WHAT IS the kind of Truth which we can demand from the spirit of poetry, from the lips of the inspired singer, or what do we mean when we speak of Truth as one of the high powers and godheads of his work and of its light as a diviner sunlight in which he must see and shape from its burning rays within and around him the flame-stuff of his creation? We have all our own notions of the Truth and that gives an ambiguous character to the word and brings in often a narrow and limited sense of it into our idea of poetry. But first there is the primary objection, plausible enough if we look only at the glowing robe and not at the soul of creative expression, that the poet has nothing at all to do with any other kind of truth or with Truth at all for her own sake, but is a lover only of Beauty, she his only worshipped goddess, and not truth but imagination her winged servant and the radiant messenger of the Muse. If it cannot absolutely be said that most poetry is most feigning and the whole art amounts to a power of beautiful fiction, yet it is apparent that the poet most succeeds when he takes outward or actual truth only as a first hint and steeps most subtly whatever crude matter it gives to his mind in the delightful hues of imagination and transmutes it into the unfettered beauty of her shapes. That might seem at first sight to mean or so might be interpreted that truth and art are two unconnected or little connected things, and if truth is to be made at all the subjectmatter of art, it yet does not become art unless it has come out transfigured and, it may be, unrecognisable in the imagination's characteristic process. But in fact it does not mean that, but only that art is not an imitation or reproduction of outward Nature, but rather missioned to give by the aid of a transmuting faculty something more inwardly true than the external life and appearance.

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And next, there is the quite opposite idea, which one finds sometimes rampant and self-confident in an age of realism and the cult of vital power, that the truth which is the material of poetry and has to be set out and rhythmed in her process, is the reality of life in its most strenuous vital sense, the reality of what we see and hear and touch and vitally feel and energetically think with the most positive impact of the mind, the raw rough concrete and dynamic fact of experience to be transferred without any real change into rhythmic form, relieved with image and dressed in its just idea and word. And we are even told that poetry to be faithful to life must manage not only her seeing and expression, but her rhythmic movement so as to create some subjective correspondence with life, creep and trip and walk and run and bound along with it, reproduce every bang and stumble and shuffle and thump of the vital steps, and then we shall get a quite new large and vigorous music and in comparison with its sincere and direct power the old melodies will fade into false and flimsy sweetnesses of insipid artifice. Here what is demanded is not beauty but power or rather force. If beauty can get in, if she can dress herself in these new and strong colours, we shall gratefully accept her, provided she is not too beautiful to be true and does not bring in again with her the unreal, the romantic or remotely ideal or some novel kind of perverse¹ imagination. But if ugly, brutal and sordid things are shown powerfully in their full ugliness, brutality and sordidness without any work of transmutation, so much the better since truth of life, force of vital reality of whatever kind set and made vivid in a strong outlining illumination is what we shall henceforth demand of the artist in verse. And it cannot be denied that the crudity of actual life so treated and heightened in art — for art cannot merely reproduce, it cannot help heightening — gives us a new sensation, becomes a crude and heady wine setting up an agreeable disturbance in the midriff and bowels and a violent satisfaction in the brain

¹ In the sense in which a critic of some note, I am told, applies the epithet to Yeats' poetry. I have not read the criticism, but the expression itself is a sufficient condemnation not of the poet, but of the mind — and of its poetic theory — which can use such a word in such a connection.

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and can be given by a powerful writer a wide appeal demanding no effort of taste or understanding from the average man who makes the multitude. A robust muscular and masculine poetry suitable to the Anglo-Saxon genius can no doubt be the result of this kind of aesthesis.

Then again there is the old academic conception, truth of the cultivated intelligence, truth of reason, philosophic and scientific truth, or, more pertinent to the matter, truth of a certain selective imagination and taste consonant with reason and strong to give a tempered beauty to just presentation and idea, the classical or in its more formal shape the pseudo-classical aesthetic rule. And in this connection we have many familiar notions chasing each other across the field, such as on one side the compatibility or incompatibility of philosophy and poetry or on the other the definition of poetry as substantially a criticism of life though set in an artistic form and a high and serious tone. And associated with this view also we find very commonly a dislike of free imagination and rich colour and the audacities of the fancy and the far-off and shrouded voices and things visionary, subtle and remote. The aesthetic mind varies, follows its own bent, fashions its idea of poetic truth according to its own standard of satisfaction and sets up as a canon and law its own manner of response; there is a multitude of counsels, and each has this common characteristic that it overstresses one side of the norm of poetic creation. For the spirit of poetry is many-sided and flexible in its processes, but firm and invariable in the central law of its nature.

