{"id":441,"date":"2013-07-13T01:28:02","date_gmt":"2013-07-13T01:28:02","guid":{"rendered":"http:\/\/localhost\/?p=441"},"modified":"2013-07-13T01:28:02","modified_gmt":"2013-07-13T01:28:02","slug":"48-shamaa-vol-17-the-hour-of-god-volume-17","status":"publish","type":"post","link":"https:\/\/worksofthemotherandsriaurobindo.org\/index.php\/01-works-of-sri-aurobindo\/01-sabcl\/17-the-hour-of-god-volume-17\/48-shamaa-vol-17-the-hour-of-god-volume-17","title":{"rendered":"-48_Shama’a.htm"},"content":{"rendered":"\n\n
\n
\n

\n
\nShama’a<\/font><\/b><\/p>\n

\n <\/p>\n

\n                        I<\/font> <\/b>
\nWAS<\/font><\/b> unable to greet duly the first
\nappearance of this new magazine of art, literature and philosophy edited by
\nMiss Mrinalini Chattopadhyay; I take the opportunity of the second number to
\nrepair the omission I had then unwillingly to make. The appearance of this
\nquarterly is one of the signs as yet too few, but still carrying a sure
\npromise, of a progressive reawakening of the higher thinking and aesthetic
\nmentality in India after a temporary effacement in which the Eastern mind was
\nattempting to assimilate in the wrong way elementary or <\/i>second-rate
\noccidental ideas. In that misguided endeavour it became on the intellectual and
\npractical side ineffectively utilitarian and on the aesthetic content with the
\ncheap, ugly and vulgar. The things of the West it assimilated were just the
\nthings the West had either left behind it or <\/i>was already finishing and
\npreparing to cast away. "Shama’a", like "Rupam", though
\nless sumptuously apparelled, is distinguished by its admirable get-up and
\nprinting and is an evidence of the recovery of a conscience in the matter of
\nform, a thing once universal in India but dead or <\/i>dormant since the
\nWestern invasion. The plan of the review is designed to meet a very real need
\nof the moment and the future: for its purpose is to bring together in its pages
\nthe mind of the Indian renaissance and the most recent developments of European
\nculture. In India we as yet know next to nothing of what the most advanced
\nminds of Europe are thinking and creating in the literary, artistic and
\nphilosophic field, – for that matter most of us, preoccupied with politics and
\ndomestic life, have a very inadequate information of what we ourselves are doing
\nin these matters. It is to be hoped that this magazine will be an effective
\nagent in curing these deficiencies. It has begun well: the editor, Miss
\nChattopadhyay, has the needed gift of attracting contributions of the right
\nkind and there is in "Shama’a" as a result of her skill a pervading
\nand harmonising atmosphere of great distinction’ and fineness.<\/p>\n

\nPage-313<\/font><\/p>\n

\n
\n<\/div>\n

\n\u00a0       <\/span>The frontispiece
\nof this number is a portrait by a modern English artist, J. D. Ferguson, and an
\narticle on his work by Charles\u00a0\u00a0 <\/span>Marriot
\nis the most interesting of the contributions. It sets out to discover on the
\nbasis of the real as opposed to the accidental\u00a0
\n<\/span>differences between the Western and the Eastern methods of painting the
\ninner meaning of their divergence. The attempt to create an illusion of reality
\nto the eye, to copy Nature, which was so long a considerable part of the
\noccidental theory is regarded as a passing phase for which the introduction of
\noil paint gave the occasion, an accidental and not at all an essential
\ndifference: European art at the beginning was free from it and is now rejecting
\nthis defect or this limitation. Nor are other details of method, such as the
\nuse of cast shadows as opposed to a reliance on outline, the real difference.
\nNone of these things involve necessarily an illusion of reality, and even where
\nthat inartistic fiction does not intervene, as in the Italian fresco and
\ntempera painting and in oil painting that reduces shadow to a minimum and
\nrelies on outline, the fundamental difference between the East and the West
\nremains constant and unalterable. The fundamental difference is that the
\nEastern artist paints in two and the European in three dimensions. Eastern
\npainting suggests depth only by successive planes of distance; the Western
\nartist uses perspective, and while the use of perspective to create an optical
\nillusion is an error, its emphasis on depth as a mental conception extends the
\nopportunities of expressing truth. It is in any case in the use of the third
\ndimension that there comes in the true and essential difference.
\n\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>The writer then attempts
\nto link up this divergence with the concepts of the two continents with regard
\nto life. He hazards the suggestion that the separate planes of a Chinese
\nlandscape correspond to "the doctrine of successive incarnations, of
\nseparate planes of existence, each the opportunity of its own virtues",
\nand the occidental artist’s "active exploration and exploitation of the
\nground between the planes of distance" corresponds to the West’s view of
\nthis life as a continual discipline, the sole opportunity for salvation, a
\nbattle to be won now and here, and of "material facts not as evils in
\nthemselves and opportunities for asceticism and renunciation, but as tests of
\nthe spirit, good or<\/p>\n

