<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 3.2 Final//EN">
<html>
<head>
<title>34 mystic.htm</title>
<meta http-equiv="Content-Type" content="text/html;charset=windows-1252">
</head>
<body>

<table border="0" width="100%" cellpadding="6" style="border-collapse: collapse">
	<tr>
		<td>
		<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="center">
		<b><font face="Times New Roman"><i>Mystic Poetry</i> </font></b></p>
		<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="center">&nbsp;</p>

<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
<font face="Times New Roman">I WOULD like to make a distinction between mystic 
poetry and spiritual poetry. To equate mysticism and spirituality is not always 
happy or even correct. Thus, when Tagore sings: </font>
		<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
&nbsp;<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
<font face="Times New Roman">&nbsp;&nbsp;&nbsp;&nbsp; Who comes along singing 
and steering his boat? </font>

<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
<font face="Times New Roman">&nbsp;&nbsp;&nbsp;&nbsp; It seems a face familiar. </font>

<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
<font face="Times New Roman">&nbsp;&nbsp;&nbsp;&nbsp; He goes in full sail, 
turns nor right nor left; </font>

<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
<font face="Times New Roman">&nbsp;&nbsp;&nbsp;&nbsp; The waves break helplessly 
at the sides!<br>
&nbsp;&nbsp;&nbsp;&nbsp; His face looks familiar....<sup>1 </sup></font>
		<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
&nbsp;<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
<font face="Times New Roman"><i>it is</i> mysticism, mysticism <i>in excelsis.</i> 
Even A.E.'s </font>
		<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
&nbsp;<p align=justify style="line-height: 150%; margin-top:0; margin-bottom:0">
<font face="Times New Roman">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; 
I turn<br>
&nbsp;&nbsp;&nbsp; To Thee, invisible, unrumoured, still: </font>

<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
<font face="Times New Roman">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; 
White for Thy whiteness all desires bum.
</font>
		<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
<font face="Times New Roman">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Ah, with what 
longing once again I turn!<sup>2 </sup></font>
		<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
&nbsp;<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
<font face="Times New Roman">is just on the borderland: it has succeeded in 
leaving behind the mystic domain, but has not yet entered the city of the
Spirit—at the most, it has turned the corner and approached the gate. Listen 
now, </font>
		<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
&nbsp;<p align=justify style="line-height: 150%; margin-top:0; margin-bottom:0">
<font face="Times New Roman">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; My soul 
unhorizoned widens to measureless sight,<br>
&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; My body is 
God's happy living tool,<br>
&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; 
My spirit a vast sun of deathless light.<sup>3 </sup></font>
		<p align=justify style="line-height: 150%; margin-top:0; margin-bottom:0">
&nbsp;<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
<font face="Times New Roman">&nbsp;or the more occult yet luminously vibrant 
lines: </font>
		<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
&nbsp;<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
<font face="Times New Roman" size="2">1 &quot;The Golden Boat.&quot; </font>

<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
<font face="Times New Roman" size="2">2&nbsp; A.E.: &quot;Desire.&quot; </font>

<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
<font face="Times New Roman" size="2">3&nbsp; Sri Aurobindo: &quot;Transformation.&quot; </font>
		<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="center">
<font face="Times New Roman">Page 292</font><hr>

<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
<font face="Times New Roman">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; He stood upon a threshold 
serpent-watched, </font>

		<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
<font face="Times New Roman">&nbsp;&nbsp;&nbsp;&nbsp; And peered into gleaming 
endless corridors,</font><p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
<font face="Times New Roman">&nbsp;&nbsp;&nbsp;&nbsp; Silent and listening in the 
silent heart </font>

		<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
<font face="Times New Roman">&nbsp;&nbsp;&nbsp;&nbsp; For the coming of the new 
and the unknown. </font>

<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
<font face="Times New Roman">&nbsp;&nbsp;&nbsp;&nbsp; He gazed across the empty 
stillness</font><p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
<font face="Times New Roman">&nbsp;&nbsp;&nbsp;&nbsp; And heard the footsteps of the 
undreamed<b> </b>Idea </font>

		<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
<font face="Times New Roman">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; In the far avenues 
of the Beyond. </font>

<p align=justify style="line-height: 150%; margin-top:0; margin-bottom:0">
<font face="Times New Roman">&nbsp;&nbsp;&nbsp;&nbsp; He heard the secret Voice, 
the Word that knows, </font>

<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
<font face="Times New Roman">&nbsp;&nbsp;&nbsp;&nbsp; And saw the secret face 
that is our own.<sup>1</sup>... </font>
		<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
&nbsp;<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
<font face="Times New Roman">&nbsp;&nbsp;&nbsp; Is there not a fundamental 
difference, difference not merely with regard to the poetic personality, but 
with regard to the very
stuff of consciousness ? There is direct vision here, the fullness of light, the 
native rhythm and substance of revelation, as if </font>
		<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
&nbsp;<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
<font face="Times New Roman">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; In the dead wall 
closing from a wider self,</font><p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
<font face="Times New Roman">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Parting a door to 
things unseized by earth-sense,</font><p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
<font face="Times New Roman">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; It lifted the heavy 
curtain of the flesh.<sup>2. </sup>.. </font>
		<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
&nbsp;<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
<font face="Times New Roman">&nbsp;&nbsp;&nbsp;&nbsp; When the Spirit speaks its 
own language in its own name, we have spiritual poetry. If, however, the Spirit 
speaks— from choice or necessity—an alien language and manner, e.g., that of a 
profane consciousness, or of the consciousness of another domain, idealistic or 
philosophical or even occult, puts on or imitates spirit's language and manner, 
we have what we propose to call mystic poetry proper. When Samain sings of the 
body of the dancer: </font>
		<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
&nbsp;<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
<font face="Times New Roman"><i>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Et Pannyre 
devient fleur,flamme, papillon!...</i></font><p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
<font face="Times New Roman"><i>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Comme au travers d'une 
eau soyeuse et continue;</i> </font>

<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
<font face="Times New Roman"><i>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Dans un divin eclair, 
montre Pannyre nue.<sup>3</sup></i><sup>&nbsp; </sup></font>
		<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
&nbsp;<p style="line-height: 150%; margin-top:0; margin-bottom:0; text-indent:25px" align="justify">
<font face="Times New Roman" size="2"><i>1</i> Sri Aurobindo: <i>Switri,</i> 
Book<b> </b> I, Canto<b> </b>III. </font>

<p style="line-height: 150%; margin-top:0; margin-bottom:0; text-indent:25px" align="justify">
<font face="Times New Roman"><font size="2">2 Ibid.</font><br>
<font size="2">Later version: </font></font>

<p style="line-height: 150%; margin-top:0; margin-bottom:0; text-indent:25px" align="justify">
<font face="Times New Roman" size="2">In the dead wall closing us from wider 
self,<b> 
</b>Into a secrecy of apparent sleep, The mystic tract beyond our waking 
thoughts,<br>
A door parted, built in by Matter's force, Releasing things unseized by earthly 
sense: </font>

