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At the Feet of The Mother

Savitri Study Class 22-01 “The Approaching Feet of Destiny”, pp. 561-563

Savitri Study Class in English with Alok Pandey, Book 8 Canto 3

This is a standalone Canto in the Book of Death and yet it has been named Canto Three. In a certain sense this Canto connects with the first two Cantos of Book One. We connect once again to ‘the day when Satyavan must die’ and now we connect to the moment of Death. But first Sri Aurobindo takes us close to the fatal hour, revealing profound truths about Death and human nature, caught up in its net, through a series of highly suggestive images.

Now it was here in this great golden dawn.
By her still sleeping husband lain she gazed
Into her past as one about to die
Looks back upon the sunlit fields of life
Where he too ran and sported with the rest,
Lifting his head above the huge dark stream
Into whose depths he must for ever plunge.

All she had been and done she lived again.
The whole year in a swift and eddying race
Of memories swept through her and fled away
Into the irrecoverable past.
Then silently she rose and, service done,
Bowed down to the great goddess simply carved
By Satyavan upon a forest stone.
What prayer she breathed her soul and Durga knew.
Perhaps she felt in the dim forest huge
The infinite Mother watching over her child,
Perhaps the shrouded Voice spoke some still word.

At last she came to the pale mother queen.
She spoke but with guarded lips and tranquil face
Lest some stray word or some betraying look
Should let pass into the mother’s unknowing breast,
Slaying all happiness and need to live,
A dire foreknowledge of the grief to come.
Only the needed utterance passage found:
All else she pressed back into her anguished heart
And forced upon her speech an outward peace.

“One year that I have lived with Satyavan
Here on the emerald edge of the vast woods
In the iron ring of the enormous peaks
Under the blue rifts of the forest sky,
I have not gone into the silences
Of this great woodland that enringed my thoughts
With mystery, nor in its green miracles
Wandered, but this small clearing was my world.
Now has a strong desire seized all my heart
To go with Satyavan holding his hand
Into the life that he has loved and touch
Herbs he has trod and know the forest flowers
And hear at ease the birds and the scurrying life
That starts and ceases, rich far rustle of boughs
And all the mystic whispering of the woods.
Release me now and let my heart have rest.”

She answered: “Do as thy wise mind desires,
O calm child-sovereign with the eyes that rule.
I hold thee for a strong goddess who has come
Pitying our barren days; so dost thou serve
Even as a slave might, yet art thou beyond
All that thou doest, all our minds conceive,
Like the strong sun that serves earth from above.”

Then the doomed husband and the woman who knew
Went with linked hands into that solemn world
Where beauty and grandeur and unspoken dream,
Where Nature’s mystic silence could be felt
Communing with the secrecy of God.

Beside her Satyavan walked full of joy
Because she moved with him through his green haunts:
He showed her all the forest’s riches, flowers
Innumerable of every odour and hue
And soft thick clinging creepers red and green
And strange rich-plumaged birds, to every cry
That haunted sweetly distant boughs replied
With the shrill singer’s name more sweetly called.

He spoke of all the things he loved: they were
His boyhood’s comrades and his playfellows,
Coevals and companions of his life
Here in this world whose every mood he knew:
Their thoughts which to the common mind are blank,
He shared, to every wild emotion felt
An answer. Deeply she listened, but to hear
The voice that soon would cease from tender words
And treasure its sweet cadences beloved
For lonely memory when none by her walked
And the beloved voice could speak no more.

Footnote to the Canto: The Book of Death was taken from Canto Three of an early version of Savitri which had only six cantos and an epilogue. It was slightly revised at a late stage and a number of new lines were added, but it was never fully worked into the final version of the poem. Its original designation, “Canto Three”, has been retained as a reminder of this.

[Breaks are added to emphasize separate movements]

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