THE FUTURE POETRY

SRI AUROBINDO

Contents

	I	Introductory
	II	The Essence of Poetry
	III	Rhythm and Movement
	IV	Style and Substance
	V	Poetic Vision the Mantra
	VI	The National Evolution of Poetry
	VII	The Character of English Poetry – 1
	VIII	The Character of English Poetry – 2
	IX	The Course of English Poetry – 1
	X	The Course of English Poetry – 2
	XI	The Course of English Poetry – 3
	XII	The Course of English Poetry – 4
	XIII	The Course of English Poetry – 5
	XIV	The Movement of Modern Literature – 1
	XV	The Movement of Modern Literature – 2
	XVI	The Poets of the Dawn – 1
	XVII	The Poets of the Dawn – 2
	XVIII	The Poets of the Dawn – 3
	XIX	The Victorian Poets
	XX	Recent English Poetry – 1
	XXI	Recent English Poetry – 2
	XXII	Recent English Poetry – 3
	XXIII	Recent English Poetry – 4
	XXIV	New Birth or Decadence?
	XXV	The Ideal Spirit of Poetry
	XXVI	The Sun of Poetic Truth
	XXVII	The Breath of Greater Life
	XXVIII	The Soul of Poetic Delight and Beauty
	XXIX	The Power of the Spirit
	XXX	The Form and the Spirit
	XXXI	The Word and the Spirit
	XXXII	Conclusion

		Letters on Poetry, Literature and Art
	Section I	The Process, Form and Substance of Poetry
	Section II	Source of Poetic Inspiration and Vision Mystic and Spiritual Poetry
	Section III	Poetic Rhythm and Technique
	Section IV	Translation of Poetry
	Section V	Modern Poetry
	Section VI	Indo-English Poetry – Current Use of the English Language
	Section VII	Appreciation of Poetry and Art
	Section VIII	Beauty and Art
	Section IX	Poetic Creation and Yoga – Utility of Literature, etc. in Sadhana
	Section X	Poets – Mystics – Intellectuals

Bibligraphical Note

CHAPTER VI

The National Evolution of Poetry

THE work of the poet depends not only on himself and his age, but on the mentality of the nation to which he belongs and the spiritual, intellectual, aesthetic tradition and environment which it creates for him. It is not to be understood by this that he is or need be entirely limited by this condition or that he is to consider himself as only a voice of the national mind or bound by the past national tradition and debarred from striking out a road of his own. In nations which are returning under difficulties to a strong self-consciousness, like the Irish or the Indians at the present moment, this nationalism may be a living idea and a powerful motive. And in others which have had a vivid collective life exercising a common and intimate influence on all its individuals or in those which have cherished an acute sense of a great national culture and tradition, the more stable elements of that tradition may exert a very conscious influence on the mind of the poets, at once helping and limiting the weaker spirits, but giving to genius an exceptional power for sustained beauty of form and a satisfying perfection. But this is no essential condition for the birth of great poetry. The poet, we must always remember, creates out of himself and has the indefeasible right to follow freely the breath of the spirit within him, provided he satisfies in his work the law of poetic beauty. The external forms of his age and his nation only give him his starting-point and some of his materials and determine to some extent the room he finds for the free play of his poetic spirit.

Nor do I mean to subscribe to the theory of the man and his milieu or the dogma of the historical school of criticism which asks of us to study all the precedents, circumstances, influences, surroundings, all that created the man and his work, - as if there were not something in him apart from all these which made all the difference, - and supposes that out of this the right estimate

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of his poetry will arise. But not even the right historical or psychological understanding of him need arise out of this method, since we may very easily read into him and his work things which may perhaps have been there before and around him, but never really got into him. But the right poetical estimate we certainly shall not form if we bring in so much that is accidental and unessential to cloud our free and direct impression. Rather the very opposite is the true method of appreciation, to come straight the poet and his poem for all we need essentially to know about them, - we shall get there all that we really want for any true aesthetic or poetic purpose, - and afterwards go elsewhere for any minor elucidation or else to satisfy our scientific and historical curiosity things accidental are then much more likely to fall into their right place and the freshness of poetic appreciation to remain unobscured. But quite apart from its external and therefore unreal method, there is a truth in the historical theory of criticism which is of real help towards grasping something that is important and even essential, if not for our poetic appreciation, yet for our intellectual judgment of a poet and his work.

In poetry, as in everything else that aims at perfection, there are always two elements, the eternal and the time element. The first is what really and always matters, it is that which must determine our definitive appreciation, our absolute verdict, or rather our essential response to poetry. A soul expressing the eternal spirit of Truth and Beauty through some of the infinite variations of beauty, with the word for its instrument, that is, after all, what the poet is, and it is to a similar soul in us seeking the same spirit and responding to it that he makes his appeal. It is when we can get this response at its purest and in its most direct and heightened awakening that our faculty of poetic appreciation becomes at once surest and most intense. It is, we may say, the impersonal enjoyer of creative beauty in us responding to the impersonal creator and interpreter of beauty in the poet; for it is the impersonal spirit of Truth and Beauty that is seeking to express itself through his personality, and it is that which finds its own word and seems itself to create in his highest moments of inspiration. And this Impersonal is concerned with the creative idea and the motive of beauty which is seeking expression and with the attempt

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to find the perfect expression, the inevitable word and the rhythm that reveals. All else is subordinate accidenta1, the crude material and the conditioning medium of this essential endeavour.

