{"id":1297,"date":"2013-07-13T01:33:55","date_gmt":"2013-07-13T01:33:55","guid":{"rendered":"http:\/\/localhost\/?p=1297"},"modified":"2013-07-13T01:33:55","modified_gmt":"2013-07-13T01:33:55","slug":"31-the-form-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\/31-the-form-and-the-spirit-vol-09-the-future-poetry-volume-09","title":{"rendered":"-31_The Form and the Spirit.htm"},"content":{"rendered":"\n\n
\n
\n


\nc<\/font>hapter<\/font>
\n<\/font> <\/span><\/span><\/b>XXX<\/font><\/span> <\/font><\/i><\/b><\/p>\n


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

\n <\/p>\n

\n        A<\/font><\/span> CHANGE in the spirit of poetry must necessarily bring with it a
\nchange of its forms, and this departure may be less or greater to the eye, more
\ninward or more outward, but always there must be at least some subtle and
\nprofound alte\u00adration which, whatever the apparent fidelity to old moulds, is
\ncer\u00adtain to amount in fact to a transmutation, since even the outward character
\nand effect become other than they were and the soul of substance and movement a
\nnew thing. The opening of the creative mind into an intuitive and revelatory
\npoetry need not of itself compel a revolution and total breaking up of the old
\nforms and a creation of altogether new moulds: it may, especially where a
\npreparatory labour in that sense has been doing a work of modification and
\nadaptation, be effected for the most part by an opening up of new
\npotentialities in old instruments and a subtle inner change of their character.
\nActually, however, while the previous revolutions in the domain of poetry have
\nmoved within the limits of the normal and received action of the poetic
\nintelligence, the upward and inward movement and great widen\u00ading of which the
\nhuman mind is now in labour is an effort of such rapidity and magnitude that it
\nappears like an irresistible break\u00ading out of all familiar bounds and it is
\nnatural that the mentality in its effort at a completely new creation should
\nwish to break too the old moulds as a restriction and a fettering narrowness
\nand be desirous of discovering novel and unprecedented forms, fitting tenements
\nand temples of the freer, subtler, vaster spirit that is preparing to enter
\ninto occupation. To remould seems to – be an insufficient change, the creation of
\na new body for a quite new spirit the commanded discovery and labour. There
\nmust certainly take place in order to satisfy the changed vision a considerable
\ndeparture in all the main provinces of poetic crea\u00adtion, the lyric, the drama,
\nthe narrative or epic, and the question<\/p>\n

Page \u2013 257<\/span><\/span><\/i><\/b><\/p>\n

<\/p>\n
\n

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

for solution is how far and in what way the
\ntechnique of each kind will necessarily be affected or should with advantage be
\ntransformed so as to allow free room for the steps and the constructive figures
\nof a finer and ampler poetic idea and a changed soul movement and a just
\ncorrespondence to it in the art of the poet.<\/p>\n

The lyrical impulse is the original and
\nspontaneous creator of the poetic form, song the first discovery of the
\npossibility of a higher because a rhythmic intensity of self-expression. It
\nwells out from the intensity of touch and the spiritualised emotion of a more
\ndelicate or a deeper and more penetrating sight and feeling in the experience,
\ncaptures and sustains the inevitable cadences of its joy or its attraction,
\nsets the subtle measure of its feeling and keeps it by the magic of its steps
\nin sound vibrating on the inner strings and psychic fibres. The lyric is a
\nmoment of heightened soul experience, sometimes brief in a lightness of aerial
\nrapture, in a poignant ecstasy of pain, of joy or of mingled emotion or in a
\nswift graver exaltation, sometimes prolonged and repeating or varying the same
\nnote, sometimes linking itself in a sustained succession to other moments that
\nstart from it or are suggested by its central motive. <\/b>It<\/span> is at first a music of simple
\nmelodies coming out of itself to which the spirit listens with pleasure and
\nmakes eternal by it the charm of self-discovery or of reminiscence. And the
\nlyrical spirit may rest satisfied with these clear spontaneities of song or
\nelse it may prefer to weight its steps with thought and turn to a meditative
\nmovement or, great-winged, assume an epic elevation, or lyricise the successive
\nmoments of an action, or utter the responses of heart to heart, mind to mind,
\nsoul to soul, move between suggestions and counter-suggestions of mood and idea
\nand feeling and devise a lyrical seed or concentration of drama. The widest in
\nrange as it is the most flexible in form and motive of all the poetic kinds,
\nthe\u00a0 <\/span>others have grown out of it by the
\nassumption of a more settled and deliberate and extended speech and a more
\nample structure. It is therefore in the lyric nearest to the freshness of an
\noriginal impulse that a new spirit in poetry is likely to become aware of
\nitself and feel out for its right ways of expression and to discover with the
\nmost adaptable freedom and variety its own essential motives and cadences,
\nfirst forms and simpler structures before <\/p>\n

