The 20th century saw in Sri Aurobindo a rare, harmonious combination of the fecundity of thought with intellectual acumen, of the intuitive vision of truth with the extraordinary capacity of expressin
August 20 at Nandan II; 6 pm onwards: Films Division, Government of India and Nandan, West Bengal Film Centre jointly present Indian Independence on Celluloid II: Unsung Heroes of Bengal featuring documentaries on some great patriots of Bengal. Screening schedule: The INA Trial (dir: Dinkar Chowdhury) at 6 pm ; Matangini Hazra(dir: Shila Datta) at 6.25 pm ; Trial of Sri Aurobindo (dir: Urmi Chakraborty) at 6.50 pm ;The Immortal Martyr: Jatin Das (dir: Satarupa Sanyal) at 7.15 pm ; and Bagha Jatin (dir: Harisadhan Das Gupta) at 7.50 pm .
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As most of your discussion on pages 4 and 5 seem to be based on the same misunderstanding of my motives, I pass to your discussion of my reading of Sri Aurobindo's plays. Here I must admit that I was writing not as a historian but as a literary critic of the biographical school. I took up the plays at their chronological place in Sri Aurobindo life, summarized them, and then tried to present what I found interesting in them. (Again, "I" is the author of the book, not me personally. I really enjoy reading these plays – I have read each of them a half dozen times – and while I do not think they are among Sri Aurobindo's greatest poetic creations, they certainly are of considerable interest.)
But in discussing them in a scholarly biography, there is a problem. All the plays are based on a literary model that was long out of fashion when Sri Aurobindo wrote them and is even more out of fashion now. It thus is difficult to discuss them as contributions to the field of English literature. What I found interesting in the plays is the activity of Sri Aurobindo's poetic imagination that finds expression in them. I also was struck by the fact that Sri Aurobindo wrote several of his plays when he had a week or two free while otherwise engaged in political action. (I bring this out in the book.) Why, I asked myself, did Sri Aurobindo write these plays? It seemed to me (thinking, as I have said, not as a psychologist or a historian, but as literary critic of the biographical school) that the creation of these plays, so unrelated to Sri Aurobindo's current outward activities, had something to do with the imaginative impulses of his higher vital and psychic beings. Here, obviously, I was straying beyond history properly speaking into speculative literary criticism. Some of your points you raise in regard to my presentation from the point of view of scientific psychology are well taken.
In a way I regret these brief detours (each only a sentence or two long) from my biographical narrative into speculative criticism. Still, I felt while writing that that I had to make this attempt to probe into the mystery of Sri Aurobindo's creative personality, and these inadequate passages were the result. Peter Heehs
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