Footnotes

[1]My Flute, p. 15

[2]The Complete Poems of Emily Dickinson, ed. Thomas H. Johnson (London:
Faber and Faber, 1975), p.599. Following poem, p.650

[3]Ilumination-Song and Liberation-Dance, part 3, p. 2 1[4]Anatomy of Criticism (Princeton, New Jersey: Princeton University Press,
1973), p.297. 
 
[5]Japanese Classics Translation Committee, Haikai and Haiku (Tokyo: Nippon Gakujutsu Shinkokai, 1958), pp.4-10. 
 
[6] Collected Poems (London: Macmillan, 197 1), p. 147. 
 
[7] Haikai and Haiku, p. 17. 
 
[8]Illumination-Song and Liberation-Dance, part 3, p.36. 
 
[9]Lyric Time: Dickinson and the Limits of Genre (Baltimore: Johns Hopkins
University Press, 1979), p. 119. 
 
[10]Ibid., p. 118. 
 
[11]My Flute, p.48. 
 
[12] Ezra Pound, Selected Poems (London: Faber & Faber, 1971), P.90. 
 
[13]This point is made by Cameron, p. 120. 
 
[14] The Garden of Love-Light, part 2, p.4. 
 
[15] From "A True Hymne," A Choice of George Herbert's Verse, R.S.Thomas
ed. (London: Faber & Faber, 1972), p.77. 
 
[16]A letter to Colonel Higginson, July 1862. Q. in Brita Lindberg-Seyersted,
The Voice of the Poet: Aspects of Style in the Poetry of Emily Dickinson (Cambridge,
Mass.: Harvard University Press, 1968), p.24. 
 
[17]Letter to Wood House, Oct. 27, 1817. Q. in Robert Gittings, The Mask
of Keats (London: Heinemann, 1956), p.59. 
 
[18] Introduction to Theodore Roethke: Essays on the Poetry (Seattle: University
of Washington Press, 1965), p.xiii. 
 
[19]Collected Poems and Plays of Rabindranath Tagore (London: Macmillan,
1973), p.47. "Gitanjali," CI. 
 
[20]"Gitanjali," XIII, p.8. 
 
[21]Jorge Luis Borges, Selected Poems 1923-1967, Norman Thomas di Giovanni
intro. (Lon: Allen Lane, The Penguin Press, 1972), p. 105. Translated by Alastair
Reid. 
 
[22 ]Richard Watson Dixon's description of the temper of Gerard Manley Hopkins'
verse in David A. Downes, Gerard Manley Hopkins: A Study of His Ignatian Spirit
(New York: Bookman Associates, 1959), pp.121-122. 
 
[23]My Flute, p.12. 
 
[24]Q. by Dowries, p.134. 
 
[25]The Poems of Gerard Manley Hopkins, W.H. Gardner and N.H. MacKenzie,
eds. (London: Oxford University Press, 1970), Poem no. 65, p. 100. 
 
[26]The Poetry of Meditation (New Haven: Yale University Press, 1974), p.324. 
 
[27]From the Source to the Source, p.337. 
 
[28]My Flute, p.60. 
 
[29]"Gitanjali," LXXIV, p.35. 
 
[30]In the Psalms this theme of spiritual nourishment is a fertile 
    source of symbolism. Psalm 63, for example, begins: 
        "God, you are my God, I will look
for you early; 
        my spirit has thirsted for you, my
flesh has longed for you 
        in a desert which is weary and without
water." 
    The Psalms, trans. Peter Levi (Penguin, 1976), p.92. 
 
[31]Arnold Stein's analysis of the plain style of Herbert in George Herbert's
Lyrics (Baltimore: The Johns Hopkins Press, 1968), p.27. 
 
[32]A Choice of George Herber's Verse, p.78. 
 
[33] Stein, p.128. 
 
[34]Ibid, p.133. 
 
[35] Supreme, I Sing Only for You, p.81. 
 
[36]Collected Poems, no. 338, p.1895. 
 
[37]Q. by Stein, p.43. 
 
[38]Paul Valery, The Art of Poetry (London: Routledge & Kegan Paul,
1958), Denise Folliot, trans., p.280. 
 
[39]1bid., p.284. 
 
[40]IJIumination-Song and Liberation-Dance, part 3, p.6. 
 
[41]Valery, p.60. 
 
[42]"Gitanjali,"XXII, p.12. Nos. XLV, p.21 and XLVI, pp.21-22 follow. 
 
