The English of Savitri: Volume 12 (Book Six, Book Eight, and Book Nine)
Comments on the language of Sri Aurobindo's epic Savitri
— Shraddhavan
| Price: Rs 600 Pages: 433 Dimensions (in cms): 14x22 ISBN: 978-81-955260-3-1 | Hard Cover |
| Publisher: Savitri Bhavan, Auroville | |
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About The English of Savitri: Volume 12 (Book Six, Book Eight, and Book Nine)
Volume Twelve, the last volume of the series The English of Savitri covers Book Six, The Book of Fate, Book Eight, The Book of Death, and Book Nine, The Book of Eternal Night. In Book Six, the sage Narad arrives to reveal the foreknowledge of Satyavan’s death, and his dialogue with Savitri’s mother deals with the human need to answer the questions of grief, pain, and suffering. In Book Eight, The Book of Death, Narad’s prophecy is fulfilled: Death comes and takes away Satyavan’s soul, ending Part Two of the poem. Part Three opens with Book Nine, which describes how Savitri follows her husband into Death’s territory and how she has to suffer the darkest Eternal Night, the black void that signals a denial of all existence. Savitri answers all of Death’s attempts to scorn and mock her and, by the end of Book Nine, she has survived that dreadful experience of darkness and death that threatened to swallow her and finds instead, as the night is fading, the gradual return of light and hope.
REVIEW
This volume of The English of Savitri is the last in the series of twelve that covers all the Books of Savitri: A Legend and a Symbol. Here “The Book of Fate”, “The Book of Death”, and “The Book of Eternal Night” are appropriately clubbed together by Shraddhavan. She perhaps purposely did not include the detailed study of Book Seven: “The Book of Yoga” in this volume as the mood is so different for the reader.
Book Six starts with Devarshi Narad’s descent on earth. He is always present on the occasions when something has to be revealed to those with whom he interacts. When Savitri arrives at her father’s palace, Narad describes her beautifully as a bride and asks the reason for her beauty. We come to know that Savitri has chosen Satyavan as her husband; Narad then reveals the ill-fated destiny of the couple. The Queen Mother with her human will and emotions tries to dissuade Savitri from marrying Satyavan but receives her daughter’s answer thus: “Once my heart chose and chooses not again.” Broken by this declaration, the Queen turns to Narad for help and throws arrows of doubts and questions at him. Shraddhavan has given great importance to this Book. She deals elaborately with every detail of almost every line and answers many questions raised by her listeners. In keeping with the tone of “The Book of Fate”, which involves many lines of dialogue in a question-and-answer format, the author too has allowed her listeners to ask as many questions as they wish and clear their doubts about the use of words, imagery, and symbols by Sri Aurobindo. For example, consider the lines:
He meets an ancient adversary Force,
He is lashed with the whips that tear the world’s worn heart;
The weeping of the centuries visits his eyes:
He wears the blood-glued fiery Centaur shirt,
The poison of the world has stained his throat.
These lines allude to Christ, the Greek legend of Hercules, and the act of Lord Shiva drinking poison to save the world (188-190). Shraddhavan has taken great delight in explaining the deep significance of these lines and the explanation for Sri Aurobindo’s allusion to them. On being asked why Hercules and Lord Shiva have been brought together, she answered that Hercules was an immortal being on this earth who bore pain and suffering like every mortal. The author has clarified all the doubts of the readers much as Narad does for all the questions asked by the Queen, the mother of Savitri, who finally got an answer from the sage: “O queen, stand back from that stupendous scene, | Come not between her and her hour of Fate” because “She only can save herself and save the world”. This Book is significant in terms of voicing both the doubts and questions that bother humanity asked by Savitri’s mother and the responses and solutions given by Narad, who offers solace in this line, “Cry not to heaven, for she alone can save.” Shraddhavan devoted more than half of this volume to discussing “The Book of Fate”.
In order to retain the link between Book Six and Book Eight we have been provided with a summary of each of the seven cantos of Book Seven, “The Book of Yoga.” This sustains continuity but does not alter the mood of the Books under discussion. Book Seven primarily focuses on Savitri’s inner journey where she travels through the dark and luminous chambers of her being and realises the cosmic consciousness. After achieving this, she gets ready to face Death and later conquers him.
