{"id":3781,"date":"2013-07-13T01:51:12","date_gmt":"2013-07-13T01:51:12","guid":{"rendered":"http:\/\/localhost\/?p=3781"},"modified":"2013-07-13T01:51:12","modified_gmt":"2013-07-13T01:51:12","slug":"00-contents-vol-03-third-series-1949","status":"publish","type":"post","link":"https:\/\/worksofthemotherandsriaurobindo.org\/index.php\/01-works-of-sri-aurobindo\/02-other-editions\/letters-of-sri-aurobindo\/03-third-series-1949\/00-contents-vol-03-third-series-1949","title":{"rendered":"-000_Contents.htm"},"content":{"rendered":"
\n\n\n
\n
\n


\n\t\t\t\tLetters of Sri Aurobindo<\/b><\/font><\/i><\/p>\n


\n\t\t\t\t(On Poetry and Literature)<\/b><\/font><\/p>\n


\n\t\t\t\tThird Series<\/b><\/font><\/i><\/p>\n


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

\n\n\n\n
\n


\n\t\t\t\t\t\tPre-Contents<\/span><\/a><\/td>\n<\/tr>\n

\n


\n\t\t\t\t\t\tForeword<\/span><\/a><\/td>\n<\/tr>\n<\/table><\/div>\n\n\n
\n


\n\t\t\t\tSection One<\/b><\/font><\/p>\n


\n\t\t\t\t
\n\t\t\t\tThe Process,
\n\t\t\t\tForm and Substance of Poetry<\/span><\/a><\/b><\/i><\/p>\n

 <\/p>\n<\/td>\n<\/tr>\n<\/table>\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

1.<\/td>\n

\n

\n\t\t\t\t\t\t
\n\t\t\t\t\t\tThree Elements
\n\t\t\t\t\t\tof Poetic Creation.<\/span><\/a><\/td>\n<\/tr>\n

\n

2.<\/td>\n

\n

\n\t\t\t\t\t\t
\n\t\t\t\t\t\tThree
\n\t\t\t\t\t\tEssentials for Writing Poetry.<\/span><\/a><\/td>\n<\/tr>\n

\n

3.<\/td>\n

\n

\n\t\t\t\t\t\t
\n\t\t\t\t\t\tEssence of
\n\t\t\t\t\t\tInspiration.<\/span><\/a><\/td>\n<\/tr>\n

\n

4.<\/td>\n

\n

\n\t\t\t\t\t\t
\n\t\t\t\t\t\tPoetic
\n\t\t\t\t\t\tFluency.<\/span><\/a><\/td>\n<\/tr>\n

\n

5.<\/td>\n

\n

\n\t\t\t\t\t\t
\n\t\t\t\t\t\tInspiration
\n\t\t\t\t\t\tand Effort.<\/span><\/a><\/td>\n<\/tr>\n

\n

6.<\/td>\n

\n

\n\t\t\t\t\t\t
\n\t\t\t\t\t\tCorrection by
\n\t\t\t\t\t\tSecond Inspiration.<\/span><\/a><\/td>\n<\/tr>\n

\n

7.<\/td>\n

\n

\n\t\t\t\t\t\t
\n\t\t\t\t\t\tJoy of Poetic
\n\t\t\t\t\t\tCreation.<\/span><\/a><\/td>\n<\/tr>\n

\n

8.<\/td>\n

\n

\n\t\t\t\t\t\t
\n\t\t\t\t\t\tPressure of
\n\t\t\t\t\t\tCreative Formation<\/span><\/a><\/td>\n<\/tr>\n

\n

9.<\/td>\n

\n

\n\t\t\t\t\t\t
\n\t\t\t\t\t\tForm and
\n\t\t\t\t\t\tSubstance of Poetry.<\/span><\/a><\/td>\n<\/tr>\n

\n

10.<\/td>\n

\n

\n\t\t\t\t\t\t
\n\t\t\t\t\t\tRhythm and
\n\t\t\t\t\t\tSignificance<\/span><\/a><\/td>\n<\/tr>\n

\n

11.<\/td>\n

\n

\n\t\t\t\t\t\t
\n\t\t\t\t\t\tTypes of
\n\t\t\t\t\t\tPerfection in Poetry.<\/span><\/a><\/td>\n<\/tr>\n

\n

12.<\/td>\n

\n

\n\t\t\t\t\t\t
\n\t\t\t\t\t\tPoetic
\n\t\t\t\t\t\tAusterity and Exuberance (1)<\/span><\/a><\/td>\n<\/tr>\n

\n

13.<\/td>\n

\n

\n\t\t\t\t\t\t
\n\t\t\t\t\t\tPoetic
\n\t\t\t\t\t\tAusterity and Exuberance (2)<\/span><\/a><\/td>\n<\/tr>\n

\n

14.<\/td>\n

\n

\n\t\t\t\t\t\t
\n\t\t\t\t\t\tPoetic
\n\t\t\t\t\t\tAusterity and Exuberance (3)<\/span><\/a><\/td>\n<\/tr>\n

\n

15.<\/td>\n

\n

\n\t\t\t\t\t\t
\n\t\t\t\t\t\tPoetic
\n\t\t\t\t\t\tAusterity and Exuberance (4)<\/span><\/a><\/td>\n<\/tr>\n

\n

16.<\/td>\n

\n

\n\t\t\t\t\t\t
\n\t\t\t\t\t\tEpic Greatness
\n\t\t\t\t\t\tand Sublimity<\/span><\/a><\/td>\n<\/tr>\n

