ABOUT

First of three volumes of correspondence between Sri Aurobindo and Dilip Kumar Roy, singer, musician, poet and writer. Sri Aurobindo explains his Yoga, guiding Dilip in his inner life.

Sri Aurobindo to Dilip - Volume I

  Sri Aurobindo : corresp.

Dilip Kumar Roy
Dilip Kumar Roy

First of three volumes of correspondence between Sri Aurobindo and Dilip Kumar Roy, singer, musician, poet and writer. Sri Aurobindo explains his Yoga, guiding Dilip in his inner life.

Sri Aurobindo to Dilip - Volume I
English
 LINK  Sri Aurobindo : corresp.

Note

In 1928, Dilip decided to live permanently in the ashram at Pondicherry. That was two years after Sri Aurobindo's complete withdrawal from public life, and from direct contact with his disciples: they could see him only three times a year (four later on) for a brief darshan, while Mother looked after the whole material aspect of life in the ashram and took direct charge of the disciples.

But they could also write letters to Sri Aurobindo. And write they did, often daily. With inexhaustible patience, Sri Aurobindo would soon spend most of his nights answering every one of them, explaining his Yoga, guiding them in their inner life, encouraging them to overcome doubt, depression, even revolt, and, with the poetically inclined, teaching them the craft, commenting upon and often correcting their poems, and prodding them to use poetry as a means to explore the inner worlds and open themselves to higher realms of consciousness.

That was the case with Dilip too, as these three volumes of correspondence will make clear. The disciple's letter would usually reach the Master sometime in the evening, and by the next morning (the "return post," as Sri Aurobindo would call it), the response would generally be delivered.

Sri Aurobindo's answers might be in the shape of a few marginal comments on the disciple's letter, scribbled notes on small slips of paper, or longer explanations on full sheets. Only the relevant portion of the disciple's letter would usually be returned, which explains why most of Dilip's letters are missing or incomplete. Regrettable as this may be, their tone and content can often be guessed from Sri Aurobindo's answers.

The reader may remember seeing excerpts from a few in the published volumes of Sri Aurobindo's correspondence, such as

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Letters on Yoga or On Himself, not to mention Dilip's own books such as Sri Aurobindo Came to Me or Among the Great. However, as far as possible, they are complete here: these three volumes contain all the letters that could be found in Dilip's papers (barring a few of a minor nature) and his published works (in English or Bengali). Much of the present material is therefore published here for the first time.

Sri Aurobindo's handwriting was often, as he himself readily acknowledged, next to indecipherable.1 (This must however be largely put down to the speed with which he wrote.) All the letters in these volumes have therefore been carefully checked against the original manuscript whenever it was available. Errors may remain, but we trust they will be rare and not too important; doubtful readings or illegible words have been indicated with question marks within brackets. As far as possible, we have tried to follow standard diacritical conventions for Sanskrit and Bengali words (except for those that are commonly used).

This first volume includes correspondence from the time of Dilip's arrival at Sri Aurobindo's ashram in 1928 up to the year1933; vol. 2 will cover 1934 to 1936, and vol. 3 1937 to 1951.Altogether, almost 1,000 letters from Sri Aurobindo and 70 from Mother.

The editors are greatly indebted to Patrice Marot for his help in assembling the material; to Maryse Prat for her careful deciphering and typing of the entire correspondence; and to Mr. Pramod Kumar for his revision of the manuscript.

M. D.

________________________________

1. Sri Aurobindo once wrote to Nirod (on 2 November 1938): "It is altogether irrational to expect me to read my own writing—I write for others to read, not for myself—it is their business to puzzle out the words."

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Dilip Kumara Roy

Some Biographical Notes

22 Jan. 1897

- Born at 203/1/1 Cornwallis street, Calcutta (his maternal uncle's house), in a cultured Bengali family

Father

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- Dwijendralal Roy (19 July, 1863- 17 May, 1913).

