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
I was speaking of rhythmical overtones and undertones. That is to say, there is a metrical rhythm which belongs to the skilful use of metre—any good poet can manage that; but besides that there is a music which rises up into that of the rhythm or a music that underlies it, carries it as it were as the movement of the water carries the movement of a boat. They can both exist together in the same line, but it is more a matter of the inner than the outer ear and I am afraid I can't define further. To go into the subject would mean a long essay. But to give examples—
Journeys end in lovers meeting, Every wise man's son doth know,
is excellent metrical rhythm, but there are no overtones and undertones. In
Golden lads and girls all must, As chimney-sweepers, come to dust
there is a beginning of undertone, but no overtone, while the "Take, O take those lips away" (the whole lyric) is all overtones. Again
Friends, Romans, countrymen, lend me your ears; I come to bury Caesar, not to praise him
has admirable rhythm, but there are no overtones or undertones. But
In maiden meditation, fancy-free
has beautiful running undertones, while
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In the dark backward and abysm of time
is all overtones, and
Absent thee from felicity awhile, And in this harsh world draw thy breath in pain
is all overtones and undertones together. I don't suppose this will make you much wiser, but it is all I can do for you at present.
11.5.1937
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