\n

17.<\/td>\n

\n

\n\t\t\t\t\t\t
\n\t\t\t\t\t\tPoetic
\n\t\t\t\t\t\tNobility and Grandeur: Epic and Ballad Movements.<\/td>\n<\/tr>\n

\n

18<\/td>\n

\n

\n\t\t\t\t\t\t
\n\t\t\t\t\t\tPhilosophy in
\n\t\t\t\t\t\tPoetry.<\/span><\/a><\/td>\n<\/tr>\n

\n

19.<\/td>\n

\n

\n\t\t\t\t\t\t
\n\t\t\t\t\t\tMystic Poetry
\n\t\t\t\t\t\t– Philosophising in Poetry-Objection to Repetition<\/td>\n<\/tr>\n

\n

20.<\/td>\n

\n

\n\t\t\t\t\t\t
\n\t\t\t\t\t\tPoetic
\n\t\t\t\t\t\tIntuition and Critical Intellect.<\/span><\/a><\/td>\n<\/tr>\n

\n

21.<\/td>\n

\n

\n\t\t\t\t\t\t
\n\t\t\t\t\t\tThe Two Parts
\n\t\t\t\t\t\tof the Poetic Creator.<\/span><\/a><\/td>\n<\/tr>\n

\n

22.<\/td>\n

\n

\n\t\t\t\t\t\t
\n\t\t\t\t\t\tNeed of
\n\t\t\t\t\t\tLife-Experience for Literary Creation.<\/span><\/a><\/td>\n<\/tr>\n

\n

23.<\/td>\n

\n

\n\t\t\t\t\t\t
\n\t\t\t\t\t\tRelation
\n\t\t\t\t\t\tbetween the Personal Character and Life-Experience and
\n\t\t\t\t\t\tthe Work of an Artist.<\/td>\n<\/tr>\n

\n

24.<\/td>\n

\n

\n\t\t\t\t\t\t
\n\t\t\t\t\t\tThe Illusion
\n\t\t\t\t\t\tof Realism (1)<\/span><\/a><\/td>\n<\/tr>\n

\n

25.<\/td>\n

\n

\n\t\t\t\t\t\tThe Illusion
\n\t\t\t\t\t\tof Realism (2)<\/a><\/td>\n<\/tr>\n<\/table>\n\n\n
\n

Section Two<\/font><\/b><\/p>\n

 <\/p>\n


\n\t\t\t\t
\n\t\t\t\tSources of Poetic
\n\t\t\t\tInspiration and Vision <\/span>
\n\t\t\t\t―Mystic and Spiritual Poetry<\/b><\/i><\/p>\n

 <\/p>\n<\/td>\n<\/tr>\n<\/table>\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

1.<\/td>\n

\n

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

\n

2.<\/td>\n

\n

\n\t\t\t\t\t\t
\n\t\t\t\t\t\tVital Poetry.<\/span><\/a><\/td>\n<\/tr>\n

\n

3.<\/td>\n

\n

\n\t\t\t\t\t\t
\n\t\t\t\t\t\tThe World of
\n\t\t\t\t\t\tWord-Music<\/span><\/a><\/td>\n<\/tr>\n

\n

4.<\/td>\n

\n

\n\t\t\t\t\t\t
\n\t\t\t\t\t\tEarth-Memory Art\u2013Dream Inspiration<\/font><\/td>\n<\/tr>\n

\n

5.<\/td>\n

\n

\n\t\t\t\t\t\t
\n\t\t\t\t\t\tPoetry of the
\n\t\t\t\t\t\tInner Mind and Dynamic Vision<\/span><\/a><\/td>\n<\/tr>\n

\n

6.<\/td>\n

\n

\n\t\t\t\t\t\t
\n\t\t\t\t\t\tPoetic
\n\t\t\t\t\t\tIntelligence and Higher Mind.<\/span><\/a><\/td>\n<\/tr>\n

\n

7.<\/td>\n

\n

\n\t\t\t\t\t\t
\n\t\t\t\t\t\tTrue
\n\t\t\t\t\t\tInspiration and Poetic Rhetoric<\/span><\/a><\/td>\n<\/tr>\n

\n

8.<\/td>\n

\n

\n\t\t\t\t\t\t
\n\t\t\t\t\t\tA Personal
\n\t\t\t\t\t\tAppreciation<\/span><\/a><\/td>\n<\/tr>\n

\n

9.<\/td>\n

\n

\n\t\t\t\t\t\t
\n\t\t\t\t\t\tPoetry of the
\n\t\t\t\t\t\tIntuitive Mind.<\/span><\/a><\/td>\n<\/tr>\n

\n

10.<\/td>\n

\n

\n\t\t\t\t\t\t
\n\t\t\t\t\t\tPoetry of
\n\t\t\t\t\t\tSpiritual Vision<\/span><\/a><\/td>\n<\/tr>\n

\n

11.<\/td>\n

\n

\n\t\t\t\t\t\t
\n\t\t\t\t\t\tMystic and
\n\t\t\t\t\t\tSpiritual Poetry.<\/span><\/a><\/td>\n<\/tr>\n

\n

12.<\/td>\n

\n

\n\t\t\t\t\t\t
\n\t\t\t\t\t\tMystic Poetry
\n\t\t\t\t\t\tof Higher and Lower Planes.<\/span><\/a><\/td>\n<\/tr>\n

