Sri Aurobindo
Letters on Poetry and Art
SABCL - Volume 27
Part 2. On His Own and Others Poetry
Section 1. On His Poetry and Poetic Method
On Some Poems Written during the 1930s
On Some Poems Written during the 1930s
[The
first five letters were published together as an appendix to Six Poems of Sri
Aurobindo in 1934]
The Bird of Fire and Trance
These two poems are in the nature of metrical experiments. The first is a kind of compromise between the stress system and the foot measure. The stanza is of four lines, alternately of twelve and ten stresses. The second and fourth line in each stanza can be read as a ten-foot line of mixed iambs and anapaests, the first and third, though a similar system subject to replacement of a foot anywhere by a single-syllable half-foot could be applied, are still mainly readable by stresses.
The other poem is an experiment in the use of quantitative foot measures not following any existing model, but freely invented. It is a four-line stanza reading alternately
|
|
|
|
|
and
|
|
|
It could indeed be read otherwise, in several ways, but read in the ordinary way of accentual feet it would lose all lyrical quality and the soul of its rhythm.
The Bird of Fire is the living vehicle of the gold fire of the Divine Light and the white fire of the Divine Tapas and the crimson fire of Divine Love and everything else of the Divine Consciousness.
Shiva The Inconscient Creator
The quantitative metre of Trance is suited only
for a very brief lyrical poem. For longer poems I have sought to use it as a
base but to liberate it by the introduction of
an ample number of modulations which allow a fairly free variation of the rhythm
without destroying the consistency of the underlying rhythmic measure. This is
achieved in Shiva by allowing as the main modulations (1) a paeon
anywhere in place of an amphibrach, (2) the substitution of a long for a short
syllable either in the first or the last syllable of an amphibrach, at will,
thus substituting a bacchius or anti-bacchius (3) the substitution of a dactyl
for an initial amphibrach, (4) the substitution of a long instead of short
syllable in the middle of the final anapaest, both this and the ultimate
syllable to be in that case stressed in reading, e.g.,
deathless | and lone head
a bacchius replacing the anapaest.
The suppression of the full value of long syllables to make them figure as metrical shorts has to be avoided in quantitative metre.
Scan:
A face on | the cold dire | mountain peaks
Grand and still; | its lines white | {{0}}and {{0}}a
ustere[[Intermediate stress upon u.]]
Match with the | unmeasured | snowy streaks
Cutting heav|en, | implaca|ble and sheer.
The Inconscient as the source and author of all
material creation is one of the main discoveries of modern psychology, but it
agrees with the idea of a famous Vedic hymn. In the Upanishads, Prajna, the
Master of Sushupti, is the Ishwara and therefore the original Creator out of a
superconscient sleep. The idea of the poem is that this creative Inconscient
also is Shiva creating here life in matter out of an apparently inconscient
material trance as from above he creates all the worlds (not the material only)
from a superconscient trance. The reality is a supreme Consciousness but that
is veiled by the appearance on one side of the superconscient sleep, on the
other of the material Inconscience. Here the
emphasis is on the latter; the superconscient is only hinted at, not indicated,
it is the Infinity out of which comes the revealing Flame.
The Life Heavens
Further modulations have been introduced in this poem a greater use is made of tetrasyllabic feet such as paeons, epitrites, di-iambs, double trochees, ionics and, once only, the antispast and in a few places the foot of three long syllables (molossus) has been used, and in others a foot extending to five syllables (e.g., Delivered from grief).
Scan:
A life of | intensities | wide, immune
Floats behind | the earth and | her life-fret,
A magic of | realms mastered by | spell and rune,
Grandiose, bliss|ful, coloured, | increate.
There were two places in which at the time of writing
there did not seem to me to be a satisfactory completeness and the addition of a
stanza seemed to be called for one at the end of the description of the Life
Heavens, a stanza which would be a closing global description of the essence of
the vital Heavens, the other (less imperatively called for) in the utterance of
the Voice. There it is no doubt very condensed, but it cannot be otherwise. I
thought, however, that one stanza might be added hinting rather than stating the
connection between the two extremes. The connection is between the Divine
suppressed in its opposites and the Divine eternal in its own unveiled and
undescended nature. The idea is that the other worlds are not evolutionary but
typal and each presents in a limited perfection some aspect of the Infinite, but
each complete, perfectly satisfied in itself, not asking or aspiring for
anything else, for self-exceeding of any kind. That aspiration, on the contrary,
is self-imposed on the imperfection of Earth; the very fact of the Divine being
there, but suppressed in its phenomenal
opposites, compels an effort to arrive at the unveiled Divine by ascent, but
also by a descent of the Divine Perfection for evolutionary manifestation here.
That is why the Earth declares itself a deeper Power than Heaven because it
holds in itself that possibility implied in the presence of the suppressed
Divine here, which does not exist in the perfection of the vital (or even the
mental) Heavens.
Jivanmukta
Written in Alcaics. These Alcaics are not perhaps very orthodox. I have treated the close of the first two lines not as a dactyl but as a cretic and have taken the liberty in any stanza of turning this into a double trochee. In one closing line I have started the dactylic run with two short preliminary syllables and there is occasionally a dactyl or anapaest in unlawful places; the dactyls too are not all pure dactyls. The object is to bring in by modulations some variety and a more plastic form and easier run than strict orthodoxy could give. But in essence, I think, the alcaic movement remains in spite of these departures. The basic form of this Alcaic would run,
1, 2 |
|
||
|
3
|
|
|
|
4
|
|
but with an opening to other modulations.
The subject is the Vedantic ideal of the living liberated man jīvanmukta though perhaps I have given a pull towards my own ideal which the strict Vedantin would consider illegitimate.
In Horis Aeternum
This poem on its technical side aims at finding a
halfway house between free verse and regular metrical poetry. It is an attempt
to avoid the chaotic amorphousness of free verse and keep to a regular form based on the fixed number of stresses in each line and
part of a line while yet there shall be a great plasticity and variety in all
the other elements of poetic rhythm, the number of syllables, the management of
the feet, if any, the distribution of the stress-beats, the changing modulation
of the rhythm. In Horis Aeternum was meant as a first essay in this kind,
a very simple and elementary model. The line here is cast into three parts, the
first containing two stresses, the second and third each admitting three, four
such lines rhymed constituting the stanza.