Future poetry sri aurobindo summary

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future poetry sri aurobindo summary

Future Poetry by Sri Aurobindo

Sri Aurobindo represents a synthesis of the teachings of both the West and the East. Not content simply with dissolution into a transcendental, other-worldly God-consciousness, nor with concentration on the outer life and its powers to the exclusion of anything other or higher, Sri Aurobindo has created the teachings of a Divine Life on Earth.The poetry of the future will be unlike that of the past in one very important circumstance, that in whatever languages it may be written, it will be more and more moved by the common mind and motives of all the human peoples.
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Seeking the New Poetry - Sri Aurobindo on Rabindranath Tagore in "The Future Poetry"

Nalini Bhushan and Jay L. Garfield. Ghosh (later Sri Aurobindo) was a central political, religious, and philosophical figure in the Indian renaissance. In his book, Ghosh comments on James Cousins's work New Ways in English Literature before discussing the future of English poetry.
Sri Aurobindo

Aurobindo Ghosh, “The Future Poetry” (1917–1918)

See details in Oxford Index. More Options. Ghosh later Sri Aurobindo was a central political, religious, and philosophical figure in the Indian renaissance. Bengali born and Cambridge-educated, he was trained in Victorian English literature, sat his Cambridge examinations in classics, and taught English at Baroda College. In his book, Ghosh comments on James Cousins's work Ne In his book, Ghosh comments on James Cousins's work New Ways in English Literature before discussing the future of English poetry and of the world's poetry. He also explores the essence of poetry, with particular emphasis on its rhythm and movement as well as style and substance, before concluding with an analysis of the relationship between poetic vision and the Mantra.

Part One. The Character of English Poetry — 2. What kind or quality of poetry should we naturally expect from a national mind so constituted? The Anglo-Saxon strain is dominant and in that circumstance there lay just a hazardous possibility that there might have been no poetical literature at all. The Teutonic nations have in this field been conspicuous by their silence or the rarity of their speech. After the old rude epics, saga or Nibelungenlied, we have to wait till quite recent times for poetic utterance, nor, when it came, was it rich or abundant.

Not that we need spend any energy in a vain effort to define anything so profound, elusive and indefinable as the breath of poetic creation; to take the myriad-stringed harp of Saraswati to pieces for the purpose of scientific analysis is a narrow and barren amusement. But we stand in need of some guiding intuitions, some helpful descriptions which will serve to enlighten our search; to fix in that way, not by definition, but by description, the essential things in poetry is neither an impossible, nor an unprofitable endeavour. We meet here two common enough errors, to one of which the ordinary uninstructed mind is most liable, to the other the too instructed critic or the too intellectually conscientious artist or craftsman.
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Sri Aurobindo. The Future Poetry was first published serially in the monthly review Arya between December and July in thirty-two instalments. Sri Aurobindo wished to revise the Arya chapters before republishing them and twice undertook this task. DJV-viewers freeware, 6. The Future Poetry I.

Sri Aurobindo expresses his profound views on poetry in his masterpiece The Future Poetry. He deals with the highest power that is demanded from poetry, the nature of poetry, and its essential law. He begins his discourse on the Essence of Poetry, by pointing out two common errors that the ordinary mind, and the critic or the intellectually conscientious artist are often liable to. Sri Aurobindo admits that in all arts good technique is the first step towards perfection. Sri Aurobindo adds that technique, however indispensable, occupies a smaller field perhaps in poetry than in any other art. He observes:. The rhythmic word has a subtly sensible element, its sound value, a quite immaterial element, its significance or thought value, and both of these again, its sound and its sense, have separately and together a soul value, a direct spiritual power, which is infinitely the most important.

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