Ry Deshpande

Isn't that something? by RY Deshpande is an astounding book of poems written recently by him, a very unusual one in poetic literature. It has 40 poems followed by explanatory details in the form of extensive Notes-Comments-Discussions. We at Savitri Foundation are glad to publish this extraordinary creative work of the author.While the first part of the book consists of poems making the essential text of the book, the other presents interactions, through e-mails, with elderly members in his contact-list.

Let this be an invocation to the Fire, invocation to the divine Agni, divine Agni who lights the suns, who lights the suns in the sky, who kindles the suns in the sky. Let Agni light the suns in Matter too, in the earthly Matter, in the obscure earthly Matter, let divine Agni light the suns in Matter too, in Matter too, in the living Matter, in the body, in the cells of the body. Let Agni light the suns in the cells of the body, let them be aglow with his Blaze. Let Agni kindle them in the cells of the body, in the cells of the body.

Sri Aurobindo considered Savitri as his "main work" and out of his precious time allotted two and a half hours every day for its composition. This was in the late 1940s when the tempo of the work had speeded up considerably. In fact he was otherwise engaged with it almost for fifty years though with some long gaps in between. Today we have a poem written in pentametric blank verse form running roughly into twenty-four thousand lines. Divided in twelve Books, as goes the tradition for a western epic, it has forty-eight Cantos and an Epilogue. Part I consisting of the first twenty-four Cantos was published in September 1950, ten-twelve weeks before the Poet's passing away; Part II and Part III as a single volume appeared in another six months of this, in May 1951. These two volumes are roughly equal in length: respectively, number of lines are 11674 and 12137; number of sentences, 2731 and 3040; Sections 1.1 - 92.15 and 93.1 - 159.6.Sri Aurobindo worked upon Savitri again and again until he was satisfied with the kind of poetic-literary perfection that has to be there, that yogically it could become the Word of Truth-Beauty-Joy in the expression of the Spirit's artistic realisations. We have an early letter in which he says, "I used Savitri as a means of ascension." It was experimentation, experimentation to see how far poetry could be written from a higher yogic- sthetic consciousness, how that could be made creatively dynamic. It is also a record of spiritual achievements. The birth of Savitri was in the tapas-shakti of its creator. Of course, "ascension" is to be understood as climbing of common speech to transcendental speedn.For an epic there may be a story or there may not be any, there may be events and physical happenings, or there may be just episodes strewn together. An epic can be intensely subjective and can encompass in its fold the destiny of men and nations and the world. It is always meant for ripe and equipped souls ready to step into days that have left the things of the night far behind. In one of the talks with his disciples Sri Aurobindo mentioned that for an epic one requires the power of architectural construction. That is what we have in Savitri, a Shrine of Perfection housing the God of Love. One remarkable thing about this Shrine is, not only do men of wisdom and thoughtfulness visit it to offer worship to the residing deity; high gods also long to go there, at this abode lit by innumerable suns. To appreciate it, to enter into its spirit what is needed on our part are a supple quick intuitive perception and wideness of consciousness. To enter into Savitri is also to live in the presence of its creator.Many are its splendours, countless indeed, like the stars in the sky of its poetry. We may use a most powerful telescope built on the top of a mountain or put a Hubble in outer space to look into the universe which is an unbounded finite. Galaxies after galaxies speed beyond our keenest comprehension, as if to reach some mysterious Beyond glimpsed at the far edge, but of which we have no knowledge. Suddenly, in that process, we become one with the sky. Astonishment disappears and what remains is a luminous perception ever progressing towards some unseizable unspeakable realisable Unknown. In an early letter written in 1932 when Savitri had hardly existed in the form it took later, Sri Aurobindo speaks of the nature of its poetry and particularly its rhythm-structure. The letter was written to Arjava, a name gaiven by him to his mathematician-philosopher, and a poet disciple from Cambridge, JA Chadwick. "Savitri is blank verse without enjambment (except rarely) - each line a thing by itself and arranged in paragraphs of one, two, three, four, five lines (rarely a longer series), in an attempt to catch something of the Upanishadic and Kalidasian movement, so far as that is a possibility in English. You can't take that as a model - it is too difficult a rhythm-structure to be a model."

