Revista de Lenguas Modernas, N.° 25, 2016 / 81-99 / ISSN: 1659-1933

Exploring a South-South Dialogue: Spanish American Reception of

Nilanjana Bhattacharya Depto. de Inglés y Otras Lenguas Modernas Europeas Instituto de Lenguas, Literatura y Cultura Visva-Bharati, Santiniketan, India

Resumen Este artículo se concentra en la recepción de Rabindranath Tagore en algunos países de América Latina. En la historia de este continente, los primeros años del siglo XX fueron cruciales, porque muchos países de América Latina estaban esforzándose por destruir el control de Europa y establecer una identidad propia. Sin embargo, era difícil definir “lo propio” en una sociedad tan múltiple y multirracial. En un momento tan complejo de la historia, Tagore personificaba una alternativa para algunos autores de América Latina. Él era como un representante del “tercer mundo” que había ganado el reconocimiento de Europa, de los colonizadores; por tal motivo, su poder/sabiduría era tan fuerte como el de los británicos. Este artículo, dividido en tres partes, busca primero explorar la historia del contacto directo entre el poeta hindú y algunos escritores latinoamerica- nos; segundo, analizar varias traducciones de las obras de Tagore, hechas por latinoamericanos; y, finalmente, discutir unos ensayos y textos críticos realizados por estudiosos de América Latina sobre Tagore. El artículo se centra en (1890-1979), la única autora del mundo hispano con quien Tagore tenía un contacto directo, y también en poetas de nombre mundial como Gabriela Mistral (1889-1957) y (1904-1973), para explicar cómo ellos recibieron a Tagore.

Palabras claves: Rabindranath Tagore, literatura de América Latina, Victoria Ocampo, Gabriela Mistral, Pablo Neruda, , estudios de traducción, estudios de recepción, literatura comparada

Recepción: 7-06-16 Aceptación: 29-06-16 82 Revista de Lenguas Modernas, N.° 25, 2016 / 81-99 / ISSN: 1659-1933

Abstract This article concentrates on Rabindranath’s reception in a few Latin American countries. In the history of , early twentieth century was a crucial time when various Latin American countries were striving to come out of ’s grasp and establish an identity of their own. Yet, in the multifarious and multiracial society of Latin America it was difficult to define their ‘own’. At such a critical juncture of history, Rabindranath represented an alternative to various Latin American authors. He was, to them, a repre- sentative of a British colony who had been recognised and acknowledged by Europe, and thus symbolized a power/knowledge equivalent to that of Europe. This paper, divided in three parts, explores this reception and its impact, firstly by analyzing the history of the direct contact; then by focusing on the Latin American translations of Rabindranath’s works; and finally, by re-reading a few essays and critical-writings on Rabindranath. Among others, the paper alludes to Victoria Ocampo (1890-1979), the first and perhaps the only Latin American author who came in direct contact with Rabindranath; and some of the most important Nobel Laureates of Latin America, like Gabriela Mistral (1889-1957) and Pablo Neruda (1904-1973), to show how these authors and poets re- ceived Rabindranath in their own contexts.

Key words: Rabindranath Tagore, Latin American literature, Victoria Ocampo, Gabrie- la Mistral, Pablo Neruda, Octavio Paz, translation studies, reception studies, compara- tive literature

Who can tell, when throwing a stone into new millennium was a topic of great a pond, where do the ripples created go? When debate. It was nevertheless, certain weeks ago, in the middle of an electronic dis- that this Indian poet, who was also cussion about the connections between Latin the first non-European Nobel laureate, American and Indian literature, I ventured to was one of the first Indians to initiate a mention Rabindranath Tagore’s high stand- South-South dialogue that had mutual ing among current Latin American readers, impact on various Latin American many were surprised. And I have to confess countries as well as on India. By focus- that I myself was also surprised, because it ing on Spanish American reception never occurred to me Tagore’s presence in Latin of Rabindranath, this article would America would sound odd to anybody, least of primarily explore a part of that larger all to a Bengali (Chacón, 1999). contact, manifested in the literatures of Spanish America. lfonso Chacón wrote the quo- In his path-breaking essay ‘Liter- tation above in 1999, par- ary History as a Challenge to Literary Aticularly regarding his own Theory’, Hans Robert Jauss, a stalwart country, Costa Rica. Rabindranath of Reception Aesthetics, underscored Thakur’s (1861-1941, popularly known the importance of Reception Studies in as Tagore) relevance among the gen- understanding the “historical life of a eral Latin American readers of the literary work”. He also distinguished BHATTACHARYA. Exploring a South-South Dialogue ... 