My Film Reviews

I rarely watch Hindi movies. But I have had seen a few of the more famous ones -yes, the 'famous' ones, not necessarily 'great' ones. I will now give my ratings to some of the movies that I have watched over the past few years:

1) Rang De Basanti (2006) -1/10 (Director: R.P.Mehra)
Positives: You can play the songs at some party or cultural programs and people will love them, maybe even dance to the tune.
Negatives: Absolutely hopeless construction and presentation of the storyline, extremely contrived and stretches way beyond the boundaries of rationality and often resorts to naive styles in plot developments. This film should have never been nominated by the Indian Govt. for the Academy Awards' category of the Best Foreign Language Film. Not surprisingly it wasn't shortlisted. It was also nominated for BAFTA awards, where it thankfully lost heavily to Pan's Labyrinth, an amazingly rich and artistically talented fantasy film from Mexican director Del Toro.

2) Devdas (2002) - 0/10 (Director: Sanjay Leela Bhansali)
Positives: Retains the Bollywood trend of songs and dance in gorgeous costumes and locales, so it is good as long as it is kept out of sight from the international film critics to save Bollywood some embarrassment. But the culturally and aesthetically retarded committee working on the behalf of the Indian Govt. chose to nominate it for the Academy Awards.
Negatives: This film should serve as an example of how badly Bollywood can mutilate a great novel for commercial purposes and entertaining the masses. It is a sick movie.

3) Swades (2004) - 1.5/10 (Director: Ashutosh Gowarikar)
Positives: Mellifluous music. Good acting by the supporting actors, esp the lady who played the role of Shah Rukh's ex-governess.
Negatives: Too unrealistic and didactic, the film relies on incessant fingering of the audience's nostalgia, hoping to be able to make them emotional. The film director seemed to be too pretentious and wrongly over-confident about the nobility of making a film that would perhaps parade around like a great moral book and the epitome of nationalism.

4) Chadni Bar (2001) -3.5/10 (Director: Madhur Bhandarkar)
Positives: A great film when compared to the rest of the crap that Bollywood churns out every year. The film had a very great potential. Tabu was great in her performance.
Negatives: Though the initial part of the film had a great story evolving, the things changed towards the end; it plummeted from the great altitude where it was soaring high, because the director in an effort to move the audience to tears once again dumped all suffering on the protagonist, and even went to the extent of ridiculous plot developments to achieve his goal. I say that this film is an example of a great potential lost due to the immaturity of the director and writer.

5) Water (2005) - 6.5/10 (Director: Deepa Mehta)
Positives: More than the film, the circumstances surrounding it made it more interesting. The best thing about the film is the fact that this film was eventually made; it should serve as a tight slap to those fundamentalist Hindu organizations who have no respect or understanding for art, understandably so, because their members and leaders are after all fanatics and ignorant philistines. The settings of the film were great, but I should also mention that in spite of having all the modern facilities and color films, it won't stir in you the same joys as of the lyrical art house favorite 'Pather Panchali'. Somehow this film strongly reminded me of R.K.Narayan's novel, "Waiting for the Mahatma," possibly because of interweaving the plots with Gandhi and India's independence movement. My favorite line from the film is where Shakuntala (Seema Biswas) tells Sarala (the child widow) that if God wishes then Patiraji will hopefully be born as a man in her next life -this, to me, summarized all the plight and suffering of the widows and their desires to live a free life, in a very beautiful way.
Negatives: She had to force in that 'Piya Ho' song! Didn't she? How much would she have lost if she hadn't included that song? All I can say is that she killed her chances at the Oscars because of such songs forcing their way into the movie! I believe that in most cases, taking resort to the lyrics of a song to convey ideas and feelings of the subject is an artistic failure for the director. Also the dialogue was sometimes kiddish. However this film might leave an uninformed viewer with very wrong notions about Hinduism, and many may end up believing that most Indian widows still have to live in similar conditions. In context of India, economic hardship of women is not necessarily a strong fighting point for feminists, because it has much to do with prevalent poverty than to pure oppression by males.

6) Black (2005) - 4/10 (Director: Sanjay Leela Bhansali)
Positives: Although it is a welcome departure from the usual Bollywood melodrama, it is after all it is an adaptation of Hellen Keller's autobiography, The story of my life. Great acting by the little girl.
Negatives: Not original, therefore unsuitable for much competition.

7) Dhoop (2003) - 5.5/10 (Director: Ashwini Chaudhury)
Positives: Quite a nice film.
Negatives: It couldn't fly too high because of the same reason as that of Satyajit Ray's 'Ganashatru', well presented film, but didactic in approach- a few virtuous men against the rest of the world.

8) Chak De India (2007) -1/10 (Director: Shimit Amin)
Positives: A different kind of a storyline. 'Chak De India' song became quite popular I would say.
Negatives: Naive presentation, contrived plots. It seemed like the Director thinks that he can prove himself patriotic by making fellow Indians gulp down a sugar-coated pill of lies. Our sport teams are really so hopeless that we can only hope to win the World Cup in our movies, and strangely enough people seem to enjoy that fake glory and walk out of the theaters as proud Indians.

9) Lagaan (2001) - 2/10 (Director: Ashutosh Gowarikar)
Positives: Good songs and dance, enjoyable for entertainment.
Negatives: One man's battle against the entire of British regiment of a princely state. The storyline is basically silly, but it was presented in a way so as to make Indians love it; we all savored this big fat lie like a delicious chocolate cake and then thanked Mr. Gowarikar for it!

10) Gadar: Ek Prem Katha (2001) - 0/10 (Director: Anil Sharma)
Positives: There isn't anything positive about this movie, it is disdainfully crappy from the start to the end.
Negatives: It is a wastage of time, like all other Sunny Deol movies.

Some other movies that I am going to grade without discussing why I chose these numbers to save my time are:
11) Munnabhai MBBS - 0.5/10
12) Kal Ho Na Ho -1.5/10
13) Kabhi Khushi Kabhi Gham -1/10
14) Koi Mil Gaya -1/10
15) Kaho Na Pyar Hain -0.5/10
16) Hum Tum -1/10
17) Border - 1/10
18) Kuch kuch hota hain -0.5/10
19) Dil Se - 1/10
20) Roja -5/10

Two other Indian films in English:
A) Mr. & Mrs. Iyer (2002) - 5.5/10 (Director: Aparna Sen)
Positives: Another film that I hoped will knock some sense into the heads of the contemporary Bollywood directors. Konkona was good in her performance.
Negatives: Though it is a pleasant movie, it is not too great. Overall, it simply isn't the kind of film that can simply sweep one off his feet.

B) 15 Park Avenue (2005) - 5/10 (Director: Aparna Sen)
Positives: Good storyline, great acting by both Konkona and Shabana Azmi.
Negatives: Couldn't have a more weird and abrupt ending! An open ending should also end gracefully rather than something that looks like, 'Ok, time's up, end immediately!'

