Read Ebook: Appearances: Being Notes of Travel by Dickinson G Lowes Goldsworthy Lowes

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PART I

INDIA

PAGE

PART II

CHINA

JAPAN

PART IV

AMERICA

CONCLUDING ESSAY 218

PART I

INDIA

IN THE RED SEA

"But why do you do it?" said the Frenchman. From the saloon above came a sound of singing, and I recognised a well-known hymn. The sun was blazing on a foam-flecked sea; a range of islands lifted red rocks into the glare; the wind blew fresh; and, from above,

"Nothing in my hand I bring, Simply to Thy cross I cling."

Male voices were singing; voices whose owners, beyond a doubt, had no idea of clinging to anything. Female voices, too, of clingers, perhaps, but hardly to a cross. "Why do you do it?"--I began to explain. "For the same reason that we play deck-quoits and shuffle-board; for the same reason that we dress for dinner. It's the system." "The system?" "Yes. What I call Anglicanism. It's a form of idealism. It consists in doing the proper thing." "But why should the proper thing be done?" "That question ought not to be asked. Anglicanism is an idealistic creed. It is anti-utilitarian and anti-rational. It does not ask questions; it has faith. The proper thing is the proper thing, and because it is the proper thing it is done." "At least," he said, "you do not pretend that this is religion?" "No. It has nothing to do with religion. But neither is it, as you too simply suppose, hypocrisy. Hypocrisy implies that you know what religion is, and counterfeit it. But these people do not know, and they are not counterfeiting. When they go to church they are not thinking of religion. They are thinking of the social system. The officers and civilians singing up there first learned to sing in the village church. They walked to the church from the great house; the great house stood in its park; the park was enclosed by the estate; and the estate was surrounded by other estates. The service in the village church stood for all that. And the service in the saloon stands for it still. At bottom, what that hymn means is not that these men are Christians, but that they are carrying England to India, to Burma, to China." "It is a funny thing," the Frenchman mused, "to carry to 300 million Hindus and Mahometans, and 400 million Confucians, Buddhists, and devil-worshippers. What do they do with it when they get there?" "They plant it down in little oases all over the country, and live in it. It is the shell that protects them in those oceans of impropriety. And from that shell they govern the world." "But how can they govern what they can't even see?" "They govern all the better. If once they could see, they would be lost. Doubt would enter in. And it is the virtue of the Englishman that he never doubts. That is what the system does for him."

We had penetrated to the bows of the ship and hung looking over. Suddenly, just under the surf, there was an emerald gleam; another; then a leap and a dive; a leap and a dive again. A pair of porpoises were playing round the bows with the ease, the spontaneity, the beauty of perfect and happy life. As we watched them the same mood grew in us till it forced expression. And "Oh," I said, "the ship's a prison!" "No," said the Frenchman, "it's the system."

AJANTA

A dusty road running through an avenue across the great plateau of the Deccan; scanty crops of maize and cotton; here and there low hills, their reddish soil sparsely clothed with trees; to the north, a receding line of mountains; elsewhere infinite space and blazing light. Our "tonga," its pair of wheels and its white awning rolling and jolting behind two good horses, passes long lines of bullock-carts. Indians, walking beside them with their inimitable gait, make exquisite gestures of abjection to the clumsy white Sahibs huddled uncomfortably on the back seat. Their robes of vivid colour, always harmoniously blent, leave bare the slender brown legs and often the breast and back. Children stark naked ride on their mothers' hips or their fathers' shoulder. Now and again the oxen are unyoked at a dribble of water, and a party rests and eats in the shade. Otherwise it is one long march with bare feet over the burning soil.

We are approaching a market. The mud walls of a village appear. And outside, by a stream shrunk now into muddy pools, shimmers and wimmers a many-coloured crowd, buzzing among their waggons and awnings and improvised stalls. We ford the shallow stream, where women are washing clothes, cleaning their teeth, and drinking from the same water, and pass among the bags of corn, the sugar-cane, and sweetmeats, saluted gravely but unsolicited.

