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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
Title:
-36_Sources of Poetic Inspiration and Vision Mystic and Spiritual Poetry.htm
View All Highlighted Matches
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