{"id":1276,"date":"2013-07-13T01:33:47","date_gmt":"2013-07-13T08:33:47","guid":{"rendered":"http:\/\/localhost\/?p=1276"},"modified":"2013-11-28T15:15:04","modified_gmt":"2013-11-28T23:15:04","slug":"23-recent-english-poetry-3-vol-09-the-future-poetry-volume-09","status":"publish","type":"post","link":"https:\/\/worksofthemotherandsriaurobindo.org\/index.php\/01-works-of-sri-aurobindo\/01-sabcl\/09-the-future-poetry-volume-09\/23-recent-english-poetry-3-vol-09-the-future-poetry-volume-09","title":{"rendered":"-23_Recent English Poetry – 3.htm"},"content":{"rendered":"\n\n
\n
\n


\nc<\/font>hapter<\/font>
\n<\/font> <\/span><\/span><\/b>XXII<\/font><\/span><\/b> <\/font><\/p>\n


\n
\n\u00a0<\/font><\/span>  Recent English Poetry<\/font> – 3<\/font><\/span><\/span><\/b><\/p>\n

\n            <\/font><\/p>\n

\n           
\nT<\/font>HE rhythmic change which
\ndistinguishes the new poetry, may not be easy to seize at the first hearing,
\nfor it is a subtle thing in its spirit more than in its body, commencing only and
\nobscured by the outward adherence to the apparent turn-out and method of older
\nforms; but there is a change too, more readily tangible, in the language of
\nthis poetry, in that fusion of a concentrated substance of the idea and a
\ntransmuting essence of the speech which we mean by poetic style. But here too,
\nif we would understand in its issues the evolution of poetic speech in a
\nlanguage, it is on the subtler things of the spirit, the significant inner
\nchanges that we must keep our eye; for it is these that determine the rest and
\nare the heart of the matter. We take little account of the psychology of poetic
\ngenius and are content with saying that the word of the poet is the speech of
\nthe imagination or that he works by an inspiration. But this is an insufficient
\naccount; for imagination is of many different kinds and inspiration touches the
\nmind at different levels and breaks out through different media before it
\nissues through the gates of the creative imagination. What we mean by
\ninspiration is that the impetus to poetic creation and utterance comes to us
\nfrom a superconscient source above the ordinary mentality, so that what is
\nwritten seems not to be the fabrication of the brain-mind, but something more
\nsovereign breathed or poured in from above. That is the possession by the
\ndivine enthousiasmos<\/i> of which Plato has spoken. But it is seldom that
\nthe whole word leaps direct from that source, that cavern of natal light
\nready-shaped and with the pure stamp of its divine origin, \u2014 ordinarily it goes
\nthrough some secondary process in the brain-mind itself, gets its impulse and
\nunformed substance perhaps from above, but subjects it to’ an intellectual or
\nother earthly change; there is in that change always indeed some superior power
\nborn of the excitement of the<\/p>\n

\nPage \u2013 167<\/span><\/p>\n

\n

higher possession, but also some alloy too of our
\nmortality. And the character, value and force of the word of the poet vary
\naccor\u00adding to the action of those parts of our mentality which dominate in the
\nchange, — the vital mind, the emotional
\ntemperament, the imaginative or reflective
\nintellect or the higher intuitive intelli\u00adgence. The Tantric
\ntheory of Speech, the inspired seeing and creative goddess enthroned in our
\nvarious soul-centres in her several forms and with her higher and higher
\nstations, becomes here an actual and luminously perceptible truth of our being.
\nBut also there is in us a direct medium between that divine and this human
\nmentality, an intuitive soul-mind supporting the rest, which has its share both
\nin the transmission and the formal creation, and it is where this gets out into
\novert working, discloses its shaping touch or makes heard its transmitting
\nvoice that we get the really immortal tones of speech and heights of creation.
\nAnd it is the epochs when there is in the mind of a race some enthusiastic
\noutburst or some calm august action of this intuitive power, intermediary of
\nthe inspirations of the spirit or its revela\u00adtions,
\nthat .make the great ages of poetry.<\/p>\n