Then on again for hours, the road now solitary, till as day closes we reach Fardapur. A cluster of mud-walled compounds and beehive huts lies about a fortified enclosure, where the children sprawl and scream, and a Brahmin intones to silent auditors. Outside they are drawing water from the puddles of the stream. And gradually over the low hills and the stretches of yellow grass the after-glow spreads a transfiguring light. Out of a rosy flush the evening star begins to shine; the crickets cry; a fresh breeze blows; and another pitiless day drops into oblivion.

Next day, at dawn, we walk the four miles to the famous caves, guided by a boy who wears the Nizam's livery, and explains to us, in a language we do not know, but with perfect lucidity, that it is to him, and no one else, that backsheesh is due. He sings snatches of music as old and strange as the hills; picks us balls of cotton, and prickly pear; and once stops to point to the fresh tracks of a panther. We are in the winding gorge of a watercourse; and presently, at a turn, in a semicircle facing south, we see in the cliff the long line of caves. As we enter the first an intolerable odour meets us, and a flight of bats explains the cause. Gradually our eyes accustom themselves to the light, and we become conscious of a square hall, the flat roof resting on squat pillars elaborately carved, fragments of painting on the walls and ceiling, narrow slits opening into dark cells, and opposite the entrance, set back in a shrine, a colossal Buddha, the light falling full on the solemn face, the upturned feet, the expository hands. This is a monastery, and most of the caves are on the same plan; but one or two are long halls, presumably for worship, with barrel-vaulted roofs, and at the end a great solid globe on a pedestal.

But outside proceeds the great pageant of day and night, and the patient, beautiful people labour without hope, while universal nature, symbolised by Shiva's foot, presses heavily on their heads and forbids them the stature of man. Only the white man here, bustling, ungainly, aggressive, retains his freedom and acts rather than suffers. One understands at last the full meaning of the word "environment." Because of this sun, because of this soil, because of their vast numbers, these people are passive, religious, fatalistic. Because of our cold and rain in the north, our fresh springs and summers, we are men of action, of science, of no reflection. The seed is the same, but according to the soil it brings forth differently. Here the patience, the beauty, the abjection before the Devilish-Divine; there the defiance, the cult of the proud self. And these things have met. To what result?

ULSTER IN INDIA

"Are you a Home Ruler?" "Yes. Are you?" Instantly a torrent of protest. He was a Mahometan, eminent in law and politics; clever, fluent, forensic, with a passion for hearing himself talk, and addressing one always as if one were a public meeting. He approached his face close to mine, gradually backing me into the wall. And I realised the full meaning of Carlyle's dictum "to be a mere passive bucket to be pumped into can be agreeable to no human being."

It was not, naturally, the Irish question for its own sake that interested him. But he took it as a type of the Indian question. Here, too, he maintained, there is an Ulster, the Mahometan community. Here, too, there are Nationalists, the Hindus. Here, too, a "loyal" minority, protected by a beneficent and impartial Imperial Government. Here, too, a majority of "rebels" bent on throwing off that Government in order that they may oppress the minority. Here, too, an ideal of independence hypocritically masked under the phrase "self-government." "It is a law of political science that where there are two minorities they should stand together against the majority. The Hindus want to get rid of you, as they want to get rid of us. And for that reason alone, if there were not a thousand others"--there were, he hinted, but, rhetorically, he "passed them over in silence"--"for that reason alone I am loyal to the British raj." It had never occurred to me to doubt it. But I questioned, when I got a moment's breathing space, whether really the Hindu community deliberately nourished this dark conspiracy. He had no doubt, so far as the leaders were concerned; and he mistrusted the "moderates" more than the extremists, because they were cleverer. He "multiplied examples"--it was his phrase. The movement for primary education, for example. It had nothing to do with education. It was a plot to teach the masses Hindi, in order that they might be swept into the anti-British, anti-Mahometan current. As to minor matters, no Hindu had ever voted for a Mahometan, no Hindu barrister ever sent a client to a Mahometan colleague. Whereas in all these matters, one was led to infer, Mahometans were conciliation and tolerance itself. I knew that the speaker himself had secured the election of Mahometans to all the seats in the Council. But I refrained from referring to the matter. Then there was caste. A Hindu will not eat with a Mahometan, and this was taken as a personal insult. I suggested that the English were equally boycotted; but that we regarded the boycott as a religious obligation, not as a social stigma. But, like the Irish Ulstermen, he was not there to listen to argument. He rolled on like a river. None of us could escape. He detected the first signs of straying, and beckoned us back to the flock. "Mr. Audubon, this is important." "Mr. Coryat, you must listen to this." Coryat, at last, grew restive, and remarked rather tartly that no doubt there was friction between the two communities, but that the worst way to deal with it was by recrimination. He agreed; with tears in his eyes he agreed. There was nothing he had not done, no advance he had not made, to endeavour to bridge the gulf. All in vain! Never were such obstinate fellows as these Hindus. And he proceeded once more to "multiply examples." As we said "Good-bye" in the small hours of the morning he pressed into our hands copies of his speeches and addresses. And we left him perorating on the steps of the hotel.

