{"id":10798,"date":"2014-07-15T00:48:53","date_gmt":"2014-07-15T07:48:53","guid":{"rendered":"http:\/\/saa.santansoftwaresystems.com\/?p=10798"},"modified":"2020-09-12T00:12:56","modified_gmt":"2020-09-12T07:12:56","slug":"notes-on-the-text-study","status":"publish","type":"post","link":"https:\/\/worksofthemotherandsriaurobindo.org\/index.php\/savitri-study\/book-savitri-study\/notes-on-the-text-study","title":{"rendered":"Notes on the text Study"},"content":{"rendered":"
Introduction<\/a>   Notes<\/a>   Book 1<\/a>   Book II<\/a>   Book III<\/a>   Book IV<\/a>   
\nBook V<\/a>   Book VI<\/a>   Book VII<\/a>   Book VIII<\/a>   
\nBook IX<\/a>   Book X<\/a>   Book XI<\/a>   Book XII<\/a><\/p>\n<\/div>\n
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 <\/p>\n

The Tale of Satyavan and Savitri<\/span><\/b><\/p>\n

                   
\nT<\/b>HE tale of Satyavan and Savitri is recited in the Mahabharata as a story of conjugal love conquering death. But this legend is, as shown by many features of the human tale, one of the many symbolic myths of the Vedic cycle. Satyavan is the soul carrying the divine truth of being within
\nitself but descended into the grip of death and ignorance; Savitri is the Divine Word, daughter of the Sun, goddess of the supreme Truth who comes down and is born to save; Aswapati, the Lord of the Horse, her human father, is the Lord of Tapasya, the concentrated energy of spiritual. endeavour that helps us to rise from the mortal to the immortal planes; Dyumatsena,
\nLord of the Shining Hosts, father of Satyavan, is the Divine Mind here fallen blind, losing its celestial kingdom of vision, and through that loss its kingdom of glory. Still this is not a mere allegory, the characters are not personified qualities, but
\nincarnations or emanations of living and conscious Forces with whom we can enter into concrete touch and they take human bodies in order to help man and show him the way from his mortal state to a divine consciousness and immortal life.
\n\u2013 Sri Aurobindo<\/b><\/span>
\n <\/p>\n

 <\/p>\n

  <\/b><\/p>\n

Note on the Text<\/span> <\/b><\/p>\n

  <\/b><\/p>\n

\n

 <\/p>\n

SAVITRI<\/b> began as a narrative poem of moderate length based
\non a legend told in the Mahabharata. Sri Aurobindo considered
\nthe story to be originally “one of the many symbolic myths
\nof the Vedic cycle”. Bringing out its symbolism and charging
\nit progressively with his own spiritual vision, he turned
\nSavitri <\/i> into the epic it is today.<\/p>\n

By the time it was published, some passages had gone through dozens of drafts. Sri Aurobindo explained how he
\nwrote the poem: “I used
\nSavitri <\/i> as a means of ascension. I began
\nwith it on a certain mental level, each time I could reach a higher
\nlevel I rewrote from that level. . . . In fact
\nSavitri <\/i> has not been
\nregarded by me as a poem to be written and finished, but as a
\nfield of experimentation to see how far poetry could be written
\nfrom one’s own yogic consciousness and how that could be
\nmade creative.”<\/p>\n

The following outline of the composition and publication
\nof Savitri <\/i> draws upon all existing manuscripts and other textual
\nmaterials, supplemented by the author’s letters on the poem. In
\nbrief, Savitri<\/i>
\ntook shape through three major phases.<\/p>\n

(1) Before 1920, Sri Aurobindo made a number of drafts of
\na narrative poem retelling in an original way the tale of Savitri
\nand Satyavan. Its last version had a plan of eight books in two
\nparts; the books were not divided into cantos. (2) In the 1930s,
\nhe set about converting this narrative poem into an epic. For a
\nlong time he concentrated on the description of Aswapati’s Yoga
\nprior to the birth of Savitri , creating by 1945 a new Part One
\nwith three books and many cantos. (3) In the last phase, besides
\nrevising Part One for publication, he reworked and enlarged
\nmost of the books written in the first period. He added a book
\non the Yoga of Savitri , making twelve books and forty-nine
\ncantos in all and completing Parts Two and Three.<\/p>\n