Page \u2013 258<\/span><\/span><\/i><\/b><\/p>\n

<\/p>\n
\n

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

it works out victoriously its greater motions or
\nampler figures in narrative and drama.<\/p>\n

The freshest and most spontaneous liquidities
\nof song utterance abounded in past literature at times when the direct movement
\nof the life-spirit, whether confined to simple primary emotion and experience
\nor deepening to the more vivid probings of its own richer but still natural
\nself-aesthesis, has been the foun\u00adtain-head of a stirred poetic utterance. It
\nis then that there come the pure lyric outbursts and the poet is content to
\nsing and let the feeling create its own native moulds of music. The thought
\nsatisfied with its own emotion is not too insistent to elaborate the lyrical
\nform for its more intricate purposes or to give it cer\u00adtainly a weightier but
\nalmost inevitably a less simply rapturous movement. The intellectual ages sing
\nless easily. It is their care to cut and carve the lyrical form with a
\nself-conscious and con\u00adsidering art and their practice arrives at measures and
\nmovements of a consummate literary perfection, much power of modulation, a
\nmoved thinking and sentiment deliberately making the most of its own
\npossibilities; but except in the voices of the one or two who are born with the
\ncapacity and need of the pure lyrical im\u00adpulse, the too developed intellect
\ncannot often keep or recover life’s first fine careless rapture or call the
\nmemory of it into its own more loaded tones and measures. The lyric poetry of
\nthe ancient classical tongues is largely of this character and we find it there
\nconfined to a certain number of highly developed forms managed with a perfect
\nand careful technique, and the move\u00adment of poetic feeling, sometimes grave,
\nsometimes permitted a lighter and more rapid impulsion, is chastened and
\nsubdued to the service of the reflective poetic intelligence. The absolute
\nsimplicities and spontaneities of the soul’s emotion which were the root of the
\noriginal lyric impulse get only an occasional opportunity of coming back to the
\nsurface, and in their place there is the movement of a more thoughtful and
\noften complex sentiment and feeling, not freshets of song, but the larger wave
\nof the chant and elegy and ode: the flowers of the field and mountain self-sown
\non the banks or near the sources are re\u00adplaced by the blossoms of a careful
\nculture. Still, however reined in or penetrated and rendered grave by thought,
\nthe life of feeling <\/p>\n

Page \u2013 259<\/span><\/span><\/i><\/b><\/p>\n

<\/p>\n
\n

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

is still there and the power and sincerity of the
\nlyrical impulse abide as the base of the workings of the moved intelligence.
\nBut in the literary ages that are classical by imitation, there is ordinarily a
\ngreat poverty, an absence or thinness of the 1yrical element, the sincerity and
\nconfident self-pleasure of the feeling indispensable to the lyrical movement
\nwither under the coldly observant and too scrutinising eye of the reflective
\nreason, and the revival of song has to await the romantic movement of interest
\nof a more eager and a wider intelligence which will endeavour to get back to
\nsome joy of the intimate powers of life and the vivid lyricism of the heart and
\nthe imagination. There is then a return by an imaginative effort to old
\ncultivated forms of lyrical <\/i>expression and to early simple movements
\nlike the ballad motive and in the end a great variety of experiments in new
\nmetrical moulds and subtle modifications of old structures, an attempt of the
\nidea to turn back the thought mind to grave or happy sincerities of emotion or
\nimpose on it a more absolute assent to bare simplicities of thought and feeling
\nand finally a living curiosity of the intelligence in the expression of all
\nkinds and shades of sensation and emotion. The work of this developed poetic
\nintellectuality differs from the early work whose spirit and manner it often
\ntries hard to recover because it is the thought that is primarily at work and
\nthe form less a spontaneous creation of the\u00a0
\n<\/span>soul’ than a deliberately intelligent structure, and while the movement
\nof the pure lyrical impulse is entirely shaped by the feeling and the thought
\nonly accompanies it in its steps, here the thought actively intervenes and
\ndetermines and cannot but sophisticate the emotional movement. This distinction
\nhas many consequences and most this pregnant result that even the simplicities
\nof a developed poetical thought are willed simplicities and\u00a0 <\/span>the end is a curiosity of work that has many
\ntriumphs of aesthetic satisfaction but not often any longer the native tones of
\nthe soul when the pure lyrical feeling was still possible.<\/p>\n

