{"id":1307,"date":"2013-07-13T01:34:00","date_gmt":"2013-07-13T08:34:00","guid":{"rendered":"http:\/\/localhost\/?p=1307"},"modified":"2013-11-28T15:13:51","modified_gmt":"2013-11-28T23:13:51","slug":"22-recent-english-poetry-2-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\/22-recent-english-poetry-2-vol-09-the-future-poetry-volume-09","title":{"rendered":"-22_Recent English Poetry – 2.htm"},"content":{"rendered":"\n\n
\n
\n

\nC<\/font>HAPTER<\/font> <\/span>XXI<\/font><\/span><\/p>\n

\n    Recent English Poetry
\n\u2013 2<\/font><\/span><\/p>\n

\n
\n <\/font><\/span><\/p>\n

\n
\n\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/font> <\/span>
\nT<\/font><\/span>HE
\neffective stream of poetry in the English tongue has followed no such strong
\ndistinctive turn as would be able to sweep the effort of rhythmic expression along
\nwith it in one mastering direction. The poets of this age pursue much more even
\nthan their predecessors the bent of their personality, not guided by any
\nuniting thought or standard of form, and have no other connecting link than the
\nsubtle similarities which the spirit of the age always gives to its work of
\ncreation. But the present age is so loose, fluid and many-motived that this
\nsubtler community is not easily tangible and works out in much less of an open
\nfamily resemblance than in the Victorian poets or their predecessors. Only in
\nthe Celtic revival in Ireland have there been a number of considerable writers
\nunited by a common artistic motive and ideal, and it may be for that reason
\nthat a certain persistent thing which is striving to be and to get expression
\nin the poetry of the time finds itself in a first illumination, emerges as a
\nconscious power and seeks for its adequate form and rhythm. But we find it
\nelsewhere too in obscurer forms; on this element we may pause to lay stress
\nwhile we leave aside as of less importance the crowding variety of other
\ntemperamental and personal emphasis which hides it from view or chokes up its
\nchannels of emergence. This subtler element, although far from being yet
\nvictorious over the tradition of the past or the more clamorous powers of the
\npresent, is the most original, the most unworked and fruitful in promise for
\nthe future and represents the highest possibility of a greater coming poetry. A
\ndistinct spiritual turn, the straining towards a deeper, more potent,
\nsupra-intellectual and supra-vital vision of things is its innermost secret of
\ncreative power. Now increasingly the highest turn of the human mind indicates a
\nlarge opening of its vision to the self as well as the person of man and the
\nspirit of Nature, to supernature, <\/span><\/p>\n

\nPage \u2013 156<\/span><\/p>\n

<\/p>\n
\n

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

to the cosmic, the universal and the eternal, but without any
\nloosing of the hold on life and earth, which is likely to survive and govern
\nthought and creation and the forms of our living when the present multitude of
\nstandpoints, all the conflict and chaos of a manifold seeking and new
\nformation, have resolved themselves into the harmony of a centralising and
\nembracing outlook. That infinite self-discovery would be the logical outcome of
\nthe move\u00adment of the past and the present century and the widest possibility
\nand best chance open to the human spirit: taking up the thought of the ages
\ninto a mightier arc of interpretation and realisation, it would be the crowning
\nof one and the opening of a new and greater cycle. <\/p>\n

The poets of yesterday and today. Whitman,
\nCarpenter, the Irish poets, Tagore, but also others in their degree are fore\u00adrunners
\nof this new spirit and way of seeing, prophets some\u00adtimes, but at others only
\nillumined by occasional hints or by side rays of a light which has not flooded
\nall their vision. I may take for my purpose four of them whose names stand
\nbehind or are still with us and their station already among those whose work
\nendures, Meredith and Phillips among recent English poets, A.E. and Yeats of
\nthe Irish singers.1<\/sup> There is a very great diffe\u00adrence of the degree
\nand power with which the spirit has opened to them its secret and a great
\ndifference too in the turn which they give to its promptings. The two English
\npoets have it at moments in a high clarity, but at others it is only a
\nsuggestion behind which gives a penetrating, original and profound tone to
\ntheir work. This is their native secret when they go deepest into themselves, a
\nthing they get sometimes into clear speech perhaps by right of their Celtic
\ninheritance; but they work in the English tradition, follow other attractions,
\nbear the burden of a tendency of aesthe\u00adtic feeling, form and treatment which
\nlead away from the pur\u00adsuit of the direct seeking and the perfect manner. The
\nconsistent note we get more constantly in the Irish poets who, freer in mind
\nfrom this past tradition, though something of it must cling per\u00adhaps to all who
\nwrite in the English tongue, unless they start with<\/p>\n

