{"id":1186,"date":"2013-07-13T01:33:08","date_gmt":"2013-07-13T01:33:08","guid":{"rendered":"http:\/\/localhost\/?p=1186"},"modified":"2013-07-13T01:33:08","modified_gmt":"2013-07-13T01:33:08","slug":"16-the-suprarational-beauty-vol-15-social-and-political-thought-volume-15","status":"publish","type":"post","link":"https:\/\/worksofthemotherandsriaurobindo.org\/index.php\/01-works-of-sri-aurobindo\/01-sabcl\/15-social-and-political-thought-volume-15\/16-the-suprarational-beauty-vol-15-social-and-political-thought-volume-15","title":{"rendered":"-16_The Suprarational Beauty.htm"},"content":{"rendered":"
\n\n\n
\n
\n


\nCHAPTER <\/font><\/b>
\nXIV<\/font><\/span><\/p>\n


\nThe <\/font>
\nSuprarational Beauty<\/font><\/span><\/span><\/b><\/p>\n

\n <\/p>\n

\n
\n\u00a0\u00a0\u00a0 <\/font> <\/span>
\n                           
\n<\/font> <\/span>
\nRELIGION<\/span><\/font> is the seeking after the spiritual, the suprarational and
\ntherefore in this sphere the intellectual reason may well be an insufficient help
\nand find itself, not only at the end but from the beginning, out of its
\nprovince <\/font> <\/span>
\nand <\/font> <\/span>
\n
\ncondemned to tread
\neither diffidently or else with a stumbling<\/font><\/span> <\/font> <\/span>
\npresumptuousness in the realm of a power and a light higher than its
\nown. But in the other spheres of human consciousness and human activity it may
\nbe thought that it has the right to the sovereign place, since these move on
\nthe lower plane of the rational and the finite or belong to that border-land
\nwhere the rational and the infrarational meet and the impulses and the
\ninstincts of man<\/font><\/span> <\/font> <\/span>
\nstand<\/font><\/span> in need above all of the
\nlight and the control of the reason. In its own sphere of finite knowledge,
\nscience, philosophy, the useful arts, its right, one would think, must be
\nindisputable. But this does not turn out in the end to be true. Its province
\nmay be larger, its powers more ample, its action more justly self-confident,
\nbut in the end everywhere it finds itself standing between the two other powers
\nof our being <\/font> <\/span>
\nand fulfilling in greater or less degree the
\n<\/font> <\/span>
\nsame function of an intermediary. <\/font> <\/span>
\nOn one side it is an enlight<\/font><\/span>ener – not always the chief enlightener – and the corrector of our
\nlife-impulses and first mental seekings, on the other it is only one minister
\nof the veiled Spirit and a preparer of the paths for the coming of its rule.<\/font><\/span><\/p>\n

\n\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/font> <\/span>This is especially evident in the two
\nrealms which in the ordinary scale of our powers stand nearest to the reason
\nand on either side of it, the aesthetic and the ethical being, the search for
\nBeauty and the search for Good. Man’s seeking after beauty reaches its most
\nintense and satisfying expression in the great creative arts, poetry, painting,
\nsculpture, architecture, but in its full extension there is no activity of his
\nnature or his life from<\/font><\/span><\/p>\n

\nPage<\/font><\/span>–<\/span><\/font>127<\/font><\/span><\/p>\n

\n

\nwhich it need or ought to be
\nexcluded,<\/font> –<\/font> provided we under- stand
\nbeauty both in its widest and its truest sense. A complete and universal
\nappreciation of beauty and the making entirely beautiful our whole life and
\nbeing must surely be a necessary character of the perfect individual and the
\nperfect society. But In its origin this seeking for beauty is not rational; it
\nsprings from the roots of our life, it is an instinct and an impulse, an
\ninstinct of aesthetic satisfaction and an impulse of aesthetic creation and
\nenjoyment. Starting from the infrarational parts of our being, this instinct
\nand impulse begin with much imperfection and impurity and with great crudities
\nboth in creation and in appreciation. It is here that the reason comes in to
\ndistinguish, to enlighten, to correct, to point out the deficiencies and the
\ncrudities, to lay down laws of aesthetics and to purify our appreciation and
\nour creation by improved taste and right knowledge. While we are thus striving
\nto learn and correct ourselves, it may seem to be the true law-giver both for
\nthe artist and the admirer and, though not the creator of our aesthetic
\ninstinct and impulse, yet the creator in us of an aesthetic conscience and its
\nvigilant judge and guide. That which was an obscure and erratic activity, it
\nmakes self-conscious and rationally discriminative in its work and enjoyment.<\/font><\/span><\/p>\n