<p style="line-height: 150%; margin-top:0; margin-bottom:0; text-indent:25px" align="justify">
<font face="Times New Roman"><font size="2">3 Albert Samain: &quot;Pannyre aux talons 
d'or&quot;—<i>Awe Flams du Vass. </i>And Pannyre became flower, flame, butterfly....<br>
As though through a silky continuity of<b> </b> water In a divine flash showed 
Pannyre<b> </b>naked.</font> </font>
		<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="center">
<font face="Times New Roman">Page 293</font><hr>

<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
<font face="Times New Roman">&nbsp;or when Mallarme describes the laurel flower: </font>
		<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
&nbsp;<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
<font face="Times New Roman"><i>&nbsp;&nbsp;&nbsp;&nbsp; Vermeil comme Ie pur 
orteil du seraphin </i></font>
		<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
<i><font face="Times New Roman">&nbsp;&nbsp;&nbsp; </font></i>
<font face="Times New Roman"><i>Que rougit la pudeur des aurores foulees,<sup>1</sup></i><sup>
</sup></font>
		<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
&nbsp;<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
<font face="Times New Roman">both so idealise, etherealize, almost spiritualise 
the earth and the flesh that they seem ostensibly only a vesture of something 
else behind, something mysterious and other-worldly, something other than, even 
just opposite to what they actually are or appear to be. That is the <i>mystique</i> 
of the senses which is a very characteristic feature of some of the best poetic 
inspirations of France. Baudelaire too, the Satanic poet, by the sheer intensity 
of sympathy and sincerity, pierces as it were into the soul of things and makes 
the ugly, the unclean, the diseased, the sordid throb and glow with an almost 
celestial light. Here is the Baudelairean manner: </font>
		<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
&nbsp;<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
<font face="Times New Roman"><i>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; 
Tout casses</i> </font>

<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
<font face="Times New Roman"><i>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Qu'ils sont. ILs ont des yeux per fonts comme line vrille, </i></font>
		<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
<i><font face="Times New Roman">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </font></i>
<font face="Times New Roman"><i>Luisant comme ces trous ou I'eau dort dans la 
nuit;</i> </font>

<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
<font face="Times New Roman"><i>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Ils ont les yeux 
divins de la petite fille.<sup>2</sup>...</i> </font>
		<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
&nbsp;<p style="line-height: 150%; margin-top:0; margin-bottom:0; text-indent:25px" align="justify">
<font face="Times New Roman">It is not merely by addressing the beloved as your 
goddess that you can attain this mysticism; the Elizabethan did that in merry 
abundance, <i>ad nauseam.</i> A finer temper, a more delicate touch, a more 
subtle sensitiveness and a kind of artistic wizardry are necessary to tune the 
body into a rhythm of the spirit. The other line of mysticism is common enough, 
viz., to express the spirit in terms and rhythms of the flesh. Tagore did that 
liberally, the Vaishnava poets did nothing but that,
the Song of Solomon is an exquisite example of that procedure. There is here, 
however, a difference in degrees which is an interesting feature worth noting. 
Thus in Tagore the reference to the spirit is evident, that is the major or 
central chord; the earthly and the sensuous are meant as the name </font>
		<p style="line-height: 150%; margin-top:0; margin-bottom:0; text-indent:25px" align="justify">
&nbsp;<p style="line-height: 150%; margin-top:0; margin-bottom:0; text-indent:25px" align="justify">
<font face="Times New Roman" size="2">1 Mallarme: &quot;Les Fleurs&quot;.<br>
&quot;Vermilion like the pure toe of the seraph<br>
Reddened by the blush of dawns it trampled through.&quot; </font>

<p style="line-height: 150%; margin-top:0; margin-bottom:0; text-indent:25px" align="justify">
<font face="Times New Roman" size="2">* &quot;Quite broken they are, yet they have 
eyes that<b> </b> pierce like a drill, shine like<b>
</b>those holes in which the water sleeps at night: they<b> </b>have the divine 
eyes of a little<b>
</b>girl.<b>&quot;</b>—Baudelaire, &quot;Les petites vieilles&quot; </font>
		<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="center">
<font face="Times New Roman">Page 294</font><hr>

<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
<font face="Times New Roman">and form, as the body to render concrete, living 
and vibrant, near and intimate what otherwise would perhaps be vague and 
abstract, afar, aloof. But this mundane or human appearance has a value in so 
far as it is a support, a pointer or symbol of the spiritual import. And the 
mysticism lies precisely in the play of the two, a hide-and-seek between them. 
On the other hand, as I said, the greater portion of Vaishnava poetry, like a 
precious and beautiful casket, no doubt, hides the spirituai import: not the 
pure significance but the sign and symbol are luxuriously elaborated, they are 
placed in the foreground in all magnificence: as if it was their very purpose to 
conceal the real meaning. When the Vaishnava poet says, </font>
		<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
&nbsp;<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
<font face="Times New Roman">&nbsp;&nbsp;&nbsp;&nbsp; 0 love, what more shall I, 
shall Radha speak, </font>

<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
<font face="Times New Roman">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; 
Since mortal words are weak ? In life, in death, </font>

<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
<font face="Times New Roman">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; 
In being and in breath
</font>
		<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
<font face="Times New Roman">&nbsp;&nbsp;&nbsp;&nbsp; No other lord but thee can 
Radha seek.<sup>1 </sup></font>
		<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
&nbsp;<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
<font face="Times New Roman">&nbsp;&nbsp;&nbsp;&nbsp; there is nothing in the 
matter or manner which can indicate, to the uninitiated, any reference to the 
Spirit or the Divine. Or this again, </font>
		<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
&nbsp;<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
<font face="Times New Roman">&nbsp;&nbsp;&nbsp;&nbsp; I have gazed upon beauty 
from my very birth </font>

<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
<font face="Times New Roman">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; 
and yet my eyes are not satiated; I have rested bosom upon bosom </font>

<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
<font face="Times New Roman">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; 
for thousands
</font>
		<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
<font face="Times New Roman">&nbsp;&nbsp;&nbsp;&nbsp; of aeons and yet my heart 
is not soothed.... </font>
		<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
&nbsp;<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
<font face="Times New Roman">they all give a very beautiful, a very poignant 
experience of . love, but one does not know if it is love human or divine, if it
is soul's love or mere bodily love. </font>

<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
<font face="Times New Roman">&nbsp;&nbsp;&nbsp;&nbsp; The famous Song of Solomon 
too is not on a different footing, when the poet cries: </font>
		<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
&nbsp;<p align=justify style="line-height: 150%; margin-top:0; margin-bottom:0">
<font face="Times New Roman">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Thou hast 
ravished my heart, my sister, my spouse; </font>

<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
<font face="Times New Roman">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; 
thou hast </font>

<p align=justify style="line-height: 150%; margin-top:0; margin-bottom:0">
<font face="Times New Roman">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; 
ravished my heart with one of thine eyes, with<br>
&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; one chain of thy neck....</font><p align=justify style="line-height: 150%; margin-top:0; margin-bottom:0">
<font face="Times New Roman"><br>
<font size="2">Sri Aurobindo: &quot;Radha's Appeal&quot; in <i>Songs to Myriilhh</i>
</font></font>
		<p align=center style="line-height: 150%; margin-top:0; margin-bottom:0">
<font face="Times New Roman">Page 295</font><hr>