"On a height he stood that looked at greater heights,"-this is the opening line of Section One, Canto Four, The Secret Knowledge, Book One, The Book of Beginnings of Savitri. We shall take this Canto Section-by-Section (Eight Sections) and try to study it in some quick detail in the context of the Yoga-Tapasyā of Aswapati that led him to the discovery of the cosmic working, a necessary step in his integral pursuit of the possibility of a divine manifestation upon earth. He gets the secret knowledge and steps into the world of the vast Spirit, into the worlds of the vast Spirit, becoming aware of its freedom and knowing its greatnesses. These soon become measures of his core yogic realisations, enabling him to enter into the sunbelts of knowledge and moonbelts of delight, all in widenesses of the belts of truth and consciousness and joy. A voyager launching upon unchartered routes, fronting the hazards of the unexpected and the unknown, he adventures into the countless realms of the cosmic extension, discovering space after space, realm after realm, in the richness of each domain, and moving in the thousand movements of time that endlessly unfolds the rhythms of realisation, realisation after realisation. Such is the preparation which makes possible for Aswapati to grasp in his strong yogic will the essence of this creation, of this mortal world. It is with that kind of preparation he could look into the issues haunting it, of mortality, mortality which indeed must disclose the immortal spirit on which it is founded, its powers and functionings getting objectified in it.

Sri Aurobindo considered Savitri as his "main work" and out of his precious time allotted two and a half hours every day for its composition. This was in the late 1940s when the tempo of the work had speeded up considerably. In fact he was otherwise engaged with it almost for fifty years though with some long gaps in between. Today we have a poem written in pentametric blank verse form running roughly into twenty-four thousand lines. Divided in twelve Books, as goes the tradition for a western epic, it has forty-eight Cantos and an Epilogue. Part I consisting of the first twenty-four Cantos was published in September 1950, ten-twelve weeks before the Poet's passing away; Part II and Part III as a single volume appeared in another six months of this, in May 1951. These two volumes are roughly equal in length: respectively, number of lines are 11674 and 12137; number of sentences, 2731 and 3040; Sections 1.1 - 92.15 and 93.1 - 159.6.Sri Aurobindo worked upon Savitri again and again until he was satisfied with the kind of poetic-literary perfection that has to be there, that yogically it could become the Word of Truth-Beauty-Joy in the expression of the Spirit's artistic realisations. We have an early letter in which he says, "I used Savitri as a means of ascension." It was experimentation, experimentation to see how far poetry could be written from a higher yogic- sthetic consciousness, how that could be made creatively dynamic. It is also a record of spiritual achievements. The birth of Savitri was in the tapas-shakti of its creator. Of course, "ascension" is to be understood as climbing of common speech to transcendental speedn.For an epic there may be a story or there may not be any, there may be events and physical happenings, or there may be just episodes strewn together. An epic can be intensely subjective and can encompass in its fold the destiny of men and nations and the world. It is always meant for ripe and equipped souls ready to step into days that have left the things of the night far behind. In one of the talks with his disciples Sri Aurobindo mentioned that for an epic one requires the power of architectural construction. That is what we have in Savitri, a Shrine of Perfection housing the God of Love. One remarkable thing about this Shrine is, not only do men of wisdom and thoughtfulness visit it to offer worship to the residing deity; high gods also long to go there, at this abode lit by innumerable suns. To appreciate it, to enter into its spirit what is needed on our part are a supple quick intuitive perception and wideness of consciousness. To enter into Savitri is also to live in the presence of its creator.Many are its splendours, countless indeed, like the stars in the sky of its poetry. We may use a most powerful telescope built on the top of a mountain or put a Hubble in outer space to look into the universe which is an unbounded finite. Galaxies after galaxies speed beyond our keenest comprehension, as if to reach some mysterious Beyond glimpsed at the far edge, but of which we have no knowledge. Suddenly, in that process, we become one with the sky. Astonishment disappears and what remains is a luminous perception ever progressing towards some unseizable unspeakable realisable Unknown. In an early letter written in 1932 when Savitri had hardly existed in the form it took later, Sri Aurobindo speaks of the nature of its poetry and particularly its rhythm-structure. The letter was written to Arjava, a name gaiven by him to his mathematician-philosopher, and a poet disciple from Cambridge, JA Chadwick. "Savitri is blank verse without enjambment (except rarely) - each line a thing by itself and arranged in paragraphs of one, two, three, four, five lines (rarely a longer series), in an attempt to catch something of the Upanishadic and Kalidasian movement, so far as that is a possibility in English. You can't take that as a model - it is too difficult a rhythm-structure to be a model."

