The Westernization of Hinduism and its Alienating Consequences

“We must at present do our best to form a class who may be interpreters between us and the millions whom we govern,  –a class of persons Indian in blood and colour, but English in tastes, in opinions, in morals and in intellect.” -Lord Thomas Babington Macaulay

“Sexual pleasure is not pleasure. Sex-pleasure is the most devitalizing and de-moralizing of pleasures. Sexual pleasure is not pleasure at all. It is mental delusion. It is false, utterly worthless, and extremely harmful.”  -Swami Sivananda Saraswati

Kali. Image Source.

An old painting of Kali in Kalighat painting style. This is a blend of traditional Bengali folk styles, and European painting. An in-between version of this scene, not as sexualized as ancient depictions, but not as tame as modern ones either.  Image Source.

Westernized or Anglicized Hinduism describes the religious system which is adhered to by most Hindus living in the United States and Britain, as well as by those in the modern Hindu urban elite, middle class, and urban working class. Essentially, any Hindu population which has experienced the impact of a modern education system for a few generations now subscribes to a Westernized variant of the belief system.

Initially I was planning on titling this piece “The Anglicization of Hinduism,” as that is what the bulk of this article pertains to, but that would entail a slight misnomer. This is because aside from morphing under British pressure, the most ancient substratum belief of the Hindu philosophical tree– namely Tantra– has been under a far longer lasting, but less severe morphing due to the influence of Vedic Brahminical tradition which arose in the Western part of the Indian subcontinent. Then, in the British period orthodox Vedic Brahmins eagerly collaborated with the colonial regime. Using it as their vehicle, both the Brahminical and Victorian worldviews, began to permeate the Hindu cultural landscape in unison.

Thus, Hinduism has been “westernized” in two senses: Recent, and rapid influence from Britain, and ancient, gradual influence from Western India. Anglicization and Sanskritization.

Basic Characteristics of Westernized Hinduism in Hindu terms: Modern, Westernized Hinduism is essentially a modified form of Advaita Vedanta, though ISKON (a dualist sect), the Brahmo Samaj, Arya Samaj, Gandhian Hinduism, and indeed nearly every major Hindu religious movement since 1800 can be characterized as Westernized Hinduism, Anglicized Hinduism, or Neo-Hinduism. It is normally highly monistic, and places an emphasis on Bhakti and/or Karma Yoga. Tantra, especially left-hand path Tantra is conspicuously absent. Most Neo-Hindus see Hinduism both as a specific religion, and also as a meta-religious framework, which encompasses all religions. The most popular text in this branch of Hinduism is the Bhagavad Gita.  More on all of this later.

Formation of Westernized Hinduism: That covers the Hindu lineage, but there is of course a Western lineage as well. it is also the product of a violent and rapid change in the Indian social order– namely the advent of British colonialism, and eventually modern capitalism. The British Raj accorded a privileged role to Christian values and Western concepts. Starting in about 1858, when the British East India Company was forced to transfer power to the British monarchy, the British began to more actively inject their civilizational model into the subcontinent. The imposition of British political institutions and laws on Indian society, the state the support of British missionaries, the state encouragement of convent education and other forms of British education, and the selection of conservative, orthodox Brahmins for use in writing and interpreting what became “Anglo-Hindu law,” and the uniform application of that law to all of Hindu society, are all examples of this sudden change in traditional Hindu society.

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Covert Lokayata I: Doctrines


This chart doesn’t represent every possible influence between the subject categories, just those relating to Lokayata’s influence. Each post will start with this chart, darkened to signify which relationships will be explored in that post.

This will be the first in a series of posts exploring the hidden role of Lokayata, and closely related forms of materialism, in Indian history and philosophy.

Reconstructing the influence of a dead school of philosophy is a difficult task, made all the more difficult in the case of Lokayata, where none of the original source material has survived. We are left to rely on the few fragmentary quotations, which pass on to us exclusively from critics of the school. The following posts rely heavily on the work of Debiprasad Chattopadhyaya, Dale Riepe, and Rasik Vihari Joshi, both in their analytical capacities, and in the collections of primary source fragments they’ve published.

In future posts I will examine the proto-materialist origins of Lokayata, Tantra, and Vedic religion, the impact of Lokayata on the orthodox darsanas, the impact on social and physical sciences,  the impact on culture and art, and the 20th century revival of interest in Lokayata. But this first post will simply be an overview of the remarkable characteristics of Lokayata.

Core Features of Lokayata

Though Lokayata (also known as Carvaka, or Brihaspati Darsana) changed over time the main features were as follows:

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If you Meet Krishna on the Road, Kill Him.

(Disclaimer: The title is a reference to the Buddhist saying: “If you meet Buddha on the road, kill him.” meaning something like: To fetishize your interpretation of Buddha is to disregard his teachings. If you think that you’ve discovered the truth, shatter your illusion.)

