Collected Works of Nolini Kanta Gupta - Vol. 4

I HAVE said: "Poetry is sensuality of the mind". How is it so? It is because poetry is in relation with the forms and images of ideas – forms, images, sensations, impressions, emotions attached to ideas are the sensual or, if you prefer to call it, the sensuous side of things. All such relations are sensuousness. And poetry concerns itself with this idea of mind and thought. It approaches the world of ideas through their appearances, through the play of sensations and emotions around them. It is not like philosophy or metaphysics which endeavours to look into the inside of ideas. Poetry, on the other hand, cannot be poetry unless it evokes, that is to say, unless it gives a form, a sensuous form to the idea. I have used an epigrammatic phrase to express this truth and even chosen the stronger word to give an edge to it. People are called sensual when they are occupied solely with the sensations of the physical life, with the forms and formations and movements of the material world, when they live with their senses and enjoy the things of the senses. The same tendency instead of going out towards the external life, the physical world, when it turns towards objects of the mind, towards ideas gives rise to poetry. Poetry is a world under the aspect of the beauty of form. It expresses the beauty of an idea, the harmony or rhythm of a thought, giving all that a concrete shape or image: it becomes a play of images, a play of sounds, a play of words. Thus instead of a sensuality of matter, we have a sensuality of the mind. I have not taken the word in a pejorative sense, nor in a moral sense; it is simply descriptive.

I do not mean, in other words, that such a view, the poetic view, necessarily prevents you from seeing the truth of things. It only describes the way of the poet's approach as poet. Indeed, if it were a choice between reading a book of good poetry and reading

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a book of metaphysics, personally I would prefer poetry, for that is less arid! My definition of poetry, I assure you, is not a condemnation, it is only a description, a statement of fact, namely, that poetry is the sensual or sensuous approach to truth. It is perhaps a somewhat paradoxical way of putting the thing: it is meant to strike the thought, to awaken it to the perception of a reality which is usually obscured by the habitual, traditional or "classical" way of thinking.

If you mean by inspiration that the poet does not think when he writes a poem, that is to say, he has gone beyond all thought, has made his mind silent, silent and immobile, has opened himself to inner or higher regions and writes almost automatically, well, such a thing happens perhaps once a thousand years. It is not a common phenomenon. A Yogi has the power to do that. What you normally mean, however, by an inspired poet is something quite different. People who have some kind of genius, who have an opening into other and higher regions are called "inspired" ; persons who have made some discovery are also included in that category. Each time you are in relation with a thing belonging to a domain superior to the normal human consciousness, you are inspired. And when you are not totally bound to the very ordinary level you do receive "inspirations" from above. It is the same in the case of a poet. The source of his creation is elsewhere up above the ordinary mind; for that he need not possess an empty vacant mind.

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