Sri Aurobindo

Letters on Poetry and Art

SABCL - Volume 27

Part 2. On His Own and Others’ Poetry
Section 2. On Poets and Poetry
Comments on the Work of Poets of the Ashram

Nirodbaran [5]

In yesterday’s poem you hurdled very well indeed. Your comment about the last line has comforted me very much. When I wrote it, it came like a shot; but I didn’t feel its magnificence. The rhythm, word-music, etc. are not that striking. Perhaps you find some inner truth behind these things that magnifies them to you?

Well, have you become a disciple of Baron and the surrealists? You seem to suggest that significance does not matter and need not enter into the account in judging or feeling poetry! Rhythm and word music are indispensable, but are not the whole of poetry. For instance lines like these

In the human heart of Heligoland

A hunger wakes for the silver sea;

For waving the might of his magical wand

God sits on his throne in eternity,

has plenty of rhythm and word music — a surrealist might pass it, but I certainly would not. Your suggestion that my seeing the inner truth behind a line magnifies it to me, i.e. gives it a false value to me which it does not really have as poetry, may or may not be correct. But, certainly, the significance and feeling suggested and borne home by the words and rhythm are in my view a capital part of the value of poetry. Shakespeare’s lines “Absent thee from felicity awhile And in this harsh world draw thy breath in pain” have a skilful and consummate rhythm and word combination, but this gets its full value as the perfect embodiment of a profound and moving significance, the expression in a few words of a whole range of human world-experience. It is for a similar quality that I have marked this line. Coming after the striking and significant image of the stars on the skyline and the single Bliss that is the source of all, it expresses with a great force of poetic vision and emotion the sense of the original Delight contrasted with the world of sorrow born from it and yet the deep presence of that Delight in an unseizable beauty of things. But even isolated and taken by itself there is a profound and moving beauty in the thought, expression and rhythm of the line and it is surprising to me that anyone can miss it. It expresses it not intellectually but through vision and emotion. As for rhythm and word music, it is certainly not striking in the sense of being out of the way or unheard of, but it is perfect — technically in the variation of vowels and the weaving of the consonants and the distribution of longs and shorts, more deeply in the modulated rhythmic movement and the calling in of overtones. I don’t know what more you want in that line.

1 September 1938