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What we notice most forcibly about this poem is that even here, where the
poet specifically evokes the mountain and the sea, he is not concerned with
the "thingness" of nature but with the corresponding emotion it calls forth
from within himself. The song of the mountain imparts peace, becomes a symbol
of that immense silence of the summit, and yet this perception is embedded
neither in localised circumstances nor in action. It is perception itself,
alone and unqualified, that is celebrated as a means of self-discovery and
self-knowledge.

From the fruit of his experience, the seer-poet intuitively seizes an inner
truth. This truth he beholds, shapes and, finally, announces. His expression-the
attempt to make articulate an inexplicable inspiration--cannot avoid a personal
source for the words. And yet, it is literature that has been freed from selfhood.
The world that this poetry seeks to "bind" within the compact precincts of
aphorism is neither one at the tip of the senses nor one that is wholly objective.
It aspires to be literature of the complete man-that is, man at the pinnacle
of his spiritual evolution, who is both wise and simple, who recognises an
obligation to speak the truth but not of connected reasoning towards a conclusion
and whose ideas and beliefs exist as fragments of a world view that is universally
shared. The Chinmoyan idea of this spiritually mature personality is a person
of supreme poise who has entered the calm and serene heights of oneness with
God and with the divinity within himself. Thus the literature of the seerpoet
is most clearly seen as an act of contemplation. It is poetry which, one
feels, the poet has been irresistibly commanded to write and, therefore,
it is also poetry in which the love of God subordinates linguistic to other
values. It is for this reason that the poetry of aphorism is, above all,
a functional mode of writing.