\n

13.<\/td>\n

\n

\n\t\t\t\t\t\t
\n\t\t\t\t\t\tSunlight and
\n\t\t\t\t\t\tMoonlight Mystic Poetry-Inspiration and Revelation.<\/font><\/td>\n<\/tr>\n

\n

14.<\/td>\n

\n

\n\t\t\t\t\t\t
\n\t\t\t\t\t\tSymbolic and
\n\t\t\t\t\t\tMystic Poetry.<\/span><\/a><\/td>\n<\/tr>\n

\n

15.<\/td>\n

\n

\n\t\t\t\t\t\t
\n\t\t\t\t\t\tA Comparison
\n\t\t\t\t\t\tbetween Arjava’s "Totalitarian" and Walter de la Mare’s
\n\t\t\t\t\t\t"Listeners".<\/td>\n<\/tr>\n

\n

16.<\/td>\n

\n

\n\t\t\t\t\t\t
\n\t\t\t\t\t\tA Comparison
\n\t\t\t\t\t\tbetween A’S "Pharphar" and Walter de la Mare’s "Arabia".<\/td>\n<\/tr>\n

\n

17.<\/td>\n

\n

\n\t\t\t\t\t\t
\n\t\t\t\t\t\tTruth behind
\n\t\t\t\t\t\tPoetic Images.<\/span><\/a><\/td>\n<\/tr>\n

\n

18.<\/td>\n

\n

\n\t\t\t\t\t\t
\n\t\t\t\t\t\tMystic
\n\t\t\t\t\t\tSymbols.<\/span><\/a><\/td>\n<\/tr>\n

\n

19.<\/td>\n

\n

\n\t\t\t\t\t\t
\n\t\t\t\t\t\tSymbolism and
\n\t\t\t\t\t\tAllegory (1)<\/span><\/a><\/td>\n<\/tr>\n

\n

20.<\/td>\n

\n

\n\t\t\t\t\t\t
\n\t\t\t\t\t\tSymbolism and
\n\t\t\t\t\t\tAllegory (2 )<\/span><\/a><\/td>\n<\/tr>\n

\n

21.<\/td>\n

\n

\n\t\t\t\t\t\t
\n\t\t\t\t\t\tPsychic and
\n\t\t\t\t\t\tEsoteric Poetry.<\/span><\/a><\/td>\n<\/tr>\n

\n

22.<\/td>\n

\n

\n\t\t\t\t\t\t
\n\t\t\t\t\t\tPsychic and
\n\t\t\t\t\t\tOverhead Inspiration<\/span><\/a><\/td>\n<\/tr>\n

\n

23.<\/td>\n

\n

\n\t\t\t\t\t\t
\n\t\t\t\t\t\tOverhead
\n\t\t\t\t\t\tPoetry.<\/span><\/a><\/td>\n<\/tr>\n

\n

24.<\/td>\n

\n

\n\t\t\t\t\t\t
\n\t\t\t\t\t\tOvermind
\n\t\t\t\t\t\tRhythm and Inspiration<\/span><\/a><\/td>\n<\/tr>\n

\n

25.<\/td>\n

\n

\n\t\t\t\t\t\t
\n\t\t\t\t\t\tThe Mantra<\/span><\/a><\/td>\n<\/tr>\n

\n

26.<\/td>\n

\n

\n\t\t\t\t\t\t
\n\t\t\t\t\t\tOvermind and
\n\t\t\t\t\t\tAesthetics\u2013Critical, Intellect and Mystical Poetry.<\/font><\/td>\n<\/tr>\n

\n

27.<\/td>\n

\n

\n\t\t\t\t\t\t
\n\t\t\t\t\t\tUse of
\n\t\t\t\t\t\t"High-Light" Words in Spiritual Poetry.<\/span><\/a><\/td>\n<\/tr>\n

\n

28.<\/td>\n

\n

\n\t\t\t\t\t\t
\n\t\t\t\t\t\tUse of
\n\t\t\t\t\t\tUndignified Words in Poetry.<\/span><\/a><\/td>\n<\/tr>\n

\n

29.<\/td>\n

\n

\n\t\t\t\t\t\t
\n\t\t\t\t\t\tOverhead
\n\t\t\t\t\t\tInspiration and Overmind Aesthesis.<\/span><\/a><\/td>\n<\/tr>\n

\n

30.<\/td>\n

\n

\n\t\t\t\t\t\t
\n\t\t\t\t\t\tGreatness and
\n\t\t\t\t\t\tBeauty on Poetry.<\/span><\/a><\/td>\n<\/tr>\n<\/table>\n\n\n
\n

 <\/p>\n

\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\tSection Three<\/font><\/b><\/p>\n


\n\t\t\t\t
\n\t\t\t\tPoetic Rhythm
\n\t\t\t\tand Technique<\/span><\/a><\/b><\/i><\/p>\n<\/td>\n<\/tr>\n<\/table>\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

1<\/td>\n

\n

\n\t\t\t\t\t\t
\n\t\t\t\t\t\tTwo Factors in
\n\t\t\t\t\t\tPoetic Rhythm<\/span><\/a><\/td>\n<\/tr>\n

\n

2<\/td>\n

\n

\n\t\t\t\t\t\t
\n\t\t\t\t\t\tImportance of
\n\t\t\t\t\t\tMetre and Technique<\/span><\/a><\/td>\n<\/tr>\n

\n

3<\/td>\n

\n

\n\t\t\t\t\t\t
\n\t\t\t\t\t\tInspiration
\n\t\t\t\t\t\tand Study of Technique.<\/span><\/a><\/td>\n<\/tr>\n

