# Creative Unity/Chapter 1

THE POET'S RELIGION
THE POET'S RELIGION
I
Civility is beauty of behaviour. It requires for its perfection patience, self-control, and an environment of leisure. For genuine courtesy is a creation, like pictures, like music. It is a harmonious blending of voice, gesture and movement, words and action, in which generosity of conduct is expressed. It reveals the man himself and has no ulterior purpose.
Our needs are always in a hurry. They rush and hustle, they are rude and unceremonious; they have no surplus of leisure, no patience for anything else but fulfilment of purpose. We frequently see in our country at the present day men utilising empty kerosene cans for carrying water. These cans are emblems of discourtesy; they are curt and abrupt, they have not the least shame for their unmannerliness, they do not care to be ever so slightly more than useful.
​The instruments of our necessity assert that we must have food, shelter, clothes, comforts and convenience. And yet men spend an immense amount of their time and resources in contradicting this assertion, to prove that they are not a mere living catalogue of endless wants; that there is in them an ideal of perfection, a sense of unity, which is a harmony between parts and a harmony with surroundings.
The quality of the infinite is not the magnitude of extension, it is in the Advaitam, the mystery of Unity. Facts occupy endless time and space; but the truth comprehending them all has no dimension; it is One. Wherever our heart touches the One, in the small or the big, it finds the touch of the infinite.
I was speaking to some one of the joy we have in our personality. I said it was because we were made conscious by it of a spirit of unity within ourselves. He answered that he had no such feeling of joy about himself, but I was sure he exaggerated. In all probability he had been suffering from some break of harmony between his surroundings and the spirit of unity within him, proving all the more strongly its truth. The meaning of health comes home to us with painful force when disease disturbs it; since ​health expresses the unity of the vital functions and is accordingly joyful. Life's tragedies occur, not to demonstrate their own reality, but to reveal that eternal principle of joy in life, to which they gave a rude shaking. It is the object of this Oneness in us to realise its infinity by perfect union of love with others. All obstacles to this union create misery, giving rise to the baser passions that are expressions of finitude, of that separateness which is negative and therefore máyá.
The joy of unity within ourselves, seeking expression, becomes creative; whereas our desire for the fulfilment of our needs is constructive. The water vessel, taken as a vessel only, raises the question, "Why does it exist at all?" Through its fitness of construction, it offers the apology for its existence. But where it is a work of beauty it has no question to answer; it has nothing to do, but to be. It reveals in its form a unity to which all that seems various in it is so related that, in a mysterious manner, it strikes sympathetic chords to the music of unity in our own being.
What is the truth of this world? It is not in the masses of substance, not in the number of things, but in their relatedness, which neither ​can be counted, nor measured, nor abstracted. It is not in the materials which are many, but in the expression which is one. All our knowledge of things is knowing them in their relation to the Universe, in that relation which is truth. A. drop of water is not a particular assortment of elements; it is the miracle of a harmonious . mutuality, in which the two reveal the One. No amount of analysis can reveal to us this mystery of unity. Matter is an abstraction; we shall never be able to realise what it is, for our world of reality does not acknowledge it. Even the giant forces of the world, centripetal and centrifugal, are kept out of our recognition. They are the day-labourers not admitted into the audience-hall of creation. But light and sound come to us in their gay dresses as troubadours singing serenades before the windows of the senses. What is constantly before us, claiming our attention, is not the kitchen, but the feast; not the anatomy of the world, but its countenance. There is the dancing ring of seasons; the elusive play of lights and shadows, of wind and water; the many-coloured wings of erratic life flitting between birth and death. The importance of these does not lie in their existence as mere facts, but in their language of ​harmony, the mother-tongue of our own soul, through which they are communicated to us.
We grow out of touch with this great truth, we forget to accept its invitation and its hospitality, when in quest of external success our works become unspiritual and unexpressive. This is what Wordsworth complained of when he said:
The world is too much with us; late and soon, Getting and spending, we lay waste our powers. Little we see in Nature that is ours.
But it is not because the world has grown too familiar to us; on the contrary, it is because we do not see it in its aspect of unity, because we are driven to distraction by our pursuit of the fragmentary.
Materials as materials are savage; they are solitary; they are ready to hurt one another. They are like our individual impulses' seeking the unlimited freedom of wilfulness. Left to themselves they are destructive. But directly an ideal of unity raises its banner in their centre, it brings these rebellious forces under its sway and creation is revealed—the creation which is peace, which is the unity of perfect relationship. Our greed for eating is in itself ugly and selfish, it has no sense of decorum; but when brought under the ideal of social fellowship, it is regulated ​and made ornamental; it is changed into a daily festivity of life. In human nature sexual passion is fiercely individual and destructive, but dominated by the ideal of love, it has been made to flower into a perfection of beauty, becoming in its best expression symbolical of the spiritual truth in man which is his kinship of love with the Infinite. Thus we find it is the One which expresses itself in creation; and the Many, by giving up opposition, make the revelation of unity perfect.
