Morichika or ‘Mirage’ is one on Tagore’s early poems. It was first published in 1886 in a collection called Kori O Komal (Sharp and Flat).
Kori O Komal(Sharp & flat) Bengali edition‘Morichika or Mirage’ in Bengali
Mirage
Come, leave your bed of flowers, O friend —
Beat the hard ground with your foot.
How long will you isolate yourself weaving
Dreams of starry blooms in an unreal sky!
Look, a storm is brewing in the distance —
Your world will be washed away with tears.
Flames of God’s lightning jinx will ignite the
Fires of purity to arouse you from stupor.
Come let us both go and live with people,
Enlightened by their joys and sorrows —
Let us share their laughter and sadness
Holding hands, stay fearless when in doubt.
Let us not dwell in this redolent mirage as
It terrorises with its transient evanescence.
Tagore’s translation on ‘Morichika’ in Poems. Source: Bichitra
Later Tagore translated this poem to English himself. That was published in 1942 by a collection entitled Poems edited by Krishna Kripalalni, Amiya Chakravarty, Nirmal Chandra Chattopadhyay and Pulinbehari Sen published after his death by Visva Bharati.
Here is an excerpt of what Tagore wrote about Kori O Komal in his Jibonsmriti (1912, autobiographical memoirs by the poet) which reflects his outlook and the mood of the poem.
Translation: Man falls into a stupor when due to his own reluctance to make an effort, he can neither understand himself nor face reality. I have always struggled to emerge out of this stupor. I cannot reconcile myself to the current situation where nameless intellectuals are inebriated with patriotism and are involved in spineless political rallies and news campaigns which exhibit both the lack of a national identity and concern for mass welfare. (Excerpted from a screenshot of Jibonsmriti sent by Anasuya Bhar)
(These translations for Borderless Journal are by Mitali Chakravarty, edited by Sohana Manzoor and Anasuya Bhar. Also, thanks to Anasuya Bhar for the images from Bichitra and Jibonsmriti and the extensive research on the poem.)
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PLEASE NOTE: ARTICLES CAN ONLY BE REPRODUCED IN OTHER SITES WITH DUE ACKNOWLEDGEMENT TO BORDERLESS JOURNAL
Written in 1908 in Shantiniketan, the lyrics of Amar Nayan Bhulano Ele (Wonder fills my senses) describe what is traditionally known as the sarat season ( or early autumn) when the festival of Durga Puja is celebrated. It appeared as a part of the collection called Geetanjali (Songs of Offering).
The Song of Advent
Wonder fills my senses.
My heart yearns for your presence.
Your dawn-coloured foot falls under the shiuli bowers
On dew strewn grass carpeted with fallen flowers.
Wonder fills my senses.
Light and shade play hide-and-seek in the woods, like lace.
What do the blooms say as they gaze awestruck at your face!
Shed your veil so that we can welcome you,
Remove the wisp of cloth with both your hands.
Sylvan nymphs blow on melodious conches from their doorways.
The universe welcomes your advent with music from celestial strings.
Within my being, I sense the tinkling of gold anklets.
All thoughts, all tasks are eased by the nectar of your presence —
Wonder fills my senses.
The woman welcomed in the poem is the Goddess Durga who descends from heaven for a five-day-long celebration. Interestingly, Tagore’s family were proponents of Brahmoism, a reform on Hinduism which adopted more Christian doctrines and rejected idol worship.
Suchitra Mitra’s rendition of the Rabindrasangeet in Bengali
(This poem has been translated for Borderless Journal by Mitali Chakravarty, edited by Sohana Manzoor and Anasuya Bhar.)
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PLEASE NOTE: ARTICLES CAN ONLY BE REPRODUCED IN OTHER SITES WITH DUE ACKNOWLEDGEMENT TO BORDERLESS JOURNAL
Translated from the original Bengali by Somdatta Mandal
Translator’s Note
The earliest journeys of Rabindranath Tagore (1861 – 1941) were in his mind and he has left us accounts of these as well as of the later physical journeys in various travel writings – letters, diaries, poems, songs, and essays. Right from his childhood he made innumerable trips both within India and abroad. Apart from his regular full-fledged travelogues, we find many lesser known but interesting experiences of his travel. Included below are four such entries. The first essay is a trip to Hazaribagh with his nephew and niece. The second entry is a hilarious letter about his second visit to Darjeeling. The third a letter that narrates his trip to Satara in Maharashtra State, one of the towns where his elder brother Satyendranath Tagore served in the Civil Service. The last one is from Balia in Uttar Pradesh where Rabindranath complains that he is tired of travelling and wants to settle down peacefully as a bird in its nest.
Tagore in London, 1879. Courtesy: Creative Commons
In 1885, under his sister-in-law Jnanadanandini’s editorial venture, a children’s magazine called Balak was published from the Tagore household in Calcutta. Though the life-span of this magazine was less than a year and only eleven issues were totally published, it contained different writings of the young Rabindranath, who would handle a lot of things for the publication. This magazine was later merged with Bharati and edited by his elder sister Swarnakumari Devi. Among the different entries that Rabindranath contributed for Balak and published in Vol. 3, Ashar 1292 B.S. (July-August 1885) was an essay called “Dus Diner Chhuti” (Ten Days’ Holiday) that narrates his trip to Hazaribagh that year during the school holidays. The two children referred to in this article were Surendranath and Indira, son and daughter of his elder brother Satyendranath and Jnadadanandini Devi. The sketch of the bungalow below is also done by him.
