Categories
Tagore Translations

Kalponik or Imagined by Rabindranath

Kalponik (Imagined) was written by Tagore in 1897 and published in his collection called Kolpona (Imagination) in 1900.

Art by Sohana
IMAGINED

I yearn only for dreams sown
In the breeze’s sigh —
That is why in despair I gather
Wishful thoughts nigh.
The ferry of hope has lost its path
In the shady corners of the Earth.
Fictitious images lose themselves
Wafting high.

Nothing emerges from my scattered
Desires' streams.
No one joins me to
Pursue my distant dreams.
I play with flames alone
I sit on my own. At the end
Of the day, I see my dreams
Turn to ashes.
I yearn only for dreams sown
In the breeze’s sigh.


The poem was set to music by his niece Sarala Devi. Click here to hear it performed as a song by contemporary artiste, Srabani Sen.

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This poem has been translated from Bengali by Mitali Chakravarty with editorial input by Sohana Manzoor 

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PLEASE NOTE: ARTICLES CAN ONLY BE REPRODUCED IN OTHER SITES WITH DUE ACKNOWLEDGEMENT TO BORDERLESS JOURNAL

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Categories
Tagore Translations

Jatri or Passenger by Rabindranath

Jatri (Passenger) was a part of Tagore’s collection, Khanika (moments), published in 1900.

Art by Sohana Manzoor
PASSENGER

There’s place on my ferry.
You are alone. You have
Only one bundle of paddy.
It may be a bit crammed,
But not that heavily jammed.
My ferry could be
A bit overloaded —
But you don’t have to leave.
There’s a place for you!

Come, come to my boat!
If your feet are dusty,
Let them be mud-coated.
Your body is like a creeper.
Your eyes are restless.
Your garb’s blue-green,
Flowing like water —
There’ll always be place for you —
Come, come to my boat!


There are many passengers.
Their destinations are varied.
They are all strangers.
You’ll also for a while
Sit on my ferry
Till the end of the ride.
A denial will make no difference —
If you want to come, join us.
There are many passengers.

Where’s your jetty?
Where’s the store
For your paddy?
If you do not state,
What will be our fate?
I’ll have to ponder
At the end of the ride —
Where’s your shore,
Where’s your home?

*The interesting thing about this poem is that it seems to be complete reversal of the poem Sonar Tori(Golden Boat), published in 1894, with the ferryman welcoming passengers aboard, whereas in the earlier poem, the ferry woman sails off with the bundle of paddy belonging to another, leaving her passenger behind.

This poem has been translated from Bengali by Mitali Chakravarty with editorial input by Sohana Manzoor 

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Categories
Tagore Translations

Winter by Rabindranath

Sheeth or Winter was first published in 1909 in Tagore’s collection called Shishu (Children). The poem looks forward to winter giving way to spring using simple but eloquent verses.

Art by Sohana Manzoor
The bird says, “I will leave.”
The flower says, “I will not bloom.”
The breeze merely says,
“I will not flit across the woods.”
Young shoots do not look up,
Instead, sprouts shrivel to shed.
Dusty bamboos loom
To paint an untimely dusk.
Why do the birds migrate?
Why do flowers not bloom?
Why has the agile breeze
stopped romping in the woods?
The heartless winter
Has a bleak outlook.
Wrinkled and harsh,
She imparts hard lessons.
The gleaming moonlit night,
The fresh fragrance of flowers,
The youthful sport of breeze,
The cacophony of leaves —
All these she looks upon as sins,
She thinks in nature,
The knowledgeable only sit
Still like a picture.
That is why the bird bids “goodbye”.
The flower says, “I’ll not bloom.”
The breeze merely says,
“I’ll not run across the woods.”
But when Hope says, “Spring’ll come,”
The flower says, “I’ll bloom.”
The bird says, “I’ll sing.”
The moon says, “I’ll smile.”
The newly-fledged spring
Has just started to awake.
He smiles at whatever he sees.
He plays with everything.
His heart is full of hope.
Unaware of his own desires,
His being runs hither and thither
Looking for kindred spirits.
Flowers bloom, so does the child.
Birds sing, so does he.
He hugs the caressing breeze
To play vernal games.
That’s why when I hear, “Spring’ll come,”
The flower says, “I’ll bloom.”
The bird says, “I’ll sing.”
The moon says, “I’ll smile.”
Winter, why did you come here?
Your home is in the north —
Birds do not sing there,
Flowers do not bloom on trees.
Your home is a snowy desert
That’s dark and lifeless —
Sit there alone, O knowledgeable,
Spend your days contemplating.