The poetic Truth of which I am speaking has nothing to do with any of these limitations. Truth, as she is seen by us in the end, is an infinite goddess, the very front and face of Infinity and Aditi herself, the illimitable mother of all the gods. This infinite, eternal and eternally creative Truth is no enemy of imagination or even of free fancy, for they too are godheads and can wear one of her faces or one of her expressive masks, while imagination is perhaps the very colour of her creative process, her births and movements are innumerable, her walk supple and many-pathed, and through all divine powers and universal

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means she can find her way to her own riches, and even error is her illegitimate child and serves, though wantonly, rebelliously and through many a giddy turn, her mother's many-formed self-adaptive world-wide aim. Now it is something of this infinite Truth which poetry succeeds in giving us with a high power, in its own way of beauty, by its own opulent appointed means. The channel is different from those of her other activities because the power is of another kind. Infinite Truth has her many distinct ways of expressing and finding herself and each way must be kept distinct and the law of one must not be applied to the law of another form of her self-expression; and yet that does not mean that the material of one cannot be used as the material of another, though it must be cast by a different power into a different mould, or that all do not meet on their tops. Truth of poetry is not truth of philosophy or truth of science or truth of religion only, because it is another way of self-expression of infinite Truth so distinct that it appears to give quite another face of things and reveal quite another side of experience. A poet may have a religious creed or subscribe to a system of philosophy or take rank himself like Lucretius or certain Indian poets as a considerable philosophical thinker or succeed like Goethe as a scientist as well as a poetic creator, but the moment he begins to argue out his system intellectually in verse or puts a dressedup science straight into metre or else inflicts like Wordsworth or Dryden rhymed sermons or theological disputations on us, he is breaking the law. And even if he does not move so far astray, yet the farther he goes in that direction even within the bounds of his art, he is, though it has often been done with a tolerable, sometimes a considerable or total success, treading on unfirm or at any rate on lower ground. It is difficult for him there to maintain the authentic poetic spirit and pure inspiration.

For this is another cult and worship and the moment he stands before the altar of the Muse, he has to change his robes of mind and serve the rites of a different consecration. He has to bring out into the front that other personality in him who looks with a more richly irised seeing eye and speaks with a more rapturous voice. The others have not normally the same

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joy of the word because they do not go to its fountain-head, even though each has its own intense delight, as philosophy has its joy of deep and comprehensive understanding and religion its hardly expressible rapture. Still it remains true that the poet may express precisely the same thing in essence as the philosopher or the man of religion or the man of science, may even give us truth of philosophy, truth of religion, truth of science, provided he transmutes it, abstracts from it something on which the others insist in their own special form and gives us the something more which poetic sight and expression bring. He has to convert it into truth of poetry, and it will be still better for his art if he saw it originally with the poetic insight, the creative, intuitive, directly perceiving and interpreting eye; for then his utterance of truth is likely to be more poetic, authentic, inspired and compelling. This distinction between poetic and other truth, well enough felt but not always well observed, and their fusion and meetingplace are worth dwelling upon; for if poetry is to do all it can for us in the new age, it will include increasingly in its scope much that will be common to it with philosophy, religion and even in a broader sense with science, and yet it will at the same time develop more intensely the special beauty and peculiar power of its own insight and its own manner. The poetry of Tagore is already a new striking instance of what differently seen and followed out might have been a specifically philosophic and religious truth, but here turned into beauty and given a new significance by the transforming power of poetic vision.

