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   1 Sri Aurobindo

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   9 Bankim Chandra Chattopadhyay

1:He sowed the desert with ruddy-hearted rose, The sweetest voice that ever spoke in prose. ~ Sri Aurobindo, Collected Poems, Bankim Chandra Chatterji,

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1:To die without accomplishing our work, is that desirable? ~ Bankim Chandra Chattopadhyay,

2:Vande Mataram 🚩🇮🇳🙏 ~ From Bankim Chandra's Anandmath, voiced by Hemant Kumar, Pradeep #IndiaIndependenceDay #स्वतंत्रता_दिवस youtu.be/iGWqGtPFbDQ,

3:Thousands of men, women and children might die of starvation; yet there must be no cessation in the collection of taxes. ~ Bankim Chandra Chattopadhyay,

4:He sowed the desert with ruddy-hearted rose, The sweetest voice that ever spoke in prose. ~ Sri Aurobindo, Collected Poems, Bankim Chandra Chatterji,

5:Mother,’ said the Mahatma, ‘this is the temple, the mosque, the vihara and the gurdwara of Mother India. Cast aside all fear from your heart. ~ Bankim Chandra Chattopadhyay,

6:In our work we do not differentiate between Hindu or Muslim, Buddhist or Sikh, Parsee or Pariah. We are all brothers here — all Children of the same Mother India. ~ Bankim Chandra Chattopadhyay,

7:When, O Master, when shall we see our Mother India in this garb again — so radiant and so cheerful?’ ‘Only when all the children of the Motherland shall call her Mother in all sincerity. ~ Bankim Chandra Chattopadhyay,

8:this country belongs to us. This is our Motherland. We are the children of this soil. You have no more moral or legal right to rule over this country than we have to rule over your England. ~ Bankim Chandra Chattopadhyay,

9:You just robbed a revenue cart.’ ‘That was neither stealing nor robbery. Whose money did we capture?’ ‘Why, the King’s!’ ‘King’s, you say! What right has an English King to the wealth of our land? ~ Bankim Chandra Chattopadhyay,

10:Because the British keep India in subjection by the sword. And she can be freed only by the sword. Those who talk of winning India’s independence by peaceful means do not know the British, I am sure. Please say Bande Mataram. ~ Bankim Chandra Chattopadhyay,

11:The Motherland is our only mother. Our Motherland is higher than heaven. Mother India is our mother. We have no other mother. We have no father, no brother, no sister, no wife, no children, no home, no hearth — all we have is the Mother: ~ Bankim Chandra Chattopadhyay,

   2 Yoga
   2 Integral Yoga


   3 Sri Ramakrishna
   2 Sri Aurobindo


   2 The Gospel of Sri Ramakrishna

03.12 - TagorePoet and Seer, #Collected Works of Nolini Kanta Gupta - Vol 01, #Nolini Kanta Gupta, #Integral Yoga    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.

1.04 - The Core of the Teaching, #Essays On The Gita, #Sri Aurobindo, #Integral Yoga   The Gita can only be understood, like any other great work of the kind, by studying it in its entirety and as a developing argument. But the modern interpreters, starting from the great writer BANKIM CHANDRA Chatterji who first gave to the Gita this new sense of a Gospel of Duty, have laid an almost exclusive stress on the first three or four chapters and in those on the idea of equality, on the expression kartavyam karma, the work that is to be done, which they render by duty, and on the phrase "Thou hast a right to action, but none to the fruits of action" which is now popularly quoted as the great word, mahavakya, of the   Gita. The rest of the eighteen chapters with their high philosophy are given a secondary importance, except indeed the great vision in the eleventh. This is natural enough for the modern mind which is, or has been till yesterday, inclined to be impatient of

1.10 - The Secret of the Veda, #Vedic and Philological Studies, #Sri Aurobindo, #Integral Yoga   When was this traditional honour first lost or at least tarnished and the ancient Scripture relegated to the inferior position it occupies in the thought of Shankaracharya? I presume there can be little doubt that the chief agent in this work of destruction was the power of Buddhism. The preachings of Gautama and his followers worked against Vedic knowledge by a double process. First, by entirely denying the authority of the Veda, laying a violent stress on its ritualistic character and destroying the general practice of formal sacrifice, it brought the study of the Veda into disrepute as a means of attaining the highest good while at the same time it destroyed the necessity of that study for ritualistic purposes which had hitherto kept alive the old Vedic studies; secondly, in a less direct fashion, by substituting for a time at least the vernacular tongues for the old simple Sanscrit as the more common & popular means of religious propaganda and by giving them a literary position and repute, it made a general return to the old generality of the Vedic studies practically impossible. For the Vedas were written in an ancient form of the literary tongue the real secret of which had already been to a great extent lost even to the learned; such knowledge of it as remained, subsisted with difficulty by means of a laborious memorising and a traditional scholarship, conservative indeed but still slowly diminishing and replacing more & more real knowledge by uncertainty, disputed significance and the continuously increasing ingenuities of the ritualist, the grammarian and the sectarian polemical disputant. When after the fall of the Buddhistic Mauryas, feeble successors of the great Asoka, first under Pushyamitra and his son and afterwards under the Guptas, Hinduism revived, a return to the old forms of the creed and the old Vedic scholarship was no longer possible. The old pre-Buddhistic Sanscrit was, to all appearance, a simple, vigorous, living language understood though not spoken by the more intelligent of the common people just as the literary language of Bengal, the language of BANKIM CHANDRA, is understood by every intelligent Bengali, although in speech more contracted forms and a very different vocabulary are in use. But the new Sanscrit of the revival tended to be more & more a learned, scholarly, polished and rhetorical tongue, certainly one of the most smooth, stately & grandiose ever used by human lips, but needing a special & difficult education to understand its grammar, its rhetoric, its rolling compounds and its long flowing sentences. The archaic language of the Vedas ceased to be the common study even of the learned and was only mastered, one is constrained to believe with less & less efficiency, by a small number of scholars. An education in which it took seven years to master the grammar of the language, became inevitably the grave of all true Vedic knowledge. Veda ceased to be the pivot of the Hindu religion, and its place was taken by the only religious compositions which were modern enough in language and simple enough in style to be popular, the Puranas. Moreover, the conception of Veda popularised by Buddhism, Sanscrit as the more common & popular means of religious propaganda and by giving them a literary position and repute, it made a general return to the old generality of the Vedic studies practically impossible. For the Vedas were written in an ancient form of the literary tongue the real secret of which had already been to a great extent lost even to the learned; such knowledge of it as remained, subsisted with difficulty by means of a laborious memorising and a traditional scholarship, conservative indeed but still slowly diminishing and replacing more & more real knowledge by uncertainty, disputed significance and the continuously increasing ingenuities of the ritualist, the grammarian and the sectarian polemical disputant. When after the fall of the Buddhistic Mauryas, feeble successors of the great Asoka, first under Pushyamitra and his son and afterwards under the Guptas, Hinduism revived, a return to the old forms of the creed and the old Vedic scholarship was no longer possible. The old pre-Buddhistic Sanscrit was, to all appearance, a simple, vigorous, living language understood though not spoken by the more intelligent of the common people just as the literary language of Bengal, the language of BANKIM CHANDRA, is understood by every intelligent Bengali, although in speech more contracted forms and a very different vocabulary are in use. But the new Sanscrit of the revival tended to be more & more a learned, scholarly, polished and rhetorical tongue, certainly one of the most smooth, stately & grandiose ever used by human lips, but needing a special & difficult education to understand its grammar, its rhetoric, its rolling compounds and its long flowing sentences. The archaic language of the Vedas ceased to be the common study even of the learned and was only mastered, one is constrained to believe with less & less efficiency, by a small number of scholars. An education in which it took seven years to master the grammar of the language, became inevitably the grave of all true Vedic knowledge. Veda ceased to be the pivot of the Hindu religion, and its place was taken by the only religious compositions which were modern enough in language and simple enough in style to be popular, the Puranas. Moreover, the conception of Veda popularised by Buddhism, a Scripture of ritual and of animal sacrifice, persisted in the popular mind even after the decline of Buddhism and the revival of great philosophies ostensibly based on Vedic authority. It was under the dominance of this ritualistic conception that Sayana wrote his great commentary which has ever since been to the Indian Pundit the one decisive authority on the sense of Veda. The four Vedas have definitely taken a subordinate place as karmakanda, books of ritual; and to the Upanishads alone, in spite of occasional appeals to the text of the earlier Scriptures, is reserved that aspect of spiritual knowledge & teaching which alone justifies the application to any human composition of the great name of Veda.   But in spite of this great downfall the ancient tradition, the ancient sanctity survived. The people knew not what Veda might be; but the old idea remained fixed that Veda is always the fountain of Hinduism, the standard of orthodoxy, the repository of a sacred knowledge; not even the loftiest philosopher or the most ritualistic scholar could divest himself entirely of this deeply ingrained & instinctive conception. To complete the degradation of Veda, to consummate the paradox of its history, a new element had to appear, a new form of intelligence undominated by the ancient tradition & the mediaeval method to take possession of Vedic interpretation. European scholarship which regards human civilisation as a recent progression starting yesterday with the Fiji islander and ending today with Haeckel and Rockefeller, conceiving ancient culture as necessarily primitive culture and primitive culture as necessarily half-savage culture, has turned the light of its Comparative Philology & Comparative Mythology on the Veda. The result we all know. Not only all vestige of sanctity, but all pretension to any kind of spiritual knowledge or experience disappears from the Veda. The old Rishis are revealed to us as a race of ignorant and lusty barbarians who drank & enjoyed and fought, gathered riches & procreated children, sacrificed and praised the Powers of Nature as if they were powerful men & women, and had no higher hope or idea. The only idea they had of religion beyond an occasional sense of sin and a perpetual preoccupation with a ritual barbarously encumbered with a mass of meaningless ceremonial details, was a mythology composed of the phenomena of dawn, night, rain, sunshine and harvest and the facts of astronomy converted into a wildly confused & incoherent mass of allegorical images and personifications. Nor, with the European interpretation, can we be proud of our early forefa thers as poets and singers. The versification of the Vedic hymns is indeed noble and melodious,though the incorrect method of writing them established by the old Indian scholars, often conceals their harmonious construction,but no other praise can be given. The Nibelungenlied, the Icelandic Sagas, the Kalewala, the Homeric poems, were written in the dawn of civilisation by semi-barbarous races, by poets not superior in culture to the Vedic Rishis; yet though their poetical value varies, the nations that possess them, need not be ashamed of their ancient heritage. The same cannot be said of the Vedic poems presented to us by European scholarship. Never surely was there even among savages such a mass of tawdry, glittering, confused & purposeless imagery; never such an inane & useless burden of epithets; never such slipshod & incompetent writing; never such a strange & almost insane incoherence of thought & style; never such a bald poverty of substance. The attempt of patriotic Indian scholars to make something respectable out of the Veda, is futile. If the modern interpretation stands, the Vedas are no doubt of high interest & value to the philologist, the anthropologist & the historian; but poetically and spiritually they are null and worthless. Its reputation for spiritual knowledge & deep religious wealth, is the most imposing & baseless hoax that has ever been worked upon the imagination of a whole people throughout many millenniums.