Snowy Kanchenjunga photographed from Darjeeling, West Bengal, in winters.

This poem has been translated from Bengali by Mitali Chakravarty with editorial input by Sohana Manzoor 

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Categories
Tagore Translations

Happiness by Rabindranath

Shukh (Happiness) by Rabindranath Tagore was published in his collection called Chitra (Picture, 1895).

Painting by Sohana Manzoor
Today, it’s a cloudless day. Happy skies 
Smile like friends. The breeze flits, flies
Embracing the face, chest, eyes —
Like an invisible aanchol billows high
Only to descend on a sleeping deity.
Peacefully on Padma’s waves, the ferry
Sails swishing joy. Relaxed sandbanks
Lie sunbathing at a distance.
The high sloping sides are interrupted
By tall shady trees, a hidden hut.
A narrow, curved path from a distant village
Crosses the farms and nears the water’s edge
Like a thirsty tongue. Rural brides
Wash their clothes, chatter awhile,
Joke. Their loud sweet laughter
Mingle with the sounds of water
To waft to me. A fisherman, aged,
Sits on a bent boat, weaves a net
While sunning his back. A naked child
Laughs merrily while he dives
Again and again into the water. Patient,
Padma gazes like an indulgent parent.
From the ferry, I see two shores —
The clearest lucid blue expands galore.
Amidst a flood of light, exotic lines are seen
In the water, land, forests. On a warm breeze,
The ferry sails past shores with groves, sometimes,
Scent of mango buds waft, only at times,
Faint sounds of bird calls.

My mind
Is filled with peace — I feel
Happiness is simple. It spreads like
Flowers in bowers, like the smile
On the face of a child — expectant lips
Holding the nectar of a kiss,
Gaze silently forever laced
With artless innocence.
The sky is immersed and stilled
with the harmony of music in sync.
How will I sing in tune with those notes?
How will I sound? How will I compose
The lyrics in simple words to gift
To my beloved so that they bring
A smile to her eyes, her lips?
How will I help unfold this to my love?
How will I convey the joy from above?
It’s tough to hold on, to clasp.
I chase it but it eludes my grasp.
I look for it. I walk fast—
Like a blind man, I stumble afar.
But it’s now lost.
I gaze
All around, fascinated, focussing
On this still, blue water, so calm.
And I had thought it was easy to clasp.

*Aanchol is the loose end of a sari

This poem has been translated from Bengali by Mitali Chakravarty with editorial input by Sohana Manzoor

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Categories
Tagore Translations

Autumnal Light & Rabindranath

Aaj Shoroter Aloy (Today in this Autumnal Light) was first published in Tagore’s collection called Shesh Saptak (The Last Octave, 1935).

Painting by Sohana Manzoor
Today, as I gaze in this autumnal light, 
I feel I am viewing life anew.
I see a youth.
His eyes, weary from daily strife,
Have lost their sight.

I imagine —
As a pilgrim from the past,
I have drifted here
On the strength of chants.
Traveling upstream in my dreams,
I have arrived at this moment,
In the present century’s shore.
I gaze with eager eyes.
I detach myself from the self.
I am a stranger from another age
Awaiting introductions as of yore.
Deep curiosity enthrals.
I am drawn
To whoever I find,
Like a bee to a flower.
Today, my mind is centred
Amidst the chaos.
Today, those stained
By weak popular opinions,
Have been stripped off
Their garb of mediocrity.
The truth of our existence
Emerges in full splendour.
The mute who never found voice,
The large population of neglected,
Have broken their silence —
The first words seemed to emerge
Like dawn after the deepest of dark.

As a distant wayfarer,
I travel to my own world
To glimpse eternal truths from between
The rips torn in the present,
Like a bride wed for life
Gazes from within
The fine curtain
With new eyes on
Eternity’s unfading truths.

