Author: Aldous Huxley
Category: Literature
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“Why not? They wouldn’t have to give up any of the things that are really important to them. The non-Christian could go on thinking about man and the Christians could go on worshipping God. No change, except that God would have to be thought of as immanent and man would have to be thought of as potentially self-transcendent.”
“And you think they’d make those changes without any fuss?” Will laughed. “You’re an optimist.”
“An optimist,” said Mrs Narayan, “for the simple reason that, if one tackles a problem intelligently and realistically, the results are apt to be fairly good. This island justifies a certain optimism. And now let’s go and have a look at the dancing class.”
They crossed a tree-shaded courtyard and, pushing through a swing door, passed out of silence into the rhythmic beat of a drum and the screech of fifes repeating over and over again a short pentatonic tune that to Will’s ears sounded vaguely Scotch.
“Live music or canned?” he asked.
“Japanese tape,” Mrs Narayan answered laconically. She opened a second door that gave access to a large gymnasium where two bearded young men and an amazingly agile little old lady in black satin slacks were teaching some twenty or thirty little boys and girls the steps of a lively dance.
“What’s this?” Will asked. “Fun or education?”
“Both,” said the Principal. “And it’s also applied ethics. Like those breathing exercises we were talking about just now — only more effective because so much more violent.”
“So stamp it out,” the children were chanting in unison. And they stamped their small sandalled feet with all their might. “So stamp it out!” A final furious stamp and they were off again, jigging and turning, into another movement of the dance.
“This is called the Rakshasi Hornpipe,” said Mrs Narayan.
“Rakshasi?” Will questioned. “What’s that?”
“A Rakshasi is a species of demon. Very large, and exceedingly unpleasant. All the ugliest passions personified. The Rakshasi Hornpipe is a device for letting off those dangerous heads of steam raised by anger and frustration.”
“So stamp it out!” The music had come round again to the choral refrain. “So stamp it out!”
“Stamp again,” cried the little old lady setting a furious example. “Harder! Harder!”
“Which did more,” Will speculated, “for morality and rational behaviour — the Bacchic orgies or the Republic? the Nicomachean Ethics or corybantic dancing?”
“The Greeks,” said Mrs Narayan, “were much too sensible to think in terms of either-or. For them, it was always not-only-but-also. Not only Plato and Aristotle, but also the maenads. Without those tension-reducing hornpipes, the moral philosophy would have been impotent, and without the moral philosophy the horn-pipers wouldn’t have known where to go next. All we’ve done is to take a leaf out of the old Greek book.”
“Very good!” said Will approvingly. Then remembering (as sooner or later, however keen his pleasure and however genuine his enthusiasm, he always did remember) that he was the man who wouldn’t take yes for an answer, he suddenly broke into laughter. “Not that it makes any difference in the long run,” he said, “Corybantism couldn’t stop the Greeks from cutting one another’s throats. And when Colonel Dipa decides to move, what will your Rakshasi Hornpipes do for you? Help you to reconcile yourselves to your fate, perhaps — that’s all.”
“Yes, that’s all,” said Mrs Narayan. “But being reconciled to one’s fate — that’s already a great achievement.”
“You seem to take it all very calmly.”
“What would be the point of taking it hysterically? It wouldn’t make our political situation any better; it would merely make our personal situation a good deal worse.”
“So stamp it out,” the children shouted again in unison, and the boards trembled under their pounding feet. “So stamp it out.”
“Don’t imagine,” Mrs Narayan resumed, “that this is the only kind of dancing we teach. Redirecting the power generated by bad feelings is important. But equally important is directing good feelings and right knowledge into expression. Expressive movements, in this case, expressive gesture. If you had come yesterday, when our visiting master was here, I could have shown you how we teach that kind of dancing. Not today unfortunately. He won’t be here again before Tuesday.”
“What sort of dancing does he teach?”
