{"id":2996,"date":"2013-07-13T01:45:13","date_gmt":"2013-07-13T01:45:13","guid":{"rendered":"http:\/\/localhost\/?p=2996"},"modified":"2013-07-13T01:45:13","modified_gmt":"2013-07-13T01:45:13","slug":"45-poems-vol-02-collected-poems","status":"publish","type":"post","link":"https:\/\/worksofthemotherandsriaurobindo.org\/index.php\/01-works-of-sri-aurobindo\/03-cwsa\/02-collected-poems\/45-poems-vol-02-collected-poems","title":{"rendered":"-45_Poems.htm"},"content":{"rendered":"
\n\n\n
\n

 <\/td>\n

\n<\/p>\n

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

\n <\/p>\n

\n

\n
\nTransformation<\/a><\/b><\/span><\/p>\n

\n <\/p>\n

\n\t\t\tMy breath runs in a subtle rhythmic stream;<\/span><\/p>\n

\n\t\t\tIt fills my members with a might divine:<\/span><\/p>\n

\n\t\t\tI have drunk the Infinite like a giant’s wine.<\/span><\/p>\n

\nTime is my drama or my pageant dream.<\/span><\/p>\n

\n\t\t\tNow are my illumined cells joy’s flaming scheme<\/span><\/p>\n

\n\t\t\tAnd changed my thrilled and branching nerves to fine<\/span><\/p>\n

\n\t\t\tChannels of rapture opal and hyaline<\/span><\/p>\n

\nFor the influx of the Unknown and the Supreme.<\/span><\/p>\n

 <\/p>\n

\n\t\t\tI am no more a vassal of the flesh,<\/span><\/p>\n

\n\t\t\tA slave to Nature and her leaden rule;<\/span><\/p>\n

\n\t\t\tI am caught no more in the senses’ narrow mesh.<\/span><\/p>\n

\n\t\t\tMy soul unhorizoned widens to measureless sight,<\/span><\/p>\n

\n\t\t\tMy body is God’s happy living tool,<\/span><\/p>\n

\nMy spirit a vast sun of deathless light.<\/span><\/p>\n

 <\/p>\n

 <\/p>\n

\n\t\t\t
\n\t\t\tNirvana<\/a><\/b><\/span><\/p>\n

 <\/p>\n

\nAll is abolished but the mute Alone.<\/span><\/p>\n

\n\t\t\tThe mind from thought released, the heart from grief<\/span><\/p>\n

\n\t\t\tGrow inexistent now beyond belief;<\/span><\/p>\n

\n\t\t\tThere is no I, no Nature, known-unknown.<\/span><\/p>\n

\nThe city, a shadow picture without tone,<\/span><\/p>\n

\n\t\t\tFloats, quivers unreal; forms without relief<\/span><\/p>\n

\n\t\t\tFlow, a cinema’s vacant shapes; like a reef<\/span><\/p>\n

\n\t\t\tFoundering in shoreless gulfs the world is done.<\/span><\/p>\n

\n <\/p>\n

\nOnly the illimitable Permanent<\/span><\/p>\n

\n\t\t\tIs here. A Peace stupendous, featureless, still,<\/span><\/p>\n

\n\t\t\tReplaces all,  \u2014  what once was I, in It<\/span><\/p>\n

\n\t\t\tA silent unnamed emptiness content<\/span><\/p>\n

\n\t\t\tEither to fade in the Unknowable<\/span><\/p>\n

\n\t\t\tOr thrill with the luminous seas of the Infinite.<\/span><\/p>\n

\n

 <\/p>\n

\n
\nPage \u2013 561<\/font><\/span><\/p>\n

\n

<\/font><\/span><\/p>\n

\n
\nThe Other Earths<\/a><\/b><\/span><\/p>\n

\n <\/p>\n

\n\t\t\tAn irised multitude of hills and seas,<\/span><\/p>\n

\n\t\t\tAnd glint of brooks in the green wilderness,<\/span><\/p>\n

\n\t\t\tAnd trackless stars, and miracled symphonies<\/span><\/p>\n

\n\t\t\tOf hues that float in ethers shadowless,<\/span><\/p>\n

 <\/p>\n

\n\t\t\tA dance of fireflies in the fretted gloom,<\/span><\/p>\n

\n\t\t\tIn a pale midnight the moon’s silver flare,<\/span><\/p>\n

\n\t\t\tFire-importunities of scarlet bloom<\/span><\/p>\n

\n\t\t\tAnd bright suddenness of wings in a golden air,<\/span><\/p>\n

 <\/p>\n

\n\t\t\tStrange bird and animal forms like memories cast<\/span><\/p>\n

