Self Learning Material Bachelor of Arts Philosophy Semester Iv BPYC Western Philosophy: Modern Block-2 Rationalism.

This paper aims at an analytical explanation of the distinctive nature of music, as it has been formulated in perhaps one of the world's very first works on the subject, namely the ‘Sangeet Ratnakar’ of Pandit Sarangadeva, a 13th century musicologist of India. He, in the first chapter of the work defines music ('sangeet' in Sanskrit and Hindi) as a composite of singing or 'Gita', instrumental music or 'vadan' and dancing or ‘nrittam’. In addition, he also holds singing to be (...) the most important component of music. These two ideas are not only unquestionably acceptable , as the analysis in the paper will show, but give to Indian music , in its difference from western music, its distinctively spiritual character, making it a path to liberation or Moksha (Muktidayakam na tu ranjakam). Sarangadeva's reason, here, is not rational but empirico-inductive. It is that mainly by virtue of its 'gitam’ (singing component), which, like the Yoga system of exercise, needing only one's body as its instrument, music too needing only one’s voice is as self-sufficient and autonomous as the ultimate Reality itself (Swayamev Rajate). In the hierarchy (a distinctively ancient Indian insistence) of arts, singing is the highest and unique because in spite of being heard by the auditory sense, it affects our 'reflective sensibility' and transports us to the virtual world of melodic and rhythmic forms. Forms, as against their particular illustrations, are abstract universals. Ultimate Reality is also a Form-all comprehensive and internally harmonious. However, pure Form, whether melodic or religious or even rational like that of triangularity, is almost impossible to concentrate on. Realizing this practical difficulty, Indian scriptures and the world's first Grammarian-linguist, Acharya Panini, framed a composite sound as the manifestation of the ultimate musical Form. This purely formal-because devoid of all meaning, sound is that of 'om', spelt, in Sanskrit as a conjunction (sandhi) of 'a'+'u'+'m'. For Indian musicologists and musicians, ‘om’ is the perfect manifestation of the Sound-God or ‘Nada-Brahman’ because, 1. Its composite nature resembles God, as a harmony of 'sat', 'chit', and 'ananda'; and 2. The composite sound is self-existent as its all three components-two vowels, i.e. ‘a’, ‘u’, and one consonant i.e. ‘m’, can be and are pronounced just as they originally are, -un-elongated and un-vitiated and therefore pure. This is the reason why every recital of Indian classical vocal music is begun with an elaborate rendering of 'om' as an invocation to Sound-God or ‘Nada-Brahman’. Scholarly and authentic, this ancient Indian approach to music, is undoubtedly the earliest and original. My observation is that its main contentions like Sharang Dev’s insistence that of the three components of music, ‘gitam’ or singing is the highest, have only been translated and never argued for. In this presentation my good intention is to provide much needed rational support for making these key statements in this unparalleled Indian text, indubitable and unquestionable. (shrink)

This chapter aims to examine parallels between two ancient Indian philosophical schools, Jaina (Jainism) of Mahāvīra and Ajñāna (Unending Agnosticism) of Sañjaya Belaṭṭhiputta. Jaina and Ajñāna traditions were a part of the Non-Vedic larger Śramaṇa movement of seventh to sixth-century BCE India, where Śramaṇa were monastics, who dwelled in forests and lived a retired life, focussing themselves in the search of discovering the knowledge of truth, reality and existence. Sañjaya and Mahāvīra were contemporaries and were a prominent and well-known Śramaṇa (...) of their time. The chapter is broadly divided into two parts, with two sections each. The first part aims to discuss Sañjaya’s ajñānavāda (epistemological method) and Mahāvīra’s doctrine of anekāntavāda (metaphysical pluralism) and saptabhanginaya (sevenfold predication). The second part aims to explore the logical relationship and similarities between ajñānavāda and anekāntavāda and its metaphysical consequences, and conclusively the major part of the paper will discuss the claim first made by the German Jaina scholar Hermann Jacobi, about the possible influence that Sañjaya’s ajñānavāda had on the establishment of Mahāvīra’s anekāntavāda. In brief, the chapter intends to present and discuss the contemporary scholarship claims on Sañjaya and his possible influence it had on the development of the Jaina thought. (shrink)

The first article in this issue attempts to refute the concept of Altruism and calls it akin to Selfishness. The arguments are logically set in the way like that of Spinoza’s method of demonstration, with Axioms, Definitions, Propositions and Notes: so as to make them exact and precise. Interestingly, the writer introduces a new concept of Credit and through various other original propositions and examples rebuts the altruistic nature which is generally ascribed to humans.

The title seems to suggest that God is neutral or indifferent to the universe that it permeates. Its neutrality being necessary for its immanence is acceptable but not its indifference. Following Spinoza’s monistic thinking we explore here the question as to how the ultimate reality, can or cannot be indifferent to its own self. Permeating the universe, God becomes a universal form or concept into which the human can imagine any version of thought-extension in accordance with the nature of his/her (...) need. Indeed, Spinoza finds God formal it is the supreme substance which can and does inspire man’s polytheistic practices, as sustained by panentheistic faith. Moreover, for Spinoza relation between God and the universe is one of rational causality - God permeates the manifest universe, and the universe through its intelligibility illustrates God. The phrase in the title is not a denial of God’s desirability for man. Rather, it is a reaffirmation of God’s openness to the whole universe, by virtue of which it is one with Nature and vice versa. Each becomes explicable in terms of the other as both seep in rationality validating Spinoza’s ‘deus sive natura’. (shrink)