Dr. Ram Dayal Rakesh
“A translator’s job is to translate a text and its readers simultaneously. A literary translation has to carry over a text from one language into another, while at the same time carrying over the reader of the translation from the second language back into the literary tradition and culture of the first language. This is a double movement in which the text and its reader move in opposite directions simultaneously, with both starting in their native habitats and ending up in unfamiliar environments. A translator’s prime responsibility is to represent the inner logic of the original. Much of a translator’s time and energy is consumed by a struggle with the surface qualities of a text. This inner logic is buried not only in the original language but also in its literary tradition and ambient culture.”
Only a poet can translate a poem. This principle is AK Ramanujan’s, but behind it is Dryden’s formulation that one who wishes to be a thorough translator of poetry (for example) also must be a thorough poet.
A translation is not only a door or a window but also a mirror. An anubad may be said to open a door through which readers in one language enter the world of another language. Or, a tarjuma or translation may be imagined as a window through which we peer into the world of an alien tongue. But a translator is not only for others to see us or to enter our world. It is equally importantly a mirror for ourselves, in which we see what our literature looks like in the unfamiliar guise of a different medium. For every original, there are several valid translations.
In this context I would like to analyze and explain Modes of Life, an anthology of poems written by the poet Dinesh Adhikari and translated into English by Robin Sharma who is himself a composer and songster.
Dinesh Adhikari is a lovely lyricist and prominent poet of the Nepali language and literature. He is a lyricist par excellence, who has composed and recorded more than 500 melodious songs to his credit till date. His masterpiece ‘Yo samjhine maan’ has been recorded in the melodious voice of famous singer Narayan Gopal and ‘Sochejasto hunna jeevan’ in the sweet voice of melody queen Tara Devi. He has been contributing continuously to motion pictures. He has ten music albums to his credit. His published poetic works include Atarka Chhitaharu (Sprinklings from Within) 1980, Dhartiko Geet (Songs of the Earth) 1987, Aadim Aawaj (Ancient Voices)1989 and Atirikta Abhilekh (Additional Documents) 2000. He has written an epic named Indrajatra based on a mythological theme. He has several collections of lyrical poems entitled Avriam Yatra ( Unending Journey) 1991, Afnai Man Afnai Aagan (My Mind My Own Courtyard)1997, Man Ra Modeharu (The Mind and the Labyrinths ) 2007 and Ma Birnsu Kasori ( How Can I Forget? ) 2019. He has also written a children’s opera named Jungleko Katha jungleko Byatha (The Stories and Woes of the Jungle) 2001. He has won the most covetous national awards for the enrichment of the Nepali language and literature like Madan Puraskar and Sajha Puraskar. His latest poetry collection named Bhariya ko Bhugol has become the talk of the town. His newly published book Tasbir ko katha, published by BookArt Nepal is also memorable for its originality.
Some years before, Mode of Life, the English translation of some of his selected poems has come out. It consists of his seventy-five poems.
Dinesh Adhikari has also clarified his poetic creed in the following lines:
“The subject, objective and motivation of my writing is ‘Man’. The energy of my writing springs from any aspect that concerns man. In other words, love, hate, anger and emotions that are intertwined with man; or social, economic and political aspects also find in favor in my writing. I believe writing is an individual affair yet publicizing it is its inherent quality. Driven by this conviction, I make a deliberate and conscious attempt at simplicity of expression and protection of the artistic aspect, originality is the quest of every creative writer.”
Likewise, the translator Robin Sharma has also expressed his ideas, thoughts and experiences as follows:
“I have been struggling and haggling with these poems for over two years now trying desperately to breathe meaning into these excellent pieces of art. But translation is a difficult skill. Accuracy in expression intended for the non- native speaker without distorting the beauty of the original Nepali has been hard to achieve. Sentiments and emotions are universal- We all agree. But the expression of the agony of a grieving mother in the remote hills of rural Nepal, the excitement of a sister waiting for her brother during Tihar or the promises of migrant worker to his wife back home can hardly be translated into the English language. Contexts vary from place to place, from country to country. Contexts are hard to translate, culture even harder. This is compounded further when there is interplay of tradition, superstition and folklore. Colloquial expressions and local register defy translation. It is in this sense that Dinesh Adhikari is difficult to translate universal emotions are too closely woven into the fabric of Nepali life, making them inseparably, and that is where Dinesh is at his best.”
Dinesh Adhikari is fully determined to throwing light on the destiny of man in today’s context. He says today’s man is discontented due to his own high ambitions. He expresses his agony, anxiety, discontent and discomfort in the following lines:
“Perhaps this is the destiny of man
He digs a ditch of discontent
In his own chest / and always
Wanders in search of happiness
And willingly/ Embraces all the pain that exists in this world
Inflicts on himself
And always
Twists and fidgets – like a body
Covered with the power of itching bean.” (p. 82)
His commitment is true to the letters when he says he is the poet of man. The central theme of his poetry is, truly speaking, moving around today’s man. No man is in a position to lead normal life in today’s context. The poet is quite correct in his expression. I would like to quote to support my statement:
“I say, nowadays
Only a stone is liberated
And a python gets to lead a normal life
Man- these days
Is either unconscious
Or has assumed the mark of the ruler
Or caressing awareness
Is still imprisoned in the middle of the road.” (p. 71)
Time is Almighty. It is the most powerful and all pervading. It is the smartest and the strongest thing in this world. In Dinesh Adikari’s words
“Time
Is smarter many times more
Than man who thinks he’s smart!” (p. 150)
Dinesh Adhikari is truly a poet of the dignity of man. Dignity and respect are the dearest things for him. He writes in praise of dignity and respect in many of his poems. He is of this opinion that nothing can separate man from man:
“I cannot accept the presence of one ocean
Can separate man from man
The adornment of the earth and dignity of man
Are dear to me
The love of man and respect for creation
Are dear to me.” (pp. 104-105)
In a recent interview poet Adhikari has accepted that he grew up in a very literary environment, always surrounded by books and music. “I was influenced by my family and friends,” he admits.
In short his poems show all aspects of life in a poetic style and manner. They reflect our generation and surroundings in a beautiful manner. His poems show the truth of human life, pains and pleasures and ups and downs
Dinesh Adhikari’s poetic diction is very praiseworthy. His language is lucid, lovely and communicable. He has great passion for poetry.
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[Prof. Ram Dayal Rakesh, PhD, is a professor of Hindi, who retired from Tribhuvan University. A folklorist, writer, critic and translator of high repute, he is also the winner of the prestigious Fukuoka Prize from Japan. He is also the former Chief of the Department of Culture at Nepal Academy.]