This will be a response to some of the criticism I’ve received on and offline for the post The Yoga of Arjun’s Despondency.

The most common criticism I receive is that I didn’t “get” it. I interpreted the text literally, whereas it is a metaphorical or spiritual treatise. Its really about an “inner battle” whereas I focus entirely on the external battle.

The second criticism I get is that since I disagree with Krishna’s conclusions, I must not understand, or disagree with his reasoning.

I find these criticisms unsatisfactory, but they comes up a lot so I might as well address them:

Image Source: ISKON/Corbis

Image Source: ISKON/Corbis

Levels of Analysis: First of all, Hindu exegesis has (at least) three levels. First, adhyatmika (analysis on a philosophical, spiritual, transcendental level) second adhidaivika (analysis of cosmological, ritualistic, psychological factors) and third adhibhautika (analysis of physical events, the sphere of matter and nature.) Check out Page 76 of this paper for a better set of definitions.

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Book Review: Uniqueness of Carvaka Philosophy in Traditional Indian Thought


I’m working on a much longer article (or series of articles?) on the Charvaka/Lokayata school of philosophy, so I’m going through a whole bunch of texts on the school of thought. As this one was the shortest, I finished it first. And as I’ve got a lazy saturday afternoon on my hands, I’ll supply a short review:

Uniqueness of Carvaka Philosophy in Traditional Indian Thought (or a version thereof) served as Dr. Bupender Heera’s doctoral thesis, so my expectations were high in terms of the scholarly quality of this text. However, in total I was disappointed. Heera doesn’t offer a new perspective on Charvaka, nor does he synthesize some of the existing viewpoints on Charvaka into one coherent conception, nor does he give a clearly worded survey of the range of theories about Charvaka. I also found that many of the book’s claims were either sourced in a frustratingly obscure way (i.e. a claim would appear [for example] five times throughout the book, but would cited only the third time.) To a degree this is unavoidable, but it made the text problematic as a research material.

Heera has clearly read the work of Debiprasad Chattopadhyaya, but he neither utilizes his theories on Charvaka effectively, nor addresses/refutes them. Chattopadhyaya for example, points out that most of the academic viewpoints on Charvaka rely on the description of the philosophy which is contained in Madhvacharya’s  Sarva-shastrartha-sangraha as a basis point, without properly accounting for Madhvacharya’s Vedantic bias, and his argumentative style. Madhvacharya tried to “put himself in the shoes” of his opponent, which often led to him presenting a position derived from a blending of his own Vedantic beliefs, and the beliefs of the opposing system, as purely the beliefs of the opposing system. Thus, the uncritical reliance on Madhvacharya’s account renders most accounts of Charvaka distorted. Heera’s work largely falls prey to Chattopadhyaya’s criticism, without attempting to justify why Madhvacharya’s account should be accepted as basically consistent with actual Charvaka practice. For instance, on page 42, where Heera claims that Charvakas quote scripture in defense of their position, a claim which derives completely from Madhvacharya’s account, and without which would seem bizarre.

The book also contains numerous internal contradictions. Heera cannot seem to decide whether or not the Charvakas had any actual texts, or not. On page 17 he says:

“Many of the above mentioned works, by way of quoting with acknowledgements the sutras, karikas and slokas pertaining to materialistic school of thought, hold out a clear and unmistakable evidence to the effect that there once existed, at least, two works of the Indian materialists, namely the Barhaspatya-Sutra and the Lokayata Sastra. Patanjali’s Mahabhasya on Panini’s Vyakarana refers to another work of the Lokayata School — One by Bhaguri, a commentary on Lokayata Sastra.” (Emphasis added, and my apologies for omitting diacritical marks)

Then on page 87 he says:

They did not have any literature of their own like other philosophical systems of traditional Indian thought. The Carvakas did not have any sutra… In the case of Carvaka we hear only Barhaspatya Sutra which is very small in size besides being a sutra of questionable authenticity.” (Emphasis added, and my apologies for omitting diacritical marks)

Another notable inconsistency is the notion that Charvaka was simultaneously the first Indian philosophical system, and a reactionary movement against asceticism and brahmanism. In an attempt to simply describe Charvaka without getting entangled in any of the historical controversies, he presents a wide range of mutually exclusive scholarly opinions (without prefacing them as such) and thus creates an incoherent view of the Charvaka philosophy.

There are also certain confusions which occur towards the end of the book, such as the idea that the Charvakas were not condemning the Vedas, but were rather condemning their distortion and misinterpretation by brahmanas. This claim is not sourced*, leading me to believe that this is Heera’s opinion or personal interpretation. Thus, I theorize that Heera in an attempt to be charitable, has formed a conception of Charvaka which is strongly influenced by his own spiritual outlook. In this sense, he is himself a modern Madhvacharya.