 <\/span><\/p>\n

‘ I take most of my citations from Mr. Cousins’ book, the only source
\nI have at present before me; but though few, they are made from the same
\nstandpoint and selected with singular felicity and serve fully my purpose<\/font> <\/font><\/p>\n

Page \u2013 157<\/span><\/p>\n

\n

the superb revolutionary defiance of Whitman, \u2014 are able to
\nstrike out with a less encumbered gait into new paths of thought and movement.
\nThey have too an original well of inspiration in the Celtic spirit, temperament
\nand tradition from which they draw a magical and delicate draught of other air
\nnaturally stimu\u00adlative of a subtler and more spiritual vision: they escape, and
\nthat is another supreme advantage, from the overstress of the intellectual and
\nvital notes which in their English kindred and compeers take from the direct
\npurity of utterance of their spirit. None of them has indeed the large and
\npuissant voice of Whitman or his dominant force of poetic personality, though
\nthey have what he has not or did not care to evolve, the artistic faculty and
\ngenius, but each has a high peculiar power in his own way of light, is at his
\nbest, and the best is not infrequent even in the least of them, a poet of the
\nfirst rank. The greatness of scope and unified plenitude of power is absent
\nwhich would have been needed to make any one of them a grand representative
\nvoice of the time. But they lead and prepare, they strike great new notes, open
\nor at least give hints of great new ways for a future poetry.<\/p>\n

One thing that conies home to us "when we take a compa\u00adrative
\nview of this poetry, when we look at the inmost strands of the expression at
\nwhich it arrives in these four poets, all of them among its boldest and most
\noriginal and therefore most revealing representatives, is a certain common
\nelement behind their diffe\u00adrences, a novel use of rhythmic movement, a sudden
\nnew moving force, turn, stamp and fashion in the minting of the gold and silver
\nof their language and as the secret of this departure a quite other innate or
\nconscious aim, not always manifest in the visible form of the substance, though
\nthat too is there in plenty, but in the way of seeing the object on which the
\ninner eye is turned, whether it be idea, thing or person, significant emotion
\nor glint of soul-power in man or revealing object or suggestive hint in Nature.
\nThis aim we may perhaps best express if we take up and modify a phrase of
\nMeredith’s when he speaks of the hampered human voice that could never say <\/span><\/i><\/p>\n

"Our inmost in the sweetest way"<\/i> \u2014<\/i><\/span><\/p>\n

\nPage \u2013 158<\/span><\/p>\n

<\/p>\n
\n

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

hampered
\nby the austerity of its wisdom or the excess of its sense and passion. But if it
\nis rarely that this sweetest way is found \u2014 yet do we not get near to it
\nsometimes in Yeats and Tagore ? \u2014 at least this new turn of the poetic voice is
\ncharacteristically an endeavour to see and to say our inmost in the inmost way.<\/p>\n

The natural turn of poetry, that which gives
\nto it its soul of superiority to other ways of human utterance, is the
\nendeavour of the interpretative cast of its mind always to look beyond the ob\u00adject,
\neven to get behind it and evoke, from a something that was waiting for us within,
\nits own inevitable speech and rhythm. That inwardness is the triumph of great
\npoetical speech, whether the poet has his eye like Homer on physical object and
\npower of action and the externalised thought and emotion which they throw up
\ninto the surface roll of life, or else like Shakespeare on the surge of the
\nlife-spirit and its forms of character and passion and its waves of
\nself-interpreting thought and reflection, or on the play of the detached or
\nhalf-detached seeing intellect or the in\u00adspired reason, or on the strainings of
\nthe desire-soul of man striving to find the delight of things in the
\nthousand-coloured threads of the double web of our existence. The manner and
\nyield of poetry vary according to the depth we penetrate into that inner something
\nwhich is hidden by layer upon layer of many an intervening medium, offers and
\ngives itself wonderfully in all of them, yet seems to retreat always and
\ninvites to a profounder pursuit and discovery; it varies according to the
\ninsistence of the eye on the object or its liberation into the greater
\nsignificance of which the object is only the seizable symbol, or according as
\nwe are stopped by the medium or break through it to some truth of the one thing
\nin all which throws out in these various sheaths such different richnesses of
\nform, colour and suggestion of idea and sound, but is yet one in all things to
\nthe soul that can discover its eternal unity.<\/p>\n

