{"id":1292,"date":"2013-07-13T01:33:54","date_gmt":"2013-07-13T01:33:54","guid":{"rendered":"http:\/\/localhost\/?p=1292"},"modified":"2013-07-13T01:33:54","modified_gmt":"2013-07-13T01:33:54","slug":"32-the-word-and-the-spirit-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\/32-the-word-and-the-spirit-vol-09-the-future-poetry-volume-09","title":{"rendered":"-32_The Word and the Spirit.htm"},"content":{"rendered":"\n\n
\n
\n


\nC<\/font>HAPTER<\/font> <\/span>XXXI<\/font><\/span><\/b><\/p>\n


\nThe Word and the Spirit<\/font><\/span><\/b><\/p>\n

 <\/p>\n

<\/p>\n

 <\/font><\/b>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0    
\n<\/font> <\/span>
\nA<\/font><\/span> <\/b>DEVELOPMENT of the kind of which we
\nare speaking must affect not only the frames of poetry, but initiate also a
\nsubtle change of its word and rhythmic movement. The poetic word is a vehicle of
\nthe spirit, the chosen medium of the soul\u2019s self-expression, and any profound
\nmodification of the inner habit of the soul, its thought atmosphere, its way of
\nseeming, its type of feeling, any change of the light in which it lives and the
\npower of the breath which it breathes, heartening of its elevations or entry
\ninto deeper chambers of its self must reflect itself in a corresponding
\nmodification, changed intensity of light or power, inner greatening and
\ndeepening of the word which it has to use, and if there is no such change or if
\nit is not sufficient for the new intention of the spirit, then there can be no
\nliving or no perfect self-expression. The old habits of speech cannot contain
\nthe new spirit and must either enlarge and deepen themselves and undergo a
\ntransformation or else be broken up and make way for another figure. The
\nconservatism of the human mind stands in the way of the transforming force and
\ninsists for a time on the authority of traditional or already current standards
\nof literary and poetic perfection, but the eternally self-renewing spirit must
\nhave eventually its way or else there will come a petrifaction, a decay by too
\nmuch stability, which is a much worse danger than the decadence predicted by
\nthe purist when faced by what seems to him a morbid strangeness and distortion
\nof the poetic moulds of speech or a perilous departure from safe and enduring
\nrules of perfection. A change of this kind very considerable in its magnitude
\nand force of renovation has been for some time at work in most living
\nliteratures. <\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>I have already
\nsuggested that the governing spirit and intention of this change, not always
\nvery clearly envisaged even by those who are most active in bringing it about,
\nis a turn to a more <\/p>\n

\nPage – 268<\/span><\/p>\n

<\/p>\n
\n

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

Intimate and directly or fully intuitive speech and rhythm. The thing
\nis in itself so subtle that it can better be indicated than analysed,
\nadequately described or made precise to the intelligence. And moreover all
\npoetry except that of the most outward kind, \u2014 a verse movement which is
\nseparable rather by distinction of form than power of the soul from prose, \u2014 is
\nin its inmost inspiration and character intuitive, more a creation of the
\nvision and feeling than of the intelligence, and the change made is one of the
\nlevel or the depth of the self from which the poetic intuition, usually
\nmodified in transmission, immediately acts, and of its intervening
\npsychological instrument rather than its primary initiating movement. The
\ninitiating inspiration must always be intuitive in a greater or lesser degree
\nand it is the form or expression that differs. The intellect in its use of
\nspeech is apt to regard it as an intellectual device, a means for the precise
\nconnotation of object and idea or at most an elegant and pleasing or an
\neffective and forceful presentation. The poetic view and use of speech is of a
\nvery different kind and enters more into the vital reality of the word and the
\nmore mystic connection between the movement of the spirit and the significances
\nof the mental utterance. The poet has to do much more than to offer a precise,
\na harmonious or a forcefully presented idea to the intelligence: he has to give
\na breath of life to the word and for that must find out and make full use of
\nits potential power of living suggestion; he has to make it carry in it not
\nonly the intellectual notion but the emotion and the psychical sensation of the
\nthing he would make present to us; he has to erect an image of its presence and
\nappeal with which we can inwardly live as we live with the presence and appeal
\nof the objects of the actual universe. As in the Vedic theory the Spirit was
\nsupposed to create the worlds by the Word, so the poet brings into being in
\nhimself and us by his creative word fragmentarily or largely, in isolated
\npieces or massed spaces an inner world or beings, objects and experiences. But
\nall creation is a mystery in its secret of inmost process and it is only at
\nbest the most outward or mechanical part of it which admits analysis; the
\ncreative faculty of the poetic mind is no exception. The poet is a magician who
\nhardly knows the secret of his own spell; even the part taken by the
\nconsciously critical <\/span><\/p>\n

