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The radical of presentation overlaps in the two poems. Each one begins with a naming of God. In the previous poem, the descriptive containment of the compound "Father-Son" transcends the function of epithet by revealing something of the content of the poem. In "Our Meeting Place," however, the speaker's address to God is not an amplification of their relationship but an appeal, a supplication to God as the diadem of love, in itself a testimony of the distance that separates him from God. The mode is one of prayer rather than praise. This is confirmed by the question that follows:
... how far are we,
How far from ecstasy's silence-embrace?
The halting and anxious tones of this question betray the urgency of the speaker's petition. Its initial congestion is like a thrusting at language's inert forms. The final phrase of the line, "ecstasy's silence-embrace," is wrung from this conflict between the fulness of the speaker's emotion and the limitations of the words available to him. The phrase is an adumbration of the desired state of union and there is a hint of his future oneness with God in the shared euphonic aspects of the three words, in particular, the predominance of the smooth and gliding "s" sound. On another level, the poet is inviting us to discover a correspondence between the two compound nouns of the poem, in effect, to consider "silence-embrace" as a function of "Master-Love." Silence belongs to the remote and lofty Lord who is Master; embrace belongs to the near and dear Master who is "Love." Thus the speaker envisions the meeting which shall take place in his heart, his "bleeding core," as a simultaneous perception of these twin aspects of God.
Like the previous poem, "Our Meeting Place" possesses that distinct ease-in-discipline that lends it an air of both artlessness and grace. The personal rhythms of the speaking voice that pours itself out to God in prayer and the careful, intricate music of sound and repetition meet in a subtle alliance that cradles the poet's theme and cannot be easily separated from it.
Much of the totality of the lyric form employed by Sri Chinmoy is due to the brevity of his poems and especially to his frequent use of a single stanza. Northrop Frye suggests that
The most natural unit of the lyric is the discontinuous unit of the stanza, and in earlier periods most lyrics tended to be fairly regular strophic patterns.[76]