The difference which separates these great things of the mind is a difference of the principal, the indispensable instrument we must use and of the appeal to the mind and the whole manner. There is a whole gulf of difference. The philosopher sees in the dry light of the reason, proceeds dispassionately by a severe analysis and abstraction of the intellectual content of the truth, a logical slow close stepping from idea to pure idea, a method difficult and nebulous to the ordinary, hard, arid, impossible to the poetic mind. For the poetic mind sees at once in a flood of coloured light, in a moved experience, in an ecstasy of the coming of the word, in splendours of form, in a spontaneous

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leaping out of inspired idea upon idea, sparks of the hoof-beats of the white flame horse Dadhikravan galloping up the mountain of the gods or breath and hue of wing striking into wing of the irised broods of Thought flying over earth or up towards heaven. The scientist proceeds also by the intellectual reason but with a microscopic scrutiny which brings it to bear on an analysis of sensible fact and process and on the correct measure and relation of force and energy as it is seen working on the phenomenal stuff of existence, and joins continually link of fact with fact and coil of process with process till he has under his hand at least in skeleton and tissue the whole connected chain of apparent things. But to the poetic mind this is a dead mechanical thing; for the eye of the poet loves to look on breathing acting life in its perfected synthesis and rhythm, not on the constituent measures, still less on the dissected parts, and his look seizes the soul of wonder of things, not the mechanical miracle. The method of these other powers moves by the rigorously based and patiently self-assured steps of the systematising intelligence and the aspect of Truth which they uncover is a norm measured and cut out from the world of ideas and the world of sense by the eye of the intellectual reason. The brooding philosopher or the discovering scientist cannot indeed do without the aid of a greater power, intuition, but ordinarily he has to bring what that nearer more swiftly luminous faculty gives him into a more deliberate air under the critical light of the intelligence and establish it in the dialectical or analytical way of philosophy and science before the intellect as judge. The mind of the poet sees by intuition and direct perception and brings out what they give him by a formative stress on the total image, and the aspect to which he thrills is the living truth of the form, of the life that inspires it, of the creative thought behind and the supporting movement of the soul and a rhythmic harmony of these things revealed to his delight in their beauty. These fields and paths lie very wide apart, and if any voices from the others reach and claim the ear of the poetic creator, they must change greatly in their form and suit themselves to the warmth and colour of his atmosphere before they can find right of entry into his kingdom.

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The meeting is not here at the base, but on the tops. The philosopher's reasoning intelligence discovers only a system of thought symbols and the reality they figure cannot be seized by the intelligence, but needs direct intuition, a living contact, a close experience by identity in our self of knowledge. That is work not for a dialectical, but a bright revelatory thinking, a luminous body of intuitive thought and spiritual experience which carries us straight into sight, into vision of knowledge. The first effort of philosophy is to know for the sake of pure understanding, but her greater height is to take Truth alive in the spirit and clasp and grow one with her and be consciously within ourselves all the reality we have learned to know. But that is precisely what the poet strives to do in his own way by intuition and imagination, when he labours to bring himself close to and be one by delight with the thing of beauty which awakes his joy. He does not always seize the very self of the thing, but to do so lies within his power. The language of intuitive thinking moves always therefore to an affinity with poetic speech and in the ancient Upanishads it used that commonly as its natural vehicle. "The Spirit went abroad, a thing pure, bright, unwounded by sin, without body or sinew or scar; the Seer, the Thinker, the Self-born who breaks into being all around us, decreed of old all things in their nature from long eternal years." "There sun shines not nor moon nor star nor these lightnings blaze nor this fire; all this world is luminous only with his light." Are we listening, one might ask, to the voice of poetry or philosophy or religion? It is all three voices cast in one, indistinguishable in the eternal choir. And there is too and similarly a pure intuitive science which comes into the field when we enter the ranges of the psychical and spiritual being and can from there work for the discovery of greater secrets of the physical or at least of the psycho-physical world. Indian Yoga founds itself on that greater process, and there, though as in all true science the object is an assured method of personal discovery or living repetition and possession of past discovery and a working out of all the thing found, there is too a high final intention to hold the truth, the light found in our inner power of being and turn it to a power of

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our psychical self, our spirit, our self of knowledge and will, our self of love and joy, our self of life and action. This too, though not the same thing in form, is akin to the higher work of poetry when it acts, as the ancients would have had it consciously act, as a purifier and builder of the soul.