The turn to a more direct self-expression of
\nthe spirit must find out its way first by the emergence of a new kind of
\nlyrical sincerity which is neither the directness of the surface life emotions
\nnor the moved truth of the thought mind seizing or observing the emotion and
\nbringing out its thought significances. There <\/p>\n

Page \u2013 260<\/span><\/span><\/i><\/b><\/p>\n

<\/p>\n
\n

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

are in fact only two pure and absolute sincerities
\nhere, the power of the native intuition of itself by life which has for its
\nresult a direct and obvious identity of the thing felt and its expression, and
\nthe power of identity of the spirit when it takes up thought and feeling and
\nlife and makes them one with some inmost abso\u00adlute truth of their and our
\nexistence. There is a power too of the sincerities of thought, but that is an
\nintermediary between life and the spirit and only poetic when it fills itself
\nwith the sense of one of the others or links them together or aids to bring
\nthem to oneness. It is therefore a transition from the lyricism of life
\nweighted by the stresses of thought to the lyricism of the inmost spirit which
\nuses but is beyond thought that has to be made. And here we notice a
\nsignificant tendency, an endeavour to pre\u00adsent life in an utmost clarity of its
\nintention and form and out\u00adline stripped and discharged of the thought’s
\nabundant additions, made naked of the haze of the reflective intelligence, the
\nidea being that we shall thus get at its bare truth and feeling, its pure vital
\nintuition where that starts out of the subconscious sugges\u00adtion and meets the
\nseeing mind and a conscious identity can be created with its sense in our souls
\nby the revealing fidelity of the expression. There is often added to this
\nendeavour the injunc\u00adtion that the rhythmic movement should follow the
\nfluctuations of life with a subtle adaptation of the verbal music, and this
\nnotion is used to justify the now common free or else irregular and often
\nbroken-backed verse which is supposed to be the me\u00addium of a subtler
\ncorrespondence than is at all possible to the formal rigidity of fixed metres.
\nBut in actual fact this kind of verse, whatever its power of lyric intention,
\nsensibly fails to give us the satisfaction of a true lyrical form, because it
\nignores the truth that what sustains the lyrical spirit is the discovery and
\nconsistent following of some central cadence revealing the very spirit of the
\nfeeling and not at all the sole pursuit of its more outward movements and changes:
\nthese can only rightly come in as a modulation of the constant essential music.
\nThis double need may possibly be met by a very skilful free movement, but not
\nso easily, straightforwardly and simply as in a fidelity, much more really
\nnatural than these overdone niceties, to the once discovered fixed cadence. And
\nbesides the bare truth of the vital <\/p>\n

\nPage \u2013 261<\/span><\/p>\n

<\/p>\n
\n

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

intuition is not that inmost truth of things our
\nminds are striving to see; that is something much greater, profounder, more
\ninfinite in its content and unending in its suggestion; not our identity in
\nsight and spiritual emotion with the limited subconscient intention of life,
\nbut rather a oneness with something in it at once superconscient, immanent and
\ncomprehensive of which that is only a blind index will be the moving power of a
\ngreater utterance. And until we have found, whether by spiritual experience or
\npoetic insight, this identity and its revelations in ourselves and in things,
\nwe shall not have laid a sound and durable basis for the future creation.<\/p>\n

