# Personality (Lectures delivered in America)/What is Art?

WHAT IS ART?
WHAT IS ART?
We are face to face with this great world and our relations to it are manifold. One of these is the necessity we have to live, to till the soil, to gather food, to clothe ourselves, to get materials from nature. We are always making things that will satisfy our need, and we come in touch with Nature in our efforts to meet these needs. Thus we are always in touch with this great world through hunger and thirst and all our physical needs.
Then we have our mind; and mind seeks its own food. Mind has its necessity also. It must find out reason in things. It is faced with a multiplicity of facts, and is bewildered when it cannot find one unifying principle which simplifies the heterogeneity of things. Man's constitution is such that he must not only find facts, but also some laws which will lighten the burden of mere number and quantity.
​There is yet another man in me, not the physical, but the personal man; which has its likes and dislikes, and wants to find something to fulfil its needs of love. This personal man is found in the region where we are free from all necessity,—above the needs, both of body and mind,—above the expedient and useful. It is the highest in man,—this personal man. And it has personal relations of its own with the great world, and comes to it for something to satisfy personality.
The world of science is not a world of reality, it is an abstract world of force. We can use it by the help of our intellect but cannot realize it by the help of our personality. It is like a swarm of mechanics who though producing things for ourselves as personal beings, are mere shadows to us.
But there is another world which is real to us. We see it, feel it; we deal with it with all our emotions. Its mystery is endless because we cannot analyse it or measure it. We can but say, "Here you are."
This is the world from which Science turns away, and in which Art takes its place. And if we can answer the question as to what art is, we shall know what this world ​is with which art has such intimate relationship.
It is not an important question as it stands. For Art, like life itself, has grown by its own impulse, and man has taken his pleasure in it without definitely knowing what it is. And we could safely leave it there, in the subsoil of consciousness, where things that are of life are nourished in the dark.
But we live in an age when our world is turned inside out and when whatever lies at the bottom is dragged to the surface. Our very process of living, which is an unconscious process, we must bring under the scrutiny of our knowledge,—even though to know is to kill our object of research and to make it a museum specimen.
The question has been asked, "What is Art?" and answers have been given by various persons. Such discussions introduce elements of conscious purpose into the region where both our faculties of creation and enjoyment have been spontaneous and half-conscious. They aim at supplying us with very definite standards by which to guide our judgment of art productions. Therefore we have heard judges in the modern time giving verdict, according to some special rules of their ​own making, for the dethronement of immortals whose supremacy has been unchallenged for centuries.
This meteorological disturbance in the atmosphere of art criticism, whose origin is in the West, has crossed over to our own shores in Bengal, bringing mist and clouds in its wake, where there was a clear sky. We have begun to ask ourselves whether creations of art should not be judged either according to their fitness to be universally understood, or their philosophical interpretation of life, or their usefulness for solving the problems of the day, or their giving expression to something which is peculiar to the genius of the people to which the artist belongs. Therefore when men are seriously engaged in fixing the standard of value in art by something which is not inherent in it,—or, in other words, when the excellence of the river is going to be judged by the point of view of a canal, we cannot leave the question to its fate, but must take our part in the deliberations.
Should we begin with a definition? But definition of a thing which has a life growth is really limiting one's own vision in order to be able to see clearly. And clearness is not necessarily the only, or the most important, ​aspect of a truth. A bull's-eye lantern view is a clear view, but not a complete view. If we are to know a wheel in motion, we need not mind if all its spokes cannot be counted. When not merely the accuracy of shape, but velocity of motion, is important, we have to be content with a somewhat imperfect definition of the wheel. Living things have far-reaching relationships with their surroundings, some of which are invisible and go deep down into the soil. In our zeal for definition we may lop off branches and roots of a tree to turn it into a log, which is easier to roll about from classroom to classroom, and therefore suitable for a text-book. But because it allows a nakedly clear view of itself, it cannot be said that a log gives a truer view of a tree as a whole.
Therefore I shall not define Art, but question myself about the reason of its existence, and try to find out whether it owes its origin to some social purpose, or to the need of catering for our æsthetic enjoyment, or whether it has come out of some impulse of expression, which is the impulse of our being itself.