\nPage
\n– 269<\/span><\/p>\n

<\/p>\n
\n

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

It or constructive mind is less intellectual than intuitive; he creates
\nby an afflatus of spiritual power of which his mind is the channel and
\ninstrument and the appreciation of it in himself and others comes not by an
\nintellectual judgment but by a spiritual feeling. is that which must tell him
\nwhether the word that comes is the true body of his vision or whether he has to
\nseek or to wait for another that shall be felt as its adequate, its effective,
\nits illuminative, its inspired or its inevitable utterance. The distinction
\nthat I am trying to draw here between the various powers of the always
\nintuitive speech of poetry can therefore better be felt than critically stated,
\nbut at the same time certain indications may serve to make it more clearly
\nsensed in its spirit with the sympathetic aid of the critical intelligence.<\/span><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>The words which we use
\nin our speech seem to be, if we look only at their external formation, mere
\nphysical sounds which a device of the mind has made to represent certain
\nobjects and ideas and perceptions, \u2014a machinery nervous perhaps in origin, but
\ndeveloped for a constantly finer and more intricate use by the growing
\nintelligence; but if we look at them in their inmost psychological and not
\nsolely at their more external aspect, we shall see that what constitutes speech
\nand gives it its life and appeal and significance is a subtle conscious force
\nwhich informs and is the soul of the body of sound: it is a superconscient
\nNature-Force raising its material out of our subconscience, but growingly
\nconscious in its operations in the human mind that develops itself in one
\nfundamental way and yet variously in language. It is this Force, this Shakti to
\nwhich the old Vedic thinkers gave the name of Vak, the goddess of creative
\nSpeech, and the Tantric psychists supposed that this Power acts in us through
\ndifferent subtle nervous centres on higher and higher levels of its force and
\nthat thus the word has a graduation of its expressive powers of truth and
\nvision. One may accept as a clue of great utility this idea of different
\ndegrees of the force of speech, each separately characteristic and
\ndistinguishable, and recognise one of the grades of the Tantric classification,
\nPashyanti the seeing word, as the description of that degree of power to which
\nthe poetic mind is called to elevate itself and which is original and native to
\nits manner of expression. The degree of word-force <\/span><\/p>\n

\nPage
\n– 270<\/span><\/p>\n

<\/p>\n
\n

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

Characteristic of prose speech avails ordinarily to distinguish and
\nstate things to the conceptual intelligence; the word of the poet sees and
\npresents in its body and image to a subtle visual perception in the mind
\nawakened by an inner rhythmic audition truth of soul and thought experience and
\ntruth of sense and life, the spiritual and living actuality of idea and object.
\nThe prosaist may bring to his aid more or less of the seeing power, the poet
\ndilute his vision with intellectual observation and statement, but the
\nfundamental difference remains that ordinary speech proceeds from and appeals
\nto the conceiving intelligence while it is the seeing mind that is the master
\nof poetic utterance. <\/span><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>This seeing speech has
\nitself, however, different grades of its power of vision and expression of
\nvision. The first and simplest power is limited to a clear poetic adequacy and
\nat its lowest difficult to distinguish from prose statement except by its more
\ncompact and vivid force of presentation and the subtle difference made by the
\nrhythm which brings in a living appeal and adds something of an emotional and
\nsensational nearness to what would otherwise be little more than an
\nintellectual expression; but in a higher and much finer clarity this manner has
\nthe power to make us not only conceive adequately, but see the object or idea
\nin a certain temperate lucidity of vision. The difference can best be
\nillustrated by an example or each kind taken at random, one from Dryden,<\/span><\/p>\n

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

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>Whate\u2019er he did was
\ndone with so much ease,<\/i><\/span><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>In him alone,\u00a0 <\/span>\u2018 twas natural to please \u2014<\/span><\/i><\/p>\n