II
I remember, when I was a child, that a row of cocoanut trees by our garden wall, with their branches beckoning the rising sun on the horizon, gave me a companionship as living as I was myself. I know it was my imagination which transmuted the world around me into my own world—the imagination which seeks unity, which deals with it. But we have to consider that this companionship was true; that the universe in which I was born had in it an element profoundly akin to my own imaginative mind, one which wakens in all children's natures the Creator, whose pleasure is in interweaving ​the web of creation with His own patterns of many-coloured strands. It is something akin to us, and therefore harmonious to our imagination. When we find some strings vibrating in unison with others, we know that this sympathy carries in it an eternal reality. The fact that the world stirs our imagination in sympathy tells us that this creative imagination is a common truth both mm us and in the heart of existence. Wordsworth says:
I'd rather be A pagan suckled in a creed outworn; So might I, standing on this pleasant lea, Have glimpses that would make me less forlorn; Have sight of Proteus rising from the sea, Or hear old Triton blow his wreathèd horn.
In this passage the poet says we are less forlorn in a world which we meet with our imagination. That can only be possible if through our imagination is revealed, behind all appearances, the reality which gives the touch of companionship, that is to say, something which has an affinity to us. An immense amount of our activity is engaged in making images, not for serving any useful purpose or formulating rational propositions, but for giving varied responses to the varied touches of this reality. In this image-making the child creates his own world in answer ​to the world in which he finds himself. The child in us finds glimpses of his eternal playmate from behind the veil of things, as Proteus rising from the sea, or Triton blowing his wreathèd horn. And the playmate is the Reality, that makes it possible for the child to find delight in activities which do not inform or bring assistance but merely express. There is an image-making joy in the infinite, which inspires in us our joy in imagining. The rhythm of cosmic motion produces in our mind the emotion which is creative.
A poet has said about his destiny as a dreamer, about the worthlessness of his dreams and yet their permanence:
I hang 'mid men my heedless head, And my fruit is dreams, as theirs is bread: The goodly men and the sun-hazed sleeper, Time shall reap; but after the reaper The world shall glean to me, me the sleeper.
The dream persists; it is more real than even bread which has substance and use. The painted canvas is durable and substantial; it has for its production and transport to market a whole array of machines and factories. But the picture which no factory can produce is a dream, a máyá, and yet it, not the canvas, has the meaning of ultimate reality.
​A poet describes Autumn:
I saw old Autumn in the misty morn Stand shadowless like Silence, listening To silence, for no lonely bird would sing Into his hollow ear from woods forlorn.
Of April another poet sings:
April, April, Laugh thy girlish laughter; Then the moment after Weep thy girlish tears! April, that mine ears Like a lover greetest, If I tell thee, sweetest, All my hopes and fears.
April, April, Laugh thy golden laughter. But the moment after Weep thy golden tears!
This Autumn, this April,—are they nothing but phantasy?
Let us suppose that the Man from the Moon comes to the earth and listens to some music in a gramophone. He seeks for the origin of the delight produced in his mind. The facts before him are a cabinet made of wood and a revolving disc producing sound; but the one thing which is neither seen nor can be explained is the truth of the music, which his personality must immediately acknowledge as a personal message. It is ​neither in the wood, nor in the disc, nor in the sound of the notes. If the Man from the Moon be a poet, as can reasonably be supposed, he will write about a fairy imprisoned in that box, who sits spinning fabrics of songs expressing her cry for a far-away magic casement opening on the foam of some perilous sea, in a fairyland forlorn. It will not be literally, but essentially true. The facts of the gramophone make us aware of the laws of sound, but the music gives us personal companionship. The bare facts about April are alternate sunshine and showers; but the subtle blending of shadows and lights, of murmurs and movements, in April, gives us not mere shocks of sensation, but unity of joy as does music. Therefore when a poet sees the vision of a girl in April, even a downright materialist is in sympathy with him. But we know that the same individual would be menacingly angry if the law of heredity or a geometrical problem were described as a girl or a rose—or even as a cat or a camel. For these intellectual abstractions have no magical touch for our lute-strings of imagination. They are no dreams, as are the harmony of bird-songs, rain-washed leaves glistening in the sun, and pale clouds floating in the blue.
