-46_The Poetry in the Making

The Poetry in the Making

Is the artist—the supreme artist, when he is a genius, that is to say—conscious in his creation or is he unconscious ? Two quite opposite views have been taken of the problem by the best of intelligences. On the one hand, it is said that genius is genius precisely because it acts unconsciously, and on the other it is asserted with equal emphasis that genius is the capacity of taking infinite pains, which means it is absolutely a self-conscious activity.

    We take a third view of the matter and say that genius is neither unconscious or conscious but superconscious. And when one  is superconscious, one can be in appearance either conscious or unconscious. Let us at the outset try to explain a little this psychological riddle.

     When we say one is conscious, we usually mean that one is conscious with the mental consciousness, with the rational intelligence, with the light of the brain. But this need not be always so. For one can be conscious with other forms of consciousness or in other planes of consciousness. In the average or normal man the consciousness is linked to or identified with the brain function, the rational intelligence and so we conclude that without this wakeful brain activity there can be no consciousness. But the fact is otherwise. The experiences of the mystic prove the point. The mystic is conscious on a level which we describe as higher than the mind and reason, he has what may be called the overhead consciousness. (Apart from the normal consciousness, which is named jagrat, waking, the Upanishad speaks of three other increasingly subtler states of consciousness, swapna, sushupti and turvya.) And then one can be quite unconscious, as in samadhi—that can be sushupti or tunya—or partially conscious—in swapna, for example,

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the external behaviour may be like that of a child or a lunatic or even a goblin. One can also remain normally conscious and still be in the superconscience. Not only so, the mystic—the Yogi—can be conscious on infraconscious levels also; that is to say, he can enter into and identify with the consciousness involved in life and even in Matter; he can feel and realise his oneness with the animal world, the plant world and finally the world of dead earth, of "stocks and stones" too. For all these strands of existence have .each its own type of consciousness and all different from the mode of mind which is normally known as consciousness. When St. Francis addresses himself to the brother Sun or the sister Moon, or when the Upanishad speaks of the tree silhouetted against the sky, as if stilled in trance, we feel there is something of this fusion and identification of consciousness with an infra-conscient existence.

     I said that the supreme artist is superconscious: his consciousness withdraws from the normal mental consciousness and becomes awake and alive in another order of consciousness. To that superior consciousness the artist's mentality—his ideas and dispositions, his judgments and valuations and acquisitions, in other words, his normal psychological make-up—serves as a channel, an instrument, a medium for transcription. Now, there are two stages, or rather two lines of activity in the processus, for they may be overlapping and practically simultaneous. First, there is the withdrawal and the in-gathering of consciousness and then its reappearance into expression. The consciousness retires into a secret or subtle world—Words-worth's "recollected in tranquillity"—and comes back with
the riches gathered or transmuted there. But the purity of the gold thus garnered and stalled in the artistry of words and sounds or lines and colours depends altogether upon the purity of the channel through which it has to pass. The mental i vehicle receives and records and it can do so to perfection if it is perfectly in tune with what it has to receive and record; otherwise the transcription becomes mixed and blurred, a faint or confused echo, a poor show. The supreme creators are precisely those in whom the receptacle, the instrumental faculties offer the least resistance and record with absolute fidelity the experiences of the over or inner consciousness. In Shakespeare, in Homer, in Valmiki the inflatus of the secret

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consciousness, the inspiration, as it is usually termed, bears down, sweeps away all obscurity or contrariety in the recording mentality, suffuses it with its own glow and puissance, indeed resolves it into its own substance, as it were. And the difference between the two, the secret norm and the recording form, determines the scale of the artist's creative value. It happens often that the obstruction of a too critically observant and self-conscious brain-mind successfully blocks up the flow of something supremely beautiful that wanted to come down and waited for an opportunity.

     Artists themselves, almost invariably, speak of their inspiration: they look upon themselves more or less as mere instruments of something or some Power that is beyond them, beyond their normal consciousness attached to the brain- mind, that controls them and which they cannot control. This perception has been given shape in myths and legends. Goddess Saraswati or the Muses are, however, for them not a mere metaphor but concrete realities. To what extent a poet may
feel himself to be a mere passive, almost inanimate, instrument—nothing more than a mirror or a sensitive photographic plate—is illustrated in the famous case of Coleridge. His Kubia Khan, as is well known, he heard in sleep and it was a long poem very distinctly recited to him, but when he woke up and wanted to write it down he could remember only the opening lines, the rest having gone completely out of his memory; in other words, the poem was ready-composed some-
where else, but the transmitting or recording instrument was faulty and failed him. Indeed, it is a common experience to hear in sleep verses or musical tunes and what seem then to be very beautiful things, but which leave no trace on the brain and are not recalled in memory.