\n\t\t\tOn the rapt silence of unearthly woods,<\/span><\/p>\n

\n\t\t\tCalm faces of the gods on backgrounds vast<\/span><\/p>\n

\n\t\t\tBringing the marvel of the infinitudes,<\/span><\/p>\n

 <\/p>\n

\n\t\t\tThrough glimmering veils of wonder and delight<\/span><\/p>\n

\nWorld after world bursts on the awakened sight.<\/span><\/p>\n

 <\/p>\n

 <\/p>\n

\n\t\t\t
\n\t\t\tThought the Paraclete<\/a><\/b><\/span><\/p>\n

 <\/p>\n

\nAs some bright archangel in vision flies<\/span><\/p>\n

\n\t\t\tPlunged in dream-caught spirit immensities,<\/span><\/p>\n

\nPast the long green crests of the seas of life,<\/span><\/p>\n

\n\t\t\tPast the orange skies of the mystic mind<\/span><\/p>\n

\nFlew my thought self-lost in the vasts of God.<\/span><\/p>\n

\n\t\t\tSleepless wide great glimmering wings of wind<\/span><\/p>\n

\nBore the gold-red seeking of feet that trod<\/span><\/p>\n

\n\t\t\tSpace and Time’s mute vanishing ends. The face<\/span><\/p>\n

\nLustred, pale-blue-lined of the hippogriff,<\/span><\/p>\n

\n\t\t\tEremite, sole, daring the bourneless ways,<\/span><\/p>\n

\nOver world-bare summits of timeless being<\/span><\/p>\n

\n\t\t\tGleamed; the deep twilights of the world-abyss<\/span><\/p>\n

\nFailed below. Sun-realms of supernal seeing,<\/span><\/p>\n

 <\/p>\n

\n
\nPage \u2013 562<\/font><\/span><\/p>\n

\n

<\/font><\/span><\/p>\n

\nCrimson-white mooned oceans of pauseless bliss<\/span><\/p>\n

\n\t\t\tDrew its vague heart-yearning with voices sweet.<\/span><\/p>\n

\nHungering large-souled to surprise the unconned<\/span><\/p>\n

\n\t\t\tSecrets white-fire-veiled of the last Beyond,<\/span><\/p>\n

\nCrossing power-swept silences rapture-stunned,<\/span><\/p>\n

\n\t\t\tClimbing high far ethers eternal-sunned,<\/span><\/p>\n

\nThought the great-winged wanderer paraclete<\/span><\/p>\n

\n\t\t\tDisappeared slow-singing a flame-word rune.<\/span><\/p>\n

\nSelf was left, lone, limitless, nude, immune.<\/span><\/p>\n

\n <\/p>\n

\n <\/p>\n

\n\t\t\t
\n\t\t\tMoon of Two Hemispheres<\/a><\/b><\/span><\/p>\n

 <\/p>\n

\nA gold moon-raft floats and swings slowly<\/span><\/p>\n

\n\t\t\tAnd it casts a fire of pale holy blue light<\/span><\/p>\n

\nOn the dragon tail aglow of the faint night<\/span><\/p>\n

\n\t\t\tThat glimmers far, 
\n\t\t\t\u2014  swimming,<\/span><\/p>\n

\nThe illumined shoals of stars skimming,<\/span><\/p>\n

\n\t\t\tOverspreading earth and drowning the heart in sight<\/span><\/p>\n

\nWith the ocean depths and breadths of the Infinite.<\/span><\/p>\n

\n <\/p>\n

\n\t\t\tA gold moon-ship sails or drifts ever<\/span><\/p>\n

\nIn our spirit’s skies and halts never, blue-keeled,<\/span><\/p>\n

\n\t\t\tAnd it throws its white-blue fire on this grey field,<\/span><\/p>\n

\n\t\t\tNight’s dragon loop,  \u2014  speeding,<\/span><\/p>\n

\n\t\t\tThe illumined star-thought sloops leading<\/span><\/p>\n

\nTo the Dawn, their harbour home, to the Light unsealed,<\/span><\/p>\n

\n\t\t\tTo the sun-face Infinite, the Untimed revealed.<\/span><\/p>\n

\n

 <\/p>\n

\n
\nPage \u2013 563<\/font><\/span><\/p>\n

\n

<\/font><\/span><\/p>\n

\n
\nRose of God<\/a><\/b><\/span><\/p>\n

\n <\/p>\n

\n\t\t\tRose of God, vermilion stain on the sapphires of heaven,<\/span><\/p>\n

\nRose of Bliss, fire-sweet, seven-tinged with the ecstasies seven!<\/span><\/p>\n