Mrs Narayan tried to describe it. No leaps, no high kicks, no running. The feet always firmly on the ground. Just bendings and sideways motions of the knees and hips. All expression confined to the arms, wrists and hands, to the neck and head, the face and, above all the eyes. Movement from the shoulders upwards and outwards — movement intrinsically beautiful and at the same time charged with symbolic meaning. Thought taking shape in ritual and stylized gesture. The whole body transformed into a hieroglyph, a succession of hieroglyphs, of attitudes modulating from significance to significance like a poem or a piece of music. Movements of the muscles representing movements of Consciousness, the passage of Suchness into the many, of the many into the immanent and ever-present One.
“It’s meditation in action,” she concluded. “It’s the metaphysics of the Mahayana expressed, not in words, but through symbolic movements and gestures.”
They left the gymnasium by a different door from that through which they had entered and turned left along a short corridor.
“What’s the next item?” Will asked.
“The Lower Fourth,” Mrs Narayan answered, “and they’re working on Elementary Practical Psychology.”
She opened a green door.
“Well, now you know,” Will heard a familiar voice saying. “Nobody has to feel pain. You told yourselves that the pin wouldn’t hurt — and it didn’t hurt.”
They stepped into the room and there, very tall in the midst of a score of plump or skinny little brown bodies, was Susila MacPhail. She smiled at them, pointed to a couple of chairs in a corner of the room and turned back to the children. “Nobody has to feel pain,” she repeated. “But never forget: pain always means that something is wrong. You’ve learned to shut pain off, but don’t do it thoughtlessly, don’t do it without asking yourselves the question: What’s the reason for this pain? And if it’s bad, or if there’s no obvious reason for it, tell your mother about it, or your teacher, or any grown-up in your Mutual Adoption Club. Then shut off the pain. Shut it off knowing that, if anything needs to be done, it will be done. Do you understand? And now,” she went on, after all the questions had been asked and answered. “Now let’s play some pretending games. Shut your eyes and pretend you’re looking at that poor old mynah bird with one leg that comes to school every day to be fed. Can you see him?”
Of course they could see him. The one-legged mynah was evidently an old friend.
“See him just as clearly as you saw him today at lunch time. And don’t stare at him, don’t make any effort. Just see what comes to you, and let your eyes shift — from his beak to his tail, from his bright little round eye to his one orange leg.”
“I can hear him too,” a little girl volunteered. “He’s saying ‘Karuna, Karuna!’”
“That’s not true,” another child said indignantly. “He’s saying ‘Attention!’”
“He’s saying both those things,” Susila assured them. “And probably a lot of other words besides. But now we’re going to do some real pretending. Pretend that there are two one-legged mynah birds. Three one-legged mynah birds. Four one-legged mynah birds. Can you see all four of them?”
They could.
“Four one-legged mynah birds at the four corners of a square, and a fifth one in the middle. And now let’s make them change their colour. They’re white now. Five white mynah birds with yellow heads and one orange leg. And now the heads are blue. Bright blue — and the rest of the bird is pink. Five pink birds with blue heads. And they keep changing. They’re purple now. Five purple birds with white heads and each of them has one pale green leg. Goodness, wh
at’s happening! There aren’t five of them; there are ten. No, twenty, fifty, a hundred. Hundreds and hundreds. Can you see them?” Some of them could — without the slightest difficulty; and for those who couldn’t go the whole hog, Susila proposed more modest goals.
“Just make twelve of them,” she said. “Or if twelve is too many, make ten, make eight. That’s still an awful lot of mynahs. And now,” she went on, when all the children had conjured up all the purple birds that each was capable of creating, “now they’re gone.” She clapped her hands. “Gone! Every single one of them. There’s nothing there. And now you’re not going to see mynahs, you’re going to see me. One me in yellow. Two mes in green. Three mes in blue with pink spots. Four mes in the brightest red you ever saw.” She clapped her hands again. “All gone. And this time it’s Mrs Narayan and that funny-looking man with a stiff leg who came in with her. Four of each of them. Standing in a big circle in the gymnasium. And now they’re dancing the Rakshasi Hornpipe. ‘So stamp it out, so stamp it out.’”
