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
It is obvious that poetry cannot be a substitute for Sadhana; it can be an accompaniment only. If there is a feeling (of devotion, surrender etc.), it can express and confirm it; if there is an experience, it can express and strengthen the force of experience. As reading of books like the Upanishads or Gita or singing of devotional songs can help, especially at one stage or another, so this can help also. Also it opens a passage between the external consciousness and the inner mind or vital. But if one stops at that, then nothing much is gained. Sadhana must be the main thing and Sadhana means the purification of the nature, the consecration of the being, the opening of the psychic and the inner mind and vital, the contact and presence of the Divine, the realisation of the Divine in all things, surrender, devotion, the widening of the consciousness into the cosmic Consciousness, the Self one in all, the psychic and the spiritual transformation of the nature. If these things are neglected and only poetry and mental development and social contact occupy all the time, then that is not Sadhana. Also the poetry must be written in the true spirit, not for fame or self-satisfaction, but as a means of contact with the Divine through inspiration or of the expression of one's own inner being as it was written formerly by those who left behind them so much devotional and spiritual poetry in India; it does not help if it is written only in the spirit of the Western artist or littérateur. Even works or meditation cannot succeed unless they are done in the right spirit of consecration and spiritual aspiration gathering up the whole being and dominating all else. It is lack of this gathering up of the whole life and nature and
Page 504
turning it towards the one aim, which is the defect in so many here that lowers the atmosphere and stands in the way of what is being done by myself and the Mother.
19.5.1938
To be a literary man is not a spiritual aim, but to use literature as a means of spiritual expression is another matter. Even to make expression a vehicle of a superior power helps to open the consciousness. The harmonising rests on that principle.
Every artist almost (there can be rare exceptions) has got something of the "public" man in him in his vital-physical parts, which makes him crave for the stimulus of an audience, social applause, satisfied vanity, appreciation, fame. That must go absolutely, if you want to be a Yogi,—your art must be a service not of your own ego, not of anyone or anything else but solely of the Divine.
There should be no "desire" to be a "great" writer. If there is a genuine inspiration or coming of power to write then it can be done, but to use it as a means of service for the Divine is the proper spirit.
14.5.1934
It is your aim to write from the Divine and for the Divine—you should then try to make all equally a pure transcription from the inner source and where the inspiration fails return upon your work so as to make the whole worthy of its origin and its object. All work done for the Divine, from poetry and art and music to carpentry or baking or sweeping a room, should be made perfect
Page 505
even in its smallest external detail as well as in the spirit in which it is done; for only then is it an altogether fit offering.
11.11.1931
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