\n\t\t\tLeap up in our heart of humanhood, O miracle, O flame,<\/span><\/p>\n

\nPassion-flower of the Nameless, bud of the mystical Name.<\/span><\/p>\n

 <\/p>\n

\n\t\t\tRose of God, great wisdom-bloom on the summits of being,<\/span><\/p>\n

\nRose of Light, immaculate core of the ultimate seeing!<\/span><\/p>\n

\n\t\t\tLive in the mind of our earthhood; O golden Mystery, flower,<\/span><\/p>\n

\nSun on the head of the Timeless, guest of the marvellous Hour.<\/span><\/p>\n

 <\/p>\n

\n\t\t\tRose of God, damask force of Infinity, red icon of might,<\/span><\/p>\n

\nRose of Power with thy diamond halo piercing the night!<\/span><\/p>\n

\n\t\t\tAblaze in the will of the mortal, design the wonder of thy plan,<\/span><\/p>\n

\nImage of Immortality, outbreak of the Godhead in man.<\/span><\/p>\n

 <\/p>\n

\n\t\t\tRose of God, smitten purple with the incarnate divine Desire,<\/span><\/p>\n

\nRose of Life, crowded with petals, colour’s lyre!<\/span><\/p>\n

\n\t\t\tTransform the body of the mortal like a sweet and magical
\nrhyme;<\/span><\/p>\n

\n\t\t\tBridge our earthhood and heavenhood, make deathless the
\nchildren of Time.<\/span><\/p>\n

 <\/p>\n

\n\t\t\tRose of God like a blush of rapture on Eternity’s face,<\/span><\/p>\n

\nRose of Love, ruby depth of all being, fire-passion of Grace!<\/span><\/p>\n

\n\t\t\tArise from the heart of the yearning that sobs in Nature’s abyss:<\/span><\/p>\n

\nMake earth the home of the Wonderful and life Beatitude’s kiss.<\/span><\/p>\n

\n <\/p>\n

\n
\nPage \u2013 564<\/font><\/span><\/p>\n

\n

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

\n <\/span><\/p>\n

\n\t\t\tIn some of these poems, as in others of the Six Poems<\/i>, a
\n\t\t\tquantitative metrical system has been used which seems to have
\n\t\t\tpuzzled some critics, apparently because it does not follow the laws
\n\t\t\tof quantity obtaining in the ancient classical languages. But those
\n\t\t\tlaws are quite alien to the rhythm and sound-structure of the
\n\t\t\tEnglish tongue; the attempt to observe them has always ended in
\n\t\t\tdeserved and inevitable failure. Another system has been followed
\n\t\t\there which is in agreement with the native rhythm of English speech.
\n\t\t\tThere what determines the metrical length or brevity of syllables is
\n\t\t\tweight, the weight of the voice emphasis or the dwelling of the
\n\t\t\tvoice upon the sound. Where there is that emphasis or that dwelling
\n\t\t\tof the voice, the syllable may be considered metrically long; where
\n\t\t\tboth are absent there will be, normally, a recognisable shortness
\n\t\t\twhich can only be cured by some aid of consonant weight or other
\n\t\t\tlengthening circumstance. All stressed syllables are metrically long
\n\t\t\tin English and cannot be otherwise, however short the vowel may be,
\n\t\t\tfor they dominate the verse movement; this is a fact which is
\n\t\t\tignored in the traditional account of English quantity and which
\n\t\t\tmany experimenters in quantitative verse have chosen to disregard
\n\t\t\twith disastrous consequences,  \u2014  all their genius or
\n\t\t\tskill in metrical technique could not save them from failure. On the
\n\t\t\tother hand, a long-vowel syllable can be regarded as metrically long
\n\t\t\teven if there is no stress upon it. In the quantitative system used
\n\t\t\tin these poems this possibility is converted into a law: metrical
\n\t\t\tlength is obligatory for all such natural syllabic longs, while a
\n\t\t\tshort-vowel syllable unstressed is normally short for metrical
\n\t\t\tpurposes unless it is very heavily weighted with consonants. But the
\n\t\t\tmere occurrence of two or more consonants after a short vowel does
\n\t\t\tnot by itself make the syllable long as it necessarily does in
\n\t\t\tGreek, Latin or Sanskrit. <\/span> <\/p>\n

