Rabindranath Tagore was a Bengali polymath who reshaped Bengali literature and music, as well as Indian art with Contextual Modernism in the late 19th and early 20th centuries. Author of Gitanjali and its "profoundly sensitive, fresh and beautiful verse", he became the first non-European to win the Nobel Prize in Literature in 1913.
কিশোর বয়সে নিজেকে শঙ্কর ভাবেনি এমন বাঙ্গালি ছেলে খুজে পাওয়া মুশকিল। চাঁদের পাহাড়ের শঙ্কর রায় চৌধুরি – বিভুতিভূষণ বন্দোপাধ্যায়ের অন্যতম রচনা – যার সাথে লাখো বাঙ্গালি কিশোর ছুটে চলে আফ্রিকার জঙ্গলে – দুঃসাহসিক অভিযানে।
এত বছর আগের লেখা। অথচ, আজও মনে হয় এতটাই আধুনিক। এভাবেই হয়তো কিছু কিছু সাহিত্য সময়ের গণ্ডি পেরিয়ে চিরকালই সমসাময়িক থেকে যায়।
চাঁদের পাহাড় কোন ইংরেজি গল্পের অনুবাদ নয় – একটি মৌলিক উপন্যাস। এই বইয়ের গল্প ও চরিত্র বিভুতিভূষণ বন্দোপাধ্যায়ের কল্পনাপ্রসুত। তবে স্থান ও কালের বিবরণ নির্ভুল এবং প্রচুর গবেষণার ফসল।
আরও একবার যাবেন নাকি, আফ্রিকার জঙ্গলে? একবার শঙ্করের সাথে চাঁদের পাহাড়ে?
Thus, over Life's outward aspect passes the series of events, and within is being painted a set of pictures. The two correspond but are not one.
We do not get the leisure to view thoroughly this studio within us. Portions of it now and then catch our eye, but the greater part remains out of sight in the darkness. Why the ever-busy painter is painting; when he will have done; for what gallery his pictures are destined—who can tell?
Some years ago, on being questioned as to the events of my past life, I had occasion to pry into this picture-chamber. I had thought to be content with selecting some few materials for my Life's story. I then discovered, as I opened the door, that Life's memories are not Life's history, but the original work of an unseen Artist. The variegated colours scattered about are not reflections of outside lights, but belong to the painter himself, and come passion-tinged from his heart; thereby unfitting the record on the canvas for use as evidence in a court of law.
But though the attempt to gather precise history from memory's storehouse may be fruitless, there is a fascination in looking over the pictures, a fascination which cast its spell on me.
The road over which we journey, the wayside shelter in which we pause, are not pictures while yet we travel—they are too necessary, too obvious. When, however, before turning into the evening resthouse, we look back upon the cities, fields, rivers and hills which we have been through in Life's morning, then, in the light of the passing day, are they pictures indeed. Thus, when my opportunity came, did I look back, and was engrossed.
CHITRA, daughter of the King of Manipur.
ARJUNA, a prince of the house of the Kurus. He is of the Kshatriya or "warrior caste," and during the action is living as a Hermit retired in the forest.
VILLAGERS from an outlying district of Manipur.
NOTE.—The dramatic poem "Chitra" has been performed in India without scenery—the actors being surrounded by the audience. Proposals for its production here having been made to him, he went through this translation and provided stage directions, but wished these omitted if it were printed as a book.
ART thou the god with the five darts, the Lord of Love?
I am he who was the first born in the heart of the Creator. I bind in bonds of pain and bliss the lives of men and women!
I know, I know what that pain is and those bonds.—And who art thou, my lord?
I am his friend—Vasanta—the King of the Seasons. Death and decrepitude would wear the world to the bone but that I follow them and constantly attack them. I am Eternal Youth.
I bow to thee, Lord Vasanta.
But what stern vow is thine, fair stranger? Why dost thou wither thy fresh youth with penance and mortification? Such a sacrifice is not fit for the worship of love. Who art thou and what is thy prayer?