\n

4<\/td>\n

\n

\n\t\t\t\t\t\t
\n\t\t\t\t\t\tEnglish
\n\t\t\t\t\t\tQuantitative Verse and Classical, Metres – Melody
\n\t\t\t\t\t\tof English and Bengali Languages.<\/font><\/td>\n<\/tr>\n

\n

5<\/td>\n

\n

\n\t\t\t\t\t\t
\n\t\t\t\t\t\tComments on
\n\t\t\t\t\t\tMilford’s Views on Quantity in English Verse.<\/td>\n<\/tr>\n

\n

6<\/td>\n

\n

\n\t\t\t\t\t\t
\n\t\t\t\t\t\tQuantitative
\n\t\t\t\t\t\tMetre in Bengali <\/font>
\n\t\t\t\t\t\tPoetry.<\/span><\/a><\/td>\n<\/tr>\n

\n

7<\/td>\n

\n

\n\t\t\t\t\t\t
\n\t\t\t\t\t\tFailure of Early English Hexameter.<\/span><\/a><\/td>\n<\/tr>\n

\n

8<\/td>\n

\n

\n\t\t\t\t\t\t
\n\t\t\t\t\t\tAccent in
\n\t\t\t\t\t\tEnglish Rhythm.<\/span><\/a><\/td>\n<\/tr>\n

\n

9<\/td>\n

\n

\n\t\t\t\t\t\t
\n\t\t\t\t\t\tThe
\n\t\t\t\t\t\tAlexandrine.<\/span><\/a><\/td>\n<\/tr>\n

\n

10<\/td>\n

\n

\n\t\t\t\t\t\t
\n\t\t\t\t\t\tOctosyllabic
\n\t\t\t\t\t\tMetre<\/span><\/a><\/td>\n<\/tr>\n

\n

11<\/td>\n

\n

\n\t\t\t\t\t\t
\n\t\t\t\t\t\tCombination of
\n\t\t\t\t\t\tIambics and Anapaests.<\/span><\/a><\/td>\n<\/tr>\n

\n

12<\/td>\n

\n

\n\t\t\t\t\t\t
\n\t\t\t\t\t\tThe Problem of
\n\t\t\t\t\t\tFree Verse.<\/span><\/a><\/td>\n<\/tr>\n

\n

13<\/td>\n

\n

\n\t\t\t\t\t\t
\n\t\t\t\t\t\tImperfect
\n\t\t\t\t\t\tRhymes.<\/span><\/a><\/td>\n<\/tr>\n

\n

14<\/td>\n

\n

\n\t\t\t\t\t\t
\n\t\t\t\t\t\tBengali
\n\t\t\t\t\t\tGadya-Chhanda.<\/span><\/a><\/td>\n<\/tr>\n

\n

15<\/td>\n

\n

\n\t\t\t\t\t\t
\n\t\t\t\t\t\tInvention of
\n\t\t\t\t\t\tNew Metres.<\/span><\/a><\/td>\n<\/tr>\n

\n

16<\/td>\n

\n

\n\t\t\t\t\t\t
\n\t\t\t\t\t\tUnpopularity
\n\t\t\t\t\t\tof New Metres<\/span>\u2013Cryptic
\n\t\t\t\t\t\tPoetry<\/span><\/font><\/a><\/td>\n<\/tr>\n

\n

17<\/td>\n

\n

\n\t\t\t\t\t\t
\n\t\t\t\t\t\tComments on
\n\t\t\t\t\t\tsome Experiments in Metre (1)<\/span><\/a><\/td>\n<\/tr>\n

\n

18<\/td>\n

\n

\n\t\t\t\t\t\t
\n\t\t\t\t\t\tComments on
\n\t\t\t\t\t\tsome Experiments in Metre (2)<\/span><\/a><\/td>\n<\/tr>\n

\n

19<\/td>\n

\n

\n\t\t\t\t\t\t
\n\t\t\t\t\t\tComments on
\n\t\t\t\t\t\tsome Experiments in Metre (3)<\/span><\/a><\/td>\n<\/tr>\n

\n

20<\/td>\n

\n

\n\t\t\t\t\t\t
\n\t\t\t\t\t\tComments on
\n\t\t\t\t\t\tsome Experiments in Metre (4)<\/span><\/a><\/td>\n<\/tr>\n

\n

21<\/td>\n

\n

\n\t\t\t\t\t\t
\n\t\t\t\t\t\tNursery Rhymes
\n\t\t\t\t\t\tand Popular Songs.<\/span><\/a><\/td>\n<\/tr>\n

\n

22<\/td>\n

\n

\n\t\t\t\t\t\t
\n\t\t\t\t\t\tDifference
\n\t\t\t\t\t\tbetween a Song and a Poem. <\/span><\/a> <\/td>\n<\/tr>\n

\n

23<\/td>\n

\n

\n\t\t\t\t\t\t
\n\t\t\t\t\t\tSonnet and
\n\t\t\t\t\t\tSatire<\/span><\/a><\/td>\n<\/tr>\n<\/table>\n\n\n
\n

 <\/p>\n


\n\t\t\t\tSection Four<\/font><\/b><\/p>\n


\n\t\t\t\t
\n\t\t\t\tTranslation
\n\t\t\t\tof Poetry<\/span><\/a><\/b><\/i><\/p>\n

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

1<\/td>\n

\n

\n\t\t\t\t\t\t
\n\t\t\t\t\t\tTwo Ways of
\n\t\t\t\t\t\tTranslating Poetry<\/span><\/a><\/td>\n<\/tr>\n

