Hedged in though she [Savitri] is by mortality, her life‘s movement keeps the measure of the Gods. Painting her being and its human-divine beauty Sri Aurobindo achieves some of his supreme effects. Perhaps his grandest capture of the mantra are the nine verses which form the centre of a long passage, variously mantric, in which Savitri‘s avatarhood is characterised (...) A hieratic poetry, demanding a keen sense of the occult and spiritual to compass both its subjective and objective values, is in this audacious and multi-dimensioned picture of a highly Yogic state of embodied being. Not all might respond to it and Sri Aurobindo knew that such moments in Savitri would have to wait long for general appreciation. But he could not be loyal to his mission without giving wide scope to the occult and spiritual and seeking to poetise them as much as possible with the vision and rhythm proper to the summits of reality. Of course, that vision and that rhythm are not restricted to the posture and contour of the summits, either the domains of divine dynamism or (...) or the mid-worlds, obscure or luminous, fearsome or marvellous, of which Savitri‘s father, King Aswapathy, carries out a long exploration which is one of the finest and most fascinating parts of the poem. They extend to the earth-drama too and set living amongst us the mysteries and travails of cosmic evolution, like that dreadful commerce of Savitri with one to whom Sri Aurobindo gives no name:
K. D. Sethna