\n\u00a0\u00a0\u00a0\u00a0\u00a0 <\/font> <\/span>But again this is true only in restricted bounds or, if any-
\nwhere entirely true, then only on a middle plane of our aesthetic seeking and
\nactivity. Where the greatest and most powerful creation of beauty is
\naccomplished and its appreciation and enjoyment rise to the highest pitch, the
\nrational is always surpassed and left behind. The creation of beauty in poetry
\nand art does not fall within the sovereignty or even within the sphere of the
\nreason. The intellect is not the poet, the artist, the creator within us;
\ncreation comes by a suprarational influx of light and power which must work
\nalways, if it is to do its best, by vision and inspiration. It may use the
\nintellect for certain of its operations, but in proportion as it subjects
\nitself to the intellect it loses in power and force of vision and diminishes
\nthe splendour and truth of the beauty it creates. The intellect may take hold
\nof the influx, moderate and repress the divine enthusiasm of creation and force
\nit to obey the prudence of its dictates, but in doing<\/font> <\/span>
\n
\nso it<\/font><\/span><\/p>\n

\n
\nPage-128<\/span><\/font><\/p>\n

\n

\nbrings down the work to its
\nown inferior level, and the lowering is in proportion to the intellectual
\ninterference. For by itself the intelligence can only achieve talent, though it
\nmay be a high and even, if sufficiently helped from above, "a surpassing
\ntalent. Genius, the true creator, is always suprarational in its nature<\/font> and its instrumentation even
\nwhen it seems to be doing the work of the reason; it is most itself, most
\nexalted in its work, most sustained in the power, depth, height and beauty of
\nits achievement when it is least touched by, least mixed with any control of
\nthe mere intellectuality and least often drops from its heights of vision and
\ninspiration into reliance upon the always mechanical process of intellectual
\nconstruction. Art-creation which accepts the canons of the reason and works
\nwithin the limits laid down by it, may be great, beautiful and powerful; for
\ngenius can preserve its power even when it labours in shackles and refuses to
\nput forth all its resources; but when it proceeds by means of the intellect, it
\nconstructs, but does not create. -It may construct well and with a good and
\nfaultless workmanship, but its success is formal and not of the spirit, a
\nsuccess of <\/font> <\/span>
\ntechnique and not the embodiment of the
\nimperishable truth of<\/font><\/span>
\n<\/font> <\/span>‘ beauty seized in its inner
\nreality, its divine delight, its appeal to a supreme source of ecstasy, Ananda.<\/font><\/span><\/p>\n

\n\u00a0\u00a0\u00a0\u00a0\u00a0 <\/font> <\/span>There have been periods of artistic creation, ages of reason,
\nin which the rational and intellectual tendency has prevailed in poetry and
\nart; there have been even nations which in their great formative periods of art
\nand literature have set up reason and a meticulous taste as the sovereign
\npowers of their aesthetic activity. At their best these periods have achieved
\nwork of a certain greatness, but predominantly of an intellectual greatness and
\nperfection of technique rather than achievements of a supreme inspired and
\nrevealing beauty; indeed their very aim has been not the discovery of the
\ndeeper truth of beauty, but truth of ideas and truth of reason, a critical
\nrather than a true creative aim. Their leading object has been an intellectual
\ncriticism of life and nature elevated by a consummate poetical rhythm and
\ndiction rather than a revelation of God and man and life and nature in inspired
\nforms of artistic beauty. But great art is not satisfied with representing the
\nintellectual truth of things, which<\/font><\/span><\/p>\n

