Tagore, Rabindranath; Sisir Kumar Das (ed.);
The English Writings of Rabindranath Tagore, v.1: Poems
Sahitya Akademi, 1994, 669 pages
ISBN 817201547X, 9788172015473
topics: | poetry | bengali | translation | tagore
includes The Child, the only major poem he wrote in English.
I focus below on a detailed analysis of the well-known poem "where the mind is without fear".
it is exactly a hundred years now that a 50 year old poet, unknown to the world, translated an earlier work and created the english poem "where the mind is without fear". the poet was rabindranAth tagore, who had composed the original bAnglA in 1900. he translated it in 1911, and it appeared as poem 35 in the english gitanjali, first published by the india society, london, in 1912.
that thin volume with its exuberant introduction hy w.b. yeats, became immensely popular, and was re-published by macmillan in 1913. it had run through ten editions by november, when it was announced that tagore had been awarded that year's nobel prize for literature.
however, within a couple of decades, the aura had dimmed, and tagore's english writings were gradually considned to oblivion. of the poems of the english gitanjali, few are read today. perhaps one of the few exceptions is "where the mind is without fear", which remains a compact, direct expression of a thought, and one that remains relevant to us today.
let us begin by looking at the english text, and then the bAnglA original.
Where the mind is without fear and the head is held high; Where knowledge is free; Where the world has not been broken up into fragments by narrow domestic walls; Where words come out from the depth of truth; Where tireless striving stretches its arms towards perfection; Where the clear stream of reason has not lost its way into the dreary desert sand of dead habit; Where the mind is led forward by thee into ever-widening thought and action -- Into that heaven of freedom, my Father, let my country awake.
(naivedya poem 72) চিত্ত যেথা ভয়শূন্য, উচ্চ যেথা শির, জ্ঞান যেথা মুক্ত, যেথা গৃহের প্রাচীর আপন প্রাঙ্গণতলে দিবসশর্বরী বসুধারে রাখে নাই খণ্ড ক্ষুদ্র করি, যেথা বাক্য হৃদয়ের উত্সমুখ হতে উচ্ছ্বসিয়া উঠে, যেথা নির্বারিত স্রোতে দেশে দেশে দিশে দিশে কর্মধারা ধায় অজস্র সহস্রবিধ চরিতার্থতায়, যেথা তুচ্ছ আচারের মরুবালুরাশি বিচারের স্রোতঃপথ ফেলে নাই গ্রাসি--- পৌরুষেরে করে নি শতধা, নিত্য যেথা তুমি সর্ব কর্ম চিন্তা আনন্দের নেতা, নিজ হস্তে নির্দয় আঘাত করি, পিতঃ, ভারতেরে সেই স্বর্গে করো জাগরিত (from rabIndra rachanAbalI paschimbanga sarkAr centenary edition, v.1 p. 894)
the settled lifestyle of bengal (and much of the world) suffered a shock with the advent of colonialism in the 18th century. as awareness of western thought spread, the educated elite encountered the objective, scientific temper that had developed in europe via widespread education and a shift to a materialist philosophy. the european temperament made a deep impression on the indian intellegentsia, who contrasted it with the superstitions and irrationality prevailing all around them. this generated a sense of shame, and in trenchant calls for change, and formed the backdrop against which the modern bengali identity was forged. the search for a re-invigorated bengali identity was thus a reaction to the oppressive intrusion of the west, as has been documented by a number of subaltern sociologists. beginning with the earliest vernacular writing, but certainly on the pages of bankim chandra chatterjee's bangadarshan magazine (founded 1872), there were a number of calls for a manly spirit bordering on belligerence, along with a harkening to india's glorious past; see for example, Sudipta Kaviraj's The unhappy consciousness: Bankimchandra Chattopadhyay and the formation of nationalist discourse in India. it is against this backdrop that the 39-year old tagore, living in the river-fed delta region that is bangladesh now, sometime in 1900, composed a series of poems exhorting indians towards a stronger mind, free from superstition and other irrational obstacles to growth. one of these poems seeks to release the mind from everyday fears and superstitions, and return the courage of the spirit. by hitting us hard, with your own hands, father, awaken my people into a world where the spirit