When I next saw Bimala I pitched my key high without further ado. "Have we been able," I began, "to believe with all our heart in the god for whose worship we have been born all these millions of years, until he actually made himself visible to us?
"How often have I told you," I continued, "that had I not seen you I never would have known all my country as One. I know not yet whether you rightly understand me. The gods are invisible only in their heaven--on earth they show themselves to mortal men."
Bimala looked at me in a strange kind of way as she gravely replied: "Indeed I understand you, Sandip." This was the first time she called me plain Sandip.
"Krishna," I continued, "whom Arjuna ordinarily knew only as the driver of his chariot, had also His universal aspect, of which, too, Arjuna had a vision one day, and that day he saw the Truth. I have seen your Universal Aspect in my country. The Ganges and the Brahmaputra are the chains of gold that wind round and round your neck; in the woodland fringes on the distant banks of the dark waters of the river, I have seen your collyrium-darkened eyelashes; the changeful sheen of your sari moves for me in the play of light and shade amongst the swaying shoots of green corn; and the blazing summer heat, which makes the whole sky lie gasping like a red-tongued lion in the desert, is nothing but your cruel radiance.
"Since the goddess has vouchsafed her presence to her votary in such wonderful guise, it is for me to proclaim her worship throughout our land, and then shall the country gain new life.
'Your image make we in temple after temple.'  But this our people have not yet fully realized. So I would call on them in your name and offer for their worship an image from which none shall be able to withhold belief. Oh give me this boon, this power."
Bimala's eyelids drooped and she became rigid in her seat like a figure of stone. Had I continued she would have gone off into a trance. When I ceased speaking she opened wide her eyes, and murmured with fixed gaze, as though still dazed: "O Traveller in the path of Destruction! Who is there that can stay your progress? Do I not see that none shall stand in the way of your desires? Kings shall lay their crowns at your feet; the wealthy shall hasten to throw open their treasure for your acceptance; those who have nothing else shall beg to be allowed to offer their lives. O my king, my god! What you have seen in me I know not, but I have seen the immensity of your grandeur in my heart. Who am I, what am I, in its presence? Ah, the awful power of Devastation! Never shall I truly live till it kills me utterly! I can bear it no longer, my heart is breaking!"
Bimala slid down from her seat and fell at my feet, which she clasped, and then she sobbed and sobbed and sobbed.
This is hypnotism indeed--the charm which can subdue the world! No materials, no weapons--but just the delusion of irresistible suggestion. Who says "Truth shall Triumph"?  Delusion shall win in the end. The Bengali understood this when he conceived the image of the ten-handed goddess astride her lion, and spread her worship in the land. Bengal must now create a new image to enchant and conquer the world. Bande Mataram!
I gently lifted Bimala back into her chair, and lest reaction should set in, I began again without losing time: "Queen! The Divine Mother has laid on me the duty of establishing her worship in the land. But, alas, I am poor!"
Bimala was still flushed, her eyes clouded, her accents thick, as she replied: "You poor? Is not all that each one has yours? What are my caskets full of jewellery for? Drag away from me all my gold and gems for your worship. I have no use for them!"
Once before Bimala had offered up her ornaments. I am not usually in the habit of drawing lines, but I felt I had to draw the line there.  I know why I feel this hesitation. It is for man to give ornaments to woman; to take them from her wounds his manliness.
But I must forget myself. Am I taking them? They are for the Divine Mother, to be poured in worship at her feet. Oh, but it must be a grand ceremony of worship such as the country has never beheld before. It must be a landmark in our history. It shall be my supreme legacy to the Nation. Ignorant men worship gods. I, Sandip, shall create them.
But all this is a far cry. What about the urgent immediate? At least three thousand is indispensably necessary--five thousand would do roundly and nicely. But how on earth am I to mention money after the high flight we have just taken? And yet time is precious!
I crushed all hesitation under foot as I jumped up and made my plunge: "Queen! Our purse is empty, our work about to stop!"
Bimala winced. I could see she was thinking of that impossible fifty thousand rupees. What a load she must have been carrying within her bosom, struggling under it, perhaps, through sleepless nights! What else had she with which to express her loving worship? Debarred from offering her heart at my feet, she hankers to make this sum of money, so hopelessly large for her, the bearer of her imprisoned feelings. The thought of what she must have gone through gives me a twinge of pain; for she is now wholly mine. The wrench of plucking up the plant by the roots is over. It is now only careful tending and nurture that is needed.
"Queen!" said I, "that fifty thousand rupees is not particularly wanted just now. I calculate that, for the present, five thousand or even three will serve."
The relief made her heart rebound. "I shall fetch you five thousand," she said in tones which seemed like an outburst of song--the song which Radhika of the Vaishnava lyrics sang:
For my lover will I bind in my hair The flower which has no equal in the three worlds!
--it is the same tune, the same song: five thousand will I bring! That flower will I bind in my hair!
The narrow restraint of the flute brings out this quality of song. I must not allow the pressure of too much greed to flatten out the reed, for then, as I fear, music will give place to the questions "Why?" "What is the use of so much?" "How am I to get it?"--not a word of which will rhyme with what Radhika sang! So, as I was saying, illusion alone is real--it is the flute itself; while truth is but its empty hollow. Nikhil has of late got a taste of that pure emptiness--one can see it in his face, which pains even me. But it was Nikhil's boast that he wanted the Truth, while mine was that I would never let go illusion from my grasp. Each has been suited to his taste, so why complain?
To keep Bimala's heart in the rarefied air of idealism, I cut short all further discussion over the five thousand rupees. I reverted to the demon-destroying goddess and her worship. When was the ceremony to be held and where? There is a great annual fair at Ruimari, within Nikhil's estates, where hundreds of thousands of pilgrims assemble. That would be a grand place to inaugurate the worship of our goddess!
Bimala waxed intensely enthusiastic. This was not the burning of foreign cloth or the people's granaries, so even Nikhil could have no objection--so thought she. But I smiled inwardly. How little these two persons, who have been together, day and night, for nine whole years, know of each other! They know something perhaps of their home life, but when it comes to outside concerns they are entirely at sea. They had cherished the belief that the harmony of the home with the outside was perfect. Today they realize to their cost that it is too late to repair their neglect of years, and seek to harmonize them now.
What does it matter? Let those who have made the mistake learn their error by knocking against the world. Why need I bother about their plight? For the present I find it wearisome to keep Bimala soaring much longer, like a captive balloon, in regions ethereal. I had better get quite through with the matter in hand.
When Bimala rose to depart and had neared the door I remarked in my most casual manner: "So, about the money ..."
Bimala halted and faced back as she said: "On the expiry of the month, when our personal allowances become due ..."
"That, I am afraid, would be much too late."
"When do you want it then?"
"Tomorrow you shall have it."
20. A line from Bankim Chatterjee's national song Bande Mataram.
21. A quotation from the Upanishads.
22. There is a world of sentiment attached to the ornaments worn by women in Bengal.
They are not merely indicative of the love and regard of the giver, but the wearing of them symbolizes all that is held best in wifehood--the constant solicitude for her husband's welfare, the successful performance of the material and spiritual duties of the household entrusted to her care. When the husband dies, and the responsibility for the household changes hands, then are all ornaments cast aside as a sign of the widow's renunciation of worldly concerns. At any other time the giving up of omaments is always a sign of supreme distress and as such appeals acutely to the sense of chivalry of any Bengali who may happen to witness it