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SABCL - Sri Aurobindo Birth Centenary Library

CWSA - Complete Works of Sri Aurobindo

CWM - Collected Works of The Mother

Resource name: /E-Library/Works of Sri Aurobindo/English/SABCL/The Future Poetry_Volume-09/Style and Substance.htm
CHAPTER IV Style and Substance RHYTHM is the premier necessity of poetical expression because it is the sound-movement which carries on its wave the thought-movement in the word; and it is the musical sound-image which most helps to fill in, to extend, subtilise and deepen the thought impression or the emotional or vital impression and to carry the sense beyond itself into an expression of the intellectually inexpressible - always the peculiar power of music. This truth was better understood on the whole or at least more consistently felt by the ancients than by the modern mind and ear, perhaps because they were more in the habit of singing, chanting or intoning thei
Resource name: /E-Library/Works of Sri Aurobindo/English/SABCL/The Future Poetry_Volume-09/Recent English Poetry – 2.htm
-22_Recent English Poetry – 2.htm CHAPTER XXI Recent English Poetry – 2 THE effective stream of poetry in the English tongue has followed no such strong distinctive turn as would be able to sweep the effort of rhythmic expression along with it in one mastering direction. The poets of this age pursue much more even than their predecessors the bent of their personality, not guided by any uniting thought or standard of form, and have no other connecting link than the subtle similarities which the spirit of the age always gives to its work of creation. But the present age is so loose, fluid and many-motived that this subtler community is not easily tangible and works out in much less of an open
Resource name: /E-Library/Works of Sri Aurobindo/English/SABCL/The Future Poetry_Volume-09/Appreciation of Poetry and Art.htm
SECTION SEVEN Appreciation of Poetry and Art SUBJECTIVE ELEMENT IN CRITICISM OF POETRY AND ART All criticism of poetry is bound to have a strong subjective element in it and that is the source of the violent differences we find in the appreciation of any given author by equally "eminent" critics. All is relative here. Art and Beauty also, and our view of things and our appreciation of them depends on the conscious­ness which views and appreciates. Some critics recognise this and go in frankly for a purely subjective criticism — "this is why I like this and disapprove of that, I give my own values". Most labour to fit their personal l
Resource name: /E-Library/Works of Sri Aurobindo/English/SABCL/The Future Poetry_Volume-09/precontent.htm
Resource name: /E-Library/Works of Sri Aurobindo/English/SABCL/The Future Poetry_Volume-09/The Sun of Poetic Truth.htm
chapter XXVI The Sun of Poetic Truth what is the kind of Truth which we can demand from the spirit of poetry, from the lips of the inspired singer, or what do we mean when we speak of Truth as one of the high powers and godheads of his work and of its light as a diviner sunlight in which he must see and shape from its burning rays within and around him the flame-stuff of his creation? We have all our own notions of the Truth and that gives an ambiguous character to the word and brings in often a narrow and limited sense of it into our idea of poetry. But first there is the primary objection, plausible enough if we look only at the glowing robe and not at th
Resource name: /E-Library/Works of Sri Aurobindo/English/SABCL/The Future Poetry_Volume-09/The Process, Form and Substance of Poetry .htm
-34_The Process, Form and Substance of Poetry .htm SECTION ONE The Process, Form and Substance of Poetry THREE ELEMENTS OF POETIC CREATION Poetry, or at any rate a truly poetic poetry, comes always from some subtle plane through the creative vital and uses the outer mind and other external instruments for transmission only. There are three elements in the production of poetry; there is the original source of inspiration, there is the vital force of creative beauty which contributes its own substance and impetus and often determines the form, except when that also comes ready made from the original source; there is finally the transmitting outer consciousness of the poet. The most genu
Resource name: /E-Library/Works of Sri Aurobindo/English/SABCL/The Future Poetry_Volume-09/Sources of Poetic Inspiration and Vision Mystic and Spiritual Poetry.htm
section TWO Sources of Poetic Inspiration and Vision Mystic and Spiritual Poetry POETRY OF PHYSICAL CONSCIOUSNESS 1 Certainly — Homer and Chaucer are poets of the physical consciousness. I have pointed that out in The Future Poetry.¹ 2 You cant drive a sharp line between the subtle physical and physical like that in these matters. If a poet wrote from the out­ward physical only, his work is likely to be more photographic than poetic. 31.5.1937 3 The Vedic times were an age in which men lived in the material consciousness as did the heroes of Homer. The Rishis were the mystics of the t
Resource name: /E-Library/Works of Sri Aurobindo/English/SABCL/The Future Poetry_Volume-09/The Essence of Poetry.htm
CHAPTER II The Essence of Poetry IN ORDER to get a firm clue which we can ­follow fruitfully in the retrospect and prospect we have proposed to ourselves, it will not be amiss to enquire what is the highest power we demand, from poetry; or, — let us put it more largely and get nearer the root of the matter, — what may be the nature of poetry, its essential law, and how out of ' that arises the possi­bility of its use as the mantra of the Real. Not that we need spend a vain effort in labouring to define anything so profound, elusive and indefinable as the breath of poetic creation; to take the myriad-stringed harp of Saraswati to pieces for the pur­pose of scie
Resource name: /E-Library/Works of Sri Aurobindo/English/SABCL/The Future Poetry_Volume-09/The Course of English Poetry – 4.htm
-13_The Course of English Poetry – 4.htm CHAPTER XII The Course of English Poetry – 4 IN THE work of the intellectual and classical age of English poetry, one is again struck by the same phenomenon that we meet throughout, of a great power of achievement limited by a characteristic defect which turns to failure, wastes the power spent and makes the total result much inferior to what it should have been with so much nerve of energy to speed it or so broad a wing of genius to raise it into the highest heights of the empyrean. The mind of this age went for its sustaining influence and its suggestive models to Greece, Rome and France. That we inevitable; for these have been the three intellectual n
Resource name: /E-Library/Works of Sri Aurobindo/English/SABCL/The Future Poetry_Volume-09/The Course of English Poetry – 3.htm
-12_The Course of English Poetry – 3.htm CHAPTER XI The Course of English Poetry – 3             THE Elizabethan drama is an expression of the stir of the life-spirit; at its best it is great or strong, buoyant or rich or beautiful, passionately excessive or gloomily tenebrous force of vital poetry. The ret of the utterance of the time is full of the lyric joy, sweetness or emotion or moved and coloured self-description of the same spirit. There is much in it of curious and delighted thinking, but little of a high and firm intellectual value. Culture is still in its imaginative childhood and the thinking mind rather works for the curiosity and beauty of thought and even more for the curiosity