is fearless and free. a decade later, after the british artist rothenstein asked for a translation of his poems, this was one of the poems that was translated. that tagore is much concerned about the diffident supine-ness of the masses is clear from other poems composed in this time. for example, in naivedya poem 71, we find - "o you speechless mute, why have you closed yourself off from this joyful world?" this tendency, which persists with the masses of india even today, was often attributed to a lack of freedom and to ignorance. in the analysis of chAruchandra bandyopAdhyAy, this particular poem is the poet's search for a more "baliShTha AtmA" - a stronger, more manly, soul. he seeks to overcome all barriers to the spirit, all obstacles and narrow divisions that are holding us back, and move towards the free, indomitable, spirit. however, this search for identity is never divorced from the underlying mysticism in tagore, to which he had been introduced in his childhood during several long journeys with his father. the poems of naivedya, and also the earlier volume kshaNikA, the and the later gItAn~jalI (bAnglA) mostly reflect this mystic stream. clearly there is a conflict between renunciation and the call for social change. in naivedya poem 30 we find a direct attempt to reconcile these differences; his search for deliverance will lie, not through the path of renunciation, as is advocated in the indian ideal of sanyAs. instead, he will seek freedom in a thousand bonds of delight [...] No, I will never shut the doors of my senses. The delights of sight and hearing and touch will bear thy delight. and it is with the fruits of love (for humanity) that he will perform his worship. this song though, is more a call for the doer, the worker, the active agent of change. however, the influence of the west permeates even the structure of the poem. this class of chaturdashpadI poems were a bengali version of the english sonnet, and the poems of naivedya, with a few exceptions, all follow the fourteen-line structure. however, the bAnglA chaturdashpadI rhyme pattern is based on couplets (aabb) and does not alternate (abab) as in English.
the english rendering differs significantly from the bAnglA. as in most of tagore's english translations, the concepts have been considerably simplified, and the language given a more mystic turn. here is a line by line analysis.
line 1: Where the mind is without fear and the head is held high; bAnglA; চিত্ত যেথা ভয় শূন্য, উচ্চ যেথা শির roman: chitta JethA bhayshUnya, uccha JethA shir gloss: mind where fear-empty, high where head line 2: Where knowledge is free; bAnglA: জ্ঞান যেথা মুক্ত roman: jn~An JethA mukta gloss: knowledge where free differences in english version: quite a literal translation. also scans well.
line 3: Where the world has not been broken up into fragments by narrow domestic walls bAngla + roman + gloss: যেথা গৃহের প্রাচীর JethA griher prAchIr where house-GEN wall(+PL) আপন প্রাঙ্গণতলে দিবসশর্বরী Apan prAMgaN-tale dibasasharbarI own courtyard-under day-night বসুধারে রাখে নাই খণ্ড ক্ষুদ্র করি vasudhAre rAkhe-nAi khaNDa kShudra kari world-OBJ kept not pieces small do+3P differences: dropped phrase: আপন প্রাঙ্গণতলে দিবসশর্বরী Apan prAMgaNtale dibasasharbarI A more accurate rendering might go: Where, day and night, walls within our homes haven't compartmentalized our world but tagore's version captures the essence.
line 4: Where words come out from the depth of truth; bAnglA + roman + gloss: যেথা বাক্য হৃদয়ের উত্সমুখ হতে JethA vAkya hr.dayer utsamukh hate where words heart-GEN source-mouth from উচ্ছ্বসিয়া উঠে, uchchhasiyA uThe gushes up differences: changed হৃদয়ের উত্সমুখ, literally "depths of the heart"; rendered as "depths of truth". dropped উচ্ছ্বসিয়া - gushes forth Literal rendering might go: Where words gush out from the depths of the heart observation: rendering "heart" as "truth" may be viewed as a tendency in tagore to present his writing in a more mystic language. this mysticism, along with the freshness of the style, initially enamoured him to the west, but it is the same mysticism, which was found cloying and lead even strong supporters like Yeats to eventually denounce his english writings in 1935.
