Evolution of Aesthetic Sense

The ancient communities who created those fine many-sided cultures which still remain the fountain-head of all our evolving civilisation, had the instinct for beauty, the aesthetic turn of the temperament and formation of the mind almost, it would seem, from the beginning, planted in their spirit and their blood, colouring their outlook so that even before they got the developed intellectual consciousness of it, they created instinctively in the spirit and form of beauty and that is quite half the secret of the compelling and attractive power of the antique cultures. The earliest surviving poetry of ancient India was philosophical and religious, the Veda, the Upanishads, and our modern notions tend to divorce these things from the instinct of delight and beauty, to separate the religious and the philosophic from the aesthetic sense; but the miracle of these antique writings is their perfect union of beauty and power and truth, the word of truth coming out spontaneously as a word of beauty, the revealed utterance of that universal spirit who is described in the Upanishads as the eater of the honey of sweetness, madhvadam puruam; and this high achievement was not surprising in these ancient deep-thinking men who discovered the profound truth that all existence derives from and lives by the bliss of the eternal spirit, in the power of a universal delight, Ananda. The idea of beauty, the spontaneous satisfaction in it, the worship of it as in itself something divine, became more intellectually conscious afterwards, was a dominant strain of the later Indian mind and got to its richest outward colour and sensuous passion in the work of the classical writers, while the expression of the spiritual through the aesthetic sense is the constant sense of Indian art, as it is also the inspiring motive of a great part of the later religion and poetry.

(Future Poetry, Vol. 26, pp 255-56)

The Pure Aesthetic Spirit

The spirit of man can make its home in either one of two things, the depths of our self arrived at through vision of self-knowledge, through power of self-mastery or through ecstasy, or a profound, a glad and satisfied acceptance of the truth, the delight and beauty of the world and life, of existence and experience. And either of these things can help too to bring in the other,—possess the inner self and life can become happy and illumined by a full sense of its hidden significance, or get hold of the complete delight and beauty of life and the world and you have then only a thin layer of shining mist to break through to get also at the self and spirit behind it, the eater of the honey of sweetness who is seated in the soul of man and extends himself through the universe. The ancient peoples had in a very large measure this foundation of satisfaction and harmony, took the greatest interest in the reality of the inner self, as once in India and China, the Atman, the Tao, and life and the world as its field of expression and self-experience or, like the Greeks, felt at once the naturalness and profundity of human existence and gave to it an immediate and subtle aesthetic response. The modern mind on the contrary looks little into our deepest self, takes little interest in sounding that depth and has hardly any confidence in its reality, and concentrates not on the truth and delight and beauty of life, but upon the stress of its results and circumstances, which in themselves have only an incidental and no satisfying and harmonious meaning, and on the agitating or attractive turmoil of the mind excited by their contact or their siege. This difference results in a fundamental difference of aesthesis. The pure aesthetic spirit ought to be left free, trusted in, made master of its own action and creation and it will then create with greatness and beauty, in a calm and satisfied ecstasy, and yet safely harmonise its action with the other spiritual powers of our existence, the need of the life-soul, the insistent seeking of the thought-mind, the demand of the active will and the senses. But we now make the aesthetic sense and intelligence a servant of these other powers; it is condemned to serve first and foremost our external interest in life or our interest in thought or in troubled personality or the demand of the senses or passions and bidden to make them beautiful or vivid to us by an active aesthetic cerebration and artistic manufacture of the word or a supply of carefully apt or beautiful forms and measures. The secondary things are put in the first rank, the primary, the one thing needful has to get in as best it can to give some firm base to the creation. This aesthesis aided by the vast curiosity of the modern intelligence has done some great and much interesting work, but it arrives with difficulty at the readily fused harmonies and assured stamp of the perfect way of spiritual creation.