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\n

 <\/p>\n

The Composition of Savitri <\/i> 
\n<\/b><\/p>\n

 <\/p>\n

Sri Aurobindo read the Savitri -episode of the Mahabharata in
\nSanskrit while he was in Baroda. He expressed appreciation of
\nits style in his “Notes on the Mahabharata”, written around 1901. But a report that he worked on an English poem on the subject at this time is not supported by his own statements or
\nany documents that survive. If there was a Baroda
\nSavitri <\/i>, which
\nis doubtful, it was among the writings of which Sri Aurobindo
\nwrote in 1933, “Most of all that has disappeared into the un-known in the whirlpools and turmoil of my political career.”
\nEven assuming that such a poem was written in Baroda, for
\nall practical purposes Savitri <\/i> as we know it was commenced in
\nPondicherry.<\/p>\n

The opening of the first known version is dated “August
\n8th 9th \/ 1916”. Further dates occur later on in the draft. From
\nthe death of Satyavan to the end of Savitri ‘s debate with Death,
\nthe manuscript is marked every few pages with dates from a
\nthree-day period, 17-19 October. After this, the consecutive narration breaks off and the notebook contains only disconnected
\npassages. Some of these are sketches for the conclusion of the
\npoem. Most of them go back over what was already written.
\nThey represent the beginning of the long process of rewriting
\nwhich was to continue until 1950.<\/p>\n

This earliest surviving manuscript of Savitri <\/i> shows every
\nsign of being the first draft. It is one of the few versions that Sri
\nAurobindo dated. But even if precise dates cannot be assigned
\nto them, the manuscripts of the poem can almost always be
\nplaced in a definite order after a careful comparison. This is
\nbecause changes made when one draft was revised were usually
\nincorporated in the next draft, which would then be further
\naltered and most often expanded.<\/p>\n

Initially the poem was short enough not to require division
\ninto books or cantos. Its sections were separated only by blank
\nlines. But soon Sri Aurobindo was dividing it into “Book I”,
\nending with the death of Satyavan, and “Book II”, recounting Savitri ‘s debate with and victory over Death. Next he adopted<\/p>\n

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Page \u2013 <\/span>728<\/span><\/p>\n

\n

a scheme of six cantos and an epilogue. The canto titles were:
\nLove, Fate, Death, Night, Twilight and Day.<\/p>\n

After making a few drafts in cantos, he started substituting
\nthe word “book” for “canto”. There were now six books with
\nthe same names as the former cantos. Meanwhile the larger division had reappeared as two parts, “Earth” and “Beyond”. At
\nfirst each part comprised three books, not counting the epilogue.
\nBut before long, the rapidly growing first book was broken up
\ninto two. The second book kept the name “Love”; the first was
\nrenamed “Quest”.<\/p>\n

A manuscript beginning with “Book I \/ Quest” has the title
\n“Savithr\u00ee:<\/span>: A Tale and a
\nVision”. (In early versions,
\n“Savithr\u00ee:<\/span>”
\nwas the usual spelling of the heroine’s name.) Sri Aurobindo
\nreferred to this stage in the poem’s history in a letter of 1936:
\n“Savitri <\/i> was originally written many years ago before the
\nMother came [i.e., before the Mother’s final arrival in 1920], as a
\nnarrative poem in two parts, Part I Earth and Part II Beyond . . .
\neach of four books \u2014 or rather Part II consisted of three books
\nand an epilogue.”<\/p>\n