A fight has been going on for a long time round the saying, "Art for Art's sake," which seems to have fallen into disrepute among a section of ​Western critics. It is a sign of the recurrence of the ascetic ideal of the puritanic age, when enjoyment as an end in itself was held to be sinful. But all puritanism is a reaction. It does not represent truth in its normal aspect. When enjoyment loses its direct touch with life, growing fastidious and fantastic in its world of elaborate conventions, then comes the call for renunciation which rejects happiness itself as a snare. I am not going into the history of your modern art, which I am not at all competent to discuss; yet I can assert, as a general truth, that when a man tries to thwart himself in his desire for delight, converting it merely into his desire to know, or to do good, then the cause must be that his power of feeling delight has lost its natural bloom and healthiness.
The rhetoricians in old India had no hesitation in saying, that enjoyment is the soul of literature,—the enjoyment which is disinterested. But the word "enjoyment" has to be used with caution. When analysed, its spectrum shows an endless series of rays of different colours and intensity throughout its different worlds of stars. The art world contains elements which are distinctly its own and which emit lights that have their special range and property. It is ​our duty to distinguish them and arrive at their origin and growth.
The most important distinction between the animal and man is this, that the animal is very nearly bound within the limits of its necessities, the greater part of its activities being necessary for its self-preservation and the preservation of race. Like a retail shopkeeper, it has no large profit from its trade of life; the bulk of its earnings must be spent in paying back the interest to its bank. Most of its resources are employed in the mere endeavour to live. But man, in life's commerce, is a big merchant. He earns a great deal more than he is absolutely compelled to spend. Therefore there is a vast excess of wealth in man's life, which gives him the freedom to be useless and irresponsible to a great measure. There are large outlying tracts, surrounding his necessities, where he has objects that are ends in themselves.
The animals must have knowledge, so that their knowledge can be employed for useful purposes of their life. But there they stop. They must know their surroundings in order to be able to take their shelter and seek their food, some properties of things in order to build their dwellings, some signs of the different seasons to be ​able to get ready to adapt themselves to the changes. Man also must know because he must live. But man has a surplus where he can proudly assert that knowledge is for the sake of knowledge. There he has the pure enjoyment of his knowledge, because there knowledge is freedom. Upon this fund of surplus his science and philosophy thrive.
Then again, there is a certain amount of altruism in the animal. It is the altruism of parenthood, the altruism of the herd and the hive. This altruism is absolutely necessary for race preservation. But in man there is a great deal more than this. Though he also has to be good, because goodness is necessary for his race, yet he goes far beyond that. His goodness is not a small pittance, barely sufficient for a hand-to-mouth moral existence. He can amply afford to say that goodness is for the sake of goodness. And upon this wealth of goodness,—where honesty is not valued for being the best policy, but because it can afford to go against all policies,—man's ethics are founded.
The idea of "Art for Art's sake" also has its origin in this region of the superfluous. Let us, therefore, try to ascertain what activity ​it is, whose exuberance leads to the production of Art.
For man, as well as for animals, it is necessary to give expression to feelings of pleasure and displeasure, fear, anger and love. In animals, these emotional expressions have gone little beyond their bounds of usefulness. But in man, though they still have roots in their original purposes, they have spread their branches far and wide in the infinite sky high above their soil. Man has a fund of emotional energy which is not all occupied with his self-preservation. This surplus seeks its outlet in the creation of Art, for man's civilisation is built upon his surplus.
A warrior is not merely content with fighting, which is needful, but, by the aid of music and decorations, he must give expression to the heightened consciousness of the warrior in him, which is not only unnecessary, but in some cases suicidal. The man who has a strong religious feeling not only worships his deity with all care, but his religious personality craves, for its expression, the splendour of the temple, the rich ceremonials of worship.