The initial function of religion again is to make clear the approaches of the soul to the Highest, to God. And it does that at first by laying on the mind a scheme of religious knowledge or guiding creed and dogma, a taming yoke of moral instruction or purifying law of religious conduct and an awakening call of religious emotion, worship, cult, and so far it is a thing apart in its own field, but in its truly revealing side of intuitive being and experience we find that the essence of religion is an aspiration and adoration of the soul towards the Divine, the Self, the Supreme, the Eternal, the Infinite, and an effort to get close to and live with or in that or to enjoy in love and be like or one with that which we adore. But poetry also on its heights turns to the same things in ourselves and the world, not indeed with religious adoration, but by a regarding closeness and moved oneness in beauty and delight. The characteristic method and first field of all these things is indeed wide apart, but at their end when they come into their deepest spirit, they begin to approach each other and touch; and because of this greater affinity philosophy, psychic and spiritual science and religion are found in the ancient Indian culture woven into one unity, and when they turn to the expression of their most intimate experience, it is always the poetic word which they use.

The steps of Poetry rise to these heights on her own side of the mountain of the gods. Poetry comes into being at the direct call of three powers, inspiration, beauty and delight, and brings them to us and us to them by the magic charm of the inspired rhythmic word. If it can do that at all perfectly, its essential work has been done. It is in its beginning concerned with close and simple natural things and, when it grows more subtle, still it has only to create a power of beauty, move the soul with aesthetic delight and make it feel and see, and its function seems at an end. The kind does not seem to matter, and it has nothing to do

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primarily or directly, nor at any time in a set formal will taking that as its function and aim, with the presentation of intellectual concepts to the reason or with truth of science or with moral betterment or the working out of religious aspiration, not often even with so near a thing to it as religious emotion and love. But yet because of that greater affinity we see it actually doing what is an equivalent to these things by its own power, in a strange and beautiful mould, with an indirect and yet subtly direct touch. The poet too brings out sometimes as if by accident, sometimes with a conscious intention the same essential truths as the philosopher or the man of religion. An instance or two will be sufficient to show the approximation and the difference. Religion brings us a command to love our neighbour as ourselves and even our enemies, a thing impossible to our normal nature, a law honoured with the consent of the lips and universally ignored in the observance. A few only seeking perfection in spiritual experience discover in it the natural rule of our real and our highest being, quite possible if we can only get some abiding realisation of that secret oneness which is the foundation of the law of universal love. Then, not seeking this at all but only poetic delight or, if you are so inclined, the criticism of life, we listen to Creon's fierce reproach to Antigone that in her refusal to hate the national enemy she stands unnaturally apart from the mind and heart of all her people and hear suddenly start out the high and proud reply of one lonely and doomed but inflexibly true to her nature, her soul's will under the shadow of a cruel death, "Not to join in hate, but to join in love was I born!" The Athenian poet intended no moral instruction, calls up no religious emotion into his line, is concerned only with a crucial situation in life, the revolt of natural affection against the rigid claim of the law, nation, State. It is a simple cry of the voice of nature and life, yet there breathes behind it a greater thought which is not so far from the truth underlying religious teaching and spiritual experience. The poet, his eyes fixed on life, shows us as if by accident the seed in our normal nature which can grow into the prodigious spiritual truth of universal love. He has to do it in his own way in the mould of poetic

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beauty and delight, and if we judge by such instances, we shall say that so only he has to do it, to cast as if casually the seed of the beauty and delight of some high mood of life and nature into the mind and pass on leaving it to its work on the soul's reflecting emotional experience, perhaps hardly himself knowing what he has done since he is absorbed in sight and satisfied with the joy of beautiful creation.