This was the plan of Savitri <\/i> at the end of the first phase of its composition. But the last manuscript actually completed
\nwas in six cantos and an epilogue. After “books” replaced the “cantos” and the number of books increased, some books were
\nworked over several times. Others were hardly touched. There
\nis a partial draft of “Book III \/ Death”, for example; there is
\nnone from the stage when “Death” would have been the fourth
\nbook. After 1945 when Sri Aurobindo incorporated material
\nfrom the early poem into what was by then a full-fledged epic,
\nhe sometimes went back to a manuscript of the six “cantos” as
\nhis starting-point.<\/p>\n

Savitri <\/i> was apparently put aside during most of the 1920s, a
\nperiod when Sri Aurobindo did little writing. The first evidence
\nof its resumption is found in a letter of 1931. Here he speaks of a
\nradical change in the conception and scope of the poem. Already
\nthe subtitle, “A Legend and a Symbol”, is present in his mind:
\n“There is a previous draft, the result of the many retouchings of
\nwhich somebody told you; but in that form it would not have<\/p>\n

 <\/p>\n

Page \u2013 <\/span>729<\/span><\/p>\n

\n

been a `magnum opus’ at all. Besides, it would have been a legend
\nand not a symbol. I therefore started recasting the whole thing;
\nonly the best passages and lines of the old draft will remain,
\naltered so as to fit into the new frame.”<\/p>\n

Throughout the thirties and early forties, it was primarily
\nBook One that was affected by this recasting. At first this book
\nwas still called “Quest”. It extended as far as Savitri ‘s arrival at
\n“The Destined Meeting-Place” (the eventual title of Book Five,
\nCanto One). But in the early thirties, the brief description of the
\nYoga of King Aswapati near the beginning swelled to hundreds
\nof lines. What was to become the second and longest book of
\nthe epic, “The Book of the Traveller of the Worlds”, began to
\ntake shape.<\/p>\n

In a letter of 1936, Sri Aurobindo mentioned a new first
\nbook, the “Book of Birth”, carved out of the overgrown
\n“Quest”. Another letter of the same year reveals the internal
\nstructure of this book. It was “divided into sections and the
\nlarger sections into subsections”. Up to this point, the books
\nhad been divided only into passages separated by spaces, as
\nmany cantos are now. As these sections increased in length, they
\nwere recognised as formal units and began to be named and
\nnumbered. Section marks (\u00a7) were usually put before and after
\nthe numbers.<\/p>\n

The Book of Birth, whose last section related the birth and
\nchildhood of  Savitri , was still disproportionately long and was
\nconstantly growing. Early in 1937, Sri Aurobindo expressed
\nhis intention of rearranging the opening books into a Book of
\nBeginnings and a Book of Birth and Quest.<\/p>\n

Progress on the poem was intermittent in the thirties due
\nto Sri Aurobindo’s heavy load of correspondence. From the end
\nof 1938 to mid-1940, work on
\nSavitri <\/i> was suspended. But on 6
\nSeptember 1942, a 110-page draft of the Book of Beginnings was
\ncompleted. The fourth of its eight sections, “The Ascent through
\nthe Worlds”, accounted for more than half the total length and
\nhad twelve subsections. In the next version, this section became
\nBook Two with the title it now has. The last four sections were
\ngrouped into Book Three, “The Book of the Divine Mother”.
\n <\/p>\n

 <\/p>\n

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\n

 <\/p>\n

The second phase in the composition of Savitri<\/i> reached its
\nculmination when the first three books were written out in two columns on large sheets. Many passages, including the whole of
\nthe first and third books and much of the second, went through two or more drafts in this form. The last complete manuscript
\nis dated “May 7. 1944” at the end.<\/p>\n

It was while revising this manuscript that Sri Aurobindo
\nreintroduced the word “canto” which he had not used since an early stage, applying it to the former “sections” of the books.
\nAt this point the third section of Book One, “The Yoga of the King”, was turned into Cantos 3-5 with their present titles. The
\nthree opening books were for the first time identified as “Part One”.<\/p>\n