When a feeling is aroused in our hearts which is far in excess of the amount that can be ​completely absorbed by the object which has produced it, it comes back to us and makes us conscious of ourselves by its return waves. When we are in poverty, all our attention is fixed outside us,—upon the objects which we must acquire for our need. But when our wealth greatly surpasses our needs, its light is reflected back upon us, and we have the exultation of feeling that we are rich persons. This is the reason why, of all creatures, only man knows himself, because his impulse of knowledge comes back to him in its excess. He feels his personality more intensely than other creatures, because his power of feeling is more than can be exhausted by his objects. This efflux of the consciousness of his personality requires an outlet of expression. Therefore, in Art, man reveals himself and not his objects. His objects have their place in books of information and science, where he has completely to conceal himself.
I know I shall not be allowed to pass unchallenged when I use the word "personality," which has such an amplitude of meaning. These loose words can be made to fit ideas which have not only different dimensions, but shapes also. They are like raincoats, hanging ​in the hall, which can be taken away by absent-minded individuals who have no claim upon them.
Man, as a knower, is not fully himself,—his mere information does not reveal him. But, as a person, he is the organic man, who has the inherent power to select things from his surroundings in order to make them his own. He has his forces of attraction and repulsion by which he not merely piles up things outside him, but creates himself. The principal creative forces, which transmute things into our living structure, are emotional forces. A man, where he is religious, is a person, but not where he is a mere theologian. His feeling for the divine is creative. But his mere knowledge of the divine cannot be formed into his own essence because of this lack of the emotional fire.
Let us here consider what are the contents of this personality and how it is related to the outer world. This world appears to us as an individual and not merely as a bundle of invisible forces. For this, as everybody knows, it is greatly indebted to our senses and our mind. This apparent world is man's world. It has taken its special features of shape, colour and movement from the peculiar range and qualities of our perception. It is what our sense ​limits have specially acquired and built for us and walled up. Not only the physical and chemical forces, but man's perceptual forces, are its potent factors,—because it is man's world, and not an abstract world of physics or metaphysics.
This world, which takes its form in the mould of man's perception, still remains only as the partial world of his senses and mind. It is like a guest and not like a kinsman. It becomes completely our own when it comes within the range of our emotions. With our love and hatred, pleasure and pain, fear and wonder, continually working upon it, this world becomes a part of our personality. It grows with our growth, it changes with our changes. We are great or small, according to the magnitude and littleness of this assimilation, according to the quality of its sum total. If this world were taken away, our personality would lose all its content.
Our emotions are the gastric juices which transform this world of appearance into the more intimate world of sentiments. On the other hand, this outer world has its own juices, having their various qualities which excite our emotional activities. This is called in our ​Sanskrit rhetoric rasa, which signifies outer juices having their response in the inner juices of our emotions. And a poem, according to it, is a sentence or sentences containing juices, which stimulate the juices of emotion. It brings to us ideas, vitalized by feelings, ready to be made into the life-stuff of our nature.
Bare information on facts is not literature, because it gives us merely the facts which are independent of ourselves. Repetition of the facts that the sun is round, water is liquid, fire is hot, would be intolerable. But a description of the beauty of the sunrise has its eternal interest for us,—because there, it is not the fact of the sunrise, but its relation to ourselves, which is the object of perennial interest.
It is said in the Upanishad, that "Wealth is dear to us, not because we desire the fact of the wealth itself, but because we desire ourselves." This means that we feel ourselves in our wealth,—and therefore we love it. The things which arouse our emotions arouse our own self-feeling. It is like our touch upon the harp-string: if it is too feeble, then we are merely aware of the touch, but if it is strong, then our touch comes back to us in tunes and our consciousness is intensified.
​There is the world of science, from which the elements of personality have been carefully removed. We must not touch it with our feelings. But there is also the vast world, which is personal to us. We must not merely know it, and then put it aside, but we must feel it, because, by feeling it,—we feel ourselves.
But how can we express our personality, which we only know by feeling? A scientist can make known what he has learned by analysis and experiment. But what an artist has to say, he cannot express by merely informing and explaining. The plainest language is needed when I have to say what I know about a rose, but to say what I feel about a rose is different. There it has nothing to do with facts, or with laws,—it deals with taste, which can be realized only by tasting. Therefore the Sanskrit rhetoricians say, in poetry we have to use words which have got the proper taste,—which do not merely talk, but conjure up pictures and sing. For pictures and songs are not merely facts,—they are personal facts. They are not only themselves, but ourselves also. They defy analysis and they have immediate access to our hearts.