What the Hindus have to say to all this I have not had an opportunity of learning. But they too, I conceive, can "multiply examples" for their side. To a philosophic observer two reflections suggest themselves. One, that representative government can only work when there is real give and take between the contending parties. The other, that to most men, and most nations, religion means nothing more than antagonism to some other religion. Witness Ulster in Ireland; and witness, equally, Ulster in India.

ANGLO-INDIA

From the gallery of the high hall we look down on the assembled society of the cantonment. The scene is commonplace enough; twaddle and tea, after tennis; "frivolling"--it is their word; women too empty-headed and men too tired to do anything else. This mill-round of work and exercise is maintained like a religion. The gymkhana represents the "compulsory games" of a public school. It is part of the "white man's burden." He plays, as he works, with a sense of responsibility. He is bored, but boredom is a duty, and there's nothing else to do.

The music stops and I rub my eyes. Yes, it is only the club, only tea and twaddle! Or am I wrong? There is more in these men and women than appears. They stand for the West, for the energy of the world, for all, in this vast Nature, that is determinate and purposive, not passively repetitionary. And if they do not know it, if they never hear the strain that transposes them and their work into a tragic dream, if tennis is tennis to them, and a valse a valse, and an Indian a native, none the less they are what a poet would see them to be, an oasis in the desert, a liner on the ocean, ministers of the life within life that is the hope, the inspiration, and the meaning of the world. In my heart of hearts I apologise as I prolong the banalities of parting, and almost vow never again to abuse Gounod's music.

A MYSTERY PLAY

A few lamps set on the floor lit up the white roof. On either side the great hall was open to the night; and now and again a bird flew across, or a silent figure flitted from dark to dark. On a low platform sat the dancers, gorgeously robed. All were boys. The leader, a peacock-fan flashing in his head-dress, personated Krishna. Beside him sat Rhada, his wife. The rest were the milkmaids of the legend. They sat like statues, and none of them moved at our entry. But the musicians, who were seated on the ground, rose and salaamed, and instantly began to play. There were five instruments--a miniature harmonium , two viols, of flat, unresonant tone, a pair of cymbals, and a small drum. The ear, at first, detected little but discordant chaos, but by degrees a form became apparent--short phrases, of strong rhythm, in a different scale from ours, repeated again and again, and strung on a thread of loose improvisation. Every now and again the musicians burst into song. Their voices were harsh and nasal, but their art was complicated and subtle. Clearly, this was not barbarous music, it was only strange, and its interest increased, as the ear became accustomed to it. Suddenly, as though they could resist no longer, the dancers, who had not moved, leapt from the platform and began their dance. It was symbolical; Krishna was its centre, and the rest were wooing him. Desire and its frustration and fulfilment were the theme. Yet it was not sensual, or not merely so. The Hindus interpret in a religious spirit this legendary sport of Krishna with the milkmaids. It symbolises the soul's wooing of God. And so these boys interpreted it. Their passion, though it included the flesh, was not of the flesh. The mood was rapturous, but not abandoned; ecstatic, but not orgiastic. There were moments of a hushed suspense when hardly a muscle moved; only the arms undulated and the feet and hands vibrated. Then a break into swift whirling, on the toes or on the knees, into leaping and stamping, swift flight and pursuit. A pause again; a slow march; a rush with twinkling feet; and always, on those young faces, even in the moment of most excitement, a look of solemn rapture, as though they were carried out of themselves into the divine. I have seen dancing more accomplished, more elaborate, more astonishing than this. But never any that seemed to me to fulfil so well the finest purposes of the art. The Russian ballet, in the retrospect, seems trivial by comparison. It was secular; but this was religious. For the first time I seemed to catch a glimpse of what the tragic dance of the Greeks might have been like. The rhythms were not unlike those of Greek choruses, the motions corresponded strictly to the rhythms, and all was attuned to a high religious mood. In such dancing the flesh becomes spirit, the body a transparent emblem of the soul.