This poem has been translated from Bengali by Mitali Chakravarty with editorial input from Sohana Manzoor.

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PLEASE NOTE: ARTICLES CAN ONLY BE REPRODUCED IN OTHER SITES WITH DUE ACKNOWLEDGEMENT TO BORDERLESS JOURNAL

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Categories
Tagore Translations

Childhood’s Dusk by Rabindranth Tagore

Shaishabshandha (Childhood’s Dusk) was published as a part of Tagore’s poetry collection called Sonar Tori (Golden Boat, 1894).

Art by Sohana Manzoor
CHILDHOOD'S DUSK 

Slowly, across all horizons
Spreads the weary exhaustion
Of darkness like a mother’s anchal*.
Standing alone, I gaze steadily
At the west, absolutely still.
I contemplate fixedly
The bottomless abyss,
The lonely riverside with a
Dusky sky. Dawn weeps,
As deep gloom sweeps
With tired eyes, compassionately,
Silently over the water and land
In this gloaming.
Suddenly, a song bursts forth
From the dark woods, the village paths,
Perhaps, from a youth returning home.
Uplifting, peaceful, fearless notes
Resonate in tune as if sharply
Slicing the twilight in two.
I cannot see him. I see a village
In the southern part. Amidst the lonely
Bamboo woods, the sugarcane fields,
The betel nut and banana trees,
There rests a village. I can see that.
Perhaps, it’s a cowherd’s son
Singing on his way home.
He does not think much
Except of a full stomach.
He brings back that dusk in my childhood:
We talked, played — three friends —
While we lay on the bed.
That was in the distant past.
Has the world not aged?
Have we exchanged our childhood,
Our games, our toys, our restful
slumber for the burden of knowledge?
Standing on this lonely field,
When silence fills the gloaming,
Hearing this song, I recall —
The riverbanks, the mango groves,
The brass bells ringing in temples,
The mustard fields, by the pond,
Smiling faces in many homes,
Young hearts filled with new hopes,
Impossible, beautiful imaginings,
Priceless dreams, endless desires
And beliefs. Standing in the dark,
I see among stars, the infinite universe —
Many young at home abed,
Their mother’s face lit by the lamp.



*Loose end of a sari

This poem has been translated from Bengali by Mitali Chakravarty with editorial input from Sohana Manzoor.

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Categories
Tagore Translations

Rabindranath Tagore’s lines on a Monsoon Morning

Probhatey (In the Morning) was published as a part of Rabindranath Tagore’s collection called Kheya (Ferry) published in 1906.

Art by Sohana Manzoor
      IN THE MORNING 

The heavy downpour
Of one night
Has filled the lake in my home
To the brim.
When I look, I see
Deep blue waters overflow.
Where is its shore? Where is its bottom?
Where does it turn?
With one downpour, see the lake
Is filled to the brim.


Last night, who could imagine
This would happen!
The rain poured incessantly
In the deep dark night.
In the midnight of this monsoon,
While I lay in a lamp less room,
I heard the wind howl
As if in distress —
Who knew then
This would happen!


Amidst this outpouring of teardrops,
I found today
A serene lotus
Presiding the scene.
O tell me, when O when did it bloom,
Pristine among multitudes
Shining with vibrancy,
Bringing solace to me
In the midst of this abyss
Of despondency!


Today, sitting alone, I ponder
Gazing at the site.
I see the treasures torn
From the chest by the tragic night.
I can see the heartbreak,
Hear the wailing, the awakening,
I write from my heart
Of the raging tempest.
I gaze at the treasures torn
From the chest by the stormy night.

This poem has been translated from Bengali by Mitali Chakravarty with editorial input from Sohana Manzoor.

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Categories
Tagore Translations

The Golden Boat or Sonar Tori by Rabindranath Tagore

Sonar Tori (Golden Boat) is the titular poem of Tagore’s book of the same name. This celebrated collection was first published in 1894.

Art by Rabindranath Tagore. From Public domain
Amidst dense clouds and heavy downpour,
Without any hope of respite, I sit on the shore.
Many sheaves of rice are piled in droves,
Housed in straw-built stores.
The river's edge is like a razor as the water flows,
Torrential and ferocious.
While the rice was being cut, it started to pour.