It has to be conceded, that man cannot help revealing his personality, also, in the world of ​use. But there self-expression is not his primary object. In everyday life, when we are mostly moved by our habits, we are economical in our expression; for then our soul-consciousness is at its low level,—it has just volume enough to glide on in accustomed grooves. But when our heart is fully awakened in love, or in other great emotions, our personality is in its flood-tide. Then it feels the longing to express itself for the very sake of expression. Then comes Art, and we forget the claims of necessity, the thrift of usefulness,—the spires of our temples try to kiss the stars and the notes of our music to fathom the depth of the ineffable.
Man's energies, running on two parallel lines,—that of utility and of self-expression—tend to meet and mingle. By constant human associations sentiments gather around our things of use and invite the help of art to reveal themselves,—as we see the warrior's pride and love revealed in the ornamental sword-blade, and the comradeship of festive gatherings in the wine goblet.
The lawyer's office, as a rule, is not a thing of beauty, and the reason is obvious. But in a city, where men are proud of their citizenship, public buildings must in their structure express ​this love for the city. When the British capital was removed from Calcutta to Delhi, there was discussion about the style of architecture which should be followed in the new buildings. Some advocated the Indian style of the Moghal period,—the style which was the joint production of the Moghal and the Indian genius. The fact that they lost sight of was that all true art has its origin in sentiment. Moghal Delhi and Moghal Agra show their human personality in their buildings. Moghal emperors were men, they were not mere administrators. They lived and died in India, they loved and fought. The memorials of their reigns do not persist in the ruins of factories and offices, but in immortal works of art,—not only in great buildings, but in pictures and music and workmanship in stone and metal, in cotton and wool fabrics. But the British government in India is not personal. It is official and therefore an abstraction. It has nothing to express in the true language of art. For law, efficiency and exploitation cannot sing themselves into epic stones. Lord Lytton, who unfortunately was gifted with more imagination than was necessary for an Indian Viceroy, tried to copy one of the state functions of the Moghals,—the Durbar ceremony. But state ​ceremonials are works of art. They naturally spring from the reciprocity of personal relationship between the people and their monarch. When they are copies, they show all the signs of the spurious.
How utility and sentiment take different lines in their expression can be seen in the dress of a man compared with that of a woman. A man's dress, as a rule, shuns all that is unnecessary and merely decorative. But a woman has naturally selected the decorative, not only in her dress, but in her manners. She has to be picturesque and musical to make manifest what she truly is,—because, in her position in the world, woman is more concrete and personal than man. She is not to be judged merely by her usefulness, but by her delightfulness. Therefore she takes infinite care in expressing, not her profession, but her personality.
The principal object of art, also, being the expression of personality, and not of that which is abstract and analytical, it necessarily uses the language of picture and music. This has led to a confusion in our thought that the object of art is the production of beauty; whereas beauty in art has been the mere instrument and not its complete and ultimate significance.
​As a consequence of this, we have often heard it argued whether manner, rather than matter, is the essential element in art. Such arguments become endless, like pouring water into a vessel whose bottom has been taken away. These discussions owe their origin to the idea that beauty is the object of art, and, because mere matter cannot have the property of beauty, it becomes a question whether manner is not the principal factor in art.
But the truth is, analytical treatment will not help us in discovering what is the vital point in art. For the true principle of art is the principle of unity. When we want to know the food-value of certain of our diets, we find it in their component parts; but its taste-value is in its unity, which cannot be analysed. Matter, taken by itself, is an abstraction which can be dealt with by science; while manner, which is merely manner, is an abstraction which comes under the laws of rhetoric. But when they are indissolubly one, then they find their harmonics in our personality, which is an organic complex of matter and manner, thoughts and things, motives and actions.