An illustration accompanying the essay ‘Dus Diner Chhuti’ (Ten Days’ Holiday). First published in Balak magazine. Somdatta Mandal suggests it could be the handiwork of the Kobiguru.
Trip to Hazaribagh – First published in Balak Magazine
Two children have made me homeless in this summer heat! Their school has been closed for ten days but that’s not just the reason. There would not be so much chaos in the house even if twelve suns appeared on the horizon. The older brother blunted the tips of all the pens he found within his reach, drew pictures on whatever paper he found; tried out the sharpness of a knife on his existing thigh; took out the machine from the watch he found and tried to rectify it; undid the bindings of all the books within his reach; climbed up on my shoulders if he found the opportunity – and so on! He moved on parapet walls in places where there were stairs for climbing; though everyone in the whole world believed in getting out of a car only when it stopped, he thought it was his only duty to jump out of a running car.
Everyone accepted the fact that the sun was too hot during the summer but the human child that I am talking about probably did not differentiate much between sunshine and moonlight. So during the school vacation, the difference in belief and behaviour between him and other ordinary people created a sort of revolution in the neighbourhood. The news that recently the elder brother has got leave for ten days spread everywhere. People were not so overwhelmed even when they received the news of the English-Russian war.
In the meantime, his younger sister came to me off and on and demanded – “Uncle–.” It would be nice if he called me ‘Uncle’ but I would receive new names at least three times in a day – names which were not heard in any civilized country. These naughty children also scattered and turned my own possessions upside down. My own name also did not have a proper address. I could not make them understand that my own name was my personal possession. Anyhow, the small girl (not that she was too small) came and pleaded, “Uncle, come with us to Hazaribagh.” After a lot of thought I did not say anything else and ventured out on this summer day.
One cannot see much in a vacation of eight or ten days but at least we can peek at nature outside. At least one can stand beneath the open expanse of the blue sky and the vast open green fields for a few seconds and feel free. We live in the city and occasionally it becomes essential to prove that the world is not built entirely with bricks, wood and mortar. So, four of us began our journey. I have already acquainted you with the boy and the girl. I need to introduce the other person. He was a fat, round and simple man. He was older than all of us but even younger than these children. His fair and stout figure was full of humour and he seemed like a ripe and juicy fruit. Just like the bubbles in a huge pot of rice being cooked, his humour came out from his nose and eyes. There are some people who resembled the ‘sandesh’ – the sweetmeat without a covering, without anything hard inside, without thorns – just a smooth, juicy blend of cottage cheese and sugar. Our innocent and harmless companion was that kind of a very edible man.
We boarded the train at Howrah at night. The swaying of the train confused one’s sleep – the sleeping conscience and the dream and waking up all got mixed up. There were occasional series of lights, sound of gongs, shouting, and calling the name of a station in a strange intonation. Again after three strikes of a gong all the sounds would subside within a few seconds and everything would become dark and quiet except for the continuous sound of the train wheels moving in the dark. Keeping in tune with that sound all the strange dreams would keep on dancing in my head all night. We had to change trains at Madhupur Station at four o’clock in the morning. As the darkness faded away, I sat at the train window and looked outside at the early morning light. This was a new country! It seemed that due to some disturbance our flat land had cracked and was torn apart. It was rough, broken and full of big and small sal trees and there were high and low undulations everywhere. There were plenty of sal trees but they did not endear each other as they did in Bengal. Each tree stood independently on its own soil. In Bengal all the trees, plants and creepers entwined each other in a familial bonding, but I did not notice that in this hard soil here. Maybe the people here were also like that. We did not notice much habitation. Only occasionally one or two huts stood friendless here and there. In the wet and salubrious climate of Bengal, trees and plants, men and men, houses and houses all stick to each other, but here in this rough and dry place everything seemed to be standing independently on their own.
The train moved on continuously. In the cracked fields one could sometimes see the sand of dry river beds and in those river beds huge black rocks and stones lay like skeletons of the earth. Sometimes a few hills stood up like severed heads. The hills in the distance were dark blue in colour. The blue clouds in the sky that came to play with the earth seemed to get caught up here. They had raised their wings to fly back to the sky but could not do so because they were tied up. The maidens from the sky came and embraced them. I saw one dark man with a broad face, with his wild hair tied up in a knot, standing there with a stick in his hand. The plough was attached to the back of two buffaloes; they had not begun tilling yet, and they stood still looking at the train. Occasionally there were some clear plots of land encircled with fencing made of ghritakumari plants and with a brick well that was constructed in the centre. The whole region looked very dry. The thin, tall and white dry grass looked like grey hair. The short leafless berry plants were shriveled, dry, and dark. In the distance a few palm trees stood with their small heads and one long leg. Occasionally a peepul or a mango tree was also visible. A lone old roofless cottage with its broken frame stood in the middle of the dry land and looked at its own shadow. Nearby there was a stump of a huge burnt tree.
We reached Giridih station at six o’clock in the morning. There were no more train lines after that and so we had to take carriage drawn by human beings from here. Could we call this a car? It was a small cage over four wheels. As we began our journey in the morning, the four of us started chirping inside it like four fledglings. The young brother and sister began to talk about many things and also pester me with joy. Our stout companion mingled with the children and turned into such a child that by just looking at them my own age was reduced by fourteen years and eight months. At first we went to the Giridih Dak Bungalow and refreshed ourselves. There was no sign of grass anywhere as far as we could see. There were a few trees in between and waves of red earth everywhere. A lean pony was tied under the tree; after looking all around it didn’t know what to eat. Having nothing to do it stood scratching its back on the wooden post. A goat was tied to another tree with a long rope and after a lot of research it stood breaking a sort of green plant with ease.
