{"id":2551,"date":"2013-07-13T01:42:23","date_gmt":"2013-07-13T01:42:23","guid":{"rendered":"http:\/\/localhost\/?p=2551"},"modified":"2013-12-03T19:59:25","modified_gmt":"2013-12-04T03:59:25","slug":"00-contents-vol-27-letters-on-poetry-and-art","status":"publish","type":"post","link":"https:\/\/worksofthemotherandsriaurobindo.org\/index.php\/01-works-of-sri-aurobindo\/03-cwsa\/27-letters-on-poetry-and-art\/00-contents-vol-27-letters-on-poetry-and-art","title":{"rendered":"-000_Contents.htm"},"content":{"rendered":"

\t <\/p>\n

\n\n\n
<\/p>\n

\n

\n\t\t\tLetters on Poetry and Art<\/font><\/b><\/p>\n

\n\t\t\t <\/p>\n

\n\t\t\t <\/p>\n

\n\t\t\tCONTENTS<\/font><\/b><\/b><\/p>\n

  <\/p>\n

\n\t\t\t
\n\t\t\tPre-content<\/a><\/b><\/p>\n

 <\/p>\n

\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
 <\/td>\n <\/p>\n

\n\t\t\tPART ONE
\n\t\t\tPOETRY AND ITS CREATION<\/span><\/td>\n<\/tr>\n

 <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
 <\/td>\n <\/p>\n

\n\t\t\t\t\t\tSection One. The Sources of Poetry<\/b><\/b>\n<\/td>\n<\/tr>\n

 <\/td>\n <\/td>\n <\/p>\n

\n\t\t\t\t\t\t
\n\t\t\t\t\t\tPoetic Creation<\/a> <\/td>\n<\/tr>\n

 <\/td>\n <\/td>\n <\/p>\n

\n\t\t\t\t\t\t
\n\t\t\t\t\t\tSources of Inspiration<\/a>\n\t\t\t\t\t\t<\/td>\n<\/tr>\n

 <\/td>\n <\/td>\n <\/p>\n

\n\t\t\t\t\t\t
\n\t\t\t\t\t\tOverhead Poetry<\/a> <\/td>\n<\/tr>\n

 <\/td>\n <\/td>\n <\/p>\n

\n\t\t\t\t\t\t
\n\t\t\t\t\t\tExamples of Overhead Poetry<\/a><\/td>\n<\/tr>\n

 <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
 <\/td>\n <\/p>\n

\n\t\t\t\t\t\tSection Two. The Poetry of the Spirit<\/b><\/b>\n<\/td>\n<\/tr>\n

 <\/td>\n <\/td>\n <\/p>\n

\n\t\t\t\t\t\tPsychic,
\n\t\t\t\t\t\tMystic and Spiritual Poetry<\/a> <\/td>\n<\/tr>\n

 <\/td>\n <\/td>\n <\/p>\n

\n\t\t\t\t\t\tPoet,
\n\t\t\t\t\t\tYogi, Rishi, Prophet, Genius<\/a><\/td>\n<\/tr>\n

 <\/td>\n <\/td>\n <\/p>\n

\n\t\t\t\t\t\tThe Poet and the Poem<\/a><\/td>\n<\/tr>\n

 <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
 <\/td>\n\n\t\t\t\t\t\t <\/p>\n

\n\t\t\t\t\t\tSection Three. Poetic Technique<\/b><\/b>\n\t\t\t\t\t\t<\/td>\n<\/tr>\n

 <\/td>\n <\/td>\n <\/p>\n

\n\t\t\t\t\t\tTechnique,
\n\t\t\t\t\t\tInspiration, Artistry<\/a> <\/td>\n<\/tr>\n

 <\/td>\n <\/td>\n <\/p>\n

\n\t\t\t\t\t\tRhythm<\/a> <\/td>\n<\/tr>\n

 <\/td>\n <\/td>\n <\/p>\n

\n\t\t\t\t\t\tEnglish Metres<\/a> <\/td>\n<\/tr>\n

 <\/td>\n <\/td>\n <\/p>\n

\n\t\t\t\t\t\tGreek and
\n\t\t\t\t\t\tLatin Classical Metres<\/a><\/td>\n<\/tr>\n

 <\/td>\n <\/td>\n <\/p>\n

\n\t\t\t\t\t\tQuantitative Metre in English and Bengali<\/a><\/td>\n<\/tr>\n

 <\/td>\n <\/td>\n <\/p>\n

\n\t\t\t\t\t\tMetrical
\n\t\t\t\t\t\tExperiments in Bengali<\/a> <\/td>\n<\/tr>\n

