Sri Aurobindo

Letters on Poetry and Art

SABCL - Volume 27

Part 1. Poetry and its Creation
Section 3. Poetic Technique
Rhythm

Rhythmical Overtones and Undertones

I was speaking of rhythmical overtones and undertones. That is to say, there is a metrical rhythm which belongs to the skilful use of metre — any good poet can manage that; but besides that there is a music which rises up out of this rhythm or a music that underlies it, carries it as it were as the movement of the water carries the movement of a boat. They can both exist together in the same line; but it is more a matter of the inner than the outer ear and I am afraid I can’t define farther. To go into the subject would mean a long essay. But to give examples

Journeys end in lovers’ meeting,

Every wise man’s son doth know,

is excellent metrical rhythm, but there are no overtones and undertones. In

Golden lads and girls all must

As chimney-sweepers come to dust

there is a beginning of undertone, but no overtone, while the “Take, O take those lips away” (the whole lyric) is all overtones. Again

Friends, Romans, countrymen, lend me your ears;

I come to bury Caesar, not to praise him

has admirable rhythm, but there are no overtones or undertones. But

In maiden meditation fancy-free