After that the play, I confess, was a drop into bathos. We descended to speech, even to tedious burlesque. But the analogy was all the closer to mediaeval mysteries. In ages of Faith religion is not only sublime; it is intimate, humorous, domestic; it sits at the hearth and plays in the nursery. So it is in India where the age of Faith has never ceased. What was represented that night was an episode in the story of Krishna. The characters were the infant god, his mother, Jasodha, and an ancient Brahmin who has come from her own country to congratulate her on the birth of a child. He is a comic character--the sagging belly and the painted face of the pantomime. He answers Jasodha's inquiries after friends and relations at home. She offers him food. He professes to have no appetite, but, on being pressed, demands portentous measures of rice and flour. While she collects the material for his meal, he goes to bathe in the Jumna; and the whole ritual of his ablutions is elaborately travestied, even a crocodile being introduced in the person of one of the musicians, who rudely pulls him by the leg as he is rolling in imaginary water. His bathing finished, he retires and cooks his food. When it is ready he falls into prayer. But during his abstraction the infant Krishna crawls up and begins devouring the food. Returning to himself, the Brahmin, in a rage, runs off into the darkness of the hall. Jasodha pursues him and brings him back. And he begins once more to cook his food. This episode was repeated three times in all its detail, and I confess I found it insufferably tedious. The third time Jasodha scolds the child and asks him why he does it. He replies--and here comes the pretty point of the play--that the Brahmin, in praying to God and offering him the food, unwittingly is praying to him and offering to him, and in eating the food he has but accepted the offering. The mother does not understand, but the Brahmin does, and prostrates himself before his Lord.

This is crude enough art, but at any rate it is genuine. Like all primitive art, it is a representation of what is traditionally believed and popularly felt. The story is familiar to the audience and intimate to their lives. It represents details which they witness every day, and at the same time it has religious significance. Out of it might grow a great drama, as once in ancient Greece. And perhaps from no other origin can such a drama arise.

AN INDIAN SAINT

It was at Benares that we met him. He led us through the maze of the bazaars, his purple robe guiding us like a star, and brought us out by the mosque of Aurungzebe. Thence a long flight of stairs plunged sheer to the Ganges, shining below in the afternoon sun. We descended; but, turning aside before we reached the shore, came to a tiny house perched on a terrace above the ghat. We took off our shoes in the anteroom and passed through a second chamber, with its riverside open to the air, and reached a tiny apartment, where he motioned us to a divan. We squatted and looked round. Some empty bottles were the only furniture. But on the wall hung the picture we had come to see. It was a symbolic tree, and perhaps as much like a tree as what it symbolised was like the universe. Embedded in its trunk and branches were coloured circles and signs, and from them grew leaves and flowers of various hues. Below was a garden lit by a rising sun, and a black river where birds and beasts pursued and devoured one another. At our request he took a pointer and began to explain. I am not sure that I well understood or well remember, but something of this kind was the gist of it. In the beginning was Parabrahma, existing in himself, a white circle at the root of the tree. Whence sprang, following the line of the trunk, the egg of the universe, pregnant with all potentialities. Thence came the energy of Brahma; and of this there were three aspects, the Good, the Evil, and the Neuter, symbolised by three triangles in a circle. Thence the trunk continued, but also thence emerged a branch to the right and one to the left. The branch to the right was Illusion and ended in God; the branch to the left was Ignorance and ended in the Soul. Thus the Soul contemplates Illusion under the form of her gods. Up the line of the trunk came next the Energy of Nature; then Pride; then Egotism and Individuality; whence branched to one side Mind, to the other the senses and the passions. Then followed the elements, fire, air, water, and earth; then the vegetable creation; then corn; and then, at the summit of the tree, the primitive Man and Woman, type of Humanity. The garden below was Eden, until the sun rose; but with light came discord and conflict, symbolised by the river and the beasts. Evil and conflict belong to the nature of the created world; and the purpose of religion is by contemplation to enable the Soul to break its bodies, and the whole creation to return again to Parabrahma, whence it sprung.