What is India's role in Burmese protests?

Wednesday, 26th September '07, BBC report: Explaining India's silence over Burma...

India has remained silent about the anti-government protests by Buddhist monks across Burma (Myanmar) , and this has earned the wrath of many intellectuals who feel that India should actively take part to help in mediating between the military Govt of Burma and the protesters.
India's Foreign minister, Pranab Mukherjee, however has been quite unambiguos about india's position on this issue:
"We have strategic and economic interests to protect in Burma. It is up to the Burmese people to struggle for democracy"
Bravo! Well done minister! Spoken like a sensible person! You may be called heartless, but at least you have proven that are not a hypocrite!
But everybody doesn't like the Minister's stand on the issue- people like Mrs. Nandita Haksar, some Human Rights Lawyer who was quoted on BBC, opines:
"We cannot have democracy at home and support military tyrants in the neighbourhood. India must do all it can for the restoration of democracy in Burma"
Let me state right away that I don't know Mrs.Haskar, nor do I have a grudge against her, but I didn't quite like what she said.
So Mrs. Haskar, what do you think India should do? -Send its troops into Burma? Will you go yourelf, or send your husband and sons, if you have any, to fight on the Indian side to restore democracy in Burma? Or do you think that since you pay taxes, a big part of which goes into the defence sector, the Govt is bound to listen to your whims and send its troops across the border? Or do you think 'talks' and 'sanctions' will solve the issue?
Or is it that you want India to get involved in a fight with Burma so that next time you can critisize the Indian Govt for Human Rights violation in Burma and get to enjoy your another five minutes of fame on BBC? Aren't US troops in Iraq working now for the protection of Human Rights (as US would put it)? But I am sure you must be shouting against USA as well on some other news channel.
So what exactly do you want? -first critisize and tempt a Govt to enter into a problem, and then critisize it for meddling in it? Is that how Human Rights Protection Groups work these days? No wonder BBC never runs short of articles related to it!

India should use this opportunity to blackmail the present Burmese Govt and foster its relation to prevent growth of terrorist groups in north-east, strike deals to get access to Burmese fuel and oil reserves and improve relations with Burma to counter Chinese influence over it. If still their military Govt doesn't respond favorably to such plans and continue to let China enjoy all its resources, India should join the world in critisizing the Burmese Govt, ask for UN intervention and send troops if necessary to overthrow that Govt, and then when a Democratic Govt is established there, India should pretend to be a useful ally as ever. Why just let our troops die unnecesarily in the outset itself? First try to take advantage of the situation, if that doesn't work out, then strike like a venomous snake, and then become very friendly once again! So surely India can have democracy at home and support military tyrants in the neighbourhood.
Who said 'hypocrisy' is bad? Aren't we all hypocrites?
Hypocrisy is fundamental to human nature. Denying that is either naive or hypocritic in itself!
India has the right to be hypocritic, just like any other nation, just like any individual, and therefore the likes of Mrs. Haskar and editor Sumit Chakrabarty should just keep their mouth shut.

Pujo by Vir Sanghvi

[I liked this article because I felt that it is quite realistic, and I do identify the various facts and characteristics that the author Vir Snghvi alludes to in this writing. It may sound as if the passage glorifies Calcutta and its inhabitants, and I am sure that had I written this stuff myself then I would have been called a Bong-chauvinist and would end up earning the wrath of many of my friends, which infact i already have to some extent. But really this was what i intended to convey when i spoke highly about Calcutta, its people, and maybe this famous non-bong author will be able to convey the same idea in a better way, without drawing much scoff (hopefully) because of his impartial background...]

Vir Sanghvi is the editor of The Hindustan Times. In this article, he explains what “Pujo” means to a Bengali.

Most modern Indian cities strive to rise above ethnicity. Tell a Delhiwalla that his is a Punjabi city (which, in many ways, it is) and he will respond with much self-righteous nonsense about being the nation’s capital, about the international composition of the city’s elite etc. And tell a Bangalorean that he lives in a Kannadiga city and you’ll get lots of techno-gaff about the internet revolution and about how Bangalore is even more cosmopolitan than Bombay.

But, the only way to understand what Calcutta is about is recognize that the city is essentially Bengali. What’s more, no Bengali minds you saying that. Rather, he is proud of the fact. Calcutta’s strengths and weaknesses mirror those of the Bengali character. It has the drawbacks: the sudden passions, the cheerful chaos, the utter contempt for mere commerce, the fiery response to the smallest provocation. And it has the strengths (actually, I think of the drawbacks as strengths in their own way). Calcutta embodies the Bengali love of culture; the triumph of intellectualism over greed; the complete transparency of all emotions, the disdain with which hypocrisy and insincerity are treated; the warmth of genuine humanity; and the supremacy of emotion over all other aspects of human existence.

That’s why Calcutta is not for everyone. You want your cities clean and green; stick to Delhi. You want your cities, rich and impersonal; go to Bombay. You want them high-tech and full of draught beer; Bangalore’s your place. But if you want a city with a soul: come to Calcutta.

When I look back on the years I’ve spent in Calcutta - and I come back so many times each year that I often feel I’ve never been away - I don’t remember the things that people remember about cities. When I think of London, I think of the vast open spaces of Hyde Park. When I think of New York, I think of the frenzy of Times Square. When I think of Tokyo, I think of the bright lights of Shinjiku. And when I think of Paris, I think of the Champs Elysee. But when I think of Calcutta, I never think of any one place. I don’t focus on the greenery of the maidan, the beauty of the Victoria Memorial, the bustle of Burra Bazar or the splendour of the new Howrah ‘Bridge’. I think of people. Because, finally, a city is more than bricks and mortars, street lights and tarred roads. A city is the sum of its people. And who can ever forget - or replicate - the people of Calcutta?

When I first came to live here, I was told that the city would grow on me. What nobody told me was that the city would change my life. It was in Calcutta that I learnt about true warmth; about simple human decency; about love and friendship; about emotions and caring; about truth and honesty. I learnt other things too. Coming from Bombay as I did, it was a revelation to live in a city where people judged each other on the things that really mattered; where they recognized that being rich did not make you a better person - in fact, it might have the opposite effect. I learnt also that if life is about more than just money, it is about the things that other cities ignore; about culture, about ideas, about art, and about passion. In Bombay, a man with a relatively low income will salt some of it away for the day when he gets a stock market tip. In Calcutta, a man with exactly the same income will not know the difference between a debenture and a dividend. But he will spend his money on the things that matter. Each morning, he will read at least two newspapers and develop sharply etched views on the state of the world. Each evening, there will be fresh (ideally, fresh-water or river) fish on his table. His children will be encouraged to learn to dance or sing. His family will appreciate the power of poetry. And for him, religion and culture will be in inextricably bound together.

