Now I had of course been brought up on the Bible, and I had also studied Hinduism; so I thought I might be of some help. "Well," I said, "I can see how that might be, if you had not been given to know that a reading of the imagined history of the Jewish race is here regarded as a religious exercise. There would then, I can see, be very little for you of religion in the greater part of the Bible."

I thought later that I should perhaps have referred him to the Psalms; but when I then turned to a fresh reading of these with Hinduism in mind, I was glad that I had not done so; for almost invariably the leading theme is either of the virture of the singer, protected by his G.o.d, who will "smite his enemies on the cheek" and "break the teeth of the wicked"; or, on the other hand, "of complaint that that G.o.d has not yet given due aid to his righteous servant: all of which is just about diametrically opposed to what an instructed Hindu would have been taught to regard as a religious sentiment.

In the Orient the ultimate divine mystery is sought beyond all human categories of thought and feeling, beyond names and forms, and absolutely beyond any such concept as of a merciful or wrathful personality, chooser of one people over another, comforter of folk who pray, and destroyer of those who do not. Such anthropomorphic attributions of human sentiments and thoughts to a mystery beyond thought is -- from the point of view of Indian thought -- a style of religion for children. Whereas the final sense of all adult teaching is to the point that the mystery transcendent of categories, names and forms, sentiments and thought, is to be realized as the ground of one's own very being.

That is the realization formulated in those famous words of the gentle Brahmin Aruni to his son, recorded in the Chhandogya Upanishad Chhandogya Upanishad of about the eighth century B.C.: "You, my dear Shvetaketu, you are It" -- of about the eighth century B.C.: "You, my dear Shvetaketu, you are It" -- tat tvam asi. tat tvam asi.3 The "you" here meant was not the you that can be named, the "you" that one's friends know and care for, that was born and one day will die. That "you" is not "It." Neti neti, Neti neti, "not that, not that." Only when that mortal "you" will have erased everything about itself that it cherishes and is holding to, will "you" have come to the brink of an experience of ident.i.ty with that Being which is no being yet is the Being beyond the nonbeing of all things. Nor is It anything that you have ever known, ever named, or even thought about in this world: It is not the G.o.ds or any G.o.d, for example, that has been personified in worship. As we read in the great "not that, not that." Only when that mortal "you" will have erased everything about itself that it cherishes and is holding to, will "you" have come to the brink of an experience of ident.i.ty with that Being which is no being yet is the Being beyond the nonbeing of all things. Nor is It anything that you have ever known, ever named, or even thought about in this world: It is not the G.o.ds or any G.o.d, for example, that has been personified in worship. As we read in the great Brihadaranyaka Upanishad Brihadaranyaka Upanishad (of about the same age as the (of about the same age as the Chhandogya): Chhandogya):

This that people say: "Worship this G.o.d! Worship that G.o.d!" -- one G.o.d after another! All this is his creation indeed! And he himself is all the G.o.ds. . .

He is entered in the universe even to our fingernail-tips, like a razor in a razorcase, or fire in firewood. Him those people see not, for as seen, he is incomplete. When breathing, he becomes "breath" by name; when speaking, "voice"; when seeing, "the eye"; when hearing, "the ear"; when thinking, "mind": these are but the names of his acts. Whoever worships one or another of these -- knows not; for he is incomplete in one or another of these.

One should worship with the thought that he is one's self, for therein all these become one. This Self is the footprint of that All, for by it one knows the All -- just as, verily, by following a footprint one finds cattle that have been lost. . .4

I remember a vivid talk by the j.a.panese Zen philosopher Dr. Daisetz T. Suzuki, which opened with an unforgettable contrast of the Occidental and Oriental understandings of the G.o.d-man-nature mystery. Commenting first on the Biblical view of the state of man following the Fall in Eden, "Man," he observed, "is against G.o.d, Nature is against G.o.d, and Man and Nature are against each other. G.o.d's own likeness (Man), G.o.d's own creation (Nature) and G.o.d himself -- all three are at war."5 Then, expounding the Oriental view, "Nature," he said, "is the bosom whence we come and whither we go." Then, expounding the Oriental view, "Nature," he said, "is the bosom whence we come and whither we go."6 "Nature produces Man out of itself; Man cannot be outside of Nature." "Nature produces Man out of itself; Man cannot be outside of Nature."7 "I am in Nature and Nature is in me." "I am in Nature and Nature is in me."8 The G.o.dhead as highest Being is to be comprehended, he continued, as prior to creation, "in whom there was yet neither Man nor Nature." "As soon as a name is given, the G.o.dhead ceases to be G.o.dhead. Man and Nature spring up and we get caught in the maze of abstract conceptual vocabulary." The G.o.dhead as highest Being is to be comprehended, he continued, as prior to creation, "in whom there was yet neither Man nor Nature." "As soon as a name is given, the G.o.dhead ceases to be G.o.dhead. Man and Nature spring up and we get caught in the maze of abstract conceptual vocabulary."9 We in the West have named our G.o.d; or rather, we have had the G.o.dhead named for us in a book from a time and place that are not our own. And we have been taught to have faith not only in the absolute existence of this metaphysical fiction, but also in its relevance to the shaping of our lives. In the great East, on the other hand, the accent is on experience: on one's own experience, furthermore, not a faith in someone else's. And the various disciplines taught are of ways to the attainment of unmistakable experiences -- ever deeper, ever greater -- of one's own ident.i.ty with whatever one knows as "divine": ident.i.ty, and beyond that, then, transcendence.

The word Buddha means simply, "awakened, an awakened one, or the Awakened One." It is from the Sanskrit verbal root budh, budh, "to fathom a depth, to penetrate to the bottom"; also, "to perceive, to know, to come to one's senses, to wake." The Buddha is one awakened to ident.i.ty not with the body but with the knower of the body, nor with thought but with the knower of thoughts, that is to say, with consciousness; knowing, furthermore, that his value derives from his power to radiate consciousness -- as the value of a lightbulb derives from its power to radiate light. What is important about a lightbulb is not the filament or the gla.s.s but the light which these bulbs are to render; and what is important about each of us is not the body and its nerves but the consciousness that shines through them. And when one lives for that, instead of for protection of the bulb, one is in Buddha consciousness. "to fathom a depth, to penetrate to the bottom"; also, "to perceive, to know, to come to one's senses, to wake." The Buddha is one awakened to ident.i.ty not with the body but with the knower of the body, nor with thought but with the knower of thoughts, that is to say, with consciousness; knowing, furthermore, that his value derives from his power to radiate consciousness -- as the value of a lightbulb derives from its power to radiate light. What is important about a lightbulb is not the filament or the gla.s.s but the light which these bulbs are to render; and what is important about each of us is not the body and its nerves but the consciousness that shines through them. And when one lives for that, instead of for protection of the bulb, one is in Buddha consciousness.

