Sri Aurobindo

Letters of Sri Aurobindo

SABCL 26

Fragment ID: 7935

You seem to demand a very rigid and academic fixity of meaning from my hastily penned comments on the poetry sent to me. I have no unvarying aesthetic standard or fixed qualitative criterion,– not only so, but I hold any such thing to be impossible with regard to so subtle and unintellectual an essence as poetry. It is only physical things that can be subjected to fixed measures and unvarying criteria. Appreciation of poetry is a question of feeling, of intuitive perception, of a certain aesthetic sense, it is not the result of an intellectual judgment.

My judgment does differ with different writers and also with different kinds of writings. If I put “very good” on a poem of S’s, it does not mean that it is on a par with H’s or A’s or yours. It means that it is very good S, but not that it is very good H or very good A. “If very good were won by them all,” you write! But, good heavens, you write that as if I were a master giving marks in a class. I may write “good” or “very good” on the work of a novice if I see that it has succeeded in being poetry and not mere verse however correct or well rhymed – but if H or A or you were to produce work like that, I would not say “very good” at all. There are poems of yours which I have slashed and pronounced unsatisfactory, but if certain others were to send me that, I would say, “Well, you have been remarkably successful this time.” I am not giving comparative marks according to a fixed rule. I am using words flexibly according to the occasion and the individual. It would be the same with different kinds of writings. If I write “very good” or “excellent” on some verses of D about his chair, I am not giving it a certificate of equality with some poems of yours similarly appreciated – I am only saying that as humorous easy verse in the lightest vein it is very successful, an outstanding piece of work. Applied to your poem it would mean something different altogether.

Coming from your huge P.S. to the tiny body of your letter, what do you mean by “a perfect success”? I meant that pitched in a certain key and style your poem had worked itself out very well in that key and style in a very satisfying way from the point of view of thought, expression and rhythm. From that standpoint it is a perfect success. If you ask whether it is at your highest possible pitch of inspiration, I would say no, but it is nowhere weak or inadequate and it says something poetically well worth saying and says it well. One cannot always be writing at the highest pitch of one’s possibility, but that is no reason why work of very good quality in itself should be rejected.

14-11-1934

You all attach too much importance to the exact letter of my remarks of the kind as if it were a giving of marks. I have been obliged to renounce the use of the word “good” or even “very good” because it depressed N – though I would be very much satisfied myself if I could always write poetry certified to be very good. I write “very fine” against work which is not improvable, so why ask me for suggestions for improving the unimprovable? As for rising superior to yourself that is another matter – one always hopes to do better than one has yet done, but that means not an avoidance of defects – I always point out ruthlessly anything defective in your work – but to rise higher, wider, deeper etc. etc. in the consciousness. Incidentally, even if my remarks are taken to be of mark-giving value, what shall I do in future if I have exhausted all adverbs? How shall I mark your self-exceeding if I have already certified your work as exceeding? I shall have to fall back on roars “Oh, damned fine, damned damned damned fine!”

15-5-1937