Therefore we find all abstract ideas are out of place in true art, where, in order to gain ​admission, they must come under the disguise of personification. This is the reason why poetry tries to select words that have vital qualities,—words that are not for mere information, but have become naturalized in our hearts and have not been worn out of their shapes by too constant use in the market. For instance, the English word "consciousness" has not yet outgrown the cocoon stage of its scholastic inertia, therefore it is seldom used in poetry; whereas its Indian synonym "chetana" is a vital word and is of constant poetical use. On the other hand the English word "feeling" is fluid with life, but its Bengali synonym "anuphuti" is refused in poetry, because it merely has a meaning and no flavour. And likewise there are some truths, coming from science and philosophy, which have acquired life's colour and taste, and some which have not. Until they have done this, they are, for art, like uncooked vegetables, unfit to be served at a feast. History, so long as it copies science and deals with abstractions, remains outside the domain of literature. But, as a narrative of facts, it takes its place by the side of the epic poem. For narration of historical facts imparts to the time to which they belong a taste of personality. ​Those periods become human to us, we feel their living heart-beats.
The world and the personal man are face to face, like friends who question one another and exchange their inner secrets. The world asks the inner man,—"Friend, have you seen me? Do you love me?—not as one who provides you with foods and fruits, not as one whose laws you have found out, but as one who is personal, individual?"
The artist's answer is, "Yes, I have seen you, I have loved and known you,—not that I have any need of you, not that I have taken you and used your laws for my own purposes of power. I know the forces that act and drive and lead to power, but it is not that. I see you, where you are what I am."
But how do you know that the artist has known, has seen, has come face to face with this Personality?
When I first meet any one who is not yet my friend, I observe all the numberless unessential things which attract the attention at first sight: and in the wilderness of that diversity of facts the friend who is to be my friend is lost.
When our steamer reached the coast of Japan, one of our passengers, a Japanese, was ​coming back home from Rangoon; we on the other hand were reaching that shore for the first time in our life. There was a great difference in our outlook. We noted every little peculiarity, and innumerable small things occupied our attention. But the Japanese passenger dived at once into the personality, the soul of the land, where his own soul found satisfaction. He saw fewer things, we saw more things; but what he saw was the soul of Japan. It could not be gauged by any quantity or number, but by something invisible and deep. It could not be said, that because we saw those innumerable things, we saw Japan better, but rather the reverse.
If you ask me to draw some particular tree, and I am no artist, I try to copy every detail, lest I should otherwise lose the peculiarity of the tree, forgetting that the peculiarity is not the personality. But when the true artist comes, he overlooks all details and gets into the essential characterization.
Our rational man also seeks to simplify things into their inner principle; to get rid of the details; to get to the heart of things where things are One. But the difference is this,—the scientist seeks an impersonal principle of ​unification, which can be applied to all things. For instance he destroys the human body which is personal in order to find out physiology, which is impersonal and general.
But the artist finds out the unique, the individual, which yet is in the heart of the universal. When he looks on a tree, he looks on that tree as unique, not as the botanist who generalizes and classifies. It is the function of the artist to particularize that one tree. How does he do it? Not through the peculiarity which is the discord of the unique, but through the personality which is harmony. Therefore he has to find out the inner concordance of that one thing with its outer surroundings of all things.
The greatness and beauty of Oriental art, especially in Japan and China, consist in this, that there the artists have seen this soul of things and they believe in it. The West may believe in the soul of Man, but she does not really believe that the universe has a soul. Yet this is the belief of the East, and the whole mental contribution of the East to mankind is filled with this idea. So, we, in the East, need not go into details and emphasize them; for the most important thing is this universal soul, ​for which the Eastern sages have sat in meditation, and Eastern artists have joined them in artistic realization.
Because we have faith in this universal soul, we in the East know that Truth, Power, Beauty, lie in Simplicity,—where it is transparent, where things do not obstruct the inner vision. Therefore, all our sages have tried to make their lives simple and pure, because thus they have the realization of a positive Truth, which, though invisible, is more real than the gross and the numerous.
When we say that art only deals with those truths that are personal, we do not exclude philosophical ideas which are apparently abstract. They are quite common in our Indian literature, because they have been woven with the fibres of our personal nature. I give here an instance which will make my point clear. The following is a translation of an Indian poem written by a woman poet of mediæval India,—its subject is Life.