     Still, it must be noted that Coleridge is a rare example, for the recording apparatus is not usually so faithful but puts up its own formations that disturb and alter the perfection of the original. The passivity or neutrality of the intermediary is relative, and there are infinite grades of it. Even when the larger waves that play in it in the normal waking state are quieted down, smaller ripples of unconscious or half-conscious habitual formations are thrown up and they are sufficient to cause the scattering and dispersal of the pure light from above.

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The absolute passivity is attainable, perhaps, only by the Yogi. And in this sense the supreme poet is a Yogi, for in his consciousness the higher, deeper, subtler or other modes of experiences pass through and are recorded with the minimum aberration or diffraction.

     But the Yogi is a wholly conscious being; a perfect Yogi is he who possesses a conscious and willed control over his instruments, he silences them, as and when he likes, and makes them convey and express with as little deviation as possible truths and realities from the Beyond. Now the question is, is it possible for the poet also to do something like that, to consciously create and not to be a mere unconscious or helpless channel? Conscious artistry, as we have said, means to be conscious on two levels of consciousness at the same time, to be at home in both equally and simultaneously. The general experience, however, is that of "one at a time": if the artist dwells more in the one, the other retires into the background to the same measure. If he is in the over-consciousness, he is only half-conscious in his brain consciousness, or even not conscious at all—he does not know how he has created, the sources or process of his creative activity, he is quite oblivious
of them, gone through them all as if per saltum. Such seems to have been the case with the primitives, as they are called, the elemental poets—Shakespeare and Homer and Valmiki. In some others, who come very near to them in poetic genius, yet not quite on a par, the instrumental intelligence is strong and active, it helps in its own way but in helping circumscribes and limits the original impulsion. The art here becomes consciously artistic, but loses something of the initial freshness and spontaneity: it gains in correctness, polish and elegance and has now a style in lieu of Nature's own naturalness. I am thinking of Virgil and Milton and Kalidasa. Dante's place is perhaps somewhere in between. Lower in the rung where the mental medium occupies a still more preponderant place we have intellectual poetry, poetry of the later classical age whose representatives are Pope and Dryden. We can go farther down and land in the domain of versification—although here, too, there can be a good amount of beauty in shape of ingenuity, cleverness and conceit: Voltaire and Delille are of this order in French poetry.

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     The three or four major orders I speak of in reference to conscious artistry are exampled characteristically in the history of the evolution of Greek poetry. It must be remembered, however, at the very outset that the Greeks as a race were nothing if not rational and intellectual. It was an element of strong self-consciousness that they brought into human culture —that was their special gift. Leaving out of account Homer who was, as I said, a primitive, their classical age began with Aeschylus who was the first and the most spontaneous and intuitive of the Great Three. Sophocles, who comes next, is more balanced and self-controlled and pregnant with a reasoned thought-content clothed in polished phrasing. We feel here that the artist knew what he was about and was exercising a conscious control over his instruments and materials, unlike his predecessor who seemed to be completely carried away by , the onrush of the poetic enthousiasmos. Sophocles, in spite of his artistic perfection or perhaps because of it, appears to be just a little, one remove, away from the purity of the central inspiration—there is a veil, although a thin transparent veil, yet a veil between which intervenes. With the third of the Brotherhood, Euripides, we slide lower down—we arrive at a predominantly mental transcription of an experience or inner conception; but something of the major breath continues, an aura, a rhythm that maintains the inner contact and thus saves the poetry. In a subsequent age, in Theocritus, for example, poetry became truly very much 'sicklied o'er with the pale cast of thought', so much of virtuosity and precocity entered into it; in other words, the poet then was an excessively self-conscious artist. That seems to be the general trend of all literature.

