Lakshman by Toru Dutt

 

                                                       Lakshman by Toru Dutt

 

Ramayana: The Legend of Prince Rama is a 1992 anime film co-produced by Japan and India; produced and directed by Yugo Sako. It is based on the Indian epic Ramayana. (Click Here) 

"Hark! (Listen) Lakshman! Hark, again that cry!

It is, — it is my husband's voice!

Oh hasten, ( hurry) to his succour (help) fly,

No more hast thou, dear friend, a choice.

He calls on thee, perhaps his foes (enemy)

Environ (Surrounding) him on all sides round,

That wail, (cry) — it means death's final throes!

Why standest (stand) thou, as magic-bound? (inaction)

 

"Is this a time for thought, — oh gird (build up)

Thy bright sword on, and take thy bow!

He heeds (pay attention) not, hears not any word,

Evil hangs over us, I know!

Swift in decision, prompt in deed,

Brave unto rashness, (Carelessness) can this be,

The man to whom all looked at need?

Is it my brother that I see!

 

"Oh no, and I must run alone,

For further here I cannot stay;

Art thou transformed to blind dumb stone!

Wherefore this impious, (sinful) strange delay!

That cry, — that cry, — it seems to ring

Still in my ears, — I cannot bear

Suspense; if help we fail to bring

His death at least we both can share"

 

"Oh calm thyself, Videhan Queen, (Ancient kingdom Mithila - Sita)

No cause is there for any fear,

Hast (hurry) thou his prowess (skill) never seen?

Wipe off (clear) for shame that dastard tear!

What being of demonian (devil) birth

Could ever brave his mighty arm?

Is there a creature on earth

That dares to work our hero harm?

 

"The lion and the grisly (fearful) bear

Cower (shiver) when they see his royal look,

Sun-staring (ability to gaze) eagles of the air

His glance (look quickly) of anger cannot brook, (tolerate)

Pythons (anaconda) and cobras at his tread (walk)

To their most secret coverts (change) glide, (slip/roll)

Bowed to the dust (acknowledging that person’s superiority) each serpent head

Erect (straight) before in hooded (having) pride.

 

"Rakshasas, Danavs, demons, ghosts,

Acknowledge in their hearts his might, (recognize that person’s superpower)

And slink (move smoothly) to their remotest coasts, (distant places)

In terror at his very sight. (Afraid of that person)

Evil to him! Oh, fear it not,

Whatever foes (enemy) against him rise!

Banish (exile) for aye (truly) the foolish thought, (doubting the person’s power)

And be thyself, — bold, great, and wise.

 

"He call for help! Canst (can) thou believe

He like a child would shriek (roar) for aid

Or pray for respite (rest) or reprieve (pardon) —

Not of such metal (Gold) is he made! (brave/ strong character)

Delusive (false) was that piercing (sharp) cry, —

Some trick of magic by the foe;

He has a work, — he cannot die,

Beseech me not from hence to go.

 

For here beside thee, as a guard

'Twas (it was) he commanded me to stay,

And dangers with my life to ward (area)

If they should come across thy way.

Send me not hence, for in this wood

Bands (group) scattered (separate) of the giants lurk, (hide)

Who on their wrongs (errors) and vengeance (revenge) brood, (young)

And wait the hour their will to work."

 

"Oh shame! and canst (can) thou make my weal (happiness or property)

A plea (appel) for lingering! (surviving) Now I know

What thou art, Lakshman! And I feel

Far better were an open foe. (enemy)

Art thou a coward? (weak) I have seen

Thy bearing (relation) in the battle-fray (wear out)

Where flew the death-fraught arrows (dead arrows) keen, (sharp)

Else had I judged thee so today.

 

"But then thy leader stood beside!

Dazzles (glare) the cloud when shines the sun,

Reft (ruined) of his radiance, (brightness) see it glide (Move smoothly)

A shapeless mass of vapours (smoke) dun; (Brownish)

So of thy courage, — or if not,

The matter is far darker dyed, (wash)

What makes thee loth (against) to leave this spot?