I salute the Life which is like a sprouting seed,
With its one arm upraised in the air, and the other down in the soil; The Life which is one in its outer form and its inner sap; The Life that ever appears, yet ever eludes. The Life that comes I salute, and the Life that goes; ​I salute the Life that is revealed and that is hidden; I salute the Life in suspense, standing still like a mountain, And the Life of the surging sea of fire; The Life that is tender like a lotus, and hard like a thunderbolt. I salute the Life which is of the mind, with its one side in the dark and the other in the light. I salute the Life in the house and the Life abroad in the unknown, The Life full of joy and the Life weary with its pains, The Life eternally moving, rocking the world into stillness, The Life deep and silent, breaking out into roaring waves.
This idea of life is not a mere logical deduction; it is as real to the poetess as the air to the bird who feels it at every beat of its wings. Woman has realized the mystery of life in her child more intimately than man has done. This woman's nature in the poet has felt the deep stir of life in all the world. She has known it to be infinite,—not through any reasoning process, but through the illumination of her feeling. Therefore the same idea, which is a mere abstraction to one whose sense of the reality is limited, becomes luminously real to another whose sensibility has a wider range. We have often heard the Indian mind described by Western critics as metaphysical, because it is ready to soar in the infinite. But it has to be noted that the infinite is not a mere matter of philosophical ​speculation to India; it is as real to her as the sunlight. She must see it, feel it, make use of it in her life. Therefore it has come out so profusely in her symbolism of worship, in her literature. The poet of the Upanishad has said that the slightest movement of life would be impossible if the sky were not filled with infinite joy. This universal presence was as much of a reality to him as the earth under his feet, nay, even more. The realization of this has broken out in a song of an Indian poet who was born in the fifteenth century:
There falls the rhythmic beat of life and death: Rapture wells forth, and all space is radiant with light. There the unstruck music is sounded; it is the love music of three worlds. There millions of lamps of sun and moon are burning; There the drum beats and the lover swings in play. There love songs resound, and light rains in showers.
In India, the greater part of our literature is religious, because God with us is not a distant God; He belongs to our homes, as well as to our temples. We feel His nearness to us in all the human relationship of love and affection, and in our festivities He is the chief guest whom we honour. In seasons of flowers and fruits, in the coming of the rain, in the fulness of the autumn, we see the hem of His mantle and hear His ​footsteps. We worship Him in all the true objects of our worship and love Him wherever our love is true. In the woman who is good we feel Him, in the man who is true we know Him, in our children He is born again and again, the Eternal Child. Therefore religious songs are our love songs, and our domestic occurrences, such as the birth of a son, or the coming of the daughter from her husband's house to her parents and her departure again, are woven in our literature as a drama whose counterpart is in the divine.
It is thus that the domain of literature has extended into the region which seems hidden in the depth of mystery and made it human and speaking. It is growing, keeping pace with the conquest made by the human personality in the realm of truth. It is growing, not only into history, science and philosophy, but, with our expanding sympathy, into our social consciousness. The classical literature of the ancient time was only peopled by saints and kings and heroes. It threw no light upon men who loved and suffered in obscurity. But as the illumination of man's personality throws its light upon a wider space, penetrating into hidden corners, the world of art also crosses its frontiers and extends its boundaries into unexplored regions. Thus art ​is signalizing man's conquest of the world by its symbols of beauty, springing up in spots which were barren of all voice and colours. It is supplying man with his banners, under which he marches to fight against the inane and the inert, proving his living claims far and wide in God's creation. Even the spirit of the desert has owned its kinship with him, and the lonely pyramids are there as memorials of the meeting of Nature's silence with the silence of the human spirit. The darkness of the caves has yielded its stillness to man's soul, and in exchange has secretly been crowned with the wreath of art. Bells are ringing in temples, in villages and populous towns to proclaim that the infinite is not a mere emptiness to man. This encroachment of man's personality has no limit, and even the markets and factories of the present age, even the schools where children of man are imprisoned and jails where are the criminals, will be mellowed with the touch of art, and lose their distinction of rigid discordance with life. For the one effort of man's personality is to transform everything with which he has any true concern into the human. And art is like the spread of vegetation, to show how far man has reclaimed the desert for his own.