Still there is also the personality of the poet and the personality of the hearer, the one giving the pitch and the form of the success arrived at, while the other determines the characteristic intellectual and aesthetic judgment to which its appeal arrives. The correspondence or the dissonance between the two decides the relation between the poet and his reader and out of that arises what is personal in our appreciation and judgment of his poetry. In this personal or time element there is always much that is, merely accidental and often rather limits and deflects our judgment than helps usefully to form it; How much that interferes can be seen when we try to value contemporary poetry. It is a matter of continual experience that even critics of considerable insight and sureness of taste are yet capable of the most extraordinarily wrong judgments, whether on the side of appreciation or of depreciation, when they have to pass a verdict on their contemporaries. And this is because a crowd of accidental influences belonging to the effect of the time and the mental environment upon our mentality exercise an exaggerated domination and distort or colour the view of our mental eye upon its object. But apart from this there is always something essential to our present personality which has a right to be heard. For we are all of us souls developing in a constant endeavour to get into unity with the, spirit in life through its many forms of manifestation and on many different lines. And as there is in Indian Yoga a principle of adhikāra something in the immediate power of a man's nature that determines by its characteristics his right to this or that way of Yoga, of union, which, whatever its merits or its limitations, is his right way because it is most helpful to him personally, so in all our activities of life and mind there is this principle of adhikāra. That which we can appreciate in poetry and still more the way in which we appreciate it, is that in it and us which is most helpful to us and therefore, for the time being, at least, right for us in our attempt to get into union with the universal or the transcendent beauty through the revealing ideas and motives and revealing forms of poetic creation.

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This is the individual aspect of the personal or time element. But there is also a, larger movement to which we belong, both ourselves and the poet and his poetry; or rather it is the same movement of the general soul of mankind in the same endeavour towards the same objective. In poetry this shows itself in a sort of evolution from the objective to the inward from the inward to the spiritual, an evolution which has many curves and turns and cycles, many returns upon past motives and imperfect anticipations of future motives, a general labour of self enlargement and self-finding. It is a clear idea of this evolution which may most helpfully inform the historical or evolutionary element in our judgment and appreciation of poetry. And this general movement we see working itself out in different forms and on different lines through the souls of the nations and peoples who have arrived at a strong self-expression by the things of the mind, art and thought and poetry. These things do not indeed form the whole of the movement even as they do not make up the whole of the life of the people; they rather represent its highest points, - or the highest with the exception of the spiritual, in the few nations that have powerfully developed the spiritual force within, - and in them we best see the inner character and aim of that line of the movement.

This general, evolution has its own natural periods or ages; but as with the stone, bronze and other ages discovered by the archaeologists, their time periods do not correspond in all the peoples which have evolved them. Moreover, they do not always follow each other in quite the same order; for in things psychological the Spirit in the world varies his movements more freely than in things physical. There, besides, he can anticipate the motives of a higher stratum of psychological development while yet he lives the general life of a lower stratum; so too when he has got on to a higher level of development, he may go strongly back to a past and inferior motive and see how it works out when altered by the motives and powers of the superior medium. There is too here a greater complexity of unseen or half-seen subconscient and superconscient tendencies and influences at work upon the comparatively small part of us which is conscious of what it is doing. And very often a nation in its self-expression

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is both helped and limited by what has been left behind from the evolution of a past self which, being dead, yet liveth.

Thus, the Indian spirit could seize powerfully the spiritual motive in an age which lived a strenuous objective life and was strongly objective in its normal outward mentality, and could express it at first in the concrete forms proper to that life and mentality converted into physical symbols of the supraphysical and then, by a rapid liberation, in its own proper voice, so producing the sacred poetry of the Veda and Upanishads. An Italy with the Graeco-Roman past in its blood could seize intellectually on the motives of Catholic Christianity and give them a clear and supreme expression in Dante while all Germanised Europe had only been stammering in the faltering infantile accents of romance verse or shadowing them out in Gothic stone, successfully in the most material form of the spiritual. In another direction, when it seized upon the romantic life motive, the meeting-place of the Teuton and the Celt, we see it losing entirely the mystically sentimental Celtic element, Italianising it into the sensuousness of Tasso, and Italianising the rest into an intellectualised, a half imaginative, half satiric play with the superficial motives of romance, - the inevitable turn of the Italianised Roman spirit. On the other hand, the English spirit, having got rid of the Latin culture and holding the Celtic mind for a long time at bay, exiled into the Welsh mountains or parked beyond the pale in Ireland followed with remarkable fidelity the natural curve and stages of the psychological evolution of poetry, taking several centuries to arrive at the intellectual motive and more to get at something like the spiritual.

Generally, every nation or people has or develops a spirit in its being a special soul-form of the human all-soul and a law of its nature which determines the lines and turns of its evolution. All that it takes from its environment it naturally attempts to assimilate to this spirit, transmute into stuff of this soul-form, make apt to and governable by this law of its nature. All its self-expression is in conformity with them. And its poetry, art and thought are the expression of this self and of the greater possibilities of its self to which it moves. The individual poet and

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his poetry are part of its movement. Not that they are limited by the present temperament and outward forms of the national mind; they may exceed them. The soul of the poet may be like a star and dwell apart; even, his work may seem not merely a variation from but a revolt against the limitations of the national mind. But still the roots of his personality are there in its spirit and even his variation and revolt are an attempt to bring out something that is latent and suppressed or at least something which is trying to surge up from the secret all-sou1 into the soul-form of the nation. Therefore to appreciate this national evolution of poetry and the relations of the poet and his work with it cannot but be fruitful if we observe them from the point of view not so much of things external to poetry, but of its own spirit and characteristic forms and motives.

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