\n

2<\/td>\n

\n

\n\t\t\t\t\t\t
\n\t\t\t\t\t\tFreedom in
\n\t\t\t\t\t\tTranslation<\/span><\/a><\/td>\n<\/tr>\n

\n

3<\/td>\n

\n

\n\t\t\t\t\t\t
\n\t\t\t\t\t\tLiteralness in
\n\t\t\t\t\t\tTranslation<\/span><\/a><\/td>\n<\/tr>\n

\n

4<\/td>\n

\n

\n\t\t\t\t\t\t
\n\t\t\t\t\t\tImportance of
\n\t\t\t\t\t\tTurn of Language in Translation<\/span><\/a><\/td>\n<\/tr>\n

\n

5<\/td>\n

\n

\n\t\t\t\t\t\t
\n\t\t\t\t\t\tDifficulty of
\n\t\t\t\t\t\tCatching Subtleties in Translation<\/span><\/a><\/td>\n<\/tr>\n

\n

6<\/td>\n

\n

\n\t\t\t\t\t\t
\n\t\t\t\t\t\tTranslation of
\n\t\t\t\t\t\tProse into Poetry<\/span><\/a><\/td>\n<\/tr>\n

\n

7<\/td>\n

\n

\n\t\t\t\t\t\t
\n\t\t\t\t\t\tRemarks on
\n\t\t\t\t\t\tBengali Translation of an English Poem.<\/td>\n<\/tr>\n

\n

8<\/td>\n

\n

\n\t\t\t\t\t\t
\n\t\t\t\t\t\tRemarks on
\n\t\t\t\t\t\tBengali Translation of "Six Poems"<\/span><\/a><\/td>\n<\/tr>\n

\n

9<\/td>\n

\n

\n\t\t\t\t\t\t
\n\t\t\t\t\t\tRemarks on
\n\t\t\t\t\t\tBengali Translation of a Poem of Shelley<\/td>\n<\/tr>\n

\n

10<\/td>\n

\n

\n\t\t\t\t\t\t
\n\t\t\t\t\t\tShelley’s
\n\t\t\t\t\t\tSkylark<\/span>\u2013Imperfections of Great poets Essential significance of Shelley’s Poetry<\/td>\n<\/tr>\n

\n

11<\/td>\n

\n

\n\t\t\t\t\t\t
\n\t\t\t\t\t\tDifficulty of
\n\t\t\t\t\t\tTranslating Urdu Songs into English\u2013Preference
\n\t\t\t\t\t\tof Krishna to Rama.<\/font><\/td>\n<\/tr>\n<\/table>\n\n\n
\n


\n\t\t\t\tSection Five<\/font><\/b><\/p>\n


\n\t\t\t\t
\n\t\t\t\tModern Poetry<\/span><\/a><\/b><\/i><\/p>\n<\/td>\n<\/tr>\n<\/table>\n\n\n\n\n\n\n\n\n
\n

1<\/td>\n

\n

\n\t\t\t\t\t\t
\n\t\t\t\t\t\tContemporary
\n\t\t\t\t\t\tEnglish poetry (1)<\/span><\/a><\/td>\n<\/tr>\n

\n

2<\/td>\n

\n

\n\t\t\t\t\t\t
\n\t\t\t\t\t\tContemporary
\n\t\t\t\t\t\tEnglish poetry (2)<\/span><\/a><\/td>\n<\/tr>\n

\n

3<\/td>\n

\n

\n\t\t\t\t\t\t
\n\t\t\t\t\t\tContemporary
\n\t\t\t\t\t\tEnglish poetry (3)<\/span><\/a><\/td>\n<\/tr>\n

\n

4<\/td>\n

\n

\n\t\t\t\t\t\t
\n\t\t\t\t\t\tLatest Trend
\n\t\t\t\t\t\tin English Poetry<\/span><\/a><\/td>\n<\/tr>\n

\n

5<\/td>\n

\n

\n\t\t\t\t\t\t
\n\t\t\t\t\t\tModern Art and
\n\t\t\t\t\t\tPoetry<\/span><\/a><\/td>\n<\/tr>\n

\n

6<\/td>\n

\n

\n\t\t\t\t\t\t
\n\t\t\t\t\t\tSurrealist
\n\t\t\t\t\t\tPoetry (1)<\/span><\/a><\/td>\n<\/tr>\n

\n

7<\/td>\n

\n

\n\t\t\t\t\t\t
\n\t\t\t\t\t\tSurrealist
\n\t\t\t\t\t\tPoetry (2)<\/span><\/a><\/td>\n<\/tr>\n<\/table>\n\n\n
\n


\n\t\t\t\tSection Six<\/font><\/b><\/p>\n


\n\t\t\t\t
\n\t\t\t\tIndo-English
\n\t\t\t\tPoetry<\/span><\/a><\/b><\/i><\/p>\n<\/td>\n<\/tr>\n<\/table>\n\n\n\n\n\n\n\n\n\n
\n

1<\/td>\n

\n

\n\t\t\t\t\t\t
\n\t\t\t\t\t\tAchievement of
\n\t\t\t\t\t\tIndo-English Poetry\u2013literary
\n\t\t\t\t\t\tDecadence in Europe<\/font><\/td>\n<\/tr>\n

\n

2<\/td>\n

\n

\n\t\t\t\t\t\t
\n\t\t\t\t\t\tFuture of
\n\t\t\t\t\t\tIndo-English Poetry<\/span><\/a><\/td>\n<\/tr>\n