<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
<font face="Times New Roman">one can explain that it is the Christ calling the 
Church or God appealing to the human soul or one can simply find in it nothing 
more than a man pining for his woman. Anyhow I would not call it spiritual 
poetry or even mystic poetry. For in itself it does not carry any double or 
oblique meaning, there is no suggestion that it is applicable to other fields or 
domains of consciousness: it is, as it were, monovalent. An allegory is never 
mysticism. There is more mysticism in Wordsworth,
even in Shelley and Keats, than in Spenser, for example, who stands in this 
respect on the same ground as Bunyan in his <i>The Pilgrim's Progress.</i> Take 
Wordsworth as a Nature-worshipper, </font>
		<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
&nbsp;<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
<font face="Times New Roman">&nbsp;&nbsp;&nbsp;&nbsp; Breaking the silence of 
the seas Among the farthest Hebrides.<sup>1 </sup></font>
		<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
&nbsp;<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
<font face="Times New Roman">or Wordsworth the Pagan, </font>
		<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
&nbsp;<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
<font face="Times New Roman">&nbsp;&nbsp;&nbsp;&nbsp; Have sight of Proteus 
rising from the sea; </font>

<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
<font face="Times New Roman">&nbsp;&nbsp;&nbsp;&nbsp; Or hear old Triton blow 
his wreathed horn.<sup>2 </sup></font>
		<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
&nbsp;<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
<font face="Times New Roman">I do not know if this is not mysticism, what else 
is. Neither is religious poetry true mysticism (or true spirituality). I find 
more mysticism in </font>

<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
<font face="Times New Roman">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; 
Come, let us run
</font>
		<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
<font face="Times New Roman">&nbsp;&nbsp;&nbsp;&nbsp; And give the world a 
girdle with the sun !<sup>3 </sup></font>
		<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
&nbsp;<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
<font face="Times New Roman">than in this pious morning hymn, </font>
		<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
&nbsp;<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
<font face="Times New Roman">&nbsp;&nbsp;&nbsp;&nbsp; Heaven is, dear Lord! 
where'er Thou art,
</font>
		<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
<font face="Times New Roman">&nbsp;&nbsp;&nbsp;&nbsp; 0 never then from me 
depart !<sup>4 </sup></font>
		<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
&nbsp;<p style="line-height: 150%; margin-top:0; margin-bottom:0; text-indent:25px" align="justify">
<font face="Times New Roman">I am anticipating however, I shall come to the 
point presently again. I was speaking of spiritual poetry. Listen once more to 
these simple, transparent, yet vibrant lines: </font>
		<p style="line-height: 150%; margin-top:0; margin-bottom:0; text-indent:25px" align="justify">
&nbsp;<p style="line-height: 150%; margin-top:0; margin-bottom:0; text-indent:25px" align="justify">
<font face="Times New Roman">But how shall body not seem a hollow space When the 
soul bears eternity's embrace?<sup>5 </sup></font>
		<p style="line-height: 150%; margin-top:0; margin-bottom:0; text-indent:25px" align="justify">
&nbsp;<p style="line-height: 150%; margin-top:0; margin-bottom:0; text-indent:25px" align="justify">
<font face="Times New Roman" size="2">1 &quot;The Solitary Reaper&quot;.<br>
2.&quot;The World is too much<b> </b>with Us<b>&quot;...</b> </font>

<p style="line-height: 150%; margin-top:0; margin-bottom:0; text-indent:25px" align="justify">
<font face="Times New Roman" size="2">3*John Hall: &quot;To his Tutor&quot;. </font>

<p style="line-height: 150%; margin-top:0; margin-bottom:0; text-indent:25px" align="justify">
<font face="Times New Roman" size="2">4<b>*</b>Ken: &quot;A Morning Hymn&quot;. </font>

<p style="line-height: 150%; margin-top:0; margin-bottom:0; text-indent:25px" align="justify">
<font face="Times New Roman" size="2">5 K. D. Sethna: &quot;Deluge&quot; in <i>The Secret 
Splendour.</i> </font>
		<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="center">
<font face="Times New Roman">Page 296</font><hr>

<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
<font face="Times New Roman">or these again equally fraught with an intense 
experience— a quiet in-gathered luminous consciousness: </font>
		<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
&nbsp;<p style="line-height: 150%; margin-top:0; margin-bottom:0; margin-left:100px" align="justify">
<font face="Times New Roman">I held my breath and from a world of din&nbsp; </font>

<p style="line-height: 150%; margin-top:0; margin-bottom:0; margin-left:100px" align="justify">
<font face="Times New Roman">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Solitarily I sat apart </font>
		<p style="line-height: 150%; margin-top:0; margin-bottom:0; margin-left:100px" align="justify">
<font face="Times New Roman">And felt the being vistaed 
into fire </font>

<p style="line-height: 150%; margin-top:0; margin-bottom:0; margin-left:100px" align="justify">
<font face="Times New Roman">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Of truth which did acquire </font>

<p style="line-height: 150%; margin-top:0; margin-bottom:0; margin-left:100px" align="justify">
<font face="Times New Roman">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Rhythm in the heart, </font>
		<p style="line-height: 150%; margin-top:0; margin-bottom:0; margin-left:100px" align="justify">
<font face="Times New Roman">When lo, I knew the worlds 
without as worlds </font>

<p style="line-height: 150%; margin-top:0; margin-bottom:0; margin-left:100px" align="justify">
<font face="Times New Roman">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; within.<sup>1 </sup></font>
		<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
&nbsp;<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
<font face="Times New Roman">But first let us go to the<i> fons et origo,</i> be 
acquainted with the very genuine article in its purity and perfection, in its 
essential simplicity. I do not know of any other ideal exemplar than the 
Upanishad. Thus, </font>
		<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
&nbsp;<p style="margin-top:0; margin-bottom:0; margin-left:100px" align="justify">
<font face="Times New Roman">There the sun shines not and the moon has no </font>
		<p style="margin-top:0; margin-bottom:0; margin-left:100px" align="justify">
<font face="Times New Roman">splendour and the stars are blind; there these </font>
		<p style="margin-top:0; margin-bottom:0; margin-left:100px" align="justify">
<font face="Times New Roman">lightnings flash not, nor any earthly fire. For all </font>
		<p style="margin-top:0; margin-bottom:0; margin-left:100px" align="justify">
<font face="Times New Roman">that is bright is but the shadow of His brightness </font>
		<p style="margin-top:0; margin-bottom:0; margin-left:100px" align="justify">
<font face="Times New Roman">and by His shining all this shineth.<sup>2 </sup></font>
		<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
&nbsp;<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
<font face="Times New Roman">Or this one equally deep, luminous and revealing: </font>
		<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
&nbsp;<p style="line-height: 150%; margin-top:0; margin-bottom:0; margin-left:100px" align="justify">
<font face="Times New Roman">Even as one Fire hath entered into the world but </font>
		<p style="line-height: 150%; margin-top:0; margin-bottom:0; margin-left:100px" align="justify">
<font face="Times New Roman">it shapeth itself to the form it meeteth, so there </font>
		<p style="line-height: 150%; margin-top:0; margin-bottom:0; margin-left:100px" align="justify">
<font face="Times New Roman">is one Spirit within all creatures but it shapeth </font>
		<p style="line-height: 150%; margin-top:0; margin-bottom:0; margin-left:100px" align="justify">
<font face="Times New Roman">itself to form and form; it is likewise outside 
these.<sup>3 </sup></font>
		<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
&nbsp;<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
<font face="Times New Roman">This is spiritual matter and spiritual manner that 
can never be improved upon. This is spiritual poetry in its quintessence. I am 
referring naturally here to the original and not to the translation which can 
never do full justice, even at its very best, to the poetic value in question. 
For apart from the individual genius of the poet, the greatness of the language, 
the instrument used by the poet, is also involved. It may well be what is 
comparatively easy and natural in the language of the </font>
		<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
&nbsp;<p style="line-height: 150%; margin-top:0; margin-bottom:0; text-indent:25px" align="justify">
<font face="Times New Roman" size="2">1 Harindranath Chattopadhyaya: &quot;Blue 
Profound&quot; in <i>Strange Journey.</i> </font>

