All Life Is Yoga: Savitri - Sri Aurobindo

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in fact, being Art, must attempt to make us see, and since it is to the inner senses that it has to address itself, – for the ear is its only physical gate of entry and even there its real appeal is to an inner hearing, – and since its object is to make us live within ourselves what the poet has embodied in his verse, it is an inner sight which he opens in us, and this inner sight must have been intense in him before he can awaken it in us.

      Therefore the greatest poets have been always those who have had a large and powerful interpretative and intuitive vision of Nature and life and man and whose poetry has arisen out of that in a supreme revelatory utterance of it. ... Sight is the essential poetic gift. The archetypal poet in a world of original ideas is, we may say, a Soul that sees in itself intimately this world and all the others and God and Nature and the life of beings and sets flowing from its centre a surge of creative rhythm and word-images which become the expressive body of the vision. The great poets are those who repeat in some measure this ideal creation, kavayah satyasrutah, seers of the poetic truth and hearers of its word.

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      The poet-seer sees differently, thinks in another way, voices himself in quite another manner than the philosopher or the prophet. The prophet announces the Truth as the Word, the Law or the command of the Eternal, he is the giver of the message; the poet shows us Truth in its power of beauty, in its symbol or image, or reveals it to us in the workings of Nature or in the workings of life, and when he has done that, his whole work is done; he need not be its explicit spokesman or its official messenger. The philosopher’s business is to discriminate Truth and put its parts and aspects into intellectual relation with each other; the poet’s is to seize and embody aspects of Truth in their living relations, or rather – for that is too philosophical a language – to see her features and, excited by the vision, create in the beauty of her image.

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      ...it is well to insist that the native power of poetry is in its sight, not in its intellectual thought-matter, and its safety is in adhering to this native principle of vision; its conception, its thought, its emotion, its presentation, its structure must rise out of that or else rise into it before it takes its finished form. The poetic vision of things is not a criticism of life, not an intellectual or philosophic view of it, but a soul-view, a seizing by the inner sense. The Mantra too is not in its substance or its form a poetic enunciation of philosophic verities, but a rhythmic revelation or intuition arising out of the soul’s sight of God and Nature and itself and of the world and of the inner truth – occult to the outward eye – of all that peoples it, the secrets of their life and being.

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      ...one poet may seem to excel in the concrete presentation of things and falter or be less sure in his grasp of the purely subjective, while another may move freely in the more subjective worlds and be less at home in the concrete; and both may be poets of a high order. But when we look closer, we see that just as a certain objectivity is necessary to make poetry live and the thing seen stand out before our eyes, so on the other hand even the most objective presentation starts from an inner view and subjective process of creation or at least a personal interpretation and transmutation of the thing seen. The poet really creates out of himself and not out of what he sees outwardly: that outward seeing only serves to excite the inner vision to its work. Otherwise his work would be a mechanical construction and putting together, not a living creation.

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      From our present point of view we may say that the poet may do as he pleases in all that is not the essential matter. Thought-matter may be prominent in his work or life-substance predominate. He may proceed by sheer force of presentation or by direct power of interpretation. He may make this world his text, or wander into regions beyond, or soar straight into the pure empyrean of the infinite. To arrive at the Mantra he may start from the colour of a rose, or the power or beauty of a character, or the splendour of an action, or go away from all these into his own secret soul and its most hidden movements. The one thing needful is that he should be able to go beyond the word or image he uses or the form of the thing he sees, not be limited by them, but get into the light of that which they have the power to reveal and flood them with it until they overflow with its suggestions or seem even to lose themselves and disappear into the revelation and the apocalypse. At the highest he himself disappears into sight; the personality of the seer is lost in the eternity of the vision, and the Spirit of all seems alone to be there speaking out sovereignly its own secrets.

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      ...it is not sufficient for poetry to attain high intensities of word and rhythm; it must have, to fill them, an answering intensity of vision and always new and more and more uplifted or inward ranges of experience. And this does not depend only on the individual power of vision of the poet, but on the mind of his age and country, its level of thought and experience, the adequacy of its symbols, the depth of its spiritual attainment. A lesser poet in a greater age may give us occasionally things which exceed in this kind the work of less favoured immortals. The religious poetry of the later Indian tongues has for us fervours of poetic revelation which in the great classics are absent, even though no mediaeval poet can rank in power with Valmiki and Kalidasa. The modern literatures of Europe commonly fall short of the Greek perfection of harmony and form, but they give us what the greatest Greek poets had not and could not have. And in our own days a poet of secondary power in his moments of inspiration can get to a vision far more satisfying to the deepest soul within us than Shakespeare’s or Dante’s. Greatest of all is the promise of the age that is coming, if the race fulfils its highest and largest opening possibilities and does not founder in a vitalistic bog or remain tied in the materialistic paddock; for it will be an age in which all the worlds are beginning to withdraw their screens from man’s gaze and invite his experience, and he will be near to the revelation of the Spirit of which they are, as we choose, the obscuring veils, the significant forms and symbols or else the transparent raiment. It is as yet uncertain to which of these consummations destiny is leading us.

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      Chapter 3

      The Poetry of the Future

      Words of Sri Aurobindo

      The poetry of the future has to solve, if the suggestions I have made are sound, a problem new to the art of poetic speech, an utterance of the deepest soul of man and of the universal spirit in things, not only with another and a more complete vision, but in the very inmost language of the self-experience of the soul and the sight of the spiritual mind. The attempt to speak in poetry the inmost things of the spirit or to use a psychical and spiritual seeing other than that of the more outward imagination and intelligence has indeed been made before, but for the most part and except in rare moments of an unusually inspired speech it has used some kind of figure or symbol more than a direct language of inmost experience; or else, where it has used such a language, it has been within the limited province of a purely inward experience as in the lofty philosophic and spiritual poetry of the Upanishads, the expression of a peculiar psychic feeling of Nature common in far eastern poets or the poetic setting of mystic states or of an especial religious emotion and experience of which we have a few examples in Europe and many in the literature of western Asia and India. It is a different and much larger creative and interpretative movement that we now see in its first stages, an expansion of the inner way of vision to outer no less than to inner things, to all that is subjective to us and all that is objective, a seeing by a closer identity in the self of man with the self of things and life and Nature and of all that meets him in the universe. The poet has to find the language of these identities, and even symbol and figure, when brought in to assist the more direct utterance, must be used in a different fashion, less as a veil, more as a real correspondence.

      The first condition of the complete emergence of this new poetic inspiration and this vaster and deeper significance of poetic speech must be the completion of an as yet only initial spiritualised turn of our general human feeling and

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