________________
World of Thought
87
but will never be able to deny the pleasures to himself, creating thus an internal contradiction in his life and living like a smooth, self-deceiving hypocrite. Th: philosophy of phased life is, therefore, in the interest of the common man, the largest section of humanity. And for a creative artist it is the only philosophy that will work.
But once this attitude is accepted, with reasoning and logic and with the consciousness of the failings and weaknesses of man, one's eyes will be opened on the beauty and joy that lurk in the ordinary routine of life, the order and seasonal changes in nature, the small and neglected things; in fact, one would find 'tongues in trees, books in the running brooks, sermons in stones, and good in everything.' 79 According to philosophy the bliss of salvation, the joys of heavenly existence lie beyond this mortal life. But on the platform of art the joys and heaven are to be found on this very earth. Kālidāsa describes Duşyanta returning to the earth from the heavenly world. He stops on the Hemaküța mountain, the residence of the sage Mārica who is the parent of the gods. The place is just above the earth, many aerial regions below the world or heaven. It is significant that Mārica chos: this place near the earth for his residence. Seeing the hermitage of Mārica Duşyanta remarks, 'This place is more blissful than the heavens. I feel that I have been in mersed in a pool of nectar !' 08 Duşyanta's feeling is really significant because he hus visited and lived in heaven. But Mātali's remark will probably carry greater weight. Matali is Indra's charioteer and a denizen of the heavenly world. As he brings the divine chariot down through various aerial regions to the earth he spots the earth; and he exclaims with sheer joy, 'Oh, how gorgeous and beautiful is the earth !' " Kālidāsa shows us through the eyes of a heavenly being the beauty of our earth. This place of the mortals is as beautiful as heaven, nay, more beautiful than heaven, Art must bring such an experience to us.
NOTES
1 See section II, 'Date : Probable period of life and literary activity.' 2. Sāradarañjan Ray : Introduction to his edition of Abhijñānasakuntalam. 3. Raghuvansa XV 42-53. 4. Uttara-rama-carita, act II, See verses 8, 10-11. 3. cf., for instance, Visvanātha, Sahityadar paņa, I. 2. 6. Kavyaprakāša, I. 2. roci... 99:9faz'
a ffardwaangazi 7. cf. Raghuvamsa, I. 65-81. 8. cf. Raghuvansa I. 44, IX. 20. Malavikāgnimitra, act V, dialogue between vv. 14 and 16, and
the personal letter sent by Puşyamitra. 9. Sakuntala, VI. 1. 10. cf. Kumārasambhava, I. 3-15; III. 45-50; V. 65-81. 11. cf. Raghuvamsa, X, 7-36. 12. cf. The nandi verses. 13. Meghaduta, vv. 37, 39,
Jain Education International
For Private & Personal Use Only
www.jainelibrary.org