\n

3<\/td>\n

\n

\n\t\t\t\t\t\t
\n\t\t\t\t\t\tMental
\n\t\t\t\t\t\tTheories and Poetic Freedom<\/span><\/a><\/td>\n<\/tr>\n

\n

4<\/td>\n

\n

\n\t\t\t\t\t\tPitfalls of
\n\t\t\t\t\t\tIndo-English Blank Verse<\/a><\/td>\n<\/tr>\n

\n

5<\/td>\n

\n

\n\t\t\t\t\t\t
\n\t\t\t\t\t\tPractical
\n\t\t\t\t\t\tSuggestions for Writing English Poetry<\/span><\/a> (1)<\/td>\n<\/tr>\n

\n

6<\/td>\n

\n

\n\t\t\t\t\t\t
\n\t\t\t\t\t\tPractical
\n\t\t\t\t\t\tSuggestions for Writing English Poetry<\/span><\/a>(2)<\/td>\n<\/tr>\n

\n

7<\/td>\n

\n

\n\t\t\t\t\t\t
\n\t\t\t\t\t\tRequirements
\n\t\t\t\t\t\tfor Writing Good English<\/span><\/a><\/td>\n<\/tr>\n

\n

8<\/td>\n

\n

\n\t\t\t\t\t\t
\n\t\t\t\t\t\tCurrent Use of
\n\t\t\t\t\t\tEnglish Language<\/span><\/a><\/td>\n<\/tr>\n<\/table>\n\n\n
\n


\n\t\t\t\tSection Seven<\/font><\/b><\/p>\n


\n\t\t\t\t
\n\t\t\t\tAppreciation
\n\t\t\t\tof Poetry and Art<\/span><\/a><\/b><\/i><\/p>\n<\/td>\n<\/tr>\n<\/table>\n\n\n\n\n\n\n\n\n\n\n\n
\n

1<\/td>\n

\n

\n\t\t\t\t\t\t
\n\t\t\t\t\t\tAppreciation
\n\t\t\t\t\t\tof Poetic Value<\/span><\/a><\/td>\n<\/tr>\n

\n

2<\/td>\n

\n

\n\t\t\t\t\t\t
\n\t\t\t\t\t\tSubjective
\n\t\t\t\t\t\tElement in Criticism of poetry and Art<\/span><\/a><\/td>\n<\/tr>\n

\n

3<\/td>\n

\n

\n\t\t\t\t\t\t
\n\t\t\t\t\t\tExperience of
\n\t\t\t\t\t\tBeauty<\/span><\/a><\/td>\n<\/tr>\n

\n

4<\/td>\n

\n

\n\t\t\t\t\t\t
\n\t\t\t\t\t\tContemporary
\n\t\t\t\t\t\tJudgment of Poetry<\/span><\/a><\/td>\n<\/tr>\n

\n

5<\/td>\n

\n

\n\t\t\t\t\t\t
\n\t\t\t\t\t\tAbiding
\n\t\t\t\t\t\tIntuition of Poetic and Artistic Greatness<\/span><\/a><\/td>\n<\/tr>\n

\n

6<\/td>\n

\n

\n\t\t\t\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t\t\tFinal Verdict
\n\t\t\t\t\t\ton Creative Work<\/span><\/a><\/span><\/td>\n<\/tr>\n

\n

7<\/td>\n

\n

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

\n

8<\/td>\n

\n

\n\t\t\t\t\t\t
\n\t\t\t\t\t\tPoetry and
\n\t\t\t\t\t\tNovel<\/span><\/a><\/td>\n<\/tr>\n

\n

9<\/td>\n

\n

\n\t\t\t\t\t\t
\n\t\t\t\t\t\tMusical
\n\t\t\t\t\t\tExcellence and General Culture<\/span><\/a><\/td>\n<\/tr>\n

\n

10<\/td>\n

\n

\n\t\t\t\t\t\t
\n\t\t\t\t\t\tComment on
\n\t\t\t\t\t\tCroce’s Theory of Aesthetics<\/span><\/a><\/td>\n<\/tr>\n<\/table>\n\n\n
\n


\n\t\t\t\tSection Eight<\/font><\/b><\/p>\n


\n\t\t\t\t
\n\t\t\t\tPoetic
\n\t\t\t\tCreation and Yoga<\/span>\u2013Utility of
\n\t\t\t\tLiterature, etc. in Sadhana<\/font><\/b><\/i><\/p>\n<\/td>\n<\/tr>\n<\/table>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
\n

1<\/td>\n

\n

\n\t\t\t\t\t\t
\n\t\t\t\t\t\tReading and
\n\t\t\t\t\t\tPoetic Creation and Yoga<\/span><\/a><\/td>\n<\/tr>\n

\n

2<\/td>\n

\n

\n\t\t\t\t\t\t
\n\t\t\t\t\t\tPoetic
\n\t\t\t\t\t\tCreation and Yoga<\/span><\/a><\/td>\n<\/tr>\n

\n

3<\/td>\n

\n

\n\t\t\t\t\t\t
\n\t\t\t\t\t\tSilence and
\n\t\t\t\t\t\tCreative Activity<\/span><\/a><\/td>\n<\/tr>\n

\n

4<\/td>\n

\n

\n\t\t\t\t\t\t
\n\t\t\t\t\t\tCreation by
\n\t\t\t\t\t\tthe Word<\/span><\/a><\/td>\n<\/tr>\n