A dramatist, composer, singer and nationalist with a degree in agriculture from England. Although his mother was a direct descendant of Advaita Goswami of Shantipur, a staunch disciple of Sri Chaitanya ( fifteen-sixteen centuries AD), D. L. Roy himself was a rationalist. During his tenure as Deputy Magistrate he dared to tell the Lt. Governor of Bengal that the latter was not an expert in the laws of land survey. The result ? He was never granted promotion from his post in spite of his proficiency. That he was not altogether dismissed from service was because of his superior who gave a report that "Mr. Roy is a monument of industry and ability"; while another Englishman told the Lt. Governor, " I think Mr. Roy is right." Courage and honesty were ingrained in him. His watchword was truth.

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Mother

Surabala Devi, daughter of P. C. Majumdar. She was beautiful like a daughter of heaven as her name implies. Dwijendralal loved her so much that he never looked at another woman when his wife died at the age of twenty - seven (on 29 Nov. 1903); he brought up his children fulfillilng both the roles of father and mother.

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Paternal

grandfather

- Pratap Chandra Majumdar (1851 - 1922). A self-made man, he founded a school of homoeopathy and a hospital at Calcutta (which continue to function to this day). As a homoeopath, he treated Sri Ramkrishna Paramahamsa during his last illness of throat cancer. He held Iswar Chandra Vidyasagar in high esteem, with whose encouragement he married Barahini Devi, when she was twelve years old; she had been widowed at the age of eight.

Maternal

grandfather

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- Kartikeya Chandra Roy (1820 - 85) Dewan of Krishnanagar. A man of character and honesty, he was also a musician and composer, his book Geetamanjari was published in 1875.

Dilip as a child

(detail of a group photograph)

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1908

D. L. Roy built Suradham. Dilip Kumar Roy's spiritual quest started in this house.

1908-1909

Nirmalendu Lahiri, his cousin and devout follower of Sri Ramakrishna Paramahamsa, took him to Sri 'M' (Sri Mahendranath Gupta), who had kept a day-to-day record of Sri Ramakrishna's sayings, later published as Ramakrishna Kath-amrita in Bengali (translated into English as The Gospel of Sri Ramakrishna, 1922). Dilip was deeply fascinated by Sri Ramakrishna's personality, installed him in his heart as his Guru and loved him deeply. He wrote, "Faith suddenly descended into me—the Mother's grace through the soul- stirring message of her beloved son, the great Messiah Sri Ramakrishna."

17 May 1913

Sudden demise of his father Dwijendralal Roy, owing to apoplexy.

1913

Passed matriculation examination with scholarship, scoring high marks in Sanskrit and mathematics. Joined Presidency College and took up science. Met Subhash Chandra Bose; a lasting and intimate friendship developed.

1918

Passed BSc with first class Honours in mathematics.

1919

Left for England to pursue further studies at Cambridge. Subhash Chandra Bose joined him subsequently.

July, 1920

Met Romain Rolland in Switzerland and sang before him; Romain Rolland praised his music.

1920-1921

Passed Part I mathematical tripos and Part I music special in Cambridge.

1921

Extremely impressionable, he took up one line after another, studied LLB to become a barrister, deposited fees for CA. Meanwhile, Rabindranath Tagore urged him to take up music as a career; Subhash and Rolland added their weight to this suggestion. Dilip wrote, "Rolland finally persuaded me to direct all my energies to the cultivation of a musical career." Learnt French, German, Italian and a little of Russian.

1922

Went to Germany to study Western music. Lectured

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At Cambridge: (standing ) Khitish Chandra Chatterjee

and Subhash Chandra Bose; (seated ) Dilip Kumar Roy and C. C. Desai

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at an international conference at Lugano, Switzerland, attended by world celebrities like Bertrand Russell, Remain Rolland, Hermann Hesse, Georges Duhamel and others. Met President Masaryk of Czechoslovakia. Toured Vienna, Prague, Buda- pest, etc. to speak on Indian music and culture, including Sanskrit.

