{"id":2421,"date":"2013-07-13T01:41:30","date_gmt":"2013-07-13T01:41:30","guid":{"rendered":"http:\/\/localhost\/?p=2421"},"modified":"2013-07-13T01:41:30","modified_gmt":"2013-07-13T01:41:30","slug":"16-on-poetry-marginalia-on-madhusudan-dutts-virangana-kavya-vol-01-early-cultural-writings","status":"publish","type":"post","link":"https:\/\/worksofthemotherandsriaurobindo.org\/index.php\/01-works-of-sri-aurobindo\/03-cwsa\/01-early-cultural-writings\/16-on-poetry-marginalia-on-madhusudan-dutts-virangana-kavya-vol-01-early-cultural-writings","title":{"rendered":"-16_On Poetry &#8211; Marginalia on Madhusudan Dutt&#8217;s Virangana Kavya.htm"},"content":{"rendered":"<div align=\"center\">\n<table border=\"0\" cellpadding=\"0\" cellspacing=\"0\" width=\"100%\">\n<tr>\n<td>\n<font face=\"Times New Roman\" size=\"3\" color=\"#000000\"><br \/>\n<font face=\"Times New Roman\" size=\"4\" color=\"#000000\"><\/p>\n<p align=\"center\" style=\"text-indent: 0pt;line-height: 150%;margin-top: 0;margin-bottom: 0\">\n<p><b><\/p>\n<p><span lang=\"en-gb\" style=\"vertical-align: top\"><\/p>\n<p>Marginalia<br \/>\n<\/span><\/b><\/p>\n<p><\/font><\/p>\n<p align=\"center\" style=\"text-indent: 0pt;line-height: 150%;margin-top: 0;margin-bottom: 0\">\n<p>&nbsp;<\/p>\n<p align=\"center\" style=\"text-indent: 0pt;line-height: 150%;margin-top: 0;margin-bottom: 0\">\n<p><b><span lang=\"en-gb\" style=\"vertical-align: top\"><\/p>\n<p>ON MADHUSUDAN DUTT&#8217;S <i>VIRANGANA KAVYA<\/i> <\/span><\/b><\/p>\n<p align=\"justify\" style=\"text-indent: 0pt;line-height: 150%;margin-top: 0;margin-bottom: 0\">\n<p>&nbsp;<\/p>\n<p align=\"justify\" style=\"text-indent: 0pt;line-height: 150%;margin-top: 0;margin-bottom: 0\">\n<p><span lang=\"en-gb\" style=\"vertical-align: top\"><\/p>\n<p>A Virgilian elegance and sweetness and a Virgilian majesty of<br \/>\ndiction ennoble the finer epistles of these Heroides; there is too a Virgilian pathos sad &amp; noble breaking out in detached lines<br \/>\nand passages, as in Shacountala&#8217;s sorrowful address to the leaf and the single melancholy line<br \/>\n,&nbsp; &#2447;&#2439; &#2453;&#2495; &#2480;&#2503;&nbsp;&#2475;&#2503;&#2482; &#2475;&#2482;&nbsp;&#2474;&#2509;&#2480;&#2503;&#2478; &#2468;&#2480;&#2497; &#2486;&#2494;&#2454;&#2503;<\/span><br \/>\n<span lang=\"en-gb\" style=\"vertical-align: top\"><\/p>\n<p>&nbsp;but the more essential poetical gifts, creative force, depth or<br \/>\nfirmness of meditation, passionate feeling, a grasp of the object, consistency &amp; purity of characterisation are still absent. They<br \/>\nwere not in the poet&#8217;s nature and such gifts if denied by Nature, are denied for ever. What exists even faintly can be developed,<br \/>\ntransformed, strengthened but what does not exist, cannot be produced by labour.<\/span><\/p>\n<p align=\"justify\" style=\"text-indent: 0pt;line-height: 150%;margin-top: 0;margin-bottom: 0\">\n<p><span lang=\"en-gb\" style=\"vertical-align: top\"><\/p>\n<p>&nbsp;<\/span><\/p>\n<p align=\"center\" style=\"text-indent: 0pt;line-height: 150%;margin-top: 0;margin-bottom: 0\">\n<p>&#2344;&#2366;&#2360;&#2340;&#2379; &#2357;&#2367;&#2343;&#2381;&#2351;&#2340;&#2375; &#2349;&#2366;&#2357;&#2379; &#2344;&#2366;&#2349;&#2366;&#2357;&#2379; &#2357;&#2367;&#2343;&#2381;&#2351;&#2340;&#2375; &#2360;&#2340;&#2307; <\/p>\n<p align=\"center\" style=\"text-indent: 0pt;line-height: 150%;margin-top: 0;margin-bottom: 0\">\n<p>&nbsp;<\/p>\n<p align=\"center\" style=\"text-indent: 0pt;line-height: 150%;margin-top: 0;margin-bottom: 0\">\n<p><span lang=\"en-gb\" style=\"vertical-align: top\"><\/p>\n<p>* <\/span><\/p>\n<p align=\"justify\" style=\"text-indent: 0pt;line-height: 150%;margin-top: 0;margin-bottom: 0\">\n<p>&nbsp;<\/p>\n<p align=\"justify\" style=\"text-indent: 0pt;line-height: 150%;margin-top: 0;margin-bottom: 0\">\n<p><span lang=\"en-gb\" style=\"vertical-align: top\"><\/p>\n<p>The Epistle of Tara is perhaps less satisfactory; the fiery outbursts of a monstrous and lawless passion needed a stronger imagination than Madhusudan&#8217;s to conceive and execute them.