Nevertheless, whatever its other merits or defects may be, I can a.s.sure my readers that it was not my intention to propound a riddle, or insidiously convey any erudite teaching. The fact of the matter was that a longing had been born within my heart, and, unable to find any other name, I had called the thing I desired an Echo.

When from the original fount in the depths of the Universe streams of melody are sent forth abroad, their echo is reflected into our heart from the faces of our beloved and the other beauteous things around us.

It must be, as I suggested, this Echo which we love, and not the things themselves from which it happens to be reflected; for that which one day we scarce deign to glance at, may be, on another, the very thing which claims our whole devotion.

I had so long viewed the world with external vision only, and so had been unable to see its universal aspect of joy. When of a sudden, from some innermost depth of my being, a ray of light found its way out, it spread over and illuminated for me the whole universe, which then no longer appeared like heaps of things and happenings, but was disclosed to my sight as one whole. This experience seemed to tell me of the stream of melody issuing from the very heart of the universe and spreading over s.p.a.ce and time, re-echoing thence as waves of joy which flow right back to the source.

When the artist sends his song forth from the depths of a full heart that is joy indeed. And the joy is redoubled when this same song is wafted back to him as hearer. If, when the creation of the Arch-Poet is thus returning back to him in a flood of joy, we allow it to flow over our consciousness, we at once, immediately, become aware, in an inexpressible manner, of the end to which this flood is streaming. And as we become aware our love goes forth; and our _selves_ are moved from their moorings and would fain float down the stream of joy to its infinite goal. This is the meaning of the longing which stirs within us at the sight of Beauty.

The stream which comes from the Infinite and flows toward the finite--that is the True, the Good; it is subject to laws, definite in form. Its echo which returns towards the Infinite is Beauty and Joy; which are difficult to touch or grasp, and so make us beside ourselves.

This is what I tried to say by way of a parable or a song in _The Echo_.

That the result was not clear is not to be wondered at, for neither was the attempt then clear unto itself.

Let me set down here part of what I wrote in a letter, at a more advanced age, about the _Morning Songs_.

"There is none in the World, all are in my heart"--is a state of mind belonging to a particular age. When the heart is first awakened it puts forth its arms and would grasp the whole world, like the teething infant which thinks everything meant for its mouth. Gradually it comes to understand what it really wants and what it does not. Then do its nebulous emanations shrink upon themselves, get heated, and heat in their turn.

To begin by wanting the whole world is to get nothing. When desire is concentrated, with the whole strength of one's being upon any one object whatsoever it might be, then does the gateway to the Infinite become visible. The morning songs were the first throwing forth of my inner self outwards, and consequently they lack any signs of such concentration.

This all-pervading joy of a first outflow, however, has the effect of leading us to an acquaintance with the particular. The lake in its fulness seeks an outlet as a river. In this sense the permanent later love is narrower than first love. It is more definite in the direction of its activities, desires to realise the whole in each of its parts, and is thus impelled on towards the infinite. What it finally reaches is no longer the former indefinite extension of the heart's own inner joy, but a merging in the infinite reality which was outside itself, and thereby the attainment of the complete truth of its own longings.

In Mohita Babu's edition these _Morning Songs_ have been placed in the group of poems ent.i.tled _Nishkraman_, The Emergence. For in these was to be found the first news of my coming out of the _Heart Wilderness_ into the open world. Thereafter did this pilgrim heart make its acquaintance with that world, bit by bit, part by part, in many a mood and manner.

And at the end, after gliding past all the numerous landing steps of ever-changing impermanence, it will reach the infinite,--not the vagueness of indeterminate possibility, but the consummation of perfect fulness of Truth.

From my earliest years I enjoyed a simple and intimate communion with Nature. Each one of the cocoanut trees in our garden had for me a distinct personality. When, on coming home from the Normal School, I saw behind the skyline of our roof-terrace blue-grey water-laden clouds thickly banked up, the immense depth of gladness which filled me, all in a moment, I can recall clearly even now. On opening my eyes every morning, the blithely awakening world used to call me to join it like a playmate; the perfervid noonday sky, during the long silent watches of the siesta hours, would spirit me away from the work-a-day world into the recesses of its hermit cell; and the darkness of night would open the door to its phantom paths, and take me over all the seven seas and thirteen rivers, past all possibilities and impossibilities, right into its wonder-land.

