Sri Aurobindo's letters on Savitri - Part 3
Obviously, the Overmind and aesthetics cannot be equated together. Aesthetics is concerned mainly with beauty, but more generally with rasa, the response of the mind, the vital feeling and the sense to a certain "taste" in things which often may be but is not necessarily a spiritual feeling. Aesthetics belongs to the mental range and all that depends upon it; it may degenerate into aestheticism or may exaggerate or narrow itself into some version of the theory of "Art for Art's sake". The Overmind is essentially a spiritual power. Mind in it surpasses its ordinary self and rises and takes its stand on a spiritual foundation. It embraces beauty and sublimates it; it has an essential aesthesis which is not limited by rules and canons; it sees a universal and an eternal beauty while it takes up and transforms all that is limited and particular. It is besides concerned with things other than beauty or aesthetics. It is concerned especially with truth and knowledge or rather with a wisdom that exceeds what we call knowledge; its truth goes beyond truth of fact and truth of thought, even the higher thought which is the first spiritual range of the thinker. It has the truth of spiritual thought, spiritual feeling, spiritual sense and at its highest the truth that comes by the most intimate spiritual touch or by identity. Ultimately, truth and beauty come together and coincide, but in between there is a difference. Overmind in all its dealings puts truth first; it brings out the essential truth (and truths) in things and also its infinite possibilities; it brings out even the truth that lies behind falsehood and error; it brings out the truth of the Inconscient and the truth of the Superconscient and all that lies in between. When it speaks through poetry, this remains its first essential quality; a limited aesthetical artistic aim is not its purpose. It can take up and uplift any or every style or at least put some stamp of itself upon it. More or less all that we have called Overhead poetry has something of this character whether it be from the Overmind or simply intuitive, illumined or strong with the strength of the higher revealing Thought; even when it is not intrinsically Overhead poetry, still some touch can come in. Even Overhead poetry itself does not always deal in what is new or striking or strange; it can take up the obvious, the common, the bare and even the bald, the old, even that which without it would seem stale and hackneyed and raise it to greatness. Take the lines:
The writer is not a poet, not even a conspicuously talented versifier. The statement of the thought is
bare and direct and the rhetorical device used is of the simplest, but the Overhead touch somehow got in
through a passionate emotion and sincerity and is unmistakable. In all poetry a poetical aesthesis of some
kind there must be in the writer and the recipient; but aesthetics is of many kinds and the ordinary kind
is not sufficient for appreciating the Overhead element in poetry. A fundamental and universal aesthesis is
needed, something also more intense that listens, sees and feels from deep within and answers to what is
behind the surface. A greater, wider and deeper aesthesis then which can answer even to the transcendent
and feel too whatever of the transcendent or spiritual enters into the things of life, mind and sense.
The business of the critical intellect is to appreciate and judge and here too it must judge; but it can judge and appreciate rightly here only if it first learns to see and sense inwardly and interpret. But it is dangerous for it to lay down its own laws or even laws and rules which it thinks it can deduce from some observed practice of the Overhead inspiration and use that to wall in the inspiration; for it runs the risk of seeing the Overhead inspiration step across its wall and pass on leaving it bewildered and at a loss. The mere critical intellect not touched by a rarer sight can do little here. We can take an extreme case, for in extreme cases certain incompatibilities come out more clearly. What might be called the John-sonian critical method has obviously little or no place in this field, — the method which expects a precise logical order in thoughts and language and pecks at all that departs from a matter-of-fact or a strict and rational ideative coherence or a sober and restrained classical taste. Johnson himself is plainly out of his element when he deals crudely with one of Gray's delicate trifles and tramples and flounders about in the poet's basin of goldfish breaking it with his heavy and vicious kicks. But also this method is useless in dealing with any kind of romantic poetry. What would the Johnsonian critic say to Shakespeare's famous lines,
1 Quoting from memory, Sri Aurobindo has modified and given a wider poignancy to Richard
Baxter's first line which was in the original (Love breathing thanks and praise):
He would say, "What a mixture of metaphors and jumble of ideas! Only a lunatic could take up arms against a sea! A sea of troubles is too fanciful a metaphor and, in any case, one can't end the sea by opposing it, it is more likely to end you." Shakespeare knew very well what he was doing; he saw the mixture as well as any critic could and he accepted it because it brought home, with an inspired force which a neater language could not have had, the exact feeling and idea that he wanted to bring out. Still more scared would the Johnsonian be by any occult or mystic poetry. The Veda, for instance, uses with what seems like a deliberate recklessness the mixture, at least the association of disparate images, of things not associated together in the material world which in Shakespeare is only an occasional departure. What would the Johnsonian make of this Rk in the Veda: "That splendour of thee, O Fire, which is in heaven and in the earth and in the plants and in the waters and by which thou hast spread out the wide mid-air, is a vivid ocean of light which sees with a divine seeing"? 2 He would say, "What is this nonsense? How can there be a splendour of light in plants and in water and how can an ocean of light see divinely or otherwise? Anyhow, what meaning can there be in all this, it is a senseless mystical jargon." But, apart from these extremes, the mere critical intellect is likely to feel a distaste or an incomprehension with regard to mystical poetry even if that poetry is quite coherent in its ideas and well-appointed in its language. It is bound to stumble over all sorts of things that are contrary to its reason and offensive to its taste: association of contraries, excess or abruptness or crowding of images, disregard of intellectual limitations in the thought, concretisation of abstractions, the treating of things and forces as-if there were a conscious-ness and a personality in them and a hundred other aberrations from the straight intellectual line. It is not likely either to tolerate departures in technique which disregard the canons of an established order. Fortunately here the modernists with all their errors have broken old bounds and the mystic poet may be
1 The original lines (Hamlet, III.i read)
2 Rigveda III, 22.2
more free to invent his own technique.
Here is an instance in point. You refer to certain things I wrote and concessions I made when you were typing an earlier draft of the first books of Savitri. You instance my readiness to correct or do away with repetitions of words or clashes of sound such as "magnificent" in one line and "lucent" in the next. True, but I may observe that at that time I was passing through a transition from the habits of an old inspiration and technique to which I often deferred and the new inspiration that had begun to come. I would still alter this clash because it was a clash, but I would not as in the old days make a fixed rule of this avoidance. If lines like the following were to come to me now,
I would not reject them but accept "magnificent" and "lucent" as entirely in their place. But this would not be an undiscriminating acceptance; for if it had run
I would not be so ready to accept it, for the repetition of sound here occurring in the same place in the line would lack the just rhythmical balance. I have accepted in the present version of Savitri several of the freedoms established by the modernists including internal rhyme, exact assonance of syllable, irregularities introduced into the iambic run of the metre and others which would have been equally painful to an earlier taste. But I have not taken this as a mechanical method or a mannerism, but only where I thought it rhythmically justified; for all freedom must have a truth in it and an order, either a rational or an instinctive and intuitive order.