\n
\nPage-129<\/span><\/font><\/p>\n

\n

\nis always their superficial or exterior truth; it seeks for a deeper and
\noriginal truth which escapes the eye of the mere sense or the mere reason, the
\nsoul in them, the unseen reality which is not that of their form and process but
\nof their spirit. This it seizes and expresses by form and idea, but a
\nsignificant form, which is not merely a faithful and just or a harmonious
\nreproduction of outward Nature, and a revelatory idea, not the idea which is
\nmerely correct, elegantly right or fully satisfying to the reason and taste.
\nAlways the truth it seeks is first and foremost the truth of beauty, – not,
\nagain, the formal beauty alone or the beauty of proportion and right process
\nwhich is what the sense and the reason seek, but the soul of beauty which is
\nhidden from the ordinary eye and the ordinary mind and revealed in its full
\nness only to the unsealed vision of the poet and artist in man who can seize
\nthe secret significances of the universal poet and artist, the divine creator
\nwho dwells as their soul and spirit in the forms he has created.<\/font><\/span><\/p>\n

\n\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/font> <\/span>The art-creation which lays a supreme stress on reason and
\ntaste and on perfection and purity of a technique constructed in obedience to
\nthe canons of reason and taste, claimed for itself the name of classical art;
\nbut the claim, like the too trenchant distinction on which it rests, is of
\ndoubtful validity. The spirit of the real, the great classical art and poetry
\nis to bring out what is universal and subordinate individual expression to universal
\ntruth and beauty, just as the spirit of romantic art and poetry is to bring out
\nwhat is striking and individual, and this it often does so powerfully or with
\nso vivid an emphasis as to throw into the background of its creation the
\nuniversal, on which yet all true art romantic or classical builds and fills in
\nits forms. In truth, all great art has carried in it both a classical and a
\nromantic as well as a realistic element,<\/font> –<\/font><\/span> <\/span>understanding
\nrealism in the sense of the prominent bringing out of the external truth of
\nthings, not the perverse inverted romanticism of the "real" which
\nbrings into exaggerated prominence the ugly, common or morbid and puts that
\nforward as the whole truth of life. The type of art to which a great creative
\nwork belongs is determined by the prominence it gives to one element and the
\nsubdual of the others into subordination to its reigning spirit. But classical
\nart also<\/font><\/span><\/p>\n

Page-130<\/font><\/span><\/p>\n

\n

\nworks<\/font><\/span> <\/font> <\/span>
\n
\nby a large vision and inspiration,
\nnot by the process of the <\/font> <\/span>
\nintellect. The lower kind of classical art and
\nliterature, – if classical it be and not rather, as it often is,
\npseudo-classical, intellectually imitative of the external form and process of
\nthe classical, – may achieve work of considerable, though a much lesser power,
\nbut of an essentially inferior scope and nature; for to that inferiority it is
\nself-condemned by its principle of intellectual construction. Almost always it
\nspeedily degenerates into the formal or academic, empty of real beauty, void of
\nlife and power, imprisoned in its slavery to form and imagining that when a
\ncertain form has been followed, certain canons of construction satisfied,
\ncertain rhetorical rules or technical principles obeyed, all has been achieved.
\nIt ceases to be art and becomes a cold and mechanical workmanship.<\/font><\/span><\/p>\n

\n\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/font> <\/span>This predominance given to reason and taste first and
\nfore- most, sometimes even almost alone, in the creation and appreciation of
\nbeauty arises from a temper of mind which is critical rather than creative; and
\nin regard to creation its theory falls into a capital error. All artistic work
\nin order to be perfect must indeed have in the very act of creation the
\nguidance of an inner power of discrimination constantly selecting and rejecting
\nin accordance with a principle of truth and beauty which remains always
\nfaithful to<\/font><\/span> <\/font> <\/span>
\n
\na<\/font><\/span> <\/font> <\/span>
\nharmony, a proportion, an intimate relation <\/font> <\/span>
\nof the forms to the idea;
\nthere is at the same time an exact fidelity of the idea to the spirit, nature and
\ninner body of the thing of beauty which has been revealed to the soul and the
\nmind, its <\/font> <\/span>
\nsvarupa <\/font> <\/span><\/i>
\nand svabhiiva. <\/i>Therefore
\nthis discriminating inner sense <\/font> <\/span>
\n
\nrejects all that is foreign,
\nsuperfluous, otiose, all that is a mere diversion distractive and deformative,
\nexcessive or defective, while it selects and finds sovereignly all that can
\nbring out the full truth, the utter beauty, the inmost power. But this
\ndiscrimination is not that of the critical intellect, nor is the harmony,
\nproportion, relation it observes that which can be fixed by any set law of the
\ncritical reason; it exists in the very nature and truth of the thing itself,
\nthe creation itself, in its secret inner law of beauty and harmony which can be
\nseized by vision, not by intellectual analysis. The discrimination which works in
\nthe creator is therefore not an intellectual self-criticism or an obedience to
\nrules im-<\/font><\/span><\/p>\n