<p style="line-height: 150%; margin-top:0; margin-bottom:0; text-indent:25px" align="justify">
<font face="Times New Roman" size="2">2 <i>Katha Upanishad.<br>
</i>8 Ibid. </font>
		<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="center">
<font face="Times New Roman">Page 297</font><hr>

<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
<font face="Times New Roman">gods <i>(devabhasha)</i> would mean a <i>tour 
de force,</i> if not altogether an impossibility, in a human language. The 
Sanskrit language was moulded and fashioned in the hands of the Rishis, that is 
to say, those who lived and moved and had their being in the spiritual 
consciousness. The Hebrew or even the Zend does not seem to have reached that 
peak, that absoluteness of the' spiritual tone which seems inherent in the 
Indian tongue, although those too breathed and grew in a spiritual atmosphere. 
The later languages, however, Greek or Latin or their modern descendants, have 
gone still farther from the source, they are much nearer to the earth and are 
suffused with the smell and effluvia of this vale of tears. </font>

<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
<font face="Times New Roman">&nbsp;&nbsp;&nbsp;&nbsp; Among the ancients, 
strictly speaking, the later classical Lucretius was a remarkable phenomenon. By 
nature he was a poet, but his mental interest lay in metaphysical speculation, 
in philosophy, and unpoetical business. He turned away from arms and heroes, 
wrath and love and, like Seneca and Aurelius,
gave himself up to moralising and philosophising, delving into the mystery, the 
why and the how and the whither of it all. He chose a dangerous subject for his 
poetic inspiration and yet it cannot be said that his attempt was a failure. 
Lucretius was not a religious or spiritual poet; he was rather Marxian,—
atheistic, materialistic. The dialectical materialism of today could find in him 
a lot of nourishment and support. But whatever the content, the manner has made 
a whole difference. There was an idealism, a clarity of vision and an intensity 
of perception; which however scientific apparently, gave his creation a note, an 
accent, an atmosphere high, tense, aloof, ascetic, at times bordering on the 
suprasensual. It was a high light, a force of consciousness that at its highest 
pitch had the
ring and vibration of something almost spiritual. For the basic principle of 
Lucretius' inspiration is a large thought-force, a tense perception, a taut 
nervous reaction—it is not, of course, the identity in being with the inner 
realities which is the hallmark of a spiritual conciousness, yet it is 
something on the way<br>
towards that. </font>

<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
<font face="Times New Roman">&nbsp;&nbsp;&nbsp;&nbsp; There have been other 
philosophical poets, a good number of them since then—not merely rationally 
philosophical, a s was the vogue in the eighteenth century, but metaphysically 
philosophical, that is<b> </b> to say, inquiring not merely into the </font>
		<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="center">
<font face="Times New Roman">Page 298</font><hr>

		<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
<font face="Times New Roman">phenomenal but also into the labyrinths of the 
noumenal, investigating not only what meets the senses, but also things that are 
behind or beyond. Amidst the earlier efflorescence of this movement the most 
outstanding philosopher poet is of course Dante, the Dante of <i>Paradiso,</i> a 
philosopher in the mediaeval manner and to the extent a lesser poet, according 
to some. Goethe is another, almost in the grand modern manner. Wordsworth is 
full of metaphysics from the crown of his head to the tip of his toe although 
his poetry, perhaps the major portion of it, had to undergo some kind of 
martyrdom because of it. And Shelley, the supremely lyric singer, has had a very 
rich undertone of thought-content genuinely meta-physical. And Browning and 
Arnold and Hardy—indeed, if we come to the more moderns, we have to cite the 
whole host of them, none can be excepted. We left out the Metaphysicals, for 
they can be grouped<b> </b> as a set apart. They are not so much metaphysical as 
theological, religious. They have a brain-content stirring with theological 
problems and speculations, replete with scintillating conceits , and intricate fancies. Perhaps it is because of 
this philosophical burden, this intellectual bias that the Metaphysicals went 
into obscurity for about two centuries and it is precisely because<b> </b>of ' 
that that they are slowly coming out to the forefront and assuming a special 
value with the moderns. For the modern mind is characteristically thoughtful, 
introspective—&quot;introvert&quot; —and philosophical; even the exact physical sciences 
of today are rounded off in the end with metaphysics. </font>

<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
<font face="Times New Roman">&nbsp;&nbsp;&nbsp;&nbsp; The growth of a 
philosophical thought-content in poetry has been inevitable. For man's 
consciousness in its evolutionary march is driving towards a consummation which 
includes and presupposes a development along that line. The <i>mot d'ordre</i> 
in old-world poetry was &quot;fancy&quot;, imagination—remember the famous lines of 
Shakespeare characterising a poet;&nbsp; in modern times it is Thought, even or 
perhaps particularly abstract metaphysical thought. Perceptions, experiences, 
realisations—of whatever order or world they may be—expressed in sensitive and 
aesthetic terms and figures, that is poetry known and appreciated familiarly. 
But a new turn has been coming on with an increasing insistence—a definite time 
has been given to that, since the Renaissance, it is said: it is </font>

		<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="center">
<font face="Times New Roman">Page 299</font><hr>

<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
<font face="Times New Roman">the growing importance of Thought or brain-power as 
a medium or atmosphere in which poetic experiences find a sober and clear 
articulation, a definite and strong formulation. Rationalisation of all 
experiences and realisations is the key-note of the modern mentality. Even when 
it is said that reason and rationality are not ultimate or final or significant 
realities, that the irrational or the submental plays a greater role in our 
consciousness and that art and poetry likewise should be the
expression of such a mentality, even then, all this is said and done in and 
through a strong rational and intellectual stress and frame the like of which 
cannot be found in the old-world frankly non-intellectual creations. </font>

