"Shakti Chattopadhyay lived a life of abandon. Drunk in excess, he would disappear for days. He would argue aloud, sing with vigorous gestures, and spend life as if he had several of them. Such extravagance, however, disappeared in his verse. Even the ones he wrote in a self-confessed trance, like Aboni, bari achho?, are gems of measured word choices. He barely edited, but his verse is pin pointed, like Manto's short stories.
During a meet of our online poetry society, The Quarantine Train, conducted and curated by the poet Arjun Rajendran, I found an opportunity to recite a poet of my choice in original and translation. Translating verse in which every word is irreplaceable is never an easy ask, that too, for the poems which have defined cultural sensitivity of a generation. These two poems by him are arguably the most popular and quoted pieces of Bangla contemporary poetry are daunting to be tamed with translation. I have tried. I enjoyed every moment of pondering over the right replacement, haggling with the correct sound and tone that does justice to the original. I hope my translation has remained true to the sustained magic of Shakti Babuâs poetry."
-Tapan Mozumdar
I can leave, but why will I?
I think it is better to turn around.
So much soot I have smeared in two hands
for so long.
Never thought of you as you are.
I stand on the cliff at night now
The moon beckons: here, here, here
I stand by the Ganges in sleep now
The pyre summons: here, here
I can leave,
In any direction I choose I can leave
But, why will I?
I will hold my childâs face and kiss
I will leave
But I will not leave now
I will leave tugging you all
I will not leave alone, ill-timed.
Aboni, are you home?
Aboni, are you home?
Doors locked, sleeps the lane
The night knocks, I hear again
Aboni, are you home?
Rain pours twelve months a year
Clouds graze like cows in here
Reluctant green reed grass
On the door adhereâ Aboni, are you home?
Half-deadâmidst of a pain deep
Drifting in my heart, I fall asleep
Knocking night, I hear a rushed
Aboni, are you home?
The original Bengali poems:
āĻ¯ā§āĻ¤ā§ āĻĒāĻžāĻ°āĻŋ, āĻāĻŋāĻ¨ā§āĻ¤ā§ āĻā§āĻ¨ āĻ¯āĻžāĻŦā§?
āĻāĻžāĻŦāĻāĻŋ āĻā§āĻ°ā§ āĻĻāĻžāĻā§āĻžāĻ¨ā§āĻ āĻāĻžāĻ˛ā§ |
āĻāĻ¤ā§ āĻāĻžāĻ˛ā§ āĻŽā§āĻā§āĻāĻŋ āĻĻā§-āĻšāĻžāĻ¤ā§
āĻāĻ¤ā§ āĻāĻžāĻ˛ āĻ§āĻ°ā§ |
āĻāĻāĻ¨ā§ āĻ¤ā§āĻŽāĻžāĻ° āĻāĻ°ā§, āĻ¤ā§āĻŽāĻžāĻā§ āĻāĻžāĻŦāĻŋāĻ¨āĻŋ |
āĻāĻāĻ¨ āĻāĻžāĻĻā§āĻ° āĻĒāĻžāĻļā§ āĻ°āĻžāĻ¤ā§āĻ¤āĻŋāĻ°ā§ āĻĻāĻžāĻā§āĻžāĻ˛ā§
āĻāĻžāĻāĻĻ āĻĄāĻžāĻā§ : āĻā§, āĻā§, āĻā§
āĻāĻāĻ¨ āĻāĻā§āĻāĻžāĻ° āĻ¤ā§āĻ°ā§ āĻā§āĻŽāĻ¨ā§āĻ¤ āĻĻāĻžāĻā§āĻžāĻ˛ā§
āĻāĻŋāĻ¤āĻžāĻāĻžāĻ āĻĄāĻžāĻā§ : āĻā§, āĻā§
āĻ¯ā§āĻ¤ā§ āĻĒāĻžāĻ°āĻŋ,
āĻ¯ā§-āĻā§āĻ¨ā§ āĻĻāĻŋāĻā§āĻ āĻāĻŽāĻŋ āĻāĻ˛ā§ āĻ¯ā§āĻ¤ā§ āĻĒāĻžāĻ°āĻŋ
āĻāĻŋāĻ¨ā§āĻ¤ā§, āĻā§āĻ¨ āĻ¯āĻžāĻŦā§ ?