But this new way of seeing is a.<\/i><\/span> first effort to get through
\nthe object and the medium and employ them only as suggestive instruments, to
\nbreak beyond the life-force and the emotion, the imagination and the idea, not
\nto be stopped by these things, though using the inmost life-stress, the inmost
\nreleasing force of the emotion, the inmost plunge of the imagination or its
\nmost <\/p>\n

\nPage \u2013 159<\/span><\/p>\n

<\/p>\n
\n

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

searching power of form, colour and. symbol, the inmost pene\u00adtrating
\nsubtlety of the idea and to arrive at what we may call the soul-sense, the
\nsoul-sound and as far as may be the soul-word interpretative of some yet deeper
\nrevealing truth in all their objects. There is in most recent poetry that
\ncounts, though less here, more there, some element of this kind of straining,
\nforce, pressure on sound and word and vision, and though it often turns into
\nstrange, obscure and devious paths, obstructed by the insistence of the
\nsuperficial desire-soul or weighted by the intellect, \u2014 the two powers in us
\nwhich modern humanity has developed into an exaggerated predominance, \u2014 still
\nit reaches out towards this effort to see
\nour inmost in the inmost way, and when it gets free, delivers voices of a
\nsupreme power, vision and purity. And what it must lead to in the end if it
\ngets to its end, does not stop short or turn aside after some other lure, must
\nbe some direct seeing by the soul of the soul or self everywhere in its own
\ndelivered force of vision, \u2014 the direct vision of Indian aspiration ātmani
\nātmānam ātmanā, \u2014<\/span><\/i> not the sensuous or the
\nimaginative or the intellectual or the vital insistence, but a greater Potency
\nusing and surmounting them, the Soul’s own delivered self-vision in all things
\nand delight of its own greatness and light and beauty. That is the turn of mind
\nwhich is now making itself heard in effort, though not in full mastery,
\nstammered here, there sung with a slight, delicate and subtle sweetness or with
\nan initial load of rare or crowding suggestion, but waiting still the splendour
\nof the master song that shall rise into the light of the spirit,\u2014<\/p>\n

 <\/i><\/p>\n

So pure that it salutes the suns,<\/i><\/p>\n

\u00a0<\/span>The
\nvoice of one for millions,<\/i><\/p>\n

\u00a0<\/span>In
\nwhom the millions rejoice<\/i><\/p>\n

\u00a0<\/span>For
\ngiving their one spirit voice.<\/i><\/p>\n

The inmost seeing must bring out of itself to, be poetically effective the inmost word and
\nsound, must find out a luminous purity of its steps or a profound depth of its movement,
\nmust be said in the inmost way. Rhythm is the most potent, founding element of
\npoetic expression, and though most modem poets depend or at least lean more
\nheavily on force of thought and<\/p>\n