\nPage-314 <\/font> <\/p>\n

\n
\n<\/div>\n

bad according as they are used rightly or wrongly", – an active
\nexploration as opposed to a passive acceptance. I find it impossible to accept
\nthis ingenious idea: it strikes me as a little fanciful in itself, but in any
\ncase it is based on a misunderstanding of the Eastern mind. The usual Western
\nerror is made of confusing one strong tendency of Eastern philosophy for the
\nwhole of its thinking and a view of reincarnation is attributed to the East
\nthat is not its real view. The successive re births are not to the Eastern
\nmind separate planes of existence, each independently the opportunity of its
\nown virtues, but a closely connected sequence and the action of each life
\ndetermines the frame and basic opportunities of the following birth. It is a
\nrhythm of progression in which the present is not cut out from but one with the
\npast and future. Life and action are here too and not only in the West tests of
\nthe spirit, good or bad according as they are used rightly or wrongly, and it
\nis and must be always this present life that is of immediate and immense
\nimportance, though it is not and cannot in reason be final or irreparable: for
\nsalvation may be won now, but if there is failure, the soul has still its
\nfuture chances. As a matter of historical fact the great periods of Eastern art
\nwere not periods of a passive acceptance of life. In India, the cradle of these
\nphilosophies, they coincided with an active exploration of the material
\nuniverse through physical science and a strong insistence on life, on its
\ngovernment, on the exploration of its every detail, on the call of even its
\nmost sensuous and physical attractions. The literature and art of India are not
\nat all a dream of renunciation and the passive acceptance of things, but
\nactively concerned with life, though not as exteriorly as the art of the West
\nor with the same terrestrial limitation of the view. It is there that we have
\nto seek for the root of the divergence, not so much in the intellectual idea as
\nin a much subtler spiritual difference.
\n\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>The difference is that the
\nWestern artist, – the Western mind generally, – is led to insist on the
\nphysical as the first fact and the determinant, as it is indeed in vital truth
\nand practice, and he has got hold of that side of the truth and in relation to
\nit sees all the rest. He not only stands firmly on the earth, but he has his
\nhead in the terrestrial atmosphere and looks up from it to higher planes. The
\nEastern has his foot on earth, but his head<\/p>\n

