Sri Aurobindo
The Future Poetry
CWSA.- Volume 26
Part One. The Future Poetry
Chapter XX. Recent English Poetry – 1
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The movement away from the Victorian type in recent and contemporary English poetry cannot be said to have yet determined its final orientation. But we may distinguish in its uncertain fluctuations, its attempts in this or that direction certain notes, certain strong tones, certain original indications which may help us to disengage the final whither of its seekings. In the mass it appears as a broadening of the English poetic mind into a full oneness with the great stream of modern thought and tendency, an opening up out of the narrower Victorian insularity to admit a greater strength, subtlety and many-sidedness of the intelligence. For this very reason it is still in the nature of a very uncertain feeling out in several directions which has not found itself and decided what shall be the centre and guide of its inspiration. There are experiments of all kinds in language and rhythm and subject and treatment, many notable names each with his special turn and personality, but no supreme decisive speech and no gathering up of the many threads into a great representative work. The whole of European literature at the present time is of this character; it is a fluid mass with a hundred conflicting tendencies, a multitude of experiments, many minor formations, which has not yet run into any clear universal mould. All that can be done is to distinguish some common characteristics of an indicative value which emerge in the more significant work and have touched more or less the performance of the lesser writers. Here we can get at least at a certain persistent element, certain potential issues.
The thing that strikes at once in a general view is that it is a period of transition, not yet a new age, but the preparation for a new age of humanity. Everywhere there is a seeking after some new thing, a discontent with the moulds, ideas and powers of the past, a spirit of innovation, a desire to get at deeper powers 
of language, rhythm, form, because a subtler and vaster life is in birth, there are deeper and more significant things to be said than have yet been spoken, and poetry, the highest essence of speech, must find a fitting voice for them. The claim of tradition is still strong, but even those who keep most in the old ways, are impelled to fill in their lines with more searching things of a more compelling substance, to strike from their instrument sounds, variations, meanings for which it had not before the capacity. The attempt has not yet been supremely successful in its whole purpose, in spite of some poetic achievement of considerable beauty, originality and compass, but it has liberated at least with some initial force novel powers and opened fresh paths; a few bright streams of initiation meet the eye running to form some mighty Brahmaputra or Ganges which is not yet in sight, though we get here and there a blue Yamuna or white Saraswati or some large impetuous torrent making its way through open plain or magic woodland towards the great unseen confluence. There are many widely separate attempts, some fine or powerful beginnings, as yet no large consummation.
The straining for a new power of rhythm is the first indication of the coming change. Not quite so marked, not by any means so successful as the change in the type and power of poetical expression, it is still indicative; rhythm is the subtle soul of poetry and a change in the spirit of the rhythm must come if this change in the spirit of the poetry is fully to discover itself and altogether realise its own characteristic greatness and perfection. Mankind is moving to another spirit in its thought and life founded on another and deeper and larger truth of its inner being than it has yet in the mass been able to see, hold and put into form of living. This change must find its echo and interpretation or even some of its power of revelation and initiation in poetry, and poetry to express this greater spirit must find out a deeper, larger, more flexible, or, if one may say so, more multitudinously expressive rhythm than the great poets of the past were under the necessity of using; something of the same change has to be achieved as has been successfully accomplished in music. We see accordingly some attempt to break or enlarge, 
deepen or subtilise the traditional moulds, to substitute others of a more delicate character or with a more varied and flexible principle, to search out new packed or dissolved movements. There have been some considerable successes, but nothing of such a complete, sweeping and satisfying force as would quite content a certain eagerness and impatient urge of the arriving age to find a full rhythmic basis for its own way of self-expression. And so we find too the attempt to initiate a violent and unprecedented revolution in the whole fundamental method of poetic rhythm.