Here is an attempt for cyclic or repetitive reading of Savitri adopting the traditional method of Vedic recitation of ancient Sanskrit scriptures. There are eleven modes, but the most complex and rich in volume of sound with a reverberating-absorbing insistence is what is called Ghana Pāth. If the elements in it are designated as A B C D E F..., then groups of three can be formed in the order ABC BCD CDE DEF, and so on. The recitation of these groups follows the sequence AB-BA-ABC-CBA-ABC=BC-CB-BCD ... Our proposal is to bring this chanting to the poetic compositions in English, a language in its kind or intrinsic nature, swabhāva, altogether different from Sanskrit, one being accent-based in contrast to the classical with the quantity of sound each syllable holds in it. We shall see to what degree of acceptability this can be applied to Sri Aurobindo's epic Savitri. As Savitri is essentially an end-stopped pentametic blank verse composition, the obvious choice in defining the elements falls on taking its lines as these ABCs. It is on this basis we propose to do Ghana Recitation of representative passages from the great epic that is already a rich orchestra of heard and unheard notes, swaras, of softly loud and subtle sounds. New octaves of rendition can come into play in their surprising abundance and variation. It is expected that this cyclic or repetitive recitation will bring resonating and pervasive sounds to the accent-based medium for its measure of rhythmic movement. We could even have sound carrying the preciousness of substance.In the present work we have made rather a restricted selection of passages for this Ghana style of recitation. Although making such a selection is by itself a difficult task, in fact quite a perilous one, that however seems to be the only practical way of proceeding with the experiment. We have here, in Part One of Savitri, the first three Books, The Book of Beginnings, The Book of the Traveller of the Worlds, and The Book of the Divine Mother, with 24 Cantos in it, 11674 lines. Out of this huge number of lines our Ghana formulation is for 60 passages only, running merely into some 1500 lines or so, just 12% of the total. The selection certainly depends upon the partialities and penchants of the picker or chooser. Besides, he himself might have other ideas if he is to do it again in another frame of locus, in another mood. We should therefore treat this entire business only as a working draft, a draft that may need several revisions, revisions in several respects.Our consideration in Ghana recitation is to let the multi-tonal vibrations be built up, these entering our being, these bringing volumes of sound, repetitive sounds, they speaking to every part of us, within and without, every part, their force in its intensity, in its weight, in its gleaming lustrous massiveness working in us, working on us. It should be the sweep of a multi-stringed harp tuned to harmony of the multi-sounding vibrancy of the sweet and the melodious and the perfect and the powerful. It is the sound that starts building up the sense, the sound that starts building up the sense, the sound that starts building up the sense, and understanding, brings a finer sentience. It is the sound that starts building up the sense, and with that comes understanding. It is this we are looking into. This has to be the central sthesis of sense and sound coming together in the Ghana recitation.