\n
\nPage – 131<\/span><\/font><\/p>\n

\n

\nposed on him from outside by any intellectual canons, but itself
\ncreative, intuitive, a part of the vision, involved in and insepa<\/font><\/span>rable from the act of creation. It comes as part of that influx of
\n<\/font> <\/span>power and light
\nfrom above which by its divine enthusiasm lifts the faculties into their
\nintense suprarational working. When it fails, when it is betrayed by the lower
\nexecutive instruments rational or infrarational,<\/font><\/span> <\/font> <\/span>
\n–<\/font><\/span> <\/font> <\/span>
\nand this happens when these cease to be passive and
\ninsist on obtruding their own demands or vagaries, – the work is flawed and a
\nsubsequent act of self-criticism becomes necessary. But in correcting his work
\nthe artist who attempts to do it by rule and intellectual process, uses a false
\nor at any rate an inferior method and cannot do his best. He ought rather to
\ncall to his aid the intuitive critical vision and embody it in a fresh act of
\ninspired creation or re-creation after bringing himself back by its means into
\nharmony with the light and law of his original creative initiation. The
\ncritical intellect has no direct or independent part in the means of the
\ninspired creator of beauty<\/font><\/span><\/p>\n

\n\u00a0\u00a0\u00a0\u00a0 <\/font> <\/span>In the appreciation of beauty it has a part, but it is not
\neven there the supreme judge or law-giver. The business of the intellect is to
\nanalyse the elements, parts, external processes, apparent principles of that
\nwhich it studies and explain their relations and workings; in doing this it
\ninstructs and enlightens the lower mentality which has, if left to itself, the
\nhabit of doing things or seeing what is done and taking all for granted without
\nproper observation and fruitful understanding. But as with truth of religion,
\nso with the highest and deepest truth of beauty, the intellectual reason cannot
\nseize its inner sense and reality, not even the inner truth of the apparent
\nprinciples and processes, unless it is aided by a higher insight not its own.
\nAs it cannot give a method, process or rule by which beauty can or ought to be
\ncreated, so also it cannot give to the appreciation of beauty that deeper
\ninsight which it needs; it can only help to remove the dullness and vagueness
\nof the habitual perceptions and conceptions of the lower mind which prevent it
\nfrom seeing beauty or which give it false and crude aesthetic habits: it does
\nthis by giving to the mind an external idea and rule of the elements of the
\nthing it has to perceive and appreciate. What is farther needed is the awakening
\nof a certain vision, an insight and an intuitive response in the soul. Reason
\nwhich<\/font><\/span><\/p>\n

\n
\nPage-132<\/span><\/font><\/p>\n

\n

\nstudies always from outside, cannot give this
\ninner and more\u00a0 <\/span>intim<\/font><\/span>ate<\/font><\/span> <\/font> <\/span>
\ncontact; it has to aid itself by a more direct insight
\nspring<\/font><\/span>ing from the soul itself and to call at every step on
\nthe intuitive mind to fill up the gap of its own deficiencies.<\/font><\/span><\/p>\n

