THE HARMONY OF VIRTUE

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424 The Harmony of Virtueshoulder has the same rigid preparedness. There is a certain defectin the unnatural pose and obese curve of the hand which isnot justified by any similar detail or motive in the rest of thefigure. We notice a similar motiveless strain in the position ofNadir's left arm, though here something is perhaps added to theforce of the attitude. A standing figure receives the sanguinarycommand. The folded hands and the scimitar suspended in frontare full of the spirit of ready obedience and there is an expressionof pleasure, almost amusement which makes even this commonplaceface terrible, for the decree dooming thousands is takenas lightly as if it were order for nautch or banquet. The threemighty swords, by a masterly effect of balanced design, fill withdeath and menace the terrace on which the men are seated. Behindthese formidable figures is a part of the palace gracious with thesimple and magical lines of Indo-Saracenic architecture and inthe distance on the right from behind a mass of heavy impenetrablegreen a slender tapering tower rises into the peaceful quietof Delhi.On another page of the same review we have a picture byone of the greatest Masters of European Art, Raphael's visionof the Knight. The picture is full of that which Greece and Italyperfected as the aim of Art, beauty and such soul-expression asheightens physical beauty. It is beauty that is expressed in therobust body and the feminine face of the armed youth both fullof an exquisite languor of sleep, in the sweet face, the voluptuousfigure, the gracious pose of the temptress offering her delicateallurement of flowers, in the other's grave, strong and benigncountenance, the vigorous physique and open gesture ofpromise and aspiration extending a book and a fine slender sword,in the delicacy of the landscape behind and the tree under whichthe dreamer lies. There is suggestion but it is the suggestion ofmore and more beauty, there is harmony and relation but it isthe harmony and relation of loveliness of landscape as a backgroundto the loveliness of the nobly-grouped figures. There isan attempt to express spiritual meanings but it is by outwardsymbols only and not by making the outward expression a vehiclefor something that comes from within and overpowers impalpably.This is allegory, the other is the drawing and painting of
VIII. 3. Two Pictures425the very self of things. Only in the delicate spiritual face of theKnight is there some approach to the Eastern spirit. This is onekind of art and a great art, but is the other less? Beauty forbeauty's sake can never be the spirit of art in India, beauty wemust seek and always beauty, but never lose sight of the endwhich India holds more important, the realisation of the Self inthings. Europeans create out of the imagination. India has alwayssought to go deeper within and create out of the Powerbehind imagination, by passivity and plenary inspiration, in Yoga,from Samadhi.
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VOLUME 3SRI AUROBINDO BIRTH CENTENA
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Section OneTHE HARMONY OF VIRTUE189
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2 The Harmony of Virtuesomething di
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4 The Harmony of VirtueKeshav: And
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6 The Harmony of VirtueWilson: But
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8 The Harmony of Virtuephantasm spa
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10 The Harmony of Virtuemarriage an
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14 The Harmony of Virtuewho do not
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16 The Harmony of Virtuethird eleme
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18 The Harmony of VirtueWilson: The
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20 The Harmony of Virtueart was ris
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22 The Harmony of VirtueKeshav: And
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Book TwoKeshav Ganesh [Desai] — T
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26 The Harmony of VirtueKeshav: Why
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28 The Harmony of Virtuematerial co
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30 The Harmony of Virtuefrom savage
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32 The Harmony of Virtuehymns of pr
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34 The Harmony of Virtueto consider
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36 The Harmony of VirtueKeshav: Thi
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38 The Harmony of Virtuerose, a win
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40 The Harmony of Virtuedevelops th
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42 The Harmony of Virtueas a type i
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44 The Harmony of Virtueand indeed
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Book ThreeKeshav Ganesh [Desai] —
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48 The Harmony of Virtueand dangero
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50 The Harmony of VirtueKeshav: Bec
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52 The Harmony of Virtuethe elimina
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54 The Harmony of Virtueharmony of
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56 The Harmony of Virtuethe velvet
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58 The Harmony of VirtueWilson: Tha
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60 The Harmony of Virtueeyes, for i
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62 The Harmony of Virtuevirtuous bu
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64The Harmony of VirtueWe have expa
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66 The Harmony of Virtueretentive m
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68 The Harmony of Virtuewithout fea
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70The Harmony of Virtueducts for st
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72The Harmony of VirtueOne step bey
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ONEHis Youth and College LifeBankim
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II. 1. Bankim Chandra Chatterji77be
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II. 2. Bankim Chandra Chatterji79pa
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II. 2. Bankim Chandra Chatterji81ra
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THREEHis Official CareerTHUS equipp
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II. 3. Bankim Chandra Chatterji85Ma
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FOURHis VersatilityWHENEVER a liter
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II. 4. Bankim Chandra Chatterji89sa
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II. 5. Bankim Chandra Chatterji91Ba
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II. 5. Bankim Chandra Chatterji93fi
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SIXWhat He Did for BengalI HAVE kep
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II. 6. Bankim Chandra Chatterji97se
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SEVENOur Hope in the FutureBUT prof
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II. 7. Bankim Chandra Chatterji101o
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Section ThreeTHE SOURCES OF POETRYA
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106 The Harmony of Virtuegive us Sh
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108 The Harmony of Virtueinspiratio
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On Original ThinkingTHE attitude of
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112 The Harmony of Virtueenvironmen
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114The Harmony of Virtuethese imper
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116 The Harmony of Virtuethought-sy
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118 The Harmony of Virtuehas happen
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Social ReformREFORM is not an excel
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122 The Harmony of Virtuereformers.
