TRANSLATIONS

 

CONTENTS

 

Pre-content

 

 

Part One 

Translations from Sanskrit

 

Section ONE

The Ramayana : Pieces from the Ramayana

1. Speech of Dussaruth

2. An Aryan City

3. A Mother's Lament

4. The Wife

An Aryan City: Prose Version

The Book of the Wild Forest

The Defeat of Dhoomraksha

 

Section Two

The Mahabharata   Sabha Parva or Book of the Assembly-Hall :

Canto I: The Building of the Hall

Canto II: The Debated Sacrifice

Canto III: The Slaying of Jerasundh

Virata Parva: Fragments from Adhyaya 17

Udyoga Parva: Two Renderings of the First Adhaya

Udyoga Parva: Passages from Adhyayas 75 and 72

 

The Bhagavad Gita: The First Six Chapters

 

Appendix I: Opening of Chapter VII

Appendix II: A Later Translation of the Opening of the Gita

Vidula

 

  Section Three

Kalidasa

Vikramorvasie or The Hero and the Nymph

 

 

In the Gardens of Vidisha or Malavica and the King:

 

 

The Birth of the War-God

Stanzaic Rendering of the Opening of Canto I

Blank Verse Rendering of Canto I

Expanded Version of Canto I and Part of Canto II

 

Notes and Fragments

Skeleton Notes on the Kumarasambhavam: Canto V

The Line of Raghou: Two Renderings of the Opening

The Cloud Messenger: Fragments from a Lost Translation

 

Section Four

Bhartrihari

The Century of Life

Appendix: Prefatory Note on Bhartrihari

 

Section Five

Other Translations from Sanskrit

Opening of the Kiratarjuniya

Bhagawat: Skandha I, Adhyaya I

Bhavani (Shankaracharya)

 

 

Part Two

Translations from Bengali

 

Section One

Vaishnava Devotional Poetry

Radha's Complaint in Absence (Chundidas)

Radha's Appeal (Chundidas)

Karma: Radha's Complaint (Chundidas)

Appeal (Bidyapati)

Twenty-two Poems of Bidyapati

Selected Poems of Bidyapati

Selected Poems of Nidhou

Selected Poems of Horo Thacoor

Selected Poems of Ganodas

 

 

Section Two

Bankim Chandra Chatterjee

Hymn to the Mother: Bande Mataram

Anandamath: The First Thirteen Chapters

 

Appendix: A Later Version of Chapters I and II

 

 

Section Three

Chittaranjan Das

Songs of the Sea

 

 

Section Four

Disciples and Others

Hymn to India (Dwijendralal Roy)

Mother India (Dwijendralal Roy)

The Pilot (Atulprasad Sen)

Mahalakshmi (Anilbaran Roy)

The New Creator (Aruna)

Lakshmi (Dilip Kumar Roy)

Aspiration: The New Dawn (Dilip Kumar Roy)

Farewell Flute (Dilip Kumar Roy)

Uma (Dilip Kumar Roy)

Faithful (Dilip Kumar Roy)

Since thou hast called me (Sahana)

A Beauty infinite (Jyotirmayi)

At the day-end (Nirodbaran)

The King of kings (Nishikanto)

 

 

Part Three

Translations from Tamil

 

Andal

Andal: The Vaishnava Poetess

To the Cuckoo

I Dreamed a Dream

Ye Others

 

 

Nammalwar

Nammalwar: The Supreme Vaishnava Saint and Poet

Nammalwar's Hymn of the Golden Age

Love-Mad

 

 

Kulasekhara Alwar

Refuge

 

 

Tiruvalluvar

Opening of the Kural

 

 

Part Four

Translations from Greek

 

Two Epigrams

Opening of the Iliad

Opening of the Odyssey

Hexameters from Homer

 

 

Part Five

Translations from Latin

 

Hexameters from Virgil and Horace

Catullus to Lesbia

 

NOTE ON THE TEXTS

Nammalwar

 


Nammalwar

 

The Supreme Vaishnava Saint and Poet

 

MARAN, renowned as Nammalwar ("Our Saint") among the Vaishnavas and the greatest of their saints and poets, was born in a small town called Kuruhur, in the southernmost region of the Tamil country — Tiru-nelveli (Tinnevelly). His father, Kari, was a petty prince who paid tribute to the Pandyan King of Madura. We have no means of ascertaining the date of the Alwar's birth, as the traditional account is untrustworthy and full of inconsistencies. We are told that the infant was mute for several years after his birth. Nammalwar renounced the world early in life and spent his time singing and meditating on God under the shade of a tamarind tree by the side of the village temple.

It was under this tree that he was first seen by his disciple, the Alwar Madhura-kavi, — for the latter also is numbered among the great Twelve, "lost in the sea of Divine Love". Tradition says that while Madhura-kavi was wandering in North India as a pilgrim, one night a strange light appeared to him in the sky and travelled towards the South. Doubtful at first what significance this phenomenon might have for him, its repetition during three consecutive nights convinced him that it was a divine summons and where this luminous sign led he must follow. Night after night he journeyed southwards till the guiding light came to Kuruhur and there disappeared. Learning of Nammalwar's spiritual greatness he thought that it was to him that the light had been leading him. But when he came to him, he found him absorbed in deep meditation with his eyes fast closed and although he waited for hours the Samadhi did not break until he took up a large stone and struck it against the ground violently. At the noise Nammalwar opened his eyes, but still remained

 

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silent. Madhura-kavi then put to him the following enigmatical question, "If the little one (the soul) is born into the dead thing (Matter)1 what will the little one eat and where will the little one lie?" to which Nammalwar replied in an equally enigmatic style, "That will it eat and there will it lie."

Subsequently Nammalwar permitted his disciple to live with him and it was Madhura-kavi who wrote down his songs as they were composed. Nammalwar died in his thirty-fifth year, but he has achieved so great a reputation that the Vaishnavas account him an incarnation of Vishnu himself, while others are only the mace, discus, conch etc. of the Deity.

From the philosophical and spiritual point of view, his poetry ranks among the highest in Tamil literature. But in point of literary excellence, there is a great inequality; for while some songs touch the level of the loftiest world-poets, others, even though rich in rhythm and expression, fall much below the poet's capacity. In his great work known as the Tiru-vay-moli (the Sacred Utterance) which contains more than a thousand stanzas, he has touched all the phases of the life divine and given expression to all forms of spiritual experience. The pure and passionless Reason, the direct perception in the high solar realm of Truth itself, the ecstatic and sometimes poignant love that leaps into being at the vision of the "Beauty of God's face", the final Triumph where unity is achieved and "I and my Father are one" — all these are uttered in his simple and flowing lines with a strength that is full of tenderness and truth.

The lines which we translate below are a fair specimen of the great Alwar's poetry; but it has suffered considerably in the translation, — indeed the genius of the Tamil tongue hardly permits of an effective rendering, so utterly divergent is it from that of the English language.

 

1 The form of the question reminds one of Epictetus' definition of man, "Thou art a little soul carrying about a corpse." Some of our readers may be familiar with Swinburne's adaptation of the saying, "A little soul for a little bears up the corpse which is man."

 

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