Sri Aurobindo's principal work of literary criticism where he outlines the history of English poetry and explores the possibility of a spiritual poetry in the future.
On Poetry
Sri Aurobindo's principal work of literary criticism. In this work, Sri Aurobindo outlines the history of English poetry and explores the possibility of a spiritual poetry in the future. It was first published in a series of essays between 1917 and 1920; parts were later revised for publication as a book.
THEME/S
In the lines you quote from Wordsworth—
The cataracts blow their trumpets from the steep; No more shall grief of mine the season wrong; I hear the Echoes through the mountains throng, The Winds come to me from the fields of sleep,
—the Overmind movement is not there in the first three lines; in the last line there is something of the touch, not direct but through some high intuitive consciousness and, because it is not direct, the fully characteristic rhythm is absent or defective. The poetic value or perfection of a line, passage or poem does not depend on the plane from which it comes; it depends on the purity and authenticity and power with which it transcribes an intense vision and inspiration from whatever source. Shakespeare is a poet of the vital inspiration, Homer of the subtle physical, but there are no greater poets in any literature. No doubt, if one
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could get a continuous inspiration from the Overmind, that would mean a greater, sustained height of perfection and spiritual quality in poetry than has yet been achieved; but it is only in short passages and lines that even a touch of it is attainable. One gets nearer the Overmind rhythm and inspiration in another line of Wordsworth—
...a mind... Voyaging through strange seas of Thought, alone
or a line like Milton's
Those thoughts that wander through eternity.
One has the sense here of a rhythm which does not begin or end with the line, but has for ever been sounding in the eternal planes and began even in Time ages ago and which returns into the infinite to go sounding on for ages after. In fact, the word-rhythm is only part of what we hear; it is a support for the rhythm we listen to behind in "the Ear of the ear", śrotrasya śrotram. To a certain extent, that is what all great poetry at its highest tries to have, but it is only the Overmind rhythm to which it is altogether native and in which it is not only behind the word-rhythm but gets into the word-movement itself and finds a kind of fully supporting body there.
10.7.1931
P.S. Lines from the higher intuitive mind-consciousness, as well as those from the Overmind, can have a mantric character—the rhythm too may have a certain kinship with mantric rhythm, but it may not be the thing itself, only the nearest step towards it.
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