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124The Harmony of Virtuestrength of
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126 The Harmony of Virtueutilitaria
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128 The Harmony of Virtueeducation
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Lecture in Baroda College*IN ADDRES
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132 The Harmony of Virtueand if you
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Section FourVALMIKI AND VYASA
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138The Harmony of Virtuebecause the
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NOTES ON THE MAHABHARATANotes on th
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IV. 2.Vyasa: Some Characteristics14
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The Problem of the MahabharataTHE P
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IV. 3. The Problem of the Mahabhara
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2THE problem of the Mahabharata, it
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IV. 4. Notes2017. The simile is str
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IV. 4. Notes203as a modern English
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IV. 4. Notes20523. Yateyureva — w
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Udyogaparva*LET the reciter bow dow
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IV. 4. Notes209what can you decide
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KalidasaONCE in the long history of
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V. 1. Kalidasa215Gujarat and Sindh
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The Age of KalidasaVALMIKI, Vyasa a
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V. 2. The Age of Kalidasa219existin
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V. 2. The Age of Kalidasa221orgiast
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V. 2. The Age of Kalidasa223intelle
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V. 2. The Age of Kalidasa225culture
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V. 2. The Age of Kalidasa227used es
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The Historical MethodOF Kalidasa, t
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V. 3. The Historical Method231phras
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V. 3. The Historical Method233deduc
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V. 3. The Historical Method235age w
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V. 4. On Translating Kalidasa237vol
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V. 4. On Translating Kalidasa239to
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V. 4. On Translating Kalidasa241But
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V. 4. On Translating Kalidasa243Are
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V. 4. On Translating Kalidasa245wor
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V. 4. On Translating Kalidasa247qui
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V. 4. On Translating Kalidasa249Ol.
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V. 5. Kalidasa's “Seasons”251a
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V. 5. Kalidasa's “Seasons”253co
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V. 5. Kalidasa's “Seasons”255po
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V. 5. Kalidasa's “Seasons”257a
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V. 5. Kalidasa's “Seasons”259
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Vikram and the Nymph“VIKRAM and t
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Kalidasa's CharactersI. PururavasPU
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V.. 7. Kalidasa's Characters265arti
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V.. 7. Kalidasa's Characters267self
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V.. 7. Kalidasa's Characters269he h
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V.. 7. Kalidasa's Characters271but
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V.. 7. Kalidasa's Characters273of t
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V.. 7. Kalidasa's Characters275of r
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V.. 7. Kalidasa's Characters277what
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V.. 7. Kalidasa's Characters279in a
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V.. 7. Kalidasa's Characters281by P
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V.. 7. Kalidasa's Characters283atti
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V.. 7. Kalidasa's Characters285Arth
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V.. 7. Kalidasa's Characters287emba
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V.. 7. Kalidasa's Characters289agai
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IV. ApsarasThere is nothing more ch
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V.. 7. Kalidasa's Characters293supr
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V.. 7. Kalidasa's Characters295sudd
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V.. 7. Kalidasa's Characters297sing
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V.. 7. Kalidasa's Characters299Hind
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V.. 7. Kalidasa's Characters301that
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V. 8. Hindu Drama303all must melt a
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V. 8. Hindu Drama305savage and half
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V. 8. Hindu Drama307enormous than t
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V. 9. Skeleton Notes on the Kumaras
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V. 10. A Proposed Work on Kalidasa3
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The Brain of IndiaTHE time has perh
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VI. 1. The Brain of India329inrush
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VI. 1. The Brain of India331the anc
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VI. 1. The Brain of India333we can
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VI. 1. The Brain of India335this re
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VI. 1. The Brain of India337teacher
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VI. 1. The Brain of India339common
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Section SevenFROM THE “KARMAYOGIN
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344 The Harmony of Virtuemost comma
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346The Harmony of Virtueof this dha
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348 The Harmony of Virtueciations w
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350 The Harmony of Virtuethey began
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The Greatness of the IndividualIN A
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354 The Harmony of Virtueteeth. In
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356The Harmony of Virtueforward ove
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358 The Harmony of Virtueof moral a
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360 The Harmony of Virtuevital poin
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The Stress of the Hidden SpiritTHE
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364 The Harmony of Virtueshapes it.
