The Pondicherry School Of Poetry Writing/ The Aurobindonians/ Maharshi Aurobindo And His Disciples Poem by Bijay Kant Dubey

The Pondicherry ashrama poets writing poetry
Under the influence of the master,
The great spiritual guru,
So much religious not,
But transcendental and yogic,
I mean reflective and meditative,
Perfecting meditational yoga,
The persona divine.

Aurobindo after the Narayan darshan in jail
As for nationalistic and radical activities,
Changing the course of life
As for a tryst with transcendental vision,
Meditational philosophy,
Yogic sadhna
And experimentation with the Supra-consciousness,
The Super Mind and Soul,
The Super Intellect.

A yogi and a sadhaka, a teacher mystical and spiritual,
Reflective and meditative,
He is a poet of Man and Superman,
The interrelationship between the two,
The Supra-Mind, the Supra-Consciousness,
The Light Divine, the Path of Sadhna,
But the myths of Light not so full of mystical flashes,
But explained with intellect and logic.

A study in Latinization and Latinized diction
As it was the case with the age
And he himself a professor of English and the Western classics,
A polyglot knowing Latin, French and others,
He drew from Milton
But differently,
A saint-singer, as they happen to be,
But he used in his studies,
The grammar of poesy,
The lessons of rhetoric and prosody.

Though he wrote in the Miltonic style,
He followed the Vedic and Upanishadic line and length,
Cadence and rhythm of speech and incantation,
Fusing in both,
But failing to get at the acquired result,
With Savitri as the magnum opus,
An epic in verse,
Urvasie and Love and Death as longer poems,
But the latter-day shorter poems with the mystical experiences
Dealing with the Sadhna and the Light Divine.

The kernel of Savitri from the Mahabharata,
Dealing with the tale of Savitri and Satyavan,
Savitri intercepting Yama,
Letting not go with the spirit of her husband
And the Yama nonplussed to see a so devout lady,
Making him think and re-think
While taking it away,
Finally retreating and compromising,
As such the discourse of it.

K.D.Sethna, Punjalal, Nolini Kanta Gupta and Nishikanto,
The ashramites as poets,
The disciples as the poets,
I mean the ashrama men,
Approaching the Divine through the ordaining guru,
Though not directly, but K.R.Srinivasa Iyengar and V.K.Gokak
Also the Aurobindonians,
Inclusive of Harindrananth Chattopadhyaya and Dilip Kumar Roy.

Even though many sat not at the lotus feet of the guru,
But felt the halo of his,
The beauty of his meditation,
Crystal clear and gem-like,
Dazzling and glimmering
As stones, thought-reflections,
Meditational graphics of mind rising
To meet the Supreme Consciousness,
Elevating and soul-alluring,
Loosening the body,
Closing the eyes
And meditating upon.

Maharshi Aurobindo in a dhyana, a yoga,
I mean a yoga-mudra (yoga-posture) ,
And the slides and glides of meditation
None but a sadhu can say,
The serpentine formation from the kundalini, intestines
To the Mind to…,
Awaking and arising the things
Lying dormant within
As for to activate them,
The thinking mood of the mind,
The meditative spirit of the soul.

K.D.Sethna’s Artist Love (1925) , The Secret Splendour (1941) ,
The Adventure of the Apocalypse (1949)
Punjalal’s Lotus Petals (1943) , Rosary (1946) ,
Nolini Kanta Gupta’s To The Heights (1943) ,
Nirodbaran’s Sun-Blossoms (1947) ,
Nishikanto’s Dream Cadences (1946) ,
The books of verses telling about.

Anilbaran Roy, Nolini Kanta Gupta, Dilip Kumar Roy,
Amrita, Prithwi Singh, Punjalal the older generation poets,
Romen, Themis, Prithwindra, Chinmoy,
Shyam Sunder and Chimanbhai the younger generation poets,
Writing under the shadow of the master,
Echoing the teacher, drawing from the guru deva
And his inspiration.

Ones and twos followed and flowed from
And they wrote after being inspired
Or in pursuance to their spiritual quest,
Dilip Kumar Roy’s Eyes of Light (1948) ,
The Immortals of the Bhagavat (1958) ,
Romen’s The Golden Apocalypse (1953) ,
Themis’s Poems (1952) ,
To be reckoned with.

K.R.Srinivasa Iyengar too as a poet is inclined towards
Aurobindo and his Aurobindonianism,
Tryst With The Divine (1974) , Mycrocosmographia Poetica (1976) ,
Leaves from a Log (1979) ,
Sitayana, the Epic of the Earth Born,
A re-telling of the Ramayana in his verse,
V.K.Gokak’s Song of Life and Other Poems (1947) ,
In Life’s Temple (1965) , Kashmir and the Blind Man (1977)
Themselves reveal it
Rather than classifying them as thus.

The religio-philosophical poems,
The ones of a meditative strain
As for the contemplative order
Seconded by logic, reason and intellectuality
Gives a new dimension
To his range and though of viewing,
The diagram of vision,
The horizon of determinism,
Elevating the human mind,
Taking to the pedestal of Thought and Mind,
Cosmic Mind and Consciousness.