83 between simple or passive reception, while the Spanish American counter- and active reception or critical under- parts had been be referred to as ‘Span- standing of a text, thus broadening the ish American translations’. scope of Reception Studies: It was well-known that readers who did not have access to Bangla or The historical life of a literary work is Bengali language – the Poet’s mother- unthinkable without the active par- tongue in which vast number of his ticipation of its audience. For it is only works were composed – actually had through the process of its communica- very limited access to Rabindranath tion that the work reaches the chang- because most of his works remained ing horizon of experience in a conti- untranslated till date. Nevertheless, it nuity in which the continual change must be emphasized that almost all the occurs from simple reception to critical Spanish and Spanish American trans- understanding, from passive to active lations of Rabindranath done so far reception, from recognized aesthetic were translations of his English writ- norms to a new production which sur- ings.2 Whether these English versions passes them (Jauss, 1970, 8). should be considered translations of the Bangla texts, and if yes, how ‘faith- While trying to trace the historical ful’ those translations had been, were life of Rabindranath’s literary works different questions altogether, which I in Spanish America, I would focus on did not have the scope to discuss here. “simple reception” or reading of his However, knowledge/readings of Rabi- works by Spanish Americans, as well ndranath’s reception in other coun- as “active reception” or critical under- tries/cultures could definitely add new standing of his works. The act of trans- dimensions to our readings of Spanish lation or transcreation, which – as I American as well as Indian literatures. would explicate in this article – was The article, divided into three main also a kind of reception, would be in- sections, aimed at exploring the begin- strumental in this entire process. ning of a South-South dialogue between As it was evident from the title, my India and several Spanish American article would focus on the Spanish Amer- countries. The first section elaborated ican countries, particularly , the context of the contact by giving a brief and Mexico1; to explore Rabindra- overview of the Indian poet’s ‘popular- nath’s reception in these countries. Nev- ity’ in the Spanish American countries ertheless, since the English translations with allusions to his reception of Latin and the Spanish translations made in America.3 The second section analysed Spain had played significant roles in the impact of Rabindranath on Span- Rabindranath’s reception in Spanish ish American literatures, including America, I would have to refer to those some of the most important Spanish translations frequently. Therefore, to American translations, transcreations avoid any confusion, a parenthesis was and adaptations of Rabindranath; and necessary here. Throughout this paper, the third section, referring to several I used the phrase ‘Spanish translation’ essays and authors/poets, ventured to to refer to translations made in Spain, understand the reasons behind such and by translators/poets from Spain; readings and reception. 84 Revista de Lenguas Modernas, N.° 25, 2016 / 81-99 / ISSN: 1659-1933

The contact a reception for the poet, and insisted that he must visit the Latin Ameri- Physically Rabindranth Thakur can countries “where his works were (1861-1941) arrived in Latin America so well-known and appreciated” (El- in 19244. The history of the contact how- mhirst, 40). However, it appeared that ever, had begun much earlier, when Rabindranath did not know much about his poetry reached the south-western Latin American cultures before his visit hemisphere, mainly through French to Argentina. Dyson (2009) described and Spanish translations. As Victo- how the Argentine journalists were sur- ria Ocampo (1890-1979) mentioned in prised by Rabindranath’s knowledge her Autobiografía, “Tagore estaba in- of Argentine culture, yet it turned out stalado en mi vida desde 1914” (17). that Rabindranath had read only one Ocampo, of course, was well-versed in book on Argentina, William Henry French and read Andre Gide’s transla- Hudson’s Far Away and Long Ago, as tion of Gitanjali, L’Offrande Lyrique, Ocampo stated in her writings. During published in 1914. In Spain, sporadic his brief stay in Argentina, Rabindra- translations of Rabindranath start- nath’s health did not permit him to get ed appearing from 1913.5 Complete to know the heart of the country, a defi- books, translated into Spanish, would ciency he later acknowledged to Ocam- begin to appear from 1914-15, thanks po: “I am not a born traveller – I have primarily to Zenobia Camprubí Aymar not the energy and strength needed for (1887-1956) and Juan Ramón Jimé- knowing a strange country and helping nez (1881-1958). These were perhaps the mind to gather materials from a the most popular Spanish translations wide area of new experience for build- which gave the poet a widespread rec- ing its foreign nest.” (Dyson, 390). In ognition in these countries, which, by fact, this was one of those very few voy- far, surpassed his popularity in the ages, of which Rabindranath did not English speaking world. keep any account in the form of letters Strangely however, Rabindranath or diary or travelogue, something that had never been to Spain, and visited he generally used to do. Nonetheless, only one Latin American country, Ar- the trip did revive his poetic creativity gentina. Apart from Victoria Ocmapo, he that was dormant for the last few years, had never been in close contact with any and in 1925 he published a new book of other author.6 He had planned poetry, Purabi, which he dedicated to to visit Spain during his Europe tour in Victoria Ocampo. 