We resumed our journey from here. There were coal mines in Giridih but we could not see it due to lack of time. The road was hilly. We could see a great distance both in front and behind us. The long and winding road lay on the dry and empty terrain like a serpent basking in the sun. The car was pushed on the uphill road with a lot of effort and then it would slide smoothly downhill. As we went along we saw hills on the way. There were tall and thin sal trees, termite heaps, stumps of trees that had been cut down. At certain places some hills were covered with only tall, thin and leafless trees. The starving trees seemed to spread their lean dry fingers towards the sky and the mountains seemed as if they had been pierced by hundreds of arrows like the bed of arrows on which Bhisma rested on the battlefield of Kurukshetra. The sky was overcast and it began to drizzle. The coolies were letting out loud shouts while pulling the carriage and when their steps occasionally hit pebbles on the road, the carriage would suddenly shake up. Somewhere on the way the road ended and we saw a huge bed of sand with a narrow river in the distance. On asking the coolies we were told that it was the Barakar River. The carriage was pulled across the river and taken to the road on the other side. There were shallow ponds on both sides of the road and four or five buffalos leaning their heads on one another, dipped half their bodies in the water to relaxed themselves and gave us very casual glances.
When evening descended we got down from the carriage and went walking for the rest of the way. We saw two hills in the distance and the road went up and down through them. Whichever way we looked, there were no people, no human habitation, no grains, no tilled land. On all sides the undulated earth stood silent and barren like a hard ocean. The golden hue of dusk in the horizon cast dark shadows on us. Though there were no human beings or animals around us, there was a feeling that this huge earth was preparing for a huge person to come and sleep on its bosom. Like a sentinel someone was guarding the place with fingers on his lips and so everyone felt scared to breathe. The shadow of a traveller with luggage on his horseback came along from a distance and gradually crossed our path.
The night somehow passed between sleep and waking and tossing and turning sides. Upon waking up we saw a thick forest on the left hand side. There were creepers on the trees and the ground was covered with different kinds of shrubs. Above the forest we could see the blue peaks of distant hills. There were huge rocks and among their crevices were a few trees, their hungry roots growing long and spreading out on all sides. It seemed as if they wanted to break the rock in search of food and grasp it with their strong grip. Where did the forest on the left disappear all on a sudden?
There were fields stretching at a distance. Cows were grazing. They looked as small as goats. Farmers were tilling their land with the plough attached to bovine shoulders. Sometimes, they twisted the cows’ and buffaloes’ tails. The tilled lands rose like steps on the hills. We had come close to Hazaribagh. One or two of the hills stood as relics of some great natural revolution.
We reached the dak bungalow at Hazaribagh at three o’clock in the afternoon. The town of Hazaribagh looked very clean amidst the wide landscape. There was no city-centric ambience here – no narrow lanes, dirt, drains, jostling, commotion, traffic, dust, mud, flies or mosquitoes. Amid the fields, trees and hills the town was absolutely clean. The giant houses in Kolkata are proud as stone – they stand treading the earth below, but here it was different. Here the clean and small thatched roof houses stand quietly in friendship with nature; they do not have glamour, they don’t exert might. The town seemed to be like a nest in the trees. There was deep silence and peace everywhere. We hear that even the Bengalis who live here do not quarrel among themselves. If this was true, then there would be no enmity between the crow and the eagle or between the cat and the dog.
One day was gone. It was afternoon now. I sat alone quietly in a couch on the verandah of the dak bungalow. The sky was blue. Two thin pieces of clouds sailed by. A mild breeze blew an earthy, grassy smell. There was a squirrel on the roof of the verandah. Two shalik birds (mynahs) were hopping about on the verandah and shaking their tails. I could hear the sound of cow bells as they from the adjacent road. People were moving in different ways. Some carried luggage on their shoulders and walked with open umbrellas on their heads; some were chasing a couple of cows, and some moved slowly riding on the back of a pony. There was no commotion, no hurry, and no sign of worry on their faces. It seemed that human life here did not pant rapidly like a fast railway engine or move with screeching noises emanating from the wheels of a heavily laden bullock cart. Life here moved in the manner of a gentle breeze blowing beneath the shade of trees.
The courthouse was in front of us. But even the court was not that rigid here. While the two lawyers in their black coats fought with each other inside, two papaya birds sat outside on the peepul tree and conversed among themselves constantly. The people who came here seeking justice sat in a group in the shade of the mango tree and laughed loudly among themselves. I could hear them. Sometimes, the midday gong started ringing in the courthouse. Its sound seemed very serious in this leisurely ambience and slow rhythm of life. The occasional sound of the gong was a reminder that time did not flow by in the casual slow cadence of life here. Standing in between it seemed to pronounce in its iron tone, “I am awake, even if others are not.” But the writer’s condition was not exactly the same. I felt sleepy. It was not a deep sleep. I realised that though the all-pervading stillness of nature and beauty encircled me with great care, my senses were failing to capture the details.