 <\/span><\/i><\/p>\n

And the other from Wordsworth,<\/span><\/p>\n

 <\/span><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>The waves beside
\nthem danced; but they<\/i><\/span><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>Out-did the sparkling waves in glee:<\/span><\/i><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>A poet could not but be gay, <\/span><\/i><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>In such a jocund company.<\/span><\/i><\/p>\n

 <\/span><\/i><\/p>\n


\n\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span><\/i>The first is in the manner of terse prose
\nstatement, but made just poetical by a certain life and vividness and a
\nrhythmic suggestion touching though not deeply some emotional centre of <\/span>
\n
\n <\/span><\/p>\n

\nPage
\n– 271<\/span><\/p>\n

<\/p>\n
\n

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

response
\njust sufficient to make it a thought felt and not merely presented to the
\nconception: the other though not going beyond speech is far away from this
\ndoubtful borderland and from the beginning a thing seen and lived within us and
\nawakening a satisfied soul response. It has the native action of the seeing
\nword and bears the stamp of a spiritual sincerity greater, profounder, more
\nbeautiful than that of the intelligence. <\/span><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>The second power tries to go beyond
\nthis fine and perfect adequacy in its intensities, attempts a more rich or a
\nmore powerful expression, not merely sound and adequate to poetic vision,. But
\nwhen its mood is more intellectually deep and sincere, it prefers to arrive
\nrather by subtler means, suggestive turn, aptness and vividness and richness
\nand beauty of phrase. Poetic speech follows the same methods but in another and
\nhigher manner and with a different atmosphere. There is indeed a poetic
\nrhetoric which differs from prose rhetoric only in the same way as the lower
\nkind of poetic adequacy differs from prose adequacy by just managing to bring
\nin some element of rhythmic emotion and vision, and of this kind we may take an
\neffective emotion and vision, and of this kind we may take an effective example
\nfrom Pope, \u2014<\/span><\/p>\n

 <\/span><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>Atoms or systems into ruin hurled<\/i><\/span><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>And
\nnow a bubble burst, and now a world.<\/span><\/i><\/p>\n

 <\/span><\/i><\/p>\n

A greater spirit
\nand a less intellectual and more imaginative sincerity and elevation of
\nthought, feeling and vision will give us a sublimer poetic rhetoric, as in
\ncertain lines of Milton belonging to his more external manner, \u2014<\/span><\/p>\n

 <\/span><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>Hurled headlong flaming from th\u2019
\nethereal sky<\/i><\/span><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>With
\nhideous ruin and combustion down<\/span><\/i><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>To
\nbottomless perdition. <\/span><\/i><\/p>\n

 <\/span><\/i><\/p>\n

At a more
\ntemperate pitch and more capable of a certain subtlety <\/span><\/p>\n

\nPage – 272<\/span><\/p>\n

<\/p>\n
\n

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

of
\nsuggestion we can see the adequate changing into the more rhetorical poetic manner,
\nas in many passages of Wordsworth, \u2014<\/span><\/p>\n

 <\/span><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>And oft, when in my heart was
\nheard<\/i><\/span><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>Thy
\ntimely mandate, I deferred<\/span><\/i><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>The
\ntask, in smoother walks to stray.<\/span><\/i><\/p>\n

 <\/span><\/i><\/p>\n

A
\nricher, subtler and usually a truer poetic effectivity is attain ed not by this
\nrhetorical manner, but through a language succeeding by apt and vivid metaphor
\nand simile, richness and beauty of phrase or the forceful word that makes the
\nmind see the body of the thought with a singularly living distinctness or
\nenergy of suggestion and nearness, \u2014 Wordsworth\u2019s<\/span><\/p>\n

 <\/span><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>Her eyes as stars of Twilight
\nfair;<\/i><\/span><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>Like
\nTwilight\u2019s, too, her dusky hair;<\/span><\/i><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>But
\nall things else about her drawn<\/span><\/i><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>From
\nMay-time and the cheerful Dawn:<\/span><\/i><\/p>\n

 <\/span><\/i><\/p>\n

Shelley\u2019s<\/span><\/p>\n

 <\/span><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>When
\nhearts have once mingled<\/i><\/span><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>Love
\nfirst leaves the well-built nest;<\/span><\/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 <\/span>The
\nweak one is singled<\/span><\/i><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>To
\nendure what it once possessed;<\/span><\/i><\/p>\n