Is there a motive thou wouldst (might) hide?

 

"He perishes (die)— well, let him die!

His wife henceforth  (after this) shall be mine own!

Can that thought deep imbedded  (fix) lie

Within thy heart's most secret zone!

Search well and see! one brother takes

His kingdom, — one would take his wife!

A fair partition! — But it makes

Me shudder, (tremble) and abhor (hate) my life.

 

"Art thou in secret league (join) with those

Who from his hope the kingdom rent?

A spy from his ignoble (unworthy) foes (enemy)

To track him in his banishment? (exile)

And wouldst thou at his death rejoice?

I know thou wouldst, or sure ere now

When first thou heardst that well known voice

Thou shouldst have run to aid, I trow.

 

"Learn this, — whatever comes may come,

But I shall not survive my Love,

Of all my thoughts here is the sum!

Witness it gods in heaven above.

If fire can burn, or water drown,

I follow him: — choose what thou wilt 

Truth with its everlasting crown, (enduring reward of fidelity and sincerity.)

Or falsehood, treachery, (betrayal), and guilt.

 

"Remain here with a vain (useless) pretense

Of shielding (protect) me from wrong and shame,

Or go and die in his defence

And leave behind a noble name.

Choose what thou wilt, — I urge no more,

My pathway lies before me clear,

I did not know thy mind before,

I know thee now, — and have no fear."

 

She said and proudly from him turned, —

Was this the gentle Sita? No.

Flames from her eyes shot forth and burned,

The tears therein had ceased (end) to flow.

"Hear me, O Queen, ere (Prior) I depart,

No longer can I bear thy words,

They lacerate (injure) my inmost heart

And torture me, like poisoned swords.

 

"Have I deserved this at thine hand?

Of lifelong loyalty and truth

Is this the meed? (reward) I understand

Thy feelings, Sita, and in sooth (truth)

I blame thee not, — but thou mightst be

Less rash in judgement, Look! I go,

Little I care what comes to me

Wert thou but safe, — God keep thee so!

 

"In going hence I disregard

The plainest orders of my chief,

A deed for me, — a soldier, — hard

And deeply painful, but thy grief

And language, wild and wrong, allow

No other course. Mine be the crime,

And mine alone. — but oh, do thou

Think better of me from this time.

 

"Here with an arrow, lo, I trace

A magic circle ere I leave,

No evil thing within this space

May come to harm thee or to grieve. (sorrow)

Step not, for aught, across the line,

Whatever thou mayst see or hear,

So shalt thou balk (resist) the bad design

Of every enemy I fear.

 

"And now farewell! What thou hast (hurry) said,

Though it has broken quite my heart,

So that I wish I were dead —

I would before, O Queen, we part,

Freely forgive, for well I know

That grief and fear have made thee wild,

We part as friends, — is it not so?"

And speaking thus he sadly smiled.

 

"And oh ye sylvan (pastoral) gods that dwell (live)

Among these dim (dull) and sombre (dark) shades,

Whose voices in the breezes swell (grow)

And blend with noises of cascades, (waterfalls)

Watch over Sita, whom alone

I leave, and keep her safe from harm,

Till we return unto our own,

I and my brother, arm in arm.

 

"For though ill omens round us rise

And frighten her dear heart, I feel

That he is safe. Beneath the skies

His equal is not, — and his heel

Shall tread all adversaries down,

Whoeve'r they may chance to be.

Farewell, O Sita! Blessings crown (positive outcomes and prosperity will surround Sita)

And peace for ever rest with thee!"

 

He said, and straight his weapons took

His bow and arrows pointed keen,

Kind, — nay, indulgent, (liberal) — was his look,

No trace of anger, there was seen,

Only a sorrow dark, that seemed

To deepen his resolve to dare

All dangers. Hoarse the vulture screamed, (cried)

As out he strode (walk) with dauntless (fearless) air.