The two-column manuscript is the last continuous version of Part One in Sri Aurobindo’s hand. But he went on reworking
\nBook One and passages throughout Book Two. For this purpose he began using small note-pads whose sheets, containing new or
\nrewritten matter, could be torn out and pinned to the principal manuscript at the appropriate places.<\/p>\n

By the mid-1940s, Sri Aurobindo’s eyesight was failing and his handwriting was becoming less and less legible. He needed
\nthe help of a scribe in order to put Books 1-3 into a finished form, take up the long-neglected later books, and prepare Savitri <\/i> for
\npublication. This third phase of its composition saw periods of rapid and decisive progress. But it was to be interrupted the
\nmonth before Sri Aurobindo’s passing, a little short of definitive completion.<\/p>\n

Much had still to be done with the first part. Sri Aurobindo asked the scribe to read the last version to him. After dictating
\nchanges, insertions and transpositions, he had his assistant copy it into a large ledger. This copy was meticulously revised before
\nbeing given to another disciple for typing. The typescript in its turn was read out to Sri Aurobindo and similarly revised.
\nHeavily revised pages were often retyped. The same process was sometimes repeated, especially in the later cantos of Book Two,
\nwhere three typed copies exist.<\/p>\n

Savitri <\/i> now began to appear in print, though not yet in its<\/p>\n

 <\/p>\n

Page \u2013 <\/span>731<\/span><\/p>\n

\n

final form. The first and third books were brought out canto by canto from August 1946 to February 1948 in journals connected
\nwith the Sri Aurobindo Ashram. They were also published in fascicles identical to the journal instalments. The second book
\nwas issued in 1947 and 1948 in two large fascicles.<\/p>\n

Differences between the typescripts and the printed texts
\nshow that proofs of the latter must have been revised in detail by Sri Aurobindo. Afterwards a copy of each fascicle was read to
\nhim. Even at this advanced stage, he made extensive alterations and added new lines and passages.<\/p>\n

Meanwhile he had turned his attention to the later books. The plan of Parts Two and Three resembled that of the pre-1920
\npoem, whose books had been divided into “Earth” (Quest, Love, Fate, Death) and “Beyond” (Night, Twilight, Day, Epilogue). By
\n1945, however, most of these books had remained untouched for twenty-five years. Everything written under what Sri Aurobindo
\ntermed in 1934 “the old insufficient inspiration” would have to be thoroughly recast. Moreover, a new book had been conceived:
\nThe Book of Yoga. Destined to become one of the longest in the epic, six of its seven cantos were still to be drafted.<\/p>\n

The material in the Book of Birth and Quest had for a long time been included in Book One. As a result it had gone through
\nseveral drafts in the 1930s, while other books lay dormant. The last book to be set aside, it was also the first to be taken up
\nagain. One manuscript of it precedes the 1942 draft of the Book of Beginnings. The final version was evidently written within a
\nyear or so of this. Since much work had already been done on it, this book needed less modification than others. Yet especially in
\nthe first two cantos, Sri Aurobindo dictated substantial changes and additions when he revised the manuscript and typescript.<\/p>\n

The Book of Love shared to some extent in the good fortune of the previous book during the thirties and early forties. But
\nthe last version in Sri Aurobindo’s hand, in the notebook which starts with his final manuscript of Book Four, breaks off in the
\nmiddle of the second canto. The continuation is in the scribe’s hand. It was copied there probably two or three years later when
\nthe systematic revision of the later books had been undertaken.
\n <\/p>\n

 <\/p>\n

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\n

 <\/p>\n

The remainder of this notebook contains the scribe’s copy
\nof Books Six, Nine and Ten, reworked from the corresponding books in the old poem, expanded, divided into cantos and re-
\nnamed “The Book of Fate”, “The Book of Eternal Night” and “The Book of the Double Twilight”. Once Sri Aurobindo had
\ndone enough with Books Four and Five for the time being, it appears that he took up these three books one after the other.
\nAfter Book Six, he skipped to Book Nine, postponing extensive work on Books Seven and Eight. However, he may have revised
\nslightly the versions of the original third book or canto, “Death”, on which Book Seven, Canto One and the present Book of Death
\nare based.<\/p>\n