I spoke whatever I had to say about Hazaribagh (some might be thinking that I could have spoken much less) except that I did not mention that we became newly acquainted with the children of one of my friends. Upen Babu read the Akshanmanjari so we had to treat him with respect. I had mistakenly confused the alphabet sequence and he had instantly corrected it. That is why I was grateful to him. But in spite of many entreaties his sweet-looking naughty sister did not speak to us. I threatened to write an article and take revenge on her, so according to that promise I am spreading the word today letting the whole world know about her shy and coy words, and how she would run away whenever guests came to her house. I also cannot keep it a secret how we had received sweet sandesh and even sweeter welcome from our friend.
In order to save time on our return journey we came down in a two-wheeled small carriage. If nothing else happened, at least it reduced our longevity as the whole body got shaken up with the bones and the joints fighting against each other. As the body went on jerking and dancing like mad, the five elements with which it was composed gave us a tough time. I could hold it together somehow but nothing much beyond that. With so much of revolution in the whole body, I could not hold books in my hands, the cap on my head, the spectacles on my nose, food in my stomach. To add to all that was the scorching heat of the sun. I had left home with the full sixteen annas of my body intact but when I returned, I could not even account for twelve annas of it. The ten days’ holiday is over. Ah!!
More Humour: Letters from Tagore
I
Darjeeling
September 1887
Here we have reached Darjeeling. On the way Be_____ behaved very well. Didn’t cry much. Shouted a lot, created commotion, made various noises with her mouth, turned her wrists and even called birds, though we couldn’t see birds anywhere. There was a lot of trouble in boarding the steamer at Sara_____ Ghat. It was ten o’clock at night – hundreds of pieces of luggage, a few coolies, five women and only one man[1]. After crossing the river, we boarded a small train – in it there were four berths and we were six people. The ladies along with their luggage were put up in the ladies’ compartment. Though it sounds pretty simple, the actual process wasn’t so. There was a lot of calling, shouting, and running around but even then Na___ said that I did nothing. That means that the image of a terribly annoyed grown up human being was the only one suitable for a man. But no gentleman of twenty-six years has done what I have done in the last two days – opened so many boxes and closed them, pushed them under the benches, again pulled them out from there, run here and there behind so many boxes and bundles, so many boxes and bundles have chased me like a curse, so many have been lost, so many regained, so many not found and so much attempt made to recover the lost ones. I am surely suffering from box-phobia – my teeth start chattering whenever I see boxes.
When I look all around me, I see boxes, just boxes – small, big, medium, light and heavy, made of wood, tin, leather, and cloth—one below me, one above me, one next to me and one behind me – then all my natural strength to call, shout and run around totally disappears. And then my blank look, dry face and poor countenance makes me seem like a mere coward; so whatever Na____r have said about me is correct. Anyhow, let it be. After that I went and slept in another coach.
Two other Bengalis were there in that coach. They were coming from Dhaka; one of them was almost totally bald and his language was very different. He asked me whether my father was in Darjeeling. If Lakshmi was around she would have replied to him in his incorrect Bangla but I did not have such an instantaneous answer.
The way from Siliguri to Darjeeling was filled with continuous exciting comments from S_____: “Oh my god!”, “How strange,” “How wonderful!” – She kept on nudging me and saying: “R_____ look, look.” What to do, I had to look at whatever she pointed out – sometimes trees, sometimes clouds, sometimes an indomitable flat-nosed girl from the hills, sometimes such things which passed by because the train was moving forward and S______ lamenting that R_____ could not see them. The train kept on moving. Gradually there was cold, then clouds, then running noses, then sneezing, then shawls, blankets, quilts, thick socks, chilly feet, cold hands, blue faces, sore throats and just after that Darjeeling. Again those boxes, those bags, those beddings, and those bundles! Luggage upon luggage, coolies after coolies! It took me about two hours to retrieve our luggage from the brake-van, identify them, put them upon the heads of coolies, show the receipts to the sahib, have arguments with him, unable to find some things and then make necessary arrangements to retrieve them.
II
Calcutta
June 1889
As soon as the train departed Be___ looked all around and sat seriously thinking from where we arrive in this world, where we move, what the intention of life was. Thinking about all these issues I saw her yawning frequently and after a little while she put her head on the ayah’s lap, spread out her legs and went to sleep. I too kept on thinking both about pleasant as well as unpleasant ideas about life but could not sleep. So I started humming the Bhairavi raga on my own. Once you hear the melody of the Bhairavi raga, you develop a strange attitude towards life. It seems as if a routine mechanical hand is constantly winding the organ and from that pain of friction a deep and sad raga emerges from the centre of the whole world. The light of the early morning sun seems to fade. the trees listen quietly as the sky seems to be engulfed by a world full of tears. In other words, if one looks at the distant sky, it seems as if a pair of tearful blue eyes are staring at you.
Near the backyard of the station we saw our sugarcane fields, lines of trees, the tennis field, houses with glass windows; for a few moments my heart felt sad. This was really strange! When I lived here, I did not have much sympathy for this house – I cannot even say that I was very emotional when I left it. But when I saw it for a split second from the window of the running train, the way the lonely house was standing with its playground and empty rooms, then my entire heart went and pounced upon that house – a sound inside my chest from left to right – the train passed by quickly, the sugarcane field disappeared, everything ended, only the strings of the heart got fixed on a lower scale. But the engine of the train didn’t bother much about these things; it went on moving at the same speed over the rails; it doesn’t have the time to notice who was going where. It only drank water, belched smoke, gave loud shouts and went on rolling. Its movement could be beautifully compared to the motion of life, but it was so old and hackneyed that I just mentioned it and stopped. Once we came near Khandala the sky was full of clouds and rain. The mountain tops looked blurred because of the clouds – as if someone had drawn some mountains and then later rubbed them with an eraser – a few outlines were visible and in some places the pencil marks had got smudged.
