Bimala's Story
The change which had, in a moment, come over the mind of Bengal was tremendous. It was as if the Ganges had touched the ashes of the sixty thousand sons of Sagar [18] which no fire could enkindle, no other water knead again into living clay. The ashes of lifeless Bengal suddenly spoke up: "Here am I."
I have read somewhere that in ancient Greece a sculptor had the good fortune to impart life to the image made by his own hand. Even in that miracle, however, there was the process of form preceding life. But where was the unity in this heap of barren ashes? Had they been hard like stone, we might have had hopes of some form emerging, even as Ahalya, though turned to stone, at last won back her humanity. But these scattered ashes must have dropped to the dust through gaps in the Creator's fingers, to be blown hither and thither by the wind. They had become heaped up, but were never before united. Yet in this day which had come to Bengal, even this collection of looseness had taken shape, and proclaimed in a thundering voice, at our very door: "Here I am."
How could we help thinking that it was all supernatural? This moment of our history seemed to have dropped into our hand like a jewel from the crown of some drunken god. It had no resemblance to our past; and so we were led to hope that all our wants and miseries would disappear by the spell of some magic charm, that for us there was no longer any boundary line between the possible and the impossible. Everything seemed to be saying to us: "It is coming; it has come!"
Thus we came to cherish the belief that our history needed no steed, but that like heaven's chariot it would move with its own inherent power—At least no wages would have to be paid to the charioteer; only his wine cup would have to be filled again and again. And then in some impossible paradise the goal of our hopes would be reached.
My husband was not altogether unmoved, but through all our excitement it was the strain of sadness in him which deepened and deepened. He seemed to have a vision of something beyond the surging present.
I remember one day, in the course of the arguments he continually had with Sandip, he said: "Good fortune comes to our gate and announces itself, only to prove that we have not the power to receive it—that we have not kept things ready to be able to invite it into our house."
"No," was Sandip's answer. "You talk like an atheist because you do not believe in our gods. To us it has been made quite visible that the Goddess has come with her boon, yet you distrust the obvious signs of her presence."
"It is because I strongly believe in my God," said my husband, "that I feel so certain that our preparations for his worship are lacking. God has power to give the boon, but we must have power to accept it."
This kind of talk from my husband would only annoy me. I could not keep from joining in: "You think this excitement is only a fire of drunkenness, but does not drunkenness, up to a point, give strength?"
"Yes," my husband replied. "It may give strength, but not weapons."
"But strength is the gift of God," I went on. "Weapons can be supplied by mere mechanics."
My husband smiled. "The mechanics will claim their wages before they deliver their supplies," he said.
Sandip swelled his chest as he retorted: "Don't you trouble about that. Their wages shall be paid."
"I shall bespeak the festive music when the payment has been made, not before," my husband answered.
"You needn't imagine that we are depending on your bounty for the music," said Sandip scornfully. "Our festival is above all money payments."
And in his thick voice he began to sing:
/*
"My lover of the unpriced love, spurning payments,
Plays upon the simple pipe, bought for nothing,
Drawing my heart away."
*/
Then with a smile he turned to me and said: "If I sing, Queen Bee, it is only to prove that when music comes into one's life, the lack of a good voice is no matter. When we sing merely on the strength of our tunefulness, the song is belittled. Now that a full flood of music has swept over our country, let Nikhil practise his scales, while we rouse the land with our cracked voices:
/*
"My house cries to me: Why go out to lose your all?
My life says: All that you have, fling to the winds!
If we must lose our all, let us lose it: what is it worth after
all?
If I must court ruin, let me do it smilingly;
For my quest is the death-draught of immortality.
*/
"The truth is, Nikhil, that we have all lost our hearts. None can hold us any longer within the bounds of the easily possible, in our forward rush to the hopelessly impossible.
/*
"Those who would draw us back,
They know not the fearful joy of recklessness.
They know not that we have had our call
From the end of the crooked path.
All that is good and straight and trim—
Let it topple over in the dust."
*/
I thought that my husband was going to continue the discussion, but he rose silently from his seat and left us.
The thing that was agitating me within was merely a variation of the stormy passion outside, which swept the country from one end to the other. The car of the wielder of my destiny was fast approaching, and the sound of its wheels reverberated in my being. I had a constant feeling that something extraordinary might happen any moment, for which, however, the responsibility would not be mine. Was I not removed from the plane in which right and wrong, and the feelings of others, have to be considered? Had I ever wanted this—had I ever been waiting or hoping for any such thing? Look at my whole life and tell me then, if I was in any way accountable.
Through all my past I had been consistent in my devotion—but when at length it came to receiving the boon, a different god appeared! And just as the awakened country, with its __Bande Mataram__, thrills in salutation to the unrealized future before it, so do all my veins and nerves send forth shocks of welcome to the unthought-of, the unknown, the importunate Stranger.
One night I left my bed and slipped out of my room on to the open terrace. Beyond our garden wall are fields of ripening rice. Through the gaps in the village groves to the North, glimpses of the river are seen. The whole scene slept in the darkness like the vague embryo of some future creation.
In that future I saw my country, a woman like myself, standing expectant. She has been drawn forth from her home corner by the sudden call of some Unknown. She has had no time to pause or ponder, or to light herself a torch, as she rushes forward into the darkness ahead. I know well how her very soul responds to the distant flute-strains which call her; how her breast rises and falls; how she feels she nears it, nay it is already hers, so that it matters not even if she run blindfold. She is no mother. There is no call to her of children in their hunger, no home to be lighted of an evening, no household work to be done. So; she hies to her tryst, for this is the land of the Vaishnava Poets. She has left home, forgotten domestic duties; she has nothing but an unfathomable yearning which hurries her on—by what road, to what goal, she recks not.
I, also, am possessed of just such a yearning. I likewise have lost my home and also lost my way. Both the end and the means have become equally shadowy to me. There remain only the yearning and the hurrying on. Ah! wretched wanderer through the night, when the dawn reddens you will see no trace of a way to return. But why return? Death will serve as well. If the Dark which sounded the flute should lead to destruction, why trouble about the hereafter? When I am merged in its blackness, neither I, nor good and bad, nor laughter, nor tears, shall be any more!