And yet actually we find that we cannot quite set these limits or they are not regarded by poets of a high order. The poet of the Gita has the conscious intention of laying the form of unity on the soul of the hearer and moving him to seek the full experience. "He is the greatest Yogin who, come happiness by that or come grief, sees wherever he turns his eyes all equally in the image of his self." That is something high, grave, couched in the language of the inspired reason, uplifted in the original by a sweet and noble diction and rhythm, religious and philosophical in its strain and yet poetical, because it adds to the fundamental idea the visualising and bringing home of the spiritual experience, the sustaining emotion of the thing felt and a touch of its life. And in the much older Yajur Veda we find breaking out with a different, a more moved and less reflective voice the same truth of experience, the same touch on the soul, "Where I am wounded, make me firm and whole. May all creatures gaze on me with the eye of the Friend, may I gaze on all creatures, may we all gaze on all with the eye of the Friend." There poetry and religious emotion become powerfully fused and one in the aspiration to the heart's perfection and the loving unity of all life. The same uniting alchemy and fusion can take place between truth of philosophy and poetic truth and it is continually found in Indian literature. And so too all the old Rig Veda, all the Vaishnava poetry of North and South had behind it an elaborate Yoga or practised psychical and spiritual science, without which it could not have come into birth in that form. Today much of the poetry of Tagore is the sign of such a Sadhana, a long inheritance of assured spiritual discovery and experience. But what is given whether directly or in symbol or in poetic image is not the formal steps of the Sadhana, but

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the strongly felt movement and the living outcome, the vision and life and inner experience, the spirit and power and body of sweetness and beauty and delight. The tracing of close and too meticulous bounds round the steps of poetic truth or turning of its wide continental spheres into some limiting magic circle seems therefore to have no real foundation. One may almost though not quite say that there is nothing in infinite Truth that the poet cannot make his material, even if it seems to belong to other provinces of the mind, because all forms of human experience approach each other on their sides of intuition and inner life and vision and all meet in the spirit. The condition, the limitation is only in the way and manner, — but that means enormously much, — the necessity of the purely poetic way of seeing and the subjection of the thing seen to the law of poetic harmony and moved delight and beauty.

The real distinction therefore is in the primary or essential aim of poetry and in the imperative condition which that aim lays upon the art. Its function is not to teach truth of any particular kind, nor indeed to teach at all, nor to pursue knowledge nor to serve any religious or ethical aim, but to embody beauty in the word and give delight. But at the same time it is at any rate part of its highest function to serve the spirit and to illumine and lead through beauty and build by a high informing and revealing delight the soul of man. And its field is all soul experience, its appeal is to the aesthetic response of the soul to all that touches it in self or world; it is one of the high and beautiful powers of our inner and may be a power of our inmost life. All of the infinite Truth of being that can be made part of that life, all that can be made true and beautiful and living to that experience, is poetic truth and a fit subject matter of poetry. But there are always three things which we find present in the utterance and which may be taken as the tests of its measure of power. First there is a force of inspired seeing which gives us the appeal of some reality of self or mind or world, whether in this material field or the other planes of universal existence or of our own being to which imagination is one of the gates, a seeing which brings to us the power of its truth and the beauty of its image

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and gives it body in the mind by the word. Then there must be the touch, presence, breath of the very life, not the outward only, but the inward life, not an imitation by force of speech or the holding up of a mirror to some external movement or form of Nature, but a creative interpretation which brings home to us as much as may be of what she is or things or we are. And again that must carry in it and arouse in us an emotion of its touch on the soul, not the raw emotion of the vital parts, — though that comes in in certain kinds of poetry, — but a spiritual essence of feeling to which our inner strands can vibrate. The intellectual, vital, sensible truths are subordinate things; the breath of poetry should give us along with them, or it may even be apart from them, some more essential truth of the being of things, their very power which springs in the last resort from ¯ ¯ something eternal in their heart and secrecy, hrdaye guhayam, . expressive even in the moments and transiences of life. The soul of the poet, and the soul too of the hearer by a response to his word, enters into some direct contact through vision and straight touch and emotion, possesses and feels at its strongest by a union in our own stuff of being, a moved identity. A direct spiritual perception and vision called by us intuition, however helped or prepared by other powers, can alone avail to give us these things. Imagination is only the poet's most powerful aid for this discovery and interpretative creation, fancy a brilliant opener of hidden or out-of-the-way doors. The finding of a new image is itself a joy to the poet and the hearer because it reveals some new significant correspondence or sheds a stronger disclosing light on the thing seen and makes it stand out and live more opulently, luminously, with a greater delight of itself in the mind. The poet having to bring home something, even in things common, which is not obvious to surface experience, avails himself of image, symbol, whatever is just, beautiful, meaningful, suggestive. His fictions are not charming airy nothings, but as with every true artist significant figures and creations which serve to bring very real realities close to the spirit, and their immortality is the immortality of truth.

