Overhead Poetry

No Mortal Breath

No mortal breath you bring us: love divine

Makes your whole countenance a silver call

To meet an unviewed vast of spirit-hush.

Far in the mystic vault your home is hung:

We turn our faces to your planet soul

And all infinity weighs upon our eye

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Its plumbless sleep. O light unwithering,

O star-bloom mirrored in a lake of earth,

Remember that your roots suck the pure sky!

Dream not the brief and narrow curves of clay

Limit your destiny of pristine power—

A throne amid ecstatic thrones that rule

A loneliness of superhuman night.

Sri Aurobindo's Comment

"Very fine all through both in language and rhythm—the last part, except for the closing line, is not so near the absolute as the first half, but all the same it is very fine and powerful. The blank verse is very good, each line has sufficient power to stand by itself, yet all combine together to make a linked whole. The basis is the Higher Mind: in the first half many of the lines (2-7) are illumined and there is even a strong influence of the Overmind Intuition. In the latter half, the same with a slighter illumination (9, 10), last line again the uplifting Overmind Intuition influence."

*

(What precisely is meant when we say poems exist already on the higher planes and have only to be transmitted here by the human consciousness ? If the parts of a poem hail from quite different planes, where exactly does the whole exist} Are there poetic fragments floating about which cohere only in the mind of the man who catches them ? And have these fragments a form already of language or do they become expressed by us alone ? Are all the innumerable languages of earth spoken in the higher planes or do the latter possess merely modes or states of consciousness ?)

"A poem may pre-exist in the timeless as all creation pre-exists there or else in some plane where the past, present and future exist together. But it is not necessary to presuppose anything of the kind to explain the phenomenon of inspiration. All is here a matter of

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formation or creation. By the contact with the source of inspiration the creative power at one level or another and the human instrument, receptacle or channel get into contact. That is the essential point, all the rest depends upon the individual case. If the substance, rhythm, form, words come down all together ready-formed from the plane of poetic creation, that is the perfect type of inspiration; it may give its own spontaneous gift or it may give something which corresponds to the idea or the aspiration of the poet, but in either case the human being is only a channel or receptacle, although he feels the joy of the creation and the joy of the aveś, enthousiasmos, elation of the inrush and the passage. On the other hand, it may be that the creative source sends down the substance or stuff, the force and the idea, but the language, rhythm etc. are found somewhere in the instrument; he has to find the human transcription of something that is there in diviner essence above; then there is an illumination or excitement, a conscious labour of creation swift or slow, hampered or facile. Something of the language may be supplied by the mind or vital, something may break through from somewhere behind the veil, from whatever source gets into touch with the transcribing mind in the liberating or stimulating excitement or uplifting of the consciousness. Or a line or lines may come through from some plane and the poet excited to creation may build around them constructing his material or getting it from any source he can tap. There are many possibilities of this nature. There is also the possibility of an inspiration not from above, but from somewhere within on the ordinary levels, some inner mind, emotional, vital etc., which the mind practised in poetical technique works out according to its habitual faculty. Here again in a different way similar phenomena, similar variations may arise.

"As for the language, the tongue in which the poem comes or the whole lines from above, that offers no real difficulty. It all depends on the contact between the creative Power and the instrument or channel, the Power will naturally choose the language of the instrument or channel, that to which it is accustomed and can therefore readily hear and receive. The Power itself is not limited and can use any language, but although it is possible for things to come

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through in a language unknown or ill-known—I have seen several instances of the former—it is not a usual case, since the samskāras of the mind, its habits of action and conception would normally obstruct any such unprepared receptiveness; only a strong mediumistic faculty might be unaffected by the difficulty. These things, however, are obviously exceptional, abnormal or supernormal phenomena.

"If the parts of a poem come from different planes, it is because one starts from some high plane but the connecting consciousness cannot receive uninterruptedly from there and as soon as it flickers or wavers it comes down to a lower, perhaps without noticing it, or the lower comes in to supply the continuation of the flow or on the contrary the consciousness starts from a lower plane and is lifted in the aveś perhaps occasionally, perhaps more continuously higher for a time or else the higher force attracted by the creative will breaks through or touches or catches up the less excited inspiration towards or into itself. I am speaking here especially of the Overhead planes where this is quite natural; for the Overmind, for instance, is the ultimate source of intuition, illumination or heightened power of the planes immediately below it. It can lift them up into its own greater intensity or give out of its intensity to them or touch and combine their powers together with something of its own greater power -or they can receive or draw something from it or from each other. On the lower planes beginning from the mental downwards there can also be such variations, but the working is not the same, for the different powers here stand more on a footing of equality whether they stand apart from each other, each working in its own right, or cooperate."

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