The conflict between the blacks and the whites in America is not really the conflict between black and white, it is the conflict between the plastic and the real. And the American, the white man, is very afraid: basically he is afraid that, if the negro is allowed, he will lose his woman, the white American will lose his woman. The negro is more vital, sexually more vital, more alive; his energy is still wild. And that is one of the greatest fears of civilized people: to lose their women. They know that if more vital persons are available, they will not be able to hold their women.
Tantra says: In the world of those who are still primitive, there is a possibility of starting to grow. You have grown in a wrong direction; they have not grown yet – they can still choose a right direction, they have more potential. And they don’t have anything to undo, they can proceed directly.
An arrowsmith woman is a low-caste woman, and for Saraha – a learned brahmin, a famous brahmin, who had belonged to the court of the king – going to an arrowsmith woman is symbolic. The learned has to go to the vital, the plastic has to go to the real. He saw this woman – a young woman, very alive, radiant with life – cutting an arrow-shaft, looking neither to the right nor to the left but wholly absorbed in making the arrow. He immediately felt something extraordinary in her presence, something that he had never come across. Even Sri Kirti, his master, paled before the presence of this woman. Something so fresh and something from the very source….
Sri Kirti was a great philosopher. Yes, he had told Saraha to drop all learning, but still he was a learned man. He had told Saraha to drop all Vedas and scriptures, but he had his own scriptures and his own Vedas. Even though he was anti-philosopical, his anti-philosophy was a sort of philosophy. Now here is a woman who is neither philosophical nor anti-philosophical, who simply does not know what philosophy is, who is simply blissfully unaware of the world of philosophy, of the world of thought. She is a woman of action and she is utterly absorbed in her action.
Saraha watched carefully: the arrow ready, the woman – closing one eye and opening the other – assumed the posture of aiming at an invisible target. Saraha came still closer…. Now there was no target, she was simply posing. She had closed one eye, her other eye was open, and she was aiming at some unknown target – invisible, it was not there. Saraha started feeling some message. This posture was symbolic, he felt, but still it was very dim and dark. He could feel something there, but he could not figure it out, what it was.
So he asked the woman whether she was a professional arrowsmith, and the woman laughed loudly, a wild laugh, and said, “You stupid brahmin! You have left the Vedas, but now you are worshipping Buddha’s sayings, the Dhammapada. So what is the point? You have changed your books, you have changed your philosophy, but you remain all the time the same stupid man.” Saraha was shocked. Nobody had talked to him that way; only an uncultured woman can talk that way. And the way she laughed was so uncivilized, so primitive – but still, something was very much alive. And he was feeling pulled: she was a great magnet and he was nothing but a piece of iron.