 <\/span><\/i><\/p>\n

or<\/span><\/p>\n

 <\/span><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>Its
\npassions will rock thee<\/i><\/span><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>As
\nthe storms rock the ravens on high;<\/span><\/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 <\/span>Bright
\nreason will mock thee <\/span><\/i><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>Like
\nthe sun from a wintry sky.<\/span><\/i><\/p>\n

 <\/span><\/i><\/p>\n

In
\nthis manner English poetry is especially opulent and gets from it much of its
\nenergy and power; but yet we feel that this is not the highest degree of which
\npoetic speech is capable. There is a more intimate vision, a more penetrating
\nspiritual emotion, a more intense and revealing speech, to which the soul can
\nbe more vibrantly sensible.
\n <\/span><\/p>\n

\nPage – 273<\/span><\/p>\n

<\/p>\n
\n

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

\n\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>This comes to its
\nfirst self-discovery when either the adequate or the dynamically effective
\nstyle is raised into a greater illumination in which the inner mind sees and
\nfeels object, emotion, idea not only clearly or richly or distinctly and
\npowerfully, but in a flash or outbreak of transforming light which kindles the
\nthought or image into a disclosure of new significances of a much more inner
\ncharacter, a more profoundly revealing vision, emotion, spiritual response.
\nThis illuminating poetic speech comes suddenly and rarely, as in Dryden\u2019s <\/span><\/p>\n

 <\/span><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>And Paradise was opened in his
\nface<\/i><\/span><\/p>\n

 <\/span><\/i><\/p>\n

Breaking
\nout of a surrounding merely effective poetical eloquence, or intervening at
\ntimes as in Shelley\u2019s<\/span><\/p>\n

 <\/span><\/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 <\/span>The heart\u2019s echoes
\nrender<\/i><\/span><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>No
\nsong when the spirit is mute:\u2014<\/span><\/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 <\/span>No
\nsong but sad dirges,<\/span><\/i><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>Like
\nthe wind through a ru9ined cell, <\/span><\/i><\/p>\n

 <\/span><\/i><\/p>\n

Where
\nthe effective force of image and feeling that makes us see and respond by a
\nstrong suggestion, at work throughout the rest of the lyric, passes now beyond
\nitself into an illuminative closeness and then we feel, we bear, we ourselves
\nlive at the moment through the power of the poetic word the authentic identity
\nof the experience. It comes in luminous phrases emerging from a fine and lucid
\nadequacy and the justice or the delicacy makes place for a lustrous profundity
\nof suggestion, as in Shelley\u2019s<\/span><\/p>\n

 <\/span><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>And now, alas! The poor sprite is
\n<\/i><\/span><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>Imprisoned,
\nfor some fault of his <\/span><\/i><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>In
\na body like a grave; \u2014<\/span><\/i><\/p>\n

 <\/span><\/i><\/p>\n

Or
\nit strikes across a movement of strong and effective poetical thinking, as in
\nWordsworth\u2019s Ode to Duty,<\/i><\/span><\/p>\n

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

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>Me
\nthis unchartered freedom tires; <\/span><\/i><\/p>\n

\nPage – 274<\/span><\/p>\n

<\/p>\n
\n

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

or
\nleaps up at once to set the tone of a poem, <\/span><\/p>\n

 <\/span><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>She was a Phantom of delight<\/i><\/span><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>When
\nfirst she gleamed upon my sight;<\/span><\/i><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>A
\nlovely Apparition, sent <\/span><\/i><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>To
\nbe a moment\u2019s ornament.<\/span><\/i><\/p>\n

 <\/span><\/i><\/p>\n

And
\nsupreme examples within the limits of this power which will bring out all their
\ndifference from the more common texture of poetry, may be taken from the same
\npoets, \u2014 Shelley\u2019s<\/span><\/p>\n

 <\/span><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>\u2026the silent Moon,<\/i><\/span><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>In
\nher interlunar swoon,<\/span><\/i><\/p>\n

 <\/span><\/i><\/p>\n

And
\nWordsworth\u2019s<\/span><\/p>\n

 <\/span><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>They flash upon that inward eye<\/i><\/span><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>Which
\nis the bliss of solitude.<\/span><\/i><\/span><\/p>\n