1919, but for some reason or other - much In 1924, on his way to Perú, Rabin- to the disappointment of Camprubí, Ji- dranath arrived at on 6th ménez and his innumerable Spanish ad- November, and was forced to stay there mirers – this trip was cancelled.7 for some time to recover his failing Leonard K. Elmhirst (1883-1974), health. In fact, Prasanta Pal, one of the Rabindranath’s English secretary who most important biographers of the poet, accompanied the poet to Japan and asserted in the ninth volume of Rabin- Argentina, confirmed that during his dranath’s biography (Rabijiboni) that Japan tour in early 1924, some Latin initially Rabindranath had planned to American diplomats had arranged visit several Latin American countries BHATTACHARYA. Exploring a South-South Dialogue ... 85 including México, Perú and Argentina. once again testifying Rabindranath’s This plan however, was abandoned lat- popularity in Argentina: “Verdaderas er most probably in consideration of the caravanas de admiradores llegaban Poet’s health. Anyway, the news of his por la tarde. Por lo general se sentaba visit to Argentina was announced there debajo de una tipa cerca de la barranca almost two months prior to his arrival, y les hablaba.” (1982, 30-31). Among during September 1924, as Ocampo these visitors there were Argentine confirmed: “En septiembre de 1924 se students and scholars interested in In- anunció que Rabindranath Tagore pas- dia and its cultures, as well as people aría por Buenos Aires, rumbo a Lima… who knew nothing about India or Rabi- Su llegada sería el gran acontecimien- ndranath. Leonard K. Elmhirst used to to del año.” (Ocampo, 1961a: 13). A note down most of these conversations, similar picture was found in the news- a number of which were also published paper reports cited in Ketaki Kushari in La Nación, translated by Victoria Dyson’s In Your Blossoming Flower Ocampo (Elmhirst, 1961), and several Garden (2009). She wrote, “La Argen- others were published much later in tina, writing on 7 November 1924, The Visva-Bharati Quarterly. From confidently declared that few foreign Scriba’s article (2011) we came to know personalities visiting Buenos Aires that some of the Spanish American had created the interest Tagore had scholars had requested Rabindranath created; no sooner had the boat docked to publish Spanish translations of his than she was invaded by journalists writings, which Rabindranath politely wishing to interview this very special declined, apparently, due to his weak passenger…” (Dyson, 77). Despite his health at that time. Nevertheless, oth- illness, Rabindranath had to talk to er translators/poets would continue to the reporters and told them that he in- translate his works into Spanish (as I tended to give a few talks there on San- would elaborate in the next section). tiniketan – where he established an in- The South America File (RBVB- ternational university, Visva-Bharati 015, File No. 378) preserved at – and visit México and Perú. None of the Rabindra Bhavana Archive in these were finally made possible as his Santiniketan contained thirty-odd health condition deteriorated. Victoria letters the Poet had received from Ocampo came to his rescue and offered various Latin American countries him refuge in a country house at San including Argentina, México, Perú, Isidro. Nevertheless, some interviews, and Ecuador, bearing articles, poems and stories of Rabindra- testimony to his popularity in these nath were published in various Latin countries. Most of these letters were in American newspapers and magazines. Spanish, and a few in English. These La Nación8, published from Argentina, were all enthusiastic expressions from and Repertorio Americano9, published his readers – one of whom was Mexican from Costa Rica, were two of the most poet José Vasconcelos – who had important of such newspapers and jour- read his works in Spanish or French nals. In many of her writings, Ocampo or English. There were also earnest wrote about huge number of people requests to visit some particular who came to visit the poet in San Isidro, country or write foreword to a book 86 Revista de Lenguas Modernas, N.