Here is an attempt for cyclic or repetitive reading of Savitri adopting the traditional method of Vedic recitation of ancient Sanskrit scriptures. There are eleven modes, but the most complex and rich in volume of sound with a reverberating-absorbing insistence is what is called Ghana Pāth. If the elements in it are designated as A B C D E F..., then groups of three can be formed in the order ABC BCD CDE DEF, and so on. The recitation of these groups follows the sequence AB-BA-ABC-CBA-ABC=BC-CB-BCD ... Our proposal is to bring this chanting to the poetic compositions in English, a language in its kind or intrinsic nature, swabhāva, altogether different from Sanskrit, one being accent-based in contrast to the classical with the quantity of sound each syllable holds in it. We shall see to what degree of acceptability this can be applied to Sri Aurobindo's epic Savitri. As Savitri is essentially an end-stopped pentametic blank verse composition, the obvious choice in defining the elements falls on taking its lines as these ABCs. It is on this basis we propose to do Ghana Recitation of representative passages from the great epic that is already a rich orchestra of heard and unheard notes, swaras, of softly loud and subtle sounds. New octaves of rendition can come into play in their surprising abundance and variation. It is expected that this cyclic or repetitive recitation will bring resonating and pervasive sounds to the accent-based medium for its measure of rhythmic movement. We could even have sound carrying the preciousness of substance.In the present work we have made rather a restricted selection of passages for this Ghana style of recitation. Although making such a selection is by itself a difficult task, in fact quite a perilous one, that however seems to be the only practical way of proceeding with the experiment. We have here, in Part One of Savitri, the first three Books, The Book of Beginnings, The Book of the Traveller of the Worlds, and The Book of the Divine Mother, with 24 Cantos in it, 11674 lines. Out of this huge number of lines our Ghana formulation is for 60 passages only, running merely into some 1500 lines or so, just 12% of the total. The selection certainly depends upon the partialities and penchants of the picker or chooser. Besides, he himself might have other ideas if he is to do it again in another frame of locus, in another mood. We should therefore treat this entire business only as a working draft, a draft that may need several revisions, revisions in several respects.Our consideration in Ghana recitation is to let the multi-tonal vibrations be built up, these entering our being, these bringing volumes of sound, repetitive sounds, they speaking to every part of us, within and without, every part, their force in its intensity, in its weight, in its gleaming lustrous massiveness working in us, working on us. It should be the sweep of a multi-stringed harp tuned to harmony of the multi-sounding vibrancy of the sweet and the melodious and the perfect and the powerful. It is the sound that starts building up the sense, the sound that starts building up the sense, the sound that starts building up the sense, and understanding, brings a finer sentience. It is the sound that starts building up the sense, and with that comes understanding. It is this we are looking into. This has to be the central sthesis of sense and sound coming together in the Ghana recitation.