 <\/span><\/p>\n

Here
\nwe get the pure illuminative speech of poetry not mixed with or arising out of
\nthe lucid adequate or the richly or forcefully effective or dynamic manner, but
\nchanged into an altogether supra-intellectual light of intuitive substance and
\nvision and utterance. <\/span><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>The difference here we find to be an
\nincreasing intensity and finally a concentrated purity and fullness of the
\nsubstance and language of intuitive expression. In the less intense styles the
\nthing conveyed is indeed something suggested to and by the intuitive mind, \u2014
\nonly the least inspired poetry is purely intellectual in substance, \u2014 but it is
\nexpressed with a certain indirectness or else with a dilution of the body of
\nthe intuitive light, and this is due to an intellectualised language or to the
\nspeech of an imagination which tries to bridge the gulf between the intuitive
\nmind and the normal intelligence. The two powers seem to lean on and support
\neach other, at a certain point are brought very close and even up to the point
\nof fusion, and then suddenly the border is crossed, the difficulty of getting
\nout through the doors of the kind the pure untranslated language of intuitive
\nvision <\/span><\/p>\n

\nPage – 275<\/span><\/p>\n

<\/p>\n
\n

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

overcome
\nand we have a word of intense light in which the intellect and its imagination
\ncount for nothing and the mind\u2019s language, even while remaining in material the
\nsame, undergoes an unanalysable alchemy and spiritual change. And beyond this
\nfirst language of intuitive illumination we arrive at a more uplifted range of
\nan inspired poetic speech which brings to us not only pure light and beauty and
\ninexhaustible depth, but a greater moved ecstasy of highest or largest thought
\nand sight and speech and at its highest culminates in the inevitable, absolute
\nand revealing word. This too is sometimes a magical transformation of the
\nadequate manner, as in Wordsworth\u2019s<\/span><\/p>\n

 <\/span><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>A voice so thrilling ne\u2019er was
\nheard<\/i><\/span><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>In
\nspring-time from the Cuckoo-bird,<\/span><\/i><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>Breaking
\nthe silence of the seas<\/span><\/i><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>Among
\nthe farthest Hebrides \u2014<\/span><\/i><\/p>\n

 <\/span><\/i><\/p>\n

sometimes
\nof the richer or more dynamic imaged style, <\/span><\/p>\n

 <\/span><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>Flowers laugh before thee on
\ntheir beds,<\/i><\/span><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>And
\nfragrance in thy footing treads;<\/span><\/i><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>Thou
\ndost preserve the stars from wrong;<\/span><\/i><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>And
\nthe most ancient heavens, through Thee, are <\/span><\/i><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>\u00a0\u00a0 <\/span>fresh and strong;\u2014<\/span><\/i><\/p>\n

 <\/span><\/i><\/p>\n

and
\nsometimes it is the illuminative speech powerfully inspired and rising suddenly
\ninto the highest revealing word, <\/span><\/p>\n

 <\/span><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>The cataracts blow their trumpets
\nfrom the steep;<\/i><\/span><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>No
\nmore shall grief of mine the season wrong;<\/span><\/i><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>I
\nhear the Echoes through the mountains throng,<\/span><\/i><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>The
\nWinds come to me from the fields of sleep. <\/span><\/i><\/p>\n

 <\/span><\/i><\/p>\n

There
\nthe inspiration takes up the effort of the poetic intelligence and imagination
\ninto a stirred concentration of the speech of sight and in its last movement
\nseems to leap even beyond itself and beyond any pursuit or touch of the
\nintellect into a pure revelatory spiritual vision.
\n <\/span><\/p>\n

