A Passage to India, E. M. Forster [book series for 10 year olds TXT] 📗

harmony between the works of man and the earth that upholds them, the civilization that has escaped muddle, the spirit in a reasonable form, with flesh and blood subsisting. Writing picture postcards to his Indian friends, he felt that all of them would miss the joys he experienced now, the joys of form, and that this constituted a serious barrier. They would see the sumptuousness of Venice, not its shape, and though Venice was not Europe, it was part of the Mediterranean harmony. The Mediterranean is the human norm. When men leave that exquisite lake, whether through the Bosphorus or the Pillars of Hercules, they approach the monstrous and extraordinary; and the southern exit leads to the strangest experience of all. Turning his back on it yet again, he took the train northward, and tender romantic fancies that he thought were dead forever, flowered when he saw the buttercups and daisies of June. Part III Temple XXXIII

Some hundreds of miles westward of the Marabar Hills, and two years later in time, Professor Narayan Godbole stands in the presence of God. God is not born yet⁠—that will occur at midnight⁠—but He has also been born centuries ago, nor can He ever be born, because He is the Lord of the Universe, who transcends human processes. He is, was not, is not, was. He and Professor Godbole stood at opposite ends of the same strip of carpet.

“Tukaram, Tukaram,
Thou art my father and mother and everybody.
Tukaram, Tukaram,
Thou art my father and mother and everybody.
Tukaram, Tukaram,
Thou art my father and mother and everybody.
Tukaram, Tukaram,
Thou art my father and mother and everybody.
Tukaram.⁠ ⁠…”

This corridor in the palace at Mau opened through other corridors into a courtyard. It was of beautiful hard white stucco, but its pillars and vaulting could scarcely be seen behind coloured rags, iridescent balls, chandeliers of opaque pink glass, and murky photographs framed crookedly. At the end was the small but famous shrine of the dynastic cult, and the God to be born was largely a silver image the size of a teaspoon. Hindus sat on either side of the carpet where they could find room, or overflowed into the adjoining corridors and the courtyard⁠—Hindus, Hindus only, mild-featured men, mostly villagers, for whom anything outside their villages passed in a dream. They were the toiling ryot, whom some call the real India. Mixed with them sat a few tradesmen out of the little town, officials, courtiers, scions of the ruling house. Schoolboys kept inefficient order. The assembly was in a tender, happy state unknown to an English crowd, it seethed like a beneficent potion. When the villagers broke cordon for a glimpse of the silver image, a most beautiful and radiant expression came into their faces, a beauty in which there was nothing personal, for it caused them all to resemble one another during the moment of its indwelling, and only when it was withdrawn did they revert to individual clods. And so with the music. Music there was, but from so many sources that the sum-total was untrammelled. The braying banging crooning melted into a single mass which trailed round the palace before joining the thunder. Rain fell at intervals throughout the night.

It was the turn of Professor Godbole’s choir. As Minister of Education, he gained this special honour. When the previous group of singers dispersed into the crowd, he pressed forward from the back, already in full voice, that the chain of sacred sounds might be uninterrupted. He was barefoot and in white, he wore a pale blue turban; his gold pince-nez had caught in a jasmine garland, and lay sideways down his nose. He and the six colleagues who supported him clashed their cymbals, hit small drums, droned upon a portable harmonium, and sang:

“Tukaram, Tukaram,
Thou art my father and mother and everybody.
Tukaram, Tukaram,
Thou art my father and mother and everybody.
Tukaram, Tukaram.⁠ ⁠…”

They sang not even to the God who confronted them, but to a saint; they did not one thing which the non-Hindu would feel dramatically correct; this approaching triumph of India was a muddle (as we call it), a frustration of reason and form. Where was the God Himself, in whose honour the congregation had gathered? Indistinguishable in the jumble of His own altar, huddled out of sight amid images of inferior descent, smothered under rose-leaves, overhung by oleographs, outblazed by golden tablets representing the Rajah’s ancestors, and entirely obscured, when the wind blew, by the tattered foliage of a banana. Hundreds of electric lights had been lit in His honour (worked by an engine whose thumps destroyed the rhythm of the hymn). Yet His face could not be seen. Hundreds of His silver dishes were piled around Him with the minimum of effect. The inscriptions which the poets of the State had composed were hung where they could not be read, or had twitched their drawing-pins out of the stucco, and one of them (composed in English to indicate His universality) consisted, by an unfortunate slip of the draughtsman, of the words, “God si Love.”

God si Love. Is this the first message of India?

“Tukaram, Tukaram⁠ ⁠… ,”

continued the choir, reinforced by a squabble behind the purdah curtain, where two mothers tried to push their children at the same moment to the front. A little girl’s leg shot out like an eel. In the courtyard, drenched by the rain, the small Europeanized band stumbled off into a waltz. “Nights of Gladness” they were playing. The singers were not perturbed by this rival, they lived beyond competition. It was long before the tiny fragment of Professor Godbole that attended to outside things decided that his pince-nez was in trouble, and that until it was adjusted he could not choose a new hymn. He laid down one cymbal, with the other he clashed the air, with his free hand he fumbled at the flowers round his neck. A colleague assisted him. Singing into one another’s grey moustaches, they disentangled the chain from