\nPage \u2013 160<\/span><\/p>\n

\n
\n<\/div>\n

substance than on the greater musical suggestions of rhythm, \u2014
\nShelley, Swinburne, Yeats are exceptions, \u2014 there must always be a change in
\nthis basis of the poet’s art when there is a substantial change of the
\nconstituting spirit and motive. Especially when there is this more subtle
\nspiritual aim, the rhythmical movement becomes of a new importance. Whether as
\nan aid to help out by the subtle meaning of the cadence the total spiritual
\nsuggestion of the speech or, more supremely, to bring in out of the depths, as
\ngreat music does, some surge or outwelling of the infinite movement and cry of
\nthe spirit and bear like a jewel of light on its breast the outbreak of the
\ninevitable revealing word, it must be persuaded to find some new unity of
\nmeasure and speech, the thought echoing with the very native sound of its Idea.
\nWe find accordingly the beginning, sometimes something more, of an\u00adother spirit
\nin the movement of this poetry. These poets use for the most part old
\nestablished metrical forms or variations of them; when there are departures,
\nthey do not go very far from the familiar base: but in their way of using them
\nwe are as far as possible in its intrinsic principle from the method of the
\nolder poets. The change may be described as a more complete subor\u00addination of
\nthe metrical insistence to the inner suggestion of the movement. The old poets
\ndepended greatly on the metrical fall, made much of the external mould and its
\npossible devices and filled it with the tones of life or thought or the
\nexcitement of the thing that possessed them and moved them to speech. Shakes\u00adpeare’s
\nlines,\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span><\/p>\n

Wilt thou upon the high and giddy mast<\/i><\/p>\n

Seal up the shipboy’s eyes and rock his brains<\/i><\/p>\n

In cradle of the rude imperious surge?<\/i><\/p>\n

 <\/span><\/p>\n

are a supreme instance of the manner, or Milton’s<\/p>\n

Those thoughts that wander through Eternity,<\/i><\/p>\n

or any of his stately rolling lines or periods of organ music
\nwill do for a great illustration. Pope and Dryden simply overdid the<\/p>\n

reliance on measure and chained themselves up in a monotony <\/p>\n

\nPage \u2013 161<\/span><\/p>\n

<\/p>\n

\n

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

of pointed metrical effect. The succeeding poets got back to the
\ngreater freedoms of tone and used them in a new way, but the principle remains
\nthe same,\u2014as in Shelley’s<\/p>\n

Rarely, rarely comest thou,<\/i><\/p>\n

\u00a0<\/span>Spirit of Delight!<\/i><\/p>\n

or Wordsworth’s<\/p>\n

For old, unhappy, far-off things, <\/i><\/p>\n

And battles long ago, \u2014<\/i><\/p>\n

both of them examples of the ordinary base used with a deep
\nsimplicity of single tone and a melodious instance; or otherwise, where the
\ntone on the contrary makes the most, of the mould,<\/p>\n

And wildroses and ivy
\nserpentine,<\/i><\/p>\n

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

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

Among the farthest Hebrides.\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span><\/i><\/p>\n

The base of the old poetry is a march, a walk or a lilt, a
\nmeasured flow, roll or surge, \u2014*or it is with less competent metrists a trip\u00adping
\ntrot, dance or gallop: but even in the freest movements there is a prevailing
\nmetrical insistence. In the new movement the old base is there, but whatever
\nshow it may make, its real importance tends to drop into a very second place.
\nInsistence of tone has taken full possession of or even conquered the
\ninsistence of the fall. A spiritual intonation, not content to fill and at its
\nstrongest overflow the metrical mould, but insistent to take it into itself and
\ncarrying it rather than carried in it, is the secret of its melody or its
\nharmony. There is here the sound of the coming in, perhaps only the first
\nsuggestion of a new music.\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span><\/p>\n

The main reliance on the metrical stress can leave room in
\npowerful hands for very great rhythms, but it has its limitations, from which
\ndifferent poets try to get release by different devices,<\/p>\n

\nPage \u2013 162<\/span><\/p>\n

<\/p>\n
\n

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

\u00a0<\/span><\/i>Milton sought it in
\nvariations of pause and the<\/i> engulfing swell of periods of large and
\nresonant harmony, Swinburne by the cym\u00adbal clang of his alliterations and a
\nrush and surge of assonant lyrical sound, Browning by a calculated roughness.
\nShakespeare himself under a great stress of crowding life and thought sugges\u00adtions
\nsimply broke the back and joints of his instrument and tor\u00adtured it into shapes
\nfrom which he got out masterfully irregular harmonies sometimes of a great
\npower, a process of which we may perhaps see in Whitmanesque free verse the
\nfar-off logical consequence. These more recent poets, whatever metrical devices
\nthey may use, depend upon something else, on a method which at its clearest
\nbecomes a principle of pure sound intona\u00adtion. <\/p>\n