° 25, 2016 / 81-99 / ISSN: 1659-1933 etc., which probably Rabindranath had While discussing Rabindranath’s never been able to read as he did not popularity in the Spanish American know Spanish. countries, it was also imperative to Perhaps insignificant, but passion- remember that Spanish translations ate testimony to the poet’s popularity of his poems began to appear from Au- existed in the Argentine newspapers, gust 1913, months after the publication where several poems were published of Song Offerings. The bibliography during Rabindranath’s stay in Buenos provided in Redescubriendo a Tagore Aires. Most of these poems, by not-so- informed us that between 1914 and known or completely unknown poets, 1941, 25 books of Rabindranath were were dedicated to Rabindranath, and published in the Hispanic world and were intensely emotional; bearing proof 11 in the Lusophone world. Even dur- of the poet’s popularity among the Latin ing the 20s and 30s, when Rabindra- American readers. Dyson (2009) cited nath’s ‘popularity’ in the English world some of these poems published in La was brought to question by Yeats, Ezra Nación, and among Elmhirst’s papers Pound and such others, his works were preserved in the Dartington Hall Ar- still famous and relevant in the His- chive (File no. LKE Tagore 1, C. South panic and Lusophone world. America), there was also one poem titled ‘Corazón’, sent directly to Rabin- dranath by a certain Adolfo F. Guerra. “Simple Reception” to “Critical This craze, perhaps in a somewhat di- Understanding” minished scale, sustained for quite a long time, even after Rabindranath’s demise. The history of Rabindranath’s inter- Ocampo’s correspondences with Krishna national reception started mainly from Kripalani during 1960-61 revealed the 1912, when the poet rewrote some of his elaborate manner in which Argentina was Bangla poems in English, a casual at- preparing to celebrate Rabindranath’s tempt that eventually took the form of birth centenary. In a letter dated 14 May, Gitanjali: Song Offerings, and created 1961 she wrote, “Yesterday our postage history by winning the for stamp was issued and I have sent you Literature in 1913. The award and the some cards that were sold in the streets of book had often been given exaggerated Buenos Aires. Many people were buying importance, thus branding him as ‘the them, and when some philatelists recog- poet of the Gitanjali’. nised me at the Central Post Office, they Interestingly, these assumptions of asked me to sign many of those cards be- the English West did not apply in case cause I had known Tagore.” (Kripalani, of the Hispanic World. The first known 1982:52).The Argentine government in Spanish translation of Rabindranath’s fact, set up a committee to organise the works was published even before Rabi- birth centenary, and as part of the cer- ndranath was awarded the Nobel emony two plays of Rabindranath, The Prize. Spanish author Pérez de Ayala Post-Office and Malini, were performed (1880- 1962) published translations of in Teatro Nacional Cervantes under the a few poems of Rabindranath in a Ma- supervision of Victoria Ocampo.10 drid based news daily, La Tribuna on 23 and 29 August 1913, which were BHATTACHARYA. Exploring a South-South Dialogue ... 87 perhaps the first Spanish translations translate the entire Song Offerings. He of Rabindranath’s poems.11 The Span- carefully rendered into Spanish the ish American scenario was even more first 92 poems of the book, omitted the interesting, as in Argentina Joaquín V. next 6 poems, and again translated González translated Rabindranath’s poem numbers 99-102, following con- translation of one hundred poems or tinuous numbering and without men- dohas of Kabir, a medieval Indian poet. tioning anything about this omission The book Cien poemas de Kabir, which in his text. Whether Alarcón had any was a translation of One Hundred Po- issue with the arrangement of the po- ems of Kabir12 came out in the midst ems in Song Offerings, like Rabindra- of the world-wide violence of the First nath’s French translator Andre Gide, World War, in 1915, and in the intro- was not clear.13 However, from the title duction to this book González referred of the book as well as the introduction, to Rabindranath’s Sadhana and the it appeared that Alarcón, like many Tagorean concept of love; love, where of his English counterparts, also con- one finds fulfilment. González, and the sidered Rabindranath a sage, a wise entire Spanish America, found an an- man from the East, perhaps influenced swer to several questions in this mes- by Evelyn Underhill’s categorization sage of love, of harmony and tolerance of Rabindranath as a mystic poet. In uttered by the saint poet Kabir, and Alarcón’s introduction he referred to reiterated by Rabindranath. Taken as Kabir. He was likely to be familiar an example of “active reception” this with González’s translation of One translation could be read as the first Hundred Poems of Kabir (Cien poemas Spanish American response to Rabin- de Kabir). His Spanish rendering cap- dranath. The fact that González chose tured quite successfully the nuances of to translate One Hundred Poems of the English text. Consider for instance, Kabir instead of the much-hyped Song song number 7 of Song Offerings: Offerings, I believe, spoke volumes about Spanish American reception of My song has put off her adornments. the poet. She has no pride of dress and decoration. The second known Spanish Ameri- Ornaments would mar our union; they can translation of Rabindranath ap- would come between thee and me; their peared in 1917, Song Offerings trans- jingling would drown thy whispers. lated by Abel Alarcón (1881-1954), a well-known Bolivian intellectual and My poet’s vanity dies in shame before politician, into Oraciones líricas. This thy sight. O master poet, I have sat translation appeared a year before the down at thy feet. Only let me make my celebrated Camprubí-Jimenez transla- life simple and straight, like a flute of tion, yet later the former was mostly reed for thee to fill with music. eclipsed by the latter. Alarcón’s intro- duction to the book bore evidence that Alarcón translated it as: he was deeply moved by Song Offerings, and also gathered some significant Mi canción dejó atavíos. Ella no tiene contextual information before ventur- el orgullo del ropaje ni las galas. Los ing to translate it. He did not, however, adornos nuestra unión malograrían; 88 Revista de Lenguas Modernas, N.° 25, 2016 / 81-99 / ISSN: 1659-1933