\n\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/font> <\/span>We see this in the history of the
\ndevelopment of literary and artistic criticism. In its earliest stages the
\nappreciation of beauty is instinctive, natural, inborn, a response of the
\naesthetic sensitiveness of the soul which does not attempt to give any account
\nof itself to the thinking intelligence. When the rational intelligence applies
\nitself to this task, it is not satisfied with recording faithfully the nature
\nof the response and the thing it has felt, but it attempts to analyse, to lay
\ndown what is necessary in order to create a just aesthetic gratification, it
\nprepares a grammar of technique, an artistic law and canon of construction, a
\nsort of mechanical rule of process for the creation of beauty, a fixed code or
\nShastra. This brings in the long reign of academic criticism superficial,
\ntechnical, artificial, governed by the false idea that technique, of which
\nalone critical reason can give an entirely adequate account, is the most
\nimportant part of creation and that to every art there can correspond an
\nexhaustive science which will tell us how the thing is done and give us the
\nwhole secret and process of its doing. A time comes when the creator of beauty
\nrevolts and declares the charter of his own freedom, generally in the shape of
\na new law or principle of creation, and this freedom once vindicated begins to
\nwiden itself and to carry with it the critical reason out of all its familiar
\nbounds. A more developed appreciation emerges which begins to seek for new
\nprinciples of criticism, to search for the soul of the work itself and explain
\nthe form in relation to the soul or to study the creator himself or the spirit,
\nnature and ideas of the age he lived in and so to arrive at a right
\nunderstanding of his work. The intellect has begun to see that its highest
\nbusiness is not to lay down laws for the creator of beauty, but to help us to
\nunderstand himself and his work, not only its form and elements but the mind from
\nwhich it sprang and the impressions its effects create in the mind that
\nreceives. Here criticism is on its right road, but on a road to a consummation
\nin which the rational understanding is overpassed and a higher faculty opens,
\nsuprarational in, its origin and nature.<\/font><\/span><\/p>\n

\n
\nPage-133<\/span><\/font><\/p>\n

\n

\nFor the conscious appreciation of beauty reaches its height of
\nenlightenment and enjoyment not by analysis of the beauty enjoyed or even by a
\nright and intelligent understandiJ1g of it,<\/font><\/span> -these things are only a preliminary clarifying of our
\nfirst unenlightened sense of the beautiful, – but by an exaltation of the soul
\nin which it opens itself entirely to the light and power and joy of the
\ncreation. The soul of beauty in us identifies itself with the soul of beauty in
\nthe thing created and feels in appreciation the same divine intoxication and
\nuplifting which the artist felt in creation. Criticism reaches its highest
\npoint when it becomes the record, account, right description of this response;
\nit must become itself inspired, intuitive, revealing. In other words, the
\naction of the intuitive mind must complete the action of the rational
\nintelligence and it may even wholly replace it and do more powerfully the
\npeculiar and proper work of the intellect itself; it may explain more intimately
\nto us the secret of the form, the strands of the process, the inner cause,
\nessence, mechanism of the defects and limitations of the work as well as of its
\nqualities. For the intuitive intelligence when it has been sufficiently trained
\nand developed, can take up always the work of the intellect and do it with a
\npower and light and insight greater and surer than the power and light of the
\nintellectual judgment in its widest scope. There is an intuitive discrimination
\nwhich is more keen and precise in its sight than the reasoning intelligence.<\/font><\/span><\/p>\n

\n\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/font> <\/span>What has been said of great creative art, that being the
\nform in which normally our highest and intensest aesthetic satisfaction is
\nachieved, applies to all beauty, beauty in Nature, beauty in life as well as
\nbeauty in art. We find that in the end the place of reason and the limits of
\nits achievement are precisely of the same kind in regard to beauty as in regard
\nto religion. It helps to enlighten and purify the aesthetic instincts and
\nimpulses, but it cannot give them their highest satisfaction or guide them to a
\ncomplete insight. It shapes and fulfils to a certain extent the aesthetic
\nintelligence, but it cannot justly pretend to give the definitive law for the
\ncreation of beauty or for the appreciation and enjoyment of beauty. It can only
\nlead the aesthetic instinct, impulse, intelligence towards a greatest possible
\nconscious satisfaction, but not to it; it has in the end to hand them over to a
\nhigher faculty which<\/font><\/span><\/p>\n