This tendency in some writers goes no farther than an irregular use of metre which does not really carry us any farther towards the desired result and is in no way an improvement on the past since it has no true artistic principle to guide us to freer and more consummate harmonies. But pushed to its logical issue it has created the still growing form of free verse of which we now find examples in most of the great literary languages and coupled with it a theory that this is the one future chance for poetry. Metre and rhyme are said to be played out, things of the past, which can no longer be allowed to chain and hamper the great and free movement which the enlarging spirit of poetry demands; as rhyme was in Milton’s later view only a dainty trifle which he flung aside for the organ harmonies of his blank verse, so metre itself is a petty thing, half ornament, half fetter, which has to be flung aside for some nobly self-governed democratic anarchy that is to develop from this new type. That is a theory of very doubtful validity. In the hands of most of its exponents it seems to be in practice nothing but a licence
for writing prose in variously cut lengths, prose breaking off at the end of a clause or in the middle of it to go on refreshed in the line below,— I have seen even a line of free verse consisting of a majestic solitary pronoun,— and that is more an eccentric method of printing than a new rhythm. But without accepting the theory in its intolerant entirety one can appreciate the motive which moved the greater masters and more skilful craftsmen of this form, if form it can be called, to make the innovation. There is something large and many-sided and constantly mutable in the life, thought and spirit of today which needs, to express it 
sympathetically, vast and flowing movements or on the contrary brief, sudden and abrupt paces or the alternation of these and intermediate and variant lengths and turns: there is something at the same time densely full and singularly and minutely subtle in the modern thinking mind which is with difficulty accommodable by the restricted range of subtleties, variations and fullnesses of any given poetic measure. Why not then break away from all the old hampering restrictions and find a new principle of harmony in accordance with the freedom, the breadth and largeness of view, the fineness of feeling and sensation of the modern spirit, some form which shall have the liberty of prose and yet command the intensified heights and fluctuations and falls of the cadence of poetry? There is no reason why not, if the thing can be done,— the proof of these things lies in the execution; but it may be doubted whether the method used is the right method. At any rate it has not been fully justified even in the hands of its greatest or most skilful exponents. It is used, as in Whitman, to give the roll of the sea of life or the broad and varying movements of the spirit of humanity in its vigorous experience and aspiration, or, as in Carpenter, to arrive at the free and harmonious accession of the human intelligence to profound, large and powerful truths of the spirit, or, as in certain French writers, to mould into accurate rhythm the very substance and soul and characteristic movement of soul-states, ideas or objects described and seen. These are things that need to be done, but it remains to be seen whether they cannot be done in the recognised and characteristic movement of poetry, rather than in a compromise with prose cadences. The genius of poetic measure walking in the path opened by the ancient discovery of cadenced beat and concentrated rhythm has not yet exhausted itself, nor is there any proof that it cannot accommodate its power to new needs or any sign that it can only survive in an arrested senility or fall into a refined decadence.
The most considerable representatives of this new and free form of poetic rhythm are English and American, Carpenter and Whitman. Tagore’s translations of his lyrics have come in as a powerful adventitious aid, but are not really to the point 
in the question at issue; for these translations are nothing but a rhythmically poetic prose and that kind of writing, cadenced prose poetry, a well recognised form, cannot and does not try to compete with the established principle of measure; it is an indulgence, a minor variation which has yet its definite place and serves certain purposes which could not otherwise be fulfilled with any adequacy. It is perhaps the only method for the work Tagore intended, a poetic translation of poetry reproductive of the exact thought and spiritual intention of the original; for a version in the fixed measures of another language not only substitutes another mould for the original movement, but by the substitution gives it almost another soul, so powerful, distinct and creative a thing is poetic rhythm; but the more flexible, less insistent cadence of poetic prose does not so seize on and recast the spirit of the original movement; it may even give a far-off minimised shadow, echo, illusion of it, if the same or a similar spirit is at work: it can never have the same power, but it may have some echo of a similar suggestion. When for instance Tagore writes in English,—
Thou settest a barrier in thine own being and thou callest thy severed self in myriad notes. This thy self-separation has taken body in me. The great pageant of thee and me has overspread the sky. With the tune of thee and me all the air is vibrant, and all ages pass with the hiding and seeking of thee and me. —