\nPage – 276<\/span><\/p>\n

<\/p>\n
\n

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

\n\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>The genius of the poet
\ncan do work of a high beauty or of a considerable greatness in any of these
\ndegrees of poetic speech, but it is the more purely intuitive, inspired or
\nrevelatory utterance that is the most rare and difficult for the human mind to
\ncommand, and it is the most rare and difficult for the human mind to command,
\nand it is these kinds that we peculiarly value. Their power not only moves and
\nseizes us the most, but it admits the soul to a most spiritually profound light
\nof seeing and ecstasy of feeling even of ordinary ideas and objects and in its
\nhighest force to thoughts and things that surpass the manner and range and
\nlimits of depth of the normal intelligence. The greatest poets have been those
\nin whom these moments of a highest intensity of intuitive and inspired speech
\nhave been of a frequent occurrence and in one or two, as in Shakespeare, of a
\nmiraculous abundance. There is, however, this subtle farther variation that
\nthis kind of utterance, though essentially the same always, takes a difference
\ncolour according to the kind o9f object vision and subjective vision which is
\npeculiar to the kind of the poet in its normal action. The citations I have
\nmade have been all taken from writers in whom the poetic intelligence and its
\ntype of imagination have been the leading forces. The same power in poets who
\nspeak more with the direct voice of the life-soul assumes quite another hue and
\nseems even of a very different texture of language. The characteristic
\ndistinction of its note from that of the more intellectualised intuition can
\nbest be illustrated from Shakespeare and by such a passage as the speech of
\nClaudio, <\/span><\/p>\n

 <\/span><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>Ay, but to die, and go we know
\nnot where;<\/i><\/span><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>To lie in cold obstruction and to
\nrot;<\/span><\/i><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>This sensible warm motion to become<\/span><\/i><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>A kneaded clod; and the delighted
\nspirit<\/span><\/i><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>To bathe in fiery floods, or to
\nreside<\/span><\/i><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>In thrilling region of thick
\nribbed-ice;<\/span><\/i><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>To be imprisoned in the viewless
\nwinds,<\/span><\/i><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>And blown with restless violence
\nround about<\/span><\/i><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>The pendant world;<\/span><\/i><\/p>\n

 <\/span><\/i><\/p>\n

and
\nthe rest. There is an illumination, an intuitive intensity of the life-spirit
\nand its feeling in that thought and its speech which <\/span><\/p>\n

\nPage – 277<\/span><\/p>\n

<\/p>\n
\n

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

we
\ncan no longer command in the same direct and essential manner. And even the
\nideas that seem to belong to the region of the thinking intelligence have
\nsubtly in these poets the same inspiration. It is sufficient to compare
\nShakespeare\u2019s<\/span><\/p>\n

 <\/span><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>Life\u2019s but a walking shadow,\u2026<\/i><\/span><\/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 <\/span>\u2026it
\nis a tale<\/span><\/i><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>Told
\nby an idiot, full of sound and fury,<\/span><\/i><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>Signifying
\nnothing \u2014<\/span><\/i><\/p>\n

 <\/span><\/i><\/p>\n

And
\nShelley\u2019s voicing of a kindred idea of transience, <\/span><\/p>\n

 <\/span><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>Heaven\u2019s light forever shines,
\nEarth\u2019s shadows fly;<\/i><\/span><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>Life, like a dome of many-coloured
\nglass,<\/span><\/i><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>Stains the white radiance of
\nEternity,<\/span><\/i><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>Until Death tramples it to
\nfragments.<\/span><\/i><\/p>\n

 <\/span><\/i><\/p>\n

The
\none has the colour of any intuition of the life-soul in one of its intense moods
\nand we not only think the thought but seem to feel it even in our nerves of
\nmental sensation, the other is the thought-mind itself uttering in a moved,
\ninspired and illuminative language an idea of the pure intelligence. It would
\nbe difficult for the present human mind to recover and hold as its central
\nsecret something akin to the older poet, a greater straight impact and natural
\nbody of intuitive intensity, because it too will take up the thought and
\nfeeling into a concentrated expression of an equal though a different
\ndirectness. It will be the language of a higher intuitive mind swallowing up
\nthe intellectual tones into the closesesses and identities of a
\nsupra-intellectual light and Ananda.<\/span><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>The future poetry, assuming it to be
\nof the kind I have suggested, its object to express some inmost truth of the
\nthings which it makes its subject, must to be perfectly adequate to its task
\nexpress them in the inmost way, and that can only be done if, transcending <\/span><\/p>\n

