Hans Julius Eggeling

Summary

Hans Julius Eggeling 1911 Encyclopædia Britannica (1911)

Once a day, in the evening, “when the charcoal fire is extinguished and the smoke no longer issues from the fire-places, when the pestle is at rest, when the people have taken their meals and the dishes are removed,” he should go near the habitations of men, in order to beg what little food may suffice to sustain his feeble frame. Ever pure of mind he should thus bide his time, “as a servant expects his wages,” wishing neither for death nor for life, until at last his soul is freed from its fetters and absorbed in the eternal spirit, the impersonal self-existent Brahmă.
Source: Wikisource

Hans Julius Eggeling 1911 Encyclopædia Britannica (1911)

If the worship of Siva, despite the purport of his chief symbol, seems on the whole less liable to produce these undesirable effects than that of the rival deity, it is doubtless due partly to the real nature of that emblem being little realized by the common people, and partly to the somewhat repellent character of the “great god,” more favourable to evoking feelings of awe and terror than a spirit of fervid devotion.
Source: Wikisource

Hans Julius Eggeling 1911 Encyclopædia Britannica (1911)

Unlike the Greek dramatic theory, it is an invariable rule of Indian dramaturgy, that every play, however much of the tragic element it may contain, must have a happy ending. The dialogue is invariably carried on in prose, plentifully interspersed with those neatly turned lyrical stanzas in which the Indian poet delights to depict some natural scene, or some temporary physical or mental condition. The most striking feature of the Hindu play, however, is the mixed nature of its language.
Source: Wikisource

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