[43] Cf. an excellent article by George I Wright entitled "The Lyric Present:
Simple Present Verbs in English," PMLA, Vol. 89:3, pp.563-579. 
 
[44]Wright, p.569. 
 
[45]My Flute, p.56. 
 
[46]Barbara Hardy, The Advantage of Lyric: Essays on Feeling in Poetry (University
of London: Athlone Press, 1977), p.2. 
 
[47] From "Two Desert Fathers," The Collected Poems of Thomas Merton (New
York: New Directions, 1977) p. 166. 
 
[48] Fearful Symmetry: A Study of William Blake (Princeton University Press,
1947), p.7. 
 
[49]Pages 1, 6, 10 and 47 respectively 
 
[50]Rilke defines the immediate imperative of the greatest art as "Du musst
dein Leben Andern" - You must change your life. M.D.Herter Norton, Translations
from the Poetry of Rainer Maria Rilke, (N.Y., 1938), p.180. 
 
[51]Hardy, p.13. 
 
[52]Anatomy of Criticism (Princeton University Press, 1973), p.45. 
 
[53] 1 and Thou, Walter Kaufmann trans. and notes (Edinburgh: T. & T.
Clark, 1970). Especially pp. 131-132. 
 
[54] Listed in detail by Mary Anita Ewer in A Survey of Mystical Symbolism,
(London: Society for Promoting Christian Knowledge, 1933). 
 
[55] The Works of Henry Vaughan, ed. L.C. Martin (Oxford: Clarendon Press,
1957), p.488. 
 
[56] Ewer, p.32. 
 
[57]In Emerson: A Collection of Critical Essays, Milton R. Konvitz and Stephen
Wicher, eds. (New Jersey: Prentice-Hall, 1962), p. 158. 
 
[58]Prabas Jiban Chaudhury, Tagore on Literature and Aesthetics (Calcutta:
Rabindra Bharati, 1965), p.150. 
 
[59]From Merton's monastic diary, The Sign of jonas (London: Hollis &
Carter, 1953), p.227. 
 
[60]"The Quintessence of Mysticism," The Inner Promise (New York: Simon
& Schuster, 1974), p.52. 
 
[61]Buber, pp. 115-116. 
 
[62]Anatomy of Criticism, p.273. 
 
[63]A point made by Andrew Welsh: "Behind incantation stands enchantment.
The basis of any charm is something that we might neglect but that its original
users would never forget, its magic." Roots of Lyric (Princeton, New Jersey:
Princeton University Press, 1978), p. 144. 
 
[64]Underhill, Mysticism (London: Methuen, 17th ed. * 1949), p. 76. 
 
[65]Supreme, Teach Me How to Surrender, p.66. All translations of Sri Chinmoy's
Bengali poems have been made by the poet himself. 
 
[66]Ibid., p.56, and pp.87, 88 and 64 respectively for the following three
poems. 
 
[67]Hardy, p. 1 
 
[68]George Herbert: His Religion and Art (London: Chatto & Windus, 1968),
p.186. 
 
[69]A Choice of George Herbert's Verse, R.S.Thomas (London: Faber &
Faber, 1972), p.75. 
 
[7O]Stein, p. 119 
 
[71]Illumination-Song and Liberation-Dance , part 3, p.27. 
 
[72]From "Verses written after an ecstasy of high exaltation," Poems of
St. John of the Cross, Roy Cambell trans. (London: Harvill Press, 1976),
p.31. 
 
[73]Stein, pp. xv-xvi. 
 
[74]My Flute, p.73. 
 
[75]My Flute, p.46. 
 
[76]Frye, p.272. 
 
[77]More than 3,000 pads were produced before the nineteenth century. 
 
[78]Cf. J.C.Ghosh, Bengali Literature (London: Curzon Press, 1976), p.56. 
 
[79]Ibid., p.57. 
 
[80]The Garden of Love-Light, part 2, p. 1. 
 
[81]Ghosh, p.58. 
 
[82]Jerzy Peterkiewicz, The Other Side of Silence (London: Oxford University
Press, 1970), p. 111. 
 
[83] The Garden of Love-Light, part 1, p.29. 
 
[84]Illumination-Song and Liberation-Dance, part 3, p. 16. 
 
[85]My Flute, p.55. 
 
[88]Ibid., p.64. 
 
[87]Transcendence-Perfection, no. 716. 
 
[88]Part 3, p.41

[89]Valery, p.167

[90]From "Master," My Flute, p.88.

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