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Essays on the Gita

Essays on the Gita

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22 <str<strong>on</strong>g>Essays</str<strong>on</strong>g> <strong>on</strong> <strong>the</strong> <strong>Gita</strong>when <strong>the</strong> chariot reaches <strong>the</strong> end of its journey, <strong>the</strong> own home ofIndra, <strong>the</strong> human Kutsa has grown into such an exact likeness ofhis divine compani<strong>on</strong> that he can <strong>on</strong>ly be distinguished by Sachi,<strong>the</strong> wife of Indra, because she is “truth-c<strong>on</strong>scious”. The parableis evidently of <strong>the</strong> inner life of man; it is a figure of <strong>the</strong> humangrowing into <strong>the</strong> likeness of <strong>the</strong> eternal divine by <strong>the</strong> increasingilluminati<strong>on</strong> of Knowledge. But <strong>the</strong> <strong>Gita</strong> starts from acti<strong>on</strong> andArjuna is <strong>the</strong> man of acti<strong>on</strong> and not of knowledge, <strong>the</strong> fighter,never <strong>the</strong> seer or <strong>the</strong> thinker.From <strong>the</strong> beginning of <strong>the</strong> <strong>Gita</strong> this characteristic temperamentof <strong>the</strong> disciple is clearly indicated and it is maintainedthroughout. It becomes first evident in <strong>the</strong> manner in which heis awakened to <strong>the</strong> sense of what he is doing, <strong>the</strong> great slaughterof which he is to be <strong>the</strong> chief instrument, in <strong>the</strong> thoughts whichimmediately rise in him, in <strong>the</strong> standpoint and <strong>the</strong> psychologicalmotives which make him recoil from <strong>the</strong> whole terrible catastrophe.They are not <strong>the</strong> thoughts, <strong>the</strong> standpoint, <strong>the</strong> motives ofa philosophical or even of a deeply reflective mind or a spiritualtemperament c<strong>on</strong>fr<strong>on</strong>ted with <strong>the</strong> same or a similar problem.They are those, as we might say, of <strong>the</strong> practical or <strong>the</strong> pragmaticman, <strong>the</strong> emoti<strong>on</strong>al, sensati<strong>on</strong>al, moral and intelligent humanbeing not habituated to profound and original reflecti<strong>on</strong> or anysounding of <strong>the</strong> depths, accustomed ra<strong>the</strong>r to high but fixed standardsof thought and acti<strong>on</strong> and a c<strong>on</strong>fident treading throughall vicissitudes and difficulties, who now finds all his standardsfailing him and all <strong>the</strong> basis of his c<strong>on</strong>fidence in himself and hislife shorn away from under him at a single stroke. That is <strong>the</strong>nature of <strong>the</strong> crisis which he undergoes.Arjuna is, in <strong>the</strong> language of <strong>the</strong> <strong>Gita</strong>, a man subject to<strong>the</strong> acti<strong>on</strong> of <strong>the</strong> three gunas or modes of <strong>the</strong> Nature-Forceand habituated to move unquesti<strong>on</strong>ingly in that field, like <strong>the</strong>generality of men. He justifies his name <strong>on</strong>ly in being so far pureand sattwic as to be governed by high and clear principles andimpulses and habitually c<strong>on</strong>trol his lower nature by <strong>the</strong> noblestLaw which he knows. He is not of a violent Asuric dispositi<strong>on</strong>,not <strong>the</strong> slave of his passi<strong>on</strong>s, but has been trained to a high calmand self-c<strong>on</strong>trol, to an unswerving performance of his duties

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