Then one day, when, with the dawn of youth, my hungry heart began to cry out for its sustenance, a barrier was set up between this play of inside and outside. And my whole being eddied round and round my troubled heart, creating a vortex within itself, in the whirls of which its consciousness was confined.

This loss of the harmony between inside and outside, due to the over-riding claims of the heart in its hunger, and consequent restriction of the privilege of communion which had been mine, was mourned by me in the _Evening Songs_. In the _Morning Songs_ I celebrated the sudden opening of a gate in the barrier, by what shock I know not, through which I regained the lost one, not only as I knew it before, but more deeply, more fully, by force of the intervening separation.

Thus did the First Book of my life come to an end with these chapters of union, separation and reunion. Or, rather, it is not true to say it has come to an end. The same subject has still to be continued through more elaborate solutions of worse complexities, to a greater conclusion. Each one comes here to finish but one book of life, which, during the progress of its various parts, grows spiral-wise on an ever-increasing radius. So, while each segment may appear different from the others at a cursory glance, they all really lead back to the self-same starting centre.

The prose writings of the _Evening Songs_ period were published, as I have said, under the name of _Vividha Prabandha_. Those others which correspond to the time of my writing the _Morning Songs_ came out under the t.i.tle of _Alochana_, Discussions. The difference between the characteristics of these two would be a good index of the nature of the change that had in the meantime taken place within me.

PART VII

(35) _Rajendrahal Mitra_

It was about this time that my brother Jyotirindra had the idea of founding a Literary Academy by bringing together all the men of letters of repute. To compile authoritative technical terms for the Bengali language and in other ways to a.s.sist in its growth was to be its object--therein differing but little from the lines on which the modern _Sahitya Parishat_, Academy of Literature, has taken shape.

Dr. Rajendrahal Mitra took up the idea of this Academy with enthusiasm, and he was eventually its president for the short time it lasted. When I went to invite Pandit Vidyasagar to join it, he gave a hearing to my explanation of its objects and the names of the proposed members, then said: "My advice to you is to leave us out--you will never accomplish anything with big wigs; they can never be got to agree with one another." With which he refused to come in. Bankim Babu became a member, but I cannot say that he took much interest in the work.

To be plain, so long as this academy lived Rajendrahal Mitra did everything single-handed. He began with Geographical terms. The draft list was made out by Dr. Rajendrahal himself and was printed and circulated for the suggestions of the members. We had also an idea of transliterating in Bengali the name of each foreign country as p.r.o.nounced by itself.

Pandit Vidyasagar's prophecy was fulfilled. It did not prove possible to get the big wigs to do anything. And the academy withered away shortly after sprouting. But Rajendrahal Mitra was an all-round expert and was an academy in himself. My labours in this cause were more than repaid by the privilege of his acquaintance. I have met many Bengali men of letters in my time but none who left the impression of such brilliance.

I used to go and see him in the office of the Court of Wards in Maniktala. I would go in the mornings and always find him busy with his studies, and with the inconsiderateness of youth, I felt no hesitation in disturbing him. But I have never seen him the least bit put out on that account. As soon as he saw me he would put aside his work and begin to talk to me. It is a matter of common knowledge that he was somewhat hard of hearing, so he hardly ever gave me occasion to put him any question. He would take up some broad subject and talk away upon it, and it was the attraction of these discourses which drew me there. Converse with no other person ever gave me such a wealth of suggestive ideas on so many different subjects. I would listen enraptured.

I think he was a member of the text-book committee and every book he received for approval, he read through and annotated in pencil. On some occasions he would select one of these books for the text of discourses on the construction of the Bengali language in particular or Philology in general, which were of the greatest benefit to me. There were few subjects which he had not studied and anything he had studied he could clearly expound.

If we had not relied on the other members of the Academy we had tried to found, but left everything to Dr. Rajendrahal, the present _Sahitya Parishat_ would have doubtless found the matters it is now occupied with left in a much more advanced state by that one man alone.

Dr. Rajendrahal Mitra was not only a profound scholar, but he had likewise a striking personality which shone through his features. Full of fire as he was in his public life, he could also unbend graciously so as to talk on the most difficult subjects to a stripling like myself without any trace of a patronising tone. I even took advantage of his condescension to the extent of getting a contribution, _Yama's Dog_, from him for the Bharabi. There were other great contemporaries of his with whom I would not have ventured to take such liberties, nor would I have met with the like response if I had.

And yet when he was on the war path his opponents on the Munic.i.p.al Corporation or the Senate of the University were mortally afraid of him.