\nPage – 278<\/span><\/span><\/p>\n

<\/p>\n
\n

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

the
\nmore intellectualised or externally vital and sensational expression, it speaks
\nwholly in the language of an intuitive mind and vision and imagination,
\nintuitive sense, intuitive emotion, intuitive vital feeling, which can seize in
\na peculiarly intimate light of knowledge by a spiritual identity the inmost
\nthought, sight, image, sense, life, feeling of that which it is missioned to
\nutter. The voice of poetry comes from a region above us, a plane of our being
\nabove and beyond our personal intelligence, a supermind which sees things in their
\ninnermost and largest truth by a spiritual identity and with a lustrous
\neffulgency and rapture and its native language is a revelatory, inspired,
\nintuitive word limpid or subtly vibrant or densely packed with the glory of
\nthis ecstasy and lustre. It is the possession of the mind by the supramental
\ntouch and the communicated impulse to seize this sight and work that creates
\nthe psychological phenomenon of poetic inspiration and it is the normally able
\nto harbour that produces the temporary excitement of brain and heart and nerve
\nwhich accompanies the inrush of the influence. The inspired word comes, as said
\nof old the Vedic seers, from the home of Truth, sadanād r<\/span>tasya,
\n<\/i>the high and native level of a superior self which holds the light of a
\nreality that is hidden by the lesser truth of the normal sense and
\nintelligence. It is rarely, however, that it comes direct and unaltered, ready
\nembodied and perfect and absolute: ordinarily there is an influx and a
\nsuggestion of its light and speech hidden in a cloud of formless lustre and we
\nhave to receive as best we can, to find and disengage or to reshape word and
\nsubstance with the aid of our mental powers while they are still possessed and
\nexcited and enlightened by the influence. The word comes secretly from above
\nthe mind, but it is plunged first into our intuitive depths and emerges
\nimperfectly to be shaped by the poetic feeling and intelligence, hr<\/span>dā
\ntas<\/span>t<\/span>ān,
\nmanīsā. <\/i>An intuitive self in the depth of each of our parts of
\nbeing, hid in sense, life, heart, mind, is the transmitting agent, a subliminal
\npower concealed in some secret cavern within of which the curtained and crystal
\ndoors disclose only occasional and partial transparencies or are sometimes half
\nopen or ajar, \u2014 nihitam guhāyām, guhāhitam gahvares<\/span>t<\/span>m.
\n<\/i>The less we are near and awake to this agent, the more externally<\/span><\/p>\n

\nPage – 27<\/span>9<\/font><\/p>\n

\n

\n intellectualised and vitalised and vitalised becomes the tone and substance of
\npoetic speech; the more we can bring in of its direct power and vision, the
\nmore intuitive and illumined becomes the word of our utterance. And the more we
\ncan light up the veil and have the direct transmission, the greater the force
\nof inspiration and revelation and the nearer we shall get to an absolute and
\ninevitable word straight from the supramental sight and language. <\/span><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>The most characteristic trend of
\nrecent poetry has been an attempt, sometimes lucid, sometimes half
\nunderstanding or obscure, to break open the doors of the luminous cavern and to
\nget the seeing and phrase which would be that of this intuitive self of our
\nintelligence and imagination and sensation and life and feeling,. In a certain
\nkind of continental poetry it is a search for the sheer intuitivities of
\nsensation and of the more vital emotions and states and experiences and
\nrelations with objects and persons, the spirit\u2019s sense of itself, as it were,
\nexternalised and made vital and physical and some illumination of the inner
\nmeaning of this externality, that motives a new kind of utterance. Much of present
\n-day English poetry drives in the same direction but with less subtlety and a
\nmore forceful outwardness of sight and tone. The Irish poets and in a different
\nway the few Indians, Tagore and Chattopadhyay and Mrs.Naidu, who have written
\nin English or transferred their poetical thought into that medium, aim at pure
\nintuitivities of a more psychic feeling, sensation and life-vision or a subtle
\nand psychic or spiritualised imagination and intelligence. All, however, are
\nsecretly moved to their very different and often contradictory tendencies by
\nthe same fundamental endeavour of the Time-spirit. The difficulty has been to
\nfind the intuitive language which will be the true medium and the condition of
\nperfect success of this endeavour. The old habits of poetic speech still cling
\naround and encrust or dilute the subtler subtlety, the more luminous light, the
\nintenser intensities, the deeper depths sought for by the intuitive utterance.
\nThese things, however, are already there and are shaping a new manner of speech,
\na basis for the more inner and illumined poetic language of the future. At its
\nbest, and oftenest in the greater poets, it emerges from the admixture of older
\nmethods and manifests the whole and pure characteristic note of the intuitive
\nmanner.
\n <\/span><\/p>\n