​The ultimate truth of our personality is that we are no mere biologists or geometricians; "we are the dreamers of dreams, we are the music-makers." This dreaming or music-making is not a function of the lotus-eaters, it is the creative impulse which makes songs not only with words and tunes, lines and colours, but with stones and metals, with ideas and men:
With wonderful deathless ditties We build up the world's great cities, And out of a fabulous story We fashion an empire's glory.
I have been told by a scholar friend of mine that by constant practice in logic he has weakened his natural instinct of faith. The reason is, faith is the spectator in us which finds the meaning of the drama from the unity of the performance; but logic lures us into the greenroom where there is stagecraft but no drama at all; and then this logic nods its head and wearily talks about disillusionment. But the greenroom, dealing with its fragments, looks foolish when questioned, or wears the sneering smile of Mephistopheles; for it does not have the secret of unity, which is somewhere else. It is for faith to answer, "Unity comes to us from the One, and the One in ourselves opens the door and receives it with ​joy." The function of poetry and the arts is to remind us that the greenroom is the greyest of illusions, and the reality is the drama presented before us, all its paint and tinsel, masks and pageantry, made one in art. The ropes and wheels perish, the stage is changed; but the dream which is drama remains true, for there remains the eternal Dreamer.
III
Poetry and the arts cherish in them the profound faith of man in the unity of his being with all existence, the final truth of which is the truth of personality. It is a religion directly apprehended, and not a system of metaphysics to be analysed and argued. We know in our personal experience what our creations are and we instinctively know through it what creation around us means.
When Keats said in his "Ode to a Grecian Urn":
Thou, silent form, dost tease us out of thought, As doth eternity, . . .
he felt the ineffable which is in all forms of perfection, the mystery of the One, which takes us beyond all thought into the immediate touch ​of the Infinite. This is the mystery which is for a poet to realise and to reveal. It comes out in Keats' poems with struggling gleams through consciousness of suffering and despair:
Spite of despondence, of the inhuman dearth Of noble natures, of the gloomy days, Of all the unhealthy and o'er-darken'd ways Made for our searching: yes, in spite of all, Some shape of beauty moves away the pall From our dark spirits.
In this there is a suggestion that truth reveals itself in beauty. For if beauty were mere accident, a rent in the eternal fabric of things, then it would hurt, would be defeated by the antagonism of facts. Beauty is no phantasy, it has the everlasting meaning of reality. The facts that cause despondence and gloom are mere mist, and when through the mist beauty breaks out in momentary gleams, we realise that Peace is true and not conflict, Love is true and not hatred; and Truth is the One, not the disjointed multitude. We realise that Creation is the perpetual harmony between the infinite ideal of perfection and the eternal continuity of its realisation; that so long as there is no absolute separation between the positive ideal and the material obstacle to its attainment, we need not ​be afraid of suffering and loss. This is the poet's religion.
Those who are habituated to the rigid framework of sectarian creeds will find such a religion as this too indefinite and elastic. No doubt it is so, but only because its ambition is not to shackle the Infinite and tame it for domestic use; but rather to help our consciousness to emancipate itself from materialism. It is as indefinite as the morning, and yet as luminous; it calls our thoughts, feelings, and actions into freedom, and feeds them with light. In the poet's religion we find no doctrine or injunction, but rather the attitude of our entire being towards a truth which is ever to be revealed in its own endless creation.
In dogmatic religion all questions are definitely answered, all doubts are finally laid to rest. But the poet's religion is fluid, like the atmosphere round the earth where lights and shadows play hide-and-seek, and the wind like a shepherd boy plays upon its reeds among flocks of clouds. It never undertakes to lead anybody anywhere to any solid conclusion; yet it reveals endless spheres of light, because it has no walls round itself. It acknowledges the facts of evil; it openly admits "the weariness, the fever and the ​fret" in the world "where men sit and hear each other groan"; yet it remembers that in spite of all there is the song of the nightingale, and "haply the Queen Moon is on her throne," and there is:
White hawthorn, and the pastoral eglantine, Fast-fading violets covered up in leaves; And mid-day's eldest child, The coming musk-rose, full of dewy wine, The murmurous haunt of flies on summer eves.
But all this has not the definiteness of an answer; it has only the music that teases us out of thought as it fills our being.
