Sri Aurobindo

Letters of Sri Aurobindo

Third Series

Fragment ID: 21023

These¹ are things decided by the habit or training of the ear. The intervention of a dactylic (or, if you like, anapaestic) line followed by an Alexandrine would to the ear of a former generation have sounded abrupt and inadmissible. But, I suppose, it would not to an ear accustomed to the greater liberty – or even license – of latter-day movements.

I do not find that the rhythm of the first three lines is well-worn, though that of the first and third are familiar in type. The second seems to me not only not familiar, but unusual and very effective.

The canter of anapaests can, I suppose, be only relieved by variation or alternation with another metre, as you have done here – or by a very powerful music which would turn the canter into a torrent rush or an oceanic sweep or surge. But the proper medium for the latter up till now has been a large dactylic movement like the Greek or Latin hexameter; Swinburne has tried to get it into the anapaest, but with only occasional success because of his excessive facility and looseness, which makes the sound empty owing to want of spiritual substance. But this third line seems to be naturally dactylic and not anapaestic. Can one speak of catalectic and acatalectic hexameters? If so, this is a very beautiful catalectic hexameter.

I may say that the four lines seem to be in their variation very remarkably appropriate and effective, each exactly expressing by the rhythm the spirit and movement of the thing inwardly seen. I am speaking of each line by itself; the only objection that could be made is to the coming together of so many variations in so brief a whole (if it had been longer, I imagine it would not have mattered) as disturbing to the habit of the ear; but I am inclined to think that this objection would rest less on a reality than ‘a prejudice. The habit of the ear is not fundamental, it can change. What is fundamental in the inner hearing is not, I think, disturbed by the swiftness of the change from the controlled flow of the first line to the wave dance and shimmer of the second, the rapid drift of the third and then the deliberate subtlety of the last line.

Is there in recent poetry an unconscious push towards a new metrical basis altogether for English poetry – shown by the outbreak of free verse, which fails because it is most often not verse at all – and the seeking sometimes for irregularity, sometimes for greater plasticity of verse-movement? Originally,. Anglo-Saxon verse depended, if I remember right, on alliteration and rhythm, not on measured feet; Greece and Rome through France and Italy imposed the foot measure on English; perhaps the hidden seeking for freedom, for elbow-room, for the possibility of a varied rhythmic expression necessitated by the complexity of the inner consciousness might find some vent in a measure which would depend not on feet but on lengths and stresses. I have sometimes thought that and it recurred to me while looking at your second line, for on that principle it might be read

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One could imagine a measure made of lines in a given number of lengths like that and each length allowed a given number of stresses; there would b& many combinations and variations possible. For example (not of good poetry, but of the form),

A far sail on the unchangeable monotone of

a slow slumbering sea,

A world of power hushed into symbols of hue,

silent unendingly,

Over its head, like a gold ball the sun tossed

by the gods in their play

Follows its curve,– a blazing eye of Time

watching the motionless day.

Perhaps it is only a curious imagination, too difficult and complex to realise, but it came on me strongly, so I put it down on paper.

I have written two more stanzas of the stress scansion poem so as to complete it and send them to you. In this scansion as I conceive it, the lines may be analysed into feet, as you say all good rhythm can, but in that case the foot measures must be regarded as a quite subsidiary element without any fixed regularity – just as the (true) quantitative element is treated in ordinary verse. The whole indispensable structure of the lines depends upon stress and they must be read on a different principle from the current view – full value must be given to the true stresses and no fictitious stresses, no weight laid on naturally unstressed syllables should be allowed–that is the most important point,

Thus:

In Horis Aeternum

A far sail on the unchangeable monotone of a

slow slumbering sea,

A world of power hushed into symbols of hue,:

silent unendingly;

Over its head like a gold ball the sun tossed

by the gods in their play

Follows its curve,– a blazing eye of Time

watching the motionless day.

Here or otherwhere,– poised on the un

reachable abrupt snow-solitary ascent

Earth aspiring lifts to the illimitable Light,

then ceases broken and spent,

Or in the glowing expanse, arid, fiery and

austere, of the desert’s hungry soul,–

A breath, a cry, a glimmer from Eternity’s

face, in a fragment the mystic Whole.

Moment-mere, yet with all eternity packed,

lone, fixed, intense,

Out of the ring of these hours that dance and

die, caught by the spirit in sense,

In the greatness of a man, in music’s outspread.

wings, in a touch, in a smile, in a sound,

Something that waits, something that wanders

and settles not, a once Nothing that was all and is found.

It is an experiment and I shall have to do more before I can be sure that I have caught the whole spirit or sense of this movement; nor do I mean to say that stress-scansion cannot be built on any other principle,– say, on one with more concessions to the old music or with less, breaking more away in the direction of free verse; but the essential, I think, is there.

¹ This is in reply to the questions put by Arjava (J. A. Chadwick) in the following letter:

The wind hush comes, the varied colours westward stream: Were they joy-tinted coral, or song-light seen-heard in a shell fitfully, Drifted ashore by the hours as a waif from the day-wide sea Of Loveliness that smites awake our sorrow-dream?

(“Sundown”)

Is there some way of keeping the loose swinging gait of anapaests within bounds? If one has used them freely in one or more lines, does it sound too abrupt to close with a strict iambic line – as in the final Alexandrine of the above? It is perhaps a pity that the rhythm of the first three lines runs in such well-worn familiar channels. Is this intensified by the sing-song of the second line, which slipped into the Saturnian metre lengthened out by anapaests?

I was intending the third line to scan

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But I see it could also be taken as four dactyls followed by the spondee “day-wide” and the monosyllabic foot “sea”. Which is the scansion which you would prefer? And would the four dactyls make the earlier part of a passable hexameter, or would at least one spondee be needed to break up the monotony and too-obvious lilt?

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