Sri Aurobindo

Letters on Poetry and Art

SABCL - Volume 27

Part 2. On His Own and Others’ Poetry
Section 2. On Poets and Poetry
Comments on the Work of Poets of the Ashram

Dilip Kumar Roy [2]

I have just finished hearing the second act of your drama on {{0}}Chaitanya;[[Dilip Kumar Roy, Sri Chaitanya: A Drama in Three Acts (Pondicherry: Sri Aurobindo Ashram, 1950).]] there is much fine poetry in it and the dramatic interest of the dialogue and of the presentation of character seems to me considerable. We have not had time yet to read the last act; we shall do that tomorrow and then I can write about your drama with more finality, but it is already turning into a fine play. As for the historical question, I do not consider that any objections which might be raised from that standpoint would have much value. Poetry, drama, fiction also are not bound to be historically accurate; they cannot indeed develop themselves successfully unless they deal freely with any historical material they may choose to include or take for their subject. One can be faithful to history if one likes but even then one has to expand and deal creatively with characters and events, otherwise the work will come to nothing or little. In many of his dramas Shakespeare takes names from history or local tradition, but uses them as he chooses; he places his characters in known countries and surroundings, but their stories are either his own inventions, or the idea only is borrowed from facts and the rest is of his own making: or else he indulges in pure fantasy and cares nothing even for geographical accuracy or historical possibility. It is true that sometimes he follows closely the authorities he had at his disposal, such as Holinshed or another and in plays like Julius Caesar he sticks to the main events and keeps many of the details, but not so as to fetter the play of his imagination. So I don’t think you need worry at all about either historians or biographers, even if Chaitanya Charitamrita could be regarded as a biography. That is all, I think, for the present. I shall write again after hearing the third act of your drama.

21 January 1950