Ah religion! Tell outsiders about the importance of Puja in Calcutta and they’ll scoff. Don’t be silly, they’ll say. Puja is a religious festival. And Bengal has voted for the CPM since 1977. How can godless Bengal be so hung up on a religions festival? I never know how to explain them that to a Bengali, religion consists of much more than shouting Jai Shri Ram or pulling down somebody’s mosque. It has little to do with meaningless ritual or sinister political activity.

The essence of Puja is that all the passions of Bengal converge: emotion, culture, the love of life, the warmth of being together, the joy of celebration, the pride in artistic expression and yes, the cult of the goddess.

It may be about religion. But is about much more than just worship. In which other part of India would small, not particularly well-off localities, vie with each other to produce the best pandals? Where else could puja pandals go beyond religion to draw inspiration from everything else? In the years I lived in Calcutta, the pandals featured Amitabh Bachchan, Princes Diana and even Saddam Hussain! Where else would children cry with the sheer emotional power of Dashami, upset that the Goddess had left their homes? Where else would the whole city gooseflesh when the dhakis first begin to beat their drums? Which other Indian festival - in any part of the country - is so much about food, about going from one roadside stall to another, following your nose as it trails the smells of cooking?

To understand Puja, you must understand Calcutta. And to understand Calcutta, you must understand the Bengali. It’s not easy. Certainly, you can’t do it till you come and live here, till you let Calcutta suffuse your being, invade your bloodstream and steal your soul. But once you have, you’ll love Calcutta forever. Wherever you go, a bit of Calcutta will go with you. I know, because it’s happened to me. And every Puja, I am overcome by the magic of Bengal. It’s a feeling that’ll never go away.

Naipaul: His amazing banquet speech!

Vidiadhar Surajprasad Naipaul, and not Sir Vidia!- yes, that's how he wants him to be called, and he has made it clear during many of his interviews. But he isn't too aggressive about it nowadays, perhaps because he has now got used to people calling him by that abbreviated form.

V.S.Naipaul- the amazing author, who can make you walk on the border of fiction and non-fiction without even letting you realise the fine transitions. He is the author of many well-acclaimed novels, namely 'A house for Mr.Biswas', 'The Enigma of Arrival', 'The Loss of El Dorado: a history', 'Half a life', 'In a free state', 'Miguel Street'. Naipaul received Nobel Prize in literature in 2001, and he gave a very nice speech at the royal banquet held in his honor. The 2 munite presentation was enough for the author to prove his literary prowess. I am sure you are going to enjoy every bit of this speech that I present below:


The speech:

Sir V.S. Naipaul's speech at the Nobel Banquet, December 10, 2001

"Your Majesties, Your Royal Highnesses, Honoured Laureates, Ladies and Gentlemen,

One of the things that happen to people who get the Nobel Prize is that they get a lot of media attention. Many interviews. Too many. So many that I begin to feel now that I have lost the capacity for spontaneous thought. I need the questions. So I thought I would begin this two-minute speech, a light one, like the old-fashioned comedian. The man to whom things happen on the way to the studio.

Well, then. Something happened to me on the way to Stockholm. The strap of my wrist-watch broke. And for some surreal moments I found myself looking at my watch on the floor of the plane. This is no metaphor. Here is the strapless watch (shows it to the gathering). What did it mean? What was the awful symbolism? The fact that all through the Nobel week I was to be without my watch.

The great Caesar, landing in Egypt, fell flat on his face on the wet shore. You can imagine the consternation of his officers, until the great and resourceful man shouted, "Africa, I've got you!" Some centuries later, the Emperor Julian, training one morning with his soldiers, lost the wicker part of his shield. He was left holding only the grip or the handle. How terrible for everybody until the Emperor shouted, "What I have I hold".

Not having the resourcefulness of these great men, I could find no words to make the bad symbolism good. Until tonight, when I understood that time was to stop for me during this Nobel week, and that, when it began again, it would be truly new. Now my strapless watch, benign again, tells me without threat that my time is running out. My two minutes are up".

Origin of a familiar word: "OK"

One of the most ubiquitous words in English is an innocuous two-lettered word: "OK"! Well, some people would like to question if that is indeed a 'word'! Yes, it has been accepted as a woer, but its usage is informal. Today it suddenly occured to me, what is the provenance of this simple, but so meaningful and versatile word?! And the outcome of my search is somewhat like this:

OK is a quintessentially American term that has spread from English to many other languages. Its origin was the subject of scholarly debate for many years until Allen Walker Read showed that OK is based on a joke of sorts. OK is first recorded in 1839 but was probably in circulation before that date. During the 1830s there was a humoristic fashion in Boston newspapers to reduce a phrase to initials and supply an explanation in parentheses. Sometimes the abbreviations were misspelled to add to the humor. OK was used in March 1839 as an abbreviation for all correct, the joke being that neither the O nor the K was correct. Originally spelled with periods, this term outlived most similar abbreviations owing to its use in President Martin Van Buren's 1840 campaign for reelection. Because he was born in Kinderhook, New York, Van Buren was nicknamed Old Kinderhook, and the abbreviation proved eminently suitable for political slogans. That same year, an editorial referring to the receipt of a pin with the slogan O.K. had this comment: “frightful letters... significant of the birth-place of Martin Van Buren, old Kinderhook, as also the rallying word of the Democracy of the late election, ‘all correct’.... Those who wear them should bear in mind that it will require their most strenuous exertions... to make all things O.K.”

Interesting I guess!

Taslima Nasrin: Her fight for Freedom of expression!

In 1993, when Nasrin published 'Lajja' (Shame), which described the tortures inflicted on the minority Bengali population by Muslim fundamentalists, the Bangladesh Government exiled her following the declaration of a 'fatwa' that imposed a death sentence for her. The episode does revive our memories of the 1988 'fatwa' on Salman Rushdie after the publication of 'The Satanic Verses', in which the author was alleged to have made irreverent remarks about the Prophet. Such incidents, however, bring forth an important question: What are the limits for freedom of expression, and who should set the limits?

Somehow, i can't resist myself here from drawing a parallelism to Arundhuti Roy's Booker winning novel, 'The God of Small Things'. Roy had also raised another question for the society, though somewhat similar in essence: 'whom' to love, and 'how' much to love?! Drawing the two threads together, let me put up my question: Does our society have the right to decide for us what are the limits and boundaries of 'love' or of 'freedom of expression'?! To me, the question is similar to asking- who should take a higher preference- an individual's will or the conventions acceptable to society?

