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It is a literary way of speaking, you must understand it in a literary way; it is a literary description of the word; it is very precise, but it is literary. So I cannot produce literature on this literature. One must have the taste for forms, for a beautiful way of saying things, a little exceptional, not too banal; but it is just one way, it's a way of saying things which is charming. Literature exists completely in the way of saying things. You catch what you can of what's behind. If you are indeed open to the literary meaning, it evokes things for you; but it cannot be explained. It is a means of evocation which corresponds also with music. Naturally, one can analyse literature and see how the sentence is constructed, but this is like your changing a human being into a skeleton. It is not pretty, a skeleton. It's the same thing. If in music you study counterpoint, and if this note must necessarily bring in this other, and this group of notes has necessarily to bring in that one, you spoil the music too, you make a skeleton of the music; it is not interesting. These things have to be felt with the corresponding senses, the charm of the phrase with the literary sense—catching the harmony of words and what it evokes. (The Mother, 21 September 1955) <ref></ref>
= How Can can One Cultivate Aesthetic Sense? =
… in this order: consciousness first, then the vital (mainly from the aesthetic point of view, but a study of sensations as well) , then the mind, then spiritual realization. And in between the vital and mental phases came the brief period of occultism, serving both as a transition and a basis for spiritual development. (The Mother, 28 July 1962) <ref></ref>