Theme: Satire

Tagore the Wag

Translation from Bengali works of Rabindranath Tagore, Nobel Laureate of 1913.
Read Translator’s Notes at the end of the poems.

Poem (1)
From the book Prahasini (Satirist) in Bengali by the Poet written in 1939, two years before his death at the age of 80..]

The laughing broom of the comet at times
Sweeps fun down the Universe to our climes
Speeding past the bewildered Sun’s dominion
With flashes of wit to lose into oblivion
                Takes leave the Universal jester.
Along my life’s orbit, I know not why
The crazy comets at times do pass by.
Rushing in the void the tail of rigmarole
With momentary frolic without a goal
                 Shaking up the hood of the somber.
At times the world relaxes
Either in hilarity or amuses
Glitters laughter brilliant,
Yet not lasting, in an instant
                  Blots out its trail;
The night in meditation on its dark seat
Scatters meteors in its freakish beat
Countless sparks of wit it does fling
That booty beyond reckoning –
                  Discharges in a few hours’ frail.
In this Universe there are matters crazy
Creator’s amused affection thereon I do fancy,
Mirth and frolic, God’s gift so
Inscribed in my dignity do go;
                  At heart I know, it is precious;
So much senile I shall be never
To call caddish fun and laughter;
If so the old will grunt
With God I’ll merrily share its brunt;
                  Grant it forthwith and not turn serious.


Poem (2)
From the book ‘Khapchara’ (Crazy) written to the Poet’s friend Rajsekhar Bose in 1937.
If you find this senile
Shedding his pretensions awhile-
Naughty seems to be,
Blabs successfully,
Notice his childish fruition
And lapses in dedication
Towards Vedas (*), not solemn       (* nearly 5000 year old Indian scripture)
Like the Atlantic Ocean,
His words
Tend to farce;
Brain crazy,
Mind borders lunacy,
And so you condemn
His education as vain –
Why the Creator, I’ll ask
Has four faces, for what task?
One for philosophy
To preach homily;
The other for Veda accent,
That too well meant;
The third is for poetry profuse
Our mind in emotion to muse;
Then, the last one you must know –
Is the preserve for “Ho! Ho!”.      (=laughter)
Wild folly all fences to overflow;
At its push
In my brain all nonsense ambush,
And spiral up to rigmarole
Without a goal.
A disciple of that four faced
I happen to be; so has been said;
However much that may amuse you
Support documents, not a few;
Creation plays my fancy, you may see
Yet, I tilt for ramble with no less glee.

