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The silent spaces do not find him footloose in a void. Rather, they provide him with an opportunity to approach the source of creativity, the very source of life itself.

This idea is reinforced by the open-ended aphorism that begins the second stanza. By incorporating aphorism into an overall visionary mode such as this, the poet is able to compose a substantial picture of that ideal state

Where Love blossoms for the One
And Truth for the many.

It is interesting to note that the movement of this poem is somewhat unusual: the initial idea or proposition leads into an account of personal experience, concluding again with a universal concept. It is a difficult framework for a poet to use well, since proposition often tends to be so removed from personal experience as to bring about a sharp line of demarcation between the personal and impersonal areas of the poem. Sri Chinmoy overcomes this potential problem through the continuity of his tone, which permits no falling off in intensity as the poem moves from one area to another.

Other poems mirror the more traditional experience-intocognition arrangement in which a fictive, personal situation is transformed into a general concept and we come to see it as an instance of a universal truth. In "Visions of the Emerald Beyond," for example, the poet begins in a confessional mode:

View; VISIONS OF THE EMERALD BEYOND