There was a general giggle. The dancing Wills and Principals must have looked richly comical.
Susila snapped her fingers.
“Away with them! Vanish! And now each of you sees three of your mothers and three of your fathers running round the playground. Faster, faster, faster! And suddenly they’re not there any more. And then they are there. But next moment they aren’t. They are there, they aren’t. They are, they aren’t …”
The giggles swelled into squeals of laughter and at the height of the laughter a bell rang. The lesson in Elementary Practical Psychology was over.
“What’s the point of it all?” Will asked when the children had run off to play and Mrs Narayan had returned to her office.
“The point,” Susila answered, “is to get people to understand that we’re not completely at the mercy of our memory and our phantasies. If we’re disturbed by what’s going on inside our heads, we can do something about it. It’s all a question of being shown what to do and then practising — the way one learns to write or play the flute. What those children you saw here were being taught is a very simple technique — a technique that we’ll develop later on into a method of liberation. Not complete liberation, of course. But half a loaf is a great deal better than no bread. This technique won’t lead you to the discovery of your Buddha Nature: but it may help you to prepare for that discovery — help you by liberating you from the hauntings of your own painful memories, your remorses, your causeless anxieties about the future.”
“‘Hauntings’,” Will agreed, “is the word.”
“But one doesn’t have to be haunted. Some of the ghosts can be laid quite easily. Whenever one of them appears, just give it the imagination treatment. Deal with it as we dealt with those mynahs, as we dealt with you and Mrs Narayan. Change its clothes, give it another nose, multiply it, tell it to go away, call it back again and make it do something ridiculous. Then abolish it. Just think what you could have done about your father, if someone had taught you a few of these simple little tricks when you were a child! You thought of him as a terrifying ogre. But that wasn’t necessary. In your fancy you could have turned the ogre into a grotesque. Into a whole chorus of grotesques. Twenty of them doing a tap dance and singing, ‘I dreamt I dwelt in marble halls.’ A short course in Elementary Practical Psychology, and your whole life might have been different.”
How would he have dealt with Molly’s death, Will wondered as they walked out towards the parked jeep? What rites of imaginative exorcism could he have practised on that white, musk-scented succubus who was the incarnation of his frantic and abhorred desires?
But here was the jeep. Will handed Susila the keys and laboriously hoisted himself into his seat. Very noisily, as though it were under some neurotic compulsion to overcompensate for its diminutive stature, a small and aged car approached from the direction of the village, turned into the driveway and, still clattering and shuddering, came to a halt beside the jeep.
They turned. There, leaning out of the window of the royal Baby Austin was Murugan and beyond him, vast in white muslin and billowy like a cumulus cloud, sat the Rani. Will bowed in her direction and evoked the most gracious of smiles, which was switched off as soon as she turned to Susila, whose greeting was acknowledged only with the most distant of nods.
“Going for a drive?” Will asked politely.
“Only as far as Shivapuram,” said the Rani.
“If this wretched little crate will hold together that long,” Murugan added bitterly. He turned the ignition key. The motor gave a last obscene hiccup and died.
“There are some people we have to see,” the Rani went on. “Or rather One Person,” she added in a tone charged with conspiratorial significance. She smiled at Will and very nearly winked.
Pretending not to understand that she was talking about Bahu, Will uttered a non-committal, “Quite”, and commiserated with her on all the work and worry that the preparations for next week’s coming-of-age party must entail.
Murugan interrupted him. “What are you doing out here?” he asked.
“I’ve spent the afternoon, taking an intelligent interest in Palanese education.”
“Palanese education,” the Rani echoed. And again, sorrowfully, “Palanese” (pause) “Education.” She shook her head.
“Personally,” said Will, “I liked everything I saw and heard of it — from Mr Menon and the Principal to Elementary Practical Psychology, as taught,” he added, trying to bring Susila into the conversation, “by Mrs MacPhail here.”