<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
<font face="Times New Roman">&nbsp;&nbsp;&nbsp;&nbsp; The religious, the mystic 
or the spiritual man was, in the past, more or less methodically and absolutely 
non-intellectual and anti-intellectual: but the modem age, the age of scientific 
culture, is tending to make him as strongly intellectual: he has to explain, not 
only present the object but show up its mechanism also—explain to himself so 
that he may have a total understanding and a firmer grasp of the thing which he 
presents and explains to others as well who demand a similar<br>
approach. He feels the necessity of explaining, giving the rationality—the 
rationale—the science, of his art; for without that, it appears to him, a solid 
ground is not given to the structure of his experience: analytic power, 
preoccupation with methodology seems inherent in the modern creative 
consciousness. </font>

<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
<font face="Times New Roman">&nbsp;&nbsp;&nbsp;&nbsp; The philosophical trend in 
poetry has an interesting history with a significant role: it has acted as a 
force of purification, of sublimation, of katharsis. As man has risen from his 
exclusively or predominantly vital nature into an increasing mental poise, in 
the same way his creative activities too have taken this new
turn and status. In the earlier stages of evolution the mental life is 
secondary, subordinate to the physico-vital life; it is only subsequently that 
the mental finds an independent and self-sufficient reality. A similar movement 
is reflected in poetic and artistic creation too: the thinker, the philosopher 
remains in the background at the outset, he looks out; peers through chinks and 
holes from time to time; later he comes to the forefront, assumes a major<b> 
</b> role in man's<b> 
</b>creative<b> 
</b>activity. </font>

<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
<font face="Times New Roman">&nbsp;&nbsp;&nbsp;&nbsp; Man's consciousness is 
further to rise from the mental to </font>
		<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="center">
<font face="Times New Roman">Page 300</font><hr>

		<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
<font face="Times New Roman">over-mental regions. Accordingly, his life and 
activities and along with that his artistic creations too will take on a new 
tone and rhythm, a new mould and constitution even. For this transition, the 
higher mental—which is normally the field of philosophical and idealistic 
activities—serves as the Paraclete,
the Intercessor; it takes up the lower functionings of the consciousness, which 
are intense in their own way, but narrow and turbid, and gives, by purifying and 
enlarging, a wider frame, a more luminous pattern, a more subtly articulated 
form for the higher, vaster and deeper realities, truths and harmonies to 
express and manifest. In the old-world spiritual and mystic poets, this 
intervening medium was overlooked—for evident reasons, for human reason or even 
intelligence is a
double-edged instrument, it can make as well as mar, it has a light that most 
often and naturally shuts off other higher lights beyond it. So it was bypassed, 
some kind of direct and immediate contact was sought to be established between 
the normal and the transcendental. The result was, as I have pointed out, a pure 
spiritual poetry, on the one hand, as m the Upanishads, or, on the other, 
religious poetry of various grades and denominations that spoke of the spiritual 
but in the terms and in the manner of the mundane, at least very much coloured 
and dominated by the latter. Vyasa was the great legendary figure in India who, 
as is shown in his Mahabharata, seems to have been one of the pioneers, if not 
the pioneer, to forge and build the missing link of Thought Power. The exemplar 
of the
manner is the Gita. Valmiki's represented a more ancient and primary 
inspiration, of a vast vital sensibility, something of the kind that was at the 
basis of Homer's genius. In Greece it was Socrates who initiated the movement of 
speculative philosophy and the emphasis of intellectual power slowly began to 
find expression in the later poets, Sophocles and Euripides. But all these were 
very simple beginnings. The moderns go in for something more radical and 
totalitarian. The rationalising element instead of being an additional or 
subordinate or contributing factor, must itself give its norm and form, its own 
substance and manner to the creative activity. Such is the present-day demand. </font>

<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
<font face="Times New Roman">&nbsp;&nbsp;&nbsp;&nbsp; The earliest preoccupation 
of man was religious; even when he concerned himself with the world and worldly 
things, he </font>
		<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="center">
<font face="Times New Roman">Page 301</font><hr>

<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
<font face="Times New Roman">referred all that to the other world, thought of 
gods and goddesses, of after-death and otherwhere. That also will be his last 
and ultimate preoccupation though in a somewhat different way; when he has 
passed through a process of purification and growth, a &quot;sea-change&quot;. For 
although religion is an aspiration towards the truth and reality beyond or 
behind the world, it is married too much to man's actual worldly nature and 
carries always with it the shadow of profanity.&nbsp; </font>

<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
<font face="Times New Roman">&nbsp;&nbsp;&nbsp;&nbsp; The religious poet seeks 
to tone down or cover up the mundane taint, since he does not know how to 
transcend it totally, in two ways: (1) by a strong thought-element, the 
metaphysical way, as it may be called and (2) by a strong symbolism, the occult 
way. Donne takes to the first course, Blake the second. And it is the alchemy 
brought to bear in either of these processes that transforms the merely 
religious into the mystic poet. The truly spiritual, as I have said, is still
a higher grade of consciousness: what I call Spirit's own poetry has its own 
matter and manner—<i>swabhava</i> and <i>swadharma.
</i>A nearest approach to it is echoed in those famous lines<b> 
</b>of<b> 
</b>Blake: </font>
		<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
&nbsp;<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
<font face="Times New Roman">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; To see a World in a grain 
of Sand,
</font>
		<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
<font face="Times New Roman">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; And a Heaven in a Wild 
Flower,
</font>
		<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
<font face="Times New Roman">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Hold Infinity in the palm 
of your hand,
</font>
		<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
<font face="Times New Roman">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; And Eternity in an hour.<sup>1</sup></font><p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
<font face="Times New Roman">&nbsp;</font><p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
<font face="Times New Roman">And a considerable impact of it is vibrant and 
aglow in these lines of a contemporary Indian poet: </font>
		<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
&nbsp;<p style="line-height: 150%; margin-top:0; margin-bottom:0; margin-left:30px" align="justify">
<font face="Times New Roman">Sky-lucent Bliss untouched by earthiness!<br>
............lean down from above, </font>

<p style="line-height: 150%; margin-top:0; margin-bottom:0; margin-left:30px" align="justify">
<font face="Times New Roman">Temper the unborn light no thought<b> 
</b>can trace,<b><br>
</b>Suffuse my mood with a familiar glow.<br>
For 'tis with mouth of clay I supplicate: </font>

<p style="line-height: 150%; margin-top:0; margin-bottom:0; margin-left:30px" align="justify">
<font face="Times New Roman">Speak to me heart to heart words intimate,<br>
And all Thy formless glory turn to love<br>
And mould Thy love into a human face.<sup>2 </sup> </font>
		<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
&nbsp;<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
<font face="Times New Roman" size="2">Auguries of Innocence&quot;.<br>
K. D. Sethna: &quot;This Errant Life&quot; in <i>The Semt Splendour.</i> </font>
		<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="center">
<font face="Times New Roman">Page 302</font><hr>