\n

5<\/td>\n

\n

\n\t\t\t\t\t\t
\n\t\t\t\t\t\tWriting for
\n\t\t\t\t\t\tthe Divine<\/span><\/a><\/td>\n<\/tr>\n

\n

6<\/td>\n

\n

\n\t\t\t\t\t\t
\n\t\t\t\t\t\tDevelopment of
\n\t\t\t\t\t\tMind and Sadhana<\/span><\/a><\/td>\n<\/tr>\n

\n

7<\/td>\n

\n

\n\t\t\t\t\t\t
\n\t\t\t\t\t\tReading and
\n\t\t\t\t\t\tReal knowledge<\/span><\/a><\/td>\n<\/tr>\n

\n

8<\/td>\n

\n

\n\t\t\t\t\t\t
\n\t\t\t\t\t\tSpiritual
\n\t\t\t\t\t\tValue of Poetry<\/span><\/a><\/td>\n<\/tr>\n

\n

9<\/td>\n

\n

\n\t\t\t\t\t\t
\n\t\t\t\t\t\tUtility of
\n\t\t\t\t\t\tLiterature, etc. in Yoga (1)<\/span><\/a><\/td>\n<\/tr>\n

\n

10<\/td>\n

\n

\n\t\t\t\t\t\t
\n\t\t\t\t\t\tUtility of
\n\t\t\t\t\t\tLiterature, etc. in Yoga (2)<\/span><\/a><\/td>\n<\/tr>\n

\n

11<\/td>\n

\n

\n\t\t\t\t\t\t
\n\t\t\t\t\t\tUtility of
\n\t\t\t\t\t\tLiterature, etc. in Yoga (3)<\/span><\/a><\/td>\n<\/tr>\n

\n

12<\/td>\n

\n

\n\t\t\t\t\t\t
\n\t\t\t\t\t\tLiterature and
\n\t\t\t\t\t\tChange of Nature<\/span><\/a><\/td>\n<\/tr>\n

\n

13<\/td>\n

\n

\n\t\t\t\t\t\t
\n\t\t\t\t\t\tNovel-Read=>
\n\t\t\t\tSection Nine<\/font><\/b><\/p>\n

\n

\n\t\t\t\t<\/span>
\n\t\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\tPoets<\/span>\u2013Mystics\u2013Intellectuals<\/span><\/font><\/a><\/i><\/b><\/p>\n<\/td>\n<\/tr>\n<\/table>\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

1<\/td>\n

\n

\n\t\t\t\t\t\t
\n\t\t\t\t\t\tThe Poet and
\n\t\t\t\t\t\tthe Yogi<\/span><\/a><\/td>\n<\/tr>\n

\n

2<\/td>\n

\n

\n\t\t\t\t\t\t
\n\t\t\t\t\t\tThe Poet and
\n\t\t\t\t\t\tthe Prophet<\/span><\/a><\/td>\n<\/tr>\n

\n

3<\/td>\n

\n

\n\t\t\t\t\t\t
\n\t\t\t\t\t\tBorn Poet and
\n\t\t\t\t\t\tGenius<\/span><\/a><\/td>\n<\/tr>\n

\n

4<\/td>\n

\n

\n\t\t\t\t\t\t
\n\t\t\t\t\t\tGenius and
\n\t\t\t\t\t\tYoga<\/span><\/a><\/td>\n<\/tr>\n

\n

5<\/td>\n

\n

\n\t\t\t\t\t\t
\n\t\t\t\t\t\tClassification
\n\t\t\t\t\t\tof the World’s Greatest Poets (1)<\/span><\/a><\/td>\n<\/tr>\n

\n

6<\/td>\n

\n

\n\t\t\t\t\t\t
\n\t\t\t\t\t\tClassification
\n\t\t\t\t\t\tof the World’s Greatest Poets (2)<\/span><\/a><\/td>\n<\/tr>\n

\n

7<\/td>\n

\n

\n\t\t\t\t\t\t
\n\t\t\t\t\t\tGoethe and
\n\t\t\t\t\t\tShakespeare; Homer, Vyasa and Valmiki<\/td>\n<\/tr>\n

\n

8<\/td>\n

\n

\n\t\t\t\t\t\t
\n\t\t\t\t\t\tImportance of
\n\t\t\t\t\t\tthe Power of Poetic Expression<\/span><\/a><\/td>\n<\/tr>\n

\n

9<\/td>\n

\n

\n\t\t\t\t\t\t
\n\t\t\t\t\t\tBlake (1)<\/span><\/a><\/td>\n<\/tr>\n

\n

10<\/td>\n

\n

\n\t\t\t\t\t\t
\n\t\t\t\t\t\tBlake (2)<\/span><\/a><\/td>\n<\/tr>\n

\n

11<\/td>\n

\n

\n\t\t\t\t\t\t
\n\t\t\t\t\t\tYeats and AE<\/span><\/a><\/td>\n<\/tr>\n

\n

12<\/td>\n

\n

\n\t\t\t\t\t\t
\n\t\t\t\t\t\tYeats and the
\n\t\t\t\t\t\tOccult (1)<\/span><\/a><\/td>\n<\/tr>\n

\n

13<\/td>\n

\n

\n\t\t\t\t\t\t
\n\t\t\t\t\t\tYeats and the
\n\t\t\t\t\t\tOccult (2)<\/span><\/a><\/td>\n<\/tr>\n

\n

147<\/td>\n

\n

\n\t\t\t\t\t\t
\n\t\t\t\t\t\tD.H. Lawrence
\n\t\t\t\t\t\t(1)<\/span><\/a><\/td>\n<\/tr>\n

