{"id":1696,"date":"2013-07-13T01:36:35","date_gmt":"2013-07-13T01:36:35","guid":{"rendered":"http:\/\/localhost\/?p=1696"},"modified":"2013-07-13T01:36:35","modified_gmt":"2013-07-13T01:36:35","slug":"02-the-essence-of-poetry-vol-26-the-future-poetry","status":"publish","type":"post","link":"https:\/\/worksofthemotherandsriaurobindo.org\/index.php\/01-works-of-sri-aurobindo\/03-cwsa\/26-the-future-poetry\/02-the-essence-of-poetry-vol-26-the-future-poetry","title":{"rendered":"-02_The Essence of Poetry.html"},"content":{"rendered":"
\n\n\n
\n\t <\/p>\n

\n\t\t\tChapter II
\n\t<\/b><\/p>\n

\n\t\t\t <\/p>\n

\n\t\t\tThe Essence of Poetry
\n<\/font><\/p>\n

\n\t\t\t <\/p>\n

\n\t\t\tW<\/font>HAT THEN is the nature of poetry, its essential law?
\nwhat is the highest power we can demand from it, what the supreme music that the human mind, reaching up and in and out to its own widest breadths, deepest depths and topmost summits, can extract from this self-expressive instrument? and how out of that does there arise the possibility of its use as the
\nmantra <\/i>of the Real? Not that we need spend any
\nenergy in a vain effort to define anything so profound, elusive and indefinable as the breath of poetic creation; to take the
\nmyriad-stringed harp of Saraswati to pieces for the purpose of scientific analysis is a narrow and barren amusement. But we
\nstand in need of some guiding intuitions, some helpful descriptions which will serve to enlighten our search; to fix in that
\nway, not by definition, but by description, the essential things in poetry is neither an impossible, nor an unprofitable endeavour. <\/p>\n

\n\t\t\tWe meet here two common enough errors, to one of which the ordinary uninstructed mind is most liable, to the other the
\ntoo instructed critic or the too intellectually conscientious artist or craftsman. To the ordinary mind, judging poetry without
\nreally entering into it, it looks as if it were nothing more than an aesthetic pleasure of the imagination, the intellect and the ear,
\na sort of elevated pastime. If that were all, we need not have wasted time in seeking for its spirit, its inner aim, its deeper law.
\nAnything pretty, pleasant and melodious with a beautiful idea in it would serve our turn; a song of Anacreon or a plaint of
\nMimnermus would be as satisfying to the poetic sense as the Oedipus, Agamemnon or Odyssey, for from this point of view
\nthey might well strike us as equally and even, one might contend, more perfect in their light but exquisite unity and brevity.
\nPleasure, certainly, we expect from poetry as from all art; but the external sensible and even the inner imaginative pleasure
\n   <\/p>\n

\n\t\t\tPage \u2013 <\/font>11<\/font><\/p>\n

\n

\nare only first elements. For these must not only be refined in order to meet the highest requirements of the intelligence, the
\nimagination and the ear; but afterwards they have to be still farther heightened and in their nature raised beyond even their
\nown noblest levels, so that they may become the support for something greater beyond them; otherwise they cannot lead to
\nthe height on which lives the Mantra. <\/p>\n

\n\t\t\tFor neither the intelligence, the imagination nor the ear are
\nthe true or at least the deepest or highest recipients of the poetic delight, even as they are not its true or highest creators; they
\nare only its channels and instruments: the true creator, the true hearer is the soul. The more rapidly and transparently the rest do
\ntheir work of transmission, the less they make of their separate claim to satisfaction, the more directly the word reaches and
\nsinks deep into the soul, the greater the poetry. Therefore poetry has not really done its work, at least its highest work, until it
\nhas raised the pleasure of the instrument and transmuted it into the deeper delight of the soul. A divine Ananda,1<\/font><\/sup> a delight interpretative, creative, revealing, formative,
\n\t\t\t\u2014 one might almost say, an inverse reflection of the joy which the universal Soul felt
\nin its great release of energy when it rang out into the rhythmic forms of the universe the spiritual truth, the large interpretative
\nidea, the life, the power, the emotion of things packed into an original creative vision,
\n\t\t\t\u2014 such spiritual joy is that which the
\nsoul of the poet feels and which, when he can conquer the human difficulties of his task, he succeeds in pouring also into all
\nthose who are prepared to receive it. This delight is not merely a godlike pastime; it is a great formative and illuminative power. <\/p>\n