We have said before that where there is an ​element of the superfluous in our heart's relationship with the world, Art has its birth. In other words, where our personality feels its wealth it breaks out in display. What we devour for ourselves is totally spent. What overflows our need becomes articulate. The stage of pure utility is like the state of heat which is dark. When it surpasses itself, it becomes white heat and then it is expressive.
Take, for instance, our delight in eating. It is soon exhausted, it gives no indication of the infinite. Therefore, though in its extensiveness it is more universal than any other passion, it is rejected by art. It is like an immigrant coming to these Atlantic shores, who can show no cash balance in his favour.
In our life we have one side which is finite, where we exhaust ourselves at every step, and we have another side, where our aspiration, enjoyment and sacrifice are infinite. This infinite side of man must have its revealments in some symbols which have the elements of immortality. There it naturally seeks perfection. Therefore it refuses all that is flimsy and feeble and incongruous. It builds for its dwelling a paradise, where only those materials are used that have transcended the earth's mortality.
​For men are the children of light. Whenever they fully realize themselves they feel their immortality. And, as they feel it, they extend their realm of the immortal into every region of human life.
This building of man's true world,—the living world of truth and beauty,—is the function of Art.
Man is true, where he feels his infinity, where he is divine, and the divine is the creator in him. Therefore with the attainment of his truth he creates. For he can truly live in his own creation and make out of God's world his own world. This is indeed his own heaven, the heaven of ideas shaped into perfect forms, with which he surrounds himself; where his children are born, where they learn how to live and to die, how to love and to fight, where they know that the real is not that which is merely seen and wealth is not that which is stored. If man could only listen to the voice that rises from the heart of his own creation, he would hear the same message that came from the Indian sage of the ancient time:
"Hearken to me, ye children of the Immortal, dwellers of the heavenly worlds, I have known the Supreme Person who comes as light from the dark beyond."
​Yes, it is that Supreme Person, who has made himself known to man and made this universe so deeply personal to him. Therefore, in India, our places of pilgrimage are there, where in the confluence of the river and the sea, in the eternal snow of the mountain peak, in the lonely seashore, some aspect of the infinite is revealed which has its great voice for our heart, and there man has left in his images and temples, in his carvings of stone, these words,—"Hearken to me, I have known the Supreme Person." In the mere substance and law of this world we do not meet the person, but where the sky is blue, and the grass is green, where the flower has its beauty and fruit its taste, where there is not only perpetuation of race, but joy of living and love of fellow-creatures, sympathy and self-sacrifice, there is revealed to us the Person who is infinite. There, not merely are facts pelted down upon our heads, but we feel the bond of the personal relationship binding our hearts with this world through all time. And this is Reality, which is truth made our own,—truth that has its eternal relation with the Supreme Person. This world, whose soul seems to be aching for expression in its endless rhythm of lines and colours, music and movements, hints and ​whispers, and all the suggestion of the inexpressible, finds its harmony in the ceaseless longing of the human heart to make the Person manifest in its own creations.
The desire for the manifestation of this Person makes us lavish with all our resources. When we accumulate wealth, we have to account for every penny; we reason accurately and we act with care. But when we set about to express our wealthiness, we seem to lose sight of all lines of limit. In fact, none of us has wealth enough fully to express what we mean by wealthiness. When we try to save our life from an enemy's attack, we are cautious in our movements. But when we feel impelled to express our personal bravery, we willingly take risks and go to the length of losing our lives. We are careful of expenditure in our everyday life, but on festive occasions, when we express our joy, we are thriftless even to the extent of going beyond our means. For when we are intensely conscious of our own personality, we are apt to ignore the tyranny of facts. We are temperate in our dealings with the man with whom our relation is the relationship of prudence. But we feel we have not got enough for those whom we love. The poet says of the beloved: ​"It seems to me that I have gazed at your beauty from the beginning of my existence, that I have kept you in my arms for countless ages, yet it has not been enough for me."
He says, "Stones would melt in tenderness, if touched by the breeze of your mantle."
He feels that his "eyes long to fly like birds to see his beloved."
Judged from the standpoint of reason these are exaggerations, but from that of the heart, freed from limits of facts, they are true.