 <\/td>\n <\/td>\n <\/p>\n

\n\t\t\t\t\t\tRhyme<\/a> <\/td>\n<\/tr>\n

 <\/td>\n <\/td>\n <\/p>\n

\n\t\t\t\t\t\tEnglish Poetic Forms<\/a><\/td>\n<\/tr>\n

 <\/td>\n <\/td>\n <\/p>\n

\n\t\t\t\t\t\tSubstance, Style,
\n\t\t\t\t\t\tDiction<\/a><\/td>\n<\/tr>\n

 <\/td>\n <\/td>\n <\/p>\n

\n\t\t\t\t\t\tGrades
\n\t\t\t\t\t\tof Perfection in Poetic Style<\/a> <\/td>\n<\/tr>\n

 <\/td>\n <\/td>\n <\/p>\n

\n\t\t\t\t\t\tExamples of Grades of Perfection in Poetic Style<\/a><\/td>\n<\/tr>\n

 <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
 <\/td>\n <\/p>\n

\n\t\t\t\t\t\tSection Four. Translation<\/b><\/td>\n<\/tr>\n

 <\/td>\n <\/td>\n\n\t\t\t\t\t\t <\/p>\n

\n\t\t\t\t\t\tTranslation: Theory<\/a>\n\t\t\t\t\t\t<\/td>\n<\/tr>\n

 <\/td>\n <\/td>\n\n\t\t\t\t\t\t <\/p>\n

\n\t\t\t\t\t\tTranslation: Practice<\/a><\/td>\n<\/tr>\n

 <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
 <\/td>\n\n

\n\t\t\t\t\t\tPART TWO
\n\t\t\t\tON HIS OWN AND OTHERS\u2019 POETRY<\/b>
\n<\/span><\/td>\n<\/tr>\n

 <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
 <\/td>\n\n\t\t\t\t\t\t <\/p>\n

\n\t\t\t\t\t\tSection One. On His Poetry and Poetic Method<\/b><\/b><\/td>\n<\/tr>\n

 <\/td>\n <\/td>\n <\/p>\n

\n\t\t\t\t\t\tInspiration,
\n\t\t\t\t\t\tEffort, Development<\/a><\/td>\n<\/tr>\n

 <\/td>\n <\/td>\n <\/p>\n

\n\t\t\t\t\t\tEarly Poetic
\n\t\t\t\t\t\tInfluences<\/a><\/td>\n<\/tr>\n

 <\/td>\n <\/td>\n <\/p>\n

\n\t\t\t\t\t\tOn Early
\n\t\t\t\t\t\tTranslations and Poems<\/a><\/td>\n<\/tr>\n

 <\/td>\n <\/td>\n <\/p>\n

\n\t\t\t\t\t\tOn Poems Published in Ahana and Other Poems<\/a><\/td>\n<\/tr>\n

 <\/td>\n <\/td>\n <\/p>\n

\n\t\t\t\t\t\tMetrical Experiments<\/a><\/td>\n<\/tr>\n

 <\/td>\n <\/td>\n\n


\n\t\t\t\t\t\tOn
\n\t\t\t\t\t\tSome Poems Written during the 1930s<\/a><\/td>\n<\/tr>\n

 <\/td>\n <\/td>\n\n


\n\t\t\t\t\t\tOn Savitri<\/a><\/td>\n<\/tr>\n

 <\/td>\n <\/td>\n <\/p>\n

\n\t\t\t\t\t\tComments
\n\t\t\t\t\t\ton Some Remarks by a Critic<\/a><\/td>\n<\/tr>\n

 <\/td>\n <\/td>\n <\/p>\n

\n\t\t\t\t\t\tOn the
\n\t\t\t\t\t\tPublication of His Poetry<\/a><\/td>\n<\/tr>\n

 <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
 <\/td>\n\n\t\t\t\t\t\t <\/p>\n

\n\t\t\t\t\t\tSection Two. On Poets and Poetry<\/b><\/td>\n<\/tr>\n

 <\/td>\n <\/td>\n <\/p>\n

\n\t\t\t\t\t\tGreat Poets of the
\n\t\t\t\t\t\tWorld<\/a><\/td>\n<\/tr>\n

 <\/td>\n <\/td>\n <\/p>\n

\n\t\t\t\t\t\tRemarks on
\n\t\t\t\t\t\tIndividual Poets<\/a><\/td>\n<\/tr>\n

 <\/td>\n <\/td>\n <\/p>\n

\n\t\t\t\t\t\tComments
\n\t\t\t\t\t\ton Some Examples of Western<\/a>
\n\t\t\t\t\t\tPoetry (up to 1900)<\/a><\/td>\n<\/tr>\n