Do we have any such teaching in the West? Not in our best-known teachings of religion. According to our Good Book, G.o.d made the world, G.o.d made man, and G.o.d and his creatures are not not to be conceived of as in any sense identical. Indeed, the preaching of ident.i.ty is in our best-known view the prime heresy. When Jesus said, "I and the Father are one," he was crucified for blasphemy; and when the Moslem mystic Hallaj, nine centuries later, said the same, he too was crucified. Whereas just that is the ultimate point of what is taught throughout the Orient as religion. to be conceived of as in any sense identical. Indeed, the preaching of ident.i.ty is in our best-known view the prime heresy. When Jesus said, "I and the Father are one," he was crucified for blasphemy; and when the Moslem mystic Hallaj, nine centuries later, said the same, he too was crucified. Whereas just that is the ultimate point of what is taught throughout the Orient as religion.

So, then, what is it that our religions actually teach? Not the way to an experience of ident.i.ty ident.i.ty with the G.o.dhead, since that, as we have said, is the prime heresy; but the way and the means to establish and maintain a with the G.o.dhead, since that, as we have said, is the prime heresy; but the way and the means to establish and maintain a relationship relationship to a named G.o.d. And how is such a relationship to be achieved? Only through membership in a certain supernaturally endowed, uniquely favored social group. The Old Testament G.o.d has a covenant with a certain historic people, the only holy race -- the only holy thing, in fact -- on earth. And how does one gain membership? The traditional answer was most recently (March 10, 1970) reaffirmed in Israel as defining the first prerequisite to full citizenship in that mythologically inspired nation: by being born of a Jewish mother. And in the Christian view, by what means? By virtue of the incarnation of Christ Jesus, who is to be known as true G.o.d and true man (which, in the Christian view, is a miracle, whereas in the Orient, on the other hand, everyone is to be known as true G.o.d and true man, though few may have yet awakened to the force of that wonder in themselves). Through our humanity we are related to Christ; through his divinity he relates us to G.o.d. And how do we confirm in life our relationship to that one and only G.o.d-Man? Through baptism and, thereby, spiritual member in his Church: which is to say, once again through a social inst.i.tution. to a named G.o.d. And how is such a relationship to be achieved? Only through membership in a certain supernaturally endowed, uniquely favored social group. The Old Testament G.o.d has a covenant with a certain historic people, the only holy race -- the only holy thing, in fact -- on earth. And how does one gain membership? The traditional answer was most recently (March 10, 1970) reaffirmed in Israel as defining the first prerequisite to full citizenship in that mythologically inspired nation: by being born of a Jewish mother. And in the Christian view, by what means? By virtue of the incarnation of Christ Jesus, who is to be known as true G.o.d and true man (which, in the Christian view, is a miracle, whereas in the Orient, on the other hand, everyone is to be known as true G.o.d and true man, though few may have yet awakened to the force of that wonder in themselves). Through our humanity we are related to Christ; through his divinity he relates us to G.o.d. And how do we confirm in life our relationship to that one and only G.o.d-Man? Through baptism and, thereby, spiritual member in his Church: which is to say, once again through a social inst.i.tution.

Our whole introduction to the images, the archetypes, the universally known guiding symbols of the unfolding mysteries of the spirit has been by way of the claims of these two self-sanctified historical social groups. And the claims of both have today been disqualified -- historically, astronomically, biologically, and every other way -- and everybody knows it. and everybody knows it. No wonder our clergymen look anxious, and their congregations confused! No wonder our clergymen look anxious, and their congregations confused!

And so, what now of our synagogues and our churches? Many of the latter, I note, have already been turned into theaters; others are lecture halls, where ethics, politics, and sociology are taught on Sundays in a stentorian tone with that special theological tremolo that signifies G.o.d's will. But do they have to go down this way? Can they not serve any more their proper function?

The obvious answer, it seems to me, is that of course they can serve -- or rather, could, could, if their clerics knew wherein the magic lay of the symbols they hold in their keep. They could serve simply by exhibiting these in a properly if their clerics knew wherein the magic lay of the symbols they hold in their keep. They could serve simply by exhibiting these in a properly affective affective way. For it is the rite, the ritual and its imagery, that counts in religion, and where that is missing the words are mere carriers of concepts that may or may not make contemporary sense. A ritual is an organization of mythological symbols; and by partic.i.p.ating in the drama of the rite one is brought directly in touch with these, not as verbal reports of historic events, either past, present, or to be, but as revelations, here and now, of what is always and forever. Where the synagogues and churches go wrong is by telling what their symbols "mean." The value of an effective rite is that it leaves everyone to his own thoughts, which dogma and definitions only confuse. Dogma and definitions rationally insisted upon are inevitably hindrances, not aids, to religious meditation, since no one's sense of the presence of G.o.d can be anything more than a function of his own spiritual capacity. Having your image of G.o.d -- the most intimate, hidden mystery of your life -- defined for you in terms contrived by some council of bishops back, say, in the fifth century or so: what good is that? But a contemplation of the crucifix works; the odor of incense works; so do, also, hieratic attires, the tones of well-sung Gregorian chants, intoned and mumbled Introits, Kyries, heard and unheard consecrations. What has the "affect value" of wonders of this kind to do with the definitions of councils, or whether we quite catch the precise meaning of such words as way. For it is the rite, the ritual and its imagery, that counts in religion, and where that is missing the words are mere carriers of concepts that may or may not make contemporary sense. A ritual is an organization of mythological symbols; and by partic.i.p.ating in the drama of the rite one is brought directly in touch with these, not as verbal reports of historic events, either past, present, or to be, but as revelations, here and now, of what is always and forever. Where the synagogues and churches go wrong is by telling what their symbols "mean." The value of an effective rite is that it leaves everyone to his own thoughts, which dogma and definitions only confuse. Dogma and definitions rationally insisted upon are inevitably hindrances, not aids, to religious meditation, since no one's sense of the presence of G.o.d can be anything more than a function of his own spiritual capacity. Having your image of G.o.d -- the most intimate, hidden mystery of your life -- defined for you in terms contrived by some council of bishops back, say, in the fifth century or so: what good is that? But a contemplation of the crucifix works; the odor of incense works; so do, also, hieratic attires, the tones of well-sung Gregorian chants, intoned and mumbled Introits, Kyries, heard and unheard consecrations. What has the "affect value" of wonders of this kind to do with the definitions of councils, or whether we quite catch the precise meaning of such words as Oramus te, Domine, per merita Sanctorum tuorum? Oramus te, Domine, per merita Sanctorum tuorum? If we are curious for meanings, they are there, translated in the other column of the prayerbook. But if the magic of the rite is gone. . . If we are curious for meanings, they are there, translated in the other column of the prayerbook. But if the magic of the rite is gone. . .