Why did it spring? He did not know. For good or for evil? He could not say. What he knew he knew, and what he did not know he did not. "Some say there is no God and no Soul." He smiled. "Let them!" His certainty was complete. "Can the souls of men be reincarnated as animals?" He shrugged his shoulders. "Who can say?" I tried to put in a plea for the life of action, but he was adamant; contemplation and contemplation alone can deliver us. "Our good men," I said, "desire to make the world better, rather than to save their own souls." "Our sages," he replied, "are sorry for the world, but they know they cannot help it." His religion, I urged, denied all sense to the process of history. "There may be process in matter," he replied, "but there is none in God." I protested that I loved individual souls, and did not want them absorbed in Parabrahma. He laughed his good cheery laugh, out of his black beard, but it was clear that he held me to be a child, imprisoned in the Ego. I felt like that, and I hugged my Ego; so presently he ministered to it with sweetmeats. He even ate with us, and smoked a cigarette. He was the most human of men; so human that I thought his religion could not be as inhuman as it sounded. But it was the religion of the East, not of the West. It refused all significance to the temporal world; it took no account of society and its needs; it sought to destroy, not to develop, the sense and the power of Individuality. It did not say, but it implied, that creation was a mistake; and if it did not profess pessimism, pessimism was its logical outcome. I do not know whether it is the religion of a wise race; but I am sure it could never be that of a strong one.

But I loved the saint, and felt that he was a brother. Next morning, as we drifted past the long line of ghats, watching the bright figures on the terraces and stairs, the brown bodies in the water, and the Brahmins squatting on the shore, we saw him among the bathers, and he called to us cheerily. We waved our hands and passed on, never to see him again. East had not met West, but at least they had shaken hands across the gulf. The gulf, however, was profound; for many and many incarnations will be needed before one soul at least can come even to wish to annihilate itself in the Universal.

A VILLAGE IN BENGAL

Are these people idolaters, these dignified old men, these serious youths, these earnest, grave musicians? Look at their temple, and you say "Yes." Listen to their hymns, and you say "No." Reformers want to educate them, and, perhaps, they are right. But if education is to mean the substitution of the gramophone and music-hall songs for this traditional art, these native hymns? I went to bed pondering, and was awakened at six by another chorus telling us it was time to get up. We did so, and visited the school, set up by my friend as an experiment; a mud floor, mud-lined walls, all scrupulously clean; and squatting round the four sides children of all ages, all reciting their lessons at once, and all the lessons different. They were learning to read and write their native language, and that, at least, seemed harmless enough. But parents complained that it unfitted them for the fields. "Our fathers did not do it"--that, said my impatient young host, is their reply to every attempt at reform. In his library were all the works of Nietzsche, Tolstoy, Wells, and Shaw, as well as all the technical journals of scientific agriculture. He lectured them on the chemical constituents of milk and the crossing of sugar-canes. They embraced his feet, sang their hymns, and did as their fathers had done. He has a hard task before him, but one far better worth attempting than the legal and political activities in which most young Zemindars indulge. And, as he said, here you see the fields and hear the birds, and here you can bathe in the Ganges. We did; and then breakfasted; and then set out in palanquins for the nearest railway station. The bearers sang a rhythmic chant as they bore us smoothly along through mustard and pulses, yellow and orange and mauve. The sun blazed hot; the bronzed figures streamed with sweat; the cheerful voices never failed or flagged. I dozed and drowsed, while East and West in my mind wove a web whose pattern I cannot trace. But a pattern there is. And some day historians will be able to find it.