 <\/td>\n <\/td>\n <\/p>\n

\n\t\t\t\t\t\tTwentieth-Century
\n\t\t\t\t\t\tPoetry<\/a><\/td>\n<\/tr>\n

 <\/td>\n <\/td>\n <\/p>\n

\n\t\t\t\t\t\tComments on Examples of Twentieth-Century Poetry<\/a><\/td>\n<\/tr>\n

 <\/td>\n <\/td>\n <\/p>\n

\n\t\t\t\t\t\tIndian Poetry in
\n\t\t\t\t\t\tEnglish<\/a><\/td>\n<\/tr>\n

 <\/td>\n <\/td>\n <\/p>\n

\n\t\t\t\t\t\tPoets of the Ashram<\/a><\/td>\n<\/tr>\n

 <\/td>\n <\/td>\n <\/p>\n

\n\t\t\t\t\t\tComments on the Work of Poets of the Ashram<\/a><\/td>\n<\/tr>\n

 <\/td>\n <\/td>\n <\/p>\n

\n\t\t\t\t\t\tPhilosophers, Intellectuals, Novelists and Musicians<\/a><\/td>\n<\/tr>\n

 <\/td>\n <\/td>\n <\/p>\n

\n\t\t\t\t\t\tComments on
\n\t\t\t\t\t\tSome Passages of Prose<\/a><\/td>\n<\/tr>\n

 <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
 <\/td>\n\n\t\t\t\t\t\t <\/p>\n

\n\t\t\t\t\t\tSection Three. Practical Guidance for Aspiring Writers<\/b><\/td>\n<\/tr>\n

 <\/td>\n <\/td>\n <\/p>\n

\n\t\t\t\t\t\tGuidance in
\n\t\t\t\t\t\tWriting Poetry<\/a><\/td>\n<\/tr>\n

 <\/td>\n <\/td>\n <\/p>\n

\n\t\t\t\t\t\tGuidance in Writing
\n\t\t\t\t\t\tProse<\/a><\/td>\n<\/tr>\n

 <\/td>\n <\/td>\n <\/p>\n

\n\t\t\t\t\t\tRemarks on
\n\t\t\t\t\t\tEnglish Pronunciation<\/a><\/td>\n<\/tr>\n

 <\/td>\n <\/td>\n <\/p>\n

\n\t\t\t\t\t\tRemarks on English
\n\t\t\t\t\t\tUsage<\/a><\/td>\n<\/tr>\n

 <\/td>\n <\/td>\n <\/p>\n

\n\t\t\t\t\t\tRemarks on Bengali
\n\t\t\t\t\t\tUsage<\/a><\/td>\n<\/tr>\n

 <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
 <\/td>\n\n

\n\t\t\t\t\t\tPART THREE
\n\t\t\t\tLITERATURE, ART, BEAUTY AND YOGA<\/span><\/td>\n<\/tr>\n

 <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
 <\/td>\n <\/p>\n

\n\t\t\t\t\t\tSection One. <\/b><\/b>
\n\t\t\t\t\t\t Appreciation of Poetry and the Arts<\/b><\/b><\/p>\n<\/td>\n<\/tr>\n

 <\/td>\n <\/td>\n <\/p>\n

\n\t\t\t\t\t\tAppreciation of Poetry<\/a><\/td>\n<\/tr>\n

 <\/td>\n <\/td>\n <\/p>\n

\n\t\t\t\t\t\tAppreciation of the Arts in General<\/a><\/td>\n<\/tr>\n

 <\/td>\n <\/td>\n <\/p>\n

\n\t\t\t\t\t\tComparison of the Arts<\/a><\/td>\n<\/tr>\n

 <\/td>\n <\/td>\n <\/p>\n

\n\t\t\t\t\t\tAppreciation of Music<\/a><\/td>\n<\/tr>\n

 <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
 <\/td>\n <\/p>\n

\n\t\t\t\t\t\tSection Two. <\/b><\/b>
\n\t\t\t\t\t\tOn the <\/b><\/b>
\n\t\t\t\t\t\tVisual Arts<\/b><\/b>\n<\/p>\n<\/td>\n<\/tr>\n

