object:03.12 - TagorePoet and Seer
book class:Collected Works of Nolini Kanta Gupta - Vol 01
author class:Nolini Kanta Gupta
subject class:Integral Yoga
class:chapter
Modernist Poetry The March of Civilisation
Other Authors Nolini Kanta Gupta The Malady of the CenturyTagorePoet and Seer
TagorePoet and Seer
A great literature seems to have almost invariably a great name attached to it, one name by which it is known and recognised as great. It is the name of the man who releases the inmost potency of that literature, and who marks at the same time the height to which its creative genius has attained or perhaps can ever attain. Homer and Virgil, Dante and Shakespeare, Goethe and Camoens, Firdausi in Persian and Kalidasa in classical Sanskrit, are such namesnumina, each being the presiding deity, the godhead born full-armed out of the poetic consciousness of the race to which he belongs. Even in the case of France whose language and literature are more a democratic and collective and less an individualistic creation, even there one single Name can be pointed out as the life and soul, the very cream of the characteristic poetic genius of the nation. I am, of course, referring to Racine, Racine who, in spite of Moliere and Corneille and Hugo, stands as the most representative French poet, the embodiment of French resthesis par excellence.
Such a great name is Rabindranath Tagore in Bengali literature. We need not forget Bankim Chandra, nor even Madhusudan: still one can safely declare that if Bengali language and literature belonged to any single person as its supreme liberator and fosterer savitand pit is Rabindranath. It was he who lifted that language and literature from what had been after all a provincial and parochial status into the domain of the international and universal. Through him a thing of local value was metamorphosed definitively into a thing of world value.
The miracle that Tagore has done is this: he has brought out the very soul of the raceits soul of lyric fervour and grace, of intuitive luminosity and poignant sensibility, of beauty and harmony and delicacy. It is this that he has made living and vibrant, raised almost to the highest pitch and amplitude in various modes in the utterance of his nation. What he always expresses, in all his creations, is one aspect or another, a rhythm or a note of the soul movement. It is always a cry of the soul, a profound experience in the inner heart that wells out in the multifarious cadences of his poems. It is the same motif that finds a local habitation and a name in his short stories, perfect gems, masterpieces among world's masterpieces of art. In his dramas and novels it is the same element that has found a wider canvas for a more detailed and graphic notation of its play and movement. I would even include his essays (and certainly his memoirs) within the sweep of the same master-note. An essay by Rabindranath is as characteristic of the poet as any lyric poem of his. This is not to say that the essays are devoid of a solid intellectual content, a close-knit logical argument, an acute and penetrating thought movement, nor is it that his novels or dramas are mere lyrics drawn out arid thinned, lacking in the essential elements of a plot and action and character. What I mean is that over and above these factors which Tagores art possesses to a considerable degree, there is an imponderable element, a flavour, a breath from elsewhere that suffuses the entire creation, something that can be characterised only as the soul-element. It is this presence that makes whatever the poet touches not only living and graceful but instinct with something that belongs to the world of gods, something celestial and divine, something that meets and satisfies man's deepest longing and aspiration.
I have been laying special stress upon this aspect of Tagore's genius, because humanity is in great need of it today, because all has gone wrong with the modern world since it lost touch with its soul and was beguiled into a path lighted by false glimmers and will-o'-the-wisps, hires of a superficial and infra-human consciousness, or into the by-ways and backwashes and aberrations of a sophisticated intellectualism.
Tagore is modern, as modern as reasonably and sensibly one can be; he is a modern, but not a modernist. One is modern when one is inspired and moved by the spirit of the Time, one is modernist when one is bound to the letter, to the external formulas of the law of the Zeit-Geist. You remain modern if the new consciousness enters and dwells in your nature and character, you become modernist as soon as it degenerates into a tic and a mannerism.
The passage of mediaevalism to modernism can be defined as the passage from the local and parochial to the general and universal. The mediaeval consciousness is a segmented or linear consciousness: it is the view, at a time, from one particular angle of vision. The modern consciousness, on the other hand, is or tends to be a global view-point, a circular consciousness. The unilateral mentality proper to mediaevalism may be deep and penetrating and far-reaching, extending to the hidden and high realities, even to the highest and the most secretto God and Soul and Immortality; it would still be a one-sided vision and achievement. It is the characteristic function of-the modern consciousness to survey things not from a single point of view, but from all points of view, even the most disparate and incommensurable. The relativity of all experiencesnot necessarily their illusorinessis the great modern discovery; it is the parent of modern (scientific) scepticism and agnosticism; it is also the basis of a large, a global synthesis, which was never possible till now and which is the promise of to-morrow.