āĻ¸āĻ¨ā§āĻ¤āĻžāĻ¨ā§āĻ° āĻŽā§āĻ āĻ§āĻ°ā§ āĻāĻāĻāĻŋ āĻā§āĻŽā§ āĻāĻžāĻŦā§
āĻ¯āĻžāĻŦā§
āĻāĻŋāĻ¨ā§āĻ¤ā§, āĻāĻāĻ¨āĻ āĻ¯āĻžāĻŦā§ āĻ¨āĻž
āĻ¤ā§āĻŽāĻžāĻĻā§āĻ°āĻ āĻ¸āĻā§āĻā§ āĻ¨āĻŋā§ā§ āĻ¯āĻžāĻŦā§
āĻāĻāĻžāĻā§ āĻ¯āĻžāĻŦā§ āĻ¨āĻž, āĻ āĻ¸āĻŽā§ā§ |
āĻ āĻŦāĻ¨ā§ āĻŦāĻžāĻĄāĻŧāĻŋ āĻāĻā§?
āĻ āĻŦāĻ¨ā§ āĻŦāĻžāĻĄāĻŧāĻŋ āĻāĻā§ āĻĻā§āĻ¯āĻŧāĻžāĻ° āĻāĻāĻā§ āĻā§āĻŽāĻŋāĻ¯āĻŧā§ āĻāĻā§ āĻĒāĻžāĻĄāĻŧāĻž āĻā§āĻŦāĻ˛ āĻļā§āĻ¨āĻŋ āĻ°āĻžāĻ¤ā§āĻ° āĻāĻĄāĻŧāĻžāĻ¨āĻžāĻĄāĻŧāĻž âāĻ āĻŦāĻ¨ā§, āĻŦāĻžāĻĄāĻŧāĻŋ āĻāĻā§?â
āĻŦā§āĻˇā§āĻāĻŋ āĻĒāĻĄāĻŧā§ āĻāĻāĻžāĻ¨ā§ āĻŦāĻžāĻ°ā§āĻŽāĻžāĻ¸ āĻāĻāĻžāĻ¨ā§ āĻŽā§āĻ āĻāĻžāĻā§āĻ° āĻŽāĻ¤ā§ āĻāĻ°ā§ āĻĒāĻ°āĻžāĻ¨ā§āĻŽā§āĻ āĻ¸āĻŦā§āĻ āĻ¨āĻžāĻ˛āĻŋāĻāĻžāĻ¸ āĻĻā§āĻ¯āĻŧāĻžāĻ° āĻā§āĻĒā§ āĻ§āĻ°ā§â âāĻ āĻŦāĻ¨ā§, āĻŦāĻžāĻĄāĻŧāĻŋ āĻāĻā§?â
āĻāĻ§ā§āĻāĻ˛ā§āĻ¨â āĻšā§āĻĻāĻ¯āĻŧā§ āĻĻā§āĻ°āĻāĻžāĻŽā§ āĻŦā§āĻ¯āĻĨāĻžāĻ° āĻŽāĻžāĻā§ āĻā§āĻŽāĻŋā§ā§ āĻĒāĻĄāĻŧāĻŋ āĻāĻŽāĻŋ āĻ¸āĻšāĻ¸āĻž āĻļā§āĻ¨āĻŋ āĻ°āĻžāĻ¤ā§āĻ° āĻāĻĄāĻŧāĻžāĻ¨āĻžāĻĄāĻŧāĻž âāĻ āĻŦāĻ¨ā§, āĻŦāĻžāĻĄāĻŧāĻŋ āĻāĻā§?â
Follow Tapan's writing here.