I have a small field, and I work alone.
The water sways on all sides and overflows.
On the other shore’s horizon,
I see etched
A village under the shadow of trees
Covered in misty morning clouds.
On this shore, I am alone in this small field.

Someone is singing and rowing to this side.
Looks like, I might know her.
Without glancing around,
She rows past in full sail.
The waves helplessly
Part to give way—
Looks like, I might know her.

Oh where do you row, to which foreign land?
Come to me in your boat.
Go wherever you want,
Give to whoever you desire,
Only, do take
With a smile,
My golden crop from this shore.

Take as much as you wish into your boat.
Is there anymore? — There’s none left.
By the river,
I stashed into the boat
All that I had done in my life
In bundles —
Now, please be merciful and take me along.

I have no place. The boat is too small.
It is filled with my crop of golden paddy.
Surrounded by heavy
Monsoon clouds,
I stayed by the
Lonely shore —
Whatever I had was taken away by the golden boat.
Art by Sohana

This poem has been translated from Bengali by Mitali Chakravarty with editorial input from Sohana Manzoor.

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PLEASE NOTE: ARTICLES CAN ONLY BE REPRODUCED IN OTHER SITES WITH DUE ACKNOWLEDGEMENT TO BORDERLESS JOURNAL

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Categories
Tagore Translations

‘Asha’ by Rabindranath Tagore

Asha or Hope is a poem from Tagore’s collection, Kalpana (Imagination, 1900).

Art by Sohana Manzoor
HOPE

When the sun set on my life,
You welcomed me, O mother of mine.
Opening the doors of your inner sanctum,
You planted a kiss on my temples,
Lit a timeless lamp at my bedside. My neck
Was with a string of thorny blooms decked
To honour my songs. It hurt, it burnt —
Till taking off the wreath, you plucked
Each thorn off with your own hands,
Washed the dust. That garland —
With blooms now clean and white —
You draped on me as your eternal child.
My eyes opened as tears streamed.
I woke up to find it was only a dream!

This poem has been translated from Bengali by Mitali Chakravarty with editorial input from Sohana Manzoor.

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Categories
Tagore Translations

‘Pochishe Boisakh Cholechhe…’ Rabindranath Tagore’s Birthday Poem

Art by Sohana Manzoor

Tagore’s Pochishe Boishak Cholechhe (The twenty fifth of Boisakh draws to a close…), was published in a collection called Shesh Shaptak (Final Week) in 1935. Pochishe Boisakh ( coinciding with 7-9 May on the Gregorian calendar) was his birthday.

             BIRTHDAY POEM

The twenty fifth of Boisakh
Draws my stream of birthdays
Closer to death.
Sitting on that wafting mat, an artisan is making a garland
With small statuettes of
Many mortal Rabindranaths.

Time travels on his chariot.
The pedestrian lifts his bowl
While walking, he gets a drink.
When he finishes, he recedes into the darkness.
His bowl is crushed to dust under the wheels.
Behind him,
Follows another with a new bowl.
He savours a fresh flavour.
Eventhough he has the same name,
He is a different person.

Once I was a child.
Within a few birthdays,
An entity was sculpted
Who no one recognised.
The people who would have known him
Are not around.
The being of that child is non-existent,
Nor does anyone remember him.
He has disappeared with his little world.
His past sorrows and joys
Find no reverberations.
The pieces of his broken toys
Cannot be seen in the dust.
He would sit and calf-like
Gaze outside, with longing.
His world was
Framed by the opening in the window.
His innocent glance
Would halt at the
Coconut trees along the fence.
His evenings were steeped in fairytales.
There was no insurmountable barrier
Between the real and unreal.
His mind would skip between
The two effortlessly.
In the gloaming of light and darkness,
The shadows wrapped around spring,
Drawing close with belonging.
Those few birthdays,
For some time,
Were like a brightly lit island.
But the past has sunk into the darkness of the ocean.
Sometimes, during low tides,
We can see that mountain peak.
We can see a shoreline of blood-red corals.