In English
\nliterature this period was the Elizabethan. Then the speech of poetry got into
\nit a ring and turn of direct intuitive power, a spontaneous fullness of vision
\nand divine fashion in its utterance which it had not at all before and has
\nhardly had after\u00adwards. Even the lesser poets of the time are touched by it,
\nbut in Shakespeare it runs in a stream and condenses to a richly-loaded and
\ncrowding mass of the work and word of the intuition almost unexampled in any
\npoetry. The difference can be measured by taking the work of Chaucer or of
\nsubsequent poets almost at their best and of Shakespeare at a quite ordinary
\nlevel and feeling the effect on the poetic listener in our own intuitive being.
\nWe take Chaucer with his easy adequate limpidity,\u2014<\/p>\n

\u00a0<\/span>He was a verray parfit
\ngentil knight,<\/i><\/p>\n

 <\/span><\/p>\n

and then pass on to Shakespeare’s rapid seizing of
\nthe intuitive inevitable word and the disclosing turn of phrase which admits us
\nat once to a direct vision of the thing he shows us, \u2014<\/p>\n

\nPage \u2013 168<\/span><\/span><\/p>\n

<\/p>\n
\n

<\/span><\/div>\n

  Of moving accidents by flood and field,<\/i><\/p>\n

\u00a0<\/span>Of hair-breadth\u2019\u00a0 <\/span>scapes\u00a0
\n<\/span>I\u2019\u00a0 <\/span>the imminent deadly breach,<\/i><\/p>\n

where with quite as simple a thing to say and a
\nperfect force of directness in saying it, it is yet a vastly different kind of
\ndirectness. The one speaks from the poetic intellect and satisfies by a just
\nand pleasing expression, in the other the words get, one might say, into the
\nentrails of vision and do not stop short at the clear mea\u00adsure of the thing
\nseen, but evoke their very quality and give us immediately the inmost vital
\nfibre and thrill of the life they des\u00adcribe and interpret. It is not merely a
\ndifference of the measure of the genius, but of its source. This language of
\nShakespeare’s is a unique and wonderful thing; it has everywhere the royalty of
\nthe sovereign intuitive mind looking into and not merely at life and in this
\nmost myriad-minded of poets it takes like life itself many tones, but that
\nintuitive readiness to get through, seize the lurking word and bring it out
\nfrom the heart of the thing itself is almost always its secret. From that, he
\nmight have said, could he have given a better account of his own working, and
\nnot by any mere mirroring of things in Nature,\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>.<\/p>\n

It was my hint to speak, such ‘was
\nthe process.<\/i><\/p>\n

We are most readily struck
\nin Shakespeare by the lines and passages in which the word thus seized and
\nbrought out is fol\u00adlowed swiftly oh the heels by another and another of its
\nkind, many crowding together or even fused and run into each other in a single
\nphrase of many suggestions, \u2014 for this manner is pecu\u00adliarly his own and others
\ncan only occasionally come near to it. Such passages recur to the mind as those
\nin the soliloquy on sleep or the well-known lines in Macbeth,<\/i><\/p>\n

Pluck from the memory a rooted sorrow,<\/i><\/p>\n

\u00a0<\/span>Raze out the written
\ntroubles of the brain,<\/i><\/p>\n

\u00a0<\/span>And with some sweet
\noblivious antidote <\/i><\/p>\n

Cleanse the stuffed bosom of that perilous stuff<\/i><\/p>\n

\u00a0<\/span>Which weighs upon the
\nheart.<\/i><\/p>\n

\nPage \u2013 169<\/span><\/p>\n

\n

His<\/span>
\nis often a highly imaged style, but Shakespeare’s images are not, as with so
\nmany poets, decorative or brought in to enforce and visualise the intellectual
\nsense, they are more immediately revelatory, intimate to the thing he speaks
\nand rather the proper stuff of the fact itself than images. But he has too a
\nclearer, less crowded, still swifter fashion of speech in which they are absent;<\/p>\n

for an
\nexample,<\/p>\n

She should have died hereafter;<\/i><\/p>\n

There would have been a time for such a word, \u2014<\/i><\/p>\n

which has yet the same deep and penetrating
\nintuitive spirit in its utterance. Or<\/b> the two manners meet together and
\nlean on each other,\u2014\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span><\/p>\n