we have a very beautiful delicately cadenced poetic prose and nothing more. Tagore is what some of the French writers of vers libre are and Whitman and Carpenter are not, a delicate and subtle craftsman, and he has done his work with a perfect grace and spiritual fineness; but there is no attempt to do anything more than the just work in hand, no intention of displacing the old way of poetry in which he has done in his own language such wonderful things, by a new principle of poetic movement. If there were any such intention, it would have to be pronounced a failure. One has only to compare this English prose, beautiful as it is, with the original poetry to see how much has gone out with the change; something is successfully substituted which 
may satisfy the English reader, but can never satisfy the ear or the mind that has once listened to the singer’s own native and magical melodies. And this is so even though the intellectual substance, the intellectual precision and distinctness of the thought are often more effective, carry home more quickly in the translation, because in the original the intellectual element, the thought limits are being constantly overborne and are sometimes almost swallowed up by the waves of suggestion that come stealing in with the music: so much more is heard than is said that the soul listening goes floating into that infinity and counts the definite contribution of the intelligence as of a lesser value. Precisely there lies the greatest power of poetic rhythm for the very highest work that the new age has to do, and that it can be done by a new use of the poetic method without breaking the whole form of poetry, Tagore’s own lyrical work2 in his mother tongue is the best evidence.
Whitman’s aim is consciently, clearly, professedly to make a great revolution in the whole method of poetry, and if anybody could have succeeded, it ought to have been this giant of poetic thought with his energy of diction, this spiritual crowned athlete and vital prophet of democracy, liberty and the soul of man and Nature and all humanity. He is a great poet, one of the greatest in the power of his substance, the energy of his vision, the force of his style, the largeness at once of his personality and his universality. His is the most Homeric voice since Homer, in spite of the modern’s ruder less elevated aesthesis of speech and the difference between that limited Olympian and this broad-souled Titan, in this that he has the nearness to something elemental which makes everything he says, even the most common and prosaic, sound out with a ring of greatness, gives a force even to his barest or heaviest phrases, throws even upon the coarsest, dullest, most physical things something of the divinity; and he has the elemental Homeric power of sufficient straightforward speech, the rush too of oceanic sound though it is here the surging of the Atlantic between continents, not the magic roll and wash of the Aegean around the isles of Greece. What he has not, is the unfailing poetic beauty and nobility which saves greatness from its defects — that supreme gift of Homer and Valmiki — and the self-restraint and obedience to a divine law which makes even the gods more divine. Whitman will remain great after all the objections that can be made against his method or his use of it, but the question is whether what served his unique personality, can be made a rule for lesser or different spirits, and whether the defects which we see but do not and cannot weigh too closely in him, will not be fatal when not saved by his all-uplifting largeness. A giant can pile up Pelion and Ossa and make of it an unhewn chaotic stair to Olympus, but others would be better and more safely employed in cutting steps of marble or raising by music a ladder of sapphires and rubies to their higher or their middle heavens. Personality, force, temperament can do unusual miracles, but the miracle cannot always be turned into a method or a standard.
Whitman’s verse, if it can be so called, is not simply a cadenced prose, though quite a multitude of his lines only just rise above the prose rhythm. The difference is that there is a constant will to intensify the fall of the movement so that instead of the unobtrusive ictus of prose, we have a fall of the tread, almost a beat, and sometimes a real beat, a meeting and parting, sometimes a deliberate clash or even crowding together of stresses which recall the spirit of the poetical movement, though they obey no recognised structural law of repetitions and variations. In this kind of rhythm we find actually three different levels — the distinction may be a little rough, but it will serve,— a gradation which is very instructive. First we have a movement which just manages to be other than prose movement, but yet is full of the memory of a certain kind of prose rhythm. Here the first defect is that the ear is sometimes irritated, sometimes disappointed and baulked by a divided demand, memory or expectation, hears always the prose suggestion behind pursuing and dragging down the feet of the poetic enthusiasm. It is as if 
one were watching the “aerial walk” of a Hathayogin who had just conquered the force of gravitation, but only to the extent of a few inches, so that one is always expecting the moment which will bring him down with a bump to mother earth. It is something like a skimming just above the ground of prose, sometimes a dragging of the feet with a frequent touch and upkicking of the dust, for inevitably the poetic diction and imaginative power of style fall to the same level. Much of Whitman’s work is in this manner; he carries it off by the largeness and sea-like roll of the total impression, but others have not the same success,— even the French craftsmen are weighed down,— and in them the whole has a draggled and painful effect of an amphibious waddling incertitude. But there is a nobler level at which he often keeps which does not get out of sight of the prose plain or lift up above all its gravitation, but still has a certain poetic power, greatness and nobility of movement. But it is still below what an equal force would have given in the master measures of poetry.
