Sri Aurobindo

Letters of Sri Aurobindo

Volume 1

Letter ID: 398

Sri Aurobindo — Roy, Dilip Kumar

September 15, 1933

I stand rather aghast at your summons to stand and deliver the names of the ten or twelve best prose styles in the world’s literature. I had no names in mind and I used the incautious phrase only to indicate the high place I thought Bankim held among the great masters of language. To rank the poets on different grades of the Hill of Poetry is a pastime which may be a little frivolous and unnecessary, but possible and permissible. I would not venture to try the same game with the prose-writers who are multitudinous and do not present the same marked and unmistakable differences of level and power. The prose field is a field, with eminences no doubt, much more than a mountain. The tops if there are any are not so high, the drops not so low as in poetical literature.

Then again there are great writers in prose and great prosewriters and the two are by no means the same thing. Dickens and Balzac are great novelists, but their style or their frequent absence of style had better not be described; Scott has a style I suppose, but it is neither blameless nor has distinguishing merit. Other novelists have a style and a good one but their prose is not quoted as a model and they are remembered not for that but as creators. You speak of Meredith, and if Meredith had always written as he did in Richard Feverel he might have figured chiefly as a master of language, but the creator got the better of the stylist in the bulk of his work. I was writing of prose styles and what was in my mind was those achievements in which language reached its acme of perfection in one manner or another so that whatever the writer touched became a thing of beauty – no matter what its substance – or a perfect form and memorable. Bankim seemed to me to have achieved that in his own way as Plato in his or Cicero or Tacitus in theirs or in French literature, Voltaire, Flaubert or Anatole France. I could name others, but especially in French which is the greatest store-house of fine prose among the world’s languages – there is no other to match it. Matthew Arnold once wrote a line that runs something like this:

“France great in all great arts, in none supreme,”

to which someone very aptly replied, “And what then of the art of prose-writing? Is it not a great art and what other country can approach France there? All prose of other languages seems beside its perfection, lucidity, measure, almost clumsy.”

There are many remarkable prose-writers in English, but that essential or fundamental perfection which is almost like a second nature to the French writers is not so common. The great prose-writers in English seem to seize you by the personality they express in their styles rather than by its perfection as an instrument – it is true at least of the earliest and I think too of the later writers. Lamb whom you mention is a signal example of a writer who erected his personality into a style and lives by that achievement – Pater and Wilde are other examples.

As for Bengali, we have had Bankim and have still Tagore and Sarat Chatterji. That is achievement enough for a single century.

I have not answered your question – but I have explained my phrase and I think that is all you can expect from me.