Philips’ blank verse which is of a very original mould is built
\non this principle. The poet first gets as his basis the most simple, direct and
\neasy form possible of the metre, which he can loosen as much as possible,
\nsuppress or shift or add as many stresses as he chooses, or on the contrary
\nweigh extraordinarily upon his stresses so as to give an impression of long
\nspace or bur\u00addened lingering or some echo of infinite duration; but in either
\ncase the object is to get free room for the play of tone. Four lines come
\ntogether, <\/p>\n

The history of a flower in the air<\/i><\/p>\n

\u00a0<\/span>Liable but to breezes and to time,<\/i><\/p>\n

\u00a0<\/span>As
\nrich and purposeless as is the rose,<\/i><\/p>\n

\u00a0
\n<\/span>thy simple doom is to be beautiful,<\/i><\/p>\n

in which there are only three stresses, in the last one might
\nalmost say two and a half, a small number of quantitatively long syllables are
\nthe physical support of the verse, \u2014 as if quan\u00adtity were trying to come back
\nto first importance in a language of stresses, \u2014 and the rest is made up of
\nvarying minor tones. Or the long drawn out syllables are brought in in great
\nabundance, m a variety of combinations, closely packed and largely spaced, as
\nin<\/p>\n

The fiery funeral of
\nfoliage old,<\/i><\/p>\n

\nPage \u2013 163<\/span><\/p>\n

<\/p>\n

\n

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

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

With slow sweet surgery
\nrestore the brain;<\/i><\/p>\n

\u00a0<\/span>or again,<\/p>\n

The vault closed back,
\nwoe upon woe, the wheel<\/i><\/p>\n

\u00a0<\/span>\u00a0\u00a0\u00a0 <\/span>Revolved, the stone rebounded, for that time<\/i><\/p>\n

Hades her interrupted
\nlife resumed.<\/i><\/p>\n

These and others are the means used, but at their
\nback is the principle of a free intonation. It is the tone that builds the
\nverse, gives it its real form and the metrical mould, forced to be\u00adcome and to
\ndo whatever the tone chooses, whatever is needed for the intonation of the
\ninmost thought, is a flexible conve\u00adnience and a needed restraint, \u2014 for if
\nloosened or freely spaced, it is not broken, \u2014 but no longer a chain and hardly
\nfelt even as a limitation. The significance is that the poet has a rhythm of
\nthought and spirit already sounding somewhere within him and in bringing it out he imposes it consciously on his
\nouter instru\u00adment with an imperious sovereignty and does not get to it, like
\nthe older masters, as the result of a faithful observance of the metrical
\nharmony.<\/p>\n

The other poets use a different, less open and forceful outer
\nmethod, but the same principle emerges in
\ngreater or less degree as if by some spiritual necessity. Meredith’s poetry
\nbelongs to an ‘earlier technique, observes
\nfaithfully the metrical law, but the subtler thing is already coming: some
\ncurious turn is given to the beat which persistently compels it to serve some
\ndomi\u00adnant soul-tone of the thought and seeing and to dance atten\u00addance on that,
\nas in the four lines already quoted from "The
\nLark Amending", or else there is
\nthe turn towards long spaces and lingering tones where the metrical sound
\nfloats and seems always on the point of drowning in some deep sea of inner
\nintonation, \u2014<\/p>\n

Through widening
\nchambers of surprise to where<\/i><\/p>\n

\u00a0<\/span>\u00a0\u00a0\u00a0 <\/span>Throbs rapture near an end that aye recedes.<\/i><\/p>\n

\n <\/span><\/p>\n

\nPage \u2013 164<\/span><\/span><\/i><\/b><\/p>\n

<\/p>\n
\n

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

\n      Because his touch is infinite
\nand lends <\/i><\/p>\n

A yonder to all ends, <\/i><\/p>\n

a description which might well be applied to the
\nwhole drift and cause of this spiritual principle of rhythm. A.E. is not a
\ngreat rhythmist, he is too preoccupied with his vision, more of a truth-seer
\nthan a truth-hearer of the Spirit, but when the hearing comes, the sruti <\/i>somehow<\/span> or other
\nwithout any expenditure of device the full spiritual intonation rises up and
\ntakes possession of the music, \u2014 to give one instance only,\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span><\/p>\n

