Sri Aurobindo's principal work of literary criticism where he outlines the history of English poetry and explores the possibility of a spiritual poetry in the future.
On Poetry
Sri Aurobindo's principal work of literary criticism. In this work, Sri Aurobindo outlines the history of English poetry and explores the possibility of a spiritual poetry in the future. It was first published in a series of essays between 1917 and 1920; parts were later revised for publication as a book.
THEME/S
Yes, Goethe goes much deeper than Shakespeare; he had an incomparably greater intellect than the English poet and sounded problems of life and thought Shakespeare had no means of approaching even. But he was certainly not a greater poet; I do not
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find myself very ready to admit either that he was Shakespeare's equal. He wrote out of a high poetic intelligence, but his style and movement nowhere came near the poetic power, the magic, the sovereign expression and profound or subtle rhythms of Shakespeare. Shakespeare was a supreme poet and one might almost say, nothing else; Goethe was by far the greater man and the greater brain, but he was a poet by choice, his mind's choice among its many high and effulgent possibilities, rather than by the very necessity of his being. He wrote his poetry as he did everything else with a great skill and an inspired subtlety of language, and effective genius but it was only part of his genius and not the whole. There is too a touch mostly wanting—the touch of an absolute, an intensely inspired or revealing inevitability; few quite supreme poets have that in abundance, in others it comes by occasional jets or flashes.
When I said there were no greater poets than Homer and Shakespeare, I was thinking of their essential force and beauty—not of the scope of their work as a whole; for there are poets greater in their range. The Mahabharata is from that point of view a far greater creation than the Iliad, the Ramayana than the Odyssey, and spread, either and both of them, their strength and their achievement over a larger field than the whole dramatic world of Shakespeare; both are built on an almost cosmic vastness of plan and take all human life (the Mahabharata all human thought as well) in their scope and touch too on things which the Greek and Elizabethan poets could not even glimpse. But as poets—as masters of rhythm and language and the expression of poetic beauty—Vyasa and Valmiki though not inferior, are not greater than either the English or the Greek poet. We leave aside for the moment the question whether the Mahabharata was not the creation of the mind of a people rather than of a single poet, for that doubt has been raised also with regard to Homer.
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