At last, the bell rang for the train to leave. From a distance one could see its sleepless red eyes; the earth started quivering, the people working at the station emerged with their shoes and sandals from different rooms — their decorative jackets and round caps with metallic labels on their heads; the huge lantern in their hands radiated light in all directions; the servants stood alert taking care of all their belongings. Be____ went on sleeping. We boarded the train. Be____ started being restless for no reason. Though there was no sunshine, we started feeling hot as the day advanced. But time didn’t seem to move. It seemed that we had to touch every minute and push it forward. Fortunately, after travelling for some time it started raining heavily. Shutting the windows all around us, it was a pleasant experience to watch the clouds and the rain through the glass panes. At one place I was amazed to see the activities of the river in this monsoon season. It had swelled up and ran at full speed, digging its head on the stones, encircling them, then flowing over them and creating a sort of commotion. I hadn’t seen such wildness anywhere else. In the afternoon when we came and had our food at Sohagpur, the rain had stopped by then. When the train started again, the sun with its bright redness was setting among the clouds. I thought that all the other passengers were spending their time quite comfortably by eating, gossiping playing or reading and therefore were not bothered about the existence of time at all; whereas I was swimming upon time, its entire expanse was hitting me on my face and body … The train reached Howrah in due time. One by one we saw different people – first the sweeper of our house, the Jo___, after that Sa___. After that we dumped the rolled up luggage, my dented tin suitcase and a big basket (which contained milk bottle, different utensils, tin pot, bundles etc.) on the roof of the second class carriage, we reached home.
A commotion, gathering of people, salute of the durwans, obeisance of the servants, the greetings of the clerks, all the contradictory opinions about who had reduced and who had gained weight among us, the exuberance that S___ and company had with Be___, people surrounding the table during tea, bath, food, etc.
III
Balia
Tuesday, February 1893
I do not feel like travelling any more. I really wish to sit down in one quiet corner in a relaxed mood of adda. India has two parts – one part is domestic, and the other ascetic; some do not move out from the corner of their house at all, and some are totally homeless. I have both these parts of India within me. The nook at home pulls, and the outside world also beckons me. I wish to travel a lot and see everything and again my perturbed and tired mind gets lured by a nest. The feelings are like that of a bird. It has a small nest to live in and the huge open sky to fly. I love the nook only to pacify my mind. Within my mind I feel a desire to work untiringly and I am perturbed when it gets deterred at every step in such a way when I am among people — it keeps on constantly hurting me from within a cage. It can think freely in solitude, it can look all around, and express all its feelings in a satisfactory manner. It wants eternal rest day and night. Just as the creator is alone within his own creation, it also wants to live alone in its world of emotions.
[1] The people in this trip included Rabindranath, Mrinalini Devi, Madhurilata, Soudamini Devi, Swarnakumari Devi, Hironmoyee Devi, Sarala Devi and a maidservant. This was his second trip to Darjeeling. He had started for Darjeeling for the first time on 19th October 1882. The details of this travel are found in Swarnakumari Devi’s article “Darjeeling Patra” published in Bharati and Balak.
Rabindranath Tagore (1861 to 1941) was a brilliant poet, writer, musician, artist, educator – a polymath. He was the first Nobel Laureate from Asia. His writing spanned across genres, across global issues and across the world. His works remains relevant to this day.
Somdatta Mandal is a critic and translator and a former Professor of English at Visva-Bharati, Santiniketan, India.
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PLEASE NOTE: ARTICLES CAN ONLY BE REPRODUCED IN OTHER SITES WITH DUE ACKNOWLEDGEMENT TO BORDERLESS JOURNAL
Abhisar, translated as ‘The Tryst’, was written by Rabindranath in 1899. It is a story poem based on Upagupta, a Buddhist monk who lived in the 300 BCE and was revered by Emperor Ashoka and is still said to have a following in Myanmar.
THE Tryst
Sanyasi Upagupta
Was asleep under the shade of
The city ramparts of Mathura —
A breeze had blown off the lamps and flares.
The palace doors were shut.
The stars of the night
Had disappeared behind clouds.
Whose foot adorned with anklets
Suddenly rang on his chest?
Startled, the sanyasi woke up.
His dreams fled.
A dim light shone
on his forgiving eyes.
The court dancer was going for a tryst with her lover,
Intoxicated with her own vernal bloom.
Dressed in a deep blue saree,
Her ornaments tinkled —
As her foot fell on the monk,
Basabdatta halted.
With her lantern, she examined
his young radiant form —
A calm enduring tender face,
A glance gleaming with compassion,
A white moon-like forehead
aglow with gracious peace.
The woman spoke in a gentle voice,
Her eyes drooping with embarrassment,
“Pardon me, O youthful one,
I will be grateful if you come to my home.
The ground here is hard and rough.
This is not the right place to sleep.”
The sanyasi responded with kind words,
“It is not yet time for me
To visit O graceful one,
Please go your way in prosperity.
When the time is right, I will myself
Come to your bower.”
Eventually, a fiery spark thundered,
Opened a monstrous mouth.
