My Reminiscences Rabindranath Tagore (book series for 12 year olds TXT) 📖

Do not keep your secret to yourself, my love,
But whisper it gently to me, only to me.

I found that the words had no means of reaching by themselves the region into which they were borne away by the tune. The melody told me that the secret, which I was so importunate to hear, had mingled with the green mystery of the forest glades, was steeped in the silent whiteness of moonlight nights, peeped out of the veil of the illimitable blue behind the horizon⁠—and is the one intimate secret of Earth, Sky and Waters.

In my early boyhood I heard a snatch of a song:

Who dressed you, love, as a foreigner?

This one line painted such wonderful pictures in my mind that it haunts me still. One day I sat down to set to words a composition of my own while full of this bit of song. Humming my tune I wrote to its accompaniment:

I know you, O Woman from the strange land!
Your dwelling is across the Sea.

Had the tune not been there I know not what shape the rest of the poem might have taken; but the magic of the melody revealed to me the stranger in all her loveliness. It is she, said my soul, who comes and goes, a messenger to this world from the other shore of the ocean of mystery. It is she, of whom we now and again catch glimpses in the dewy autumn mornings, in the scented nights of spring, in the inmost recesses of our hearts⁠—and sometimes we strain skywards to hear her song. To the door of this world-charming stranger the melody, as I say, wafted me, and so to her were the rest of the words addressed.

Long after this, in a street in Bolpur, a mendicant Baul was singing as he walked along:

How does the unknown bird flit in and out of the cage!
Ah, could I but catch it, I’d ring its feet with my love!

I found this Baul to be saying the very same thing. The unknown bird sometimes surrenders itself within the bars of the cage to whisper tidings of the bondless unknown beyond. The heart would fain hold it near to itself forever, but cannot. What but the melody of song can tell us of the goings and comings of the unknown bird?

That is why I am always reluctant to publish books of the words of songs, for therein the soul must needs be lacking.

When I returned home from the outset of my second voyage to England, my brother Jyotirindra and sister-in-law were living in a riverside villa at Chandernagore, and there I went to stay with them.

The Ganges again! Again those ineffable days and nights, languid with joy, sad with longing, attuned to the plaintive babbling of the river along the cool shade of its wooded banks. This Bengal skyfull of light, this south breeze, this flow of the river, this right royal laziness, this broad leisure stretching from horizon to horizon and from green earth to blue sky, all these were to me as food and drink to the hungry and thirsty. Here it felt indeed like home, and in these I recognised the ministrations of a Mother.

That was not so very long ago, and yet time has wrought many changes. Our little riverside nests, clustering under their surrounding greenery, have been replaced by mills which now, dragon-like, everywhere rear their hissing heads, belching forth black smoke. In the midday glare of modern life even our hours of mental siesta have been narrowed down to the lowest limit, and hydra-headed unrest has invaded every department of life. Maybe, this is for the better, but I, for one, cannot account it wholly to the good.

These lovely days of mine at the riverside passed by like so many dedicated lotus blossoms floating down the sacred stream. Some rainy afternoons I spent in a veritable frenzy, singing away old Vaishnava songs to my own tunes, accompanying myself on a harmonium. On other afternoons, we would drift along in a boat, my brother Jyotirindra accompanying my singing with his violin. And as, beginning with the Puravi, we went on varying the mode of our music with the declining day, we saw, on reaching the Behaga,50 the western sky close the doors of its factory of golden toys, and the moon on the east rise over the fringe of trees.

Then we would row back to the landing steps of the villa and seat ourselves on a quilt spread on the terrace facing the river. By then a silvery peace rested on both land and water, hardly any boats were about, the fringe of trees on the bank was reduced to a deep shadow, and the moonlight glimmered over the smooth flowing stream.

The villa we were living in was known as “Moran’s Garden.” A flight of stone-flagged steps led up from the water to a long, broad verandah which formed part of the house. The rooms were not regularly arranged, nor all on the same level, and some had to be reached by short flights of stairs. The big sitting room overlooking the landing steps had stained glass windows with coloured pictures.

One of the pictures was of a swing hanging from a branch half-hidden in dense foliage, and in the checkered light and shade of this bower, two persons were swinging; and there was another of a broad flight of steps leading into some castle-like palace, up and down which men and women in festive garb were going and coming. When the light fell on the windows, these pictures shone wonderfully, seeming to fill the riverside atmosphere with holiday music. Some faraway long-forgotten revelry seemed to be expressing itself in silent words of light; the love thrills of the swinging couple making alive with their eternal story the woodlands of the river bank.

The topmost room of the house was in a