\nPage -315<\/font><\/p>\n

\n
\n<\/div>\n

Is in the psychical and spiritual realms and it is their atmosphere that
\naffects his vision of the earth. He regards the material as the first fact only
\nin appearance and not in reality: matter is to him real only as a mould and
\nopportunity of spiritual being and the psychical region is an intermediary
\nthrough which he can go back from the physical to the spiritual truth. This it
\nis that conditions his whole artistic method and makes him succeed best in
\nproportion as he brings the spiritual and psychical truth to illuminate and
\nmodify the material form. If he were to take to oil painting and the third
\ndimension, I imagine that he would still before long break out of the physical
\nlimitations and try to make the use of the third a bridge to a fourth and
\npsychical or to a fifth and spiritual dimension. That in fact seems to be very
\nmuch what the latest Western art itself is trying to do. But it does not seem
\nto me in some of its first efforts to have got very high beyond the earth
\nattraction. The cubist and the futurist idea have the appearance of leaving the
\nphysical view only to wander astray among what one is tempted to call in
\ntheosophic language astral suggestions, a geometry or a movement vision of the
\nworld just above or behind ours. It is just so, one imagines, that a mind
\nmoving in those near supramaterial regions would distortedly half see physical
\npersons and things. Mr. Ferguson’s portrait is of another kind, but while
\nperfectly though not terrestrially rational in its rhythm, seems to be inspired
\nfrom a superior sphere of the same regions. It is a powerful work and there is
\na strong psychical truth of a kind but the spirit, the suggestions, the forms
\nare neither of heaven nor of earth. The impression given is the materialization
\nof a strong and vivid astral dream. The difference between this and the psychic
\nmanner of the East will at once appear to anyone who turns to the much less
\npowerful but gracious and subtle Indian painting in the first number.
\n\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>Another article of some
\ninterest on "Art and History" by John M. Thorburn gives us much
\nwriting in an attractive style and some suggestive ideas, but there is a soft
\nmistiness about both as yet too common in attempts at intuitive thinking and
\nwriting which makes it a little difficult to disentangle the ideas and get at
\ntheir relation and sequence. The thought turns around rather than deals with national
\ntemperament and its shaping influence in art<\/p>\n

\nPage-316<\/font><\/p>\n

\n
\n<\/div>\n

and there is a comparison in this respect between the French and English
\ntemperament on one side and the German or the Russian on the other. But the
\nattempt does not get deep. The line taken is that the distinguishing
\ncharacteristic of the French and English mind are the critical faculty, humour,
\na sense for character and for the common as well as the uncommon, for detail as
\nwell as principle, a power of social adaptation or readaptation, the instinct
\nin the English to carry on, in the French to change and reconstruct, and all
\nthese are connected together and are the fruit of Graeco-Roman civilisation. The
\nwriter thinks that the Graeco-Roman tradition and its true development in the
\nmodern world is the only saving ethical and political ideal, at least for
\nEurope, – a salutary saving clause. At the same time he has found his highest
\nartistic satisfaction in German music and rates the relative power of Russian
\nliterature and possibly the music above the recent artistic work of Europe, and
\nhe is perplexed by the coexistence of this superiority with Russia’s social
\ninstability and with Germany’s lack of literary humour and of the sense for
\ncharacter. And, though this reserve is not expressly made, Germany cannot be
\ntaxed with lack of the social constructive faculty, seeing that it was the
\nGerman who in far back times developed the feudal system and has more recently
\nperfected the modern industrial order. And yet Germany is distinctly outside
\nthe Graeco-Roman tradition. He discovers that Germany lacks the reflective
\ncritical faculty, that there is "something in the German artistic and
\nphilosophical temperament at variance with social good", "Strangely
\nhostile to the ethical and artistic ideal of Greece or the administrative and
\nharmonising genius of Rome." Germany is entirely instinctive, at the mercy
\nof her temperament, unable to liberate herself from it, instinctive in her
\nmusic, her philosophy too an instinctive movement, reflection never able to get
\noutside itself or even to feel the need to do so. As for Russia, hers is the
\nkind of art that is an expression of the division and breaches of human society
\nrather than of its wholeness or its peace, an art born of Nature’s error and
\nnot like the French and English of her truth. It seems, however, that the art
\nborn of Nature’s error, of her suffering and ill health is more wonderful and
\nalluring than the art born of her ordered ways.<\/p>\n