line 5: Where tireless striving stretches its arms towards perfection this line replaces the following lines in the original, but it makes no attempt to translate them. it is essentially a re-creation. bAnglA + roman + gloss: যেথা নির্বারিত স্রোতে JethA nirbArita srote where un-barred current-in দেশে দেশে দিশে দিশে কর্মধারা ধায় deshe deshe dishe dishe karmadhArA dhAy country-PL-in direction-PL-in work-stream flows অজস্র সহস্রবিধ চরিতার্থতায়, ajasra sahasra charitArthatAy many thousand purpose-finding differences: Tagore has created essentially a different version, more mystic, but one might also say, more clichéd. here, to render the bAnglA, one could say: Where, in unabated flow the stream of work flows in all directions in countless purposefulnesses
line 6: Where the clear stream of reason has not lost its way into the dreary desert sand of dead habit; bAnglA + roman + gloss: যেথা তুচ্ছ আচারের মরুবালুরাশি JethA tuchchha AchArer marubAlurAshi where minor practice-GEN desert-sand-pile বিচারের স্রোতঃপথ ফেলে নাই গ্রাসি--- vichArer srotaHpath fele nAi grAsi discrimination stream-path has not enfisted পৌরুষেরে করে নি শতধা, pouruShere kare ni shatadhA manliness-OBJ did not hundred-times-fold differences: in his translation, tagore drops the phrase পৌরুষেরে করে নি শতধা, a more faithful translation might be: Where the clear stream of reason has not lost its way into the dreary desert sand of dead habit; where it has not belittled one's manhood.
line 7: Where the mind is led forward by thee into ever-widening thought and action bAnglA+gloss: নিত্য যেথা nitya JethA ever where তুমি সর্ব কর্ম চিন্তা আনন্দের নেতা, tumi sarba karma chintA Anander netA you all work thought joy leader differences: tagore's rendering is close, but adds the concept of "ever-widening", which extends the temporal নিত্য (ever, always) into space. Also drops আনন্দের - of joy. literal translation might be: Where one is ever led forward by thee into ever-widening thought and action and joy
line 8: Into that heaven of freedom, my father, let my country awake. bAnglA+gloss: নিজ হস্তে নির্দয় আঘাত করি, পিতঃ, nija haste nirday AghAt kari pitaH own hand-with merciless blow do-pass father ভারতেরে সেই স্বর্গে করো জাগরিত॥ bhAratere sei svarge karo jAgarita bhArat-to that heaven-in do-2P awake differences: drops the important notion of "নিজ হস্তে নির্দয় আঘাত করি, পিতঃ" - by merciless strokes of your own hand, Father more literal may be: with the merciless blows of your own hand, Father, awaken my country into that world
On the whole, tagore's translation is simpler and more direct. some of the more nationalistic elements have been dropped. a few touches seem to emphasize the mystic. compared to many other translations by tagore, the english version scans well, and remains readable even today, a hundred years after its original composition in 1911. in 1917, tagore read out the english version, (then titled indian prayer) at the indian national congress session in calcutta, 1917. (at the same venue, the song janagana mana was first sung). this brought the poem to the attention of the indian nationalitic thinking. in the era after independence, it was often prescribed in school curricula and millions of indians have struggled with it for write-from-memory, describe-in-your-own-words, what-does-the-poet-intend-when-xxxx and a hundred other forms for questions and quizzes. despite such disadvantages, the poem remains one that many indians identify with, and the bAnglA version is certainly widely read in west bengal and bangladesh.
CHILD, how happy you are sitting in the dust, playing with a broken twig all the morning. I smile at your play with that little bit of a broken twig. I am busy with my accounts, adding up figures by the hour. Perhaps you glance at me and think, "What a stupid game to spoil your morning with!" Child, I have forgotten the art of being absorbed in sticks and mud-pies. I seek out costly playthings, and gather lumps of gold and silver. With whatever you find you create your glad games, I spend my time over things I never can obtain. In my frail canoe I struggle to cross the sea of desire, and forget that I too am playing a game.
SECTION I Gitanjali The Gardener The Crescent Moon Fruit-Gathering Lover's Gift and Crossing The Fugitive Collected Poems and Plays Poems SECTION II Stray Birds Fireflies SECTION III The Child SECTION IV One Hundred Poems of Kabir APPENDICES The Fugitive (1919?) Lekhan Notes Sources of English Translations Index of First Words ---bio: Sisir Kumar Das was educated at Calcutta, London and Cornell Universities. His is currently Tagore Professor of Bengali literature at the University of Delhi. He received the Nehru Prize of the Federal Republic of Germany . ---from blurb: The corpus of Tagore's English writings, large and diverse, forms a substantial part of his total work. The first volume of this 3-part series includes all the poetic works translated by Tagore and the poems he wrote originally in English. The second volume consists of plays and stories translated by him, as well as five prose works. The third volume is a collection of different genres of his writings.