The answer isn't easy, precisely because of the fact that many a times in history we have observed that it is an individual who dared to stand up all alone against the whole society and serve as an eye opener to those who had been sheepishly following the established norms without even questioning their appropriateness. The subject of an individual's will and viewpoint being different from that of the society's has a parallelism even in nature. As Einstein observed during a discussion with Tagore, "One tries to understand in the higher plane how the order is. The order is there, where the big elements combine and guide existence, but in the minute elements this order is not perceptible". Tagore had replied, "Thus duality is in the depths of existence..". Perhaps, it is the rule of nature that conflicts will arise from differences of an individual's protest against the existing conditions, leading to a revolution, or an eye opening lesson, and then slowly an 'orderly scheme of things evolve' with passage of time. I am tempted to quote Darwin here, who proposed that human beings evolved through conflicts, and the society only grows through conflicts. Instead of going into the discussion about the scientific credibility of Darwin's hypothesis, I find it essential to state at this point that I personally do not agree with the way this theory was interpreted and used by Karl Marx or Friederich Engles in developing the communist theories of 'class struggle'.
Without digressing further in debating on a topic that probably has no off-hand solution, let us return to the story of Taslima Nasrin and her fight for equality of women and freedom of expression.

Ban on her books in Bangladesh doesn't surprise her anymore. But she was flustered a bit when the so-called 'liberal' state of West Bengal also imposed a similar ban on her third volume of her memoirs, Dwikhandita, on 27th November, 2003. Well, I guess the naked truth was perhaps too strong even for the 'men' of Bengal Intelligentsia. Yes, I agree on the fact that Nasrin's works contain shockingly explicit and crude descriptions that, in India, can only be expected from Shobha De or Khushwant Singh, but at the same time we must realise that it is upto the readers to decide for themselves whether her writing style is acceptable to them or not. Vivid elaboration of tabooed topics have marked the writing style of many famous authors, and such works have been widely welcomed by a big section of readers. Austrian feminist writer, Elfriede Jelinek, known for jolting readers with her frank descriptions of sexuality, pathos and conflict between men and women, went to win the Nobel Prize in 2004 inspite of severe controversy and resistance within the prize committee, specially from academy members like Knut Ahnlund.
Bengal Government may claim that it was a step taken to prevent riots, or stop any moral degradation of the society. But I feel like questioning: Is that so? Or was it that the inherent hypocrisy of an average Bengali, or more appropriately the group of 'pseudo-intellectuals' who like to bask in the glory of their past literary geniuses, philosophers and reformers, had to come to the forefront? Oh, I am sorry, I guess now I am crossing the 'limits' acceptable to my fellow West Bengal intellectuals.

Whatever may be the outcome of this struggle between the ones who believe in full freedom of expression and others who believe in freedom within limits acceptable by existing social standards, the truth that emerges here is that our society, however civilized we might claim it to be, has a long way to go before it can be mature enough to accept criticism, whether baseless or reasonable! The fact that Nasrin's work on sexual freedom for women created such a grave development in Bengal just goes to prove that.

Nasrin in her explanation said:

"...One of the main reasons for the controversy regarding Dwikhandio is sexual freedom. Since most people are immersed neck-deep in the traditions of a patriarchal society, they are irritated, angry and outraged at the open declaration of a woman's sexual autonomy. This freedom is not something that I simply talk about; rather, I have established it for myself, in and through my life. But this freedom is not license; men cannot touch me whenever they please. I decide..."

While Nasrin believes in fighting for the freedom of expression, many others feel that her works are just a blatant attack against religions and some of the well-established norms of our society to which maybe we should(?) get used to! The debate revolving her works will surely continue even in the years to come, even with authors of the future! I believe that writers of the next generation will also have the spirit of Taslima Nasrin while defending their stance.
However, I must say that though Nasrin has presented herself as a victimised woman, her own actions have remained questionable. Many critics feel that she solely aims to create new controversies in the name of women liberation by dragging famous names through the mud (as she did in her book, "Ka").

Taslima's 'Noorjahan', the epic poem which describes the savagery done to a female lover who was stoned to death by the society's 'moral-police', also speak volumes about the injustice meted out to the author in her own words.

"They have made Noorjahan stand in a hole in the courtyard
There she stands submerged to her waist, her head hanging
They're throwing stones at Noorjahan
Stones that are striking my body
I feel them on my head, forehead, chest, back
And I hear laughing, shouts of abuse

Noorjahan's fractured forehead pours out blood, mine also
Noorjahan's eyes have burst, mine also
Noorjahan's nose has been smashed, mine also
Noorjahan's torn breast and heart have been pierced, mine also

Are these stones not striking you?

They laugh aloud, stroking their beards
Their tupis [caps] shaking with jubilation
As they swing their walking sticks
They with quivering and cruel eyes speed to pierce her body, mine too
Are these arrows not piercing your body?"

Poem: 'Lives' by Pablo Neruda

Pablo Neruda (1904-1973), whose real name is Neftalí Ricardo Reyes Basoalto was born in Parral, Chile. He was a fierily political poet and an activist, whose poetry was enriched with the action of an elemental force and could bring alive a continent's destiny and dreams. His love poems also had a special appeal of its own: Veinte poemas de amor y una cancion desesperada ("Twenty Love Poems and a song of Despair, 1924), Cien sonetos de amor ("A hundred love sonnets", 1959). Pablo Neruda was awarded the nobel Prize in Literature in the year 1971.

The following poem is taken from "The Captain's Verses (1953)", translated by Donald D. Walsh.

LIVES

Ah how ill at ease sometimes
I feel you are
with me, victor among men!

Because you do not know
that with me were victorious
thousands of faces that you can not see,
thousands of feet and hearts that marched with me,
that I am not.
that I do not exist,
that I am only the front of those who go with me,
that I am stronger
because I bear in me
not my little life
but all the lives,
and I walk steadily forward
because I have a thousand eyes,
I strike the stone heavily
because I have a thousand hands
and my voice is heard on the shores
of all the lands
because it is the voice of all
those who did not speak,
of those who did not sing
and who sing today with this mouth
that kisses you.

Octavio Paz (1914-1998)

Octavio Paz

Octavio Paz was a Mexican born writer, critic and poet, whose works evolved from an intractable but fruitful union of cultures: pre-Columbian Indian, the Spanish Conquistadors and Western Modernism. Experienences from India and other areas were incluced as well. All of this has, in shifting configurations, been reflected in his work. His own identity, Mexican and, in its broader meaning, Latin-American, has already been explored decisively in The Labyrinth of Solitude (1950).
The Nobel Prize committee awarded him the prize in Literature in the year 1990 "for impassioned writing with wide horizons, characterized by sensuous intelligence and humanistic integrity".

Below is a story titled, The Clerk's vision, taken from the nobel foundation's archive:

The Clerk's Vision

And to fill all these white pages that are left for me with the same monotonous question: at what hour do the hours end? And the anterooms, the memorials, the intrigues, the negotiations with the Janitor, the Rotating Chairman, the Secretary, the Associate, the Delegate. To glimpse the Influential from afar and to send my card each year to remind – who? – that in some corner, devoted, steady, plodding, although not very sure of my existence, I too await the coming of my hour, I too exist. No. I quit.

