Unseeing Gold (ಕುರುಡು ಕಾಂಚಾಣಾ)

This is actually one of my early transcreations; more or less part of my “first set, as it were. (Note that I’m deliberately eschewing calling it a translation.) Chronologically, this should have been published a lot earlier, but there was something – I can’t exactly say what – that made me hesitate. I suppose the closest I can offer by way of explanation is my feeling that I had, in my quest to give the poem the ‘outward (rhythmic and metrical) structure’ of the original, ‘compressed’ it too much, robbed it of too many of its nuances, both linguistic and cultural. And while I still feel that way to an extent, I have come to see (on account of the appreciation of two or three discerning readers) that the retention of the original’s ‘rhythmic structure’ has given the transcreation a poetic quality that may have been impossible to achieve through a conscientious pursuit of the nuances I just mentioned. In other words, a more “literal” translation would find it difficult to retain the (very attractive) rhythm of the original – particularly its sung version. (Like it is with so many other poems by Bendre that I’ve translated or transcreated, I first came across this poem too as a song – and a very popular song at that!)

As for the transcreation itself – that is to say its content and its imagery – a great portion of the credit, if anyone sees fit to offer such, goes to Sunaath Kaka and his brilliant Kannada explication of this particular poem. Like I’ve said already, this transcreation happened in my early phrase as a translator (transcreator) of Bendre’s poems; a phase where I was still ‘wet behind the ears’ and often relied on Sunaath Kaka’s explication to help me understand the import of the original. (Not that I can claim any sort of mastery now. It’s just that I’m now more comfortable with both the Kannada language and the language of Bendre’s poetry; and consequently, more keen to understand the original on my own.) In this case, Sunaath Kaka’s extremely interesting (and original?) interpretation of the poem not only gave me the tools I needed to work on a transcreation but also suggested what route I should take – one I’m quite certain I wouldn’t have thought of even if I’d used the dictionary to look up all those words unfamiliar to me at the time. Very specifically, the transcreation of ಕುರುಡು (kuruḍu) as unseeing (rather than the usual ‘blind’) would never have happened. So, once again, I thank Sunaath Kaka and hope he finds this transcreation to his taste (since I don’t believe I’ve ever shared it with him). Those of you who’d like a little more detail about the poem or are curious about the choice of ‘unseeing’ should read the afterword.

Finally, do make sure to listen to both the Kannada and the English recitations below! You’ll see then what I mean when I said my transcreation was an attempt to approximate (if not replicate) the rhythmic metre of the original.

Recitation of the Kannada original:

Unseeing Gold (ಕುರುಡು ಕಾಂಚಾಣಾ)

Unseeing gold was dancing,
upon her supplicants was prancing;
yes, góld – unsèeing góld.

Unseen, tied to her ankles were
anklets bleached as whitened soap;
like bones of half-dead nursing mams;
           while round her throat was hung
           a necklace strung from cowrie-shells;
           like eyes of dying infant girls.
Unseeing gold was dancing,
upon her supplicants was prancing;
yes, góld – unsèeing góld.

Within her hands
she brandished brands
with flames lit by the poor’s gut;
           and from her mouth
           (full-fed on tears)
           came fòrth howling, half-crazed sounds.
Unseeing gold was dancing,
upon her supplicants was prancing;
yes, góld – unsèeing góld.

Across her brow
was kunkuma;
the skin-dust of the slaving poor;
           and in temples her bells resounded,
           and in penthouses she bounded,
           and in shops her echoes soúnded.
Unseeing gold was dancing,
upon her supplicants was prancing;
yes, góld – unsèeing góld.

This frenzied dance of hers all done,
she fell at last upon the ground;
make haste, make haste; and truss her up.

Recitation of the English translation:

(Translated by Madhav K. Ajjampur)

Poem Details: From the collection “ನಾದಲೀಲೆ”, first published in 1938.


In the poem above, Kaka’s interpretation suggests – correctly, I believe – that the poem is  an (ironic) depiction of ಕಾಂಚಾಣಾ (kāṅcāṇā: literally ‘gold’ but more broadly ‘wealth’) in the form of ಯೆಲ್ಲಮ್ಮ (Yellamma); a popular rural deity who is believed to “come upon” the body of a devotee and possess him or her. But while Yellamma is a benevolent goddess (or, at least, one who can be placated), the ‘Unseeing Gold’ of this poem seems unrelentingly maleficent. The choice to use ‘unseeing‘ derives from the image of the madly dancing possessed devotee – whose eyes are (technically) open but that are, in truth, unaware and unseeing.