Nov. 1922

Returned to India and went on a tour studying Indian music from classical masters like Abdul Karim, Faiz Khan, Chandan Chaube, Pandit Bhatkhande, Gaurishankar Mishra, Surendranath Majumdar, Hafiz Ali Khan and others. Wrote a book in Bengali on Indian music, Bhramyamaner Dina Panjika (Diary of a Musical Rover) which won him instant fame in Bengal.

1922

Met Ronald Nixon, a professor at Lucknow University, who introduced Dilip to Sri Aurobindo, asking him to read Essays on the Gita; he later came to be known as Yogi Sri Krishnaprem, whose Guru was Yashoda Maa (wife of the then vice-chancellor of Lucknow University). A lifelong friendship ensued, and their correspondence continued till Krishnaprem's passing away in 1965.

Their 1922 meeting took place at the residence of Atul Prasad Sen, a leading barrister of Lucknow, a musician and lyricist, whose music became popular in Bengal through Dilip.

1922-23

Became very popular as a musician and a composer. Started teaching music and giving charity concerts with his students at Rammohan Library in Calcutta.

24 Jan. 1924

Two days after his 27th birthday, Dilip met Sri Aurobindo at Pondicherry.

1925

Got an offer from Pt. Madan Mohan Malaviya to hold the chair of music at the Banaras Hindu University, and an invitation to become the director of All India Radio. Declined both offers.

1927

Received an invitation from the Edison Company of America to make his first long-playing disc.

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Subhash Chandra Bose arranged a felicitation programme at the Rammohan Library, where Poet Rabindranath and novelist Sarat Chandra Chatterjee came to bless him. Toured Europe giving lectures on music. At Nice (France), he met Madame Calve, a famous prima donna who had found solace in Swami Vivekananda, and the philosopher Paul Richard, who gave him a final impetus towards Sri Aurobindo; a profound feeling of vairāgya gripped him and he returned to India cancelling his journey to the USA.

22 Nov. 1928

Beginning of his stay at the Pondicherry ashram. Overcoming all his vacillation, he surrendered himself to Sri Aurobindo and the Mother. He wrote to Sri Aurobindo, "I surrender unconditionally to you all I have and am. You must accept me."

1937

A brief visit to Calcutta after nine years. Met Uma Bose who had an enchanting voice, and taught her music.

1938

On invitation from the Calcutta University and the Director of public instruction, Dilip wrote Geetashree for the music syllabus of Calcutta University, with notations and technical details of Hindustani music. Another book, Sangitikee, gave a historical account of classical and folk music of Northern India. Both books were pre- scribed texts of the Calcutta University.

22 Jan. 1942

Uma Bose passed away, leaving a vacuum in Bengali music. Her untimely death was a great loss for Dilip but his musical and literary creativity never ceased.

7 Oct. 1946

Met Janak Kumari (later known as Smt. Indira Devi) at Jabbalpur. Also met M. S. Subbulakshmi and taught her Mira bhajans for the film Mirabai. (Later, in 1971, M. S. came to Hari Krishna Mandir to learn songs, mainly Indira Devi's Mira bhajans and Dilip's Bengali songs.)

22 Jan. 1947

Bengal celebrated Dilip's 50th birthday, acknowledging the versatility of his genius as a poet,

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Dilip at the age of twenty - seven

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thinker, novelist, musician and mystic, and presenting him with a purse for the Ashram and a set of annotated Srimad Bhagavatam. Later on he wrote two masterpieces, Bhagavati Katha and Immortals of the Bhagavat.

21 Feb. 1949

On Mother's birthday, Indira Devi came to Pondicherry for darshan. After darshan she went into bhāva samādhi at Dilip's place while he was singing. Sri Aurobindo endorsed it as genuine and wrote that the Samadhi was of savikalpa type and she was ready for the yoga. Ultimately with Sri Aurobindo's and Mother's blessings, Dilip gave her initiation. She started hearing in trance Hindi songs sung by Mirabai, and the songs were documented. This phenomenon was authenticated by Sri Aurobindo and continued as long as Indira Devi was alive.

5 Dec. 1950

Sri Aurobindo's passing away shattered Dilip's world.