But the possibilities of an instrument have to be judged by its greatest effects, and there are poems, lines, passages in which Whitman strikes out a harmony which has no kinship to nor any memory of the prose gravitation, but is as far above it as anything done in the great metrical cadences. And here, and not only in Whitman, but in all writers in this form who rise to that height, we find that consciously or unconsciously they arrive at the same secret principle, and that is the essential principle of Greek choric and dithyrambic poetry turned to the law of a language which has not the strong resource of quantity. Arnold deliberately attempted such an adaptation but, in spite of beautiful passages, with scant success; still when he writes such a line as
The too vast orb of her fate,
it is this choric movement that he reproduces. Whitman’s first poem in Sea-Drift and a number of others are written partly or throughout in this manner. When he gives us the dactylic and spondaic harmony of his lines,
Out of the cradle endlessly rocking,
Out of the mocking-bird’s throat, the musical shuttle,
Out of the ninth-month midnight,
one of them wanting only one foot to be a very perfect hexameter or the subtly varied movement of this other passage,
Over the hoarse surging of the sea,
Or flitting from brier to brier by day,
I saw, I heard at intervals the remaining one, the he-bird,
The solitary guest from Alabama,
one has almost the rhythmical illusion of listening to a Sophoclean or Aeschylean chorus. In the opening stanzas of the noble
Prayer of Columbus, there is a continuous iambic metrical stress, but with the choric movement. One finds the same thing sometimes in French vers libre,— one poem at least of the kind I have seen of wonderful beauty,— though the success is not so easy in that language. Tagore has recently attempted a kind of free verse in Bengali, not so good as his regular metres, though melodious enough, as everything must be that is written by this master musician of the word, and throughout there is the same choric or dithyrambic principle of movement. This then seems to be the natural high-water mark of free poetical rhythm; it is a use of the poetic principle of measure in its essence without the limitations of a set form. Evidently much can be done in this rhythmical method. But it is yet doubtful whether in languages which lack the support of quantitative measure, poetical expression in this form can carry home with at all the same force as in the received ways of word-music.
We may get some idea of the limitations of the form by one or two examples from the poetry of Carpenter I find quoted by Mr. Cousins in his essay. Carpenter with a poetic faculty of a high order, a prophet of democracy and of the Self, like Whitman, but of a higher more spiritual truth of the Self, has like him found it impossible to restrain the largeness of his vision and personality in the bonds of metrical poetry. In both we see that the prophet and thinker predominate over the poet and artist. Less rough and 
great than the epic voice from the other side of the ocean, his poetry has a more harmonious, limpid and meditative fullness. But the lesser abundance of force and drive makes us feel more the limitations of his form. The thought is not only great, but poetically great and satisfying, the expression as form of thought is noble and admirable, but we miss the subtler rhythmic uplift of the poetic enthusiasm which is given to minds of much less power by the inspiring cadence and the ordered measures of the poetic spirit, chandas. His flow is ordinarily of the middle kind with occasional choric turns and movements, but the latter do not carry with them the full force of the intenser poetic cadence. To cite one passage,—
There in the region of equality in the world of Freedom no longer limited, standing on a lofty peak in heaven above the clouds,
From below hidden. Yet to all who pass into that region most clearly visible
He the Eternal appeared.
