He has translated Kalidasa’s Meghaduta and Ritusamhara from Sanskrit to English and then imbibed them to create Monsoon: A Poem of Love & Longing in a similar vein. Meet the poet, Abhay K, who also juggles multiple hats of diplomat, editor and translator. He tells us how he tries to raise awareness and create bonds through poetry. He is the author of a dozen poetry books and the editor of The Book of Bihari Literature (Harper Collins India). He has received the SAARC Literature Award for 2013. His ‘Earth Anthem’ has been translated into more than 150 languages and performed by Kavita Krishnamurthy, a well-known Indian voice.
Monsoon: A Poem of Love & Longing has 150 quartrains and is split into chapters. A passionate poem that yearns and sends love through the salubrious journey of the monsoon from its point of origin, Madagascar, to Kashmir, the verses caress various fauna, among them some endangered like indri indri, sifaka and more. Spanning the oceans, lands, nature and a large part of India, it reaches his beloved with his message from Madagascar.
Is it eco-poetry? Academia might be moving towards that decision. Monsoon: A Poem of Love & Longing has been chosen by a Harvard University’s assistant professor, Sarah Dimick, for a book project on Climate and Literature. In this exclusive, Abhay K describes not only how his passion for beauty, turned him, a diplomat, into an award-winning poet and translator but his subsequent journey.
What made you opt to translate Kalidasa’s poetry?
It was during the Covid-19 pandemic that I read a poem by the British poet laureate, Simon Armitage, titled ‘Lockdown’ which made a reference to Meghaduta. At that time, I was posted as India’s 21st Ambassador to Madagascar and Comoros and I thought of writing a poem on the lines of Kalidasa’s Meghaduta. This is when I decided to closely read Meghaduta and in the process I got inspired to translate it. However, later, I did write a book length poem titled Monsoon which was published by Sahitya Akademi in 2021.
Did you translate both, Meghaduta and Ritusamhara, one after another? These are both books that have been translated before. Did you draw from those? Or is it your own original transcreation of the texts?
Yes, first I translated Meghaduta and after its publication, I decided to translate Ritusamhara. There are over 100 translations of Meghaduta available, I have read some of them, but none had been translated by a poet. Therefore, I decided to translate Meghaduta myself to give it a poetic rendition in contemporary English. I had studied Sanskrit in my high school, and it came handy while translating both Meghaduta and Ritusamhara.
Your book, Monsoon, is based on Meghduta. Can you tell us a bit about it? Is it part autobiographical?
Monsoon is inspired from both Meghaduta and Ritusamhara. It begins near Madagascar where monsoon originates and travels along its path to Reunion, Mauritius, Seychelles, Comoros, Maldives, Sri Lanka, Andaman, and the Indian subcontinent. It carries a message of love and longing from Madagascar to Kashmir valley. It is purely work of imagination.
Tell us a bit about Kalidasa’s Ritusamhara, which is supposed to be especially relevant in the current context of climate change.
I have not come across any other poet who describes the lives of diverse plants and animals in such detail and with such empathy. In Ritusamhara, Kalidasa delights us with these vivid descriptions of plants, insects and flowers in the rainy season.
Like jade fragments, the green grass rises spreading its blades to catch raindrops, red Indragopaka insects perch on fresh leaf-buds bursting forth from the Kandali plants the earth smiles like an elegant lady draped in nature’s colourful jewels. 2-5 Aroused by the sunrays at sunrise, Pankaja opens up like glowing face of a young woman, while the moon turns pale, smile vanishes from Kumuda like that of the young women, after their lovers are gone far away. 3-23 The fields covered with ripened paddy as far as eyes can see, their boundaries full of herd of does, midlands filled with sweet cries of graceful demoiselle cranes. Ah! What passion they arouse in the heart! 4-8
Kalidasa’s genius lies in bringing together ecological and sensual to create sensual eco-poetry of everlasting relevance. Ritusamhara highlights this fundamental connection between seasons and sensuality. As we face the triple threat of climate change, biodiversity loss and environmental pollution owing to our ever-growing greed and culture of consumerism, we face the challenge of losing what makes us human. It is in these unprecedented times, reading and re-reading Kalidasa’s Ritusamhara becomes essential.
True. Closer to our times Tagore also has written of the trends of which you speak. But there is a controversy about the authorship of Ritusamhara— it is supposed to have been written earlier. What is your opinion?
It is an early work of Kalidasa. There are many words from Ritusamhara that are used in Meghaduta.
What were the challenges you faced translating Kalidasa’s poetry, especially in mapping the gaps created by the time span that has passed and their culture and ethos to modern times.
I think Kalidasa’s works bear strong relevance to the modern times. He can easily be our contemporary eco-poet. In fact, Ritusamhara is a fine work of eco-poetry because of the sensitivity shown by Kalidasa in handling the plight of animals in scorching summer, treating rivers, mountains and clouds as personas among other things.
You have also translated Brazilian poets? Are these contemporary voices? Did these come before Kalidasa’s translation?
I translated poems of 60 contemporary Brazilian poets and compiled them in a poetry collection named New Brazilian Poems which was published in 2018 by Ibis Libris, Rio de Janeiro, Brazil. My translation of Meghaduta and Ritusamhara was published in 2022.
Your range of translations is wide. How many languages have you translated from? What has been the impact of translating both Kalidasa and other poets from various languages on your poetry?
I have mainly translated from Magahi, Hindi, Sanskrit, Russian, Portuguese, and Nepali. Translating the work of Kalidasa and other poets has enriched my own poetry writing. Translating poets whose works I love and admire, offers me the opportunity to read their work very closely and provided rich insights which in turn inspires my own poetic works.
How as a diplomat did you get into poetry? Or has this been a passion?
I started writing poetry in Moscow where I started my career as a diplomat. It was the beauty and grandeur of Moscow that turned me into a poet.
You are a polyglot. What made you pick up this many languages? Do you read poetry in all of them? You have already translated from Portuguese and Sanskrit. Do you want to translate from all these languages? What makes you pick a book for translation?
As a diplomat, I get posted to a new continent every three years and I have to pick up the local language to communicate more effectively. I try to translate from as many languages as possible as it helps in building literary bridges across continents. I translate books I truly love and admire.
Do you have any more translations or your own work in the offing? What are your future plans as a poet?
I have translated the first Magahi novel Foolbahadur and Magahi short stories, which is likely to come out in the near future.
My new love poem of 100 rhyming couplets titled Celestial, which takes one on a roller coaster ride to all the 88 constellations visible from the Earth, will be published by Mapin India in 2023. My new poetry collection, In Light of Africa, a book of light and learning and unlearning the myths and stereotypes about Africa. The narrative spans the continent of humanity’s birth through time and space—from the ancient Egyptian pharaohs to modern bustling cities…introducing you to Africa’s rich history, culture, cuisine, philosophy, monuments, personalities—and its remarkable contribution in shaping our modern world. This collection is likely to be published this year or in 2024.
Thank you for giving us your time.
(The interview has been conducted online by emails by Mitali Chakravarty)
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