Nevertheless, the book was useful to me. It has pointed out many source texts to explore further, and summarized some of the beliefs of prior scholars. There are also useful analogies made to Western philosophers like Hume, Locke, Lucretius, and Strato of Lampsacus. For this, I humbly thank Dr. Heera, though I have trouble recommending his volume. Nevertheless, it is the briefest (and cheapest) exposition of Charvaka philosophy on the market, so if you can tolerate some inconsistencies and are aware that this perspective may be distorted, why not check it out? Even with all the problems, it still provides a more nuanced and complete perspective on Charvaka than any online resource I’ve discovered so far.

*Interestingly, this claim is only remotely plausible if Madhvacharya’s account is discarded. The Sarva-shastrartha-sangraha (page 10) contains an alleged quotation from Brihaspati in which the authors of the Vedas are explicitly condemned as “fools, knaves, and demons.”

Hariti: Saraswati’s Persian Cousin


Hariti Relief Panel at Candi Mendut, Java. What is an Iranian deity doing in Java?

Hariti’s history goes way back. I’m taking pre-Vedic. Something like 2500 BC or maybe even earlier. At that time the Iranians and Indo-Aryans were still one people– the Indo-Iranians. They worshipped two classes of deities: Devas and Asuras in Sanskrit, or Daevas and Ahuras in Avestan. After the Indo-Iranians split into two distinct civilizations, Vedic civilization (eventually) adopted the Devas as Gods. The Devas were engaged in a perpetual war with the Asuras, which evolved into evil-ish demigods. Ancient East Iranian civilization did the reverse, deifying the Ahuras and demonizing the Daevas (hence words like demon and devil.) The reasons for this reversal is not entirely clear. I’d like to imagine there was a fascinating, but long lost clerical-political drama involved, but who knows. The mystery of this era is half the appeal.

To reiterate and simplify:

Vedic civilization: Devas- Good guys, Asuras- Bad guys

East Iranian civilization: Ahuras- Good guys, Daevas- Bad guys

Vedic civilization had a Devi, a fertility/mother goddess by the name of Saraswati. She was the personification of a main river of Indo-Iranian culture. Therefore, her Iranian equivalent, Harauhuti, or Hariti was a Daevi, and a fertility/mother demon as odd as that sounds.* Hariti was believed to be a highly prolific mother with hundreds of children. The problem is that she would also steal other peoples children in order to cannibalize them and feed them to her young. In practical worship, she was treated as a demon of pestilence who needed to be appeased, probably because disease was a big killer of children.

That was the story, at least until Buddhists came out of the core Indian subcontinent and into modern Afghanistan. The Buddhists modified the original tale to fit better into the Indian cosmology. For instance, they transformed Hariti from a “Daeva” into a Yaksha (nature spirit), and gave her a backstory involving reincarnation. More importantly, they also extended the original tale to include a fateful interaction with the Buddha.**


Hariti with children.”House of Naradakha,” Found in Shaikhan Dheri, Charsada, Khyber Pakhtunkhwa, Pakistan. This is a Gandharan piece.

According to the Buddhist legends, the childless victims of Hariti beg the Buddha to save them from her cruelty.*** To help, Buddha waits until Hariti leaves the house and traps her smallest child, Priyankara under his alms bowl. When she returns and cannot find her son she weeps and panics. She scours every city, village, mountain, lake, and forest on Earth. She franticly soars into the hells and into the divine realms in search of her son, even going so far as to demand entrance into the abode of Indra. After exhausting all other options, she too appeals to the Buddha for help. He points out that her suffering is minor compared to the combined suffering of all the mothers whose children she has killed. She agrees, and (although seemingly under duress) agrees to protect those who she formerly devoured if only Buddha renders his assistance. At that, Buddha lifts up his alms bowl and Priyankara hops out safe and sound. Thereafter Hariti converts to Buddhism, quits cannibalism, and becomes a spirit of fertility, childbirth, motherhood, and the protection of children (and also of healing in some areas, such as Southeast Asia where the top image is from.)

One might imagine that this was part of a marketing strategy by the Buddhists. Brand localization. Thats speculation. Anyway, from Afghanistan, Hariti was exported back to India, and the rest of the Buddhist world as a mother goddess and defender of children.

But isn’t this an odd progression? First there was an Indo-Iranian fertility deity which split into Saraswati and Harauhuti/Hariti. Two figures which are basically the same, only one is deified and the other is demonized. From the Indian point of view, Harauhuti is a reversal of Saraswati. Fast forward a few thousand years, the Indian Buddhists come back and adopt the reversed Saraswati, and reverse her once again into Hariti, a fertility spirit (Yaksha.) How many times can this character switch sides? Furthermore, now the Hindu and Buddhist pantheons have a duplication problem. They’ve got two deities with the same origin and function. Saraswati and Hariti both fertility deities based on the same river. I know I know, over time their backstories changed enough to be perceptibly different figures, but its still an interesting mythological duplication.