Drafts of “Fate”, “Night” and “Twilight” had been written
\non one side of loose sheets of paper, like other cantos or books in several early versions of Savitri<\/i> . This facilitated the complex
\nprocess of revision which was now set in motion. When the space between lines and in the margins was filled up, the backs
\nof the pages were available. In extreme cases, whole cantos were written on the reverse sides of the pages with little relation to
\nwhat was on the front.<\/p>\n

Sri Aurobindo drafted many passages in small note-pads of
\nthe type used for Part One. Lines for Books Five and Nine and large portions of Books Six and Ten were written in this way.
\nCanto Two of Book Six was almost entirely new. The passages drafted for it were transferred by the scribe to another note-pad,
\nwith changes dictated by Sri Aurobindo at the time.<\/p>\n

The metamorphosis which the Book of Fate underwent included the introduction of the Queen: some of Aswapati’s later speeches in the old version were now given to her, and her long
\nspeech at the beginning of Canto Two was composed. Sri Aurobindo worked on this book in 1946 and brought it close to its final form. But he was to return to it at the end and add significantly to the second canto.<\/p>\n

An early manuscript of “Night” was substantially revised and turned into the two cantos of Book Nine. But in this instance
\nSri Aurobindo seems to have found the pre-1920 version more adequate than usual. He left it intact to a greater extent than in<\/p>\n

 <\/p>\n

Page \u2013 <\/span>733<\/span><\/p>\n

\n

the case of other books on which he bestowed his full attention in the 1940s. Only the Book of Death and the Epilogue stayed
\ncloser to their original shape, but he always intended to come back to these.<\/p>\n

On the other hand, old drafts of “Twilight” formed merely a starting-point for the four cantos of Book Ten. The speeches
\nof Savitri <\/i> and Death were refashioned, rearranged in their order, and new ones inserted. As he proceeded from one canto to the
\nnext, Sri Aurobindo added longer and longer passages that were quite new. The first section of Canto One, the long speech of
\nDeath which ends Canto Two, all but the last few pages of Canto Three, and most of Canto Four \u2014 especially its second
\nhalf, where Savitri <\/i> finally triumphs over Death \u2014 owe little or nothing to any early version.<\/p>\n

In a letter of 22 April 1947, Sri Aurobindo summarised the status of the various books of the second and third parts. Books
\nFour, Five, Six, Nine and Ten had by then “been completed, in a general way, with a sufficient finality of the whole form but
\nsubject to final changes in detail”. The other four books were far from even a provisional completion.<\/p>\n

A “drastic recasting of the last two books” was felt to be needed and “only a part of the eleventh” had been subjected to
\nthat process. But a yet larger task lay ahead, the splitting up of the original Book of Death and the writing of the new cantos
\nthat would go into the Book of Yoga. In his letter of April 1947 Sri Aurobindo did not say what he planned to do next. But there
\nare reasons to believe that, rather than going on directly from Book Ten to Book Eleven, he now retraced his steps to Book
\nSeven.<\/p>\n

The description of Savitri ‘s Yoga, complementing that of
\nAswapati’s Yoga in Part One, was drafted in a thick notebook whose first hundred pages are filled with drafts for Book Ten,
\nCanto Four. By March 1947, even before finishing the tenth book, Sri Aurobindo had begun to use this notebook for preliminary work on Book Seven. The scribe was not asked to
\ncopy the semi-legible handwriting of the draft. Instead, Sri Aurobindo dictated to him the lines he had jotted down, often in a<\/p>\n

Page \u2013 <\/span>734<\/span><\/p>\n

\n

somewhat different form. The dictated version was extensively
\nrevised before a typed copy was made.<\/p>\n

