Rajiv Malhotra

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avril 10, 2026

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avril 10, 2026

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"The American poet T.S. Eliot (1888–1965) was one of the few westerners who understood both the potency of Sanskrit and its relationship to dharma. He studied the language at Harvard, where it was an integral part of the philosophical curriculum. Ultimately, he refrained from embracing either Hinduism or Buddhism as a result of his own cultural upbringing and conditioning. Nonetheless, Eliot demonstrated his insight into Sanskrit in his major poem 'The Waste Land' not only by exploring the multiple meanings of the phoneme 'DA' (mentioned above) but by ending his poem with the mantra ' shantih shantih shantih'. He had enough understanding of the claims made for Sanskrit not to attempt to translate this mantra. In her book, T.S. Eliot and Indic Traditions , Cleo Kearns explains that it was the poet's study of the Upanishads and Vedic texts that showed him that breath, sound and silence were at the heart of language. Eliot understood that a mantra's efficacy depends not on its meaning, per se, but on the effect that its correct utterance and accompanying breathing techniques have. While he did not use the term, he could have been speaking of mantra-shakti, or 'mantra-power', when he wrote that language works through 'syllable and rhythm, penetrating far below the conscious level of thought and feeling, invigorating every word; sinking to the most primitive and forgotten, returning to the origin and bringing something back, seeking the beginning and the end. It works through meanings, certainly, or not without meanings in the ordinary sense …'"

- Rajiv Malhotra

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"This book offers an introduction to the kind of work required for this preparation. Perhaps the best public framework for such an encounter is sapeksha-dharma. Sapekshata (the quality of sapeksha-dharma) itself, we remember, literally means engagement 'with reciprocity and mutual respect'. Such a framework is consistent with the principle of bandhuta in the sense of inter-subjectivity, solidarity and fraternity across paths and identities. It means unity in diversity to the extent of mutual cooperation, and even mutual dependency. This framework is the ethos of what might be called 'positive pluralism' rather than mere tolerance or indifference emanating from a position of assumed superiority. Sapekshata stems from a belief in integral unity, which is to say that in this view difference and underlying unity are not mutually contradictory. Its opposite, nirapekshata, is closer to what the West defines as secularism, which is only a palliative developed to prevent conflicts arising from a tentative and tenuous stalemate. Secularism does not foster pan-humanness across all boundaries beyond offering the promise of material equality, and not even that promise has ever been realized. Sometimes, secularism is even used to promulgate divisiveness. And yet it has attained a lofty place among intellectuals. Sapekshata is not simply a negative principle, such as the US Constitution's statement that the state should not interfere with religious practice. Rather, it is a principle of active support for spiritual practice in diverse forms . The pluralist character of the ancient Indian state has been attributed to dharma-sapekshata. For instance, the protection of minorities depends on the goodwill of the majority, and sapekshadharma is why India has an unparalleled track record of welcoming numerous kinds of communities from various parts of the world and offering them the support to prosper without any loss of identity or religious tradition. The recent import of secularism from the West is based on substituting 'religion' for 'dharma' and adopting Western social and legal structures. This has led to divisive vote-bank politics in the name of secularism and to a counter-reaction by a segment of Hindu politicians wanting to create a Hindu 'religion' that is equally political. The chain reaction set in motion has been disastrous both for Hindus and minorities. This book, therefore, is also a contribution to the heated debate on the implications of secularism in India. In particular, it must be stressed that sapeksha-dharma does not demand adherence to Hinduism."

- Rajiv Malhotra

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"In the Mahabharata, the ceremony for the oath of a new king includes the admonition: 'Be like a garland-maker, O king, and not like a charcoal burner.' This is essentially a call for dharma-sapekshata. The garland is a metaphor for dharmic diversity in which flowers of many colours and forms are strung harmoniously for the most pleasing effect, and it symbolizes social coherence. By contrast, charcoal is a metaphor for reducing the diversity into homogeneity, burning it into lifeless ashes. The king, in taking the oath, is being asked to exemplify supporting a coherent diversity in which highly contextual and varied culture is a unity (garland) of distinct particulars (flowers). It avoids the two extremes: incoherence of a chaotic scattering of flowers, and reductionist, homogenized universals. I offer sapeksha-dharma as an alternative to Western secularism. Secularism is perhaps better expressed as pantha-nirapeksha, which means not favouring one pantha (i.e., sect or denomination) over another. A society based on sapeksha-dharma would be expected to uphold the highest dharma rather than exercising mere tolerance or indifference. By its very nature, dharma would be sensitive to diversity among communities. Civic identity, daily life, politics and the art of government would all be maintained through multiple levels of reciprocal relationships informed and guided by this notion. It would also provide a safe framework for purva paksha since the ethic of mutual respect would trump the differences before they could turn toxic. Also, there can be no finality or closure to dharma. It is more like an open architecture, forever unfolding and assimilating. Purva paksha, on these terms, is not a way of settling debate or of asserting unity but of allowing unity to emerge, dissolve, fall apart and be reborn from moment to moment in the unfolding of civilizational encounters."

- Rajiv Malhotra

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"It is important for Pollock that Muslims not be blamed for the decline of Sanskrit. He writes that any theory 'can be dismissed at once' if it 'traces the decline of Sanskrit culture to the coming of Muslim power'... Trying to prove the timing of Sanskrit's decline prior to the Turkish invasions enables him to absolve these invasions of any blame... I get the impression that Pollock does not want to dwell on whether Muslim invasions had debilitated the Hindu political and intellectual institutions in the first place... Throughout Pollock's analysis, hardly any Muslim ruler gets blamed for the destruction of Indian culture. He simply avoids discussing the issue of Muslim invasions and their destructive influence on Hindu institutions... The impact of various invasions in Kashmir was so enormous that it cannot be ignored in any historical analysis... The contradiction between his two accounts, published separately, is serious: Muslim invasions created a traumatic enough shockwave to cause Hindu kings to mobilize the 'cult of Rama' and therefore the Hindus funded the production of extensive Ramayana texts for this agenda. And yet, the death of Sanskrit taking place at the same time had little relation to the arrival of Muslims. When Hindus are to be blamed for their alleged hatred towards Muslims, the Muslims are shown to have an important presence; but when Muslims are to be protected from being assigned any responsibility for destruction, they are mysteriously made to disappear from the scene."

- Rajiv Malhotra

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