(Future Poetry, Vol. 26, pp 257-58)

The fountain of poetic delight and beauty

There is a profound intrinsic delight and beauty in all things and behind all experience whatever face it wears to the surface mind, which makes it to a spirit housed within us other than its first appearance, makes it, that is to say, no longer a thing exciting mental interest, pain, pleasure, but rather a revelation of the truth and power and delight of being and our feeling of it a form of the universal Ananda of the old philosophical thinkers, the calm yet moved ecstasy with which the spirit of existence regards itself and its creations. This deeper spiritual feeling, this Ananda is the fountain of poetic delight and beauty. It springs from a supreme essence of experience, a supreme aesthesis which is in its own nature spiritual, impersonal, independent of the personal reactions and passions of the mind, and that is why the poet is able to transmute pain and sorrow and the most tragic and terrible and ugly things into forms of poetic beauty, because of this impersonal joy of the spirit in all experience, whatever its nature. And as, therefore, the subject of the poet is all that he can feel of the infinite life of the spirit that creates in existence and all that he can seize of the infinite truth of God and Nature and our own and the world’s being, so too what he brings out from his subject is all that he can pour into speech of his vision of eternal and universal beauty, all that he can express of the soul’s universal delight in existence. That is what he has to reveal, and to make others share in, to render more expressive and firmly present to them what experience they have of it and help the race towards its greater fullness in the soul of man and embodiment in our mind and life. This Ananda is not the pleasure of a mood or a sentiment or the fine aesthetic indulgence of the sense in the attraction of a form, superficial results and incidents which are often mistaken for that much deeper and greater thing by the minor poetic faculty, the lesser artistic mind, but the enduring delight which, as the ancient idea justly perceived, is the essence of spirit and being and the beauty which all things assume when the spirit lives in the pure joy of creation and experience.

(Future Poetry, Vol. 26, pp 258-59)

The ancient Indian critics defined the essence of poetry as rasa and by that word they meant a concentrated taste, a spiritual essence of emotion, an essential aesthesis, the soul’s pleasure in the pure and perfect sources of feeling. The memory of the soul that takes in, broods over and transmutes the mind’s thought, feeling and experience, is a large part of the process which comes by this aesthesis, but it is not quite the whole thing; it is rather only a common way by which we get at something that stands behind, the spiritual being in us which has the secret of the universal delight and the eternal beauty of existence. That which we call genius works or comes out from something deep within which calls down the word, the vision, the light and power from a level above the normal mind and it is the sense of the inrush from above which makes the rapture and the enthusiasm of illumination and inspiration. That source, when we know better the secrets of our being, turns out to be the spiritual self with its diviner consciousness and knowledge, happier fountains of power, inalienable delight of existence. The cultures that were able directly or indirectly to feel the joy of this self and spirit, got into the very strain of their aesthesis the touch of its delight, its Ananda, and this touch was the secret of the generalised instinct for beauty which has been denied to a later mind limited by[p.262] intellectual activity, practical utility and the externals of life: we have to go for it to exceptional individuals gifted with a finer strain, but the wide-spread aesthetic instinct has been lost and has yet to be recovered for the common mind and recognised once more as a part of human perfection as indispensable as intellectual knowledge and at least as necessary to happiness as vital well-being. But this Ananda, this delight, this aesthesis which is the soul of poetic beauty works like other things, like poetic truth or the poetic breath of life, on different levels, in different provinces of its action, with the same law that we have observed in the rest, of the emergence of a richer and profounder face of itself the more it gets inward and upward from the less to the more occult powers of its revelation. This finer soul of delight throws itself out on the physical mind and being, takes up its experiences and turns them by its own innate and peculiar power into things of beauty, fuses into itself the experiences of the life soul and transmutes to beauty their power and passion in the surge of its poetic ecstasy, takes up all life and form into the reflective thought-mind and changes them in the beauty and rapture of thought discovering and embodying new values of soul and Nature and existence. And in all its working there is felt its own essence of an intuitive delight which acts in these moulds and gets into them whatever it can of its own intimate and eternal delight values. But when that intuitive mind self-finding, self-seeing, self-creating in a higher power of light and vision than is possible on the intellectual or other levels gets out into full play, and now there is some sign of this emergence, then we come nearer to the most potent sources of universal and eternal delight and beauty, nearer to its full and wide seeing, and its all-embracing rapture. This inner mind is the first native power of the self and spirit dropping its lower veils and the very life and aesthesis of the spirit in its creation is a life of self-experiencing spiritual delight and a luminous Ananda.

(Future Poetry, Vol. 26, pp 262-63)

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Renaissance, the monthly e-journal of Sri Aurobindo Foundation of Indian Culture (SAFIC), features inspiring articles, essays, book reviews, interviews, and reflections that speak of how the eternal spirit and creative genius of India are being reborn and renewed in various domains – spiritual, artistic, literary, philosophic, scientific, aesthetic.

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