It is in play of the transcendental speech or parā vāņī that we have the full expressive power of the supreme Logos. Like the sweet and fertilisng waters of luminous music, the soul of pure delight grows in it from richness to greater and agreeable richness, bringing to our worlds the supernal harmonies. But always there has to be the all-pervasive silence to carry these rivers of sound, of infinite distances, in their rushing speeds to lands and countries of peace and quietude. World after world is built in the Rhythm of the Word, and in the Rhythm of the Word move the sun and all the other stars. Its creative force creates and sustains everything. The Unspoken with its power of countless possibilities upholds that which it lets itself lose in bright inundations of the spoken. Sri Aurobindo's Savitri is at once such “a power of silence in the depths of God” and “the Force, the inevitable Word” by whose splendid magical strength the supremely potential becomes the excellently actual. It is the flawless fusion of sense and sound and sight, of thought and rhythm and vision ever ushering in the divine experience. It is the Mantra, the Word embodying the Truth in its substance and in its movements. In the listening quiet a miracle is wrought by its up-streaming and down-streaming incantations, its self-willed and self-assured cadences swaying and stirring the fields of sleep to divine action in the celebration of its moods of wonder. In it, to use Amal Kiran’s phrase from his Savitri, “tongues of fire break from a voiceless deep”. But to put it in Sri Aurobindo's defining words, the mantra is

…a direct and most heightened, an intensest and most divinely burdened rhythmic word which embodies an intuitive and revelatory inspiration and ensouls the mind with the sight and the presence of the very self, the inmost reality of things and with its truth and with the divine soul-forms of it, the Godheads which are born from the living Truth. Or, let us say, it is a supreme rhythmic language which seizes hold upon all that is finite and brings into each the light and voice of its own infinite.

This is precisely what we have in Savitri, this “poem of sacred delight”. Of this parā vāņī, rhythm and sight and the reality of things are the great revelatory attributes. If sometimes all the three come as a trinity from the sheer plenary Truth-world, from the Vedic Home of Truth, ŗtasya sadanam, very often it is one aspect or the other that stands out in a more perceptibly significant manner.

Thus we have the pure mantra, majestic and holding all, lucid and undiminished anywhere in its undisturbed sea-like tranquility and grandeur, lit by the blazing sun from within and mooned from above by the sweet and enchanting goddess of beauty in the wide serene sky: (Savitri, p. 314)

A burning Love from white spiritual founts

Annulled the sorrow of the ignorant depths;

Suffering was lost in her immortal smile.

A Life from beyond grew conqueror here of Death;

To err no more was natural to mind;

Wrong could not come where all was light and love.

The Formless and the Formed were joined in her.

Immensity was exceeded by a look,

A Face revealed the crowded Infinite.

Incarnating inexpressibly in her limbs

The boundless joy the blind world-forces seek,

Her body of beauty mooned the seas of bliss.

At the head she stands of birth and toil and fate,

In their slow round the cycles turn to her call;

Alone her hands can change Time's dragon base.

Hers is the mystery the Night conceals;

The spirit's alchemist energy is hers;

She is the golden bridge, the wonderful fire.

The luminous heart of the Unknown is she,

A power of silence in the depths of God;

She is the Force, the inevitable Word,

The magnet of our difficult ascent,

The Sun from which we kindle all our suns,

The Light that leans from the unrealised Vasts,

The joy that beckons from the impossible,

The Might of all that never yet came down.

All Nature dumbly calls to her alone

To heal with her feet the aching throb of life

And break the seals on the dim soul of man

And kindle her fire in the closed heart of things.

All here shall be one day her sweetness's home.

All the elements of poetry are aglow in it, aglow like several suns in their gold-and-bright spiritual intensity and force, yet sweet and felicitous in their psychic ardour and association, aglow in a neo-Vedic soul-body of the mantra. At times gentle and soft overtones pushing a suggestive sense to culmination of the reality’s substance, or else a marvellous iconopoeia carrying with it both logopoeia and melopoeia, as in the line “Her body of beauty mooned the seas of bliss”, or often enough revealing the occultly packed mystery of the Night in a lustrous creative play, we have here a ruby-and-topaz fire pouring the raptures of luminous gods on the expectant heart of terrestrial creatures and things. To bring happiness and perfection to this transient and sorrowful material world does, by the power of that invocation, a Presence come out of the utter Unknowable. The prayer—like Agni himself sweet of joy and one who has with him the Truth—is a persuasive adoration of that benign All-Beautiful to bestow on the suffering human the boons of God-light and God-felicity. It is an absolute and compelling adoration in every respect. With it only can the divine multitude, or as the Veda says, the Divine People, divyam janam, appear on the earth; it only can make Time step into Eternity’s marvels. Only then shall the “indignity of mortal life” be cancelled, and pain turned into ecstasy.

If mantra is always charged with power, if mantra is a Word that creates happy majesties, if mantra speaks of desirable excellences, if mantra brings realisation of what it utters, then we have it here, in Sri Aurobindo’s Adoration of the Divine Mother, the inevitable Word, the supreme Word established in the earth-consciousness to transform it into the divine substance of Truth, Beauty, Delight, into God-Life, all held by the Spirit’s vast calm.