This Monograph of Invocations presents hymns addressed to Agni, the divine Flame, and is entirely based on Rishi Vamadeva's opening piece in Rig Veda, Mandala IV Sūkta 1, with 20 Richās or Verses in it. The English rendering freely adopted by us is from Sri Aurobindo's Hymns to the Mystic Fire published first more than a hundred years ago in a monthly, Ārya.These Invocations or Prayers or Litanies form a single triumphantly speeding chant, a magnificent laud reverberating and resounding in the depths of stillness, yet reverberating and resounding in the depths of stillness, a vast expansive mantra also in its tremendous power of spiritual and godly realisation. Their recitation neither in too low nor too loud a voice builds in a mysterious way an absorbing ambiance of silence, absorbing ambiance of silence around the reciter, around and within him. It is an ingathering quiet that plunges yet into a deeper quiet, an expressive quiet. The repetitive phrases crowd in a massiveness of sound; they throng even as in their booming urgency the pleas would reach the topmost heaven. They would press themselves against each other and insist the materialisation of the boon they are seeking, the boon they are seeking, the boon they are seeking. The utterances speed up more and more in a tranquil surge, the surge in its assuring confidence. The divine Fire shall enter into the soul of the mortal and work in it.In the process, in that assuring confidence, the entreaties intensify in a measure of interiorisation, interiorisation that becomes dense and perfect and fire-glowing. The exclamation turns into an insistent cry. It becomes an absorbing praise, a compelling supplication, a joyful clamour that sinks into the intensities of consciousness, into its interiors. It indeed is a kind of incessant inward Yajna, a Yajna that goes on steadily and continuously as an offering to the God, an Ardour ablaze in a serene and unsorrowing world. The spirit's flame burns in a deep room in meditation's house.The solicitation to him is, to Agni is, the entreaty to Agni is: Let Agni be blissful to us, let Agni be blissful to us, let Agni be blissful to us, Agni who is the knower of all things born, he the knower of the birth, let that Agni be blissful to us, let him be pleasing to us, let him be ecstatic to us, joyful in the joy of the Gods, he be full of delight to us, he be full of delight in the blaze of delight, let him be blissful to us, let him be blissful to us. Agni should become high-uplifted. Agni should break through all veils, the physical, the vital, the mental, the occult, the spiritual. Agni should purify us from the thousand blemishes that reside in us, they born of our birth in Inconscience. Agni should lead us on the upclimbing path of Truth-Light and Truth-Joy and Truth-Beauty. Agni should manifest in us the things of the Spirit, the things of the Godhead, manifest in us the things of the Spirit, the things of the Godhead

The fourth Mandala of Rig Veda coming from Rishi Vamadeva is a masterpiece in the Vedic literature. It has 58 Suktas or Hymns with 589 verses or Richas. The first 15 Suktas are devoted to Agni and the next 17 to Indra, the remaining to other Gods. For our present study we have picked up the opening Sukta. It has all the necessary elements of Vedic thought, Vedic symbolism, Vedic esotericism, Vedic sadhana, Vedic aims and goals and, of course all the rich elements of Vedic poetry. It is felt that study of this Sukta itself should prove quite rewarding to get into the spirit of Vedic compositions.

The composition of Savitri has a long history, starting from August 1916 till mid-November 1950. The epic began as a short narrative based on the Mahabharata tale and grew from about eight hundred to twenty-four thousand lines. In the process it developed into a symbolic transformative legend which is also the luminous medium for presenting experiences and realisations of the Yogi-Author, his prophetic vision. While the first part of Savitri is essentially in Sri Aurobindo own hand, the other two appear mostly by dictation. There are now some eight thousand sheets of manuscripts and typescripts. During the period of composition these drafts went back and forth, to the typist, the press, and back to the Author who took every opportunity to expand or revise the earlier text. Understandably, the involved process through which the final version of Savitri came out in 1950-51 could entail variations in the readings. It is said that a "substantial number of discrepancies" or "serious errors" have crept into it. As not unlikely, while preparing an edited version of such a work judgemental aspects would also enter in. It is claimed that the Revised Edition of Savitri which came out in 1993 is the outcome of a systematic comparison and study of the archival documents. Effectively now it carries the stamp of official approval. However, the claim made by this edition needs an independent verification. Unfortunately its approach is based on some dubious premises, making it suspect at places. In it there is no hesitation in speaking of "oversight" on part of the Author himself or in seeing his "final intentions". The worse is, he at times making slips and forgetting his own spiritual philosophy or poetic art. Such ideas are not only tawdry; they lack the simplest yogic etiquettes. The current work is just a brief attempt in indicating the flaws that have crept in the official publication of Savitri, the 1993 Revised Edition. A detailed presentation could be undertaken in the course of time, it running into several thousand pages of a book. But for a satisfactory account access to data bank of the Archives is desirable, is absolutely essential. In the context of editorial revisions of Savitri it is necessary that we take due care of the complexities. Perhaps the best procedure for editors of the Savitri-text could be to fix the first complete version as the basic reference. As far as the said "slips and oversights" are concerned, extensive research notes and references could be provided; these might include several readings as we have in different drafts. Presentation of the data should be the foremost concern in any objective research and editing. By providing such "factual" details a new chapter of study can open out. If we go a step farther, the best thing will be to make the Archival documents a part of Open Resources. In fact these should be made in the digital version for access the world over. Apparently, the issue of editing Savitri maybe of a minor nature; it may be of interest only in its academic context. But in the yogic context it assumes an altogether different significance; it could be the thin line that divides evolutionary success and failure. It must also be emphasised that the Word of Savitri in its pristine glory and power continues to be always valid; it is that which can bring to our life the expression of the Real-Idea itself. That is its genuine value and that will always remain faultless and free, - because behind it is the very yogic force of its creator.