Page-134<\/font><\/span><\/p>\n

\n

\nis in
\ndirect touch with the supra rational and in its nature and workings exceeds the
\nintellect.<\/font><\/span><\/p>\n

\n\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/font> <\/span>And for the same reason, because that which we are
\nseeking through beauty is in the end that which we are seeking through
\nreligion, the Absolute, the Divine. The search for beauty is only in its
\nbeginning a satisfaction in the beauty of form, the beauty which appeals to the
\nphysical senses and the vital impressions, impulsions, desires. It is only in
\nthe middle a satisfaction in the beauty of the ideas seized, the emotions
\naroused, the perception of perfect process and harmonious combination. Behind
\nthem the soul of beauty in us desires the contact, the revelation, the
\nuplifting delight of an absolute beauty in all things which it feels to be
\npresent, but which neither the senses and instincts by themselves can give,
\nthough they may be its channels,<\/font><\/span>
\n<\/font> <\/span>
\n–<\/font><\/span> <\/font> <\/span>
\nfor it is <\/font> <\/span>
\nsuprasensuous,<\/font><\/span> <\/font> <\/span>
\n– nor the reason and intelligence, though they
\n<\/font> <\/span>too are a channel,<\/font><\/span> <\/font> <\/span>
\n–<\/font><\/span>
\n<\/font> <\/span>for it is suprarational,
\nsupra-intellectual, – but to which through all these veils the soul itself
\nseeks to arrive. When it can get the touch of this universal, absolute <\/font> <\/span>
\nbeauty, this soul of beauty, this sense of its revelation<\/font><\/span> <\/font> <\/span>
\nin
\nany slightest or greatest thing, the beauty of a flower, a form, the beauty and
\npower of a character, an action, an event, a human life, an idea, a stroke of
\nthe brush or the chisel or a scintillation of the mind, the colours of a sunset
\nor the grandeur of the tempest, it is then that the sense of beauty in us is
\nreally, powerfully, entirely satisfied. It is in truth seeking, as in religion,
\nfor the Divine, the All-Beautiful in man, in nature, in life, in thought, in
\nart; for God is Beauty and Delight hidden in the variation of his masks and
\nforms. When, fulfilled in our growing sense and knowledge of beauty and delight
\nin beauty and our power for beauty, we are able to identify our Selves in soul
\nwith this Absolute and Divine in all the forms and activities of the world and
\nshape an image of our inner and our outer life in the highest image we can
\nperceive and embody of the All-Beautiful, then the aesthetic being in us who
\nwas born for this end, has fulfilled himself and risen to his divine
\nconsummation. To find highest beauty is to find God; to reveal, to embody, to
\ncreate, as we say, highest beauty is to bring out of our souls the living image
\nand <\/font> <\/span>
\npower<\/font><\/span>
\n<\/font> <\/span>
\nof
\nGod.<\/font><\/span><\/p>\n

\n
\nPage-135<\/span><\/font><\/p>\n<\/div>\n<\/td>\n<\/tr>\n<\/table>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

CHAPTER XIV The Suprarational Beauty   \u00a0\u00a0\u00a0                             RELIGION is the seeking after the spiritual, the suprarational and therefore in this sphere the intellectual reason…<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[25],"tags":[],"class_list":["post-1186","post","type-post","status-publish","format-standard","hentry","category-15-social-and-political-thought-volume-15","wpcat-25-id"],"_links":{"self":[{"href":"https:\/\/worksofthemotherandsriaurobindo.org\/index.php\/wp-json\/wp\/v2\/posts\/1186","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=1186"}],"version-history":[{"count":0,"href":"https:\/\/worksofthemotherandsriaurobindo.org\/index.php\/wp-json\/wp\/v2\/posts\/1186\/revisions"}],"wp:attachment":[{"href":"https:\/\/worksofthemotherandsriaurobindo.org\/index.php\/wp-json\/wp\/v2\/media?parent=1186"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/worksofthemotherandsriaurobindo.org\/index.php\/wp-json\/wp\/v2\/categories?post=1186"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/worksofthemotherandsriaurobindo.org\/index.php\/wp-json\/wp\/v2\/tags?post=1186"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}