Let me read a translation from an Eastern poet to show how this idea comes out in a poem in Bengali:
In the morning I awoke at the flutter of thy boat-sails, Lady of my Voyage, and I left the shore to follow the beckoning waves. I asked thee, "Does the dream-harvest ripen in the island beyond the blue?" The silence of thy smile fell on my question like the silence of sunlight on waves. The day passed on through storm and through calm, The perplexed winds changed their course, time after time, and the sea moaned. I asked thee, "Does thy sleep-tower stand somewhere beyond the dying embers of the day's funeral pyre?" ​No answer came from thee, only thine eyes smiled like the edge of a sunset cloud. It is night. Thy figure grows dim in the dark. Thy wind-blown hair flits on my cheek and thrills my sadness with its scent. My hands grope to touch the hem of thy robe, and I ask thee—"Is there thy garden of death beyond the stars, Lady of my Voyage, where thy silence blossoms into songs?" Thy smile shines in the heart of the hush like the star-mist of midnight.
IV
In Shelley we clearly see the growth of his religion through periods of vagueness and doubt, struggle and searching. But he did at length come to a positive utterance of his faith, though he died young. Its final expression is in his "Hymn to Intellectual Beauty." By the title of the poem the poet evidently means a beauty that is not merely a passive quality of particular things, but a spirit that manifests itself through the apparent antagonism of the unintellectual life. This hymn rang out of his heart when he came to the end of his pilgrimage and stood face to face with the Divinity, glimpses of which had already filled his soul with restlessness. All his experiences of beauty had ever teased him with the question as to what was its truth. Some​where he sings of a nosegay which he makes of violets, daisies, tender bluebells and—
That tall flower that wets, Like a child, half in tenderness and mirth, Its mother's face with heaven-collected tears.
He ends by saying:
And then, elate and gay, I hastened to the spot whence I had come, That I might there present it!—Oh! to whom?
This question, even though not answered, carries a significance. A creation of beauty suggests a fulfilment, which is the fulfilment of love. We have heard some poets scoff at it in bitterness and despair; but it is like a sick child beating its own mother—it is a sickness of faith, which hurts truth, but proves it by its very pain and anger. And the faith itself is this, that beauty is the self-offering of the One to the other One.
In the first part of his "Hymn to Intellectual Beauty" Shelley dwells on the inconstancy and evanescence of the manifestation of beauty, which imparts to it an appearance of frailty and unreality:
Like hues and harmonies of evening, Like clouds in starlight widely spread, Like memory of music fled.
​This, he says, rouses in our mind the question:
Why aught should fail and fade that once is shown, Why fear and dream and death and birth Cast on the daylight of this earth Such gloom,—why man has such a scope For love and hate, despondency and hope?
The poet's own answer to this question is:
Man were immortal, and omnipotent, Didst thou, unknown and awful as thou art, Keep with thy glorious train firm state within his heart.
This very elusiveness of beauty suggests the vision of immortality and of omnipotence, and stimulates the effort in man to realise it in some idea of permanence. The highest reality has actively to be achieved. The gain of truth is not in the end; it reveals itself through the endless length of achievement. But what is there to guide us in our voyage of realisation? Men have ever been struggling for direction:
Therefore the names of Demon, Ghost, and Heaven Remain the records of their vain endeavour, Frail spells,—whose uttered charm might not avail to sever, From all we hear and all we see, Doubt, chance and mutability.
The prevalent rites and practices of piety, according to this poet, are like magic spells—they only prove men's desperate endeavour and not their success. He knows that the end we ​seek has its own direct call to us, its own light to guide us to itself. And truth's call is the call of beauty. Of this he says:
Thy light alone,—like mist o'er mountain driven, Or music by the night wind sent, Thro' strings of some still instrument, Or moonlight on a midnight stream Gives grace and truth to life's unquiet dream.
About this revelation of truth which calls us on, and yet which is everywhere, a village singer of Bengal sings:
My master's flute sounds in everything, drawing me out of my house to everywhere. While I listen to it I know that every step I take is in my master's house. For he is the sea, he is the river that leads to the sea, and he is the landing place.
Religion, in Shelley, grew with his life; it was not given to him in fixed and ready-made doctrines; he rebelled against them. He had the creative mind which could only approach Truth through its joy in creative effort. For true creation is realisation of truth through the translation of it into our own symbols.
V
For man, the best opportunity for such a realisation has been in men's Society. It is a ​collective creation of his, through which his social being tries to find itself in its truth and beauty. Had that Society merely manifested its usefulness, it would be inarticulate like a dark star. But, unless it degenerates, it ever suggests in its concerted movements a living truth as its soul, which has personality. In this large life of social communion man feels the mystery of Unity, as he does in music. From the sense of that Unity, men came to the sense of their God. And therefore every religion began with its tribal God.