Questo libro raccoglie il lavoro di due giorni sul poema epico di Sri Aurobindo, Savitri, che si svolto in Toscana a Motrano, nei pressi di Colle Val D'Elsa, nel Ritiro che il professor Deshpande, in visita in Italia dallo Sri Aurobindo Ashram di Pondicherry-India, ha tenuto nella primavera 2015 con un gruppo spirituale che segue l'insegnamento dello Yoga Integrale. Savitri si pu considerare uno dei testi pi importanti di Sri Aurobindo(Calcutta 1872-Pondicherry 1950), grande yogi, poeta e filosofo indiano, che concep fin dai tempi della giovinezza e in varie versioni, cui lavor rielaborandolo durante tutto il corso della sua vita e che complet alla fine della sua esistenza terrena. Da lui definito"una leggenda e un simbolo", tratto da una storia presente nel grande poema epico indiano Mahabharata, in cui secondo le parole di Sri Aurobindo stesso, "l'amore di una donna, sola nel suo terribile silenzio e forza, che si oppone alla Morte, il dio]che separa le anime "riesce a strapparLe l'anima del marito Satyavan. Simbolicamente la vittoria sulla Morte che attende l'umanit nel futuro destino spirituale. Savitri raccoglie e descrive poeticamente il lavoro ed esperienze dello Yoga Integrale di Sri Aurobindo e della Madre, volte a questa trasformazione. Il commento e le spiegazioni del Professore hanno riguardato principalmente il Libro Terzo di Savitri, Il Libro della Madre Divina, con qualche accenno ad altre parti del poema. In questo Libro il padre di Savitri, Aswapati, nella sua ascesa yogica volta alla purificazione e trasformazione necessarie per ricevere in dono dall'alto la figlia tanto auspicata, al cospetto della Madre Divina, da cui otterr la grazia dell'incarnazione umana di Savitri, Sua emanazione, che riuscir a cambiare il destino della Terra. In quel momento il Re si offre e si consacra a Lei, "un vasto abbandono era l'unica sua forza." Si tratta di un Libro particolarmente importante nel contesto dell'intero poema, in cui si intravede, nel terzo canto intitolato La Dimora dello Spirito e La Nuova Creazione, quello che sar il meraviglioso futuro destino umano, quando il "Sovracosciente diverr cosciente sulla terra". Il lavoro, molto intenso e profondo, si svolto in sessioni di lettura accompagnate dalle relative spiegazioni da parte del Professor Desphande, alternato a momenti di meditazione.