\n\tThe system may then be reduced to the following rules:
\n\t<\/span> <\/p>\n

\n\t\t\t1. All stressed syllables are regarded as metrically long, as also
\n\t\t\tall syllables supported on a long vowel. <\/span> <\/p>\n

\n\t\t\t2. All short-vowel syllables not stressed are regarded as  
\n\t\t\t<\/span>\n\t\t\t<\/p>\n

 <\/p>\n

\n
\nPage \u2013 565<\/font><\/span><\/p>\n

\n

\n\t\t\tshort, unless they are heavily weighted with consonants. But on this last point no fixed rule can be given; in each case the ear must be the judge.
\n\t\t\t<\/span>\n\t\t\t<\/p>\n

\n\t\t\t3. There are a great number of sounds in English which can be regarded according to circumstances either as longs or as shorts. Here too the ear must decide in each case.
\n\t\t\t<\/span>\n\t\t\t<\/p>\n

\n\t\t\t4. English quantity metres cannot be as rigid as the metres of ancient tongues. The rhythm of the language demands a certain variability, free or sparing, without which monotony sets in; accordingly in all English metres modulation is admitted as possible. Even the most regular rhythms do not altogether shut out the substitution of other feet than those fixed in the normal basic arrangement of the line; they admit at least so much as is needed to give the necessary pliancy or variety to the movement. There is sometimes a very free use of such variations; but they ought not to be allowed to break the basic movement or overburden or overlay it. The same rule must apply in quantitative metres; especially in long poems modulations are indispensable.
\n\t\t\t<\/span>\n\t\t\t<\/p>\n

\n\t\t\tThis system is not only not at discord with the
\n\t\t\tsound-structure of the language, it accords closely with its natural rhythm; it only regulates and intensifies into metrical pitch and tone the cadence that is already there even in prose, even in daily speech. If we take passages from English literature which were written as prose but with some intensity of rhythm, its movement can be at once detected. E.g.<\/span><\/p>\n

\n

\t\t\t  <\/p>\n

\n

\n
\nCŏnsīdĕr<\/span>
\n| thĕ<\/span> līlĭĕs<\/span> |
\nŏf<\/span> thĕ<\/span>
\nfīēld<\/span>, | hōw<\/span>
\nthēy<\/span> grōw<\/span>; | |
\nthēy<\/span> tōīl<\/span>
\nnŏt<\/span>, |<\/font><\/span><\/p>\n

\n
\nnēīthĕr<\/span> dŏ | thēy<\/span>
\nspīn<\/span>; | | yĕt<\/span> Ī |
\nsāy<\/span> ŭntŏ<\/span> |
\nyŏu<\/span> thăt<\/span>
\nēvěn<\/span> | Sōlŏmŏn<\/span> |<\/font><\/span><\/p>\n

\n
\nĭn<\/span> āll<\/span>
\nhĭs<\/span> | glōrў<\/span> | |
\nwăs<\/span> nŏt<\/span>
\nărrāyed<\/span> | līke<\/span>
\nŭntŏ<\/span> | ōne<\/span>
\nŏf<\/span> thēse<\/span>: | |
\n <\/font>
\n\t\t\t<\/span> <\/p>\n

\nor again,  <\/span><\/p>\n

\n <\/p>\n

\n
\n
\n\t\t\tBlēssĕd<\/span> āre | thĕ<\/span>
\n\t\t\tmēēk<\/span>; | fŏr<\/span>
\n\t\t\tthēy<\/span> shăll<\/span> |
\n\t\t\tĭnhērĭt<\/span> | thĕ<\/span>
\n\t\t\tēārth<\/span> | . . . .<\/font><\/span><\/p>\n

\n
\nBlēssĕd<\/span> <\/font>
\n
\nā<\/font><\/span>re | thĕ<\/span>
\n\t\t\tpūre<\/span> ĭn<\/span>
\n\t\t\thēārt<\/span>; | fŏr<\/span>
\n\t\t\tthēy<\/span> shăll<\/span>
\n\t\t\tsēē<\/span> | Gōd<\/span>;<\/font><\/span><\/p>\n