Let me offer a few suggestions. Let me first present a few thoughts from the Indian tradition; then a thought from the j.a.panese; and finally, a suggestion of something that we as Westerners may require which the Orient cannot give.

The fundamental text of the Hindu tradition is, of course, the Bhagavad Gita; Bhagavad Gita; and there four basic yogas are described. The word and there four basic yogas are described. The word yoga yoga itself, from a Sanskrit verbal root itself, from a Sanskrit verbal root yuj, yuj, meaning "to yoke, to link one thing to another," refers to the act of linking the mind to the source of mind, consciousness to the source of consciousness; the import of which definition is perhaps best ill.u.s.trated in the discipline known as knowledge yoga, the yoga, that is to say, of discrimination between the knower and the known, between the subject and the object in every act of knowing, and the identification of oneself, then, with the subject. "I know my body. My body is the object. I am the witness, the knower of the object. I, therefore, am not my body." Next: "I know my thoughts; I am not my thoughts." And so on: "I know my feelings; I am not my feelings." You can back yourself out of the room that way. And the Buddha then comes along and adds: "You are not the witness either. There is no witness." So where are you now? Where are you between two thoughts? That is the way known as meaning "to yoke, to link one thing to another," refers to the act of linking the mind to the source of mind, consciousness to the source of consciousness; the import of which definition is perhaps best ill.u.s.trated in the discipline known as knowledge yoga, the yoga, that is to say, of discrimination between the knower and the known, between the subject and the object in every act of knowing, and the identification of oneself, then, with the subject. "I know my body. My body is the object. I am the witness, the knower of the object. I, therefore, am not my body." Next: "I know my thoughts; I am not my thoughts." And so on: "I know my feelings; I am not my feelings." You can back yourself out of the room that way. And the Buddha then comes along and adds: "You are not the witness either. There is no witness." So where are you now? Where are you between two thoughts? That is the way known as jnana yoga, jnana yoga, the way of sheer knowledge. the way of sheer knowledge.

A second discipline is that known as raja yoga, raja yoga, the kingly, royal, or supreme yoga, which is the one that usually comes to mind when the word yoga is mentioned. This we might describe as a kind of psychological gymnastic of rigorous physical as well as mental att.i.tudes: sitting in the "lotus posture," breathing in deeply and out to certain counts in certain ways; in through the right nostril, hold, out through the left; in through the left nostril, hold, out through the right, and so on: all to various meditations. The results are actual psychological transformations, culminating in a rapturous experience of the whole sheer light of consciousness, released from all conditioning limitations and effects. the kingly, royal, or supreme yoga, which is the one that usually comes to mind when the word yoga is mentioned. This we might describe as a kind of psychological gymnastic of rigorous physical as well as mental att.i.tudes: sitting in the "lotus posture," breathing in deeply and out to certain counts in certain ways; in through the right nostril, hold, out through the left; in through the left nostril, hold, out through the right, and so on: all to various meditations. The results are actual psychological transformations, culminating in a rapturous experience of the whole sheer light of consciousness, released from all conditioning limitations and effects.

A third way, known as bhakti, bhakti, devotional yoga, is the closest of the disciplines to what we in the West term "worship," or "religion." It consists in giving one's life wholly in selfless devotion to some beloved being or thing, who becomes thereby in fact one's "chosen G.o.d." There is a charming story told of the great nineteenth-century Indian saint Ramakrishna. A lady came to him in some distress because she had realized that she did not actually love and truly worship G.o.d. "Is there, then, nothing you love?" he asked her; and when she replied that she loved her baby nephew, "There," said he, "there is your Krishna, your Beloved. In your service to him, you are serving G.o.d." And indeed that G.o.d Krishna himself, as we are told in one of his legends, when he was living as a child among a tribe of simple cowherds, taught and advised those folk to worship, not an abstract G.o.d above, unseen, but their own cows. "There is where your devotion is, and where G.o.d's blessing to you resides. Worship your cows." And they garlanded the cows, and paid them worship. The lesson is clear, and not a little like that of the recent teaching of the modern Christian theologian Paul Tillich, to the point that "G.o.d is your highest concern." devotional yoga, is the closest of the disciplines to what we in the West term "worship," or "religion." It consists in giving one's life wholly in selfless devotion to some beloved being or thing, who becomes thereby in fact one's "chosen G.o.d." There is a charming story told of the great nineteenth-century Indian saint Ramakrishna. A lady came to him in some distress because she had realized that she did not actually love and truly worship G.o.d. "Is there, then, nothing you love?" he asked her; and when she replied that she loved her baby nephew, "There," said he, "there is your Krishna, your Beloved. In your service to him, you are serving G.o.d." And indeed that G.o.d Krishna himself, as we are told in one of his legends, when he was living as a child among a tribe of simple cowherds, taught and advised those folk to worship, not an abstract G.o.d above, unseen, but their own cows. "There is where your devotion is, and where G.o.d's blessing to you resides. Worship your cows." And they garlanded the cows, and paid them worship. The lesson is clear, and not a little like that of the recent teaching of the modern Christian theologian Paul Tillich, to the point that "G.o.d is your highest concern."

The fourth, finally, and princ.i.p.al type of yoga expounded in the Bhagavad Gita Bhagavad Gita is that known as the yoga of action, is that known as the yoga of action, karma yoga. karma yoga. It is prepared for already by the very setting of the famous piece: the battlefield at the opening of the legendary Great War of the Sons of India, at the close of the Vedic-Aryan chivalrous age, when the whole feudal aristocracy of the land was self-exterminated in a bloodbath of mutual slaughter. At the opening of the portentous scene, the young prince Arjuna, about to engage in the greatest action of his career, bade his charioteer, the young G.o.d Krishna, his glorious friend, to drive him out between the two a.s.sembled battle lines, where he looked to left and right and, recognizing in both armies many relatives and friends, n.o.ble comrades and heroes of virtue, he let fall his bow and, overcome with pity and great sorrow, said to the G.o.d, his driver, "My limbs fail, my mouth is parched, my hair is standing on end. Better that I myself should die here than that I should initiate this battle. I would not kill, to rule the universe: how much less for the rule of this earth?" To which the young G.o.d replied with the following piercing words: "Whence this ign.o.ble cowardice?" And with that the great teaching began: It is prepared for already by the very setting of the famous piece: the battlefield at the opening of the legendary Great War of the Sons of India, at the close of the Vedic-Aryan chivalrous age, when the whole feudal aristocracy of the land was self-exterminated in a bloodbath of mutual slaughter. At the opening of the portentous scene, the young prince Arjuna, about to engage in the greatest action of his career, bade his charioteer, the young G.o.d Krishna, his glorious friend, to drive him out between the two a.s.sembled battle lines, where he looked to left and right and, recognizing in both armies many relatives and friends, n.o.ble comrades and heroes of virtue, he let fall his bow and, overcome with pity and great sorrow, said to the G.o.d, his driver, "My limbs fail, my mouth is parched, my hair is standing on end. Better that I myself should die here than that I should initiate this battle. I would not kill, to rule the universe: how much less for the rule of this earth?" To which the young G.o.d replied with the following piercing words: "Whence this ign.o.ble cowardice?" And with that the great teaching began:

To that which is born, death is certain; to that which is dead, birth is certain: be not afflicted by the unavoidable. As a n.o.ble whose duty it is to protect the law, refusing to fight this righteous war you will forfeit both virtue and honor. Your proper concern is alone the action action of duty, not the of duty, not the fruits fruits of the action. Cast then away all desire and fear for the fruits, and perform your duty. of the action. Cast then away all desire and fear for the fruits, and perform your duty.

After that stern talk, the G.o.d cleared Arjuna's eyes, and the youth in amazement beheld his friend transfigured -- with the radiance of a thousand suns, many flashing eyes and faces, many arms uplifting weapons, many heads, many mouths with glittering tusks. And behold! those two great hosts from either side were pouring, flying into those flaming mouths, crashing on the terrible teeth, perishing; and the monster was licking all its lips. "My G.o.d! Who are you?" Arjuna cried, with every hair now standing. And there came from what had been his friend, the Lord of the World, this answer: "I am Black Time, here for the annihilation of these hosts. Even without you, those who are about to die will not live. So now, get in there! Appear to be killing those that I have already slain. Do your duty and be not distressed by any touch of fear."

"Perform your duty," in India means, "Perform without question the a.s.signed duty of your caste." Arjuna was a n.o.ble: his duty was to fight. We in the West, however, no longer think that way; and that is why the Oriental concept of the infallible spiritual mentor, the guru, is no longer of any real use here. It does not work, and it can't work. For our notion of the mature individual is not of a person who simply accepts without question or criticism the dictates and current ideals of his social group, as a child would and should accept the orders of a parent. Our ideal is, rather, of one who through his own experience and considered judgment (and I mean experienced experienced judgment, not a parroting of the lectures of some freshman sociology course under old Professor So-and-So with his program for the universe), through his own living, has arrived at some reasoned and reasonable att.i.tudes and will function now not as the obedient servant of some una.s.sailable authority but in terms of his own self-responsible determinations. Duty here, therefore, does not mean at all what it means throughout the Orient. It does not mean accepting like a child what has been authoritatively taught. It means thinking, evaluating, and developing an ego: a faculty, that is to say, of independent observation and rational criticism, capable of interpreting its environment as well as of estimating its own powers in relation to circ.u.mstance; and of initiating courses of action, then, that will be relevant not to ideals of the past, but to possibilities of the present. But exactly that is in the East the one forbidden thing. judgment, not a parroting of the lectures of some freshman sociology course under old Professor So-and-So with his program for the universe), through his own living, has arrived at some reasoned and reasonable att.i.tudes and will function now not as the obedient servant of some una.s.sailable authority but in terms of his own self-responsible determinations. Duty here, therefore, does not mean at all what it means throughout the Orient. It does not mean accepting like a child what has been authoritatively taught. It means thinking, evaluating, and developing an ego: a faculty, that is to say, of independent observation and rational criticism, capable of interpreting its environment as well as of estimating its own powers in relation to circ.u.mstance; and of initiating courses of action, then, that will be relevant not to ideals of the past, but to possibilities of the present. But exactly that is in the East the one forbidden thing.

Many of my professor friends are beginning to suggest that our students today are looking not for teachers but for gurus. The guru in the Orient accepts responsibility for his student's moral life, and the student's aim, reciprocally, must be to identify with the guru and become, if possible, just like him. But as far as I can see -- and so I tell my academic cronies -- these students of ours lack the first virtue of such a student, Oriental style, which is, namely, faith, shraddha, shraddha, "perfect faith," in the unquestioningly revered guru. Criticism, on the other hand, and self-responsible judgment are what we have traditionally hoped to develop in students, and often enough we have succeeded. In fact, with the present crop we have to such a degree succeeded that, hardly out of diapers, they are ready now to teach teacher, which is a bit too much of a good thing. What they may be learning from the Orient, which so many are striving to emulate, I am not going to try to suggest, beyond noting that it will have to be something -- the first step or two at least -- of the mystic inward way into themselves; and this, if followed without losing touch with the conditions of contemporary life, might well lead in not a few cases to a new depth and wealth of creative thought and fulfillment in life and in literature and the arts. "perfect faith," in the unquestioningly revered guru. Criticism, on the other hand, and self-responsible judgment are what we have traditionally hoped to develop in students, and often enough we have succeeded. In fact, with the present crop we have to such a degree succeeded that, hardly out of diapers, they are ready now to teach teacher, which is a bit too much of a good thing. What they may be learning from the Orient, which so many are striving to emulate, I am not going to try to suggest, beyond noting that it will have to be something -- the first step or two at least -- of the mystic inward way into themselves; and this, if followed without losing touch with the conditions of contemporary life, might well lead in not a few cases to a new depth and wealth of creative thought and fulfillment in life and in literature and the arts.

And with that, I come to my third personal anecdote, which is again to be of the confrontation of East and West in religion; but with a suggestion now of the way in which the Orient turns the magic of religion into art. This one is of an event that occurred in the summer of 1958, when I was in j.a.pan for the Ninth International Congress on the History of Religions. One of our leading New York social philosophers, who was a conspicuous delegate to that extraordinarily colorful a.s.semblage -- a learned, genial, and charming gentleman, who, however, had had little or no previous experience either of the Orient or of religion (in fact I wondered by what miracle he was there) -- having gone along with the rest of us on our visits to a number of n.o.ble Shinto shrines and beautiful Buddhist temples, was finally ready to ask a few significant questions. There were many j.a.panese members of the congress, not a few of them Shinto priests, and on the occasion of a great lawn party in the precincts of a glorious j.a.panese garden, our friend approached one of these. "You know," he said, "I've been now to a good many ceremonies and have seen quite a number of shrines, but I don't get the ideology; I don't get your theology."

The j.a.panese (you may know) do not like to disappoint visitors, and this gentleman, polite, apparently respecting the foreign scholar's profound question, paused as though in deep thought, and then, biting his lips, slowly shook his head. "I think we don't have ideology," he said. "We don't have theology. We dance."