2.07 - BANKIM CHANDRA, #The Gospel of Sri Ramakrishna, #Sri Ramakrishna, #Hinduism   object:2.07 - BANKIM CHANDRA   subject class:Yoga   --   Sri Ramakrishna arrived at Adhar's house with his attendants. Everyone was in a joyous mood. Adhar had arranged a rich feast. Many strangers were present. At Adhar's invitation, several other deputy magistrates had come; they wanted to watch the Master and judge his holiness. Among them was BANKIM CHANDRA Chatterji, perhaps the greatest literary figure of Bengal during the later part of the nineteenth century. He was one of the creators of modern Bengali literature and wrote on social and religious subjects. Bankim was a product of the contact of India with England. He gave modern interpretations of the Hindu scriptures and advocated drastic social reforms.   Sri Ramakrishna had been talking happily with the devotees when Adhar introduced several of his personal friends to him.

2.08 - AT THE STAR THEATRE (II), #The Gospel of Sri Ramakrishna, #Sri Ramakrishna, #Hinduism   The devotees were eager to know the name of the book. It was called Devi Choudhurani. The Master had heard that the book dealt with motiveless action. He had also heard of the great renown of its author, BANKIM CHANDRA Chatterji, whom he had met some days before, and he wanted to gauge the author's mind from the book.   M. said: "A young girl-the heroine-fell into the hands of a robber named Bhavani Pathak.

Sayings of Sri Ramakrishna (text), #Sayings of Sri Ramakrishna, #Sri Ramakrishna, #Hinduism   Krishna Goswamy, Devendra Nath Tagore, Iswar Chandra Vidyasagar, BANKIM CHANDRA Chatterjee,   Michael Madhusudan Dutt, Aswini Kumar Dutt and Girish Chandra Ghosh.