Yes, I know, I could settle down in an idea, in a custom, in an obsession. Or stretch out on the coals of a pain or some hope and wait there, not making much noise. Of course it's not so bad: I eat, drink, sleep, make love, observe the marked holidays and go to the beach in summer. People like me and I like them. I take my condition lightly: sickness, insomnia, nightmares, social gatherings, the idea of death, the little worm that burrows into the heart or the liver (the little worm that leaves its eggs in the brain and at night pierces the deepest sleep), the future at the expense of today – the today that never comes on time, that always loses its bets. No. I renounce my ration card, my I.D., my birth certificate, voter's registration, passport, code number, countersign, credentials, safe conduct pass, insignia, tattoo, brand.

The world stretches out before me, the vast world of the big, the little, and the medium. Universe of kings and presidents and jailors, of mandarins and pariahs and liberators and liberated, of judges and witnesses and the condemned: stars of the first, second, third and nth magnitudes, planets, comets, bodies errant and eccentric or routine and domesticated by the laws of gravity, the subtle laws of falling, all keeping step, all turning slowly or rapidly around a void. Where they claim the central sun lies, the solar being, the hot beam made out of every human gaze, there is nothing but a hole and less than a hole: the eye of a dead fish, the giddy cavity of the eye that falls into itself and looks at itself without seeing. There is nothing with which to fill the hollow center of the whirlwind. The springs are smashed, the foundations collapsed, the visible or invisible bonds that joined one star to another, one body to another, one man to another, are nothing but a tangle of wires and thorns, a jungle of claws and teeth that twist us and chew us and spit us out and chew us again. No one hangs himself by the rope of a physical law. The equations fall tirelessly into themselves.

And in regard to the present matter, if the present matters: I do not belong to the masters. I don't wash my hands of it, but I am not a judge, nor a witness for the prosecution, nor an executioner. I do not torture, interrogate, or suffer interrogation. I do not loudly plead for leniency, nor wish to save myself or anyone else. And for all that I don't do and for all that they do to us, I neither ask forgiveness nor forgive. Their piety is as abject as their justice. Am I innocent? I'm guilty. Am I guilty? I'm innocent. (I'm innocent when I'm guilty, guilty when I'm innocent. I'm guilty when ... but that is another song. Another song? It's all the same song.) Guilty innocent, innocent guilty, the fact is I quit.

I remember my loves, my conversation, my friendships. I remember it all, see it all, see them all. With melancholy, but without nostalgia. And above all, without hope. I know that it is immortal, and that, if we are anything, we are the hope of something. For me, expectation has spent itself. I quit the nevertheless, the even, the in spite of everything, the moratoriums, the excuses and forgiving. I know the mechanism of the trap of morality and the drowsiness of certain words. I have lost faith in all those constructions of stone, ideas, ciphers. I quit. I no longer defend this broken tower. And, in silence, I await the event.

A light breeze, slightly chilly, will start to blow. The newspapers will talk of a cold wave. The people will shrug their shoulders and continue life as always. The first deaths will barely swell the daily count, and no one in the statistics bureau will notice that extra zero. But after a while everyone will begin to look at each other and ask: what's happening? Because for months doors and windows are going to rattle, furniture and trees will creak. For years there will be a shivering in the bones and a chattering of teeth, chills and goose bumps. For years the chimneys, prophets, and chiefs will howl. The mist that hangs over stagnant ponds will drift into the city. And at noon beneath the equivocal sun, the breeze will drag the smell of dry blood from a slaughterhouse abandoned even by flies.

No use going out or staying at home. No use erecting walls against the impalpable. A mouth will extinguish all the fires, a doubt will root up all the decisions. It will be everywhere without being anywhere. It will blur all the. mirrors. Penetrating walls and convictions, vestments and well-tempered souls, it will install itself in the marrow of everyone. Whistling between body and body, crouching between soul and soul. And all the wounds will open because, with expert and delicate, although somewhat cold, hands, it will irritate sores and pimples, will burst pustules and swellings and dig into the old, badly healed wounds. Oh fountain of blood, forever inexhaustible! Life will be a knife, a gray and agile and cutting and exact and arbitrary blade that falls and slashes and divides. To crack, to claw, to quarter, the verbs that move with giant steps against us!

It is not the sword that shines in the confusion of what will be. It is not the saber, but fear and the whip. I speak of what is already among us. Everywhere there are trembling and whispers, insinuations and murmurs. Everywhere the light wind blows, the breeze that provokes the immense Whiplash each time it unwinds in the air. Already many carry the purple insignia in their flesh. The light wind rises from the meadows of the past, and hurries closer to our time.

A Poem from Gitanjali

Rabindranath Tagore

In 1913, Rabindranath Tagore became the first Asian to have received the Nobel Prize in Literature. His most famous work, Gitanjali, carried a foreword written bt W.B. Yeats. I present below a poem from the collection of his poems in Gitanjali:


When the creation was new and all the stars shone in their first splendour, the gods held their assembly in the sky and sang `Oh, the picture of perfection! the joy unalloyed!'

But one cried of a sudden -- `It seems that somewhere there is a break in the chain of light and one of the stars has been lost.'

The golden string of their harp snapped, their song stopped, and they cried in dismay -- `Yes, that lost star was the best, she was the glory of all heavens!'

From that day the search is unceasing for her, and the cry goes on from one to the other that in her the world has lost its one joy!

Only in the deepest silence of night the stars smile and whisper among themselves -- `Vain is this seeking! unbroken perfection is over all!'

---

Memoirs of a non-resident Bengali

Memoirs of a non-resident Bengali

Excerpt from Amartya Sen's essay on 'Tagore and His India'

1998 Nobel laureate in Economics, Amartya Sen, was Tagore's disciple at Shantiniketan. The following are excerpts from his essay on Tagore, which mainly covers Tagore's ideologies and his differences with another great personality of India, Mahatma Gandhi. The two, inspite of their differences, had deep respect for each other.

Photo of Prof. Amartya Sen

Voice of Bengal

Rabindranath Tagore, who died in 1941 at the age of eighty, is a towering figure in the millennium-old literature of Bengal. Anyone who becomes familiar with this large and flourishing tradition will be impressed by the power of Tagore's presence in Bangladesh and in India. His poetry as well as his novels, short stories, and essays are very widely read, and the songs he composed reverberate around the eastern part of India and throughout Bangladesh.