Still studiedly ignoring Susila, the Rani pointed a thick accusing finger at the scarecrows in the field below.
“Have you seen those, Mr Farnaby?”
He had indeed. “And where but in Pala,” he asked, “can one find scarecrows which are simultaneously beautiful, efficient and metaphysically significant?”
“And which,” said the Rani in a voice that was vibrant with a kind of sepulchral indignation, “not only scare the birds away from the rice; they also scare little children away from the very idea of God and His Avatars.” She raised her hand, “Listen!”
Trom Krishna and Mary Sarojini had been joined by five or six small companions and were making a game of tugging at the strings that worked the supernatural marionettes. From the group came a sound of shrill voices piping in unison. At their second repetition, Will made out the words of the chantey.
Pully, hauly, tug with a will;
The gods wiggle-waggle, but the sky stands still.
“Bravo!” he said, and laughed.
“I’m afraid I can’t be amused,” said the Rani severely. “It isn’t funny. It’s Tragic, Tragic.”
Will stuck to his guns. “I understand,” he said, “that these charmings carecrows were an invention of Murugan’s great grandfather.”
“Murugan’s great grandfather,” said the Rani, “was a very remarkable man. Remarkably intelligent, but no less remarkably perverse. Great gifts — but, alas, how maleficently used! And what made it all so much worse, he was full of False Spirituality.”
“False Spirituality?” Will eyed the enormous specimen of True Spirituality and, through the reek of hot petroleum products, inhaled the incense-like, other-worldly smell of sandalwood. “False Spirituality?” And suddenly he found himself wondering — wondering and then, with a shudder, imagining — what the Rani would look like if suddenly divested of her mystic’s uniform and exposed, exuberantly and steatopygously naked, to the light. And now multiply her into a trinity of undressed obesities, into two trinities, ten trinities. Applied Practical Psychology — with a vengeance!
“Yes, False Spirituality,” the Rani was repeating, “Talking about Liberation; but always, because of his obstinate refusal to follow the True Path, always working for greater Bondage. Acting the part of humility. But in his heart, he was so full of pride, Mr Farnaby, that he refused to recognize any Spiritual Authority Higher than his own. The Masters, the Avatare, the Great Tradition — they meant nothing t
o him. Nothing at all. Hence those dreadful scarecrows. Hence that blasphemous rhyme that the children have been taught to sing. When I think of those Poor Innocent Little Ones being deliberately perverted, I find it hard to contain myself, Mr Farnaby, I find it …”
“Listen, mother,” said Murugan who had been glancing impatiently and ever more openly at his wrist watch, “if we want to be back by dinner time, we’d better get going.” His tone was rudely authoritative. Being at the wheel of a car — even of this senile Baby Austin — made him feel, it was evident, considerably larger than life. Without waiting for the Rani’s answer he started the motor, shifted into low and with a wave of the hand, drove off.
“Good riddance,” said Susila.
“Don’t you love your dear Queen?”
“She makes my blood boil.”
“So stamp it out,” Will chanted teasingly.
“You’re quite right,” she agreed with a laugh. “But unfortunately this was an occasion when it just wasn’t feasible to do a Rakshasi Hornpipe.” Her face brightened with a sudden flash of mischief, and without warning she punched him, surprisingly hard, in the ribs. “There!” she said. “Now I feel much better.”
CHAPTER FOURTEEN
SHE STARTED THE motor and they drove off — down to the bypass, up again to the high road beyond the other end of the village, and on into the compound of the Experimental Station. Susila pulled up at a small thatched bungalow like all the others. They climbed the six steps that led up to the verandah and entered a whitewashed living-room.
To the left was a wide window with a hammock slung between the two wooden pillars at either side of the projecting bay. “For you,” she said, pointing to the hammock. “You can put your leg up.” And when Will had lowered himself into the net, “What shall we talk about?” she asked as she pulled up a wicker chair and sat down beside him.