I have lived long enough: my way of life<\/i><\/p>\n

\u00a0<\/span>Is
\nfallen into the sere, the yellow leaf,<\/i><\/p>\n

or become one, as in the last speeches of Antony, \u2014<\/p>\n

 <\/i><\/p>\n

I am dying, Egypt, dying; only<\/i><\/p>\n

I here importune death awhile, until<\/i><\/p>\n

\u00a0<\/span>Of
\nmany thousand kisses the poor last<\/i><\/p>\n

I lay upon thy lips.<\/i><\/p>\n

But<\/span>
\nall have the same characteristic stamp of the intuitive mind <\/i>rapidly and powerfully at work; but always
\ntoo, \u2014 and this is the important distinction, \u2014 that .mediator
\nbetween the secret spirit and our ordinary surface mentality works in him through
\nand behind the life vision to give the vital impression, the vital psychology,
\nthe life-burden of the thought, the emotion, the act or the thing seen in
\nNature,\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span><\/p>\n

The movement that immediately followed, abandoned
\nthis power which Shakespeare and the Elizabethans had brought into English poetry; it
\nsought after a language cut into the precision or full with the suggestions of
\nthe poetical intellect, and it gained something by its sacrifice; it purified
\nthe language, got rid of Elizabethan conceit and extravagance, laid a clearer
\nbasis of <\/p>\n

\nPage \u2013 170<\/span><\/p>\n

<\/p>\n
\n

<\/span><\/i><\/b><\/div>\n

thought,
\nwent back to ordinary speech and raised it into a fit instrument of the
\npoetical imagination. But it lost this Shakespearian directness of intuitive vision
\nand spontaneous power of ‘utterance. Gray in a notable passage observes and
\nlaments the loss, without penetrating into its cause and nature, and he tried
\nsometimes in his own way, within the cadre of an intellectualised language, to
\nrecover something of the power. The later poets get a compensation in other
\ndirections by a heightening of the clarified thought and imagination, but the
\nbasic substance of the speech seems to have irrecoverably changed and its more
\ntenuous spirit and make impose on the searching audacities of the intuition the
\ncurbing restraints and limits of the imaginative in\u00adtelligence. Shelley’s\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span><\/p>\n

Our sweetest songs are those that tell of
\nsaddest thought,<\/i><\/p>\n

\u00a0<\/span><\/i>Keats’<\/p>\n

A thing of beauty is a joy for ever,<\/i><\/p>\n

or his<\/p>\n

To that large utterance of the early Gods,<\/i><\/p>\n

\u00a0<\/span>or Wordsworth\u2019s\u00a0\u00a0 <\/span><\/p>\n

the heavy and the weary weight <\/i><\/p>\n

Of all this unintelligible world,<\/i><\/p>\n

give the force and pitch and measure of this
\noften clear, strong, large and luminous, but less intensely surprising and uplifting
\nmanner. English poetry has got away from the Elizabethan outbreak nearer to a
\nkinship with the mind and manner of the Greek and Latin poets and their
\nintellectual descendants, though still, it is to be noted, keeping something, a
\nsubtle and intimate turn, a power of fire and ether which has become native to
\nit, a legacy from the Shakespearian speech which was not there in<\/p>\n

\nPage \u2013 171<\/span><\/p>\n

<\/p>\n
\n

<\/span><\/i><\/b><\/div>\n

its beginnings. This imaginatively intellectual basis
\nof speech remains constant down to the end of the Victorian era.<\/p>\n

