There are many aspects of Savitri and there are many ways of looking at Savitri. The most important is of course its affirmation of the Spirit in things, Spirit as the dynamic Truth shaping in its expansive luminous freedom the destiny of this creation. This also implies that, to enter into Savitri, we have to make an extensive, a substantial, a broad-based many-sided preparation as far as our instruments are concerned; we have to also make progress leading to wideness of consciousness, including possibly the yogic-spiritual. While Savitri itself can become a means for that progress, there is needed the right kind of effort from our side, even a professional readiness to enter into its vast body. We must be prepared to undertake the hardship of its discipline by keeping ready all the instrumental aspects of our personality—with the mind capable of receiving intimations of a luminous knowledge, and the heart responding to the ardencies of life-movements in their thousand moods of magnificence and dignity, and the will steady in its intent, steady like a bright flame of sacrifice burning upward to heaven. What is it here that cannot be pressed into service for the fullness of realisation that Savitri offers? Indeed, nothing there is that cannot be transformed by Savitri. But, fundamentally, there has to be in us a “call” to live in Savitri which shall give us the Truth and the things of the Truth. With it alone can begin our yogic life in Savitri, of making Savitri our upāsanā grantha, making it our Book of Yoga.

In the meanwhile, however, we can live in Savitri’s presence in several ways. In Savitri there is deep spiritual philosophy put in the revealing language of a poet, its expression carrying the inspired and inevitable Word. We have in it mysticism, occult knowledge, religion, metaphysics, arts, sciences, literature, history of man and history of the earth, all that is noble and living, that can impart to our perception the sense of infinity which can give meaning to our daily occupations. Any one of these can become our foundational engagement. In fact, it has thus already opened out an altogether new world of creative action for us. Based on Savitri we already have Sunil Bhattacharya’s music, and Huta Hindocha’s paintings under the direct guidance of the Mother. These are examples of the new art that is to come in its wake, and there will be many more creations to bring Savitri itself closer to us. We thus envisage the coming of new schools of thought, new choreography, poetry, criticism, comparative research and studies, fiction, songs, oratorical dissertations, discourses, recitations and readings, all welling up from this inexhaustible fountain of creativity. The poem has also been translated into several languages, mostly in verse-form, but also at times as prose renderings. Maybe some of these are rudimentary attempts and much will have to be done to achieve some minimum aesthetic satisfaction that is to be expected from a work connected with it. Nonetheless, these attempts do demonstrate the possibilities that have sprung up from Savitri’s world of delight. If around the stone-still statue of Buddha, in Ellora, there is the calm of infinity that nothing can disturb, we shall expect a crystalline stream of sweetness and joy rushing from the marble face of Savitri; halo’d by the moon of beauty, or carved in the heart of amethyst, she shall prove to be “the Sun from which we kindle all our suns.” If only, Satyavan-like, our “mind transfigures to a rapturous seer”!   more »