\n <\/p>\n

\n
\nPage \u2013 567<\/font><\/span><\/p>\n

\n

\n\t\t\t
\n\t\t\tor again, from
\n\t\t\tShakespeare’s prose,<\/font><\/span><\/p>\n

\n\t\t\t <\/p>\n

\n\t\t\t
\n\t\t\tThĭs<\/span> gōōdly<\/span>
\n\t\t\tfrāme<\/span>, | thĕ<\/span>
\n\t\t\tēāth<\/span>, sēēms<\/span>
\n\t\t\ttŏ<\/span> | mĕ<\/span> ă
\n\t\t\tstērīle<\/span> |
\n\t\t\tprōmŏntŏrў<\/span>; | <\/font><\/span><\/p>\n

\n\t\t\t
\n\t\t\t
\n\t\t\tthĭs<\/font><\/span>
\n\t\t\tmōst<\/span> ēxcĕl|lĕnt<\/span>
\n\t\t\tcānŏpў<\/span>, | thĕ<\/span>
\n\t\t\tāīr<\/span>, lōōk<\/span>
\n\t\t\tyoŭ<\/span>, | thĭs<\/span>
\n\t\t\tbrāve<\/span><\/font><\/span><\/p>\n

\n\t\t\t
\n\t\t\t
\n\t\t\tō’ērhāng|ĭng<\/span>
\n\t\t\tfīrmăměnt<\/span>, | thĭs<\/span>
\n\t\t\tmăjēstĭc|ăl<\/span> rōōf<\/span>
\n\t\t\tfrēttěd<\/span> | wĭth
\n\t\t\tgōlděn<\/span> fīre |<\/font><\/span><\/p>\n

\n\t\t\t <\/p>\n

\n\t\t\tand so on with a constant recurrence of the same quantitative movement all through; or, yet more strikingly,  
\n\t\t\t<\/span>\n<\/p>\n

 <\/p>\n

\n\t\t\t
\n\t\t\tHōw<\/span>
\nārt<\/span> thōū<\/span> |
\nfāllĕn<\/span> frŏm<\/span> |
\nHēāvěn<\/span>, Ŏ | Lūcĭfěr<\/span>, |
\nsōn<\/span> ŏf<\/span>
\nthĕ<\/span> mōrnĭng<\/span>!<\/font>
\n 
\n<\/span>\n<\/p>\n

 <\/p>\n

\n\t\t\tThis last sentence can be read indeed as a very perfect hexameter. The first of these passages could be easily presented as four lines of free quantitative verse, each independent in its arrangement of feet, but all swaying in a single rhythm. Shakespeare’s is most wonderfully balanced in a series of differing four-syllabled, with occasional shorter, feet, as if of deliberate purpose, though it is no intention of the mind but the ear of the poet that has constructed this fine design of rhythmic prose. A free quantitative verse in this kind would be perfectly possible.
\n\t\t\t<\/span>\n<\/p>\n

\n\t\t\tA more regular quantitative metre can be of two kinds. There could be lines all with the same metrical arrangement following each other without break or else alternating lines with a different arrangement for each, forming a stanza,  \u2014  as in the practice of accentual metres. But there could also be an arrangement in strophe and antistrophe as in the Greek chorus.
\n\t\t\t<\/span>\n<\/p>\n

\n\t\t\tIn “Thought the Paraclete” the first rule is followed; all the lines are on the same model. The metre of this poem has a certain rhythmic similarity to the Latin hendecasyllable which
\nruns \u00af \u00af<\/span> |
\n\u00af ˘ ˘<\/span> | \u00af ˘ | \u00af ˘ | ˉ ˘<\/u> <\/font>, e.g.
\n 
\n<\/span>\n<\/p>\n

 <\/p>\n

\n\t\t\t
\n\t\t\tSōlēs<\/span>
\n| ōccĭdĕr<\/span>(e) | ēt<\/span>
\nrĕ|dīrĕ<\/span> | pōssūnt<\/span>, <\/font>
\n\t\t\t<\/span><\/p>\n

\n\t\t\t
\n\t\t\tNōbīs<\/span> | cūm<\/span>
\nsĕmĕl<\/span> | ōccĭd|īt<\/span>
\nbrĕ|vīs<\/span> lūx<\/span><\/font>
\n\t\t\t<\/span> <\/p>\n