The essential and decisive step of the future
\nart of poetry will perhaps be to discover that it is not the form which either
\nfixes or reveals the spirit but the spirit which makes out of itself the form
\nand the word and this with so sure a discovery, once we can live in it and
\ncreate out of it without too much interference from the difficult and devising
\nintellect, that their movement becomes as spontaneously inevitable as the
\nmovements and their mould as structurally perfect as the magical formations of
\ninconscient Nature. Nature creates perfectly because she creates directly out
\nof life and is not intellectually self-conscious, the spirit will create
\nperfectly because it creates directly out of self and is spontaneously
\nsupra-intellectually all-conscious. It is no <\/i>doubt this truth of a
\nspiritually just and natural creation that some of the present ideas and
\ntendencies are trying to adumbrate, but not as yet as understandingly as one
\ncould desire. The decisive revealing lyrical outburst must come when the poet
\nhas learnt to live creatively only in the inmost spiritual sight and identity
\nof his own self with the self of his objects and images and to sing only from
\nthe deepest spiritual emotion which is the ecstasy of feeling of that identity
\nor at least of some extreme nearness to its sheer directness of touch and
\nvision. And then we may find that this Ananda, this spiritual delight, for it
\nis something more intimate and rapturous than emotion, has brought with it an
\nunprecedented freedom of manifold and many-suggestioned and yet perfectly
\nsufficient and definite formation and utterance. The poetry born from the
\ninmost spirit will not bind the poet in any limiting circle or narrow theory of
\nan intellectual<\/p>\n

Page \u2013 262<\/span><\/span><\/i><\/b><\/p>\n

<\/p>\n
\n

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

art principle, but create at will according to the
\ntruth of the spirit’s absolute moments. According to the innate rightnesses of
\nthe motive and its needed cadence the spirit will move him to discover infinite
\npossibilities of new spiritual measure and intonation in time-old lyrical rhythms
\nor to find a new principle of rhythm and structure or to make visible
\ndevelopments which will keep past treasures of sound and yet more magically
\ninnovate than can be done by any breaking up of forms in order to build a new
\norder out of chaos. The intimate and intuitive poetry of the future will have,
\non the one side, all the inexhaustible range and profound complexities of the
\ncosmic imagination of which it will be the interpreter and to that it must suit
\na hundred single and separate and combined and harmonic lyrical tones of poig\u00adnantly
\nor richly moved utterance, and on the other it will reach those bare and
\nabsolute simplicities of utter and essential sight in which thought sublimates
\ninto a translucidity of light and vision, feeling passes beyond itself into
\nsheer spiritual ecstasy and the word rarefies into a pure voice out of the
\nsilence. The sight will determine the lyrical form and discover the identities
\nof an in\u00adevitable rhythm and no lesser standard prevail against the purity of
\nthis spiritual principle.<\/p>\n

A spiritual change must equally come over the
\nintention and form of the drama when once the age has determined its ten\u00addencies,
\nand this change is already foreshadowed in an evolution which is still only at
\nits commencement and first tentatives. Hi\u00adtherto there have been two forms
\nconsecrated by great achieve\u00adments, the drama of life; whether presenting only
\nvivid outsides and significant incidents and morals and manners or expressive
\nof the life-soul and its workings in event and character and passion, and the
\ndrama of the idea or, more vitally, of the idea-power that is made to work
\nitself out in the life movement, lay its hold on the soul’s motions, create the
\ntype, use the character and the passion for its instruments and at its highest
\ntension appear as an agent of the conflict of ideal forces that produce the
\nmore lofty tragedies of human action. The paucity of great creation in the
\nmodern drama after one very considerable mo\u00adment of power and vision has been
\ndue largely to an inability to decide between these two motives or to discover,
\na great poetic <\/p>\n