Translator’s notes

On poem (1)
Preamble: While Tagore was an embodiment of supreme dignity, spirituality and aesthetics, his mobility between that height and the mundane, including very refined practical jokes, was indeed amazing. I am tempted to refer here quite elaborately to Maitrayee Devi’s ‘Tagore By Fireside’ (a translation by herself of her original book in Bengali ‘Mangpute Rabindranath’ i.e.’Rabindranath at Mangpu’, a hill station near Darjeeling which was the workplace of her husband) based on her diary she maintained while Tagore was her guest intermittently between 1938 and 1940. Her book is a unique literature of its kind. In no other writing one gets the poet so closely as in this book, through the eyes of Maitrayee Devi. The under noted incidents/quotes from this book will hopefully be found relevant to the above poem.
There was no dearth of scandal mongers against Tagore which disturbed very much Maitrayee, a great devotee of the Poet, whenever she would hear all these. Once, when the Poet was in Mangpu, she heard the scandal that the poet must have champagne every evening (the fact is, the Poet was a teetotaler and also that wine  & alcohol are taboos even now among the hoi polloi in India). Overcoming her inhibition one day, she reported the Poet about this baseless scandal. The Poet answered, “Ah, no less than champagne! But even after hearing all these, I find no improvement in your hospitality!” Maitrayee’s reply was- “Hell!”
Another such scandal was that the Poet never allowed those women to come near him who were not beautiful. Having this report from Maitrayee, the Poet said, “But those who speak thus, must not have seen you!’. Indignant Maitrayee said, “Such insults on appearance and age is intolerable!’. The Poet said, “But I never told you anything about your age! (It seems, on some earlier occasion he did.) I know well that you can’t be older than 45!” (At that time Maitrayee was only 25 years old). Now, thus he mollified the still indignant Maitrayee – “But why are you still cross? Just think how nice an arrangement it would have been had I been really so (i.e. averse to  women not beautiful). Santiniketan would have been free of the womenfolk there!” (Only Tagore could be intrepid enough to dismiss all of them as ‘not beautiful’!)
Once again in Mangpu, Tagore conspired with a few of his associates to play a practical joke on a female relative of Maitrayee, whom all of them (including Tagore) addressed as Mashi (which in Bengali is the address for one’s mother’s sisters, but may be applied to any woman around their age. For jest it is applied to much younger girls also, as in this case). Mashi was terribly afraid of insects which were then abundant while it was monsoon time. In the morning the poet predicted the girl that it would be a bad day for her, pretending that it was his astrological reading. On persistence of the girl for more details of the impending mishap, the Poet replied that it might be of any kind which could not be precisely foreseen. Then, in the words of Maitrayee Devi:
“Early in the evening, at about dinner-time, I was waiting to give the Poet some medicine, when I suddenly heard a piercing shriek and a loud crash of falling crockery. I ran into the dining room to find Mashi standing on a chair, thoroughly distraught, with the dining table in complete disorder, while the others, whom the Poet used to call his three lords, were eating a huge beetle with much gusto. Then it came out that the beetle was made of chocolate. The great lord had ordered it from a confectioner’s in Darjeeling, and then by previous unanimous agreement it was placed ready on Mashi’s plate neatly covered with a serviette. I came back to the Poet’s room and found him laughing to himself to his heart’s content.
‘Mashi, didn’t I predict that the day would end badly for you?’
‘Amazing! You were also in this conspiracy?’
‘Really, I am also in it, am I? That is too bad, it really has gone too far – please do not release the news to the Associated Press, for the Poet Emperor (The poet is referred in India as the Poet-Emperor, The World Poet, The Great Poet etc.) would lose his prestige altogether, specially in our Guru-ridden country! Had I sat on a high pedestal, behaving like a proper preceptor and now and then showered sermons from the high, who would have been the loser? Those who fix themselves on the top do not realize how much they lose.’
Words, that are limited by fixed meanings, seem inadequate to express how all the fine and sensitive touches of his personality revealed themselves to us, how we found him at once detached and absorbed. Even when absorbed in deep thought, engrossed in serious writing, he would return to us in a moment. He was interested in our smallest pleasures and pains, our trivial problems of our everyday life, watching over us with affection and anxiety. He did not stand like an onlooker on the bank, but came right into the middle of our life stream and felt its flow. Yet, in a moment, he would be off on a voyage to some far away region. At one moment he would talk on ordinary topics and regale everyone with humorous conversation, but the next moment he would relapse into a silence that would change the whole aspect of his personality, as if a door had closed, leaving us outside it, to gaze into a mystery we could never aspire to reach. Sometimes, in moments like this, we have felt, at least I have felt, that I should not speak at all, even if there should be something urgent to say. The tranquility that emanated from him at such times cannot be transmitted to my readers through the medium of  language. Sometimes he would sit for hours without moving a hair, a hush would descend over the trees, over the dark masses of bushes; at such times all noise, even the voices inside the house, would disappear from consciousness, something would reach out to me from that absolute stillness. I longed to sit at the feet of my Guru in those tranquil hours, but it was not an easy thing at the beginning; for ordinary persons like us to be able to sit in perfect stillness for a while needs training. One’s back would start itching, or toe would go to slip, something or other would tickle somewhere, making it absolutely necessary to change position. In the beginning, I was amazed to see him sit in the same position for hours, forgetting the existence of a body. Sometimes in the early hours of dawn, I have found him sitting thus, quite unmindful of the centipedes that were crawling up and down his arm. And then I would be confronted with a problem, not knowing whether to brush them away or leave them undisturbed. I find it impossible to express not only what he was, but also how I saw him. I can take down a little of his conversation, but how I can explain that eloquence of his silence, which was a deeper expression of his personality, as I felt sitting there in an ineffable companionship, filled with a glow of well-being that baffles all description?”
On Poem (2)

Rajsekhar Bose of Tagore’s time is still popular among the Bengali literati for his spoof literature which he wrote under the nickname Parasuram (a legendary sage of ancient India, notorious for his bad temper). The poet here upholds nonsense as a valuable part of human life as a design of God. In Hindu mythology Brahma is considered as the God of Creation, having four faces. In other words, man is of myriad character encompassing humor and frolic. In this poem the Poet gives a witty explanation of the four faces of Brahma.


More By  :  Rajat Das Gupta

Views: 1387     Comments: 2

Comments on this Poem

Comment 19 December, 2011
TO: Mr. Dipankar Dasgupta
Dear Mr. Das Gupta,
Thank you for your discreet comment. The poems are from my book "The Eclipsed Sum" (TES) published in January 2002 and an Internet edition of the same was released from Jakarta wef 15 April 2011. A reference to the latter will be found in my Bio-Data page in the few pieces uploaded by so far (if you click the words 'Internet edition' in my Bio-Data page, the entire TES will pop up).
It may sound a fallacy to you if I say that TES contains a good number of poems which are in blank verse in the original Bengali of Tagore but I have translated those in rhymed form. The reason is, when I pursued the style of blank verse of Tagore's original, it sounded insipid to me, losing a lot of poesy of the original. So, I took resort to rhyming the advantage of which has been best explained by Tagore himself - "just as the guard of the two banks of a river keeps its flow spontaneous, so does the guard of rhyming to aesthetics". But Tagore, the greatest poet in man's history, could easily violate the guard of rhyming, and yet maintain the supreme poesy. What has been possible for Tagore with his enormous talent, I have often failed to emulate in my translations with my little ability. Here I consider is my weakness as a translator. Of course, the concerned two poems are in rhymed form in Tagore's original also.
Yet, I thank you for your judicious judgment.
Yours sincerely,
Rajat Das Gupta.

Rajat Das Gupta
19-Dec-2011 06:39 AM

Comment The poems as well as the notes were very nicely done. What I like most about the poems was that the translator stuck to the rhythmic structure as much as possible. I feel that translations ought not to ignore the rhyme unless the original happens to be written in blank verse.

Dipankar Dasgupta
18-Dec-2011 01:59 AM

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