But at the same time there emerges, at times, a
\ncertain effort to recapture the Shakespearian potency and intensity accom\u00adpanied
\nby a new and higher element in the workings of the poetic inspiration. When we
\ntry to put a name on it, \u2014 a thing which the poet himself seldom does
\nsuccessfully, for the creative instinct does not usually care to burden itself
\nwith a too intellectual self-consciousness, \u2014 we can see that this is an
\nattempt to return to the fullness and the awakening turn of the direct
\nintuitive expres\u00adsion on a subtler and more ethereal level. The clarified
\nintellect observing life from above is in itself a higher thing than the vital
\nand emotional mind which responds more immediately and powerfully to life, but
\nis caught in its bonds; and if the direct in\u00adtuitive power can be got to work
\non the level just above the ordinary thinking mind where that mind opens
\nthrough the full intuitive intelligence to a greater supra-intellectual mass
\nand subtlety of light, it will bring in the revelation and inspiration of
\nmightier and profounder things than when it works from behind the mind \u2014 even
\nthe vividly thinking mind of life and its vital sight and feeling. For here, on
\nthe lower level, we get at most, as in Shakespeare, -at the spirit in life with
\nall its power of vital thought and its potency of passion and emotion; but
\nthere we shall get the greater spirit which embraces life, but shows us too all
\nthat is behind it, all that it dimly means and strives in em\u00adbarrassed act and
\nthought to bring into expression. Of this effort and this new thing we get
\nmagical first indications in the pre-Victorian poets, as in Wordsworth\u2019s<\/span><\/p>\n

 <\/i><\/p>\n

And beauty born of murmuring sound<\/i><\/p>\n

\u00a0<\/span>Shall pass into her face,<\/i><\/p>\n

 \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0<\/span>.\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0
\n<\/span><\/span><\/p>\n

or see the first motion towards it, the first seeking for a
\nsuitable style, as in Keats’\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span><\/span><\/p>\n

Deep in the shady sadness of a vale<\/i><\/span><\/p>\n

Far sunken from the healthy breath of
\nmorn,<\/i>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span><\/span><\/p>\n

Far from the fiery noon and eve’s one star, <\/i><\/p>\n

\nPage \u2013 172<\/span><\/p>\n

<\/p>\n

\n

<\/span><\/i><\/b><\/p>\n

but also though less often, a sudden leaping out of the thing
\nitself,\u2014<\/p>\n

Solitary thinkings; such as dodge <\/i><\/p>\n

Conception to the very bourne of heaven,<\/i><\/p>\n

or,<\/p>\n

The journey homeward to habitual self!<\/i><\/p>\n

These lines of Keats are Shakespearian in
\ntheir quality, they have recovered’ the direct revealing word and intimate
\nimage of the full intuitive manner, but they enter into a world of thought, and
\ninner truth other than Shakespeare’s; by the passage through the detaching
\nintellect and beyond it they have got to the borders of the realm of another
\nand greater self than the life-self, though there we include and take up life
\ninto the deeper self-vision. In the Victorian poets we get occasionally the
\nsame tendency in a stronger but less happy force; for it is weighted down by an
\nincreased intellectuality, in Browning by the robust strenuousness of the
\nanalytic intelligence, in Tennyson by the tendency to mere trimming of
\nexpression or glitter and wealth of artistic colour; but we have its voice
\nsometimes, as in this line of the Latos-Eaters, \u2014<\/i><\/p>\n

Portions and parcels of the dreadful past.<\/i><\/p>\n

But it has not yet arrived, it is still
\nseeking for itself, beating fitfully at the gates of the greater intuitive
\nvision and expression.<\/p>\n

But in more recent work it
\nis precisely the recovery of this supreme power of speech on that loftier and
\nsubtler level which to one who comes freshly to this poetry breaks out with a
\nsense of satisfying surprise and discovery. It is not complete; it is not
\neverywhere; it is only just rising from the acquired basis of the previous
\nheights of expression to its own realm; but it is there in a comparative
\nabundance and it is the highest strain of its inten\u00adsities. We find it in
\nMeredith; when he writes of "Colour, the soul’s bridegroom", he has
\ngot the intimate revealing image of<\/p>\n

\nPage \u2013 173<\/span><\/p>\n

<\/p>\n

\n

<\/span><\/i><\/b><\/p>\n

this fuller and higher intuitive manner, or in his lark’s<\/p>\n

silver chain of sound<\/i><\/p>\n

\u00a0<\/span>Of
\nmany links without a break:<\/i><\/p>\n

when he writes, again,<\/p>\n

Nor know they joy of sight<\/i><\/p>\n

\u00a0<\/span>Who deem
\nthe wave of rapt desire must be<\/i><\/p>\n

\u00a0<\/span>Its wrecking
\nand last issue of delight,<\/i><\/p>\n

he has got the perfected turn of the direct
\nintuitive word of thought in its more crowded manner of suggestion, \u2014 the kin\u00adship
\nin the last line to the Shakespearian manner is close, \u2014 as too its more clear
\nand limpid speech in other turns,<\/p>\n