<br \/>\nThe elegances of the Epistle, with its graceful rephrasing of outworn classical images and its stately love-conceits is out of place<br \/>\nwhere the volcanic sheerness of a Webster could alone have been appropriate. Nevertheless the passage in which Tara complains<br \/>\nof the unclean love she cannot avoid or control is not without a noble dignity of passion; and shows with what charm the poet<br \/>\ncould invest the plainest and most hackneyed images. And there are lines in this latter part which have the true note of that terrific<br \/>\npassion, [for example] her cry ,<br \/>\n&#2470;&#2503;&#2489; &#2477;&#2495;&#2453;&#2509;&#2487;&#2494; &#2470;&#2503;&#2489; &#2477;&#2495;&#2453;&#2509;&#2487;&#2494; ; the magnificent &nbsp;&nbsp;<br \/>\n<\/span><\/p>\n<p><font face=\"Times New Roman\" size=\"2\" color=\"#000000\"><\/p>\n<p align=\"center\" style=\"text-indent: 0pt;line-height: 150%;margin-top: 0;margin-bottom: 0\" dir=\"ltr\">\n<p><span lang=\"en-gb\" style=\"vertical-align: top\">Page \u2013 144<\/span><\/p>\n<p><\/font><\/p>\n<hr>\n<p align=\"justify\" style=\"text-indent: 0pt;line-height: 150%;margin-top: 0;margin-bottom: 0\">\n<p><span style=\"vertical-align: top\" lang=\"en-gb\">&#2453;&#2482;&#2457;&#2509;&#2453;&#2495; &#2486;&#2486;&#2494;&#2457;&#2509;&#2453; etc. and<br \/>\n&#2482;&#2495;&#2454;&#2495;&#2472;&#2497; &#2482;&#2503;&#2454;&#2472; etc. and the powerful distiches<br \/>\nclosing line have all a dramatic simplicity, fire and force which belong to the highest poetry only. Would that Madhusudan had<br \/>\nwritten not only stray lines, distiches, passages, but whole poems in this spirit. The deplorable want of a discerning criticism and<br \/>\nfalse conceptions of poetry early imbibed have done untold harm to our best and most promising writers.<\/span><\/p>\n<p><font face=\"Times New Roman\" size=\"2\" color=\"#000000\"><\/p>\n<p align=\"center\" style=\"text-indent: 0pt;line-height: 150%;margin-top: 0;margin-bottom: 0\" dir=\"ltr\">\n<p><span lang=\"en-gb\" style=\"vertical-align: top\">Page \u2013 145<\/span><\/p>\n<p><\/font><br \/>\n<\/font>\n\t\t\t<\/td>\n<\/tr>\n<\/table>\n<\/div>\n","protected":false},"excerpt":{"rendered":"<p>Marginalia &nbsp; ON MADHUSUDAN DUTT&#8217;S VIRANGANA KAVYA &nbsp; A Virgilian elegance and sweetness and a Virgilian majesty of diction ennoble the finer epistles of these&#8230;<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[49],"tags":[],"class_list":["post-2421","post","type-post","status-publish","format-standard","hentry","category-01-early-cultural-writings","wpcat-49-id"],"_links":{"self":[{"href":"https:\/\/worksofthemotherandsriaurobindo.org\/index.php\/wp-json\/wp\/v2\/posts\/2421","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=2421"}],"version-history":[{"count":0,"href":"https:\/\/worksofthemotherandsriaurobindo.org\/index.php\/wp-json\/wp\/v2\/posts\/2421\/revisions"}],"wp:attachment":[{"href":"https:\/\/worksofthemotherandsriaurobindo.org\/index.php\/wp-json\/wp\/v2\/media?parent=2421"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/worksofthemotherandsriaurobindo.org\/index.php\/wp-json\/wp\/v2\/categories?post=2421"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/worksofthemotherandsriaurobindo.org\/index.php\/wp-json\/wp\/v2\/tags?post=2421"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}