Sri Aurobindo
Letters of Sri Aurobindo
Volume 2. 1934 — 1935
O Guru, Needless to thank? I send you the typescript, with your correction. There, where the “long-dried” is in evidence you will please note another word which looks suspiciously like “soulless” is soulfully struggling for survival. But I don’t see how it could, except with some supramentalised rhythmic grace. How do you favour its title for a passport! Also see if “long-dried” can be changed into “toneless” tor shuni tān baila ujān jamunā gān geye [On hearing your melody, the Jamuna flowed upstream gurgling] has this hint that Jamuna which was musicless flows on gurglingly. (Ujān boye has the idea of music.) Can this be somehow imparted or even a suggestion? Lastly, in the penultimate line, shall there be a comma after illumined? Awaiting your verdict. To our Bengali ears filled and child will of course be as atrocious as sky and eternity or grove and love. But since in English I have seen such rhymes used unrepentantly I of course bow. But if it could be possibly changed or improved upon by hook or by crook do see – spend three and a half seconds on this problem, as it is the last line and with us, the last line rhyme is extremely important. Also child occurs once before in the first verse though the space is decently wide enough, I admit. Still –
It is no use applying a Bengali ear to English rhythms any more than a French ear to English or an English ear to French metres. The Frenchman may object to English blank verse because his own ear misses the rhyme or the Englishman to the French Alexandrine because he finds it rhetorical and monotonous. Irrelevant objections both. Imperfect rhymes are regarded in English metre as a source of charm in the rhythmic field bringing in possibilities of delicate variation in the constant clang of exact rhymes. As for the repetition, there is no law of style forbidding the repetition of a word in the same poem – only if it is too near. Here the repetition is perfectly appropriate in a poem of this character and with this subject.
What I had written was “The soul’s long-dried river”. Without some pointing of the symbolism the dragging of rivers is rather bewildering to the English mind. As for toneless rivers, it would have no meaning – the English man would ask what the devil are these unconnected ideas put together without any coherent meaning? In any case toneless river is impossible in English. Voiceless if you like.
I understand Mother is somewhat anxious that Rajangam is playing the tambura with me. It is only for practice, please assure her. There at Aroumé, Sahana and Venkataram will play gladly enough and two tamburas sound beautifully together without stressing its symmetrical picturesque effect (it is the orthodox style by the way). I remember Mother emphasised the couleur locale and picturesqueness of the ambiance. I hope when Mother hears this elle sera rassurée de nouveau [she will be again reassured]? I had never dreamed of taking Rajangam there (specially without having first asked Mother’s permission.)
P.S.: And Anilbaran’s song? Do make it stand similarly on the tottering legs I have given by some sort of a Supraprop, what?