Like winds and waters
\nwere her ways:<\/i><\/p>\n

They heed not immemorial
\ncries;<\/i><\/p>\n

They move to their high
\ndestinies<\/i><\/p>\n

\u00a0<\/span>Beyond the – little voice that prays.<\/i><\/p>\n

And in Yeats, a supreme artist in rhythm, this spiritual
\nintonation is the very secret of all his subtlest melodies and harmonies and
\nreveals itself whether in the use of old and common metres which cease to be
\neither old or common in his hands or in delicate new turns of verse. We get it
\nin his blank verse, taken at random, \u2014<\/p>\n

A sweet miraculous terrifying sound, \u2014<\/i><\/p>\n

or in the
\nmounting flight of that couplet on the flaming multitude<\/p>\n

That rise, wing upon
\nwing, flame above flame<\/i><\/p>\n

\u00a0<\/span>And like a storm cry the ineffable name.<\/i><\/p>\n

or heard through the slowly errant footfalls
\nof that other,<\/p>\n

In all poor foolish
\nthings that live a day<\/i><\/p>\n

\u00a0<\/span>Eternal Beauty wandering on her way, \u2014<\/i><\/p>\n

but most of all in the lyrical movements, \u2014<\/p>\n

With the earth and the
\nsky and the water, remade,<\/i><\/p>\n

\u00a0<\/span>like a casket of gold;<\/i><\/p>\n

\nPage \u2013 165<\/span><\/p>\n

<\/p>\n

\n

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

For my dream of your image that blossoms a rose
\nm the<\/i><\/p>\n

\u00a0<\/span>deeps of my heart.<\/i>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span><\/p>\n

There we have, very near to the ear of the sense, that inaudible
\nmusic floating the vocal music, the song unheard, or heard only behind and in
\nthe inner silence, to catch some echo of which is the privilege of music but
\nalso the highest intention of poetical rhythm.<\/p>\n

Beyond all analysis or set provision of means that is the cons\u00adtant
\nattempt to which poetry must move, if this new realm is to open to its
\nfootsteps, not to suit the metre to the intellectual or even the emotional
\nsense or to cast it in the moulds of life, but to seize some sound, some
\nintonation of the voice of the soul, the lyric or the epic chandas<\/i> or
\nthe large or simple measures of its meditation and creation, which, as the old vedic
\ntheory would say, initiate, roll out and support all the steps of the universe.
\nThis intoned music in which the outer form becomes an external subtle means and
\nsuggestion, but the building power is other and brings in a spiritual
\naccompaniment which is the real thing we have to listen to, opens at least one
\nline on which we can arrive at that greater hearing whose wave can bring with
\nit the inspiring word of a higher vision. For the musical tone of the older
\npoetry is the simply sensuous, the emotional, the thought or the life tone with
\nthe spiritual cadence as the result of some strong inten\u00adsity of these things,
\nbut here is some beginning of a direct spiri\u00adtual intonation.<\/p>\n

\n <\/span><\/p>\n

\nPage – 166<\/span><\/p>\n<\/div>\n<\/td>\n<\/tr>\n<\/table>\n","protected":false},"excerpt":{"rendered":"

CHAPTER XXI     Recent English Poetry \u2013 2   \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 THE effective stream of poetry in the English tongue has followed no such strong distinctive…<\/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-1307","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\/1307","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=1307"}],"version-history":[{"count":1,"href":"https:\/\/worksofthemotherandsriaurobindo.org\/index.php\/wp-json\/wp\/v2\/posts\/1307\/revisions"}],"predecessor-version":[{"id":9597,"href":"https:\/\/worksofthemotherandsriaurobindo.org\/index.php\/wp-json\/wp\/v2\/posts\/1307\/revisions\/9597"}],"wp:attachment":[{"href":"https:\/\/worksofthemotherandsriaurobindo.org\/index.php\/wp-json\/wp\/v2\/media?parent=1307"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/worksofthemotherandsriaurobindo.org\/index.php\/wp-json\/wp\/v2\/categories?post=1307"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/worksofthemotherandsriaurobindo.org\/index.php\/wp-json\/wp\/v2\/tags?post=1307"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}