The Book of Yoga had four cantos at first. But the second,
\n“The Parable of the Finding of the Soul”, grew to an inordinate
\nlength. When the typescript was revised, it was broken up into
\nCantos 2-5, from “The Parable of the Search for the Soul” to
\n“The Finding of the Soul”. Revision of the typed copy was so
\nelaborate in places (as elsewhere, especially in Book Six, Canto
\nTwo and in Book Eleven) that sometimes there was not enough
\nroom on the page. The scribe would then write on separate slips
\nof paper, attaching as many as ten of these to a single page of
\nthe typescript.<\/p>\n

Canto One of Book Seven has a different background. Early
\nin the evolution of Savitri<\/i> , the third canto of the poem (later, the
\nthird book) was called “Death”. It described the year leading
\nup to Satyavan’s death as well as the fatal day itself. The latest
\nversion, with the heading “Book III”, is incomplete and stops
\nbefore the last day. Sri Aurobindo used this manuscript as far
\nas it goes when he put Book Seven, Canto One into its present
\nform.<\/p>\n

The second half of an earlier “Canto III” had to be used as
\nthe manuscript for Book Eight. It was revised slightly near the
\nbeginning and a substantial passage was dictated at the end. Sri
\nAurobindo apparently intended to return to the Book of Death,
\nbut this was not to be.<\/p>\n

On 20 July 1948 he was compelled to admit, “even Savitri <\/i> has very much slowed down and I am only making the last
\nrevisions of the First Part already completed; the other two parts
\nare just now in cold storage.” When the later parts were taken
\nup again, the most important task remaining was evidently to
\nbring the almost untouched eleventh book up to the level of
\nwhat preceded it. The old “Book VII \/ Day” on which it would
\nbe based was among the best-developed portions of the early
\npoem. But after thirty years, Sri Aurobindo had more to say at
\nthe climax of
\nSavitri<\/i> .<\/p>\n

There was also the Epilogue; but the contemplated revision of this must have seemed less essential to the total design
\n <\/p>\n

 <\/p>\n

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\n

 <\/p>\n

Although a few pages of an early version were significantly retouched at some stage, the concluding two sections of the
\nEpilogue stayed almost exactly as they were. Thus the closing pages of the epic, like most of Book Eight, remained as a sample
\nof the style in which
\nSavitri <\/i> was originally written.<\/p>\n

Near the end of his life, Sri Aurobindo’s eyesight was so
\npoor that he no longer wrote at all. He made no more drafts for Savitri <\/i> and the work proceeded entirely by dictation. Virtually
\nthe whole revision of “The Book of Everlasting Day” was done
\nin this purely oral manner and may be inferred to belong to this
\nlate period. There exist only a few pages of drafts for it in Sri
\nAurobindo’s hand, found in note-pads he used around 1946. He
\nwas probably referring to these when he wrote in 1947 that he
\nhad already recast “part of the eleventh” book.<\/p>\n

Book Eleven culminates in the longest continuous dictated
\npassage in Savitri<\/i> . The passage was written by the scribe in a separate note-pad and seems to have no antecedent in any previous
\ndraft. This is the section which begins on p. 702 with “Descend
\nto life . . . “, and ends at the bottom of p. 710 with “This earthly
\nlife become the life divine.” Regarding Sri Aurobindo’s dictation
\nin Book Eleven, the scribe reports that “line after line began to
\nflow from his lips like a smooth and gentle stream and it was on
\nthe next day that a revision was done to get the link for further
\ncontinuation.”<\/p>\n

By this time, cantos of Parts Two and Three were coming out
\nin journal instalments and fascicles like those of Part One. Most
\nof the cantos of Books Four, Five, Six and Nine were published
\nin this way in 1949-50. Unlike the fascicles of the first part, they
\nwere not revised afterwards by Sri Aurobindo.<\/p>\n

But in 1948, an extract from Book Six, Canto Two had
\nalready been printed in the
\nSri Aurobindo Mandir Annual. An
\noffprint of this was read to Sri Aurobindo and the changes he
\ndictated were incorporated in a retyped copy. The painstaking
\nrevision of this second typescript was reportedly the last work
\nhe did on Savitri<\/i> . A short paragraph before the concluding description of Narad’s departure was the final passage to receive
\ndetailed attention in November 1950, less than a month before
\n <\/p>\n