Another very interesting explication contrasts this poem with one of Purandaradāsa’s most famous padas (~ hymns), ‘ಭಾಗ್ಯದ ಲಕ್ಷ್ಮಿ ಬಾರಮ್ಮ‘ (Bhāgyada Lakshmi Bāramma: Come, mother lakshmi, fortune-giver), where he calls – with almost childlike affection – on Lakshmi, his lord Vishṇu‘s consort (and popularly worshipped as ‘the goddess of wealth’) to come calling, in all her decked-up glamour and merciful benevolence, on her worshippers and bless them with wealth of every kind. This childlike call for ‘good fortune for all’ being the gist of the hymn, I will refrain from the (rather arduous) task of translating or transcreating the whole hymn. However, I will offer you an audio clip of the song, sung by one of the 20th century’s most-acclaimed Hindustani musicians, Pandit Bhimsen Joshi. I hope you enjoy it.

Note: Incidentally, this poem, is written in the shaṭpadi metre or the sestet, a medieval Kannada metre that, as the name suggests, is made up of stanzas each six lines long and that possesses a ‘beginning rhyme’ – where the second syllable of every line is the same – rather than an end rhyme. This metre is similar to the metre of Purandaradasa’s pada – the primary difference is that the pada is a chaupadi (~ quatrain, quartet) rather than a shaṭpadi.

Dissolution – Creation (ಪ್ರಳಯ – ಸೃಷ್ಟಿ)

This is an interesting poem, made more interesting when one realizes that it is also among Bendre’s earliest. Bendre has written that ತುತೂರಿ (tutūri: ~ trumpet) was his first work, but the book I have says this poem was written sometime between 1914 and 1918 (when Bendre was between 18 and 22 years old). In any case, it seems fair to call this one of Bendre’s “early poems” (when, one can surmise, the Ambikatanayadatta within him had only just begun to come into its own.)

Currently, the poem acts as the prologue to the collection ಮೂರ್ತಿ (mūrti: ~ idol), a set of poems that together narrate the rise, the life, and decline of a stone idol. (Incidentally, his poem ‘Sorcerer (ಗಾರುಡಿಗ)‘ serves as the epilogue.)

However, the (somewhat fuzzy) details regarding the poem’s “date-of-creation” leads me to conclude the poem was written separately and is likely one of Bendre’s early experiments with the Petrarchan sonnet form – which experiments would culminate in the harvest of oct-sestets of “ಉಯ್ಯಾಲೆ” (uyyāle: the swing), Bendre’s 1938 collection of poems. In other words, my guess is that the poem was not written as a prologue so much as it was retroactively attached as a prologue on account of its fitting the theme “ಮೂರ್ತಿ” expatiates upon. The same argument can be made about the poem ‘Sorcerer (ಗಾರುಡಿಗ)‘.

In any case, these are minor details and do not – in the larger picture – add to or take away from the poem.

Note: The idea of ಪ್ರಳಯ (praḷaya: ~ dissolution) and ಸೃಷ್ಟಿ (srishṭi: ~ creation) is an important idea in the Hindu (cosmological) imagination. For the interested, the afterword offers (a little) more detail.

Recitation of the Kannada original:

Dissolution – Creation (ಪ್ರಳಯ – ಸೃಷ್ಟಿ)

Like a cloud of smoke that scattering disappears,
the remembered form dissolves; a pall begins
to rise and spread; like form is lost within
a dream, a formless darkness fills all space;
the mind is dense and thick, and time itself
is lost, unknowable; unmoving, the
mind has turned upon itself; what world is
this that lies ahead? An uncreating
sight, a picture! unpicture. Do I exist?
What else exists? A spreading moor of silence!

Like a deadened body gaining breath, the
darkness around responds; born of the
holy river stone, the melody of Krishna’s
flute is making every fibre of the body
dance; it wears a peacock’s mask. And every-
where are eyes on eyes! Like the widower
given back his bride, the mind is a happy home.

Recitation of the English translation:

(Translated by Madhav K. Ajjampur)

Poem Details: From the collection “ಮೂರ್ತಿ”, first published in 1934.


Ancient Hindu mytho-cosmology posits a cyclical model of the universe. This is expressed by the term ಕಾಲಚಕ್ರ (kālachakra: the wheel-of-time) – a notion that imputes an end to every beginning and a beginning to every end. In particular, this cosmology speaks of the cyclical recurrence of four yugas (or ages or epochs): the Krita (or Satya) yuga, the Trēta yuga, the Dvāpara yuga, and the Kali yuga. The belief is that dharma (~right conduct) decreases in each succeeding age. At its zenith in the Krita yuga, dharma continues to dwindle until it reaches its nadir in the Kali yuga. This event necessitates the pralaya (~the reabsorption; the dissolution) of the universe and its subsequent srishṭi (~creation, emergence).
The cycle of pralaya-srishṭi is ceaseless. That is to say, pralaya and srishṭi are attached in the same way as the front and back of a coin. Or, put differently, dissolution and creation are inextricably linked – each succeeds and precedes the other through a spacetime of eternity.