\n

15<\/td>\n

\n

\n\t\t\t\t\t\t
\n\t\t\t\t\t\tD.H. Lawrence
\n\t\t\t\t\t\t(2)<\/span><\/a><\/td>\n<\/tr>\n

\n

16<\/td>\n

\n

\n\t\t\t\t\t\t
\n\t\t\t\t\t\tD.H. Lawrence
\n\t\t\t\t\t\tand Modern Poetry (1)<\/span><\/a><\/td>\n<\/tr>\n

\n

17<\/td>\n

\n

\n\t\t\t\t\t\t
\n\t\t\t\t\t\tD.H. Lawrence
\n\t\t\t\t\t\tand Modern Poetry (2)<\/span><\/a><\/td>\n<\/tr>\n

\n

18<\/td>\n

\n

\n\t\t\t\t\t\t
\n\t\t\t\t\t\tD.H. Lawrence\u2013<\/font>Human
\n\t\t\t\t\t\tEgo-Centricity\u2013Attitudes towards Human Defects<\/font><\/td>\n<\/tr>\n

\n

19<\/td>\n

\n

\n\t\t\t\t\t\t
\n\t\t\t\t\t\tWordsworth’s
\n\t\t\t\t\t\tRealisation<\/span><\/a><\/td>\n<\/tr>\n

\n

20<\/td>\n

\n

\n\t\t\t\t\t\t
\n\t\t\t\t\t\tColeridge’s
\n\t\t\t\t\t\t"Ancient Mariner"<\/span><\/a><\/td>\n<\/tr>\n

\n

21<\/td>\n

\n

\n\t\t\t\t\t\t
\n\t\t\t\t\t\tBrowning<\/span><\/a><\/td>\n<\/tr>\n

\n

22<\/td>\n

\n

\n\t\t\t\t\t\t
\n\t\t\t\t\t\tBaudelaire<\/span><\/a><\/td>\n<\/tr>\n

\n

23<\/td>\n

\n

\n\t\t\t\t\t\t
\n\t\t\t\t\t\tMichael
\n\t\t\t\t\t\tMadhusudan<\/span><\/a><\/td>\n<\/tr>\n

\n

24<\/td>\n

\n

\n\t\t\t\t\t\t
\n\t\t\t\t\t\tGreat
\n\t\t\t\t\t\tProse-Writers<\/span><\/a><\/td>\n<\/tr>\n

\n

25<\/td>\n

\n

\n\t\t\t\t\t\t
\n\t\t\t\t\t\tIntellectual
\n\t\t\t\t\t\tCapacity of Mystics<\/span><\/a><\/td>\n<\/tr>\n

\n

26<\/td>\n

\n

\n\t\t\t\t\t\t
\n\t\t\t\t\t\tThe Mystic and
\n\t\t\t\t\t\tthe Intellectual<\/span>\u2013Bernard
\n\t\t\t\t\t\tShaw<\/span><\/font><\/a><\/td>\n<\/tr>\n

\n

27<\/td>\n

\n

\n\t\t\t\t\t\t
\n\t\t\t\t\t\tEstimate of
\n\t\t\t\t\t\tBernard Shaw<\/span><\/a><\/td>\n<\/tr>\n

\n

28<\/td>\n

\n

\n\t\t\t\t\t\t
\n\t\t\t\t\t\tWells<\/span>\u2013Chesterton\u2013Shaw<\/span><\/font><\/a><\/td>\n<\/tr>\n

\n

29<\/td>\n

\n

\n\t\t\t\t\t\t
\n\t\t\t\t\t\tShaw as a
\n\t\t\t\t\t\tCreative Mind<\/span><\/a><\/td>\n<\/tr>\n

\n

30<\/td>\n

\n

\n\t\t\t\t\t\t
\n\t\t\t\t\t\tBertrand
\n\t\t\t\t\t\tRussell<\/span><\/a><\/td>\n<\/tr>\n

\n

31<\/td>\n

\n

\n\t\t\t\t\t\t
\n\t\t\t\t\t\tComment on a
\n\t\t\t\t\t\tStatement of B. Russell<\/span><\/a><\/td>\n<\/tr>\n

\n

32<\/td>\n

\n

\n\t\t\t\t\t\t
\n\t\t\t\t\t\tAnatole France<\/span><\/a><\/td>\n<\/tr>\n

\n

33<\/td>\n

\n

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

Letters of Sri Aurobindo (On Poetry and Literature) Third Series Contents Pre-Contents Foreword Section One The Process, Form and Substance of Poetry   1. Three…<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[100],"tags":[],"class_list":["post-3781","post","type-post","status-publish","format-standard","hentry","category-03-third-series-1949","wpcat-100-id"],"_links":{"self":[{"href":"https:\/\/worksofthemotherandsriaurobindo.org\/index.php\/wp-json\/wp\/v2\/posts\/3781","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=3781"}],"version-history":[{"count":0,"href":"https:\/\/worksofthemotherandsriaurobindo.org\/index.php\/wp-json\/wp\/v2\/posts\/3781\/revisions"}],"wp:attachment":[{"href":"https:\/\/worksofthemotherandsriaurobindo.org\/index.php\/wp-json\/wp\/v2\/media?parent=3781"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/worksofthemotherandsriaurobindo.org\/index.php\/wp-json\/wp\/v2\/categories?post=3781"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/worksofthemotherandsriaurobindo.org\/index.php\/wp-json\/wp\/v2\/tags?post=3781"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}