Late Mallika Sengupta’s ‘Kobir Bouthan’ (tr. The Bard and His sister-in-law by Lopamudra Banerjee, published by Black eagle Books, USA) is an extensively researched work where the author has depicted the pioneering efforts of the Tagore family members in enriching Bengali life, culture, and literature. It is a gracious and acute chronicling of the illustrious Tagore clan, replete with high politics, romance, tragedy, and endurance of its unforgettable members. The chemistry between the principal characters, the ease with which they could intermingle even in those conservative times, is indeed fascinating. Sengupta has done an immense amount of research to flesh out the characters- both men and women. Even the lesser known members of the family have been etched out beautifully and provides interesting details about both their lives and times. Theirs was a family synonymous with wealth, fame, and glamour, but it has also had its shares of scandals.
 |
| Chaitali Sengupta |
It is indeed true, that one significant
aspect of Tagore's life that often piques curiosity is his relationship with
Kadambari Devi, who served as his muse and played an influential role in
shaping his poetic journey. Kadambari was not only Rabindranath's sister-in-law
but also a source of inspiration for his creative endeavors. Their bond went
beyond familial ties and ventured into the realm of artistic companionship. Despite
the opposition of Satyendranath and his wife Gyanadanandini, Kadambari “stepped
inside the illustrious mansion of the Thakurbari, decked up in a vermillion-red
cheli, adorned with heavy jewels” [Page 65] as the wife of Gyanada’s
favourite brother in-law, the handsome, intellectual, prince-like
Jyotirindranath. Both she and her husband believed that Kadambari could “never
be a good match for Jyoti in any respect.” [Page 65] This antagonism in the
heart of the feisty Gyanada only increased as time went by. Kadambari, the
young bride, however enamoured Jyotirindranath with her dusky, beautiful looks.
When her grooming started, it was discovered that she was quite a “diligent
and meritorious student” and soon transformed into “a mature, intelligent bride
of the Thakurbari. With her natural housekeeping, culinary skills, and her
intelligence, she won the hearts of not only the boys including Rabi, but also
the women of the household.”
[Page 69]
 |
| Lopamudra Bannerjee |
Slowly, with
the passage of time, the new bride forged a deep connection both with Rabi and
Jyoti, much to Gyanada’s frustration. Her bond with the young Rabi was filled with
mutual admiration and intellectual stimulation. As time went by, young Rabi’s
heart craved for affection and appreciation from her, “the dearest person in
his life”: “And
the woman who has crept in my very being, making my life miserable is nobody’s
wife, nobody’s sister-in-law. That mysterious woman is Hecate Thakrun. She is
the Beatrice of my poetry.” [Page 216] She was his muse, while in Kadambari’s
eyes he was “still
an uninitiated teenager.” It was her husband who “occupied her entire heart as
her man, her Lord.”
And
so, when her husband abandoned her, and ran away to the other woman Binodini,
the actress, childless and alone, Kadambari felt herself to be a “discarded,
neglected wife.” From here on, Kadambari’s descent into devastating
emptiness as she found herself trapped within the four walls of the Jorasanko
mansion that forced her to confront her ghosts and the loss of her own identity
wrenches our heart. Through her eyes, we see the cloistered, confined and
almost invisible andarmahal of Tagore women. The point where she
discovered Binodini’s letter informing Jyoti that within her “there is a
tiny seed of yours that is growing slowly, gradually”, spells doom for Kadambari.
It is the moment of her confrontation with her own infertility, her failure as
a woman and wife.
It is
believed that Kadambari's unfortunate suicide had a profound impact on Tagore's
poetry, leading to introspection and exploration of themes such as love, loss,
and longing. It not only influenced
Rabindranath personally but also shaped his artistic expression. It added
layers of complexity to his works, making them resonate with readers on a
deeper level.
This
‘translation cum transcreation’, carefully done by competent translator
Lopamudra Banerjee is valuable both for its impeccable research, content, and
subject. You read it because you’re interested in the lives and times of the
Tagores. You read it also because this book gives a comprehensive look at the complicated
yet interesting relationship between the main characters. The subject matter is
alluring and that itself is another incentive to delve deep into this book. The
appeal of this book also lies in the way it traces the rich cultural history,
drawing it from documents, letters, and memoirs.
Bio-Note: Chaitali Sengupta is an accomplished writer and translator, skilled in crafting fiction, poetry, and non-fiction. Her latest book “The Crossing-poems on war, migration & survival has received critical acclaim by poetry press in the Netherlands. She garnered recognition for her debut collection of prose poems, “Cross Stitched Words,” which earned the ‘Honorable Mention’ award at the New England Book Festival in 2021. Her expertise in translation is evident in her notable work, “Timeless Tales in Translation,” which received the special jury award at the Panorama International Literature Festival in 2023. With three translation books to her name, Chaitali has been a consistent contributor to both online and print media.
No comments:
Post a Comment
We welcome your comments related to the article and the topic being discussed. We expect the comments to be courteous, and respectful of the author and other commenters. Setu reserves the right to moderate, remove or reject comments that contain foul language, insult, hatred, personal information or indicate bad intention. The views expressed in comments reflect those of the commenter, not the official views of the Setu editorial board. рдк्рд░рдХाрд╢िрдд рд░рдЪрдиा рд╕े рд╕рдо्рдмंрдзिрдд рд╢ाрд▓ीрди рд╕рдо्рд╡ाрдж рдХा рд╕्рд╡ाрдЧрдд рд╣ै।