Learning through Beauty

Art, poetry and music, when rightly used, can lead to a deep purification and refinement of emotions which in turn has a positive impact on character.

Key Perspectives

Aesthetic refinement of character; art, poetry and music; role of poetry; some clues on how to choose the right kind of poetry which elevates the soul; examples of uplifting poetry; how to listen to good music.

Aesthetic Refinement of Character

The mind is profoundly influenced by what it sees and, if the eye is trained from the days of childhood to the contemplation and understanding of beauty, harmony and just arrangement in line and colour, the tastes, habits and character will be insensibly trained to follow a similar law of beauty, harmony and just arrangement in the life of the adult man. This was the great importance of the universal proficiency in the arts and crafts or the appreciation of them which was prevalent in ancient Greece, in certain European ages, in Japan and in the better days of our own history. Art galleries cannot be brought into every home, but, if all the appointments of our life and furniture of our homes are things of taste and beauty, it is inevitable that the habits, thoughts and feelings of the people should be raised, ennobled, harmonised, made more sweet and dignified.

* * *

To this general education of the senses and their functioning there will be added, as early as possible, the cultivation of discrimination and of the aesthetic sense, the capacity to choose and adopt what is beautiful and harmonious, simple, healthy and pure. For there is a psychological health just as there is a physical health, a beauty and harmony of the sensations as of the body and its movements. As the capacity of understanding grows in the child, he should be taught, in the course of his education, to add artistic taste and refinement to power and precision. He should be shown, led to appreciate, taught to love beautiful, lofty, healthy and noble things, whether in Nature or in human creation. This should be a true aesthetic culture, which will protect him from degrading influences. For, in the wake of the last wars and the terrible nervous tension which they provoked, as a sign, perhaps, of the decline of civilisation and social decay, a growing vulgarity seems to have taken possession of human life, individual as well as collective, particularly in what concerns aesthetic life and the life of the senses.

A methodical and enlightened cultivation of the senses can, little by little, eliminate from the child whatever is by contagion vulgar, commonplace and crude. This education will have very happy effects even on his character. For one who has developed a truly refined taste will, because of this very refinement, feel incapable of acting in a crude, brutal or vulgar manner. This refinement, if it is sincere, brings to the being a nobility and generosity which will spontaneously find expression in his behaviour and will protect him from many base and perverse movements.

Art, Poetry and Music

Poetry raises the emotions and gives each its separate delight. Art stills the emotions and teaches them the delight of a restrained and limited satisfaction; – this indeed was the characteristic that the Greeks, a nation of artists far more artistic than poetic, tried to bring into their poetry. Music deepens the emotions and harmonises them with each other. Between them music, art and poetry are a perfect education for the soul; they make and keep its movements purified, self-controlled, deep and harmonious. These, therefore, are agents which cannot profitably be neglected by humanity on its onward march or degraded to the mere satisfaction of sensuous pleasure which will disintegrate rather than build the character. They are, when properly used, great educating, edifying and civilising forces.

The Role of Poetry

In the following passages, Sri Aurobindo provides some luminous clues for choosing the right kind of poetry which elevates our mind and soul. Some examples of such poetry are given in the next section.

Poetry comes into being at the direct call of three powers, inspiration, beauty and delight, and brings them to us and us to them by the magic charm of the inspired rhythmic word. If it can do that at all perfectly, its essential work has been done. It is in its beginning concerned with close and simple natural things and, when it grows more subtle, still it has only to create a power of beauty, move the soul with aesthetic delight and make it feel and see, and its function seems at an end.

Its function is not to teach truth of any particular kind, nor indeed to teach at all, nor to pursue knowledge nor to serve any religious or ethical aim, but to embody beauty in the word and give delight. But at the same time it is at any rate part of its highest function to serve the spirit and to illumine and lead through beauty and build by a high informing and revealing delight the soul of man. And its field is all soul experience, its appeal is to the aesthetic response of the soul to all that touches it in self or world; it is one of the high and beautiful powers of our inner and may be a power of our inmost life.

There are always three things which we find present in the utterance and which may be taken as the tests of its measure of power. First there is a force of inspired seeing which gives us the appeal of some reality of self or mind or world, whether in this material field or the other planes of universal existence or of our own being to which imagination is one of the gates, a seeing which brings to us the power of its truth and the beauty of its image and gives it body in the mind by the word. Then there must be the touch, presence, breath of the very life, not the outward only, but the inward life, not an imitation by force of speech or the holding up of a mirror to some external movement or form of Nature, but a creative interpretation which brings home to us as much as may be of what she is or things or we are. And again that must carry in it and arouse in us an emotion of its touch on the soul, not the raw emotion of the vital parts, – though that comes in in certain kinds of poetry, – but a spiritual essence of feeling to which our inner strands can vibrate.

Examples of Elevating Poetry

O joy of gaining all the soul’s desire!
O stranger joy of the defeat and loss!
O heart that yearnest to uplift the world!

O fiercer heart that bendest over its pain
And drinkst the savour! I will love thee, O Love,
Naked or veiled or dreadfully disguised;
Not only when thou flatterest my heart
But when thou tearst it. Thy sweet pity I love
And mother’s care for creatures, for the joys
I love thee that the lives of things possess,
And love thee for the torment of our pains;
Nor cry, as some, against thy will, nor say
Thou art not. Easy is the love that lasts
Only with favours in the shopman heart!
Who, smitten, takes and gives the kiss, he loves.

* * *

In the blue of the sky, in the green of the forest,
Whose is the hand that has painted the glow?
When the winds were asleep in the womb of the ether,
Who was it roused them and bade them to blow?
He is lost in the heart, in the cavern of Nature,
He is found in the brain where He builds up the thought:
In the pattern and bloom of the flowers He is woven,
In the luminous net of the stars He is caught.
In the strength of a man, in the beauty of woman,
In the laugh of a boy, in the blush of a girl;
The hand that sent Jupiter spinning through heaven,
Spends all its cunning to fashion a curl.

How to Listen to Good Music

Mother, when one hears music, how should one truly hear it?

For this – if one can be completely silent, you see, silent and attentive, simply as though one were an instrument which has to record it – one does not move, and is only something that is listening – if one can be absolutely silent, absolutely still and like that, then the thing enters. And it is only later, some time later that you can become aware of the effect, either of what it meant or the impression it had on you.

But the best way of listening is this. It is to be like a still mirror and very concentrated, very silent. In fact, we see people who truly love music… I have seen musicians listening to music, musicians, composers or players who truly love music, I have seen them listening to music… they sit completely still, you know, they are like that, they do not move at all. Everything, everything is like that. And if one can stop thinking, then it is very good, then one profits fully…. It is one of the methods of inner opening and one of the most powerful.

What should one try to do when one meditates with your music at the Playground?

This music aims at awakening certain profound feelings. To hear it one should make oneself as silent and passive as possible. And if, in the mental silence, a part of the being can take the attitude of the witness who observes without reacting or participating, then one can take account of the effect which the music produces on the feelings and emotions; and if it produces a state of deep calm and of semi-trance, then that is quite good.

Sweet Mother, how can one enter into the feelings of a piece of music played by someone else?

In the same way as one can share the emotions of another person by sympathy, spontaneously, by an affinity more or less deep, or else by an effort of concentration which ends in identification. It is this last process that one adopts when one listens to music with an intense and concentrated attention, to the point of checking all other noise in the head and obtaining a complete silence, into which fall, drop by drop, the notes of the music whose sound alone remains; and with the sound all the feelings, all the movements of emotion can be perceived, experienced, felt as if they were produced in ourselves.

Sri Aurobindo & The Mother

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