SRI RAMAKRISHNA

As we dropped down the Hooghly they pointed to a temple on the shore as lately the home of Sri Ramakrishna. He was only a name to me, and I did not pay much attention, though I had his "Gospel" actually under my arm. I was preoccupied with the sunset, burning behind a veil of smoke; and presently, as we landed, with the great floating haystacks smouldering at the wharf in the red afterglow. As we waited for the tram, someone said, "Would you like to see Kali?" and we stepped aside to the little shrine. Within it was the hideous idol, black and many-armed, decked with tinsel and fed with the blood of goats; and there swept over me a wave of the repulsion I had felt from the first for the Hindu religion, its symbols, its cult, its architecture, even its philosophy. Seated in the tram, it was with an effort that I opened the "Gospel" of Sri Ramakrishna. But at once my attention was arrested. This was an account by a disciple of the life and sayings of his master. And presently I read the following:

"The disciple cannot follow this. He goes on: But is it not one's duty, sir, to make it clear to those who worship images that God is not the same as the clay form they worship, and that in worshipping they should keep God Himself in view and not the clay images?

As I read this, I remembered the answer invariably given to me when I asked about Hindu idolatry. The people, I was told, even the humblest and most ignorant, worshipped not the idol but what it symbolised. Actually, this hideous Kali stood to them for the Divine Mother. And I was told of an old woman, racked with rheumatism, who had determined at last to seek relief from the goddess. She returned with radiant face. She had seen the Mother! And she had no more rheumatism. In this popular religion, it would seem, the old cosmic elements have dropped out, and the human only persist. So that even the terrifying form of Shiva, the Destroyer, stands only for the divine husband of Parvati, the divine wife. Hinduism, I admitted, is not as inhuman and superstitious as it looks. But I admitted it reluctantly and with many reserves, remembering all I had seen and heard of obscene rites and sculptures, of the perpetual repetition of the names of God, of parasitic Brahmins and self-torturing ascetics.

What manner of man, then, was this Sri Ramakrishna? I turned the pages and read:

"The disciples were walking about the garden. M. walked by himself at the cluster of five trees. It is about five in the afternoon. Coming back to the verandah, north of the Master's chamber, M. comes upon a strange sight. The Master is standing still. Narendra is singing a hymn. He and three or four other disciples are standing with the Master in their midst. M. is charmed with their song. Never in his life has he heard a sweeter voice. Looking at the Master, M. marvels and becomes speechless. The Master stands motionless. His eyes are fixed. It is hard to say whether he is breathing or not. This state of ecstasy, says a disciple in low tones, is called Samadhi. M. has never seen or heard of anything like this. He thinks to himself, 'Is it possible that the thought of God can make a man forget the world? How great must be his faith and love for God who is thrown into such a state!'"

"Yes," I said, "that is the Hindu ideal--ecstatic contemplation." Something in me leapt to approve it; but the stronger pull was to Hellenism and the West. "Go your way, Ramakrishna," I said, "but your way is not mine. For me and my kind action not meditation; the temporal not the eternal; the human not the ultra-divine; Socrates not Ramakrishna!" But hardly had I said the words when I read on:

"M. enters. Looking at him the Master laughs and laughs. He cries out, 'Why, look! There he is again!' The boys all join in the merriment. M. takes his seat, and the Master tells Narendra and the other disciples what has made him laugh. He says:

"'Once upon a time a small quantity of opium was given to a certain peacock at four o'clock in the afternoon. Well, punctually at four the next afternoon who should come in but the selfsame peacock, longing for a repetition of the favour--another dose of opium!'--

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