The one question before all others that has to be answered by our civilisations is not what they have and in what quantity, but what they express and how. In a society, the production and circulation of materials, the amassing and spending of money, may go on, as in the interminable prolonging of a straight line, if its people forget to follow some spiritual design of life which curbs them and transforms them into an organic whole. For growth is not that enlargement which is merely adding to the dimensions of incompleteness. Growth is the movement of a whole towards a yet fuller wholeness. Living things start with this wholeness from the beginning of their career. A child has its own perfection as ​a child; it would be ugly if it appeared as an unfinished man. Life is a continual process of synthesis, and not of additions. Our activities of production and enjoyment of wealth attain that spirit of wholeness when they are blended with a creative ideal. Otherwise they have the insane aspect of the eternally unfinished; they become like locomotive engines which have railway lines but no stations; which rush on towards a collision of uncontrolled forces or to a sudden breakdown of the overstrained machinery.
Through creation man expresses his truth; through that expression he gains back his truth in its fulness. Human society is for the best expression of man, and that expression, according to its perfection, leads him to the full realisation of the divine in humanity. When that expression is obscure, then his faith in the Infinite that is within him becomes weak; then his aspiration cannot go beyond the idea of success. His faith in the Infinite is creative; his desire for success is constructive; one is his home, and the other is his office. With the overwhelming growth of necessity, civilisation becomes a gigantic office to which the home is a mere appendix. The predominance of the pursuit of success gives to society the ​character of what we call Shudra in India. In fighting a battle, the Kshatriya, the noble knight, followed his honour for his ideal, which was greater than victory itself; but the mercenary Shudra has success for his object. The name Shudra symbolises a man who has no margin round him beyond his bare utility. The word denotes a classification which includes all naked machines that have lost their completeness of humanity, be their work manual or intellectual. They are like walking stomachs or brains, and we feel, in pity, urged to call on God and cry, "Cover them up for mercy's sake with some veil of beauty and life!"
When Shelley in his view of the world realised the Spirit of Beauty, which is the vision of the Infinite, he thus uttered his faith:
Never joy illumed my brow Unlinked with hope that thou wouldst free This world from its dark slavery; That thou,—O awful Loveliness,— Wouldst give whate'er these words cannot express.
This was his faith in the Infinite. It led his aspiration towards the region of freedom and perfection which was beyond the immediate and above the successful. This faith in God, this faith in the reality of the ideal of perfection, has ​built up all that is great in the human world. To keep indefinitely walking on, along a zigzag course of change, is negative and barren. A mere procession of notes does not make music; it is only when we have in the heart of the march of sounds some musical idea that it creates song. Our faith in the infinite reality of Perfection is that musical idea, and there is that one great creative force in our civilisation. When it wakens not, then our faith in money, in material power, takes its place; it fights and destroys, and in a brilliant fireworks of star-mimicry suddenly exhausts itself and dies in ashes and smoke.
VI
Men of great faith have always called us to wake up to great expectations, and the prudent have always laughed at them and said that these did not belong to reality. But the poet in man knows that reality is a creation, and human reality has to be called forth from its obscure depth by man's faith which is creative. There was a day when the human reality was the brutal reality. That was the only capital we had with which to begin our career. But age ​after age there has come to us the call of faith, which said against all the evidence of fact: "You are more than you appear to be, more than your circumstances seem to warrant. You are to attain the impossible, you are immortal." The unbelievers had laughed and tried to kill the faith. But faith grew stronger with the strength of martyrdom and at her bidding higher realities have been created over the strata of the lower. Has not a new age come to-day, borne by thunder-clouds, ushered in by a universal agony of suffering? Are we not waiting to-day for a great call of faith, which will say to us: "Come out of your present limitations. You are to attain the impossible, you are immortal"? The nations who are not prepared to accept it, who have all their trust in their present machines of system, and have no thought or space to spare to welcome the sudden guest who comes as the messenger of emancipation, are bound to court defeat whatever may be their present wealth and power.
This great world, where it is a creation, an expression of the infinite—where its morning sings of joy to the newly awakened life, and its evening stars sing to the traveller, weary and worn, of the triumph of life in a new birth across ​death,—has its call for us. The call has ever roused the creator in man, and urged him to reveal the truth, to reveal the Infinite in himself. It is ever claiming from us, in our own creations, co-operation with God, reminding us of our divine nature, which finds itself in freedom of spirit. Our society exists to remind us, through its various voices, that the ultimate truth in man is not in his intellect or his possessions; it is in his illumination of mind, in his extension of sympathy across all barriers of caste and colour; in his recognition of the world, not merely as a storehouse of power, but as a habitation of man's spirit, with its eternal music of beauty and its inner light of the divine presence.