Sri Aurobindo

Letters of Sri Aurobindo

Third Series

Fragment ID: 21053

I have often seen that Indians who write in English, immediately they try blank verse, begin to follow Victorian model and especially a sort of pseudo-Tennysonian movement or structure which makes their work in this kind weak, flat and ineffective. The language inevitably suffers by the same fault, for with a weak verse-cadence it is impossible to find a strong or effective turn of language. But Victorian blank verse at its best is not strong or great, and at a more common level it is languid or crude or characterless. Except for a few poems, like Tennyson’s early “Morte d’Arthur”, “Ulysses” and one or two others or Arnold’s “Sohrab and Rustum”, there is nothing of a very high order. Tennyson is a perilous model and can have a weakening and corrupting influence and the “Princess” and “Idylls of the King” which seem to have set the tone for Indo-English blank verse are perhaps the worst choice possible for such a role. There is plenty of clever craftsmanship but it is mostly false and artificial and without true strength or inspired movement or poetic force – the right kind of blank verse for a Victorian drawing-room. poetry, that is all that can be said for it. As for language and substance his influence tends to bring a thin artificial decorative prettiness or picturesqueness varied by an elaborate false simplicity and an attempt at a kind of brilliant, sometimes lusciously brilliant sentimental or sententious commonplace. The higher quality in his best work is not easily assimilable; the worst is catching but undesirable as a model.

Blank verse is the most difficult of all English metres; it has to be very skilfully and strongly done to make up for the absence of rhyme, and if not very well done, it is better not done at all. In the ancient languages rhyme was not needed, for they were written in quantitative metres which gave them the necessary support, but modern languages in their metrical forms need the help of rhyme. It is only a very masterly hand that can make blank verse an equally or even a more effective poetic movement. You have to vary your metre by a skilful play of pauses or by an always changing distribution caesura and of stresses and supple combinations long and short vowels and by much weaving of vowel and consonant variation and assonance; or else, if you use a more regular form you have to give a great power and relief to the verse as did Marlowe at his best. If you do none of these things, if you write with effaced stresses, without relief and force or, if you do not succeed in producing harmonious variation in your rhythm, your blank verse becomes a monotonous vapid wash and no amount of mere thought-colour or image-colour can save it.