Page \u2013 263<\/span><\/span><\/i><\/b><\/p>\n

<\/p>\n
\n

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

form for the drama of the idea or effect in the
\npoetic imagination some fusion of the intellectual and the life motive which would
\nbe an effective dramatic rendering of the modern way of seeing man and his
\nlife. The only recent vital and effective dramatic writing has been in prose
\nand that has taken the questionable shape of the problem play which is
\npeculiarly congenial to the dominating interests of the highly intellectualised
\nbut always practical mind of humanity today. The poetic form has long been for
\nthe most part a reproduction of past moulds and motives without any roots of
\nvitality in the living mind of the age; but recently there has been a more
\ninward and profounder movement which promises some chance of replacing this
\nsort of unsatisfying imitation by a novel and a sincerer kind of dramatic
\npoetry. An attempt has been initiated to create an inner drama of the soul with
\nthe soul itself for the real stage. There is in the spirit and the forms of
\nthis endeavour a predominance as yet of the lyrical rather than the dramatic
\nmotive, an insufficient power of making the characters living beings rather
\nthan unsubstantial types or shadows of soul movements or even the figures of a
\nveiled allegory and parable; and there is needed perhaps for a greater <\/i>vitality
\na freer and more nobly aesthetic stage which would not be limited by the
\nexternal realism that now stands in the way of living revival of the poetic and
\nartistic theatre. Nevertheless\u00a0 <\/span>this
\nattempt is a true though not a complete index of the direction the creative
\nmind must take in the future.<\/p>\n

The soul of man, a many-motioned
\nrepresentative world-spirit, subsisting and seeking for itself and its own
\nmeanings amid the laws and powers and moving forces of the universe and
\ndiscovering and realising its spiritual relations with others will be the
\nvision and intention of a dramatic poetry fully reflective of the now growing
\nintuitive mind of the future. All drama must be a movement of life and of
\naction because its mode of presentation is through the speech of living beings
\nand the interaction of their natures, but equally the real interest except in
\nthe least poetic kinds is an internal movement and an action of\u00a0 <\/span>the soul because dramatic speech is
\npoetically interesting only when it is an instrument of human self-expression
\nand not merely a support for a series of stirring incidents. The drama of the <\/p>\n

Page \u2013 264<\/span><\/span><\/i><\/b><\/p>\n

<\/p>\n
\n

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

future will differ from the romantic play or
\ntragedy because the thing which dramatic speech will represent will be
\nsomething more internal than the life soul and its brilliant pageant of pas\u00adsion
\nand character. The external web of events and action, whe\u00adther sparing or abundant,
\nstrongly marked or slight in incidence, will only be outward threads and
\nindices and the movement that will throughout occupy the mind will be the
\nprocession of the soul phases or the turns of the soul action: the character,
\nwhether profusely filled in in detail in the modern fashion or simply and
\nstrongly outlined in the purer ancient method, will not be mis\u00adtaken for the
\nperson, but accepted as only an inner life notation of the spirit: the
\npassions, which have hitherto been prominently brought forward as the central
\nstuff of the drama, will be reduced to their proper place as indicative colour
\nand waves on the stream of spiritual self-revelation. And this greater kind
\nwill differ too from the classical tragedy of which the method was some signi\u00adficant
\nand governing idea working out its life issues, because the idea will only be
\nto a larger human mind better instructed in the secret of existence the
\nself-view by the soul of its own greater and more intimate issues and of the
\nconscient turns of its existence. The personage of the play will be the spirit
\nin man diversified or multitudinous in many human beings whose inner spiritual
\nmuch more intimately than their external life relations will deter\u00admine the
\ndevelopment, and the culminations will be steps of solu\u00adtion of those spiritual
\nproblems of our existence which after all are at the root of and include and
\ninform all the others. The drama will be no longer an interpretation of Fate or
\nself-acting Karma or of the simple or complex natural entanglements of the
\nhuman life-movement, but a revelation of the Soul as its own fate and
\ndeterminer of its life and its Karma and behind it of the powers and the
\nmovements of the spirit in the universe. It will not be limited by any lesser
\nidealisms or realisms, but represen\u00adting at will this and other worlds, the
\npurpose of the gods and the actions of men, man’s dreams and man’s actualities
\neach as real as the other, the struggles and the sufferings and the victories
\nof the spirit, the fixities of Nature and her mutabilities and signi\u00adficant
\nperversions and fruitful conversions, interpret in dramatic form the inmost
\ntruth of the action of man the infinite. It will <\/p>\n

\nPage \u2013 265<\/span><\/p>\n

<\/p>\n
\n

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

not be limited either by any old or new formal
\nconvention, but transmute old moulds and invent others and arrange according to
\nthe truth of its vision its acts and the evolution of its dramatic process or
\nthe refrain of its lyrical or the march of its epic motive. This clue at least
\nis the largest and the most suggestive for a new and living future creation in
\nthe forms of the drama.<\/span><\/p>\n

