All Life Is Yoga: Art. Sri Aurobindo
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selecting and rejecting in accordance with a principle of truth and beauty which remains always faithful to a harmony, a proportion, an intimate relation of the form to the idea; there is at the same time an exact fidelity of the idea to the spirit, nature and inner body of the thing of beauty which has been revealed to the soul and the mind, its svarupa and svabhava. Therefore this discriminating inner sense rejects all that is foreign, superfluous, otiose, all that is a mere diversion distractive and deformative, excessive or defective, while it selects and finds sovereignly all that can bring out the full truth, the utter beauty, the inmost power. But this discrimination is not that of the critical intellect, nor is the harmony, proportion, relation it observes that which can be fixed by any set law of the critical reason; it exists in the very nature and truth of the thing itself, the creation itself, in its secret inner law of beauty and harmony which can be seized by vision, not by intellectual analysis. The discrimination which works in the creator is therefore not an intellectual self-criticism or an obedience to rules imposed on him from outside by any intellectual canons, but itself creative, intuitive, a part of the vision, involved in and inseparable from the act of creation. It comes as part of that influx of power and light from above which by its divine enthusiasm lifts the faculties into their intense suprarational working. When it fails, when it is betrayed by the lower executive instruments rational or infrarational, – and this happens when these cease to be passive and insist on obtruding their own demands or vagaries, – the work is flawed and a subsequent act of self-criticism becomes necessary. But in correcting his work the artist who attempts to do it by rule and intellectual process, uses a false or at any rate an inferior method and cannot do his best. He ought rather to call to his aid the intuitive critical vision and embody it in a fresh act of inspired creation or recreation after bringing himself back by its means into harmony with the light and law of his original creative initiation. The critical intellect has no direct or independent part in the means of the inspired creator of beauty.
In the appreciation of beauty it has a part, but it is not even there the supreme judge or law-giver. The business of the intellect is to analyse the elements, parts, external processes, apparent principles of that which it studies and explain their relations and workings; in doing this it instructs and enlightens the lower mentality which has, if left to itself, the habit of doing things or seeing what is done and taking all for granted without proper observation and fruitful understanding. But as with truth of religion, so with the highest and deepest truth of beauty, the intellectual reason cannot seize its inner sense and reality, not even the inner truth of its apparent principles and processes, unless it is aided by a higher insight not its own. As it cannot give a method, process or rule by which beauty can or ought to be created, so also it cannot give to the appreciation of beauty that deeper insight which it needs; it can only help to remove the dullness and vagueness of the habitual perceptions and conceptions of the lower mind which prevent it from seeing beauty or which give it false and crude aesthetic habits: it does this by giving to the mind an external idea and rule of the elements of the thing it has to perceive and appreciate. What is farther needed is the awakening of a certain vision, an insight and an intuitive response in the soul. Reason which studies always from outside, cannot give this inner and more intimate contact; it has to aid itself by a more direct insight springing from the soul itself and to call at every step on the intuitive mind to fill up the gap of its own deficiencies.
We see this in the history of the development of literary and artistic criticism. In its earliest stages the appreciation of beauty is instinctive, natural, inborn, a response of the aesthetic sensitiveness of the soul which does not attempt to give any account of itself to the thinking intelligence. When the rational intelligence applies itself to this task, it is not satisfied with recording faithfully the nature of the response and the thing it has felt, but it attempts to analyse, to lay down what is necessary in order to create a just aesthetic gratification, it prepares a grammar of technique, an artistic law and canon of construction, a sort of mechanical rule of process for the creation of beauty, a fixed code or Shastra. This brings in the long reign of academic criticism superficial, technical, artificial, governed by the false idea that technique, of which alone critical reason can give an entirely adequate account, is the most important part of creation and that to every art there can correspond an exhaustive science which will tell us how the thing is done and give us the whole secret and process of its doing. A time comes when the creator of beauty revolts and declares the charter of his own freedom, generally in the shape of a new law or principle of creation, and this freedom once vindicated begins to widen itself and to carry with it the critical reason out of all its familiar bounds. A more developed appreciation emerges which begins to seek for new principles of criticism, to search for the soul of the work itself and explain the form in relation to the soul or to study the creator himself or the spirit, nature and ideas of the age he lived in and so to arrive at a right understanding of his work. The intellect has begun to see that its highest business is not to lay down laws for the creator of beauty, but to help us to understand himself and his work, not only its form and elements but the mind from which it sprang and the impressions its effects create in the mind that receives. Here criticism is on its right road, but on a road to a consummation in which the rational understanding is overpassed and a higher faculty opens, suprarational in its origin and nature.
For the conscious appreciation of beauty reaches its height of enlightenment and enjoyment not by analysis of the beauty enjoyed or even by a right and intelligent understanding of it, – these things are only a preliminary clarifying of our first unenlightened sense of the beautiful, – but by an exaltation of the soul in which it opens itself entirely to the light and power and joy of the creation. The soul of beauty in us identifies itself with the soul of beauty in the thing created and feels in appreciation the same divine intoxication and uplifting which the artist felt in creation. Criticism reaches its highest point when it becomes the record, account, right description of this response; it must become itself inspired, intuitive, revealing. In other words, the action of the intuitive mind must complete the action of the rational intelligence and it may even wholly replace it and do more powerfully the peculiar and proper work of the intellect itself; it may explain more intimately to us the secret of the form, the strands of the process, the inner cause, essence, mechanism of the defects and limitations of the work as well as of its qualities. For the intuitive intelligence when it has been sufficiently trained and developed, can take up always the work of the intellect and do it with a power and light and insight greater and surer than the power and light of the intellectual judgement in its widest scope. There is an intuitive discrimination which is more keen and precise in its sight than the reasoning intelligence.
What has been said of great creative art, that being the form in which normally our highest and intensest aesthetic satisfaction is achieved, applies to all beauty, beauty in Nature, beauty in life as well as beauty in art. We find that in the end the place of reason and the limits of its achievement are precisely of the same kind in regard to beauty as in regard to religion. It helps to enlighten and purify the aesthetic instincts and impulses, but it cannot give them their highest satisfaction or guide them to a complete insight. It shapes and fulfils to a certain extent the aesthetic intelligence, but it cannot justly pretend to give the definitive law for the creation of beauty or for the appreciation and enjoyment of beauty. It can only lead the aesthetic instinct, impulse, intelligence towards a greatest possible conscious satisfaction, but not to it; it has in the end to hand them over to a higher faculty which is in direct touch with the suprarational and in its nature and workings exceeds the intellect.
And for the same reason, because that which we are seeking through beauty is in the end that which we are seeking through religion, the Absolute, the Divine. The search for beauty is only in its beginning a satisfaction in the beauty of form, the beauty which appeals to the physical senses and the vital impressions, impulsions, desires. It is only in the middle a satisfaction in the beauty of the ideas seized, the emotions aroused, the perception of perfect process and harmonious combination. Behind them the soul of beauty in us desires the contact, the revelation, the uplifting delight of an absolute beauty in all things which it feels to be present, but which neither the senses and instincts by themselves can give, though they may be its channels, – for it is supra-sensuous, – nor the reason and intelligence, though they too are a channel, – for it is suprarational, supra-intellectual, – but to which through all these veils the soul itself seeks to arrive. When it can get the touch of this universal, absolute