In other modern spiritual poets, such as Gerard Manley Hopkins, T.S. Eliot and Theodore Roethke, the richness and complexity of the poetic language stems in part from the fact that the texture of the poet’s ideas is shifting and uncertain. This state of flux in the soul of the poet is translated outwardly into a wrestle with the different forms of language in order to produce a precise equivalent for the state or emotion that is being experienced. Sri Chinmoy’s choice of language, by contrast, is significantly affected by the constancy of his vision. His words carry a strength of conviction and authority which is consistent with their origin, for they derive not from the intellectual or imaginative activity but from intuition, the direct and luminous knowledge which rises up from one’s soul. There have been many kinds of spiritual voices but none has just that firmness and just that purity. The calm, majestic countenance of the poet becomes almost visible behind the poems.
Even though Sri Chinmoy’s philosophical framework is constructed of unchanging ideas and beliefs, there is nothing static in his creation itself. As he applies these eternal truths to slightly varying conditions, he highlights countless subtle nuances and distinctions. For any given theme Sri Chinmoy offers numerous expansions or examples. We become conscious of the fact that although truth is single, it must be wrought and achieved in many thousands of lives and under a multitude of circumstances. As the poet multiplies his expressions of this truth, so he comes closer to the roots of our existence.
The poet’s title – “Flower-Flames” – reveals from the outset this infinite play of variety. Like so many flames, these poems shall be ignited in the heart of aspiring humanity. The metaphoric fires of wisdom, from whence the Vedic seers drew their inspiration, shall once more be set ablaze. The poet avers:
THE IDEA-FLAMES
Everything started,
Starts
And will start
With the idea-flames
For life-perfection
And self-transcendence.
(1516)
From another perspective, these inner flames are also flowers blossoming forth in many different hues. Each one signifies the unfolding of a new perfection which is gathered up by the poet into his song-garland:
I LOVE THE PRISTINE BEAUTY
I love the pristine beauty
Of a flower-flame.
I love the pristine purity
Of a flower-lamp.
I love the pristine reality
Of a flower-life.
(2623