\nPage-317<\/font><\/p>\n

\n
\n<\/div>\n

After all is said, the truth of
\nNature is only a partial and defective truth and her error only a partial
\nerror: there is no necessary harmony at least in the finite between what we
\nvalue as goodness and what we value as beauty. And the solution of all the
\ncontradiction is to be sought in the "experience of the effort of the
\nfinite spirit to come to a fuller consciousness of itself or of a universe that
\nonly uses that spirit as an instrument towards its own self-knowledge,
\nself-perfection Or self-interpretation". The conclusion is
\nunexceptionable, but the line of thought leading to it stumbles needlessly in
\npursuit of a false clue.
\n\u00a0\u00a0\u00a0\u00a0 \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0<\/span>The article is interesting chiefly
\nas an indication of the perplexity of a certain type of European mind
\nhesitating and held back in the grasp of the old that is dying and yet feeling
\nthe call of things that draw towards the future. The superstition of the
\nperfect excellence of the Graeco-Roman tradition as rendered by England and
\nFrance – more strictly the Latinised or semiLatinised mind and the
\nRenaissance tradition – survives; but as a matter of fact that tradition or
\nwhat remains of it is a dead shell. The Time-Spirit has left it, retaining no
\ndoubt what it needs for its ulterior aims, and is passing on to far other
\nthings. In that evolution Germany and Russia among European nations have taken
\na leading place. Germany has failed to go the whole way, because to a strong
\nbut coarse and heavy vital force and a strict systematising scientific
\nintellect she could not successfully bring in the saving power of intuition.
\nHer music indeed was very great and revolutionised the artistic mind of Europe,
\nnot because it was instinctive, but because it was intuitive, – because it
\nbrought in a profound intuitive feeling and vision to uplift through the
\nconquered difficulties of a complex harmony a large and powerful intelligence.
\nHer philosophy was at first a very great but too drily intellectual statement
\nof truths that get their living meaning only in the intuitive experience, but
\nafterwards in Schopenhauer and Nietzsche as in Wagner it developed the
\nintuitive vision and led to a deep change in European thinking. But the life of
\nGermany remained still unaffected by her higher mind, well-organised,
\nsystematic but vitally and aesthetically crude, and she has failed to respond
\nto the deepest forces of the future. The stream has turned aside to Russia,
\nRussia deeply<\/p>\n

 Page -318<\/font><\/p>\n

\n
\n<\/div>\n

intuitive in her emotional and psychic being, moved through her sensibilities
\nand aiding by a sensitive fineness there a yet imperfect but rapidly evolving intuitivity of the intelligence. It is clear enough that the labour of the soul
\nand mind of Russia has not arrived at victory and harmony, but her malady is
\nthe malady and suffering of a great gestation, and her social instability the
\ncondition of an effort towards the principle of a greater order than the
\nself-satisfied imperfection of the GraecoRoman tradition or of the modern
\nsocial principle. The martyrdom of Russia might from this point of view be
\nregarded as a vicarious sacrifice for the sin of obstinacy in imperfection, the
\nsin of self-retardation of the entire race. It is at any rate by some large and
\nharmonising view of this kind and not by any paradox of superior values of good
\nand truth resulting in inferior values of beauty and negative values of no good
\nand no truth flowering in superior values of beauty that we are likely best to
\nunderstand both the effort of the finite spirit and the effort of the universe
\nthrough it towards its own self-perception and self-interpretation.
\n\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>The only other article of any
\nlength is a second instalment of Babu Bhagawan Das’ "Krishna, a Study in
\nthe theory of A vataras", which contains much interesting matter and
\nespecially some very striking citations from that profound and beautiful work,
\nthe Bhagawat Purana: but the renderings given are rather modernising
\nparaphrases than translations. There is a brief essay or rather the record of a
\nreflection by Mr. Cousins on "Symbol and Metaphor in Art", quite the
\nbest thing in thought and style in the number: a translation by Mr. V. V. S.
\nAiyar of some verses of Tiruvalluvar done with grace and a fluid warmth and
\ncolour — perhaps too much fluidity and grace to render rightly the terse and
\npregnant force that is supposed, and surely with justice, to be the essential
\nquality of the poetic style of the Kurral: a dialogue in poetic prose, "The
\nVision", by Harindranath Chattopadhyay, in which we get imagination,
\nbeauty and colour of phrase and a moving sentiment, – but not yet, I think, all
\nthe originality and sureness of touch of the poet when he uses his own already
\nmastered instrument, – and another prose poem by V. Chakkarai inspired by
\nRabindranath and executed with a sufficient grace. All these together make up
\nan<\/p>\n