That, for me, was the lesson of the congress. What it told was that in j.a.pan, in the native Shinto religion of the land, where the rites are extremely stately, musical, and imposing, no attempt has been made to reduce their "affect images" to words. They have been left to speak for themselves -- as rites, as works of art -- through the eyes to the listening heart. And that, I would say, is what we, in our own religious rites, had best be doing too. Ask an artist what his picture "means," and you will not soon ask such a question again. Significant images render insights beyond speech, beyond the kinds of meaning speech defines. And if they do not speak to you, that is because you are not ready for them, and words will only serve to make you think think you have understood, thus cutting you off altogether. You don't ask what a dance means, you enjoy it. You don't ask what the world means, you enjoy it. You don't ask what you have understood, thus cutting you off altogether. You don't ask what a dance means, you enjoy it. You don't ask what the world means, you enjoy it. You don't ask what you you mean, you enjoy yourself; or at least, so you do when you are up to snuff. mean, you enjoy yourself; or at least, so you do when you are up to snuff.

But to enjoy the world requires something more than mere good health and good spirits; for this world, as we all now surely know, is horrendous. "All life," said the Buddha, "is sorrowful"; and so, indeed, it is. Life consuming life: that is the essence of its being, which is forever a becoming. "The world," said the Buddha, "is an ever-burning fire." And so it is. And that is what one has to affirm, with a yea! a dance! a knowing, solemn, stately dance of the mystic bliss beyond pain that is at the heart of every mythic rite.

And so, to conclude, let me recount now a really marvelous Hindu legend to this point, from the infinitely rich mythology of the G.o.d Shiva and his glorious world-G.o.ddess Parvati. The occasion was of a time when there came before this great divinity an audacious demon who had just overthrown the ruling G.o.ds of the world and now came to confront the highest of all with a non-negotiable demand, namely, that the G.o.d should hand over his G.o.ddess to the demon. Well, what Shiva did in reply was simply to open that mystic third eye in the middle of his forehead, and paff! a lightning bolt hit the earth, and there was suddenly there a second demon, even larger than the first. He was a great lean thing with a lionlike head, hair waving to the quarters of the world, and his nature was sheer hunger. He had been brought into being to eat up the first, and was clearly fit to do so. The first thought: "So what do I do now?" and with a very fortunate decision threw himself upon Shiva's mercy.

Now it is a well-known theological rule that when you throw yourself on a G.o.d's mercy the G.o.d cannot refuse to protect you; and so Shiva had now to guard and protect the first demon from the second. Which left the second, however, without meat to quell his hunger and in anguish he asked Shiva, "Whom, then, do I eat?" to which the G.o.d replied, "Well, let's see: why not eat yourself?"

And with that, no sooner said than begun. Commencing with his feet, teeth chopping away, that grim phenomenon came right on up the line, through his own belly, on up through his chest and neck, until all that remained was a face. And the G.o.d, thereupon, was enchanted. For here at last was a perfect image of the monstrous thing that is life, which lives on itself. And to that sunlike mask, which was now all that was left of that lionlike vision of hunger, Shiva said, exulting, "I shall call you 'Face of Glory,' Kirttimukha, and you shall shine above the doors to all my temples. No one who refuses to honor and worship you will come ever to knowledge of me."10 The obvious lesson of all of which is that the first step to the knowledge of the highest divine symbol of the wonder and mystery of life is in the recognition of the monstrous nature of life and its glory in that character: the realization that this is just how it is and that it cannot and will not be changed. Those who think -- and their name is legion -- that they know how the universe could have been better than it is, how it would have been had they created it, without pain, without sorrow, without time, without life, are unfit for illumination. Or those who think -- as do many -- "Let me first correct society, then get around to myself" are barred from even the outer gate of the mansion of G.o.d's peace. All societies are evil, sorrowful, inequitable; and so they will always be. So if you really want to help this world, what you will have to teach is how to live in it. And that no one can do who has not himself learned how to live in it in the joyful sorrow and sorrowful joy of the knowledge of life as it is. That is the meaning of the monstrous Kirttimukha, "Face of Glory," over the entrances to the sanctuaries of the G.o.d of yoga, whose bride is the G.o.ddess of life. No one can know this G.o.d and G.o.ddess who will not bow to that mask in reverence and pa.s.s humbly through.

VI.

The Inspiration of Oriental Art [1968].

In Indian textbooks of aesthetics four types of subject are recognized as appropriate for artistic treatment. They are, first, abstract qualities, such as goodness, truth, beauty, and the like; next, types of action and mood (the slaying of enemies or of monsters, the winning of a lover, moods of melancholy, bliss, and so on); third, human types (Brahmins, mendicants, holy or wicked princes, merchants, servants, lovers, outcasts, criminals, etc.); and finally, deities -- all of which, we note, are abstract. For there is in the Orient no interest in the individual as such, or in unique, unprecedented facts or events. Accordingly, what the glorious spectacle of Oriental art mainly offers are repet.i.tions, over and over, of certain tried and true themes and motifs. And when these are compared with the galaxies of Renaissance and post-Renaissance Europe, what is perhaps most striking is the absence in the Oriental traditions of anything like significant portraiture. Consider the works of Rembrandt or t.i.tian: the attention given in these to the representation of what we call character, personality, the uniqueness, at once physical and spiritual, of an individual presence. Such a concern for what is not enduring is utterly contrary to the informing spirit of Oriental art. Our respect for the individual as a unique phenomenon, not to be suppressed in his idiosyncrasies, but to be cultivated and brought to fulfillment as a gift to the world such as never before was seen on earth, nor will ever appear again, is contrary, toto caelo, toto caelo, to the spirit not only of Oriental art but also of Oriental life. And in keeping with this turn of mind, the individual is expected not to innovate or invent, but to perfect himself in the knowledge and rendition of norms. to the spirit not only of Oriental art but also of Oriental life. And in keeping with this turn of mind, the individual is expected not to innovate or invent, but to perfect himself in the knowledge and rendition of norms.

Accordingly, the Oriental artist must not only address himself to standard themes, but also have no interest in any such thing as we understand by self-expression. Accounts, such as abound in the biographies of Western masters, of an artist's solitary agony in long quest of his own special language to bring forward his personal message, we shall search for long and in vain in the annals of Oriental art. Such ego-oriented thinking is alien completely to Eastern life, thought, and religiosity, which are concerned, on the contrary, precisely with the quenching of ego and of all interest in this evanescent thing that is merely the "I" of a pa.s.sing dream.