1 Oct. 1951

Dilip heard himself Mirabai's voice for the first time. He maintained a diary chronicling his conversations with her, a part of which was later published by his ashram in Indiranjali vol. 1, regarding the advent of Mira. During this time he took a vow of akash vritti, depending completely on the Divine for sustenance.

Jan.1953

Went on a world tour with Indira Devi as cultural and spiritual ambassador of India, sponsored by the Indian government, and met a number of world celebrities. The complete account of his tour was written in Deshe Deshe Chali Udey a travelogue in Bengali.

1954

Though in deep financial crisis, he declined an offer for the post of Arts Director of Annamalai University by Sir C. P. Ramaswamy Aiyar and went to Pune to stay in a dilapidated bungalow called "Dunlavin Cottage" of Sir Chunilal Mehta.

1957

Sixtieth birthday celebrated in Calcutta. A Golden Book was presented to him by his numerous friends and admirers containing articles, poems

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and letters appraising his literary, musical and spiritual attainments by men of eminence including such contributors as Mahatma Gandhi, Romain Holland, Rabindranath Tagore, Aldous Huxley, Pandit Nehru, S. Radhakrishnan, Netaji Subhash Chandra Bose and others.

Papa Ramdas and Mother Krishnabai visited Dilip's ashram, found him and Indira Devi completely absorbed in intense sadhana and blessed them.

25 April 1958

At Khandala, he had a beautiful vision of Sri Aurobindo, about which he wrote: My incomparable Gurudev who came to us here this morning in person. What can science and agnostic reason know of such occult secrecies ?"

18 Jan. 1959

Dilip shifted his Ashram to the present premises in Pune.

1961

He delivered his famous lecture "Parama Sanskriti" in Bengali and sang at Tagore's centenary celebration at Marcus Square in Calcutta.

1951-1979

In this productive phase of Dilip's life, he was honoured with numerous titles, such as: Sur- Sudhakar from Sanskrit Collage, Calcutta; Fellow of Sangeet Natak Academy; DLitt from Calcutta and Rabindra Bharati Universities; president of Akhil Bharatiya Banga Sanskriti Samelan, Chandigarh. Many saints and celebrities visited his Ashram, including Sri Sri Anandamayee Maa, Srimat Anirvan, Swami Brahmananda of Uttarkashi, Maha Mahopadhya Dr. Gopinath Kaviraj, the then President Dr. S. Radhakrishnan and others and all experienced the great peace pervading the Ashram.

17 Nov. 1973

Mother leaves her body.

17 Dec. 1975

Dilip started hearing the Lord's Flute continuously till he breathed his last, a rare spiritual attainment. Many of the melodies heard have been preserved in his notation books. He also wrote suitable songs to fit some of the melodies.

23 Jan. 1976

Inaugurated the 80th birth anniversary of Netaji

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Subhash Chandra Bose at Calcutta at Netaji Bhavan. Dilip's own birthday was also celebrated at Calcutta, and a felicitation volume. Varan Malika, was presented to him.

1977

Delivered a memorial lecture series on Sri Aurobindo at Pune University: 1) "Sri Aurobindo, Minstrel of Light and Dharma"; 2) "Sri Aurobindo, Minstrel of Faith and Love"; 3) "Sri Aurobindo, Minstrel of Harmony and Immortality"; 4) "Sri Aurobindo, Minstrel of Vision and Intuition."

1979

On 1st October he had a vision of Maa Radha Rani at Bombay. He became unwell from 11 November. On 23 November he wrote his last poem Antim Prarthana in his own hand. One day he wrote in his diary, "Namah Sri Aurobindaya— Sarvadevoh mayah guru." Till the last minute he was alert and conscious. Once Maa Indira Devi asked him when he was a little drowsy, if he remembered Bhishma's hymn to Sri Krishna from the Srimad Bhagavat; he recited the whole hymn, in his gorgeous voice though grown weak now, without faltering.

6 Jan. 1980

Dilip said in the morning, "Wash my hands, I have to touch the Lord's feet today." The great minstrel-saint reached the lotus feet of the Lord.

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