en medio de vos y de mí interpondrían- friend of Victoria Ocampo, and the first se; y sus rumores ahogarían las voces Latin American Nobel Laureate, Ga- suaves y secretas con que me habláis briela Mistral (1889-1957) published a al oído. compilation of poems in 1924, entitled Lecturas para mujeres (Readings for Mi vanidad de poeta perece de ver- Women). Published by the Secretary güenza ante vuestra presencia. ¡Oh of Education, Mexico14, the book was poeta! maestro, sentéme bajo de vues- meant for Mexican school children, tros pies. Tan sólo permitidme hacer especially, as the title made it evi- mi vida simple y sincera para vos como dent, girls; for, Mistral believed, girls una flauta de caña para colmarse de require a different kind of education. música. (27-28) This book was, in Mistral’s own words, a step towards formation of the ‘new Compare it to the Camprubí- woman’ or “mujer nueva”, and also of a Jiménez version: serious kind of feminine literature, lit- erature of home: Mi canción, sin el orgullo de su traje, se ha quitado sus galas para ti. Porque Ya es tiempo de iniciar entre nosotros ellas estorbarían nuestra unión, y su la formación de una literatura feme- campanilleo ahogaría nuestros suspiros. nina seria. A las excelentes maestras que empieza a tener nuestra América, Mi vanidad de poeta muere de ver- corresponde ir creando la literatura del güenza ante tí, Señor, poeta mío. Aquí hogar, no aquella de sensiblería y de me tienes sentado a tus pies. Déjame belleza inferior que algunos tienen por sólo hacer recta mi vida, y sencilla, tal, sino una gran literatura con sen- como una flauta de caña, para que tú tido humano profundo. La han hecho la llenes de música. (Ofrenda lírica, 97) hasta hoy, aunque parezca absurdo, sólo los hombres: un Ruskin en Ingla- Despite the difference in language, terra, un Tagore en la India, para no which any reader familiar with Span- citar más (Mistral, 1924: 9). ish would immediately notice, the two translations were quite similar. Both Such a reading of Rabindranath the translators captured the nuances might sound limited to people who had of the English source text, yet they had access to Rabindranath’s works in Ban- also taken certain liberties. While Cam- gla, particularly his letters, diaries and prubí-Jiménez converted the line “they memoirs, but like many other readers not would come between thee and me” into familiar with the Bangla language and “estorbarían nuestra unión”, Alarcón culture, Mistral had access only to works amplified the line “their jingling would which had been translated into English, drown thy whispers” as “sus rumores and therefore her reading of Rabindra- ahogarían las voces suaves y secretas nath was bound to be fragmented. con que me habláis al oído”. Nevertheless, it was indeed signifi- The next important Spanish Amer- cant that in such a compilation Mistral ican translation appeared in 1923-24, included ten poems of Rabindranath, in México. Chilean poet, a very close along with writings of authors and poets BHATTACHARYA. Exploring a South-South Dialogue ... 89 like José Martí, Rubén Darío, Walt Whit- Since the book did not mention name man, Abraham Lincoln, Amado Nervo, of any translator16, perhaps we could Manuel Machado, José Enrique Rodó, guess that these were Mistral’s own Thomas Carlyle, Giovanni Papini, Ro- translations. Consider, for example, main Rolland and several others. In translation of a poem from The Cres- this book Mistral also recommended all cent Moon, ‘Baby’s Way’.17 The English the works of Rabindranath to her read- poem opened as: “If baby only wanted ers (Mistral, 68). Among the ten poems to, he could fly up to heaven this mo- printed in this book, six were taken ment. It is not for nothing that he from The Crescent Moon (La luna nue- does not leave us. He loves to rest his va), three from Fruit Gatherings (La head on mother’s bosom, and cannot cosecha), and one from The Gardener ever bear to lose sight of her.” (Tago- (El jardinero). Interestingly, not a sin- re, 2004: 5). The Camprubí-Jiménez gle one from Song Offerings, pointing translation (‘El niño es así’) opened as: out, once again, that the Nobel Prize “Si el niño quisiera, podría volar ahora was not the sole reason behind Rabi- mismo al cielo. Pero por algo no se va. ndranath’s popularity, though it acted ¡Le gusta tanto echar la cabeza en el as a catalyst. Mistral arranged the pecho de su madre y mirarla y mirarla poems across different sections of her sin