\n\t\t\tThe critic \u2014 of a certain type \u2014 or the intellectually conscientious artist will, on the other hand, often talk as if poetry were
\nmainly a matter of a faultlessly correct or at most an exquisite technique. Certainly, in all art good technique is the first step
\ntowards perfection; but there are so many other steps, there is <\/p>\n

\n\t\t\t <\/p>\n

\n\t\t\t1<\/sup> Ananda, in the language of Indian spiritual experience, is the essential delight which
\nthe Infinite feels in itself and in its creation. By the infinite Self’s Ananda all exists, for the Self’s Ananda all was made.
\n   <\/p>\n

\n\t\t\tPage \u2013 <\/font>12<\/font><\/p>\n

\n

\na whole world beyond before you can get near to what you seek; so much so that even a deficient correctness of execution
\nwill not prevent an intense and gifted soul from creating great poetry which keeps its hold on the centuries. Moreover, technique, however indispensable, occupies a smaller field perhaps in poetry than in any other art,
\n\t\t\t\u2014 first, because its instrument,
\nthe rhythmic word, is fuller of subtle and immaterial elements; then because, the most complex, flexible, variously suggestive of
\nall the instruments of the artistic creator, it has more \u2014 almost infinite \u2014 possibilities in many directions than any other. The
\nrhythmic word has a subtly sensible element, its sound value, a quite immaterial element, its significance or thought value, and
\nboth of these again, its sound and its sense, have separately and together a soul value, a direct spiritual power, which is infinitely
\nthe most important thing about them. And though this comes to birth with a small element subject to the laws of technique,
\nyet almost immediately, almost at the beginning of its flight, its power soars up beyond the province of any laws of mechanical
\nconstruction: and this form of speech carries in it on its summits an element which draws close to the empire of the ineffable. <\/p>\n

\n\t\t\tPoetry rather determines its own form; the form is not imposed on it by any law mechanical or external to it. The poet
\nleast of all artists needs to create with his eye fixed anxiously on the technique of his art. He has to possess it, no doubt;
\nbut in the heat of creation the intellectual sense of it becomes a subordinate action or even a mere undertone in his mind,
\nand in his best moments he is permitted, in a way, to forget it altogether. For then the perfection of his sound-movement and
\nstyle come entirely as the spontaneous form of his soul: that utters itself in an inspired rhythm and an innate, a revealed
\nword, even as the universal Soul created the harmonies of the universe out of the power of the word secret and eternal within
\nhim, leaving the mechanical work to be done in a surge of hidden spiritual excitement by the subconscient part of his Nature. It
\nis this highest speech which is the supreme poetic utterance, the immortal element in his poetry, and a little of it is enough to save
\nthe rest of his work from oblivion. Svalpam apyasya dharmasya!<\/i>   <\/p>\n

\n\t\t\tPage \u2013 <\/font>13<\/font><\/p>\n

\n

\n\t\t\tThis power makes the rhythmic word of the poet the highest form of speech available to man for the expression whether of
\nhis self-vision or of his world-vision. It is noticeable that even the deepest experience, the pure spiritual which enters into things
\nthat can never be wholly expressed, still, when it does try to express them and not merely to explain them intellectually, tends
\ninstinctively to use, often the rhythmic forms, almost always the manner of speech characteristic of poetry. But poetry attempts
\nto extend this manner of vision and utterance to all experience, even the most objective, and therefore it has a natural urge
\ntowards the expression of something in the object beyond its mere appearances, even when these seem outwardly to be all
\nthat it is enjoying. <\/p>\n

\n\t\t\tWe may usefully cast a glance, not at the last inexpressible
\nsecret, but at the first elements of this heightening and intensity peculiar to poetic utterance. Ordinary speech uses language
\nmostly for a limited practical utility of communication; it uses it for life and for the expression of ideas and feelings necessary
\nor useful to life. In doing so, we treat words as conventional signs for ideas with nothing but a perfunctory attention to their
\nnatural force, much as we use any kind of common machine or simple implement; we treat them as if, though useful for life, they
\nwere themselves without life. When we wish to put a more vital power into them, we have to lend it to them out of ourselves, by
\nmarked intonations of the voice, by the emotional force or vital energy we throw into the sound so as to infuse into the conventional word-sign something which is not inherent in itself. But if we go back earlier in the history of language and still more if we
\nlook into its origins, we shall, I think, find that it was not always so with human speech. Words had not only a real and vivid life
\nof their own, but the speaker was more conscious of it than we can possibly be with our mechanised and sophisticated intellects. This arose from the primitive nature of language which, probably, in its first movement was not intended,
\n\t\t\t\u2014 or shall we
\nsay, did not intend, \u2014 so much to stand for distinct ideas of the intelligence as for feelings, sensations, broad indefinite mental
\nimpressions with minute shades of quality in them which we do   <\/p>\n