<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
<font face="Times New Roman">Something of the fullness of spiritual matter and 
manner<br>
overflows in these epic lines: </font>
		<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
&nbsp;<p style="line-height: 150%; margin-top:0; margin-bottom:0; margin-left:30px" align="justify">
<font face="Times New Roman">His spirit mingles with eternity's heart<br>
And bears the silence of the Infinite. </font>

<p style="line-height: 150%; margin-top:0; margin-bottom:0; margin-left:30px" align="justify">
<font face="Times New Roman">In a divine retreat from mortal thought,<br>
In a prodigious gesture of soul-sight,<br>
His being towered into pathless heights,<br>
Naked of its vesture of humanity.<sup>1 </sup> </font>
		<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
&nbsp;<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
<font face="Times New Roman">or this simple single line pregnant no less with 
the self-same<br>
fullness: </font>
		<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
&nbsp;<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
<font face="Times New Roman">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; An eye awake in voiceless 
heights of trance,<sup>2</sup> </font>
		<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
&nbsp;<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
<font face="Times New Roman">&nbsp;&nbsp;&nbsp; This, I say, is something different from the 
religious and
even from the mystic. It is away from the merely religious,
because it is naked of the vesture of humanity (in spite of a
human face that masks it at times); it is something more than
the merely mystic, for it does not stop being a signpost or an
indication to the Beyond, but is itself the presence and embodiment of the Beyond. The mystic gives us, we can say, the
magic of the Infinite; what I term the spiritual, the spiritual
proper, gives in addition the logic of the Infinite. At least this
is what distinguishes modern spiritual consciousness from the
ancient, that is, Upanishadic spiritual consciousness. The
Upanishad gives expression to the spiritual consciousness in
its original and pristine purity and perfection, in its essential
simplicity. It did not buttress itself with any logic. It is the
record of fundamental experiences and there was no question
of any logical exposition. But, as I have said, the modern
mind requires and demands a logical element in its perceptions
and presentations. Also it must needs be a different kind of
logic that can satisfy and satisfy wholly the deeper and subtler
movements of a modern consciousness. For the philosophical
poet of an earlier age, when he had recourse to logic, it was
the logic of the finite that always gave him the frame, unless </font>
		<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
&nbsp;<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
<font face="Times New Roman"><b>&nbsp;</b><font size="2">Sri Aurobindo: <i>Savitri,</i> Book I, 
Canto V.<br>
&nbsp;Ibid., Book I, Canto III. </font> </font>
		<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="center">
<font face="Times New Roman">Page 303</font><hr>

<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
<font face="Times New Roman">he threw the whole thing overboard and leaped 
straight into the occult, the illogical and the a logical, like Blake, for 
instance. Let me illustrate and compare a little. When the older poet explains <i>
indriyani hqyan ahuh,</i> it is an allegory he resorts to, it is the logic of 
the finite he marshals to point to the infinite and the beyond. The stress of 
reason is apparent and effective too, but the pattern is what we are normally 
familiar with— the movement, we can say, is almost Aristotelian in its rigour. 
Now let us turn to the following: </font>
		<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
&nbsp;<p style="line-height: 150%; margin-top:0; margin-bottom:0; margin-left:30px" align="justify">
<font face="Times New Roman">Our life is a holocaust of the Supreme.<br>
The great World-Mother by her sacrifice<br>
Has made her soul the body of our state; </font>

<p style="line-height: 150%; margin-top:0; margin-bottom:0; margin-left:30px" align="justify">
<font face="Times New Roman">Accepting sorrow and unconsciousness </font>
		<p style="line-height: 150%; margin-top:0; margin-bottom:0; margin-left:30px" align="justify">
<font face="Times New Roman">Divinity's 
lapse from its own splendours wove </font>
		<p style="line-height: 150%; margin-top:0; margin-bottom:0; margin-left:30px" align="justify">
<font face="Times New Roman">The many-patterned ground of all we are.<br>
An idol of self is our mortality.<sup>1 </sup> </font>
		<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
&nbsp;<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
<font face="Times New Roman">or this chiselled bit of diamond, </font>
		<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
&nbsp;<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
<font face="Times New Roman">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; An inconscient Power 
groped towards consciousness,
</font>
		<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
<font face="Times New Roman">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Matter smitten by Matter 
glimmered to sense,<sup>2</sup> </font>
		<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
&nbsp;<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
<font face="Times New Roman">Here we have a pattern of thought-movement that 
does not seem to follow the lineaments of the normal brain-mind consciousness, 
although it too has a basis there: our customary line of reasoning receives a 
sudden shock, as it were, and then is shaken; moved, lifted up, 
transported—gradually or suddenly, according to the temperament of the listener. 
Besides, we have here the peculiar <i>modern</i> tone, which, for want of a 
better term, may be described as <i>scientific.</i> The impress—<br>
<i>imprimatur—</i>of Science is its rational coherence, justifying or justified 
by sense data, by physical experience, which gives us the pattern or model of an 
inexorable natural law. Here too we feel we are in the domain of such natural 
law but lifted on to a higher level. </font>

<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
<font face="Times New Roman">&nbsp;&nbsp;&nbsp;&nbsp; This is what I was trying 
to make out as the distinguishing trait of the real spiritual consciousness that 
seems to be developing </font>
		<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
&nbsp;<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
<font face="Times New Roman" size="2">1 Sri Aurobindo: <i>Sasitri,</i> Book II, Canto I. </font>

<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
<font face="Times New Roman" size="2">2 Ibid., Book II, Canto IV. </font>
		<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="center">
<font face="Times New Roman">Page 304</font><hr>

		<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
<font face="Times New Roman">in the poetic creation of tomorrow, e.g., it 
has the same rationality, clarity, concreteness of perception as the scientific 
spirit ha s in its own domain and still it is rounded off with a halo of magic 
and miracle. That is the nature of the logic of the infinite proper to the 
spiritual consciousness. We can have a Science of the Spirit as well as a 
Science of Matter. This is the Thought element or what corresponds to it, of 
which I was speaking, the philosophical factor, that which gives form
to the formless or definition to that which is vague, a nearness and familiarity 
to that which is far and alien. The fullness of the spiritual consciousness 
means such a thing, the presentation of a divine name and form. And this 
distinguishes it from the mystic consciousness which is not the supreme solar 
conscious-ness but the nearest approach to it. Or, perhaps, the mystic dwells in 
the domain of the Divine, he may even be suffused with a sense of unity but 
would not like to acquire the Divine's nature and function. Normally and 
generally he embodies all the aspiration and yearning moved by intimations and 
suggestions belonging to the human mentality, the divine urge retaining still 
the human flavour. We can say also, using a Vedantic terminology, that the 
mystic consciousness gives us the <i>tatastha
lakshana,</i> the nearest approximative attribute of the attributeless; or 
otherwise, it is the <i>hiranyagarbha</i> consciousness which englobes the 
multiple play, the coruscated possibilities of the Reality: while the spiritual 
proper may be considered as <i>prajnaghana,</i> the solid mass, the essential 
lineaments of revelatory
knowledge, the typal &quot;wave-particles&quot; of the Reality. In the former there is a 
play of imagination, even of fancy, a decorative aesthesis, while in the latter 
it is vision pure and simple. If the spiritual poetry is <i>solar</i> in its 
nature, we can say, by extending the analogy, that mystic poetry is 
characteristically
<i>lunar—</i>Moon representing the delight and the magic that Mind and mental 
imagination, suffused, no doubt, with a light or a reflection of some light from 
beyond, is capable of
(the Upanishad speaks of the Moon being born of the Mind). </font>