The young woman shivered with alarm.
As a terrifying destructive wind howled,
A lightning ripped a cruel smile
Across the sky.
*
The year was not out.
It was an evening in Chaitra.
The breeze fluttered with restlessness
The trees along the path were laden with buds.
The King’s garden was flush with blooms of bakul,
Parul and rajanigandha.
From afar, wafting with the draft
Was the mesmerising timbre of a flute.
The city was empty as everyone had left for
The festival of flowers in the honeyed woods.
The full moon smiled at the town
Emptied of people and protectors.
On the lonely moonlit path,
The sanyasi walked alone
Under leafy branches, from where
Cuckoos cooed repeatedly —
After so many days, was it time for him
To fulfil his tryst with the beloved?
Crossing the town, the wise one
Went beyond the city walls.
He stood beside the moat —
In the shade of the mango grove,
Who was that young woman
Lying near his foot?
Her body was blistered with sores
From a deadly disease —
As she darkened with the blight,
The citizens threw her out
Beyond the city moat, fearing the
Poison within her.
The sanyasi sat down by her.
And put her stiff head on his lap —
He poured water into her chapped lips,
He chanted a mantra on her head,
Covered her body with a soothing
Cool sandal paste.
Bakul blooms were falling, the cuckoos were calling,
The night was filled with moonlight.
“Who are you, o compassionate soul?”
The woman asked. The sanyasi replied,
“Tonight is that time. O Basabdatta,
I have come for our tryst.”
Sanyasi-- a monk or mendicant, in this case a Buddhist Bhikshu
Chaitra -- spring when the old year ends and new starts in the Bengali Calendar.
Tagore had translated this poem in English for a collection called Fruit-Gathering, brought out in 1916 by Macmillan. The eighty-six translated poems by Tagore in this edition were from a few selected collections in Bengali: Gitimala, Gitali, Utsarga, Kheya, Naivedya, Gitanjali,Katha and Balaka.
1916 edition of Macmillans’ Fruit-Gathering
(This poem has been translated for Borderless Journal by Mitali Chakravarty and edited by Sohana Manzoor and Anasuya Bhar.)
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‘Tran (Deliverance)’ was first published in 1901 in a collection known as Naibedya (Offering to God). Here we present a translation from the Bengali poem as found in Sanchayita (Collection), a compilation of poems published by Visva-Bharati to mark the Tagore septuagenarian celebrations in 1931.
Art by Sohana Manzoor
Deliverance
From this hapless country, oh Benevolent One,
Efface all petty fears —
Fears of society, governance and death.
The rock-like burden borne by the impoverished and the weak,
This pain of being ground under dust,
This endless abuse, reinforced each second,
This self-debasement, within and without,
This yoke of enslavement, terror, subjugation,
Is trod on again and again by many marching feet.
Beaten out of self-worth, pride —
Break this enormous pile of shame
With your foot. On this auspicious dawn,
Let us hold our heads high in the infinite sky
Amidst the light of bounteousness and the heady breeze of freedom.
Subsequently, it was translated by Rabindranath Tagore himself as ‘Freedom from Fear’ and published in the Vishwa Bharati Journal in 1933; then, in Modern Review in 1934 according to Bichitra, an online Tagore valorium. It was first anthologised in Collected Poems and Plays of Rabindranath Tagore (Macmillan, London). The translation varies from the original Bengali poem with the last two lines missing completely.
English Translation by TagoreThe Bengali poem in Naibedya did not bear the title ‘Tran’ but just the number ’48’Courtesy: Bichitra Valorium
(Translated by Mitali Chakravarty, edited by Sohana Manzoor on behalf of Borderless Journal. Thanks to Anasuya Bhar, Associate Professor of English and Dean of Postgraduate Studies, at St. Paul’s Cathedral Mission College Kolkata University, for helping with the research. Also thanks to Fakrul Alam and Aruna Chakravarti for their feedback.)
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A translation of Dushomoy (bad times), written originally by the poet as Swarga Patthe (On the path to Heaven) in the Bengali month of Boisakh 1304, roughly April 1897 of the Gregorian Calendar.
A Journey of Hope
Though dusk sets in slowly,
The songs of the spheres have been silenced.
Though you fly companionless in the endless sky,
Though exhaustion seeps into your body,
A terrifying dread prays in mute chants,
All horizons across the orb are covered by a veil --
Yet bird, o lone bird of mine,
Despite the blinding darkness, do not stop beating your wings.
This is not the murmur of woods,
This is the python-like ocean swelling.
This is not a bower of flowers,
This is the undulating hood swaying to the music of waves.
Where is that shore full of blossoms and foliage,
Where is the nest, where is the branch to rest?
Yet bird, o lone bird of mine,
Despite the blinding darkness, do not stop beating your wings.
The long night stretches ahead,
The sun sleeps stilled after sunset.
The universe is breathless under restraint.
In this stunned stance, time meanders.
Swimming across the shades of the limitless night,
A crescent moon appears in the distant skyline.
Yet bird, o lone bird of mine,
Despite the blinding darkness, do not stop beating your wings.
High up in the skies, the stars point their fingers
Towards your path while gazing at you.
Deep below lies restless death in rising crests
Of hundreds of waves that beckon.
In distant shores, some call out with an offering,
“Come, come,” they entreat, they plead.
Yet bird, o lone bird of mine,
Despite the blinding darkness, do not stop beating your wings.
