ART AND' YOGA IN INDIA. 57

find" fighting, have for the other passed into the region of
•sub-consciousness, accessible at will, but no longer filling
the whole circle of the mind. The ordinary consciousness
of the cultured man, on the other hand, is composed of
thoughts outside the range of the savage mind, and at
the same time, as we have said, relegates ideas of the
latter to the region of sub-consciousness. Yet even the
ravage too may have intuitions of these higher things ;
but he may hardly be able to explain them except in terms
of negation of ordinary experience. Just so the higher
man is lifted at times by the exaltation of love, by art, by
philosophy, or by deliberate effort (yoga} above Ms ordinary
consciousness. And this is riot a loss—it is an infinite
gain. It is not extinction but realisation. But from the
standpoint of the empirical consciousness it has often to be
described only in terms of negation.

According to Plato, the things we see about us are but
the shadows of real things we do not see. Just so it is
imagined by the Indian mind that the life of a Hindu,
his art and architecture, and music are, as it were, shadows
or echoes of realities elsewhere. "Send to the world of
the devas," said the royal builder, "and procure for me a
plan of their palace."

Devanagari, ^ Sanskrit,' is in a. very literal sense the
language of the gods. The Hindu temple and its ritual
-are, as it were, reflections of the actual adoration of Maha-
dev 01 Kailas. There are manifest the realities which Plato
called Ideas, whose .shadows only are seen by mortal men.
But the true artist is not mortal, lie is a i hero,' one who
has eyes to see and ea.rs to hear. It is for him to make
manifest to us what he himself has seen, to make the ideal
real, to lift us thereby, if only for a moment, to the level
of his truer vision. Can we wonder that architecture so