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The Strength of StillnessTHERE are
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368The Harmony of Virtuewhere activ
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370 The Harmony of Virtuesource and
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372 The Harmony of Virtueplaymates
Page 380 and 381: Man-Slave or Free?THE exclusive pur
Page 382 and 383: 376 The Harmony of Virtuecome to th
Page 384 and 385: 378The Harmony of Virtuefrom which
Page 386 and 387: 380 The Harmony of Virtueand Hindui
Page 388 and 389: 382The Harmony of Virtuein causalit
Page 390 and 391: 384 The Harmony of VirtueHe does no
Page 392 and 393: 386The Harmony of VirtueVedantist b
Page 394 and 395: 388 The Harmony of Virtuethe strong
Page 396 and 397: 390 The Harmony of Virtueact of fai
Page 398 and 399: 392The Harmony of VirtueYoga is the
Page 400 and 401: 394 The Harmony of Virtueand Mr. St
Page 402 and 403: 396 The Harmony of Virtueonly by su
Page 404 and 405: Stead and MaskelyneTHE vexed questi
Page 406 and 407: 400 The Harmony of Virtueand not at
Page 408 and 409: HathayogaTHE evolution of man has b
Page 410 and 411: 404 The Harmony of Virtuevisible in
Page 412 and 413: RajayogaMAN fulfilling himself in t
Page 414 and 415: 408 The Harmony of Virtuewill deal
Page 417: Section EightART AND LITERATURE
Page 420 and 421: 414 The Harmony of Virtueor upward
Page 422 and 423: 416The Harmony of VirtueThe Indian
Page 424 and 425: 418 The Harmony of Virtuetakes them
Page 426 and 427: 420The Harmony of VirtueWhether his
Page 428 and 429: 422 The Harmony of Virtuetion a sin
Page 432 and 433: Indian Art and an Old ClassicWE HAV
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Page 436 and 437: Suprabhat: A ReviewTHE paper Suprab
Page 438 and 439: 432 The Harmony of Virtuegiven are
Page 441: Section NinePASSING THOUGHTS
Page 444 and 445: 438 The Harmony of VirtueEuropean e
Page 446 and 447: Stray Thoughts and GlimpsesTRUE her
Page 448 and 449: 442 The Harmony of VirtueIIThe glor
Page 450 and 451: 444 The Harmony of VirtueIIIMankind
Page 452 and 453: Academic ThoughtsThe Object of Gove
Page 454 and 455: 448 The Harmony of Virtuetorture, h
Page 456 and 457: OneThings Seen in SymbolsWHAT is dh
Page 458 and 459: TwoThings Seen in SymbolsTHERE are
Page 460 and 461: OneEpistles from AbroadDearly belov
Page 462 and 463: 456 The Harmony of Virtuewe become.
Page 464 and 465: TwoEpistles from AbroadFriend and B
Page 466 and 467: 460The Harmony of Virtuecarry one's
Page 468 and 469: 462 The Harmony of Virtuethe tempor
Page 470 and 471: In the Society's ChambersProfessor:
Page 472 and 473: 466 The Harmony of VirtueWhoever in
Page 474 and 475: 468 The Harmony of VirtueAt the Soc
Page 476 and 477: 470 The Harmony of Virtueintimacy.
Page 478 and 479: 472The Harmony of Virtueyou can dro
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OneDinshah - PerizadeD INSHAHPeriza
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TwoTuriu — UriuT URIUGoddess Leda
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X. Conversations of the Dead479U RI
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X. Conversations of the Dead481M AZ
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FourShivaji-Jai SinghJ AI SINGHNeit
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X. Conversations of the Dead485S HI
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X. Conversations of the Dead487out
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BIBLIOGRAPHICAL NOTETHE HARMONY OF
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NOTES ON THE MAHABHARATAVyasa: Some
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C ONTENTSSECTION TENCONVERSATIONS O
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