\n\t\t\tPage \u2013 <\/font>14<\/font><\/p>\n

\n

\nnot now care to pursue. The intellectual sense in its precision must have been a secondary element which grew more dominant
\nas language evolved along with the evolving intelligence. <\/p>\n

\n\t\t\tFor the reason why sound came to express fixed ideas, lies
\nnot in any natural and inherent equivalence between the sound and its intellectual sense, for there is none,
\n\t\t\t\u2014 intellectually any
\nsound might express any sense, if men were agreed on a conventional equivalence between them; it started from an indefinable
\nquality or property in the sound to raise certain vibrations in the life-soul of the human creature, in his sensational, his emotional,
\nhis crude mental being. An example may indicate more clearly what I mean. The word wolf, the origin of which is no longer
\npresent to our minds, denotes to our intelligence a certain living object and that is all, the rest we have to do for ourselves:
\nthe Sanskrit word vr<\/font>ka<\/i>, “tearer”, came in the end to do the .<\/i>
\nsame thing, but originally it expressed the sensational relation between the wolf and man which most affected the man’s life,
\nand it did so by a certain quality in the sound which readily associated it with the sensation of tearing. This must have given
\nearly language a powerful life, a concrete vigour, in one direction a natural poetic force which it has lost, however greatly it has
\ngained in precision, clarity, utility. <\/p>\n

\n\t\t\tNow, poetry goes back in a way and recovers, though in
\nanother fashion, as much as it can of this original element. It does this partly by a stress on the image replacing the old sensational
\nconcreteness, partly by a greater attention to the suggestive force of the sound, its life, its power, the mental impression it carries.
\nIt associates this with the definitive thought value contributed by the intelligence and increases both by each other. In that way
\nit succeeds at the same time in carrying up the power of speech to the direct expression of a higher reach of experience than
\nthe intellectual or vital. For it brings out not only the definitive intellectual value of the word, not only its power of emotion and
\nsensation, its vital suggestion, but through and beyond these aids its soul-suggestion, its spirit. So poetry arrives at the indication
\nof infinite meanings beyond the finite intellectual meaning the word carries. It expresses not only the life-soul of man as did
\n    <\/p>\n

\n\t\t\tPage \u2013 <\/font>15<\/font><\/p>\n

\n

\nthe primitive word, not only the ideas of his intelligence for which speech now usually serves, but the experience, the vision,
\nthe ideas, as we may say, of the higher and wider soul in him. Making them real to our life-soul as well as present to our
\nintellect, it opens to us by the word the doors of the Spirit. <\/p>\n

\n\t\t\tProse style carries speech to a much higher power than its
\nordinary use, but it differs from poetry in not making this yet greater attempt. For it takes its stand firmly on the intellectual
\nvalue of the word. It uses rhythms which ordinary speech neglects, and aims at a general fluid harmony of movement. It
\nseeks to associate words agreeably and luminously so as at once to please and to clarify the intelligence. It strives after a more accurate, subtle, flexible and satisfying expression than the rough methods of ordinary speech care to compass. A higher adequacy
\nof speech is its first object. Beyond this adequacy it may aim at a greater forcefulness and effectiveness by various devices of
\nspeech, by many rhetorical means for heightening the stress of its intellectual appeal. Passing beyond this first limit, this just
\nor strong, but always restrained measure, it may admit a more emphatic rhythm, more directly and powerfully stimulate the
\nemotion, appeal to a more vivid aesthetic sense. It may even make such a free or rich use of images as to suggest an outward approximation to the manner of poetry; but it employs
\nthem decoratively, as ornaments, alankara<\/i>, or for their effective value in giving a stronger intellectual vision of the thing or the
\nthought it describes or defines; it does not use the image for that profounder and more living vision for which the poet is always
\nseeking. And always it has its eye on its chief hearer and judge, the intelligence, and calls in other powers only as important
\naids to capture his suffrage. Reason and taste, two powers of the intelligence, are rightly the supreme gods of the prose stylist,
\nwhile to the poet they are only minor deities. <\/p>\n

