My Reminiscences
Copyright© 2024 by Rabindranath Tagore
Part 7
(35) Rajendrahal Mitra
It was about this time that my brother Jyotirindra had the idea of founding a Literary Academy by bringing together all the men of letters of repute. To compile authoritative technical terms for the Bengali language and in other ways to assist in its growth was to be its object—therein differing but little from the lines on which the modern Sahitya Parishat, Academy of Literature, has taken shape.
Dr. Rajendrahal Mitra took up the idea of this Academy with enthusiasm, and he was eventually its president for the short time it lasted. When I went to invite Pandit Vidyasagar to join it, he gave a hearing to my explanation of its objects and the names of the proposed members, then said: “My advice to you is to leave us out—you will never accomplish anything with big wigs; they can never be got to agree with one another.” With which he refused to come in. Bankim Babu became a member, but I cannot say that he took much interest in the work.
To be plain, so long as this academy lived Rajendrahal Mitra did everything single-handed. He began with Geographical terms. The draft list was made out by Dr. Rajendrahal himself and was printed and circulated for the suggestions of the members. We had also an idea of transliterating in Bengali the name of each foreign country as pronounced by itself.
Pandit Vidyasagar’s prophecy was fulfilled. It did not prove possible to get the big wigs to do anything. And the academy withered away shortly after sprouting. But Rajendrahal Mitra was an all-round expert and was an academy in himself. My labours in this cause were more than repaid by the privilege of his acquaintance. I have met many Bengali men of letters in my time but none who left the impression of such brilliance.
I used to go and see him in the office of the Court of Wards in Maniktala. I would go in the mornings and always find him busy with his studies, and with the inconsiderateness of youth, I felt no hesitation in disturbing him. But I have never seen him the least bit put out on that account. As soon as he saw me he would put aside his work and begin to talk to me. It is a matter of common knowledge that he was somewhat hard of hearing, so he hardly ever gave me occasion to put him any question. He would take up some broad subject and talk away upon it, and it was the attraction of these discourses which drew me there. Converse with no other person ever gave me such a wealth of suggestive ideas on so many different subjects. I would listen enraptured.
I think he was a member of the text-book committee and every book he received for approval, he read through and annotated in pencil. On some occasions he would select one of these books for the text of discourses on the construction of the Bengali language in particular or Philology in general, which were of the greatest benefit to me. There were few subjects which he had not studied and anything he had studied he could clearly expound.
If we had not relied on the other members of the Academy we had tried to found, but left everything to Dr. Rajendrahal, the present Sahitya Parishat would have doubtless found the matters it is now occupied with left in a much more advanced state by that one man alone.
Dr. Rajendrahal Mitra was not only a profound scholar, but he had likewise a striking personality which shone through his features. Full of fire as he was in his public life, he could also unbend graciously so as to talk on the most difficult subjects to a stripling like myself without any trace of a patronising tone. I even took advantage of his condescension to the extent of getting a contribution, Yama’s Dog, from him for the Bharabi. There were other great contemporaries of his with whom I would not have ventured to take such liberties, nor would I have met with the like response if I had.
And yet when he was on the war path his opponents on the Municipal Corporation or the Senate of the University were mortally afraid of him. In those days Kristo Das Pal was the tactful politician, and Rajendrahal Mitra the valiant fighter.
For the purposes of the Asiatic Society’s publications and researches, he had to employ a number of Sanscrit Pandits to do the mechanical work for him. I remember how this gave certain envious and mean-minded detractors the opportunity of saying that everything was really done by these Pandits while Rajendrahal fraudulently appropriated all the credit. Even to-day we very often find the tools arrogating to themselves the lion’s share of the achievement, imagining the wielder to be a mere ornamental figurehead. If the poor pen had a mind it would as certainly have bemoaned the unfairness of its getting all the stain and the writer all the glory!
It is curious that this extraordinary man should have got no recognition from his countrymen even after his death. One of the reasons may be that the national mourning for Vidyasagar, whose death followed shortly after, left no room for a recognition of the other bereavement. Another reason may be that his main contributions being outside the pale of Bengali literature, he had been unable to reach the heart of the people.
(36) Karwar
Our Sudder Street party next transferred itself to Karwar on the West Sea coast. Karwar is the headquarters of the Kanara district in the Southern portion of the Bombay Presidency. It is the tract of the Malaya Hills of Sanskrit literature where grow the cardamum creeper and the Sandal Tree. My second brother was then Judge there.
The little harbour, ringed round with hills, is so secluded that it has nothing of the aspect of a port about it. Its crescent shaped beach throws out its arms to the shoreless open sea like the very image of an eager striving to embrace the infinite. The edge of the broad sandy beach is fringed with a forest of casuarinas, broken at one end by the Kalanadi river which here flows into the sea after passing through a gorge flanked by rows of hills on either side.
I remember how one moonlit evening we went up this river in a little boat. We stopped at one of Shivaji’s old hill forts, and stepping ashore found our way into the clean-swept little yard of a peasant’s home. We sat on a spot where the moonbeams fell glancing off the top of the outer enclosure, and there dined off the eatables we had brought with us. On our way back we let the boat glide down the river. The night brooded over the motionless hills and forests, and on the silent flowing stream of this little Kalanadi, throwing over all its moonlight spell. It took us a good long time to reach the mouth of the river, so, instead of returning by sea, we got off the boat there and walked back home over the sands of the beach. It was then far into the night, the sea was without a ripple, even the ever-troubled murmur of the casuarinas was at rest. The shadow of the fringe of trees along the vast expanse of sand hung motionless along its border, and the ring of blue-grey hills around the horizon slept calmly beneath the sky.
