Bendre’s famous, much-discussed poem “ಭಾವಗೀತ (bhāvagīta)” is, by general critical consensus, understood to be a (self-reflexive) delineation of Bendre’s ‘poetic credo’; in other words, his poem about poetry. Translated directly, a bhāvagīta is a ‘heartful song’, a song that is an expression of feeling. To Bendre, who closely identified himself and his poetry with the rishis of the vedas and their riks, much of his poetry relied on shravaṇa or the ‘act of hearing’. The poem, then, was the shruti or ‘what is heard’. Like Bendre himself says in the poem “Sorcerer (ಗಾರುಡಿಗ)”, the nature of the poetry he wrote was mantra-like – which made it resonant while often putting it ‘beyond mere meaning’.
Furthermore, the fruit of such a temperament and poetic stance was a poetry brimful of nāda, i.e. euphony; which, in turn, made it eminently singable. (Indeed, Bendre is known to have sung his poems to himself, to his wife, to his children as well as to crowds of every possible size.) This credo of Bendre’s is also the likely reason the bhāvagīta of 20th-century Kannada literature is generally taken to correspond to the ‘lyric (poem)’ – itself a reference to a composition that was, originally at least, meant to be sung to the accompaniment of a lyre (or some other musical instrument).
From a historical point of view, Bendre’s earliest poetry was written a decade of so before the creation of his ‘ಭಾವಗೀತ (bhāvagīta)’ poem. That same period saw the birth of a musical tradition within Karnataka that would come to be called the bhaavageete or sugama sangeetha. Starting at about the same time in two far-apart regions of the Kannada-speaking land (with P Kalinga Rao in the Old Mysore region and Hukkeri Balappa in the North Karnataka region), the bhaavageete saw classically-trained rasika musicians use their talents to musically transmit, to the Kannada masses, some of the best Kannada lyric poetry of the time. As the greatest modern exponent of the Kannada lyric, some of Bendre’s greatest lyrical triumphs — including “ಗಂಗಾವತರಣ (gaṅgāvataraṇa)” and “ಹುಬ್ಬಳ್ಳಿಯಾಂವಾ (hubbaḷḷiyāvā: ~the fellow from hubbaḷḷi)” — became popular favourites on account of their being tuned and sung.
If I chose to offer this summary of the bhaavageete tradition (whose name’s connection with Bendre’s poem is not something I’m certain about), it is because this almost-hundred-years-old tradition is solely and directly responsible for acquainting me with the poem whose translation you see below. While I can’t remember when I first listened to the poem, I know that I liked it enough to want to listen to it again – and again – and again. Soon enough, I was smitten by it and it had become a constant companion of my evening runs; a pitstop (on my playlist) that I looked forward to with a particular keenness.
And as had happened several times before, this repeated listening made parts of the poem especially familiar – that kindled in me a desire to translate it – that got me thinking during my run of the possible translation or transcreation of this or that set of lines – that served, eventually, as a springboard to my making a concerted effort to translate the poem in its entirety.
So that is what you see here: a poem whose (lyrical) character inspired a musician to set it to music – which music attracted me and gave me access to the poem’s lyrics – which lyrics drew me inwards and tasked me with their translation.
The Kannada song:
Recitation of the Kannada poem:
Who is that who like the ground
spins silently beneath?
I stand here in my pridefulness –
stàmping it down with both my feet.
Gulping fire – spilling light
who is that there in the dark?
Fading – growing – illuminating,
its standing-ground cannot be marked.
A thousand million stars appear
licking the figure of the night;
but what are they to the star-of-day;
here it comes – blinding the sight.
The dawn, the dusk, the light, the dim –
play and mix and mix and play;
spanning the ages they push on
towárds a sun-time somewhere.
I’m a tràveller on forever’s path,
my search is for the quintessence;
I’ll rush my search though it may mean
melting like sháde in this essence.
Recitation of the English translation:
(Translated by Madhav K. Ajjampur)
Poem Details: From the collection “ಹೃದಯ ಸಮುದ್ರ”, first published in 1956.
P.S: Those curious about the poem ‘ಭಾವಗೀತ (bhāvagīta)‘ should know the poem is nine stanzas long. Each stanza has three lines. And while the entire poem is virtually untranslatable on account of both its ನಾದ (nāda) and its many (cultural) allusions, I like to think I have done a reasonable job of transcreating the last stanza (with its extremely famous opening line).
The chúrn and churning of the word brought forth a euphony
It felt a joy – it spread a joy – in its own lòve it was happy
It did not mean – it did not want – it was just lyric poetry
© Madhav K. Ajjampur