     But should there be an inherent incompatibility between spontaneous creation and self-consciousness? As we have seen, a harmony and fusion can and do happen of the superconscious and the normally conscious in the Yogi. Likewise, an artist also can be wakeful and transparent enough so that he is conscious on both the levels simultaneously—above, he is conscious of the source and origin of his inspiration, and on the level plain he is conscious of the working of the instrument, how the vehicle transcribes and embodies what comes from elsewhere. The poet's consciousness becomes then divalent as

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it were—there is a sense of absolute passivity in respect of the receiving apparatus and coupled and immisced with it there is also the sense of dynamism, of conscious agency as in his secret being he is the master of his apparatus and one with the Inspirer—in other words, the poet is both a seer (kavih) and a
creator or doer (poietes).

     Not only so, the future development of the poetic consciousness seems inevitably to lead to such a consummation in which the creative and the critical faculties will not be separate but form part of one and indivisible movement. Historically, human consciousness has grown from unconsciousness to consciousness and from consciousness to self-consciousness; man's creative and artistic genius too has moved pari passu in the same direction. The earliest and primitive poets were mostly unconscious, that is to say, they wrote or said things as they came to them spontaneously, without effort, without reflection, they do not seem to know the whence and wherefore and whither of it all, they know only that the wind bloweth as it listeth. That was when man had not yet eaten the fruit of knowledge, was still in the innocence of childhood. But as he grew up and progressed, he became more and more conscious, capable of exerting and exercising a deliberate will and initiating a purposive action, not only in the external practical field but also in the psychological domain. If the earlier group is called "primitives", the later one, that of conscious artists, usually goes by the name of "classicists." Modern creators have gone one step farther in the direction of self-consciousness, a return upon oneself, an inlook of full awareness and a free and alert activity of the critical faculties. An unconscious artist in the sense of the "primitives" is almost an impossible pheno-menon in the modern world. All are scientists: an artist cannot but be consciously critical, deliberate, purposive in what he creates and how he creates. Evidently, this has cost something of the old-world spontaneity and supremacy of utterance; but it cannot be helped, we cannot command the tide to roll back, Canute-like. The feature has to be accepted and a remedy and new orientation discovered.

     The modern critical self-consciousness in the artist originated with the Romantics. The very essence of Romanticism is curiosity—the scientist's pleasure in analysing, observing, experimenting,

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changing the conditions of our reactions, mental . or sentimental or even nervous and physical by way of discovery of new and unforeseen or unexpected modes of "psychoses" or psychological states. Goethe, Wordsworth, Stendhal represented a mentality and initiated a movement which led logically to the age of Hardy, Housman and Bridges and in the end to that of Lawrence and Joyce, Ezra Pound and Eliot and Auden. On the Continent we can consider Flaubert as the last of the classicists married to the. very quintessence of Romanticism. A hard, self-regarding, self-critical mentality, a cold scalpel-like gaze that penetrates and upturns the reverse side of things is intimately associated with the poetic genius of Mallarme and constitutes almost the whole of Valery's. The impassioned lines of a very modern poet like Aragon are also characterised by a consummate virtuosity in chiselled artistry, conscious and deliberate and willed at every step and turn.

     The consciously purposive activity of the poetic consciousness—in fact, of all artistic consciousness—has shown itself with a clear and unambiguous emphasis in -two directions. First of all with regard to the subject-matter: the old-world poets took things as they were, as they were obvious to the eye, things of human nature and things of physical Nature, and without questioning dealt with them in the beauty of their normal form and function. The modern mentality has turned away from the normal and the obvious: it does not accept and admit the "given" as the final and definitive norm of things. It wishes to discover and establish other norms, it strives to bring about changes in the nature and condition of things, envisage the shape of things to come, work for a brave new world. The poet of today, in spite of all his effort to remain a pure poet, in spite of Housman's advocacy of nonsense and not-sense being the essence of true Art, is almost invariably at heart an incorrigible prophet. In revolt against the old and established order of truths and customs, against all that is normally considered as beautiful,—ideals and emotions and activities of man or aspects and scenes and movements of Nature—against God or spiritual life, the modern poet turns deliberately to the ugly and the macabre, the meaningless, the insignificant and the trifling—tins and teas, bone and dust and dustbin, hammer and sickle—he is still a prophet, a violent