Whitman would have broken that up into five lines and got by it a more distinct and forcible effect,— for the breath of poetry best rises and falls in brief and intense lengths; so printed, it would be at once apparent that we have a varied choric movement, a little stumbling into half-prose just before the end, but otherwise admirable, with two sudden turns of great poetic force, where the movement is precisely that of the Greek chorus. But the total effect is the sense of what one might almost call a noble and chanting superprose rhythm.
This appears more clearly in another passage where Carpenter’s movement is more at its normal level. He begins with a strain which is only just distinguishable from the prose strain, but suddenly rises from it to the beginning of a choric elevation,
As one shuts a door after a long confinement in the house — so out of your own plans and purposes escaping,—
then comes the full choric rise,
Out of the mirror-lined chambers of self (grand though they be, but O how dreary!) in which you have hitherto spent your life,—
where, if the line had only ended with the parenthesis, it would have been a strain of perfect choric poetry, magnificently thought, imaged and cadenced, but the closing words spoil the effect, for they are a sharp descent towards the prose level. There are too elevations rising up from a rhythmical prose cadence but lifted high by the scriptural nobility of phrase and spiritual turn which we get so often in Carpenter. These fluctuations appear then to be inherent in the form and it seems to me that being in their nature a constant fall from the striving after a sustained perfection, they take away altogether from the claims of this “free verse”. In lesser writers there is a similar but much more pronounced inadequacy; they rise little and fall or drag along with the most easily satisfied self-content in lowness. But that poets of great power should be satisfied with these deficiencies of their instrument and their most cultured readers accept them without question, indicates an inferiority, almost a depravation in the modern ear, or at least a great remissness in the austerity of the search after perfection. It is now sometimes said that the lines of poetry should follow the lines of life, and life, it might be contended, is of this kind, thought itself is of this kind, and the rhythm of poetry gains in sincerity by following them. But art is not of this kind, the poetic spirit is not of this kind; the nature of art is to strive after a nobler beauty and more sustained perfection than life can give, the nature of poetry is to soar on the wings of the inspiration to the highest intensities and keep winging, as far as may be, always near to them. A form which in the name of freedom remits and relaxes this effort, whatever its other merits and advantages, means a laxity of effort and is a dangerous downward concession.
But there is another objection which may be denied, but seems to me true, that this kind of verse does not give its full spiritual value to the poet’s speech. Carpenter has a power of substance, thought-vision, image, expression which is very rare and in all these respects he would have been recognised as not only equal but superior to many who have enjoyed in their own day the reputation of poets of the first rank. That he is not so recognised is due to the inferior form, a form legitimate enough for lesser uses, but not easily capable of the greatest poetic effects. Whitman too for all his energy loses in this way; even his greatest things do not go absolutely and immediately home, or having entered they do not so easily seize on the soul, take possession and rest in a calm, yet vibrating mastery. The real poetic cadence has that power, and to make the full use of it is the sign of the greatest masters; it has in it then something magical, immediate and miraculous, an unanalysable triumph of the spirit. But this other movement has not that stamp, it does only a little more than a highly concentrated prose might do, and this is because of the three indispensable intensities of poetry it may have intensity of thought and soul-substance, intensity of expression, but the intensity of rhythm, which is poetry’s primal need, is lowered and diluted,— even, one feels, to a certain extent in its choric movements: by that lowering the two other intensities suffer, the poet himself tends to loosen them to the level of his movement. If that is so, those who use the form to meet the demands of the new age, are on the wrong track. But a demand is there and it indicates a real need. It is evident that Whitman and Carpenter could not have expressed themselves altogether in the existing forms, even if they had made the attempt. But if the new age is to express itself with the highest poetical power, it must be by new discoveries within the principle of the intenser poetical rhythm. The recent or living masters may not have done this, though we may claim that some beginnings have been made, but the new age is only at its commencement; the decisive departures, the unforeseen creations may yet be due which will equip it with an instrument or many instruments suited to the largeness, depth and subtlety of the coming spirit.