In contrast, in the rest of the world, especially in Europe and America, the excitement that Tagore's writings created in the early years of the twentieth century has largely vanished. The enthusiasm with which his work was once greeted was quite remarkable. Gitanjali, a selection of his poetry for which he was awarded the Nobel Prize in Literature in 1913, was published in English translation in London in March of that year, and had been reprinted ten times by November, when the award was announced. But he is not much read now in the West, and already by 1937, Graham Greene was able to say: "As for Rabindranath Tagore, I cannot believe that anyone but Mr. Yeats can still take his poems very seriously."

Gandhi and Tagore

Bolpur, Feb. 1940. Tagore welcomes Gandhi to the 'home of all humanity'.

Since Rabindranath Tagore and Mohandas Gandhi were two leading Indian thinkers in the twentieth century, many commentators have tried to compare their ideas. On learning of Rabindranath's death, Jawaharlal Nehru, then incarcerated in a British jail in India, wrote in his prison diary for August 7, 1941:

"Gandhi and Tagore. Two types entirely different from each other, and yet both of them typical of India, both in the long line of India's great men ... It is not so much because of any single virtue but because of the tout ensemble, that I felt that among the world's great men today Gandhi and Tagore were supreme as human beings. What good fortune for me to have come into close contact with them."

Romain Rolland was fascinated by the contrast between them, and when he completed his book on Gandhi, he wrote to an Indian academic, in March 1923: "I have finished my Gandhi, in which I pay tribute to your two great river-like souls, overflowing with divine spirit, Tagore and Gandhi." The following month, he recorded in his diary an account of some of the differences between Gandhi and Tagore written by Reverend C.F. Andrews, the English clergyman and public activist who was a close friend of both men (and whose important role in Gandhi's life in South Africa as well as India is well portrayed in Richard Attenborough's film Gandhi [1982]). Andrews described to Rolland a discussion between Tagore and Gandhi, at which he was present, on subjects that divided them:

"The first subject of discussion was idols; Gandhi defended them, believing the masses incapable of raising themselves immediately to abstract ideas. Tagore cannot bear to see the people eternally treated as a child. Gandhi quoted the great things achieved in Europe by the flag as an idol; Tagore found it easy to object, but Gandhi held his ground, contrasting European flags bearing eagles, etc., with his own, on which he has put a spinning wheel. The second point of discussion was nationalism, which Gandhi defended. He said that one must go through nationalism to reach internationalism, in the same way that one must go through war to reach peace."

Tagore greatly admired Gandhi but he had many disagreements with him on a variety of subjects, including nationalism, patriotism, the importance of cultural exchange, the role of rationality and of science, and the nature of economic and social development. These differences, I shall argue, have a clear and consistent pattern, with Tagore pressing for more room for reasoning, and for a less traditionalist view, a greater interest in the rest of the world, and more respect for science and for objectivity generally.

Rabindranath knew that he could not have given India the political leadership that Gandhi provided, and he was never stingy in his praise for what Gandhi did for the nation (it was, in fact, Tagore who popularized the term "Mahatma"—great soul—as a description of Gandhi). And yet each remained deeply critical of many things that the other stood for. That Mahatma Gandhi has received incomparably more attention outside India and also within much of India itself makes it important to understand "Tagore's side" of the Gandhi-Tagore debates.

In his prison diary, Nehru wrote: "Perhaps it is as well that [Tagore] died now and did not see the many horrors that are likely to descend in increasing measure on the world and on India. He had seen enough and he was infinitely sad and unhappy." Toward the end of his life, Tagore was indeed becoming discouraged about the state of India, especially as its normal burden of problems, such as hunger and poverty, was being supplemented by politically organized incitement to "communal" violence between Hindus and Muslims. This conflict would lead in 1947, six years after Tagore's death, to the widespread killing that took place during partition; but there was much gore already during his declining days. In December 1939, he wrote to his friend Leonard Elmhirst, the English philanthropist and social reformer who had worked closely with him on rural reconstruction in India (and who had gone on to found the Dartington Hall Trust in England and a progressive school at Dartington that explicitly invoked Rabindranath's educational ideals):

"It does not need a defeatist to feel deeply anxious about the future of millions who, with all their innate culture and their peaceful traditions are being simultaneously subjected to hunger, disease, exploitations foreign and indigenous, and the seething discontents of communalism."

How would Tagore have viewed the India of today? Would he see progress there, or wasted opportunity, perhaps even a betrayal of its promise and conviction? And, on a wider subject, how would he react to the spread of cultural separatism in the contemporary world?

Reasoning in Freedom

For Tagore it was of the highest importance that people be able to live, and reason, in freedom. His attitudes toward politics and culture, nationalism and internationalism, tradition and modernity, can all be seen in the light of this belief. Nothing, perhaps, expresses his values as clearly as a poem in Gitanjali:

Where the mind is without fear
and the head is held high;
Where knowledge is free;
Where the world has not been
broken up into fragments
by narrow domestic walls; ...
Where the clear stream of reason
has not lost its way into the
dreary desert sand of dead habit; ...
Into that heaven of freedom,
my Father, let my country awake.

Rabindranath's qualified support for nationalist movements—and his opposition to the unfreedom of alien rule—came from this commitment. So did his reservations about patriotism, which, he argued, can limit both the freedom to engage ideas from outside "narrow domestic walls" and the freedom also to support the causes of people in other countries. Rabindranath's passion for freedom underlies his firm opposition to unreasoned traditionalism, which makes one a prisoner of the past (lost, as he put it, in "the dreary desert sand of dead habit").

Tagore illustrates the tyranny of the past in his amusing yet deeply serious parable "Kartar Bhoot" ("The Ghost of the Leader"). As the respected leader of an imaginary land is about to die, his panic-stricken followers request him to stay on after his death to instruct them on what to do. He consents. But his followers find their lives are full of rituals and constraints on everyday behavior and are not responsive to the world around them. Ultimately, they request the ghost of the leader to relieve them of his domination, when he informs them that he exists only in their minds.

Tagore's deep aversion to any commitment to the past that could not be modified by contemporary reason extended even to the alleged virtue of invariably keeping past promises. On one occasion when Mahatma Gandhi visited Tagore's school at Santiniketan, a young woman got him to sign her autograph book. Gandhi wrote: "Never make a promise in haste. Having once made it fulfill it at the cost of your life." When he saw this entry, Tagore became agitated. He wrote in the same book a short poem in Bengali to the effect that no one can be made "a prisoner forever with a chain of clay." He went on to conclude in English, possibly so that Gandhi could read it too, "Fling away your promise if it is found to be wrong".

In Shantiniketan, Bolpur (1940).

Tagore had the greatest admiration for Mahatma Gandhi as a person and as a political leader, but he was also highly skeptical of Gandhi's form of nationalism and his conservative instincts regarding the country's past traditions. He never criticized Gandhi personally. In the 1938 essay, "Gandhi the Man," he wrote:

Great as he is as a politician, as an organizer, as a leader of men, as a moral reformer, he is greater than all these as a man, because none of these aspects and activities limits his humanity. They are rather inspired and sustained by it.