On the negative side, this cultivation of anonymity has led to the production of a panorama ad infinitum ad infinitum of academic stereotypes -- which, however, is not on the side of our subject to which I wish to address myself. My theme is to be rather of those orders and master-works of consummate art that do indeed render to mortal eyes the knowledge of an immortal presence in all things. The song that one hears in one's ears-of-thought when reading the of academic stereotypes -- which, however, is not on the side of our subject to which I wish to address myself. My theme is to be rather of those orders and master-works of consummate art that do indeed render to mortal eyes the knowledge of an immortal presence in all things. The song that one hears in one's ears-of-thought when reading the Bhagavad Gita, Bhagavad Gita, of that spirit immortal that never was born, never dies, but lives in all things that are born to die as the actual being of their apparent being and whose radiance gives to them their glory, is the universal song that is sung not in Indian art alone but in Far Eastern life as well; and it is to this that I would attune my present song. of that spirit immortal that never was born, never dies, but lives in all things that are born to die as the actual being of their apparent being and whose radiance gives to them their glory, is the universal song that is sung not in Indian art alone but in Far Eastern life as well; and it is to this that I would attune my present song.

To begin with, then (commencing in India and moving later on to the Far East), Indian art is a yoga and its master a kind of yogi. Having performed through years the a.s.signments of an obedient apprenticeship, and having gained at last recognition as a master, commissioned to erect, say, a temple or to fashion a sacred image, the artist first will meditate, to bring before his inner eye a vision of the symbolic building to be planned, or of the deity to be rendered. Indeed, there are legends even of entire cities envisioned in this way: of some saintly monarch who will have had a dream in which he will have seen, as in a revelation, the whole form of the temple or city to be built. And I wonder if that may not be the reason why, in certain Oriental cities one can feel, even today, that one is moving in a dream: the city is dreamlike because in its inception it was actually suggested by a dream, which then was rerendered in stone.

The artist craftsman about to set to work fashioning the image of a divinity -- let us say, of Vishnu -- will first have studied all the relevant texts, to fix in mind the canonical signs, postures, proportions, etc., of the aspect of the G.o.d to be rendered. He will then settle down, p.r.o.nouncing in his heart the seed syllable of the deity's name, and if he is fortunate there will appear, in due time, a vision before his inner eye of the very form he is to render, which will be the model, then, for his work of art. Thus the greatest works of the great periods of India were actually revelations; and to appreciate them properly as the revelations not of supposed supernatural beings, but of a power of nature latent in ourselves and requiring only to be recognized to be brought to fulfillment in our lives, we need only turn to that extraordinary psychological textbook, A Description of the Six Bodily Centers of the Unfolding Serpent Power (Shatchakra-nirupanam), A Description of the Six Bodily Centers of the Unfolding Serpent Power (Shatchakra-nirupanam), which has been available now for some sixty years in the superb translation of Sir John Woodroffe, published by Ganesh and Company, Madras. which has been available now for some sixty years in the superb translation of Sir John Woodroffe, published by Ganesh and Company, Madras.1 The basic thesis of the so-called Kundalini yoga system elucidated in this fundamental work is that there are six plus one -- i.e., seven -- psychological centers distributed up the body, from its base to the crown of the head, which can, through yoga, be successively activated and so caused to release ever higher realizations of spiritual consciousness and bliss. These are known as "lotuses," padmas, padmas, or as or as chakras, chakras, "wheels," and are to be thought of as normally hanging limp. However, when touched and activated by a rising spiritual power called the Kundalini, which can be made to ascend through a mystic channel up the middle of the spine, they awaken to life and shine. The name of this power, "wheels," and are to be thought of as normally hanging limp. However, when touched and activated by a rising spiritual power called the Kundalini, which can be made to ascend through a mystic channel up the middle of the spine, they awaken to life and shine. The name of this power, kundalini, kundalini, "the coiled one," is a feminine Sanskrit noun, here referring to the idea of a coiled serpent, to be thought of as sleeping in the lowest of the seven body centers. In the mythologies of the Orient serpents generally symbolize the vital power that sloughs death, as serpents shed their skin to be (as it were) reborn. This power is thought of in India as feminine. . . the feminine, form-building, life-giving and -supporting force by which the universe and all its beings are rendered animate. Sleeping coiled in the lowest of the seven centers of the body, it leaves the other six unactivated. The aim, therefore, of this yoga is to wake the serpent, cause her to lift her head, and to bring her up the mystic interior channel of the spine known as Sushumna, "rich in pleasure," piercing at each stage of her thrilling ascent the lotus there located. The yogi, sitting cross-legged, erect, holding in mind certain thoughts and p.r.o.nouncing mystic syllables, will be first concerned to regulate the rhythm of his breathing, inhaling deeply, holding, and exhaling to fix counts: in through the right nostril, out through the left, etc., pervading thus the entire body with "the coiled one," is a feminine Sanskrit noun, here referring to the idea of a coiled serpent, to be thought of as sleeping in the lowest of the seven body centers. In the mythologies of the Orient serpents generally symbolize the vital power that sloughs death, as serpents shed their skin to be (as it were) reborn. This power is thought of in India as feminine. . . the feminine, form-building, life-giving and -supporting force by which the universe and all its beings are rendered animate. Sleeping coiled in the lowest of the seven centers of the body, it leaves the other six unactivated. The aim, therefore, of this yoga is to wake the serpent, cause her to lift her head, and to bring her up the mystic interior channel of the spine known as Sushumna, "rich in pleasure," piercing at each stage of her thrilling ascent the lotus there located. The yogi, sitting cross-legged, erect, holding in mind certain thoughts and p.r.o.nouncing mystic syllables, will be first concerned to regulate the rhythm of his breathing, inhaling deeply, holding, and exhaling to fix counts: in through the right nostril, out through the left, etc., pervading thus the entire body with pram, pram, "spiritus," "breath," the breath of life, until presently the coiled serpent stirs and the process begins. "spiritus," "breath," the breath of life, until presently the coiled serpent stirs and the process begins.

It is said that when the coiled serpent rests in the first lotus center, asleep, the personality of the individual is characterized by spiritual torpor. His world is the world of unexhilarated waking consciousness; yet he clings with avidity to this uninspired existence, unwilling to let go, just hanging on. I always think in this connection of what we have been told of the habits of dragons: how they h.o.a.rd and guard things in their caves. What they usually h.o.a.rd and guard in this way are beautiful girls and treasures of gold. They can make no proper use of either, of course, yet there they remain, always there. Such people in life are called "creeps," and G.o.d knows they are numerous enough. The name of this first lotus is Muladhara, "the root base." Its element is earth, it has four crimson petals, and its situation is described as between the genitals and the a.n.u.s.