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one, an iconoclast, but one who has his own icon, a terribly jealous being, that seeks to pull down the past, erase it, to break and batter and knead the elements in order to fashion out of them something conforming to his heart's desire. There is also the class who have the vision and found the truth and its solace, who are prophets, angelic and divine, messengers and harbingers of a new beauty that is to dawn upon earth. And yet there are others in whom the two strains mingle or approach in a strange- way. All this means that the artist is far from being a mere receiver, a mechanical executor, a passive unconscious instrument, but that he is supremely conscious and master of his faculties and implements. This fact is doubly reinforced when we find how much he is preoccupied with the technical aspect of his craft. The richness and variety of patterns that can be given to the poetic form know no bounds today. A few major rhythms were sufficient for the ancients to give full expression to their poetic inflatus. For they cared more for some major virtues, the basic and fundamental qualities—- such as truth, sublimity, nobility, forcefulness, purity, simplicity, clarity, straightforwardness; they were more preoccupied with what they had to say and they wanted, no doubt, to say it beautifully and powerfully; but the modus operandi was not such a passion or obsession with them, it had not attained that almost absolute value for itself which modern craftsmanship gives it. As technology in practical life has become a thing of overwhelming importance to man today, become, in the
Shakespearean phrase, his "be-all and end-all", even so the same spirit has invaded and pervaded his aesthetics too. The subtleties, variations and refinements, the revolutions, reversals and inventions which the modern poet has ushered and takes delight in, for their own sake, I repeat, for their intrinsic interest, not for the sake of the subject which they have to embody and clothe, have never been dreamt by Aristotle, the supreme legislator among the ancients, nor .by Horace, the almost incomparable craftsman among the ancients in the domain of poetry. Man has become, to be sure, a self-conscious creator to the pith of his bone.

     Such a stage in human evolution, the advent of Homo Faber, has been a necessity; it has to serve a purpose and it has done admirably its work. Only we have to put it in its proper place.

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The salvation of an extremely self-conscious age lies in an exceeding and not in a further enhancement or an exclusive concentration of the self-consciousness, nor, of course, in a falling back into the original unconsciousness. It is this shift in the poise of consciousness that has been presaged and prepared by the conscious, the scientific artists of today. Their. task is to forge an instrument for a type of poetic or artistic creation completely new, unfamiliar, almost revolutionary which the older mould would find it impossible to render adequately. The yearning of the human consciousness was not to rest satisfied with the familiar and the ordinary, the
pressure was for the discovery of other strands, secret stores of truth and reality and beauty. The first discovery was that of the great Unconscious, the dark and mysterious and all-powerful subconscient. Many of our poets and artists have been influenced by this power, some even sought to enter into that region and become its denizens. But artistic inspiration is an emanation of Light; whatever may be the field of its play, it can have its origin only in the higher spheres, if it is to be truly beautiful and not merely curious and scientific.

     That is what is wanted at present in the artistic world—the true inspiration, the breath from higher altitudes. And here comes the role of the mystic, the Yogi. The sense of evolution, the march of human consciousness demands and prophesies that the future poet has to be a mystic—in him will be fulfilled the travail of man's conscious working. 'The self-conscious craftsman, the tireless experimenter with his adventurous analytic mind has sharpened his instrument, made it supple
and elastic, tempered, refined and enriched it; that is comparable to what we call the aspiration or call from below. Now the Grace must descend and fulfil. And when one rises into this higher consciousness beyond the brain and mind, when one lives there habitually, one knows the why and the how of things, one becomes a perfectly conscious operator and still retains all spontaneity and freshness and wonder and magic that are usually associated with inconscience and irreflection. As there is a spontaneity of instinct, there is likewise also a spontaneity of vision: a child is spontaneous in its movements, .even so a seer. Not only so, the higher spontaneity is more spontaneous, for the higher consciousness means not only

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awareness but the free and untrammelled activity and expression of the truth and reality it is.

     Genius had to be generally more or less unconscious in the past, because the instrument was not ready, was clogged as it ' were with its own lower grade movements; the higher inspiration had very often to bypass it, or rob it of its serviceable materials without its knowledge, in an almost clandestine way. Wherever it was awake and vigilant, we have seen it causing a diminution in the poetic potential. And yet even so, it was being prepared for a greater role, a higher destiny it is .to fulfil in the future. A conscious and full participation of a refined and transparent and enriched instrument in the delivery of superconscious truth and beauty will surely mean not only a new but the very acme of aesthetic creation. We thus foresee the age of spiritual art in which the sense of creative beauty in man will find its culmination. Such an art was only an exception, something secondary or even tertiary, kept in the background, suggested here and there as a novel strain, called "mystic" to express its unfamiliar nature—unless, of course, it was openly and obviously scriptural and religious.