Saraswati with her veena. Over time she lost a lot of her more blatant “motherly” traits and became more associated with knowledge and the arts.


Hariti: Saraswati’s long lost cousin? You can see she’s crawling with children. Clearly the more blatant fertility/mother deity out of the two.


















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The Modern Renunciate in Guru Dutt’s “Pyaasa” (Thirsty)

“Birth is misery, old age is misery, and so are disease and death, and indeed, nothing but misery is Samsâra, in which men suffer distress.” -Mahavira, Uttarâdhyayana Sûtra, Lecture 19, Verse 15.



Pyaasa movie poster depicting Vijay (Guru Dutt), and Gulabo (Waheeda Rahman) in the center, with Meena (Mala Sinha) looking on unhappily from the corner. This poster kind of gives away the resolution of the love triangle.
Image source: A Tangle of Wires

The full movie is available on Youtube. Click the “CC” button to access english subtitles.

This is probably the most beautiful, poetic Bollywood film I’ve seen to date. For what it’s worth, Time Magazine agrees that its one of the best in cinema history. You really should watch it for yourself, but not everyone has a 2 hour commitment. So just read the post instead. You’ll feel like you saw it. A small amount of summarization will be necessary here, but go to Wikipedia for an actual summary.

If you are just interested in the songs, they’ll be collected at the bottom of the article with the relevant Youtube links. (you might have to hit “Continue reading” if coming from the main page.)

something stirred 0 14 20

Waheeda Rahman being seductive in the song “Jaane Kya Tune Kahi.” 0:14:20

The Saraswati River Runs Dry: The film starts out in a metaphorical Garden of Eden, (or should I say the Saraswati valley?) Vijay is peacefully lying down next to a river in a garden, and celebrating the beauty of nature in song. Within the first minute, the dreamy mood is broken by an anonymous leather shoe, which crushes a bumblebee before Vijay’s eyes and shatters the serenity of the moment. As he exits the park, Vijay ends the song by rhetorically asking: “What little have I to add to this splendor, save a few tears, a few sighs?”

The Eden analogy is apt because never again (on the story’s timeline) does Vijay sing a happy word of poetry. From here on, the story inhabits the corrupt material realm of fallen man.

Socialist Pipe Dreams:

“We have to build the noble mansion of free India where all her children may dwell. The appointed day has come – the day appointed by destiny – and India stands forth again, after long slumber and struggle, awake, vital, free and independent.”  –Jawaharlal Nehru in the speech “A Tryst with Destiny,” August 14 1947

Impressive words right? Nehru didn’t invent this ideology. He just voiced the common sentiment that independence would harken a glorious new era for India, in which political and social structures would be overhauled for the better. Here is another such quote by a prominent independence leader you might have heard of:

“In the democracy which I have envisaged, a democracy established by non-violence, there will be equal freedom for all. Everybody will be his own master. It is to join a struggle for such democracy that I invite you today. Once you realize this you will forget the differences between the Hindus and Muslims, and think of yourselves as Indians only, engaged in the common struggle for independence.” -Mahatma Gandhi from “Quit India speech”, August 8, 1942

The fantasy of being on the cusp of a socialist golden age was integral to Congress’ nationalist ideology. When the heralded changes never materialized, disenchantment, despair, and even disgust at the state of Indian society percolated through the national zeitgeist.

Instead of this idealized future, Vijay finds a society in which one’s humanity is only worth what it can fetch on the market. A society permeated by hypocrisy and cruelty,  These characteristics are not unique to India, but given the high hopes engendered by the independence movement it is easy to see why some Indians reacted with such despair in the 1950s. Nehruvian socialism failed in its promises, and left India to bear the unmitigated social and economic realities of developing world capitalism. I would argue to the contrary that it intensified the harshness of those realities, but that is a topic fit for another post.


Actor and Director of the film, Guru Dutt looking angsty.
Despite the watermark, Image source: Bollywood Updates

Vijay the Marxist: More than anything else, the film’s social critique centers around the dehumanizing conditions of Indian “capitalism.” I refer to “capitalism” in quotations here, because India by no means had capitalism, as defenders of the free market would define it. Nehruvian socialism was quite distant from laissez-faire. The definition used here is the Marxist one: an economic system in which the means of production is owned privately rather than collectively, In the Marxist paradigm, capitalism leads to things like commodification, commodity fetishism, and the alienation of workers from their labor (and therefore from their humanity.)

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