There is no fear, no tie of affection, no attraction,
There is no expectation, expectation is only a mirage.
There is no language, no futile weeping,
There is no home, no floral bed to rest on.
There are only these wings, there is the celestial quadrangle,
The dawn is led astray by the drawing of the sequestered night —
Yet bird, o lone bird of mine,
Despite the blinding darkness, do not stop beating your wings.
(Translated by Mitali Chakravarty, edited by Sohana Manzoor on behalf of Borderless Journal. Thanks to Dr Aruna Chakravarti for the discussion and feedback which helped improve the translation.)
Tagore’s draft of the poem, ‘Swarga Patthe’, with the signature and date. This is the poem that has come down to us as ‘Dushomoy’, now translated as ‘Journey of Hope’.
Click here to listen to Tagore recite the poem about a lone bird in his own voice in Bengali.
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Renowned translator and academic Radha Chakravarty has translated two songs by Tagore written originally in Brajabuli, a dialect based on Maithali that was popularised for poetry by the medieval poet Vidyapati. Composed in 1877. it became a part of Bhanusingher Padabali in 1884. This song draws from the lore of Radha and Krishna.
Bhanu Singher Padavali
Gahana Kusuma Kunja Majhe(Amidst the Densley flowering Bower)
In the densely flowering forest grove
The flute sings softly of tender love.
Shame and scruples cast aside,
O beloved friend, come, step outside!
In delicate, graceful blue attire,
Heart aflame with budding desire,
In your doe-eyed gaze, a guileless smile,
Come to the bower, O friend, awhile!
Flowers pour forth their fragrance, strong
Birds pour forth a river of song
From the moon, pure nectar streams,
In the silver radiance of its beams.
Hear the gently humming bees,
Amidst the countless blooming trees,
Clustered blossoms fill the bower—
Bakul and jasmine, in full flower.
Shyam himself is here, behold!
Eyes overflowing with love, untold.
Immortal glory, grace divine
Shames the moon, and pales its shine.
O band of women, let us race—
On Govinda, to feast our gaze!
Bhanusingha’s hymn of praise
At the sacred feet of Shyam, he lays.
Shaono Gagane Ghor Ghanaghata (The Dark Monsoon Skies)
So dense the clouds in the monsoon sky, so dark the night’s black veil!
Dare I set out for the forest, friend?—A woman, so alone and frail?
Wild winds flail the Yamuna waves, peals of thunder overhead,
Flashing lightning, crashing trees—my body trembles in sheer dread!
Rain descends in dancing chimes, from the clustered clouds above,
Sal, piyal, tal and tamal—so dark the densely wooded grove!
Tell me, friend, amidst this storm, why Kanha plays this cruel game—
From the grove, on his magic flute, tenderly calling Radha’s name?
Attire me in strands of pearl; with ornaments, my brow adorn;
With champak garlands bind these locks, flowing long and free, unshorn.
In the dark, at dead of night, go not, O maiden! to Nawal Kishore—
Your faithful servant, Bhanu pleads—so terrifying is the thunder’s roar!
Both these songs have been excerpted from Krishna in Indian Thought, Literature and Music, ed. Mandira Ghosh, Shubhi Publishers, 2021
Radha Chakravarty is a writer, critic and translator. She has co-edited The Essential Tagore (Harvard and Visva Bharati), nominated Book of the Year 2011 by Martha Nussbaum, and edited Shades of Difference: Selected Writings of Rabindranath Tagore (Social Science Press, 2015). She is the author of Feminism and Contemporary Women Writers (Routledge, 2008) and Novelist Tagore: Gender and Modernity in Selected Texts (Routledge, 2013). Her translations of Tagore include Gora, Chokher Bali, Boyhood Days, Farewell Song: Shesher Kabita and The Land of Cards: Stories, Poems and Plays for Children. Other works in translation are Bankimchandra Chatterjee’s Kapalkundala, In the Name of the Mother by Mahasweta Devi (nominated for the Crossword Translation Award, 2004), Vermillion Clouds: Stories by Bengali Women,and Crossings: Stories from Bangladesh and India. She has edited Bodymaps: Stories by South Asian Women and co-edited Writing Feminism: South Asian Voices and Writing Freedom: South Asian Voices. Her poems have appeared in Journal of the Poetry Society of India, Contemporary Major Indian Women Poets, The Poet, Hakara, Narrow Road Journal, Krishna in Indian Thought, Literature and Music, The Fib Review, The Skinny Poetry Journal and Indian Poetry through the Passage of Time. Forthcoming books include Our Santiniketan (translation of Mahasweta Devi’s memoirs; Seagull Publishers); The Tagore Phenomenon (Allen Lane), Kazi Nazrul Islam: Selected Essays (Nazrul Centre for Social and Cultural Studies) and Mahasweta Devi: Writer, Activist, Visionary (Routledge, UK). She is Professor of Comparative Literature & Translation Studies at Ambedkar University Delhi.
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Written in 1910, Amar Sonar Horin Chai ( I want the Golden Deer) is a popular Rabindra Sangeet that is often performed on stage. Seemingly simple, it explores the poet’s yearning for the intangible and ends with the sense of euphoria generated by his quest for the impalpable.
Sohana Manzoor’s interpretation in pastel & ink of ‘Amar Sonar Horin Chai’
The Golden Deer
Regardless of what you say,I want the golden deer.
Enchanting,nimble footed,I want that golden deer.
He runs startled,eludes our gaze,and cannot be tied.