Is it not the same in God's creation? There, forces and matters are alike mere facts they have their strict accounts kept and they can be accurately weighed and measured. Only beauty is not a mere fact; it cannot be accounted for, it cannot be surveyed and mapped. It is an expression. Facts are like wine-cups that carry it, they are hidden by it, it overflows them. It is infinite in its suggestions, it is extravagant in its words. It is personal, therefore, beyond science. It sings as does the poet, "It seems to me that I have gazed at you from the beginning of my existence, that I have kept you in my arms for countless ages, yet it has not been enough for me."
So we find that our world of expression does ​not accurately coincide with the world of facts, because personality surpasses facts on every side. It is conscious of its infinity and creates from its abundance; and because, in art, things are challenged from the standpoint of the immortal Person, those which are important in our customary life of facts become unreal when placed on the pedestal of art. A newspaper account of some domestic incident in the life of a commercial magnate may create agitation in Society, yet would lose all its significance if placed by the side of great works of art. We can well imagine how it would hide its face in shame, if by some cruel accident it found itself in the neighbourhood of Keats's "Ode on a Grecian Urn."
Yet the very same incident, if treated deeply, divested of its conventional superficiality, might have a better claim in art than the negotiation for raising a big loan for China, or the defeat of British diplomacy in Turkey. A mere household event of a husband's jealousy of his wife, as depicted in one of Shakespeare's tragedies, has greater value in the realm of art than the code of caste regulations in Manu's scripture or the law prohibiting inhabitants of one part of the world from receiving human treatment in another. ​For when facts are looked upon as mere facts, having their chain of consequences in the world of facts, they are rejected by art.
When, however, such laws and regulations as I have mentioned are viewed in their application to some human individual, in all their injustice, insult and pain, then they are seen in their complete truth and they become subjects for art. The disposition of a great battle may be a great fact, but it is useless for the purpose of art. But what that battle has caused to a single individual soldier, separated from his loved ones and maimed for his life, has a vital value for art which deals with reality.
Man's social world is like some nebulous system of stars, consisting largely of a mist of abstractions, with such names as society, state, nation, commerce, politics and war. In their dense amorphousness man is hidden and truth is blurred. The one vague idea of war covers from our sight a multitude of miseries, and obscures our sense of reality. The idea of the nation is responsible for crimes that would be appalling, if the mist could be removed for a moment. The idea of society has created forms of slavery without number, which we tolerate simply because it has deadened our consciousness ​of the reality of the personal man. In the name of religion deeds have been done that would exhaust all the resources of hell itself for punishment, because with its creeds and dogmas it has applied an extensive plaster of anæsthetic over a large surface of feeling humanity. Everywhere in man's world the Supreme Person is suffering from the killing of the human reality by the imposition of the abstract. In our schools the idea of the class hides the reality of the school children;—they become students and not individuals. Therefore it does not hurt us to see children's lives crushed, in their classes, like flowers pressed between book leaves. In government, the bureaucracy deals with generalizations and not with men. And therefore it costs it nothing to indulge in wholesale cruelties. Once we accept as truth such a scientific maxim as "Survival of the Fittest" it immediately transforms the whole world of human personality into a monotonous desert of abstraction, where things become dreadfully simple because robbed of their mystery of life.
In these large tracts of nebulousness Art is creating its stars,—stars that are definite in their forms but infinite in their personality. Art is calling us the "children of the immortal," ​and proclaiming our right to dwell in the heavenly worlds.
What is it in man that asserts its immortality in spite of the obvious fact of death? It is not his physical body or his mental organization. It is that deeper unity, that ultimate mystery in him, which, from the centre of his world, radiates towards its circumference; which is in his body, yet transcends his body; which is in his mind, yet grows beyond his mind; which, through the things belonging to him, expresses something that is not in them; which, while occupying his present, overflows its banks of the past and the future. It is the personality of man, conscious of its inexhaustible abundance; it has the paradox in it that it is more than itself; it is more than as it is seen, as it is known, as it is used. And this consciousness of the infinite, in the personal man, ever strives to make its expressions immortal and to make the whole world its own. In Art the person in us is sending its answers to the Supreme Person, who reveals Himself to us in a world of endless beauty across the lightless world of facts.