\n\t\t\tIf it goes beyond these limits, approaches in its measures
\na more striking rhythmic balance, uses images for sheer vision, opens itself to a mightier breath of speech, prose style passes
\nbeyond its normal province and approaches or even enters the confines of poetry. It becomes poetical prose or even poetry
\n   <\/p>\n

\n\t\t\tPage \u2013 <\/font>16<\/font><\/p>\n

\n

\nitself using the apparent forms of prose as a disguise or a loose apparel. A high or a fine adequacy, effectivity, intellectual illuminativeness and a carefully tempered aesthetic satisfaction are the natural and proper powers of its speech. But the privilege of the
\npoet is to go beyond and discover that more intense illumination of speech, that inspired word and supreme inevitable utterance,
\nin which there meets the unity of a divine rhythmic movement with a depth of sense and a power of infinite suggestion welling
\nup directly from the fountain-heads of the spirit within us. He may not always or often find it, but to seek for it is the law or
\nat least the highest trend of his utterance, and when he can not only find it, but cast into it some deeply revealed truth of the
\nspirit itself, he utters the mantra<\/i>. <\/p>\n

\n\t\t\tBut always, whether in the search or the finding, the whole
\nstyle and rhythm of poetry are the expression and movement which come from us out of a certain spiritual excitement caused
\nby a vision in the soul of which it is eager to deliver itself. The vision may be of anything in Nature or God or man or the life
\nof creatures or the life of things; it may be a vision of force and action, or of sensible beauty, or of truth of thought, or of
\nemotion and pleasure and pain, of this life or the life beyond. It is sufficient that it is the soul which sees and the eye, sense, heart
\nand thought-mind become the passive instruments of the soul. Then we get the real, the high poetry. But if what acts is too much
\nan excitement of the intellect, the imagination, the emotions, the vital activities seeking rhythmical and forceful expression,
\nwithout that greater spiritual excitement embracing them, or if all these are not sufficiently sunk into the soul, steeped in it, fused
\nin it, and the expression does not come out purified and uplifted by a sort of spiritual transmutation, then we fall to lower levels
\nof poetry and get work of a much more doubtful immortality. And when the appeal is altogether to the lower things in us, to
\nthe mere mind, we arrive outside the true domain of poetry; we approach the confines of prose or get prose itself masking in the
\napparent forms of poetry, and the work is distinguished from prose style only or mainly by its mechanical elements, a good
\nverse form and perhaps a more compact, catching or energetic   <\/p>\n

\n\t\t\tPage \u2013 <\/font>17<\/font><\/p>\n

\n

\nexpression than the prose writer will ordinarily permit to the easier and looser balance of his speech. It will not have at all or
\nnot sufficiently the true essence of poetry. <\/p>\n

\n\t\t\tFor in all things that speech can express there are two elements, the outward or instrumental and the real or spiritual. In thought, for instance, there is the intellectual idea, that which the
\nintelligence makes precise and definite to us, and the soul-idea, that which exceeds the intellectual and brings us into nearness
\nor identity with the whole reality of the thing expressed. Equally in emotion, it is not the mere emotion itself the poet seeks, but
\nthe soul of emotion, that in it for the delight of which the soul in us and the world desires or accepts emotional experience.
\nSo too with the poetical sense of objects, the poet’s attempt to embody in his speech truth of life or truth of Nature. It is this
\ngreater truth and its delight and beauty for which he is seeking, beauty which is truth and truth beauty and therefore a joy for
\never, because it brings us the delight of the soul in the discovery of its own deeper realities. This greater element the more timid
\nand temperate speech of prose can sometimes shadow out to us, but the heightened and fearless style of poetry makes it close
\nand living and the higher cadences of poetry carry in on their wings what the style by itself could not bring. This is the source
\nof that intensity which is the stamp of poetical speech and of the poetical movement. It comes from the stress of the soul-vision
\nbehind the word; it is the spiritual excitement of a rhythmic voyage of self-discovery among the magic islands of form and
\nname in these inner and outer worlds.<\/p>\n

\n\t\t\tPage \u2013 <\/font>18<\/font><\/p>\n<\/td>\n<\/tr>\n<\/table><\/div>\n","protected":false},"excerpt":{"rendered":"

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