And yet there is a deep division between the two men. Tagore was explicit about his disagreement:

We who often glorify our tendency to ignore reason, installing in its place blind faith, valuing it as spiritual, are ever paying for its cost with the obscuration of our mind and destiny. I blamed Mahatmaji for exploiting this irrational force of credulity in our people, which might have had a quick result [in creating] a superstructure, while sapping the foundation. Thus began my estimate of Mahatmaji, as the guide of our nation, and it is fortunate for me that it did not end there.

But while it "did not end there," that difference of vision was a powerful divider. Tagore, for example, remained unconvinced of the merit of Gandhi's forceful advocacy that everyone should spin at home with the "charka," the primitive spinning wheel. For Gandhi this practice was an important part of India's self-realization. "The spinning-wheel gradually became," as his biographer B.R. Nanda writes, "the center of rural uplift in the Gandhian scheme of Indian economics." Tagore found the alleged economic rationale for this scheme quite unrealistic. As Romain Rolland noted, Rabindranath "never tires of criticizing the charka." In this economic judgment, Tagore was probably right. Except for the rather small specialized market for high-quality spun cloth, it is hard to make economic sense of hand-spinning, even with wheels less primitive than Gandhi's charka. Hand-spinning as a widespread activity can survive only with the help of heavy government subsidies. However, Gandhi's advocacy of the charka was not based only on economics. He wanted everyone to spin for "thirty minutes every day as a sacrifice," seeing this as a way for people who are better off to identify themselves with the less fortunate. He was impatient with Tagore's refusal to grasp this point:

The poet lives for the morrow, and would have us do likewise…. "Why should I, who have no need to work for food, spin?" may be the question asked. Because I am eating what does not belong to me. I am living on the spoliation of my countrymen. Trace the source of every coin that finds its way into your pocket, and you will realise the truth of what I write. Every one must spin. Let Tagore spin like the others. Let him burn his foreign clothes; that is the duty today. God will take care of the morrow.

If Tagore had missed something in Gandhi's argument, so did Gandhi miss the point of Tagore's main criticism. It was not only that the charka made little economic sense, but also, Tagore thought, that it was not the way to make people reflect on anything: "The charka does not require anyone to think; one simply turns the wheel of the antiquated invention endlessly, using the minimum of judgment and stamina."

Nadine Gordimer – Prose

(Nadine Gordimer received Nobel Prize in Literature in the year 1991 and Booker Prize in 1974.

She was born in Springs, South Africa, 20/11/1923. She has lived all her life, and continues to live, in South Africa.

Principal works: 10 novels, including A Guest of Honour, The Conservationist, Burger's Daughter, July's People, A Sport of Nature, My Son's Story and her most recent, None to Accompany Me)

Here is a short story written by her, tilted 'Loot':

Loot

Once upon our time, there was an earthquake: but this one is the most powerful ever recorded since the invention of the Richter scale made possible for us to measure apocalyptic warnings.

It tipped a continental shelf. These tremblings often cause floods; this colossus did the reverse, drew back the ocean as a vast breath taken. The most secret level of our world lay revealed: the sea-bedded - wrecked ships, facades of houses, ballroom candelabra, toilet bowl, pirate chest, TV screen, mail-coach, aircraft fuselage, canon, marble torso, Kalashnikov, metal carapace of a tourist bus-load, baptismal font, automatic dishwasher, computer, swords sheathed in barnacles, coins turned to stone. The astounded gaze raced among these things; the population who had fled from their toppling houses to the martime hills, ran down. Where terrestrial crash and bellow had terrified them, there was naked silence. The saliva of the sea glistened upon these objects; it is given that time does not, never did, exist down there where the materiality of the past and the present as they lie has no chronological order, all is one, all is nothing - or all is possessible at once.

People rushed to take; take, take. This was - when, anytime, sometime - valuable, that might be useful, what was this, well someone will know, that must have belonged to the rich, it's mine now, if you don't grab what's over there someone else will, feet slipped and slithered on seaweed and sank in soggy sand, gasping sea-plants gaped at them, no-one remarked there were no fish, the living inhabitants of this unearth had been swept up and away with the water. The ordinary opportunity of looting shops which was routine to people during the political uprisings was no comparison. Orgiastic joy gave men, women and their children strength to heave out of the slime and sand what they did not know they wanted, quickened their staggering gait as they ranged, and this was more than profiting by happenstance, it was robbing the power of nature before which they had fled helpless. Take, take; while grabbing they were able to forget the wreck of their houses and the loss of time-bound possessions there. They had tattered the silence with their shouts to one another and under these cries like the cries of the absent seagulls they did not hear a distant approach of sound rising as a great wind does. And then the sea came back, engulfed them to add to its treasury.

That is what is known; in television coverage that really had nothing to show but the pewter skin of the depths, in radio interviews with those few infirm, timid or prudent who had not come down from the hills, and in newspaper accounts of bodies that for some reason the sea rejected, washed up down the coast somewhere.



But the writer knows something no-one else knows; the sea-change of the imagination.

Now listen, there's a man who has wanted a certain object (what) all his life. He has a lot of - things - some of which his eye falls upon often, so he must be fond of, some of which he doesn't notice, deliberately, that he probably shouldn't have acquired but cannot cast off, there's an art noveau lamp he reads by, and above his bed-head a Japanese print, a Hokusai, 'The Great Wave', he doesn't really collect oriental stuff, although if it had been on the wall facing him it might have been more than part of the furnishings, it's been out of sight behind his head for years. All these - things - but not the one.

He's a retired man, long divorced, chosen an old but well-appointed villa in the maritime hills as the site from which to turn his back on the assault of the city. A woman from the village cooks and cleans and doesn't bother him with any other communication. It is a life blessedly freed of excitement, he's had enough of that kind of disturbance, pleasurable or not, but the sight from his lookout of what could never have happened, never ever have been vouchsafed, is a kind of command. He is one of those who are racing out over the glistening sea-bed, the past - detritus-treasure, one and the same - stripped bare.

Like all the other looters with whom he doesn't mix, has nothing in common, he races from object to object, turning over the shards of painted china, the sculptures created by destruction, abandonment and rust, the brine-vintaged wine casks, a plunged racing motorcycle, a dentist's chair, his stride landing on disintegrated human ribs and mettarsals he does not identify. But unlike the others, he takes nothing - until: there, ornate with tresses of orange-brown seaweed, stuck-fast with nacreous shells and crenellations of red coral, is the object. (A mirror?) It's as if the impossible is true; he knew that was where it was, beneath the sea, that's why he didn't know what it was, could never find it before. It could be revealed only by something that had never happened, the greatest paroxysm of our earth ever measured on the Richter scale.