Book Eight, “The Book of Death” has only one canto, Canto Three: “Death in the Forest”. Shraddhavan gives an explanation based on Sri Aurobindo’s letters as to why there is only one canto in this Book and why is it called Canto Three instead of Canto One. We are told that when Sri Aurobindo was reminded to complete this Book, he said, “Well, that will be for later.” This canto links us to Book One, Canto One where we are left with the concluding line: “This was the day when Satyavan must die.” In Book Eight we come back to that day when Satyavan will die. Shraddhavan has taken us through the expectant dawn to the gloomy afternoon when “Satyavan had passed from her [Savitri’s] embrace”. Referring to comments and observations by the Mother, Nirodbaran, Huta and Sri Aurobindo himself, she has explained the significance and meaning of this canto to readers.
Book Nine, “The Book of Eternal Night” is Savitri’s journey into Night, Darkness and the realm of Death. Sri Aurobindo has presented this book in a dense and yet philosophic way. The feeling of sadness when Satyavan slips from Savitri’s grasp is countered by an admiration for Savitri’s strength when she courageoulsy follows Death into his realm. Savitri is seen as no ordinary mortal here. She emerges as “A columned shaft of fire and light”. About this luminous, dauntless Savitri, Shraddhavan points out a few stories and anecdotes to which Sri Aurobindo perhaps alludes.
In Canto One we saw Savitri’s entry into Death’s realm, in Canto Two we are taken to the “Eternal Night”. Here, Death begins to tempt her with boons so that she may agree to return to earth and not pursue Satyavan. But Savitri accepts nothing less than Satyavan: “Out of thy shadow give me back…Satyavan”.
In her inimitable yet simple style, the author leads us from one line to another, one image to another. As readers understanding the meaning of the poem, we are led from one mood to another, from one frame to another. Each time Savitri is revealed a little more to us, each time Death’s “huge mask” is removed a little further until in the next Book we are able to look upon the “face of God”.
Although this is the last volume in the series, it does not deal with the final Books of the poem. Readers are encouraged to further reading, re-reading and inter-reading of the other volumes in order to enjoy the comprehensive story and meaning of Sri Aurobindo’s creative word: Savitri: A Legend and a Symbol. Now that all the volumes of The English of Savitri are available, it will be easy to read her commentary and explanations either canto-wise or in the manner in which Shraddhavan has presented them. These volumes are a wonderful guide for those who want to understand Savitri but find the epic poem difficult in language and purport. Her detailed exploration indeed encourages the reader to contemplate and meditate on its meaning and significance.
—Shruti Bidwaikar
Shruti Bidwaikar is working as the Assistant Director at the Sri Aurobindo Centre for Advanced Research, Puducherry. She has done her PhD on Sri Aurobindo’s Poetry and Poetics. She continues to research and give talks on poetry, poetics, and Indian culture.
Reviewed in February, 2024
Book Six starts with Devarshi Narad’s descent on earth. He is always present on the occasions when something has to be revealed to those with whom he interacts. When Savitri arrives at her father’s palace, Narad describes her beautifully as a bride and asks the reason for her beauty. We come to know that Savitri has chosen Satyavan as her husband; Narad then reveals the ill-fated destiny of the couple. The Queen Mother with her human will and emotions tries to dissuade Savitri from marrying Satyavan but receives her daughter’s answer thus: “Once my heart chose and chooses not again.” Broken by this declaration, the Queen turns to Narad for help and throws arrows of doubts and questions at him. Shraddhavan has given great importance to this Book. She deals elaborately with every detail of almost every line and answers many questions raised by her listeners. In keeping with the tone of “The Book of Fate”, which involves many lines of dialogue in a question-and-answer format, the author too has allowed her listeners to ask as many questions as they wish and clear their doubts about the use of words, imagery, and symbols by Sri Aurobindo. For example, consider the lines:
He meets an ancient adversary Force,
He is lashed with the whips that tear the world’s worn heart;
The weeping of the centuries visits his eyes:
He wears the blood-glued fiery Centaur shirt,
The poison of the world has stained his throat.