Through the deep silence of this illimitable whiteness we few human creatures walked along with our shadows, without a word. When we reached home my sleep had lost itself in something still deeper. The poem which I then wrote is inextricably mingled with that night on the distant seashore. I do not know how it will appeal to the reader apart from the memories with which it is entwined. This doubt led to its being left out of Mohita Babu’s edition of my works. I trust that a place given to it among my reminiscences may not be deemed unfitting.
Let me sink down, losing myself in the depths of midnight.
Let the Earth leave her hold of me, let her free me from her obstacle of dust.
Keep your watch from afar, O stars, drunk though you be with moonlight,
And let the horizon hold its wings still around me.
Let there be no song, no word, no sound, no touch; nor sleep, nor awakening, —
But only the moonlight like a swoon of ecstasy over the sky and my being.
The world seems to me like a ship with its countless pilgrims,
Vanishing in the far-away blue of the sky,
Its sailors’ song becoming fainter and fainter in the air,
While I sink in the bosom of the endless night, fading away from myself, dwindling into a point.
It is necessary to remark here that merely because something has been written when feelings are brimming over, it is not therefore necessarily good. Such is rather a time when the utterance is thick with emotion. Just as it does not do to have the writer entirely removed from the feeling to which he is giving expression, so also it does not conduce to the truest poetry to have him too close to it. Memory is the brush which can best lay on the true poetic colour. Nearness has too much of the compelling about it and the imagination is not sufficiently free unless it can get away from its influence. Not only in poetry, but in all art, the mind of the artist must attain a certain degree of aloofness—the creator within man must be allowed the sole control. If the subject matter gets the better of the creation, the result is a mere replica of the event, not a reflection of it through the Artist’s mind.
(37) Nature’s Revenge
Here in Karwar I wrote the Prakritir Pratishodha, Nature’s Revenge, a dramatic poem. The hero was a Sanyasi (hermit) who had been striving to gain a victory over Nature by cutting away the bonds of all desires and affections and thus to arrive at a true and profound knowledge of self. A little girl, however, brought him back from his communion with the infinite to the world and into the bondage of human affection. On so coming back the Sanyasi realised that the great is to be found in the small, the infinite within the bounds of form, and the eternal freedom of the soul in love. It is only in the light of love that all limits are merged in the limitless.
The sea beach of Karwar is certainly a fit place in which to realise that the beauty of Nature is not a mirage of the imagination, but reflects the joy of the Infinite and thus draws us to lose ourselves in it. Where the universe is expressing itself in the magic of its laws it may not be strange if we miss its infinitude; but where the heart gets into immediate touch with immensity in the beauty of the meanest of things, is any room left for argument?
Nature took the Sanyasi to the presence of the Infinite, enthroned on the finite, by the pathway of the heart. In the Nature’s Revenge there were shown on the one side the wayfarers and the villagers, content with their home-made triviality and unconscious of anything beyond; and on the other the Sanyasi busy casting away his all, and himself, into the self-evolved infinite of his imagination. When love bridged the gulf between the two, and the hermit and the householder met, the seeming triviality of the finite and the seeming emptiness of the infinite alike disappeared.
This was to put in a slightly different form the story of my own experience, of the entrancing ray of light which found its way into the depths of the cave into which I had retired away from all touch with the outer world, and made me more fully one with Nature again. This Nature’s Revenge may be looked upon as an introduction to the whole of my future literary work; or, rather this has been the subject on which all my writings have dwelt—the joy of attaining the Infinite within the finite.
On our way back from Karwar I wrote some songs for the Nature’s Revenge on board ship. The first one filled me with a great gladness as I sang, and wrote it sitting on the deck:
Mother, leave your darling boy to us,
And let us take him to the field where we graze our cattle.[52]
The sun has risen, the buds have opened, the cowherd boys are going to the pasture; and they would not have the sunlight, the flowers, and their play in the grazing grounds empty. They want their Shyam (Krishna) to be with them there, in the midst of all these. They want to see the Infinite in all its carefully adorned loveliness; they have turned out so early because they want to join in its gladsome play, in the midst of these woods and fields and hills and dales—not to admire from a distance, nor in the majesty of power. Their equipment is of the slightest. A simple yellow garment and a garland of wild-flowers are all the ornaments they require. For where joy reigns on every side, to hunt for it arduously, or amidst pomp and circumstances, is to lose it.
Shortly after my return from Karwar, I was married. I was then 22 years of age.
(38) Pictures and Songs
Chhabi o Gan, Picture and Songs, was the title of a book of poems most of which were written at this time.
We were then living in a house with a garden in Lower Circular Road. Adjoining it on the south was a large Busti.[53] I would often sit near a window and watch the sights of this populous little settlement. I loved to see them at their work and play and rest, and in their multifarious goings and comings. To me it was all like a living story.
To read the complete story you need to be logged in:
Log In or
Register for a Free account
(Why register?)
* Allows you 3 stories to read in 24 hours.