He takes it up, the object, the mirror, the sand pours off it, the water that was the only bright glance left to it streams from it, he is taking it back with him, taking possession at last.

And the great wave comes from behind his bed-head and takes him.

His name well-known in the former regime circles in the capital is not among the survivors. Along with him among the skeletons of the latest victims, with the ancient pirates and fishermen, there are those dropped from planes during the dictatorship so that with the accomplice of the sea they would never be found. Who recognized them, that day, where they lie?

No carnation or rose floats.

Full fathom five.

Science & Philosophy

Tagore and Einstein met through a common friend, Dr. Mendel. Tagore visited Einstein at his residence at Kaputh in the suburbs of Berlin on July 14, 1930, and Einstein returned the call and visited Tagore at the Mendel home. Both conversations were recorded and this photograph was taken. This July 14 conversation was originally published in The Religion of Man (George, Allen & Unwin, Ltd., London), Appendix II, pp. 222-225.

TAGORE: I was discussing with Dr. Mendel today the new mathematical discoveries which tell us that in the realm of infinitesimal atoms chance has its play; the drama of existence is not absolutely predestined in character.

EINSTEIN: The facts that make science tend toward this view do not say good-bye to causality.

TAGORE: Maybe not, yet it appears that the idea of causality is not in the elements, but that some other force builds up with them an organized universe.

EINSTEIN: One tries to understand in the higher plane how the order is. The order is there, where the big elements combine and guide existence, but in the minute elements this order is not perceptible.

TAGORE: Thus duality is in the depths of existence, the contradiction of free impulse and the directive will which works upon it and evolves an orderly scheme of things.

EINSTEIN: Modern physics would not say they are contradictory. Clouds look as one from a distance, but if you see them nearby, they show themselves as disorderly drops of water.

TAGORE: I find a parallel in human psychology. Our passions and desires are unruly, but our character subdues these elements into a harmonious whole. Does something similar to this happen in the physical world? Are the elements rebellious, dynamic with individual impulse? And is there a principle in the physical world which dominates them and puts them into an orderly organization?

EINSTEIN: Even the elements are not without statistical order; elements of radium will always maintain their specific order, now and ever onward, just as they have done all along. There is, then, a statistical order in the elements.

TAGORE: Otherwise, the drama of existence would be too desultory. It is the constant harmony of chance and determination which makes it eternally new and living.

EINSTEIN: I believe that whatever we do or live for has its causality; it is good, however, that we cannot see through to it.

TAGORE: There is in human affairs an element of elasticity also, some freedom within a small range which is for the expression of our personality. It is like the musical system in India, which is not so rigidly fixed as western music. Our composers give a certain definite outline, a system of melody and rhythmic arrangement, and within a certain limit the player can improvise upon it. He must be one with the law of that particular melody, and then he can give spontaneous expression to his musical feeling within the prescribed regulation. We praise the composer for his genius in creating a foundation along with a superstructure of melodies, but we expect from the player his own skill in the creation of variations of melodic flourish and ornamentation. In creation we follow the central law of existence, but if we do not cut ourselves adrift from it, we can have sufficient freedom within the limits of our personality for the fullest self-expression.

EINSTEIN: That is possible only when there is a strong artistic tradition in music to guide the people's mind. In Europe, music has come too far away from popular art and popular feeling and has become something like a secret art with conventions and traditions of its own.

TAGORE: You have to be absolutely obedient to this too complicated music. In India, the measure of a singer's freedom is in his own creative personality. He can sing the composer's song as his own, if he has the power creatively to assert himself in his interpretation of the general law of the melody which he is given to interpret.

EINSTEIN: It requires a very high standard of art to realize fully the great idea in the original music, so that one can make variations upon it. In our country, the variations are often prescribed.

TAGORE: If in our conduct we can follow the law of goodness, we can have real liberty of self-expression. The principle of conduct is there, but the character which makes it true and individual is our own creation. In our music there is a duality of freedom and prescribed order.

EINSTEIN: Are the words of a song also free? I mean to say, is the singer at liberty to add his own words to the song which he is singing?

TAGORE: Yes. In Bengal we have a kind of song-kirtan, we call it-which gives freedom to the singer to introduce parenthetical comments, phrases not in the original song. This occasions great enthusiasm, since the audience is constantly thrilled by some beautiful, spontaneous sentiment added by the singer.

EINSTEIN: Is the metrical form quite severe?

TAGORE: Yes, quite. You cannot exceed the limits of versification; the singer in all his variations must keep the rhythm and the time, which is fixed. In European music you have a comparative liberty with time, but not with melody.

EINSTEIN: Can the Indian music be sung without words? Can one understand a song without words?

TAGORE: Yes, we have songs with unmeaning words, sounds which just help to act as carriers of the notes. In North India, music is an independent art, not the interpretation of words and thoughts, as in Bengal. The music is very intricate and subtle and is a complete world of melody by itself.

EINSTEIN: Is it not polyphonic?

TAGORE: Instruments are used, not for harmony, but for keeping time and adding to the volume and depth. Has melody suffered in your music by the imposition of harmony?

EINSTEIN: Sometimes it does suffer very much. Sometimes the harmony swallows up the melody altogether.

TAGORE: Melody and harmony are like lines and colors in pictures. A simple linear picture may be completely beautiful; the introduction of color may make it vague and insignificant. Yet color may, by combination with lines, create great pictures, so long as it does not smother and destroy their value.

EINSTEIN: It is a beautiful comparison; line is also much older than color. It seems that your melody is much richer in structure than ours. Japanese music also seems to be so.

TAGORE: It is difficult to analyze the effect of eastern and western music on our minds. I am deeply moved by the western music; I feel that it is great, that it is vast in its structure and grand in its composition. Our own music touches me more deeply by its fundamental lyrical appeal. European music is epic in character; it has a broad background and is Gothic in its structure.

EINSTEIN: This is a question we Europeans cannot properly answer, we are so used to our own music. We want to know whether our own music is a conventional or a fundamental human feeling, whether to feel consonance and dissonance is natural, or a convention which we accept.

TAGORE: Somehow the piano confounds me. The violin pleases me much more.

EINSTEIN: It would be interesting to study the effects of European music on an Indian who had never heard it when he was young.

TAGORE: Once I asked an English musician to analyze for me some classical music, and explain to me what elements make for the beauty of the piece.

EINSTEIN: The difficulty is that the really good music, whether of the East or of the West, cannot be analyzed.

TAGORE: Yes, and what deeply affects the hearer is beyond himself.

EINSTEIN: The same uncertainty will always be there about everything fundamental in our experience, in our reaction to art, whether in Europe or in Asia. Even the red flower I see before me on your table may not be the same to you and me.

TAGORE: And yet there is always going on the process of reconciliation between them, the individual taste conforming to the universal standard.