Modernism implies a natural broadening of the mind and life, a greater capacity to understand and endorse and appreciate divergent and even contrary and contradictory experiences and stand-points. Thus, brotherhood to the mediaeval man meant bringing together mankind under the dominion of one cult or creedit is the extension of a tribal feeling. Brotherhood in a modern consciousness would mean an inner union and commensurability that can subsist even in the midst of a great diversity of taste and feeling and experience.
Tagore is modern in respect of all these higher aptitudes that man has gained today. He has the brilliance and curiosity of an alert and strong intelligence, the refined sensibility of a pagan and scientific intellect, he has an infinite sense of irony and humour and, above all, he has that in him,a genial plasticity and sympathy and a warm sense of wide commonalty,which makes him easily a citizen of the world, feeling absolutely at home all over the world.
The breath of modernism that Tagore has brought into the life and letters of the Bengali race is, I repeat, suffused with a soul-feelinga sense of refinement and dignity, wideness and catholicity and urbanity in the inner make-up of life-attitude and consciousness, a feeling that one no longer lives in his village, confined to its insular limits, but that one lives a life coterminous with human life at large and at its best; one is cosmopolitan in the noblest sense of the word and one has to move and act and speak in a manner becoming such a position. A high sense of all the aristocratic virtues, plus a certain sunshine of wit and playful intelligence that prevents the serious and the lofty from becoming grim and Dantesque are part of the gifts that Tagore has brought us and made a living element of our literary and even social character.
Tagore is modern, because his modernism is based upon a truth not local and temporal, but eternal and universal, something that is the very bed-rock of human culture and civilisation. Indeed, Tagore is also ancient, as ancient as the Upanishads. The great truths, the basic realities experienced and formulated by the ancients ring clear and distinct in the core of all his artistic creation. Tagore's intellectual make-up may be as rationalistic and scientific as that of any typical modern man. Nor does he discard the good things (preya)that earth and life offer to man for his banquet; and he does not say like the bare ascetic: any vco vimucatha, "abandon everything else". But even like one of the Upanishadic Rishis, the great Yajnavalkya, he would possess and enjoy his share of terrestrial as well as of spiritual wealthubhayameva. In a world of modernism, although he acknowledges and appreciates mental and vital and physical values, he does not give them the place demanded for them. He has never forgotten the one thing needful. He has not lost the moorings of the soul. He has continued to nestle close to the eternal verities that sustain earth and creation and give a high value and purpose to man's life and creative activity.
In these iconoclastic times, we are liable, both in art and in life, to despise and even to deny certain basic factors which were held to be almost indispensable in the old world. The great triadsthe True, the Beautiful and the Good, or God, Soul and Immortalityare of no consequence to a modernist mind: these mighty words evoke no echo in the heart of a contemporary human being. Art and Life meant in the old world something decent, if not great. They were perhaps, as I have already said, framed within narrow limits, certain rigid principles that cribbed and cabined the human spirit in many ways; but they were not anarchic, they obeyed a law, a dharma, which they considered as an ideal, a standard to look up to and even live up to. The modernist is an anarchic being in all ways. He does not care for old-world verities which seem to him mere convention or superstition. Truth and Beauty and Harmony are non-existent for him: if at all they exist they bear a totally different connotation, the very opposite of that which is normally accepted.
The modernist does not ask: is it good? is it beautiful? He asks: is it effective? is it expressive? And by effectivity and expressiveness he means something nervous and physical. Expressiveness to him would mean the capacity to tear off the veil over what once was considered not worth the while or decent to uncover. A strange recklessness and shamelessness, an unhealthy and perverse curiosity, characteristic of the Asura and the Pisacha, of the beings of the underworld, mark the movement of the modernist. But I forget. The Modernist is not always an anarchist, for he too seeks to establish a New Order; indeed he arrogates to himself that mission and declares it to be his and his alone. Obviously it is not the order of the higher gods of Olympus: these have been ousted and dethroned. We are being led back to the mysteries of an earlier race, reverting to an infra-evolutionary status, into the arcana of Thor and Odin, godlings of an elemental Nature.
In such a world Tagore is a voice and a beacon from over the heights of the old world declaring and revealing the verities that are eternal and never die. They who seek to kill them do so at their peril. Tagore is a great poet: as such he is close to the heart of Bengal. He is a great Seer: as such humanity will claim him as its own.
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Modernist Poetry The March of Civilisation
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