Emotional Depth: The poem delves into the conflicting emotions of Lakshman. On the one hand, he has deep love and admiration for his brother Rama, and he is willing to go to any lengths to serve and protect him. On the other hand, he also harbors love and concern for Sita, Rama's wife, whom he has to leave in the forest as part of their exile. This emotional conflict forms the heart of the poem.

Sacrifice and Loyalty: The poem showcases Lakshman's unwavering loyalty and selflessness. He willingly gives up his comfort and desires to accompany his brother and sister-in-law in their exile. His sacrifice highlights his sense of duty and devotion.

Imagery and Nature: Toru Dutt employs vivid imagery from nature to depict Lakshman's emotions. The serene beauty of the forest, the moonlit nights, and the tranquil river serve as a backdrop to the emotional turmoil within Lakshman's heart.

Cultural and Mythological Context: The poem is deeply rooted in the Indian cultural and mythological context. It draws from the Ramayana, one of the most significant epics in Hindu literature. Lakshman's character embodies principles of duty, honor, and familial bonds.

In conclusion, "Lakshman" by Toru Dutt is a poignant exploration of the inner conflict and sacrifice of Lakshman, portraying his devotion to his brother Rama and the emotional struggle he faces in fulfilling his duty. The poem's emotional depth, use of natural imagery, and connection to Indian mythology make it a timeless piece of literature.

Characteristics and Salient features of Coleridge's poetry

     

     1) Mysteriousness 

2) Fertile and striking imagination

3) Art of the Storyteller 

  4) Imagination and Emotion: Coleridge, like other Romantic writers, placed a strong emphasis on imagination and emotional expression. His poetry often explored the depths of human emotions and the power of the imagination to create vivid and fantastical worlds.

   5) Nature: Nature was a central theme in Coleridge's poetry. He believed that nature was not just a physical backdrop but also a reflection of the spiritual and emotional world. His descriptions of landscapes were often infused with a sense of awe and wonder.

   6) Supernatural and Mystical: Coleridge had a fascination with the supernatural and the mystical. This is evident in his famous poem "The Rime of the Ancient Mariner," which incorporates supernatural elements and explores themes of guilt, redemption, and the unknown.

  7) Individualism and Subjectivity: Like other Romantics, Coleridge emphasized the importance of individual experience and subjectivity. His poetry often delved into personal emotions, dreams, and introspection, giving his work a deeply personal and introspective quality.

  8) Medievalism and Folklore: Coleridge was drawn to medieval literature and folklore, often incorporating these elements into his poetry. This interest can be seen in his use of archaic language and themes inspired by medieval tales.

 9) Escapism and Idealization: Romantic writers frequently used their works as a means of escape from the harsh realities of the world. Coleridge's poetry often presented an idealized version of reality or explored fantastical realms as a way to transcend the limitations of everyday life.

 10) Interest in the Sublime: Coleridge, like other Romantics, was interested in the concept of the sublime – the feeling of awe and terror that arises from encountering something vast and overwhelming. His poetry often aimed to evoke this sense of the sublime in readers.

11) Innovation in Language and Form: Coleridge was known for his experimentation with language and poetic form. He often played with meter, rhyme, and rhythm, seeking to create new ways of expressing his ideas and emotions.

12) Connection to the Transcendent: Coleridge's spiritual and metaphysical beliefs are evident in his work. He explored the idea of the transcendent – something beyond the physical world – and often used his poetry as a vehicle to explore questions of existence, God, and the afterlife.

13) Rejection of Neoclassical Conventions: Romantic writers like Coleridge rejected the formal and structured conventions of the preceding Neoclassical period. They embraced emotional spontaneity, individual creativity, and a more organic approach to writing.

14) As a Critic: 

15) Metaphor: 

These characteristics collectively showcase Coleridge's role as a prominent Romantic writer who used his poetry to explore the depths of human experience, the mysteries of the natural world, and the power of the imagination.

Deeno Daan by Rabindranath Tagore

 Deeno (Poor or needy) Daan (charity, to give or donate) by Rabindranath Tagore

 

Said the royal attendant, (courtier) “Despite entreaties, (request) king,

The finest hermit, (saint) best among men, refuses shelter

In your temple of gold, he is singing to god

Beneath a tree by the road. The devout (religious) surround him

In numbers large, their overflowing tears of joy

Rinse (clean) the dust off the earth. The temple, though,

Is all but deserted; just as bees abandon (beehive)

The gilded (rich) honeypot when maddened by the fragrance

Of the flower to swiftly spread their wings

And fly to the petals unfurling (open) in the bush (wild)

To quench (put out) their eager thirst (desire), so too are people,

 

This stanza contrasts the grandeur of the king's temple and the humble, spiritually charged scene around the revered hermit. Despite the king's efforts to provide shelter in a lavish temple, people are drawn to the hermit's simplicity and spiritual aura, much like bees captivated by the allure of fragrant flowers.

 

                              Sparing not a glance (glimpse) for the palace of gold,

Thronging (round) to where a flower in a devout heart

Spreads heaven’s incense (aroma). On the bejewelled (adorn with jewels) platform

The god sits alone in the empty temple.”

These lines illustrate how people are more interested in the inner beauty of a devout heart and the genuine spirituality it embodies, rather than being attracted to external wealth and extravagance. The description of the empty temple with a god figure sitting alone underscores the idea that true spiritual connection is not about the outward show but the depth of one's heart and devotion.

 At this,

The fretful (upset) king dismounted (get down) from his throne to go

Where the hermit sat beneath the tree. Bowing, (Curtsy) he said,

“My lord, why have you forsaken (isolated) god’s mighty (big) abode, (home/place)

The royal construction of gold that pierces (to reach) the sky,

To sing paeans (Praise) to the divine here on the streets?’

“There is no god in that temple,” said the hermit.

 

This stanza underscores a clash between external displays of opulence and the hermit's inward spiritual focus. The king, attached to the grandeur of the temple, questions the hermit's actions, while the hermit emphasizes the idea that true spiritual connection transcends physical structures and is not confined to places of material extravagance.

 

Furious,

The king said, “No god! You speak like a godless man,

Hermit. A bejewelled idol on a bejewelled throne,

You say it’s empty?”

 

“Not empty, it holds royal arrogance,

You have consecrated yourself, not the god of the world.”

 

The above lines suggest the contrasting perspectives of the king and the hermit regarding the temple's significance. The king is angered by the hermit's statement, defending the grandeur (luxuriousness) of the temple, while the hermit sees beyond the external splendor and critiques the motivations behind its construction. The hermit's response emphasizes the importance of true humility and devotion in matters of spirituality, suggesting that the king's actions may be driven by arrogance rather than a genuine connection with the divine.

 

Frowning, (make a face) said the king, “You say the temple I made

With twenty lakh gold coins, reaching to the sky,

                                    That I dedicated to the deity after due rituals,

This impeccable (faultless) edifice (structure) – it has no room for god!”

 

Here the king's response reflects his attachment to the material aspect of the temple, as well as his sense of pride and accomplishment in creating such a magnificent structure. He is unable to reconcile the idea that a temple he considers perfect and dedicated to a deity could be perceived differently by someone like the hermit. This exchange further highlights the contrast between external opulence and the hermit's emphasis on inner devotion and humility as the essence of spirituality.

Said the tranquil (calm) hermit, “The year when the fires

Raged (angry/ furious) and rendered (help) twenty thousand subjects

Homeless, destitute (poor); when they came to your door

With futile (vain) pleas (appal) for help, and sheltered in the woods,

In caves, in the shade of trees, in dilapidated (run down) temples,

When you constructed your gold-encrusted (coated) building

With twenty lakh gold coins for a deity, god said,

‘My eternal home is lit (light/fire) with countless lamps

In the blue, infinite sky; its everlasting (immortal) foundations

Are truth, peace, compassion, love. This feeble (weak) miser (saver)

Who could not give homes to his homeless subjects

                                    Expects to give me one!’ At that moment god left

To join the poor in their shelter beneath the trees.