     I have spoken of the source of inspiration as essentially and originally being a super-consciousness or over-consciousness. But to be more precise and accurate I should add another source, an inner consciousness. As the super-consciousness is imaged as lying above the normal consciousness, so the inner consciousness may be described as lying behind or within it. The movement of the inner consciousness has. found expression more often and more largely than that of over-consciousness in the artistic creation of the past: and that was in keeping with the nature of the old-world inspiration, for the inspiration that comes from the inner consciousness, which can be considered as the lyrical inspiration, tends to be naturally more "spontaneous", less conscious, since it does not at all go by the path of the head, it evades that as much as possible and goes by the path of the heart.

     But the evolutionary urge, as I have said, has always been to bring down or instil more and more light and self-consciousness into the depths of the heart too: and the first result has been an intellectualisation, a rationalisation of the consciousness, a movement of scientific observation and criticism

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which very naturally leads to a desiccation of the poetic enthusiasm and fervour. But a period of transcendence is in gestation. All efforts of modern poets and craftsmen, even those that seem apparently queer, bizarre and futile, are at bottom a travail for this transcendence, including those that seem contradictory to it.

     Whether the original and true source of the poet's inspiration lies deep within or high above, all depends upon the mediating instrument—the mind (in its most general sense) and speech—for a successful transcription. Man's ever-growing consciousness demanded also a conscious development and remoulding of these two factors. A growth, a heightening and deepening of the consciousness meant inevitably a movement towards the spiritual element in things. And that means, we
have said, a twofold change in the future poet's make-up. First as regards the substance. The revolutionary shift that we notice in modern poets towards a completely new domain of subject-matter is a signpost that more is meant than what is expressed. The superficialities and futilities that are dealt with do not in their outward form give the real trend of things. In and through all these major and constant preoccupation of our poets is "the pain of the present and the passion for the future": they are, as already stated, more prophets than poets, but prophets for the moment crying in the wilderness— although some have chosen the path of denial and revolt. They are all looking ahead or beyond or deep down, always yearning for another truth and reality which will explain, justify and transmute the present calvary of human living. Such an acute tension of consciousness has necessitated an overhauling of the vehicle of expression too, the creation of a mode of expressing the inexpressible. For that is indeed what human consciousness and craft are aiming at in the present stage of man's evolution. For everything, almost everything that can be normally expressed has been expressed and in a variety of ways as much as is possible: that is the history of man's aesthetic creativity. Now the eye probes into the unexpressed world; for the artist too the Upanishadic problem has cropped up: ,

By whom impelled does the mind fall to its target, what is the agent that is behind the eye and sees through the eyes,

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what is the hearing and what the speech that their respective sense organs do not and cannot convey and record adequately or at all ?

     Like the modern scientist the artist or craftsman too of today has become a philosopher, even a mystic philosopher. The subtler and higher ranges of consciousness are now the object of inquiry and investigation and expression and revelation for the scientist as well as for the artist. The external sense-objects, the phenomenal movements are symbols and signposts, graphs and pointer-readings of facts and realities that lie hidden, behind or beyond. The artist and the scientist
are occult alchemists. What to make of this, for example: 

Beyond the shapes of empire, the capes of Carbonek, over the topless waves of trenched Broceliande, drenched by ¦the everlasting spray of existence, with no mind's sail ¦ reefed or set, no slaves at the motived oars, I drove into and clove the wind from unseen shores. Swept from all altars, swallowed in a path of power by the wrath that wrecks the pirates in the Narrow Seas,....multiple without dimension, indivisible without uniformity, the ship of Solomon (blessed be he) drove on.¹

Well, it is sheer incantation. It is word-weaving, rhythm-plaiting, thought-wringing in order to pass beyond these frail materials, to get into contact with, to give some sense of the mystery of existence that passeth understanding. We are very far indeed from the "natural" poets, Homer or Shakespeare, Milton or Virgil. And this is from a profane, a mundane poet, not an ostensibly religious or spiritual poet. The level of the poetic inspiration, at least of the poetic view and aspiration has evidently shifted to a higher, a deeper degree. We may be speaking of tins and tinsel, bones and dust, filth and misery, of the underworld of ignorance and ugliness,

All things uncomely and broken, all things worn out and old,

1 "The Last Voyage" by Charles Williams—.4 Little Book of Modem Verse,
(Faber and Faber).