\n\t\t\t <\/p>\n

\n <\/p>\n

\n
\nPage \u2013 567<\/font><\/span><\/p>\n

\n

\n\t\t\tNōx<\/span>
\nēst<\/span> | pērpĕtŭ<\/span>(a) |
\nūnă<\/span> | dōrmĭ|ēndă.*<\/sup><\/font>
\n 
\n<\/span>\n<\/p>\n

 <\/p>\n

\n\t\t\tBut here the metre runs
\n\t\t\tˉ
\n˘ | ˉ ˉ | ˉ ˘ ˘<\/span> | ˉ ˘ | ˉ ; <\/font>
\n\t\t\t a trochee<\/font><\/span><\/span><\/font>
\n\t\t\t<\/font>is transferred from the closing flow of trochees to the beginning of the line, the spondee and dactyl are pushed into
\n\t\t\tthe middle; the last syllable of the closing trochee is most often
\n\t\t\tdropped altogether. Classical metres cannot always with success be taken over just as they are into the English rhythm;
\n\t\t\toften some modifications are needed to make them more malleable.<\/font><\/span><\/p>\n

\n\t\t\t
\n\t\t\tIn “Moon of Two Hemispheres” the strophe
\n\t\t\tantistrophe system has been used: the lines of the stanza differ from
\n\t\t\teach other in the nature and order of the feet, no identity or
\n\t\t\tapproach to identity is imposed; but each line of the antistrophe
\n\t\t\tfollows scrupulously the arrangement of the corresponding line of
\n\t\t\tthe strophe. An occasional modulation at most is allowed, e.g. the
\n\t\t\tsubstitution of a trochee for a spondee. The whole poem, how-ever, in spite of its metrical variations, follows a single
\n\t\t\tgeneral rhythmic movement.<\/font><\/span><\/p>\n

\n\t\t\t
\n\t\t\t“Rose of God”, like a previous poem “In Horis
\n\t\t\tAeternum", is written in pure stress metre. As stress and high
\n\t\t\taccentual pitch usually coincide, it is possible to scan accentual
\n\t\t\tmetre on the stress principle and stress metre also can be so
\n\t\t\twritten that it can be scanned as accentual verse; but pure stress
\n\t\t\tmetre depends entirely on stress ictus. In ordinary poetry stress
\n\t\t\tand natural syllabic quantity enter in as elements of the rhythm,
\n\t\t\tbut are not, qua stress and quantity, essential elements of the
\n\t\t\tbasic metre: in pure stress metre there is a reversal of these
\n\t\t\tvalues; quantity and accentual inflexion are subordinate and help to
\n\t\t\tbuild the rhythm, but stress alone determines the metrical basis. In “Rose of God” each line is composed of six stresses, and
\n\t\t\tthe whole poem is built of five stanzas, each containing four such
\n\t\t\tlines; the arrangement of feet varies freely to suit the movement of thought and feeling in each line. Thus,<\/font><\/span><\/p>\n

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\n\t\t\t* Suns may set and come again;<\/font><\/span><\/p>\n

\n\t\t\t
\n\t\t\tFor us, when once our brief light has
\n\t\t\tset, There is one perpetual night to be slept.<\/font><\/span><\/p>\n

\n\t\t\t
\n\t\t\tCATULLUS<\/font><\/font><\/span><\/p>\n

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\n\t\t\t <\/td>\n<\/tr>\n<\/table>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

  Poems   Transformation   My breath runs in a subtle rhythmic stream; It fills my members with a might divine: I have drunk the…<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[57],"tags":[],"class_list":["post-2996","post","type-post","status-publish","format-standard","hentry","category-02-collected-poems","wpcat-57-id"],"_links":{"self":[{"href":"https:\/\/worksofthemotherandsriaurobindo.org\/index.php\/wp-json\/wp\/v2\/posts\/2996","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=2996"}],"version-history":[{"count":0,"href":"https:\/\/worksofthemotherandsriaurobindo.org\/index.php\/wp-json\/wp\/v2\/posts\/2996\/revisions"}],"wp:attachment":[{"href":"https:\/\/worksofthemotherandsriaurobindo.org\/index.php\/wp-json\/wp\/v2\/media?parent=2996"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/worksofthemotherandsriaurobindo.org\/index.php\/wp-json\/wp\/v2\/categories?post=2996"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/worksofthemotherandsriaurobindo.org\/index.php\/wp-json\/wp\/v2\/tags?post=2996"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}