If he comes within our reach,he escapes puzzling our vision.
Chasing the elusive one who continues to evade capture
Through fields and forests,I lose myself.
Things that you can buy in bazaars are stored in homes.
Why do I look for that which cannot be bought?
I lost what I had while yearning for the intangible.
Do you think I am grieving for my lost treasures?
I am content to live with a smile devoid of sorrow,
Disappearing in my mind amidst meadows and woods.
Tagore wrote on almost all aspects of life. Here are Fakrul Alam’s translations of Tagore’s songs for Ashar, the third month in the Bengali Calendar around the months of June-July. It is the time the monsoons start to set in. The sky, the flora and the fauna are resplendent and fecund with the much-awaited showers. Alam, a renowned scholar and translator from Bangladesh, was kind enough to share these six songs of the season which will soon be a part of his forthcoming publication on translation from the Gitabitan, Tagore’s treasury of more than 2000 songs.
Garland of Lightening Gems(Bajromanik Diye Gantha, written in 1925)
Ashar, how delicate is your garland of jewelled thunderbolts!
Your dark beauty is set off by lightning flashes
Your spells have the power to melt stones and sprout crops--
On your winged feet you bring from sandy wastes flower garlands
On withered leaves you come in torrential and triumphant showers
Your clouds resound like tom-toms in festive abandon
In your deluge of delicious green, parched earth revives
But keep your awful, life-threatening floods away!
In the Thunderous Clouds(Oi Je Jhorer Meghe, written in 1922)
There--in the lap of storm clouds--the rain comes
Its hair loosened, its sari’s borders flying!
Its song beats flutter mango, blackberry, sal and rain-trees
Making their leaves dance and murmur in excitement
My eyes, moving in beat to its music
Wander in falling rain, losing themselves amidst sylvan shades
Whose familiar voice calls out to me in the wet wind endlessly
Stirring a storm of anguish in my soul on this lonely day?
The Tune of New Clouds(Aaj Nobeen Megher Shoor Legeche, written in 1922)
Newly arrived clouds stir a tune in my mind today
And my thoughts become all aflutter causelessly
How these clouds lure me outdoors again and again,
Casting their shade on my eyes every now and then
In the rain pouring from the sky tumultuously
What message of the path to pursue do they bear?
That path will take my mind’s tune into the unknown
And disperse it in the bower of one forever forlorn!
The Sky’s Musings(Aaj Akashe Moner Kotha, written in 1922)
This day I hear the sky’s musings in thundershowers
They’ve reverberated in my heart all day long.
On the dark lake water, clouds thicken
The wind, bearing the pain of centuries,
Has murmured in my heart all day long
By my window and in darkness
I commune with the sky, all alone
Like rustling branches, hidden memories stir
Evoking a tear-soaked tune in my soul
As crickets chirp on—all day long!
Under the Kadmaba Trees(Esho Nipo Bone,written in 1925)
Come and walk in the shade of the Kadamba tree rows
Come bathe in rain water streaming down incessantly
Let down your disheveled thick jet-black tresses
Drape around your bodies your sky-blue saris
With kohl-lined eyes and jasmine garlands
Come and walk in the shade of Kadamba tree rows!
Every now and then, my dear, dear soul mates,
Let smiles light up your lips and eyes wondrously
To the beat of pouring rain, let Raga Mallar tuned songs,
Sung in your sweet voices, sound in forests sonorously
Come and walk in the shade of Kadamba tree rows!
Tear-filled Sorrow(Ashrubhara Bedona, written in 1925)
Tear-filled emotions stir everywhere!
Whose desire sounds in dark in the clouds this day?
They speed across tempestuously,
Whose lament echoes in the rumbling?
Who could be focused on such fruitless worship?
Originally written as a poem by Tagore called ‘Shesh Kheya‘ in 1907 and then set to music in 1922 by Pankaj Mullick, ‘Diner Sheshe Ghoomer Deshe‘( At the Close of the Day in the Land of Sleep) is a solemn song, which seems to cry out with an unfathomable yearning for an unknown fate.
Sohana Manzoor’s pastel that was inspired by Tagore’s Diner Sheshe Ghoomer Deshe
The Last Boat
At the close of the day, in the land of sleep, a veiled shadow
Makes me forget, forget my life.
On the other bank, a golden shore edges the gloaming,
Which like an enchantress disrupts my work.
The wayfarers who head back after completing their task,
Do not look back at the trail they leave behind.
Like a receding tide, intoxicated, I am drawn away from home.
The dusk sets in as the day leaves.
Please come, o ferryman, one
Who can row me across on the last
Ferry at the end of the day.
In the dusk, a few ferries ebb with the tide
To the other side.
How will I recognise the ferryman among the other ones
Waiting at the arrival to take me to my destination?
Downhill, by the thick vegetation at the bank,
The shade moves like a shadow.
Where is the ferryman who is willing to halt
When I call out?
O come,
The one who will row me
At the close of the day in the last ferry.
Those who were returning home have gone back.
Those who headed for the riverside have reached the banks.
The dusk calls out to one
Who is neither at home nor at the riverbank, but stuck mid-way.
Flowers do not bloom for those whose crops did not yield harvest —
When I try to shed tears, it turns into sorrowful mirth —
He who has turned off the daylight, did not light up the dusk.
He is the one who sits by the riverbank.
Please come,
O ferryman who will row me across
At the close of the day in the last ferry...