In occasione della sua visita in Italia, RY Deshpande ha tenuto seminari e conferenze su Sri Aurobindo e il Suo poema epico Savitri - un capolavoro letterario, la suprema rivelazione della Sua visione, una documentazione della Sua ricerca yogica e spirituale, delle Sue conquiste e realizzazioni. Questo libro tratto dalle giornate trascorse a Santa Maria in Acone, luogo situato ad est di Firenze, dove Deshpande stato invitato dal Prof. Guidalberto Bormolini - monaco della comunit "I ricostruttori nella preghiera" e antropologo - a introdurre Sri Aurobindo, M re e la Loro missione. L'incontro si svolto in due giorni, ciascuno dei quali articolato in tre sessioni. Sabato 16 maggio 2015 Nella prima sessione l'autore introduce Sri Aurobindo e M re: la Loro vita e il lavoro yogico che hanno compiuto insieme. Successivamente illustra i cinque aspetti essenziali che costituiscono l'individuo e sottolinea l'importanza di scoprire la nostra anima; ognuno di noi deve, quindi, imparare ad aprirsi per ricevere l'aiuto, la Forza divina necessaria. Questo avviene per mezzo di tre movimenti psicologici: l'aspirazione, il rifiuto e il surrender (dono di s ), come spiega dettagliatamente Sri Aurobindo nei Suoi scritti. Vengono esposti, inoltre, i seguenti argomenti: la crescita dell'anima, il significato di progresso e il ruolo positivo della morte - sia nel cammino dell'individuo verso lo Spirito che nell'espressione delle possibilit spirituali in lui. Durante la seconda sessione Deshpande approfondisce il concetto di anima (chiamata da Sri Aurobindo 'Essere Psichico') e descrive la disciplina da seguire, lo sforzo personale richiesto se vogliamo scoprire il nostro vero essere. Ma c' un problema di base, presente a livello universale: la nostra non-consapevolezza del Divino; durante le varie epoche sono esistiti Esseri eccezionali che ci hanno aiutato ad avvicinare Colui che la Religione chiama Dio. In particolare viene citato il Cristo attraverso alcuni passi di Savitri dove Sri Aurobindo descrive l'arduo e immane compito del Redentore, il Suo messaggio, la Sua crocifissione - Cristo, Emanazione Divina, un aspetto dell'Amore. Nella terza sessione viene sviluppato il tema della morte, in particolare della nostra paura di essa. Ci possiamo avvalere di cinque metodi per poterla affrontare: il metodo razionale, quello della ricerca interiore, la fede mistica in Dio, il metodo del guerriero - dove la morte come un'abitudine da combattere - e il metodo occulto - che, forse, solo per Esseri eccezionali. Successivamente vengono descritti i vari determinismi e le forze che operano in noi, che hanno un ruolo fondamentale in relazione al momento della nostra morte. La sessione termina con la delucidazione della missione di Savitri. Domenica 17 maggio 2015 Durante la prima sessione viene illustrata brevemente la descrizione di Sri Aurobindo della Creazione - del processo della Creazione - di come questa emerga dalla Madre Divina: la prima emanazione stata Satcitananda, la Manifestazione Trascendentale, alla quale seguita la Manifestazione Cosmica - con le 'quattro grandi Personalit del Potere Divino' che operano nell'Universo - e, infine, la Manifestazione individuale. Dentro di noi esistono latenti questi Poteri, queste qualit divine, ma le nostre qualit individuali non sono ancora arrivate alla piena espressione. Tra i quattro Poteri che operano nell'Universo, le nostre quattro qualit e i quattro principali sentieri dello Yoga esiste una corrispondenza ed molto importante che questi quattro Poteri lavorino armoniosamente insieme sia a livello cosmico che in noi. Vi sono anche altri Poteri e Personalit della Madre Divina, ma fino a questo momento non si sono ancora manifestati. Sri Aurobindo ci dice che adesso il Potere Superiore dell'Amore Divino ci che deve divenire attivo in questa Creazione: la Madre Divina Colei che render possibile la vita divina sulla Terra - l'

Immediately Savitri enters into the Dream or Swapna Yoga, when to her is revealed the entire cosmic Past, Past since the beginning of things out of the extraordinary all-potent Void of the manifesting Spirit. She has re-lived the psychic memory of the evolutionary unfoldment in the long process of time. She sees how the Past has arrived at the Present and also begins to perceive the Future's prospects. In this stream of consciousness she recognises that Man is not the culmination of these epochal happenings, and that a greater superior being, a being first governed by the Mind of Light, Surhomme, Overman, must emerge and take the lead of the evolutionary march. A portion of the divine Savitri enters into her and puts adiamond seal of this materialisation on a bright course of the coming events. A high note is already struck in the gains of her Yoga.