Sri Aurobindo
Letters of Sri Aurobindo
CWSA 27
Personal Character and Creative Work
The statement that a man’s poetry or art need not express anything that has happened in his outer personal life is too obvious to be made so much of; the real point is how far his work can be supposed to be a transcript of his inner mind or mental life. It is obvious that his vital cast, his character may have very little to do with his writing, it may be its very opposite. His physical mind also does not determine it; the physical mind of a romantic poet or artist may very well be that of a commonplace respectable bourgeois. One who in his fiction is a benevolent philanthropist and reformer full of sentimental pathos, gushful sympathy or cheery optimistic sunshine may have been in actual life selfish, hard, even cruel. All that is now well known and illustrated by numerous examples in the lives of great poets and artists. It is evidently in the inner mental personality of a man that the key to his creation must be discovered, not in “his” outward mind or life or not solely or chiefly these. But a poem or work of art need not be (though it may be) an exact transcription of a 
mental or spiritual experience; even, if the creating mind takes up an incident of the life, a vital impression, emotion or reaction that had actually taken place, it need not be anything more than a starting point for the poetic creation. The “I” of a poem is more often than not a dramatic or representative I, nothing less and nothing more. But it does not help to fall back on the imagination and say that a man’s poetry or art is only the web of his imagination working with whatever material it may happen to choose. The question is how the imagination of a poet came to be cast in this peculiar mould which differentiates him as a creator not only from the millions who do not create but from all other poetic creators. There are two possible answers. A poet or artist may be merely a medium for a creative Force which uses him as a channel and is concerned only with expression in art and not with the man’s personality or his inner or outer life. Or, man being a multiple personality, a crowd of personalities which are tangled up on the surface, but separate within, the poet or artist in him may be only one of these many personalities concerned solely with its inner and creative function; it may retire when the creative act is over leaving the field to the others. In his work the poet personality may – or may not – use the experiences of the others as material for his work, but he will then modify them to suit his own turns and tendencies or express his own ideal of self or ideal of things. He may too take a hand in the life of the composite personality, meddle with the activity of the others, try to square their make-up and action with his own images and ideals. In fact there is a mixture of the two things that makes the poet. Fundamentally he is a medium for the creative Force, which acts through him and uses or picks up anything stored up in his mind from its inner life or its memories or impressions of outer life and things, or anything subconscious, subliminal or superconscious in him, anything it can or cares to make use of and it moulds it as it chooses for its purpose. But still it is through the poet personality in him that it works and this poet personality may be either a mere reed through which the Spirit blows but which is laid aside after the tune is over or it may be an active power having some say even in the surface mental composition and vital and physical activities of the total composite creature. In that general possibility there is room for a hundred degrees and variations and no rule can be laid down that covers all possible or actual cases.
7 November 1935