\nPage – 280<\/span><\/p>\n

<\/p>\n
\n

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

It
\nis the greatening, deepening and making normal of this kind that is likely to
\nbring the perfect voice of the poetry of the future. <\/span><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>The character of this change is a
\nraising of what I have called the adequate and the dynamic degrees of poetic
\nspeech to the third intuitive and illuminative power or a touching and
\npenetrating of them with its peculiar lustre. The more potent inspired or
\nrevelatory inevitable word occasionally intervenes as in the older poets, but
\nit is the greater generalising of the intermediate, the first more purely
\nintuitive degree that is the common feature, the level of the endeavour, the
\ndistinctive stamp where it succeeds of this new utterance. It takes the clear
\nand strong or the lucid and delicate poetical adequacy of speech from which the
\nolder poets started and takes too the dynamic poetical eloquence or the richer
\nsuggestive and imaginatively effective power of language and tries to effect
\ncommonly what they were content to do only in moments of greater elevation, \u2014
\nto put into its mould or even surcharge it with a stronger or subtler content
\nof illumination and this also to discharge of the intellectual tone and colour
\nwhich so usually holds or else makes its way into all but their rarest
\nutterances and to arrive at a pure intuitive expression of sensation and
\nfeeling and thought or of an inwardly intuitive vital vision or of a strong or
\na subtle psychic or spiritualised intelligence. This is a language which aims
\nat bare or strange or subtle or pregnant identities between the mind\u2019s
\nintuitive thought and meaning of the object or experience. And very often the
\nwork is done not so much by the language as the subtle sense suggestion of the
\nrhythm and word music, the sound doing the alchemic labour of transfiguration
\nwhich the expression is not yet strong and adult enough to lead and compass. <\/span><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>These are beginnings and beyond lies
\nmuch that has to be done to effectuate the complete change; an uncertain
\ntransition has yet to pass into a great transformation. The moulds or at least
\nthe spirit and manner of poetic expression have to be recast, very much as
\nShakespeare and his contemporaries recast the poetic speech of the English
\ntongue so as to give shape and room to the surge of self-seeing and
\nself-feeling and self-thinking of the life-soul of man: but this time it has to
\nbe done in many languages<\/span> <\/p>\n

Page – 281<\/span><\/p>\n

<\/p>\n
\n

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

by
\nthe minds of many nation entities at once and to make shape and room for the
\nmultitudinous vastitudes, the finer and finer subtleties, the absolute
\ntransparencies of the seeing, feeling and thinking of the inmost self and
\nspirit in man in intimate touch with the opening truths of all the levels of
\nhis existence and all his surroundings in Nature and in supernature. The voices
\nwe already have, the as yet strange and not yet universally accepted subtleties
\nof some, the immature strainings and violences of others, the work of those who
\nhave something of the new substance but not a mastery of its native expression
\nand those who have the new speech and rhythm but a poverty of the substance
\nthat should have made it rich and ample, the perfections attained even, are to
\nbe regarded only as incipient efforts and successes and stimulations to a more
\ncomplete disclosure of the unfolding spirit. The speech that opens more
\nconstantly the doors of the intuitive self in the caverns of light of our
\nnature has not done all that is to be done. The speech also has to be found
\nthat shall come by the rending or removal of the golden lid between our
\nintelligence and the effulgent supra-intelligence and effect a direct and
\nsovereign descent and pouring of some absolute sight and word of the spirit
\ninto the moulds of human language.
\n <\/span><\/p>\n

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CHAPTER XXXI The Word and the Spirit    \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0     A DEVELOPMENT of the kind of which we are speaking must affect not only the frames…<\/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-1292","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\/1292","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=1292"}],"version-history":[{"count":0,"href":"https:\/\/worksofthemotherandsriaurobindo.org\/index.php\/wp-json\/wp\/v2\/posts\/1292\/revisions"}],"wp:attachment":[{"href":"https:\/\/worksofthemotherandsriaurobindo.org\/index.php\/wp-json\/wp\/v2\/media?parent=1292"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/worksofthemotherandsriaurobindo.org\/index.php\/wp-json\/wp\/v2\/categories?post=1292"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/worksofthemotherandsriaurobindo.org\/index.php\/wp-json\/wp\/v2\/tags?post=1292"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}