\nPage -319<\/font><\/p>\n

\n
\n<\/div>\n

admirable number.
\n\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>The closing portion of the
\nmagazine is devoted to notes and criticisms. Several closely printed pages are
\ngiven to a critical review of Professor S. Radhakrishnan’s work on the
\nPhilosophy of Rabindranath Tagore by Mr. J. B. Raju. The criticism gives
\nunhappily, in spite of its interest, an impression of ability very badly used,
\nfor it is throughout what a criticism of this kind should not be, censorious,
\nhostile, bitterly incisive and sometimes almost brutal in the inimical tone of
\nits phrases. A philosophic discussion should surely be conducted in a graver
\nand more impersonal tone. In addition there is a criticism by dissection so
\ndiscursively and incoherently minute that it is impossible to form a coherent
\nidea of the thought the work animadverted upon actually does develop. I have
\nnot read the book in question, but Professor Radhakrishnan is well-known as a
\nperfectly competent philosophic critic and thinker and it is impossible to
\nbelieve that anything he has written is, as this criticism constantly suggests,
\na mere mass of imbecile inconsequence. I gather that his offence is to have
\ndone exactly what he should have done, that is, to represent the thought of
\nTagore, – who is a poet and not a metaphysical dialectician but an intuitive
\nseer, – as an intuitive whole: the dry-as-dust intellectual formalism of
\nanalysis demanded of him by his critic would have been in such a subject
\ngrotesquely out of place. A still greater offence is that he has endorsed the
\npoet’s exaltation of the claims of intuition as superior, at least in a certain
\nfield, to those of the intellect. Mr. Raju seems to think that this claim
\nconsecrates "a mistaken and obsolete psychology", the
\n"infatuation of a certain glamour which in the popular imagination hangs
\nround the ancient words, mysticism and intuition". Mistaken, if you choose
\nto think so; but obsolete? What then are we to make of Bergson’s intuition,
\nJames’ cosmic consciousness, Eucken’s superconscient, the remarkable trend
\ntowards mysticism of recent scientists, mathematicians, thinkers, the still
\nmore remarkable speculations of contemporary Russian philosophers? These men at
\nleast are not irresponsible poets or incompetent dupes of the imagination, but
\npsychologists of the first rank and the most original contemporary thinkers in
\nthe philosophic field. Mr. Raju’s defence of the<\/p>\n

\nPage -320<\/font><\/p>\n

\n
\n<\/div>\n

claims of the reason is well enough written, but it is founded on contentions
\nthat once were commonplaces but are now very disputable assertions. Indeed, if
\nthe most recent thought has any value, he is himself open to the retort of his
\nown remark that he is the victim of a mistaken and obsolete psychology. Mr.
\nRaju may be right, the modern psychologists and philosophers may be wrong, but
\nthe time has passed when the claims of intuition could be dismissed with this
\nhigh, disdainful lightness. The subject, however, is too large to be touched at
\nall within my present limits: I hope to return to it hereafter.
\n\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>The review contains some
\npoetry but, Mr. R. C. Bonnerji’s gracious and cultured verses apart, all is of
\nthe aggressively modern type. There are a number of poems taken or quoted from
\nthe American journal Poetry <\/i>that are one and all of the same stereotyped
\nkind of free verse. Eleanor Hammond’s "Transition" turns upon a
\npretty emotion and Evelyn Scott’s "Fear" on an idea with fine
\npossibilities, but as usual in this kind the style has no trace of any poetic
\nturn or power but only a tamely excited and childlikely direct primitive
\nsincerity and the rhythm is more aggressively prosaic than any honest prose
\nrhythm could manage to be. C. L.’s "All was his" is good in thought
\nand conscientious in style but the rhythm is hopelessly stumbling and lame: but
\nthen perhaps it is written on some new metrical principle, – one never knows in
\nthese days. The noteworthy poem of the number is Henry Ruffy’s "London
\nNocturne", placed, I presume as a study in significant contrasts, opposite
\nMukul Dey’s drawing of Tagore. It is an admirable specimen of the now dominant
\nvitalistic or "life" school of modern poetry. Personally, this school
\ndoes not appeal to me. Its method seems to be to throw quite ordinary and
\nobvious things violently at our eyes and their sense effects and suggestions at
\nour midriffs and to underline the effects sometimes by an arresting baldness
\nand poverty of presentation and sometimes on the contrary by a sensational
\nexaggeration of image or phrase. Thus the poet tells us in one luminous line
\nthat<\/p>\n