In those days Kristo Das Pal was the tactful politician, and Rajendrahal Mitra the valiant fighter.

For the purposes of the Asiatic Society's publications and researches, he had to employ a number of Sanscrit Pandits to do the mechanical work for him. I remember how this gave certain envious and mean-minded detractors the opportunity of saying that everything was really done by these Pandits while Rajendrahal fraudulently appropriated all the credit. Even to-day we very often find the tools arrogating to themselves the lion's share of the achievement, imagining the wielder to be a mere ornamental figurehead. If the poor pen had a mind it would as certainly have bemoaned the unfairness of its getting all the stain and the writer all the glory!

It is curious that this extraordinary man should have got no recognition from his countrymen even after his death. One of the reasons may be that the national mourning for Vidyasagar, whose death followed shortly after, left no room for a recognition of the other bereavement.

Another reason may be that his main contributions being outside the pale of Bengali literature, he had been unable to reach the heart of the people.

(36) _Karwar_

Our Sudder Street party next transferred itself to Karwar on the West Sea coast. Karwar is the headquarters of the Kanara district in the Southern portion of the Bombay Presidency. It is the tract of the Malaya Hills of Sanskrit literature where grow the cardamum creeper and the Sandal Tree. My second brother was then Judge there.

The little harbour, ringed round with hills, is so secluded that it has nothing of the aspect of a port about it. Its crescent shaped beach throws out its arms to the sh.o.r.eless open sea like the very image of an eager striving to embrace the infinite. The edge of the broad sandy beach is fringed with a forest of casuarinas, broken at one end by the _Kalanadi_ river which here flows into the sea after pa.s.sing through a gorge flanked by rows of hills on either side.

I remember how one moonlit evening we went up this river in a little boat. We stopped at one of Shivaji's old hill forts, and stepping ash.o.r.e found our way into the clean-swept little yard of a peasant's home. We sat on a spot where the moonbeams fell glancing off the top of the outer enclosure, and there dined off the eatables we had brought with us. On our way back we let the boat glide down the river. The night brooded over the motionless hills and forests, and on the silent flowing stream of this little _Kalanadi_, throwing over all its moonlight spell.

It took us a good long time to reach the mouth of the river, so, instead of returning by sea, we got off the boat there and walked back home over the sands of the beach. It was then far into the night, the sea was without a ripple, even the ever-troubled murmur of the casuarinas was at rest. The shadow of the fringe of trees along the vast expanse of sand hung motionless along its border, and the ring of blue-grey hills around the horizon slept calmly beneath the sky.

[Ill.u.s.tration: Karwar Beach]

Through the deep silence of this illimitable whiteness we few human creatures walked along with our shadows, without a word. When we reached home my sleep had lost itself in something still deeper. The poem which I then wrote is inextricably mingled with that night on the distant seash.o.r.e. I do not know how it will appeal to the reader apart from the memories with which it is entwined. This doubt led to its being left out of Mohita Babu's edition of my works. I trust that a place given to it among my reminiscences may not be deemed unfitting.

Let me sink down, losing myself in the depths of midnight.

Let the Earth leave her hold of me, let her free me from her obstacle of dust.

Keep your watch from afar, O stars, drunk though you be with moonlight, And let the horizon hold its wings still around me.

Let there be no song, no word, no sound, no touch; nor sleep, nor awakening,-- But only the moonlight like a swoon of ecstasy over the sky and my being.

The world seems to me like a ship with its countless pilgrims, Vanishing in the far-away blue of the sky, Its sailors' song becoming fainter and fainter in the air, While I sink in the bosom of the endless night, fading away from myself, dwindling into a point.

It is necessary to remark here that merely because something has been written when feelings are br.i.m.m.i.n.g over, it is not therefore necessarily good. Such is rather a time when the utterance is thick with emotion.

Just as it does not do to have the writer entirely removed from the feeling to which he is giving expression, so also it does not conduce to the truest poetry to have him too close to it. Memory is the brush which can best lay on the true poetic colour. Nearness has too much of the compelling about it and the imagination is not sufficiently free unless it can get away from its influence. Not only in poetry, but in all art, the mind of the artist must attain a certain degree of aloofness--the _creator_ within man must be allowed the sole control. If the subject matter gets the better of the creation, the result is a mere replica of the event, not a reflection of it through the Artist's mind.

(37) _Nature's Revenge_