The spirit and intention of the narrative and
\nepic forms of poetry must undergo the same transmuting change. Hitherto the
\npoetical narrative has been a simple relation or a vivid picturing or
\ntranscript of life and action varied by description of surrounding circumstance
\nand indication of mood and feeling and character or else that with the
\ndevelopment of an idea or a mental and moral significance at the basis with the
\nstory as its occasion or form of its presentation. The change to a profounder
\nmotive will substitute a soul significance as the real substance, the action
\nwill not be there for its external surface interest but as a vital indication
\nof the significance, the surrounding circumstance will be only such as helps to
\npoint and frame it and bring out its accessory suggestions and mood and feeling
\nand character, its internal powers and phases. An intensive narrative,
\nintensive in simplicity or in richness of significant shades, tones and
\ncolours, will be the more profound and subtle art of this kind in the future
\nand its appropriate structures determined by the needs of this inner art
\nmotive. A first form of the intensive and spiritually significant poetic
\nnarrative has already been created and attempts to replace the more
\nsuperficially intellectual motives, where the idea rather supervened upon the
\nstory or read into it the sense of its turns or its total movement, but here
\nthe story tends more to be the living expression of the idea and the idea
\nitself vibrant in the speech and description and action the index of a
\nprofounder soul motive. The future poetry will follow this direction with a
\nmore and more subtle and variable inwardness and a greater fusion and living
\nidentity of soul motive, indicative idea, suggestive description and intensely
\nsignificant speech and action. The same governing vision will be there as in
\nlyric and drama; the method of development will alone be different according to
\nthe necessities of the more diffused, circumstanced and outwardly processive
\nform which is proper to narrative. <\/p>\n

Page \u2013 266<\/span><\/span><\/i><\/b><\/p>\n

<\/p>\n
\n

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

The epic is only the narrative
\npresentation on its largest canvas and, at its highest elevation, greatness and
\namplitude of spirit and speech and movement. It is sometimes asserted that the
\nepic is solely proper to primitive ages when the freshness of life made a story
\nof large and simple action of supreme interest to the youthful mind of
\nhumanity, the literary epic an artificial prolongation by an intellectual age
\nand a genuine epic poetry no longer possible now or in the future. This is to
\nmistake form and circumstance for the central reality. The epic, a great poetic
\nstory of man or world or the gods, need not necessarily be a vigorous
\npresentation of external action: the divinely appointed creation of Rome, the
\nstruggle of the principles of good and evil as presented in the great Indian
\npoems, the pageant of the centuries or the journey of the seer through the
\nthree worlds beyond us are as fit themes as primitive war and adventure for the
\nimagination of the epic creator. The epics of the soul most inwardly seen as
\nthey will be by an intuitive poetry, are his greatest possible subject, and it
\nis this supreme kind that we shall expect from some profound and mighty voice
\nof the future. His indeed may be the song of greatest flight that will reveal
\nfrom the highest pinnacle and with the largest field of vision the destiny of
\nthe human spirit and the presence and ways and purpose of the Divinity in man
\nand the universe. <\/p>\n

\nPage – 267<\/span><\/p>\n<\/div>\n<\/td>\n<\/tr>\n<\/table>\n","protected":false},"excerpt":{"rendered":"

chapter XXX  The Form and the Spirit           A CHANGE in the spirit of poetry must necessarily bring with it a change of its…<\/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-1297","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\/1297","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=1297"}],"version-history":[{"count":0,"href":"https:\/\/worksofthemotherandsriaurobindo.org\/index.php\/wp-json\/wp\/v2\/posts\/1297\/revisions"}],"wp:attachment":[{"href":"https:\/\/worksofthemotherandsriaurobindo.org\/index.php\/wp-json\/wp\/v2\/media?parent=1297"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/worksofthemotherandsriaurobindo.org\/index.php\/wp-json\/wp\/v2\/categories?post=1297"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/worksofthemotherandsriaurobindo.org\/index.php\/wp-json\/wp\/v2\/tags?post=1297"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}