   
\nA policeman’s clumsy tread goes slowly by,<\/p>\n

\nPage -321<\/font><\/p>\n

\n
\n<\/div>\n

and in another makes us hear<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>Another policeman trying doors
\nthis way"<\/p>\n

a "car of Juggernaut" <\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>Tuff-tuffing, clattering, clashing,
\nchaos-crowned,<\/p>\n

a muddled clatter, voices
\nconfused, a shrieking whistle, solemn clock strokes "muttering ere they
\ndie," that<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>Fade like a halo or a dying
\nsigh,<\/p>\n

another motor "humming a bee refrain", with its snorting, trumping,
\ndisdainful speed horn<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>Striking the silence like a
\nflash of flame,<\/p>\n

a luckless harlot, a heavy horse hoof, the clank clank of a cab, silent wheels,
\njingling harness, and this succession of sounds leads up to the vision of a sly
\nslinking white-face dawn, wan, thin and "sickly ill", a slight-formed
\nsylph<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>Drawing her veil to show a
\ndeath-pale form.<\/p>\n

A feverishly acute impression of a London night is forced on the sense soul in
\nme, but this poetry does not get beyond or give anything more: the poet’s
\npolicemen and tuff-tuffing clattering crowned chaos of a motor car carry no
\nmeaning to me beyond the dreary fact of their existence and the suggestion of a
\nsick melancholy of insomnia. But it seems to me that poetry ought to get beyond
\nand should give something more. I do not deny the possibility of a kind of
\npower in this style and am not blind to the aim at a strong identifying vision
\nthrough something intuitive in the sense, a felt exactness of outward things,
\nbut an inartistic and often unpoetic method cannot be saved by a good
\nintention. Still this is the kind of writing that holds the present in England
\nand America and it demands its place in the purpose of the magazine. I hope
\nhowever that we shall get often a relief in strains that go beyond the present
\nto a greater poetic future, –<\/p>\n

\nPage -322<\/font><\/p>\n

\n
\n<\/div>\n

let us say, like the exquisite rhythm and perfect form of beauty of
\nHarindranath’s poem in the first number. ,
\n\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>All criticism of thought or
\npersonal preference apart, almost everything in this number is good in matter
\nand interesting in its own kind. "Shama’a" already stands first among
\nIndian magazines in the English tongue for sustained literary quality and
\ndistinction of tone and interest .<\/p>\n

 <\/p>\n

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Shama’a                           I WAS unable to greet duly the first appearance of this new magazine of art, literature and philosophy edited by Miss Mrinalini…<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[9],"tags":[],"class_list":["post-441","post","type-post","status-publish","format-standard","hentry","category-17-the-hour-of-god-volume-17","wpcat-9-id"],"_links":{"self":[{"href":"https:\/\/worksofthemotherandsriaurobindo.org\/index.php\/wp-json\/wp\/v2\/posts\/441","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=441"}],"version-history":[{"count":0,"href":"https:\/\/worksofthemotherandsriaurobindo.org\/index.php\/wp-json\/wp\/v2\/posts\/441\/revisions"}],"wp:attachment":[{"href":"https:\/\/worksofthemotherandsriaurobindo.org\/index.php\/wp-json\/wp\/v2\/media?parent=441"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/worksofthemotherandsriaurobindo.org\/index.php\/wp-json\/wp\/v2\/categories?post=441"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/worksofthemotherandsriaurobindo.org\/index.php\/wp-json\/wp\/v2\/tags?post=441"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}