Again, life may be very active and full of colour for a small and privileged part of the community, but the life of the mass dull, void and miserable. Or, finally, there may be all the ordinary materials and circumstances of mere living, but if life is not uplifted by great hopes, aspirations and ideals, then we may well say that the community does not really live; it is defective in the characteristic greatness of the human spirit.
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Mark the curious misreading of the dance of Shiva as a dance of Death or Destruction, whereas, as anybody ought to be able to see who looks upon the Nataraja, it expresses on the contrary the rapture of the cosmic dance with the profundities behind of the unmoved eternal and infinite bliss. So too the figure of Kali which is so terrible to European eyes is, as we know, the Mother of the universe accepting this fierce aspect of destruction in order to slay the Asuras, the powers of evil in man and the world….
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Or what of the marvellous genius and skill in the treatment of the cosmic movement and delight of the dance of Shiva, the success with which the posture of every limb is made to bring out the rhythm of the significance, the rapturous intensity and abandon of the movement itself and yet the just restraint in the intensity of motion, the subtle variation of each element of the single theme in the seizing idea of these master sculptors? Image after image in the great temples or saved from the wreck of time shows the same grand traditional art and the genius which worked in that tradition and its many styles, the profound and firmly grasped spiritual idea, the consistent expression of it in every curve, line and mass, in hand and limb, in suggestive pose, in expressive rhythm,—it is an art which, understood in its own spirit, need fear no comparison with any other, ancient or modern, Hellenic or Egyptian, of the near or the far East or of the West in any of its creative ages.
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Or an outward figure nearest to the inward experience, its material counterpart, is taken throughout and used with such realism and consistency that while it indicates to those who possess it the spiritual experience, it means only the external thing to others,—just as the Vaishnava poetry of Bengal makes to the devout mind a physical and emotional image or suggestion of the love of the human soul for God, but to the profane is nothing but a sensuous and passionate love poetry hung conventionally round the traditional human-divine personalities of Krishna and Radha.
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The desire of the soul for God is there thrown into symbolic figure in the lyrical love cycle of Radha and Krishna, the Nature soul in man seeking for the Divine Soul through love, seized and mastered by his beauty, attracted by his magical flute, abandoning human cares and duties for this one overpowering passion and in the cadence of its phases passing through first desire to the bliss of union, the pangs of separation, the eternal longing and reunion, the lila of the love of the human spirit for God.