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The poet portrays his dissatisfaction with the life of the mind and asserts his unwillingness to remain any longer a "customer" of its barren harvest. We seem to savour something of T.S.Eliot's "The Hollow Men" in the dryness and flatness of this picture, the "sterile, intellectual breeze" corresponding to their ineffectual voices:

We are the hollow men
We are the stuffed men
Leaning together
Headpiece filled with straw. Alas!
Our dried voices, when
We whisper together
Are quiet and meaningless
As wind in dry grass... [14]

We recognise the same pervading numbness at the core of a purely mental existence. It is an option the poet no longer chooses:

I shall buy only
The weaving visions of the emerald Beyond.

This line explodes with colour, life, movement and depth-all that is in direct opposition to the preceding portrait. In contrast to the shifting and colourless "intellectual breeze," Sri Chinmoy presents the rich enamelled colour of vision. Emerald. The incandescent green of creation itself, woven into wholeness by the heart, Sri Chinmoy's preferred nexus of action. And in that fulness of heart, he hopes to win God's "Smile" of satisfaction.

From this new recourse of action, the poet condenses a set of principles that are appended to the poem in the manner of a coda. In them he sets down the conditions upon which his new life of the heart shall be founded. They revolve around the "burial" of his mind which, he intimates, is already long since lifeless. From this burial shall rise the dancing, abundant life of the heart.