The Musk-of-Love (ಕಾಮಕಸ್ತೂರಿ)

To understand Ambikatanayadatta Bendre’s genius, it is vital to appreciate what may be called his “folk poetry”. (Indeed, to people who have not read his poetry but have only heard a couple of songs, he remains ‘just a folk poet’.) By “folk poetry”, I refer here to the poetry Bendre wrote using the idiom peculiar to the Dharwad region, an idiom that he single-handedly raised to rarefied heights. His use of the Dharwad idiom – essentially a regional vulgate – may be contrasted with his equally felicitous use of “High Kannada” (which, broadly speaking, refers to the Sanskritized Kannada that had been used through the centuries by some of the language’s best-known poets).

Imbued to overflowing with the sounds and scents of Dharwad, Bendre’s “folk poetry” may be characterized as the poetry that Yeats wished to write but couldn’t; a poetry that, deriving its ಸತ್ತ್ವ (sattva: ~ quintessence, lifeblood) from the people’s everyday speech and catalyzed by the poet’s peculiar genius, emerges as the expressive apex of a people’s culture. The poet, in such a case, is simply the “chosen one”, the representative” of his/her people’s poetic expression. Bendre himself alludes to this phenomenon in the foreword to his first poetry collection ‘ಗರಿ (Feather)’. He says, “I have talked so far of ‘my poems’. That is simply a manner of speaking. In truth, these are not my poems; they are Kannada’s poems. The Kannada-language’s incorporeal voice is actualizing itself through a thousand throats. That my throat is one among this thousand is itself my blessing. That I am one among the group of poets singing in the dawn of Kannada’s renaissance is itself my source of pride. For if it were not so, why should anybody care about my poems? To say ‘my poems or ‘his poems’ is fallacious; for Kannada to lay claim to these poems is the truth.”
He makes mention of it again in his poem ‘ನಾನು (I)‘ when he speaks of how “as Ambikatanaya he mirrors here in Kannada the universe’s inner voice”.

All this talk above happened because the poem in question is basically drenched in the Dharwad (folk) idiom. Unsurprisingly, this gives the poem a warmth, a cosiness, a tenderness that eludes other more ‘serious’ poems.

As for the poem’s English translation (or, more correctly, transcreation), it may be useful to read what I said previously about such an undertaking. A point I did not make then but that needs to be made concerns the sheer impossibility of translating a poem’s native sound – regardless of whether the poem uses the vulgate or the formal form. Since “poetry is the suggestive sound”, the best the translator or transcreator can do is try to find equivalent sounds in the language the poem is being transferred to. In the case of a lyric poem especially, this “equivalency of sound” is perhaps the most felicitous way to convey the ಭಾವ (bhāva: ~ feeling, mood, spirit) that the original evokes in the native reader or listener.

While I am not sure the poem I just linked to did that very capably (though a friend of mine did say that the translation brought forth tears that she had to hide from those around her), it’s my opinion that I’ve done a little better with this effort.

And now, on to the poem! I’ve (tried to) sing and recite both the original and the translation. Please make allowance for the background noise (and, if necessary, my singing). Thanks.

Kannada original (sung):

Kannada original (recited):

The Musk-of-Love (ಕಾಮಕಸ್ತೂರಿ)
                 (By the Field)

                 Thick-plaited girl
                 I’ve brought for you
                 a scented sprig
                 of the musk-of-love

When worn beautifully
upon your crowny crown
a little swirl of wind
will come my way and touch
and I will feel –
delighted – light – delight

                 People who talk
                w ill talk and talk –
                 you are outside of them

English translation (sung):

English translation (recited):

(Translated by Madhav K. Ajjampur)

Poem Details: From the collection “ಕಾಮಕಸ್ತೂರಿ”, first published in 1934.


This poem is the very first poem in the ‘ಕಾಮಕಸ್ತೂರಿ (kāmakastūri)’ collection. In his foreword, here is what Bendre had to say about the first “batch” of poems in the collection: “The first sixteen poems were not all written at the same time. [However], they all exist upon the same wave[length]. The rasika reader can use their imagination to weave a story or stories around the collection; each to their own taste. [After all,] like musk, kāma too is a quarter intoxicant, three quarters earthy soil, but nonetheless a pulsing heady fragrance! kāma (sensual desire) and prēma (love) are like the mud and the lotus. Or to use the “language of poetry” – one is descriptive, the other suggestive.”

Note: On Jan 26, as part of my January picture series, I published the translation of this poem’s first stanza. In it, I chose to translate “kāmakastūri” as “the musk-of-love”. Given Bendre’s explicit mention of the relationship (and difference) between kāma and prēma, translating “kāmakastūri” as “the musk-of-love” (and thereby drawing an equivalence between “kāma” and “love”) complicates the translation of  “prēma” – whose translation as “love” would be more accepted. However, since there is no mention of “prēma” in this particular poem, I have chosen to stick with “the musk-of-love”.

P.S: Strictly speaking, “kāmakastūri” translates to something like “the sensual musk” or “the musk-of-desire”; neither of which quite captures the tender feeling associated with the poem (like “musk-of-love” does).