Center number two, then, is at the level of the genitals, and accordingly, anyone whose energies have mounted to this stage is of a psychology perfectly Freudian. Everything means s.e.x to him, one way or another, as it did indeed to Freud himself, who was certain that there was nothing else people lived for: and we have now even a great school of thinkers who call themselves philosophers, interpreting the whole course of human history, thought, and art in terms of s.e.x -- repressed, frustrated, sublimated, or fulfilled. The name of this station is Svadhishthana, "her favorite resort." It is a lotus of six vermilion petals, and its element is water.

Lotus three is at the level of the navel. Its name, Manipura, means "the city of the shining jewel." It is a lotus of ten petals of the color of heavy-laden storm clouds; fire is its element; and the governing interest of anyone whose unfolding serpent power has become established on this plane is in consuming, conquering, turning all into his own substance, or forcing all to conform to his way of thought. His psychology, ruled by an insatiable will to power, is of an Adlerian type. And so Freud and Adler and their followers can be said to have interpreted the phenomenology of the spirit in terms exclusively of chakras chakras two and three -- which is enough to explain their inability to make anything more interesting either of the mythological symbols of mankind or of the goals of human aspiration. two and three -- which is enough to explain their inability to make anything more interesting either of the mythological symbols of mankind or of the goals of human aspiration.

For it is only at the level of the fourth chakra chakra that specifically human, as distinct from sublimated animal, aims and drives become envisioned and awakened; and, according to the Indian view, it is to this level and beyond (not to the concerns of that specifically human, as distinct from sublimated animal, aims and drives become envisioned and awakened; and, according to the Indian view, it is to this level and beyond (not to the concerns of chakras chakras one, two, and three) that religious symbols, the imagery of art, and the questions of philosophy properly refer. The lotus of this center is at the level of the heart; its element is air; it has twelve petals of an orange-crimson hue (the color of the Bandhuka flower one, two, and three) that religious symbols, the imagery of art, and the questions of philosophy properly refer. The lotus of this center is at the level of the heart; its element is air; it has twelve petals of an orange-crimson hue (the color of the Bandhuka flower [Pentapoetes Phoenicea] [Pentapoetes Phoenicea]), and it has a very curious name. It is called Anahata, "not hit," which means, when fully interpreted, "The sound that is not made by any two things striking together." All the sounds that we hear in this world of time and s.p.a.ce are made by two things striking together: the sound of my voice, for example, by the breath striking my vocal cords. Likewise, every other heard sound is of things, whether seen or unseen, striking together. And so, what then would be the sound not not made that way? made that way?

The answer given is that the sound not made by any two things striking together is of that primal energy of which the universe itself is a manifestation. It is thus antecedent to things. One might think of it as comparable to the great humming sound of an electric-power station; or as the normally unheard humming of the protons and neutrons of an atom: the interior sound, that is to say, of that primal energy, vibrating, of which ourselves and all that we know and see are apparitions. And when heard, they say, the sound that it most resembles is OM.

This sacred Indian syllable of prayer and meditation is said to be composed of four symbolic elements. First, since the O, in Sanskrit, is regarded as an amalgam of the two sounds A and U, the sacred syllable can be written and heard as AUM, and when it is so displayed, three of its four elements are made visible. The fourth, then, is the Silence that surrounds the syllable so viewed, out of which it rises, back into which it falls, and which supports it as the ground of its appearance.

Now when p.r.o.nounced, the A of AUM is heard proceeding from the back of the mouth. Coming forward with U, the sounding air ma.s.s fills the whole mouth cavity; and with M it is closed at the lips. When thus p.r.o.nounced, they say, the syllable contains the sounds of all the vowels of speech. And since the consonants are but interruptions of these sounds, the holy syllable contains in itself -- when properly p.r.o.nounced -- the seed sounds of all words and thus the names of all things and relationships.

There is an extremely interesting and important Upanishad, the Manduka, Manduka, in which the four symbolic elements of the syllable -- the A, the U, the M, and the Silence -- are interpreted allegorically as referring to four planes, degrees, or modes of consciousness. The A, resounding from the back of the mouth, is said to represent waking consciousness. Here the subject and the objects of its knowledge are experienced as separate from each other. Bodies are of gross matter; they are not self-luminous and they change their forms slowly. An Aristotelean logic prevails: in which the four symbolic elements of the syllable -- the A, the U, the M, and the Silence -- are interpreted allegorically as referring to four planes, degrees, or modes of consciousness. The A, resounding from the back of the mouth, is said to represent waking consciousness. Here the subject and the objects of its knowledge are experienced as separate from each other. Bodies are of gross matter; they are not self-luminous and they change their forms slowly. An Aristotelean logic prevails: a a is not is not not-a. not-a. The nature of thought on this level is that of mechanistic science, positivistic reasoning, and the aims of its life are as envisioned at The nature of thought on this level is that of mechanistic science, positivistic reasoning, and the aims of its life are as envisioned at chakras chakras 1, 2, and 3. 1, 2, and 3.

Next, with U, where the sound ma.s.s, moving forward, fills the whole head as it were, the Upanishad a.s.sociates dream consciousness; and here the subject and object, the dreamer and his dream, though they may seem to be separate, are actually one, since the images are of the dreamer's own will. Further, they are of a subtle matter, self-luminous, and of rapidly changing form. They are of the nature of divinities: and indeed all the G.o.ds and demons, Heavens and h.e.l.ls, are in fact the cosmic counterparts of dream. Moreover, since on this subtle plane the seer and the seen are one and the same, all the G.o.ds and demons. Heavens and h.e.l.ls are within us; are ourselves. Turn within, therefore, if you seek your model for the image of a G.o.d. Accordingly, it is experiences of this plane of consciousness that are rendered visible in the Oriental arts.

Next, M, third element of the syllable, where the intonation of this holy sound terminates forward, at the closed lips, the Upanishad a.s.sociates with deep dreamless sleep. There is here neither object seen nor seeing subject, but unconsciousness -- or rather, latent, potential consciousness, undifferentiated, covered with darkness. Mythologically this state is identified with that of the universe between cycles, when all has returned to the cosmic night, the womb of the cosmic mother: "chaos," in the language of the Greeks, or in Genesis, the first "formless waste, with darkness over the seas." There is no consciousness of any objects either of waking or of dream, but only uninflected consciousness in its pristine, uncommitted state -- lost, however, in darkness.