Over time,
The twenty fifth of Boishakh
Assumed
Vivid vernal hues.
Youthfulness played a melody
Of yearning on the ektara,
Questing for intangible
Invisible inspirations.
Hearing that music over time,
The celestial Lakshmi’s throne swayed
She sent over
Few of her ambassadors,
To earth to spew colours
On the palash woods,
Enticing, alluring to forgetfulness.
I have heard their voices speak softly.
I understood some. Some I didn’t.
I have seen dark eyelashes damp with wetness.
I have seen lips tremble with unspoken agony.
I have heard the tinkle of bracelets vacillate with eager surprise.
Unbeknown to me,
On the first conscious morning,
Of the twenty fifth of Boisakh,
They left behind a
Garland of jasmines.
My dream at dawn
Was heady with their fragrance.

That birthday was youthful with
Fairytales woven by communities and villages,
Some we knew, some doubted.
There, princesses with their hair undone
Were sometimes asleep,
Sometimes, they awoke in surprise
Touched by magical golden wands.
Over time,
The ramparts that walled the
Vernal pochishe Boishakh broke.
The path laden with the sway of Bokul leaves
Trembling shadows,
Murmuring breeze,
The lovelorn kokil’s pleading call
That turns the morning to afternoon,
The bees buzzing their wings
Towards the invisible scent of nectar --
That grassy path arrived
At the stone paved road of adulthood.
The ektara that played the haunting melody
In youth changed its old string for new.
That twenty fifth of Boisakh,
Exposed me
To a rough road,
Bore me like a wave to the ocean of humanity.
Morning and night,
I have woven tunes and
Caste a net mid-river –
Some have been caught,
Some have fled the fragile net.

Sometimes, the day has been faint,
Motivation disappointed,
Sadness filled the mind.
Unexpectedly, in the midst
Of such depression, I found
Inspiration in Amravati’s mortal idol.
They beautify the world,
Offering vessels of nectar
To the weary.
They insult fear with billowing
Waves of laughter.
They fan flames of courage
From ash-smothered smouldering fires.
They arouse celestial voices to ignite meditative words.
They have lighted the flame in my nearly suffused lamp.
They have given melody to the strings with their cool breeze.
They have garlanded me with honour
On the twenty fifth of Boishakh.
My songs, my words,
Still reverberate with their
Magical touch.

From then, in the battle of life,
Conflicts raged like
Thundering clouds.
I had to abandon the ektara.
Sometimes, I had to pick up the trumpet.
Under the hot mid-day sun,
I had to take on
A battle.
My feet are injured with thorns,
My wounded heart bleeds. The
Merciless harshness of waves
Have beaten my boat, left and right,
Muddying with criticism,
Drowning with transactions.
Hatred and love,
Envy and friendship,
Music and courage,
My world has been
stirred
By the mists of all these emotions.

In the midst of this revolutionary-crisis,
As the twenty fifth of Boishakh grows older,
You have all come to me.
Do you know –
Despite my attempts, much is still left unexpressed,
Much is in disarray, much is neglected?

From inside and outside,
Good and bad, clear and unclear, famed and unknown,
A vain, complicated character,
You have created an idol
With your regard, your love,
Your forgiveness.
Today you have brought this garland,
I accept this as a recognition of
The aging twenty-fifth of Boishakh,
As an acknowledgment of my years.
Heartfelt blessings from me to you.
As I prepare to take leave, my human idol
Remains in your heart.
As the future is unknown, I cannot be arrogant.

Then give me your leave
In this lifetime from all relationships
Strung with black and white threads.
Lonely, nameless, solitary –
Let me look for a melody amidst
Many tunes, many instruments,
In the depth of all songs.


*Ektara-Bengal folk instrument

Tagore celebrated his birthdays by the Bengali Calendar on Pochishe Boisakh with poetry. This poem was dedicated to Amiya Chandra Chakravarty (1901-1986), a critic, academic and poet. He was a close associate of Tagore. The Pochishe Boisakh arrived in late spring as he mentions in this poem.

From Public Domain: The long stringed instrument is an ektara and the other another folk instrument called dugdugi

This poem has been translated from Bengali by Mitali Chakravarty with editorial input from Sohana Manzoor.

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PLEASE NOTE: ARTICLES CAN ONLY BE REPRODUCED IN OTHER SITES WITH DUE ACKNOWLEDGEMENT TO BORDERLESS JOURNAL

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