descanso!” (Tagore, 2012: 13). In book, yet her choice of the poems was Mistral’s book the title remained al- quite significant, in the sense that all most the same, only she added an el- these poems dealt with love, and most lipsis at the end (El niño es así…), but of these were on maternal love. The the translation was somewhat differ- first one, for instance, “No quiero amor ent: “Si el niño quisiera, podría volar al que no sabe dominarse” was taken cielo en este instante. Pero por algo no from Fruit Gathering, poem number 63 se va. !Le gusta tanto doblar la cabeza (“Not for me is the love that knows no en el regazo de su madre, y mirarla y restraint”), where it did not have any mirarla, sin descanso!” (Mistral, 68). title. However, in Lecturas para mu- While the former used a phrase typical jeres, the poem had been given a title to mainland Spain (and not commonly ‘Amor de Esposa’ or ‘Wife’s Love’, and used in ), “ahora mismo”, Mistral it had been grouped along with other went for a more literal translation of “this poems by several other poets, under a moment” as “en este instante”. Similarly, section called ‘El Sereno Amor’. Simi- instead of “echar la cabeza” as used by larly, the last poem of Rabindranath Camprubí-Jiménez, Mistral would go for printed here, was poem number 6 of “doblar la cabeza”, though there was no El jardinero (The Gardener), where, significant change of meaning. again, it did not have any title. How- In this context, it would be rele- ever, Mistral would add a title to this vant to mention that the translations poem, ‘La Libertad’ or ‘The Liberty’.15 of Rabindranath’s poems included She retained the titles of the poems in many of Victoria Ocampo’s works, taken from La luna nueva, however, particularly in her Autobiografía IV it was important to note that some of (1982) and in the only book she wrote the translations she used here, did not on Rabindranath, Tagore en las bar- match those of Camprubí-Jiménez. rancas de San Isidro (1961), did not 90 Revista de Lenguas Modernas, N.° 25, 2016 / 81-99 / ISSN: 1659-1933 match Camprubí-Jiménez or Alarcón’s While talking about her life Gabriela versions. Take for instance, the song Mistral once admitted, “Mis maestros number 84 of the English Gitanjali, en el arte y para regir la vida: la Bib- quoted in Tagore en las barrancas de lia, el Dante, Tagore y los rusos.” (Au- San Isidro. The first stanza of the Eng- tobiografia de Gabriela Mistral, 1930). lish poem was: In 1922, she published her first book Desolación, where she included a sec- It is the pang of separation that spreads tion called ‘Comentarios a poemas de Throughout the world and gives birth Rabindranath Tagore’. This book con- To shapes innumerable in the infinite tained Mistral’s responses to three po- sky. (Tagore, 2009: 217) ems of Gitanjali, (poem nos. 6, 95 and 102). The Spanish lines of Gitanjali she Camprubí and Jiménez translated quoted here did not match the trans- it as, “La espina de la separación pasa lations of Camprubí-Jiménez or Abel el mundo y hace nacer formas innumer- Alarcón. She might be following some ables en el cielo infinito” (Tagore, 2012: other translations or translating the 132); and Abel Alarcón translated it poems herself. Either way, a close read- as, “Es la angustia de la separación la ing of these poems could depict how que se dilata a través del mundo y da Mistral’s focus was completely different nacimiento a innumerables formas en from that of Rabindranath. In a way, el cielo infinito” (Tagore, 1917: 195). these comments revealed her reading of In Ocampo’s Tagore en las barrancas Rabindranath, and cropped up within de San Isidro yet another translation that reading her own feelings of desola- was found: “La espina de la separación tion and solitude. Consider for instance atraviesa el mundo y hace nacer formas song no. 6 of the English Gitanjali: innumerables en el cielo infinito” (37). All these translations captured beau- Pluck this little flower and take it, de- tifully the meaning of the source text. lay not! I fear lest it droop and drop The diction of the first one was sim- into the dust. I may not find a place in pler than the second, which was a bit thy garland, but honour it with a touch more literal; while the third perhaps, of pain from thy hand and pluck it. I tried to create a balance. However, like fear lest the day end before I am aware, Mistral, Ocampo did not mention the and the time of offering go by Though name of any translator. So we might its colour be not deep and its smell be again guess that this was translated faint, use this flower in thy service and by Ocampo herself. Anyway, it was ex- pluck it while there is time. plicit that Rabindranath had several translators in the Spanish American This quest for fulfilment became countries, a fact that also reflected his in Mistral an insecurity of rootless- popularity in those countries. ness, a sense of feeling inferior: “Ver- In fact, from the early 1920s the im- dad es que aún no estoy en sazón... pact of Spanish America’s contact with tan pequeña me veo, que temo no ser Rabindranath was visible in literature, advertida; temo quedar olvidada… apart from translations, underscoring ¡Recógeme, pues, recógeme pronto! No how reception could lead to re-creation. tengo raíces clavadas en esta tierra de los BHATTACHARYA. Exploring a South-South Dialogue ... 