"Because distance lends enchantment to the view?" "No; because it lends reality. Distance reminds us that there's a lot more to the universe than just people-that there's even a lot more to people than just people. It reminds us that there are mental spaces inside our skulls as enormous as the spaces out there. The experience of distance, of inner distance and outer distance, of distance in time and distance in space-it's the first and fundamental religious experience. 'O Death in life, the days that are no more'-and O the places, the infinite number of places that are not this place! Past pleasures, past unhappinesses and insights-all so intensely alive in our memories and yet all dead, dead without hope of resurrection. And the village down there in the valley so clearly seen even in the shadow, so real and indubitable, and yet so hopelessly out of reach, incommunicado. A picture like this is the proof of man's capacity to accept all the deaths in life, all the yawning absences surrounding every presence. To my mind," Vijaya added, "the worst feature of your nonrepresentational art is its systematic two-dimensionality, its refusal to take account of the universal experience of distance. As a colored object, a piece of abstract expressionism can be very handsome. It can also serve as a kind of glorified Rorschach inkblot. Everybody can find in it a symbolic expression of his own fears, lusts, hatreds, and daydreams. But can one ever find in it those more than human (or should one say those other than all too human) facts that one discovers in oneself when the mind is confronted by the outer distances of nature, or by the simultaneously inner and outer distances of a painted landscape like this one we're looking at? All I know is that in your abstractions I don't find the realities that reveal themselves here, and I doubt if anyone else can. Which is why this fashionable abstract nonob-jective expressionism of yours is so fundamentally irreligious- and also, I may add, why even the best of it is so profoundly boring, so bottomlessly trivial."
"Do you come here often?" Will asked after a silence. "Whenever I feel like meditating in a group rather than alone."
"How often is that?"
"Once every week or so. But of course some people like to do it oftener-and some much more rarely, or even never. It depends on one's temperament. Take our friend Susila, for example-she needs big doses of solitude; so she hardly ever comes to the meditation room. Whereas Shanta (that's my wife) likes to look in here almost every day."
"So do I," said Mrs. Rao. "But that's only to be expected," she added with a laugh. "Fat people enjoy company-even when they're meditating."
"And do you meditate on this picture?" Will asked. "Not on it. From it, if you see what I mean. Or rather parallel with it. I look at it, and the other people look at it, and it reminds us all of who we are and what we aren't, and how what we aren't might turn into who we are."
"Is there any connection," Will asked, "between what you've been talking about and what I saw up there in the Shiva temple?" "Of course there is," she answered. "The moksha-medicine takes you to the same place as you get to in meditation." "So why bother to meditate?"
"You might as well ask, Why bother to eat your dinner?" "But, according to you, the moksha-medicne is dinner." "It's a banquet," she said emphatically. "And that's precisely why there has to be meditation. You can't have banquets every day. They're too rich and they last too long. Besides, banquets are provided by a caterer; you don't have any part in the preparation of them. For your everyday diet you have to do your own cooking. The moksha-medicine comes as an occasional treat."
"In theological terms," said Vijaya, "the moksha-medicine prepares one for the reception of gratuitous graces-premystical visions or the full-blown mystical experiences. Meditation is one of the ways in which one co-operates with those gratuitous graces." "How?"
"By cultivating the state of mind that makes it possible for the dazzling ecstatic insights to become permanent and habitual illuminations. By getting to know oneself to the point where one won't be compelled by one's unconscious to do all the ugly, absurd, self-stultifying things that one so often finds oneself doing."
"You mean, it helps one to be more intelligent?" "Not more intelligent in relation to science or logical argument-more intelligent on the deeper level of concrete experiences and personal relationships."
"More intelligent on that level," said Mrs. Rao, "even though one may be very stupid upstairs." She patted the top of her head. "I'm too dumb to be any good at the things that Dr. Robert and Vijaya are good at-genetics and biochemistry and philosophy and all the rest. And I'm no good at painting or poetry or acting. No talents and no cleverness. So I ought to feel horribly inferior and depressed. But in fact I don't-thanks entirely to the moksha-medicine and meditation. No talents or cleverness. But when it comes to living, when it comes to understanding people and helping them, I feel myself growing more and more sensitive and skillful. And when it comes to what Vijaya calls gratuitous graces ..." She broke off. "You could be the greatest genius in the world, but you wouldn't have anything more than what I've been given. Isn't that true, Vijaya?"
"Perfectly true."
She turned back to Will. "So you see, Mr. Farnaby, Pala's the place for stupid people. The greatest happiness of the greatest number-and we stupid ones are the greatest number. People like Dr. Robert and Vijaya and my darling Ranga-we recognize their superiority, we know very well that their kind of intelligence is enormously important. But we also know that our kind of intelli gence is just as important. And we don't envy them, because we're given just as much as they are. Sometimes even more."
"Sometimes," Vijaya agreed, "even more. For the simple rea son that a talent for manipulating symbols tempts its possessors into habitual symbol manipulation, and habitual symbol manipulation is an obstacle in the way of concrete experiencing and the reception of gratuitous graces."
"So you see," said Mrs. Rao, "you don't have to feel too sorry for us." She looked at her watch. "Goodness, I shall be late for Dillip's dinner if I don't hurry."
She started briskly towards the door.
"Time, time, time," Will mocked. "Time even in this place of timeless meditation. Time for dinner breaking incorrigibly into eternity." He laughed. Never take yes for an answer. The nature of things is always no.
Mrs. Rao halted for a moment and looked back at him.
"But sometimes," she said with a smile, "it's eternity that miraculously breaks into time-even into dinnertime. Goodbye." She waved her hand and was gone.
"Which is better," Will wondered aloud as he followed Vijaya through the dark temple, out into the noonday glare, "which is better-to be born stupid into an intelligent society or intelligent into an insane one?"