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and the imaginative idealist, the romantically spiritual poet
says that these or

The cry of a child by the roadway, the creak of a lumbering  cart,
 The heavy steps of the ploughman, splashing the. wintry mould,

all, all the dark spots and blotches on the fair face of earth and humanity

Are wronging your image that blossoms a rose in the deeps of my heart. and he cries out:

The wrong of unshapely things is a wrong too great to be told;

and declares the ardent aspiration of his heart and soul:

I hunger to build them anew, and sit on a green knoll apart,
With the earth and the sky and the water, re-made, like a casket of gold .
For my dreams of your image that blossoms a rose in the deeps of my heart.¹

But the more truly modern mind looks at the thing in a slightly different way. The good and the evil are not, to it, contrary to each other: one does not deny or negate the other. They are intermixed, fused in a mysterious identity. The best and the worst are but two conditions, two potentials of the same entity. Baudelaire, who can be considered as the first of the real moderns in many ways, saw and experienced this intimate polarity or identity of opposites in human nature and consciousness. What is Evil, who is the Evil One:

1 W. B. Yeats: "The Lover tells of the Rose in his Heart"—The Wind among
the Reeds.

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Une Idee, une Forme, Un Etre

Parti de I'azur et tombe

Dans un Styx bourbeux et plombe

Ou nul œil du Ciel ne penetre;¹

                                                {L'Irremediable}

And therefore it is not so irremediable as it appears to be. For the miracle happens and is an inevitable natural phenomenon, and that is why

Par l'operation d'un mystere vengeur
Dans la brute assoupie un ange se reveille.2

                                                     {L'Aube spirituelle)

Heaven and Earth are not incommensurables, divinity and humanity function as one reality, towards one purpose and end: cruel heaven, miserable humanity? Well, this is how they appear to the poet's eye:

Le Ciel! couvercle noir de la grande marmite
Ou bout l'imperceptible et vaste Humanite

                                                    {Le Couvercle)

     In other words, the tension in the human consciousness has been raised to the  power, the heat of a brooding consciousness is about to lead it to an outburst of new creation— sah tapastaptva. Human self-consciousness, the turning of oneself upon oneself, the probing and projecting of oneself into oneself—self-consciousness raised so often to the degree of self-torture, marks the acute travail of the spirit. The thousand "isms" and "logics" that pullulate in all fields of life, from the political to the artistic or even the religious and the spiritual indicate how the human laboratory is working at white heat. They are breaches in the circuit of the consciousness, volcanic eruptions from below or cosmic-ray irruptions from above,

1 An Idea, a Form, a Being left the azure and fell into the mud and grey of a Styx where no eye from Heaven can penetrate.

2 An avenging Mystery operating, out of the drowsy animal awakes an angel.

3 Heaven! it is the dark lid upon the huge cauldron in which the imperceptible and vast humanity is boiling. —Les Fleurs du Mal.

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tearing open the normal limit and boundary—Baudelaire's Couvercle or the "golden lid" of the Upanishads—disclosing and bringing into the light of common day realities beyond and unseen till now.

      If so long the poet was more or less a passive, a half-conscious or unconscious intermediary between the higher and the lower lights and delights, his role in the future will be better fulfilled when he becomes fully aware of it and consciously moulds and directs his creative energies. The poet is and has to be the harbinger and minstrel of unheard-of melodies: he is the fashioner of the creative word that brings down and embodies the deepest aspirations and experiences of the human consciousness. The poet is a missionary: he is missioned by Divine Beauty to radiate upon earth something other charm and wizardry. The fullness of his role he can only play up when he is fully conscious—for it is under that condition that all obstructing and obscuring elements lying across the path of inspiration can be completely and wholly eradicated: the instrument purified and tempered and transmuted can hold and express golden truths and beauties and puissances that otherwise escape the too human mould.

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