 <\/p>\n

Page \u2013 <\/span>736<\/span><\/p>\n

\n

Sri Aurobindo’s passing. The thirteen-line paragraph was expanded to the seventy-two lines beginning “Queen, strive no more to change the secret will…”<\/p>\n

 <\/p>\n

Editions of Savitri<\/i> <\/b><\/p>\n

 <\/p>\n

Sri Aurobindo revised the proofs of the first edition of Part
\nOne, making numerous final changes and adding more than a hundred new lines. In 1950, Part One of Savitri <\/i> appeared in
\nbook form. Parts Two and Three could not be similarly revised.
\nThey came out in 1951 in a second volume, thus completing the
\nfirst edition.<\/p>\n

The second edition was issued in 1954 in one volume under
\nthe imprint of the Sri Aurobindo International University Centre.
\nSome obvious errors in the text of the first edition were emended
\nat this time. A few of these were evidently due to the mishearing
\nof Sri Aurobindo’s dictation.<\/p>\n

In 1968, the first edition of Part One was reprinted with some new textual corrections. The third complete edition (1970)
\ncontained further emendations. Comprising Volumes 28 and
\n29 of the Sri Aurobindo Birth Centenary Library, it was also
\nbrought out as a single volume in a reduced format. This was
\nreprinted a number of times between 1973 and 1990. Several
\ntypographical and other errors were rectified in the 1976 impression.<\/p>\n

The fourth, critically revised edition appeared in 1993 and
\nis reproduced here. This edition was the outcome of a systematic
\ncomparison of the printed text of
\nSavitri <\/i> with the manuscripts.
\nEach line was traced through all stages of copying, typing and
\nprinting in which errors could have occurred. Readings found to have
\ncome about through inaccurate transcription or misprinting were corrected. Accidentally omitted lines were restored to
\nthe text. This has resulted in a very slight increase in the length
\nof the poem to its present 23,837 lines.
\n <\/p>\n

Page \u2013 <\/span>737<\/span><\/p>\n<\/td>\n

 <\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n

 <\/p>\n

\n\n\n\n
 <\/td>\n <\/td>\n <\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n

   <\/span><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

Introduction   Notes   Book 1   Book II   Book III   Book IV    Book V   Book VI   Book VII   Book VIII    Book IX   Book X   Book XI   Book XII         The Tale of Satyavan and Savitri…<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[239],"tags":[],"class_list":["post-10798","post","type-post","status-publish","format-standard","hentry","category-book-savitri-study","wpcat-239-id"],"_links":{"self":[{"href":"https:\/\/worksofthemotherandsriaurobindo.org\/index.php\/wp-json\/wp\/v2\/posts\/10798","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/worksofthemotherandsriaurobindo.org\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/worksofthemotherandsriaurobindo.org\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/worksofthemotherandsriaurobindo.org\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/worksofthemotherandsriaurobindo.org\/index.php\/wp-json\/wp\/v2\/comments?post=10798"}],"version-history":[{"count":8,"href":"https:\/\/worksofthemotherandsriaurobindo.org\/index.php\/wp-json\/wp\/v2\/posts\/10798\/revisions"}],"predecessor-version":[{"id":11497,"href":"https:\/\/worksofthemotherandsriaurobindo.org\/index.php\/wp-json\/wp\/v2\/posts\/10798\/revisions\/11497"}],"wp:attachment":[{"href":"https:\/\/worksofthemotherandsriaurobindo.org\/index.php\/wp-json\/wp\/v2\/media?parent=10798"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/worksofthemotherandsriaurobindo.org\/index.php\/wp-json\/wp\/v2\/categories?post=10798"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/worksofthemotherandsriaurobindo.org\/index.php\/wp-json\/wp\/v2\/tags?post=10798"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}