<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
<font face="Times New Roman">&nbsp;&nbsp;&nbsp;&nbsp; To sum up and 
recapitulate. The evolution of the poetic expression in man has ever been an 
attempt at a return and a progressive approach to the spiritual source of poetic 
inspiration, which was also the original, though somewhat veiled, source from 
the very beginning. The movement has followed </font>
		<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="center">
<font face="Times New Roman">Page 305</font><hr>

<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
<font face="Times New Roman">devious ways—strongly negative at times—even like 
man's life and consciousness in general of which it is an organic member; but 
the ultimate end and drift seems to have been always that ideal and principle 
even when fallen on evil days and evil tongues. The poet's ideal in the dawn of 
the world was, as the Vedic Rishi sang, to raise things of beauty in heaven by 
his poetic power, <i>kavih kavitvd divi rupam asajat.
</i>Even a Satanic poet, the inaugurator, in a way, of modernism
and modernistic consciousness, Charles Baudelaire, thus admonishes his spirit: </font>
		<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
&nbsp;<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
<font face="Times New Roman">&nbsp;&nbsp;&nbsp;&nbsp; &quot;Fly away, far from these 
morbid miasmas, go and purify yourself in the higher air and drink, like a pure 
and divine liquor, the clear fire that fills the limpid&nbsp; spaces.&quot;<sup>1</sup> </font>
		<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
&nbsp;<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
<font face="Times New Roman">&nbsp;&nbsp;&nbsp;&nbsp; That angelic poets should 
be inspired by the same ideal is, of course, quite natural: for they sing: </font>
		<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
&nbsp;<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
<font face="Times New Roman">&nbsp;&nbsp;&nbsp;&nbsp; Not a senseless, tranced 
thing,<br>
&nbsp;&nbsp;&nbsp;&nbsp; But divine melodious truth; </font>

<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
<font face="Times New Roman">&nbsp;&nbsp;&nbsp;&nbsp; Philosophic numbers 
smooth; </font>
		<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
&nbsp;<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
<font face="Times New Roman">since they </font>
		<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
&nbsp;<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
<font face="Times New Roman">&nbsp;&nbsp;&nbsp;&nbsp; Have ye souls in heaven 
too,<br>
&nbsp;&nbsp;&nbsp;&nbsp; Double-lived in. regions new?<sup>2 </sup> </font>
		<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
&nbsp;<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
<font face="Times New Roman">Poetry, actually however, has been, by and large, a 
profane and mundane affair: for it expresses the normal man's perceptions and 
feelings and experiences, human loves and hates and desires and ambitions. True. 
And yet there has also always been an attempt, a tendency to deal with them in 
such a way as can bring calm and purity—<i>katharsis—</i>not trouble and 
confusion. That has been the purpose of all Art from the ancient </font>
		<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
&nbsp;<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
<font face="Times New Roman" size="2">1 Envole-tol bien loin de ces miasmes morbides; </font>

<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
<font face="Times New Roman" size="2">Va te purifier dans 1'air superieur, </font>

<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
<font face="Times New Roman" size="2">Et bois, comme une pure et divine liqueur, </font>

<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
<font face="Times New Roman" size="2">Le feu clair qui remplit les espaces limpides. </font>

<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
<font face="Times New Roman" size="2">&quot;Elevation&quot;—<i>Spleen et Ideal.<br>
</i>' Keats: &quot;Ode on the Poets&quot;. </font>
		<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="center">
<font face="Times New Roman">Page 306</font><hr>

		<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
<font face="Times New Roman">days. Besides, there has been a growth and 
development in the historic process of this katharsis. As by the sublimation of 
his bodily and vital instincts and impulses man is gradually growing into the 
mental, moral and finally spiritual consciousness, even so the artistic 
expression of his creative activity has followed a similar line of 
transformation. The first and original transformation happened with religious 
poetry. The religious, one may say, is the profane inside out; that is to say,
the religious man has almost the same tone and temper, the same urges and 
passions, only turned Godward. Religious poetry too marks a new turn and 
development of human speech, in taking the name of God human tongue acquires a 
new plasticity and flavour that transform or give a new modulation even to 
things profane and mundane it speaks of. Religious means at bottom the colouring 
of mental and moral idealism. A parallel process of katharsis is found in 
another
class of poetic creation, viz., the allegory. Allegory or parable is the stage 
when the higher and inner realities are expressed wholly in the modes and 
manner, in the form and character of the normal and external, when moral, 
religious or spiritual truths are expressed in the terms and figures of the 
profane life. The higher or the inner ideal is like a loose clothing upon the 
ordinary consciousness, it does not fit closely or fuse. In the religious, 
however, the first step is taken for a mingling
and fusion. The mystic is the beginning of a real fusion and a considerable 
ascension of the lower into the higher. The philosopher poet follows another 
line for the same katharsis— instead of uplifting emotions and sensibility, he 
proceeds by thought-power, by the ideas and principles that lie behind all 
movements and give a pattern to all things existing. The mystic can be of either 
type, the religious mystic or the philosopher mystic, although often the two are 
welded together and cannot be very well separated. Let us illustrate a little: </font>
		<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
&nbsp;<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
<font face="Times New Roman">&nbsp;&nbsp;&nbsp;&nbsp; The spacious firmament on 
high,
</font>
		<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
<font face="Times New Roman">&nbsp;&nbsp;&nbsp;&nbsp; With all the blue ethereal 
sky,
</font>
		<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
<font face="Times New Roman">&nbsp;&nbsp;&nbsp;&nbsp; And spangled heavens, a 
shining frame,</font><p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
<font face="Times New Roman">&nbsp;&nbsp;&nbsp; Their great Original proclaim.<sup>1
</sup> </font>
		<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
&nbsp;<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
<font face="Times New Roman">&nbsp;&nbsp;&nbsp;&nbsp; This is religious poetry, 
pure and simple, expressing man's </font>
		<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
&nbsp;<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
<font face="Times New Roman"><font size="2">1Addison: &quot;Hymn&quot;</font>. </font>
		<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="center">
<font face="Times New Roman">Page 307</font><hr>

<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
<font face="Times New Roman">earliest and most elementary feeling, marked by a 
broad candour, a rather shallow monotone. But that feeling is raised to a pitch 
of fervour and scintillating sensibility in Vaughan's </font>
		<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
&nbsp;<p style="line-height: 150%; margin-top:0; margin-bottom:0; margin-left:30px" align="justify">
<font face="Times New Roman">They are all gone into the world of light </font>

<p style="line-height: 150%; margin-top:0; margin-bottom:0; margin-left:30px" align="justify">
<font face="Times New Roman">And I alone sit lingering here,...<br>
0 Father of eternal life, and all </font>