 <\/td>\n <\/td>\n <\/p>\n

\n\t\t\t\t\t\tGeneral
\n\t\t\t\t\t\tRemarks on the Visual Arts<\/a><\/td>\n<\/tr>\n

 <\/td>\n <\/td>\n <\/p>\n

\n\t\t\t\t\t\tProblems of the
\n\t\t\t\t\t\tPainter<\/a><\/td>\n<\/tr>\n

 <\/td>\n <\/td>\n <\/p>\n

\n\t\t\t\t\t\tPainting in the Ashram<\/a><\/td>\n<\/tr>\n

 <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
 <\/td>\n <\/p>\n

\n\t\t\t\t\t\tSection Three. <\/b><\/b>
\n\t\t\t\t\t\tBeauty and Its Appreciation<\/b><\/b>\n<\/p>\n<\/td>\n<\/tr>\n

 <\/td>\n <\/td>\n <\/p>\n

\n\t\t\t\t\t\tGeneral Remarks on
\n\t\t\t\t\t\tBeauty<\/a><\/td>\n<\/tr>\n

 <\/td>\n <\/td>\n <\/p>\n

\n\t\t\t\t\t\tAppreciation of Beauty<\/a><\/td>\n<\/tr>\n

 <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
 <\/td>\n <\/p>\n

\n\t\t\t\t\t\tSection Four. <\/b><\/b>
\n\t\t\t\t\t\tLiterature, <\/b><\/b>
\n\t\t\t\t\t\tArt, Music <\/b><\/b>
\n\t\t\t\t\t\tand the Practice
\n\t\t\t\t\t\tof Yoga<\/b><\/b>\n<\/p>\n<\/td>\n<\/tr>\n

 <\/td>\n <\/td>\n <\/p>\n

\n\t\t\t\t\t\tLiterature and Yoga<\/a><\/td>\n<\/tr>\n

 <\/td>\n <\/td>\n <\/p>\n

\n\t\t\t\t\t\tPainting,
\n\t\t\t\t\t\tMusic, Dance and Yoga<\/a><\/td>\n<\/tr>\n

 <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
 <\/td>\n <\/p>\n

\n\t\t\t\t\t\tAPPENDIXES<\/b><\/b><\/td>\n<\/tr>\n

 <\/td>\n <\/td>\n <\/p>\n

\n\t\t\t\t\t\tAppendix I. The Problem of the Hexameter<\/a><\/td>\n<\/tr>\n

 <\/td>\n <\/td>\n <\/p>\n

\n\t\t\t\t\t\tAppendix II. An Answer to a Criticism<\/a><\/td>\n<\/tr>\n

 <\/td>\n <\/td>\n <\/p>\n

\n\t\t\t\t\t\tAppendix
\n\t\t\t\t\t\tIII. Remarks on a Review<\/a><\/td>\n<\/tr>\n

 <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
 <\/td>\n\n\t\t\t\t\t\t <\/p>\n

\n
\n\t\t\t\t\t\tNOTE ON THE TEXTS<\/a><\/b><\/b><\/td>\n<\/tr>\n<\/table><\/div>\n<\/td>\n<\/tr>\n<\/table><\/div>\n","protected":false},"excerpt":{"rendered":"

Letters on Poetry and Art     CONTENTS   Pre-content     PART ONE POETRY AND ITS CREATION         Section One. The…<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[51],"tags":[],"class_list":["post-2551","post","type-post","status-publish","format-standard","hentry","category-27-letters-on-poetry-and-art","wpcat-51-id"],"_links":{"self":[{"href":"https:\/\/worksofthemotherandsriaurobindo.org\/index.php\/wp-json\/wp\/v2\/posts\/2551","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=2551"}],"version-history":[{"count":1,"href":"https:\/\/worksofthemotherandsriaurobindo.org\/index.php\/wp-json\/wp\/v2\/posts\/2551\/revisions"}],"predecessor-version":[{"id":9949,"href":"https:\/\/worksofthemotherandsriaurobindo.org\/index.php\/wp-json\/wp\/v2\/posts\/2551\/revisions\/9949"}],"wp:attachment":[{"href":"https:\/\/worksofthemotherandsriaurobindo.org\/index.php\/wp-json\/wp\/v2\/media?parent=2551"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/worksofthemotherandsriaurobindo.org\/index.php\/wp-json\/wp\/v2\/categories?post=2551"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/worksofthemotherandsriaurobindo.org\/index.php\/wp-json\/wp\/v2\/tags?post=2551"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}