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In other poems, the contrast between darkness and light is made concrete through a spatial metaphor: darkness is distance from God, while light indicates a lostness in God:

To place myself at Your
Eternity's Compassion-Feet,
I have come from a very far land.
You have already taken away
My heart's excruciating pangs.
I see no more darkness-night.
I see only the liberation-dawn
Under the canopy of the blissful sky.[22]

Sri Chinmoy's recurrent use of symbolism associated with the solar cycle does not generally extend into the seasonal cycle of spring, summer, autumn and winter. Although these are also universal symbols, each culture calls them by a different name and in each land they are accompanied by diverse manifestations. The cultural orientation of, say, Keats in his "Ode to Autumn" may be unfamiliar to readers from other backgrounds. Similarly, the Indian seasons that are so prominent in the works of Tagore and so poignant to his Eastern readers, tend to lock the poems into a specific locality. His images, though enchanting, do not chime with the very roots of our being, a fact that becomes more evident when we read a poem such as the following:

   Years ago it was a day of breezy March when the murmur of the spring was languorous, and mango blossoms were dropping on the dust.
   The rippling water leapt and licked the brass vessel that stood on the landing-step.
   I think of that day of breezy March, I do not know why.[23]

The Indian monsoons, the dry heat and northern winds, these also belong to the scenes of Sri Chinmoy's childhood and youth. However, because his accent is on a wider cosmopolitan outlook rather than on autobiographical details, he tends to avoid the kind of exclusive language and imagery that would impede a sympathetic reading of his poems by a Western audience.