It is in this sense that we can speak of the sun of poetic truth

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in whose universal light the poet creates. But all depends on how he sees or uses the light. He can catch this or that sight in an isolated ray, or sometimes lights with it his own personality and kindles a lamp in the house of his own being, or looks through its radiance over the material earth and the forms and first movements of her children or searches with the lustre the surge of the life-soul and its passion and power or discovers the lesser or the greater secrets of the mind and heart of man, or looks upwards through a loftier flood of beams and sees the midworlds and heavens and the actions of the gods and the scenes and moments of an immortal life. And sometimes the dark sun of the Vedic image lodging in the blind cave gives him a negative light; a darkness visible revealing darkness immeasurable shows him the gloomy secrets of some city of dreadful Night, shadow of Hades or lowest Tartarean clot of Hell. The sun of Truth may be still for him below the verge with its light already on the tops and flushing the chill of the snows, ride regal in heaven or gravely sunken or splendid in some setting light. He may stand on the earth or wander winged like the symbolic birds of the Veda still in the terrestrial atmosphere or rise into worlds beyond nearer to the sun and see in a changed light all that is below. And one or two may perhaps be strong to look with unblinded eyes into the source of all light, see that splendour which is its happiest form of all, to which approaching or entering one can say "He am I", discover the identity of his spirit with all things and find in that oneness the word of light which can most powerfully illumine our human utterance.

And where then is the highest range of sight into which the mind of the poet can rise and according to the power of his genius find a deeper and deeper and larger and larger truth of already spoken things and of new things to be spoken and as yet unattempted in prose or rhyme? If some kind of intuitive seeing is at the back of his imaginative vision and the real power that calls down the inspired word, it will be when he can rise to its source and live in the fullness of a highest intuitive mind which is greater than the awakened sense, intuitive life-vision or inspired reason, though it will see all that they can see, that

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he will get his fullest power, deepest sight, broadest scope. To throw light on the self of things in some power and beauty of it is after all the native aim of poetry, and that can be done entirely by this greatest intuitive mind, for it can bring near or going beyond itself actually reach the vision of identity, that seeing of our whole self and the self of the world which is the last object and the highest spirit of all our mental powers and seekings. The poetry which will accomplish that will be able to see, though in another way than that of philosophy and religion, the self of the Eternal, to know God and his godheads, to know the freedom and immortality which is our divinest aim, to see in the delight of a union in beauty the self of the Infinite, the self of Nature and the whole self of man. But so to see the self is to meet the spirit in everything and the spirit reveals to us the inner and the inmost truth of all that comes from it, life and thought and form and every image and every power. Much has been done by the art of rhythmic self-expression; much remains to be done. To express these greatest things and to gather up all that man has come and is yet coming to see and know and feel in a new and greater light and give to him the universal spirit and power of beauty and delight behind all this existence is a work that will open to poetry a larger territory and the perfect greatness of its function. A beginning of such an endeavour we have seen to be the noblest strain in recent work; the possibility of a refreshed and long continued vitality and a hardly exhaustible fount of inspiration lies in that direction. The Veda speaks in one of its symbolic hints of the fountain of eternal Truth round which stand the illumined powers of thought and life. There under the eyes of delight and the face of imperishable beauty of the Mother of creation and bride of the eternal Spirit they lead their immortal dance. The poet visits that marvellous source in his superconscient mind and brings to us some strain or some vision of her face and works. To find the way into that circle with the waking self is to be the seer-poet and discover the highest power of the inspired word, the Mantra.

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