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At the close of 1975, halfway through the decade under review, we observe that the poet's artistic purpose and theory have remained consistent. The field of his creative outpourings may have diversified, the sheer volume in each sphere-that is, in poetry, painting and music-may have increased beyond all expectation, but the basic proposition is still the same: to do each of these things only with the view of becoming a more perfect instrument of the Supreme. In Sri Chinmoy's own words:
I have written considerably, I have spoken considerably, I have sung considerably and also I have composed considerably Each of these activities I try to do as a devoted instrument of my Inner Pilot. I clearly see that I am a mere instrument and I devotedly try to listen to His inner command. My Inner Pilot executes His Will in and through me according to my power of receptivity.[32]
In the years that are covered by this study, I do not believe it is possible to trace any ripening or maturing of Sri Chinmoy's vision itself. However, this vision is constantly touched by newness in the way that Sri Chinmoy applies it to each new field that he enters. In art, poetry and music he finds different ways of unfolding his inner experiences and any advances he has made within these various modes of expression derive from an inner urge to transcend the limitations of each respective field. It is significant to note that changes of style or technique in Sri Chinmoy's works are not precipitated by influences from outside but appear to be the natural outcome of his extensive explorations in the arts. In the field of poetry, for example, although Sri Chinmoy was an early admirer of the Romantic poets-Keats and Shelley in particular-the changes he has wrought in the English language and the additions he has brought to it (such as the compound noun discussed in chapter one) are uniquely his own. He stands alone among the modern poets for although he is representative of man's deepest spiritual aspirations, he is unrepresentative of the modern poetic tradition by virtue of the fact that he is absorbed in the beauty of the inner life, in the soul-fact, and it is upon this fact that all his artistic creations are based. The words of Emerson seem particularly applicable to Sri Chinmoy:
