Sri Aurobindo

Letters of Sri Aurobindo

Volume 2. 1934 — 1935

Letter ID: 656

Sri Aurobindo — Roy, Dilip Kumar

December 5, 1935

I send you the penultimate couplet-poem with the translation I made last night. When I look at my translation’s spontaneity and distinctive expressions and style I feel myself in despair: to realise how hopeless is this leeway I have to make up in English verse. But never say die – what do you say? Anyhow I learn how much exoticism Bengali can well bear, since I nowadays make my Bengali translations almost meticulously literal e.g. see sphathic phenil [crystal clear foam]: I see here with a gratefulness to you how much I have gained in my Bengali poems through struggling to totter on English crutches. I was surprised last night how les mots justes [the right words] spring ready to the pen’s call in Bengali – alas, can’t say the same thing of English when I always fumble so. But there again never say die. Tell me however how do you find the Bengali translation’s exoticism. Does it not sound as having the proper ring and ambience?

Yes; it is exceedingly fine. Of course there is an immense difference with the English which is good but not superlative; but one cannot expect to seize in poetry the finer and more elusive tones which are so important in a learned language, however well-learned, as in one’s natural tongue. Unless of course one succeeds in so making it natural, if not native.

A little pleasant vanity. A professor friend of mine connoisseur of music – he is an acquaintance really – writes enthusiastically of my record majlo āmār manbhramarā kāli pada nīlkamale [My mind-bee has merged in the blue lotus of Kali’s feet]. He, incidentally, shows me how far I have travelled from my old music. Yes there has been some progress here and in poetry too, thanks to your truly all-tolerant lamp of encouragement. Note however that he seizes what I have all along wanted: deshbāsī jeno laghugāne ātmavismrita nā hoy [May my countrymen not be self-forgetful in light music]. It was here, by the way, that Tagore opposed me heart and soul and tried to equate the pretty and light with the lovely and deep in music. (...) I could not take that lying down. Anyhow I am glad my classical style has taken on, for I was truly doubtful of its success in those days of Tagorism. I sing the glory of your blessing, thanks to which, even the Gramo music has become an unexpected success both commercially and among connoisseurs.

I am glad of that, as I put much force for that result and was rather contrarié when the whole thing seemed to be becoming a failure. I am also glad that the progress of your music is being testified to on all sides and on the right lines.