These lines allude to Christ, the Greek legend of Hercules, and the act of Lord Shiva drinking poison to save the world (188-190). Shraddhavan has taken great delight in explaining the deep significance of these lines and the explanation for Sri Aurobindo’s allusion to them. On being asked why Hercules and Lord Shiva have been brought together, she answered that Hercules was an immortal being on this earth who bore pain and suffering like every mortal. The author has clarified all the doubts of the readers much as Narad does for all the questions asked by the Queen, the mother of Savitri, who finally got an answer from the sage: “O queen, stand back from that stupendous scene, | Come not between her and her hour of Fate” because “She only can save herself and save the world”. This Book is significant in terms of voicing both the doubts and questions that bother humanity asked by Savitri’s mother and the responses and solutions given by Narad, who offers solace in this line, “Cry not to heaven, for she alone can save.” Shraddhavan devoted more than half of this volume to discussing “The Book of Fate”.
In order to retain the link between Book Six and Book Eight we have been provided with a summary of each of the seven cantos of Book Seven, “The Book of Yoga.” This sustains continuity but does not alter the mood of the Books under discussion. Book Seven primarily focuses on Savitri’s inner journey where she travels through the dark and luminous chambers of her being and realises the cosmic consciousness. After achieving this, she gets ready to face Death and later conquers him.
Book Eight, “The Book of Death” has only one canto, Canto Three: “Death in the Forest”. Shraddhavan gives an explanation based on Sri Aurobindo’s letters as to why there is only one canto in this Book and why is it called Canto Three instead of Canto One. We are told that when Sri Aurobindo was reminded to complete this Book, he said, “Well, that will be for later.” This canto links us to Book One, Canto One where we are left with the concluding line: “This was the day when Satyavan must die.” In Book Eight we come back to that day when Satyavan will die. Shraddhavan has taken us through the expectant dawn to the gloomy afternoon when “Satyavan had passed from her [Savitri’s] embrace”. Referring to comments and observations by the Mother, Nirodbaran, Huta and Sri Aurobindo himself, she has explained the significance and meaning of this canto to readers.
Book Nine, “The Book of Eternal Night” is Savitri’s journey into Night, Darkness and the realm of Death. Sri Aurobindo has presented this book in a dense and yet philosophic way. The feeling of sadness when Satyavan slips from Savitri’s grasp is countered by an admiration for Savitri’s strength when she courageoulsy follows Death into his realm. Savitri is seen as no ordinary mortal here. She emerges as “A columned shaft of fire and light”. About this luminous, dauntless Savitri, Shraddhavan points out a few stories and anecdotes to which Sri Aurobindo perhaps alludes.
In Canto One we saw Savitri’s entry into Death’s realm, in Canto Two we are taken to the “Eternal Night”. Here, Death begins to tempt her with boons so that she may agree to return to earth and not pursue Satyavan. But Savitri accepts nothing less than Satyavan: “Out of thy shadow give me back…Satyavan”.
In her inimitable yet simple style, the author leads us from one line to another, one image to another. As readers understanding the meaning of the poem, we are led from one mood to another, from one frame to another. Each time Savitri is revealed a little more to us, each time Death’s “huge mask” is removed a little further until in the next Book we are able to look upon the “face of God”.
Although this is the last volume in the series, it does not deal with the final Books of the poem. Readers are encouraged to further reading, re-reading and inter-reading of the other volumes in order to enjoy the comprehensive story and meaning of Sri Aurobindo’s creative word: Savitri: A Legend and a Symbol. Now that all the volumes of The English of Savitri are available, it will be easy to read her commentary and explanations either canto-wise or in the manner in which Shraddhavan has presented them. These volumes are a wonderful guide for those who want to understand Savitri but find the epic poem difficult in language and purport. Her detailed exploration indeed encourages the reader to contemplate and meditate on its meaning and significance.
—Shruti Bidwaikar
Shruti Bidwaikar is working as the Assistant Director at the Sri Aurobindo Centre for Advanced Research, Puducherry. She has done her PhD on Sri Aurobindo’s Poetry and Poetics. She continues to research and give talks on poetry, poetics, and Indian culture.
Reviewed in February, 2024
