Читать книгу All Life Is Yoga: Art - Sri Aurobindo - Страница 26

Music too is an essentially spiritual art and has always been associated with religious feeling and an inner life. But, here too, we have turned it into something independent and self-sufficient, a mushroom art, such as is operatic music. Most of the artistic productions we come across are of this kind and at best interesting from the point of view of technique. I do not say that even operatic music cannot be used as a medium of a higher art expression; for whatever the form, it can be made to serve a deeper purpose. All depends on the thing itself, on how it is used, on what is behind it. There is nothing that cannot be used for the Divine purpose – just as anything can pretend to be the Divine and yet be of the mushroom species.

Among the great modern musicians there have been several whose consciousness, when they created, came into touch with a higher consciousness. César Franck played on the organ as one inspired; he had an opening into the psychic life and he was conscious of it and to a great extent expressed it. Beethoven, when he composed the Ninth Symphony, had the vision of an opening into a higher world and of the descent of a higher world into this earthly plane. Wagner had strong and powerful intimations of the occult world; he had the instinct of occultism and the sense of the occult and through it he received his greatest inspirations. But he worked mainly on the vital level and his mind came in constantly to interfere and mechanised his inspiration. His work for the greater part is too mixed, too often obscure and heavy, although powerful. But when he could cross the vital and the mental levels and reach a higher world, some of the glimpses he had were of an exceptional beauty, as in Parsifal, in some parts of Tristan and Iseult and most in its last great Act.

Look again at what the moderns have made of the dance; compare it with what the dance once was. The dance was once one of the highest expressions of the inner life; it was associated with religion and it was an important limb in sacred ceremony, in the celebration of festivals, in the adoration of the Divine. In some countries it reached a very high degree of beauty and an extraordinary perfection. In Japan they kept up the tradition of the dance as a part of the religious life and, because the strict sense of beauty and art is a natural possession of the Japanese, they did not allow it to degenerate into something of lesser significance and smaller purpose. It was the same in India. It is true that in our days there have been attempts to resuscitate the ancient Greek and other dances; but the religious sense is missing in all such resurrections and they look more like rhythmic gymnastics than dance.

Today Russian dances are famous, but they are expressions of the vital world and there is even something terribly vital in them. Like all that comes to us from that world, they may be very attractive or very repulsive, but always they stand for themselves and not for the expression of the higher life. The very mysticism of the Russians is of a vital order. As technicians of the dance they are marvellous; but technique is only an instrument. If your instrument is good, so much the better, but so long as it is not surrendered to the Divine, however fine it may be, it is empty of the highest and cannot serve a divine purpose. The difficulty is that most of those who become artists believe that they stand on their own legs and have no need to turn to the Divine. It is a great pity; for in the divine manifestation skill is as useful an element as anything else. Skill is one part of the divine fabric, only it must know how to subordinate itself to greater things.

There is a domain far above the mind which we could call the world of Harmony and, if you can reach there, you will find the root of all harmony that has been manifested in whatever form upon earth. For instance, there is a certain line of music, consisting of a few supreme notes, that was behind the productions of two artists who came one after another – one a concerto of Bach, another a concerto of Beethoven. The two are not alike on paper and differ to the outward ear, but in their essence they are the same. One and the same vibration of consciousness, one wave of significant harmony touched both these artists. Beethoven caught a larger part, but in him it was more mixed with the inventions and interpolations of his mind; Bach received less, but what he seized of it was purer. The vibration was that of the victorious emergence of consciousness, consciousness tearing itself out of the womb of unconsciousness in a triumphant uprising and birth.

If by Yoga you are capable of reaching this source of all art, then you are master, if you will, of all the arts. Those that may have gone there before, found it perhaps happier, more pleasant or full of a rapturous ease to remain and enjoy the Beauty and the Delight that are there, not manifesting it, not embodying it upon earth. But this abstention is not all the truth nor the true truth of Yoga; it is rather a deformation, a diminution of the dynamic freedom of Yoga by the more negative spirit of Sannyasa. The will of the Divine is to manifest, not to remain altogether withdrawn in inactivity and an absolute silence; if the Divine Consciousness were really an inaction of unmanifesting bliss, there would never have been any creation.

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“There is a state of consciousness in union with the Divine in which you can enjoy all you read, as you can all you observe, even the most indifferent books or the most uninteresting things. You can hear poor music, even music from which one would like to run away, and yet you can, not for its outward self but because of what is behind, enjoy it. You do not lose the distinction between good music and bad music, but you pass through either into that which it expresses. For there is nothing in the world which has not its ultimate truth and support in the Divine.” – Questions and Answers 1929 – 1931 (28 April 1929)

What is there “behind” the external form of music?

Music is a means of expressing certain thoughts, feelings, emotions, aspirations. There is even a region where all these movements exist and from there, as they are brought down, they take a musical form. One who is a very good composer, with some inspiration, will produce very beautiful music, for he is a good musician. A bad musician may also have a very high inspiration; he may receive something which is good, but as he possesses no musical capacity, what he produces is terribly commonplace, ordinary, uninteresting. But if you go beyond, if you reach just the place where there is this origin of music – of the idea and emotion and inspiration – if you reach there, you can taste these things without being in the least troubled by the forms; the commonplace musical form can be linked up again with that, because that was the inspiration of the writer of the music. Naturally, there are cases where there is no inspiration, where the origin is merely a kind of mechanical music. It is not always interesting in every case. But what I mean is that there is an inner condition in which the external form is not the most important thing; it is the origin of the music, the inspiration from beyond, which is important; it is not purely the sounds, it is what the sounds express.

So the expression cannot be better than the inspiration?

There are musical pieces which have no inspiration, they are like mechanical works. There are musicians who possess a great virtuosity, that is, who have thoroughly mastered the technique and who, for example, can execute without making a mistake the fastest and most difficult things. They can play music but it expresses nothing: it is like a machine. It means nothing, except that they have great skill. For what is most important is the inspiration, in everything that one does; in all human creations the most important thing is inspiration. Naturally, the execution must be on the same level as the inspiration; to be able to express truly well the highest things one must have a very good technique. I do not say that technique is not necessary; it is even indispensable, but it is not the only indispensable thing, it is less important than inspiration.

The essential quality of music depends upon where the music comes from, upon its origin.

What does “its origin” mean?

Its starting point. Just as the spring is the source of the river.

Are there many sources for everything?

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