91 hombres.” (Tapscott, 2002: 83-84; em- las cañas, exprimida? ¿Para qué phasis added). What were offerings to derramarías la luz cada mañana sobre the Supreme in Rabindranath, became mis sienes y mi corazón, si no fueras in Mistral the anguish of a woman in a recogerme como se recoge el racimo this world dominated by men. negro melificado al sol, cuando ya Or, take, for instance, the first one media al otoño? of these poems, which was a response Ni fría ni desamorada me parece, como to song number 95 of Song Offerings, a los otros, la muerte. Paréceme más quoted below: bien un ardor, un tremendo ardor que desgaja y desmenuza las carnes, para I was not aware of the moment when despeñarnos caudalosamente el alma. I first crossed the threshold of this life. Duro, acre, sumo, el abrazo de la muer- What was the power that made me open te. Es tu amor, es tu terrible amor, ¡oh, out into this vast mystery Dios! ¡Así deja rotos y vencidos los hue- like a bud in the forest at midnight! sos, lívida de ansia la cara y desmade- When in the morning I looked upon jada la lengua! (Tapscott, 2002, 81). the light I felt in a moment that I was no strager A careful reading of this poem in this world, would show that Mistral begun at the that the inscrutable without name and point where Rabindranath ended. Mis- form tral’s poem opened with the ringing be- had taken me in its arms lief that death was not the end of life. in the form of my own mother. Almost all along his life, Rabindranath Even so, in death the same unknown perceived death in a very positive man- will appear ner, for him mortal life was a journey, as ever known to me. And because I kind of a performance on stage, birth love this life, being its entry-point, and death the I know I shall love death as well. exit-point. However, that was not the The child cries out when end of the journey, death was simply from the right breast the mother takes beginning of a new journey. In other it away, words, his love for death stemmed in the very next moment to find from his love for this mortal life, his in the left one its consolation. (Tagore, belief in the beauty of this world. This 2009: 239) love and belief in the mortal life, which resonated in Rabindranath’s poems, Mistral quoted a line of this poem was absent in Mistral’s. The positive as the heading of her poem: approach reflected in the first line of Mistral’s poem, immediately stumbled “SÉ QUE TAMBIÉN AMARÉ LA in the second line with the imagery of MUERTE” “las cañas, exprimida” or crushed sug- arcanes. “El racimo negro melificado al No creo, no, en que he de perderme sol” alluded to a sensuality that was tras la muerte. absent in the source poem, where the ¿Para qué me habrías henchido tú, si identity of the “you” remained am- había de ser vaciada y quedar como biguous, as in many of his other works. 92 Revista de Lenguas Modernas, N.° 25, 2016 / 81-99 / ISSN: 1659-1933

Knowingly or not, Mistral successfully I paint you and fashion you ever with captured this ambiguity. Like Rabin- my love longings. dranath’s Bangla poem – which obvi- You are my own, my own, Dweller in ously Mistral had not read – she also my endless dreams! used the informal ‘you’ form of Span- Your feet are rosy-red with the glow of ish, ‘tú’.18 However, this intimacy was my heart’s desire, completely shattered in the last stanza Gleaner of my sunset songs! where death appeared to be fierce, dan- Your lips are bitter-sweet with the gerous and difficult, that wreaked hav- taste of my wine of pain. oc, and thus, this imagery eliminated You are my own, my own, Dweller in any possibility of love. my lonesome dreams! Close to the publication of Lecturas With the shadow of my passion have I para mujeres in México, Chile saw pub- darkened your eyes, Haunter lication of a new book of poems, Veinte of the depth of my gaze! poemas de amor y una canción deses- I have caught you and wrapt you, my perada, in 1924, by a promising young love, in the net of my music. poet Pablo Neruda (1904-1973) – who, You are my own, my own, Dweller in eventually would be the second Latin my deathless dreams! (Tagore, 1915; American Nobel Laureate – where the emphases added) influence of Rabindranath was too evi- dent. And though only one poem ac- Neruda’s poem, however, voiced a knowledged the debts explicitly, the screaming desire for the ‘perfect’ lover impact of Rabindranath could be found out there: in several poems. According to Neruda, poem number 16 of Veinte poemas was En mi cielo al crepúsculo eres como a paraphrase of the 30th poem of The una nube Gardener. It was however, interesting y tu color y forma son como yo los quiero that this declaration was added only in Eres mía, eres mía, mujer de labios dulces the second edition of the book, in 1937, y viven en tu vida mis infinitos sueños. after Neruda was accused of plagiarism La lámpara de mi alma te sonrosa los by another Chilean poet Vicente Huido- pies, bro. (Cuando Huidobro acusa a Pablo el agrio vino mío es más dulce en tus Neruda de plagiar el poema de