As hollow (empty) as the froth and foam (a mass of small bubbles) in the deep wide ocean

Is your temple, just as bereft (Cut off from) beneath the universe,

A bubble (can easily broke) of gold and pride.”

 

In that, the hermit's response serves as a critique of the king's priorities and actions. It emphasizes the spiritual essence of God's presence and the hollowness of material displays of devotion. The story illustrates the hermit's belief that true spiritual connection is found in humility, compassion, and selflessness, rather than in extravagant buildings.

 

Flaring (flame) up in rage (ill temper)

The king said, “You false deceiver, (cheater) leave my kingdom

This instant.”

 

The king’s response here highlights his emotional reaction to the saint’s criticism of his actions and values. The king’s anger suggests his attachment and his inability to tolerate the saint’s viewpoints.

                                

                                   Serenely (peaceful) the hermit said to him,

“You have exiled (throw out) the one who loves the devout.

Now send the devout into the same exile, king.”

 

At last, the hermit's response highlights his consistent commitment to spiritual principles and his refusal to be perturbed by the king's anger or actions. He calmly communicates his viewpoint and encourages the king to reconsider his approach to matters of devotion and spirituality.

 

 

                                             Themes

 

1)              Religion vs Spirituality

2)           Humanism / Religion of Man

3)           Poverty and Wealth

4)           Power and Devotion

5)           Inner Beauty vs. Pretend

6)           Arrogance vs Civility

 

 

 

To a Hero-Worshipper by Sri Aurobindo

                                    

I 

My life is then a wasted ereme,(wasteland)

My song but idle wind 

Because you merely find 

In all this woven wealth of rhyme 

Harsh figures with harsh music wound, (cut) 

The uncouth (rough) voice of gorgeous birds, 

A ruby carcanet (Necklace) of sound, 

A cloud of lovely words? 

I am, you say, no magic-rod, (Magical things ) 

No cry oracular, (prophetic) 

No swart (dark) and ominous (threatening) star, 

No Sinai-thunder voicing God, (The Lord’s Voice on Sinai - From Bible)

I have no burden to my song, 

No smouldering (process of burning slowly with smoke but no flame) word instinct with fire, 

No spell to chase (follow) triumphant (successful) wrong, 

No spirit-sweet desire.

Mine is not Byron’s (Satirist) lightning spear, (Lightning Spear is an Incantation in Elden Ring.)

Nor Wordsworth’s (Nature Poet) lucid strain (Music)

Nor Shelley’s ( Atheist) lyric pain, 

Nor Keats’, the poet without peer. (gentleman) 

I by the Indian waters vast 

Did glimpse the magic of the past, 

And on the oaten-pipe (Oat plant or natural material) I play 

Warped (deform) echoes of an earlier day. 

II 

My friend, when first my spirit woke,

I trod (Walk) the scented (smell) maze (Puzzle with twists and turns where try to find the path)

Of Fancy’s myriad (Countless) ways, 

I studied Nature like a book 

Men rack (Frame) for meanings; yet I find 

No rubric (rules) in the scarlet rose, 

No moral in the murmuring wind, 

No message in the snow. 

For me the daisy shines a star, 

The crocus flames a spire (Peak), 

A horn of golden fire, 

Narcissus (Myth of Narcissism) glows a silver bar: 

Cowslips, the golden breath of God, 

I deem (consider) the poet’s heritage, 

And lilies silvering the sod (lawn or grass)

Breathe fragrance from his page. 

No herald (messenger) of the Sun am I, 

But in a moon-lit veil (vale)

A russet (reddish brown in color) nightingale 

Who pours (flow) sweet song, he knows not why, 

Who pours like a wine a gurgling (bubble) note 

Paining (pain)with sound his swarthy throat, 

Who pours sweet song, he recks (regard)not why, 

Nor hushes (silence) ever lest he die.