The song seraphically
\nfree<\/i><\/p>\n

\u00a0<\/span>From taint of personality;<\/i><\/p>\n

and in the lines,<\/p>\n

\u00a0<\/span>Dead seasons quicken in one petal spot<\/i><\/p>\n

\u00a0<\/span>Of
\ncolour unforgot,<\/i><\/p>\n

he has it ready for an intuitive and vivid spiritual
\ninterpretation of Nature. We find it in Phillips’<\/p>\n

Dreadful
\nsuspended business and vast life<\/span><\/i><\/p>\n

\u00a0<\/span>Pausing,<\/i><\/span><\/p>\n

or
\nin his trees\u00a0\u00a0\u00a0 <\/span><\/span><\/p>\n

Motionless in an ecstasy of rain.<\/i><\/p>\n

.\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0
\n<\/span><\/i><\/p>\n

In the Irish poets it comes with less of the Shakespearian kinship,
\nthough Yeats has often enough a different but corresponding manner, but most
\ncharacteristically in a delicate and fine beauty of the word of vision and of
\nan intuitive entrance into the mystery <\/p>\n

Page \u2013 174<\/span><\/p>\n

\n

of
\nthings, as in lines like <\/b>A.E’s<\/span><\/p>\n

Is thrilled by fires of hidden day<\/i><\/p>\n

\u00a0<\/span>And
\nhaunted by all mystery, .<\/i><\/p>\n

or passages already quoted from Yeats, or, to
\ngive one other instance, his <\/p>\n

When God goes by with
\nwhite footfall.<\/i><\/p>\n

This is a style .and substance which recovers
\nsomething that had been lost and yet is new and pregnant of new things in
\nEnglish literature.<\/p>\n

It is sufficient at present to indicate this new
\npower of language. But we must see whence it arises and to what possi\u00adbility it
\npoints in the widening of the realms of poetic interpreta\u00adtion. It points to a
\ngreater thing than has yet been achieved and it is itself a higher achievement,
\n\u2014 apart from all question of the force and genius of individual poets.
\nShakespeare is still\u2014though need he be always?\u2014immeasurably the largest name in
\nEng\u00adlish poetry; but still, however preeminent his genius, there remain greater
\nthings to be seen by the poet than Shakespeare saw and greater things to be
\nsaid in poetry than Shakespeare said, \u2014 and here we have an indication of the way
\non which they lie and of the gates which open to their hiding-place and own
\nhome of light and self-revelation. <\/p>\n

\nPage – 175<\/span><\/p>\n<\/div>\n<\/td>\n<\/tr>\n<\/table>\n","protected":false},"excerpt":{"rendered":"

chapter XXII  \u00a0  Recent English Poetry – 3                         THE rhythmic change which distinguishes the new poetry, may not be easy to seize at…<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[29],"tags":[],"class_list":["post-1276","post","type-post","status-publish","format-standard","hentry","category-09-the-future-poetry-volume-09","wpcat-29-id"],"_links":{"self":[{"href":"https:\/\/worksofthemotherandsriaurobindo.org\/index.php\/wp-json\/wp\/v2\/posts\/1276","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=1276"}],"version-history":[{"count":1,"href":"https:\/\/worksofthemotherandsriaurobindo.org\/index.php\/wp-json\/wp\/v2\/posts\/1276\/revisions"}],"predecessor-version":[{"id":9601,"href":"https:\/\/worksofthemotherandsriaurobindo.org\/index.php\/wp-json\/wp\/v2\/posts\/1276\/revisions\/9601"}],"wp:attachment":[{"href":"https:\/\/worksofthemotherandsriaurobindo.org\/index.php\/wp-json\/wp\/v2\/media?parent=1276"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/worksofthemotherandsriaurobindo.org\/index.php\/wp-json\/wp\/v2\/categories?post=1276"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/worksofthemotherandsriaurobindo.org\/index.php\/wp-json\/wp\/v2\/tags?post=1276"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}