The ultimate aim of yoga, then, can be only to enter that zone awake: which is to say, to "join" or to "yoke" (Sanskrit verbal root yuj, yuj, whence the noun whence the noun yoga yoga) one's waking consciousness to its source in consciousness per se, per se, not focused on any object or enclosed in any subject, whether of the waking world or of sleep, but sheer, unspecified and unbounded. And since all words refer to objects or to object-related thoughts or ideas, we have no word or words for the experience of this fourth state. Even such words as "silence" or "void" can be understood only with reference to sound or to things -- as of no sound, or as of no thing. Whereas here we have come to the primal Silence antecedent to sound, containing sound as potential, and to the Void antecedent to things, containing as potential the whole of s.p.a.ce-time and its galaxies. No word can say what the Silence tells that is all around and within us, this Silence that is no silence but to be heard resounding through all things, whether of waking, dream, or dreamless night -- as surrounding, supporting, and suffusing the syllable AUM. not focused on any object or enclosed in any subject, whether of the waking world or of sleep, but sheer, unspecified and unbounded. And since all words refer to objects or to object-related thoughts or ideas, we have no word or words for the experience of this fourth state. Even such words as "silence" or "void" can be understood only with reference to sound or to things -- as of no sound, or as of no thing. Whereas here we have come to the primal Silence antecedent to sound, containing sound as potential, and to the Void antecedent to things, containing as potential the whole of s.p.a.ce-time and its galaxies. No word can say what the Silence tells that is all around and within us, this Silence that is no silence but to be heard resounding through all things, whether of waking, dream, or dreamless night -- as surrounding, supporting, and suffusing the syllable AUM.

Listen to the sound of the city. Listen to the sound of your neighbor's voice, or of the wild geese honking skyward. Listen to any sound or silence at all without interpreting it, and the Anahata will be heard of the Void that is the ground of being, and the world that is the body of being, the Silence and the Syllable. Moreover, when once this sound has been "heard," as it were, as the sound and being of one's own heart and of all life, one is stilled and brought to peace; there is no need to quest any more, for it is here, it is there, it is everywhere. And the high function of Oriental art is to make known that this truly is so; or, as our Western poet Gerhart Hauptmann has said of the aim of all true poetry: "to let the Word be heard resounding behind words." The mystic Meister Eckhart expressed the same thought in theological terms when he told his congregation, "Any flea as it is in G.o.d is n.o.bler than the highest of the angels in himself. Things in G.o.d are all the same: they are G.o.d Himself."2 That, in short, is the experience of Anahata, at the level of the fourth That, in short, is the experience of Anahata, at the level of the fourth chakra, chakra, where things no longer hide their truth, but the marvel is experienced that Blake envisioned when he wrote, "If the doors of perception were cleansed every thing would appear to man as it is, infinite." where things no longer hide their truth, but the marvel is experienced that Blake envisioned when he wrote, "If the doors of perception were cleansed every thing would appear to man as it is, infinite."3 And so what, then, of chakra chakra five? five?

Chakra Chakra five is at the level of the larynx and is called Vishuddha, "purification." It is a lotus of sixteen petals of a smoky purple hue, and its element is ether, s.p.a.ce. The yogi at this center is leaving art, religion, philosophy, and even thought behind; for, as in the Purgatory of the Christian faith the soul is purged of residual attachments to earth in preparation for an experience of the Beatific Vision of G.o.d, so in this Indian locus of purgation the aim is to eliminate all interpositions of the world between oneself and the immediate hearing of AUM, or, expressed in visual terms, between oneself and the vision of G.o.d. The ideals and disciples of this stage are those rather of the hermit's cell and monastery than of art and civilized life: not aesthetic, but ascetic. And when, at last, the level of the sixth center is then attained, the mystic inward eye fully opens, and the mystic inward ear. One experiences then in immediate force the whole sight and sound of the Lord whose form is the Form of forms and whose radiance resounds. The name of the lotus here is Ajna, which means "authority, command." Its petals are two, most beautifully white. Its element is mind, and its place, well known, is a little above and between the brows. One is here in Heaven, and the soul beholds its perfect object, G.o.d. five is at the level of the larynx and is called Vishuddha, "purification." It is a lotus of sixteen petals of a smoky purple hue, and its element is ether, s.p.a.ce. The yogi at this center is leaving art, religion, philosophy, and even thought behind; for, as in the Purgatory of the Christian faith the soul is purged of residual attachments to earth in preparation for an experience of the Beatific Vision of G.o.d, so in this Indian locus of purgation the aim is to eliminate all interpositions of the world between oneself and the immediate hearing of AUM, or, expressed in visual terms, between oneself and the vision of G.o.d. The ideals and disciples of this stage are those rather of the hermit's cell and monastery than of art and civilized life: not aesthetic, but ascetic. And when, at last, the level of the sixth center is then attained, the mystic inward eye fully opens, and the mystic inward ear. One experiences then in immediate force the whole sight and sound of the Lord whose form is the Form of forms and whose radiance resounds. The name of the lotus here is Ajna, which means "authority, command." Its petals are two, most beautifully white. Its element is mind, and its place, well known, is a little above and between the brows. One is here in Heaven, and the soul beholds its perfect object, G.o.d.

However, there is one last barrier still; for, as the great Indian saint and teacher Ramakrishna, of the last century, once told his devotees, when the accomplished yogi beholds in this way the vision of his Beloved, there is still, as it were, an invisible wall of gla.s.s between himself and that one in whom he would know eternal extinction. For his ultimate aim is not the bliss of this sixth but the absolute, nondual state beyond all categories, visions, sentiments, thoughts, and feelings whatsoever, which is of the seventh and final lotus, Sahasrara, "thousand-petaled," at the crown of the head.

Let us withdraw, therefore, the gla.s.s. The two, the soul and its G.o.d, the inward eye and its object, are extinguished, both and equally. There is now neither an object nor a subject, nor anything to be known or named, but the Silence alone that is the fourth and final grounding element of the once heard, now no longer heard, syllable AUM.

And here, of course, one is beyond art; beyond even Indian art. Indian art, I would say, is concerned to suggest and render experiences akin to those of the lotus centers four to six: at four, the objects and creatures of this world as they are (to use Eckhart's phrase again) "in G.o.d"; at five, the terrifying, devastating aspects of the cosmic powers in their ego-shattering roles, personified as wrathful, odious, and horrific demons; and at six, their bliss-bestowing, fear-dispelling, wondrous, peaceful, and heroic forms. Thus one is ever beholding in these truly sublime, visionary masterworks either creatures represented under the aspect of eternity, or mythic personifications of the aspects of eternity known to man.

There is therefore little, very little, of empirical daylight reality in Indian art, of the world as known to men's normal eyes. The interest, far and away, is in G.o.ds and mythological scenes. And when one approaches Indian temples, of whatever period or whatever style, there is something altogether remarkable about the way they appear either to have burst out of the landscape or to have dropped upon it from aloft -- altogether in contrast, for example, to the lovely temple gardens of the Far East. They have either burst from beneath the earth as an eruption of subterranean landscape, or have descended merely to rest on earth as the