<p style="line-height: 150%; margin-top:0; margin-bottom:0; margin-left:30px" align="justify">
<font face="Times New Roman">Created glories under Thee,<br>
Resume Thy spirit from this world of thrall </font>

<p style="line-height: 150%; margin-top:0; margin-bottom:0; margin-left:30px" align="justify">
<font face="Times New Roman">Into true liberty.<sup>1 </sup> </font>
		<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
&nbsp;<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
<font face="Times New Roman">The same religious spirit seems to climb a little 
higher still,
stretching towards the mystic vein in Donne, </font>
		<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
&nbsp;<p style="line-height: 150%; margin-top:0; margin-bottom:0; margin-left:30px" align="justify">
<font face="Times New Roman">My heart is by dejection, clay, </font>

<p style="line-height: 150%; margin-top:0; margin-bottom:0; margin-left:30px" align="justify">
<font face="Times New Roman">And by selfe-murder, red.<br>
From this red earth, 0 Father, purge away<br>
All vicious tinctures, that new fashioned<br>
I may rise up from death, before I'am dead.<sup>2 </sup> </font>
		<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
&nbsp;<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
<font face="Times New Roman">The allegorical element too finds here cleverly 
woven into the
mystically religious -texture. Here is another example of the
mystically religious temper from Donne: </font>
		<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
&nbsp;<p style="line-height: 150%; margin-top:0; margin-bottom:0; margin-left:30px" align="justify">
<font face="Times New Roman">For though through many streights, and. lands I 
roame,<br>
I launch at paradise, and saile towards home,<sup>3 </sup> </font>
		<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
&nbsp;<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
<font face="Times New Roman">The same poet is at once religious and mystic and 
philosophical
in these lines, for example: </font>
		<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
&nbsp;<p style="line-height: 150%; margin-top:0; margin-bottom:0; margin-left:30px" align="justify">
<font face="Times New Roman">That All, which always is All every where,<br>
Which cannot sinne, and yet all sinnes must beare,<br>
Which cannot die, yet cannot chuse but die,<br>
Loe, faithfull Virgin,.... </font>

<p style="line-height: 150%; margin-top:0; margin-bottom:0; margin-left:30px" align="justify">
<font face="Times New Roman">Whom thou conceiv'st, conceiv'd; yea thou art now<br>
Thy Maker's maker, and thy Father's mother; </font>
		<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
&nbsp;<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
<font face="Times New Roman" size="2">1 &quot;They Are All Gone&quot;. </font>

<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
<font face="Times New Roman" size="2">* &quot;The Litanie&quot;—Divine <i>Poems.</i> </font>

<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
<font face="Times New Roman" size="2">* <i>The Progress of the Soule,</i> VI. </font>
		<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="center">
<font face="Times New Roman">Page 308</font><hr>

<p style="line-height: 150%; margin-top:0; margin-bottom:0; margin-left:30px" align="justify">
<font face="Times New Roman">Thou'hast light in darke; and shutst in little 
roome, </font>

<p style="line-height: 150%; margin-top:0; margin-bottom:0; margin-left:30px" align="justify">
<font face="Times New Roman"><i>Immensity cloystered in thy deare wombe.<sup>1</sup></i><sup>
</sup> </font>
		<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
&nbsp;<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
<font face="Times New Roman">Blake's powerfully pregnant lines are mystically 
philosophic; </font>
		<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
&nbsp;<p style="line-height: 150%; margin-top:0; margin-bottom:0; margin-left:30px" align="justify">
<font face="Times New Roman">Hold Infinity in the palm of your hand,<br>
And Eternity in an hour.<sup>2 </sup> </font>
		<p style="line-height: 150%; margin-top:0; margin-bottom:0; margin-left:30px" align="justify">
&nbsp;<p style="line-height: 150%; margin-top:0; margin-bottom:0; margin-left:30px" align="justify">
<font face="Times New Roman">Blake had this wonderful gift of transmuting the 
baser metal<br>
of mundane experience into the gold of a deep mystic and<br>
spiritual experience: </font>

<p style="line-height: 150%; margin-top:0; margin-bottom:0; margin-left:30px" align="justify">
<font face="Times New Roman">Bring me my bow of burning gold! </font>

<p style="line-height: 150%; margin-top:0; margin-bottom:0; margin-left:30px" align="justify">
<font face="Times New Roman">Bring me my arrows of desire!<br>
Bring me my spear! 0 clouds, unfold! </font>

<p style="line-height: 150%; margin-top:0; margin-bottom:0; margin-left:30px" align="justify">
<font face="Times New Roman">Bring me my chariot of fire !<sup>3 </sup> </font>
		<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
&nbsp;<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
<font face="Times New Roman">An allegorical structure has been transfused into a 
living and burning symbolism of an<b> </b> inner world. </font>

<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
<font face="Times New Roman">&nbsp;&nbsp;&nbsp;&nbsp; But all that is 
left far behind, when we hear a new voice announcing an altogether new manner, 
revelatory<b> </b> of the truly and supremely spiritual consciousness, not 
simply mystic or religious but magically occult and carved out of the highest if 
recondite <i>philosophia:</i> </font>
		<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
&nbsp;<p style="line-height: 150%; margin-top:0; margin-bottom:0; margin-left:30px" align="justify">
<font face="Times New Roman">A finite movement of the Infinite<br>
Game winging its way through a wide air of Time; </font>

<p style="line-height: 150%; margin-top:0; margin-bottom:0; margin-left:30px" align="justify">
<font face="Times New Roman">A march of Knowledge moved in Nescience<br>
And guarded in the form a separate soul.<sup>4 </sup> </font>
		<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
&nbsp;<p style="line-height: 150%; margin-top:0; margin-bottom:0; text-indent:25px" align="justify">
<font face="Times New Roman" size="2">1 &quot;Annvnciation&quot;—<i>Divine Poems.</i> </font>

<p style="line-height: 150%; margin-top:0; margin-bottom:0; text-indent:25px" align="justify">
<font face="Times New Roman" size="2">2 &quot;Auguries of Innocence&quot;. </font>

<p style="line-height: 150%; margin-top:0; margin-bottom:0; text-indent:25px" align="justify">
<font face="Times New Roman" size="2">3 &quot;Jerusalem&quot;. </font>

<p style="line-height: 150%; margin-top:0; margin-bottom:0; text-indent:25px" align="justify">
<font face="Times New Roman" size="2">4 Sri Aurobindo: <i>Switri,</i><b> </b>
Book II, Canto IV. </font>
		<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="center">
		<font face="Times New Roman">Page 309</font></p>
		<hr>

		<p style="line-height: 150%; margin-top: 0; margin-bottom: 0" align="right"><b><font size="2"><a href="-00_Contents">
			<span style="text-decoration: none">HOME</span></a></font></b></td>
	</tr>
	</table>
<p style="line-height: 150%; margin-top:0; margin-bottom:0" align="justify">
<font face="Times New Roman">&nbsp;
</font>
</body>
</html>