পাতা:রবীন্দ্র-রচনাবলী (ষোড়শ খণ্ড) - সুলভ বিশ্বভারতী.pdf/৭২৭

গ্রন্থপরিচয় । Sq ENSTEIN : The facts that make science end toward this view do not say good-bye to causality. TAGORE : Maybe, not ; but it appears that the idea of causality is not in the elements, that some other force builds up with them an organized universe. EINSTEIN: One tries to understand in the higher plane how the order is. The order is there, where the hig elements combine and guide existence; but in the minute elements this order is not perceptible. TAGORE: Thus duality is in the depths of existence- the contradiction of free impulse and the directive will which works upon it and evolves an orderly scheme of things. EINSTEIM : Modern physics would not say they arc contradictory. Clouds look one from a distance, but, if you see them near, they show themselves in disorderly drops of water. TAGORE find a parallel in human psychology. Our passions and desires are unruly, but our character subdues these elements into a harmonious whole. Does something similar to this happen in the physical world? Are the elements rebellious, dynamic with individual impulse? And is there a principle in the physical world which dominates them and puts them into an orderly organization EINSTEIN : Even the elements are not without statistical order; elements of radium will always maintain their specific order, now and ever onward, just as they have done all along. There is, then, a statistical order in the elements. TAGORE: Otherwise the drama of existence would be too desultory. It is the constant harmony of chance and determination which makes it eternally new and living. EINSTEIN : believe that whatever we do or live for has its causality; it is good, however, that we cannot look through it. TAGORE: There is in human affairs an element of elasticity also- some freedom within a small range, which is for the expression of our personality. It is like the musical system in India which is not so rigidly fixed as is the western music. Our composers give a certain definite outline, a system of melody and rhythmic arrangement, and within a certain limit the player can improvise upon it. He must be one with the law of that particular melody, and then he can give spontaneous expression to his musical feeling within the prescribed regulation. We praise the composer for his genius in creating a foundation along with a superstructure of melodies, but we expect from the player his own skill in the creation of variations of melodic flourish and omamentation. In creation we follow the central law of existence, but, if we do not cut ourselves adrift from