Rabin- labios: dranath Tagore, 2013).19 A close study oh segadora de mi canción de atardecer, of the two poems would reveal that it Cómo te sienten mía mis sueños was not exactly a paraphrase but rath- solitarios!Eres mía, eres mía, voy gri- er Neruda’s reception of Rabindranath. tando en la brisa The 30th poem of The Gardener, which de la tarde, y el viento arrastra mi voz was basically an English rendering of viuda. the Bangla poem ‘Manaspratima’ sang Cazadora del fondo de mis ojos, tu robo about an idol of the soul, a ‘perfect’ cre- estanca como el agua tu mirada nocturna. ation of the poetic mind: En la red de mi música estás presa, You are the evening cloud floating in amor mío, the sky of my dreams. y mis redes de música son anchas como BHATTACHARYA. Exploring a South-South Dialogue ... 93

el cielo. exactly when it was looking to other Mi alma nace a la orilla de tus ojos countries in search of an alternative. By de luto. this time, a number of Latin Americans, En tus ojos de luto comienza el país del like Victoria Ocampo, had also realised sueño. (Neruda, 2007; emphases added). that their own identity was significantly different from that of Europe. In 1930, Despite the overt sensuality of the in a letter to Rabindranath, Ocampo poem, this could also be interpreted as voiced this crisis of Latin America: a quest for the ideal form, the eternal quest of an artist. During that period, Ambos somos [referring to herself and by and large, this was the quest of the Waldo Frank] huérfanos. Y Europa es entire Latin America. la causa de ese sentimiento. Nos senti- mos sus huérfanos. Su verdadera ima- gen nos atrae y nos rechaza al mismo An exploration of the “Critical tiempo. Nuestras raíces están dolori- Understanding” das y nuestros corazones angustiados por eso. Frank y yo, cuando nos encon- In order to understand the reason of tramos, nos tomamos de la mano como such popularity and relevance of Rabin- niños errantes, perdidos en su América dranath in the Hispanic world, the con- propia… Echamos de menos a Europa, text of the reception must be taken into terriblemente, los dos. Y sin embargo, account. Confronted with the dilemma cuando vivimos en Europa, sentimos of their pre-colonial past on the one que no puede darnos la clase de ali- hand, and the luring call of European mento que necesitamos. Algo nos falta. modernism on the other, Latin America (Ocampo, 1982: 38-39) ‘discovered’ the medieval Indian poet Kabir through Rabindranath, and the Coupled with this desire to look combination, to a large extent, soothed beyond Europe, was also the quest for their blood-trailed past and present – a new literary form. By 1914, the first a history fraught with racial tension, wave of modernismo had already died struggle for independence, series of dic- down. The second generation of mod- tatorships, military junta, underground ernista poets were looking for a new lit- guerrilla warfare, and of course, direct erary form and diction, through which and indirect interventions of the USA. they would be able to express their From the late 19th century, a strong own reality, and also to move beyond anti-Spain tendency was building up in that reality to a rather surreal realm of most of the Latin American countries, truth and beauty. And that was when and also an inclination to go back to Latin America found Kabir and Rabin- their pre-colonial past. At the onset of dranath and their messages of love, as the First World War, torn between its González pointed out in his introduc- dependency on Europe and a deep desire tion to Cien Poemas de Kabir: to reject Europe and find an identity in- dependent of Europe – for Europe was Desde que yo he comenzado a estu- the root of all their troubles – Spanish diar y a darme cuenta de los proble- America encountered Rabindranath mas íntimos de nuestra nacionalidad, 94 Revista de Lenguas Modernas, N.° 25, 2016 / 81-99 / ISSN: 1659-1933

arrancados del corazón de su historia, he to Mistral, would eventually change adquirido la convicción de que el Odio en the course of Latin American litera- ella se revela con los caracteres de una tures (Meyer and Horan). ley histórica. …Cuando pude leer a Ta- Ocampo was also very much influ- gore…mi regocijo no tuvo límites al po- enced by the Tagorean god, who was not der reforzar mi pobre voz con la de aque- rigid and judgemental like the Chris- llos preclaros instrumentos de la música tian God, but rather a friend, a guide, de amor. (Tagore, 1952: 47-48) as she mentioned in her autobiography:

Perhaps it was her interaction with Yo no creía en Dios, en un Dios per- Rabindranath that made Victoria Oc- sonal exigente, mezquino, implacable, ampo conscious about the Latin Amer- el Dios vengador, limitado que habían ican identity crisis. While staying at tratado de imponerme… Dios de Ta- San Isidro, time and again Rabindra- gore, ¿me oyes? Dios que no quieras nath expressed his displeasure with ponerme a cubierto de nada y que no Latin America’s attempt to imitate Eu- temes el olvido en que te dejo, ¡cómo rope. His attitude and Ocampo’s reac- me conoces! ¡Dios oculto que sabes que tion to that in 1924, was delineated in siempre te buscaré! ¡Dios que sabes Ocampo’s book Tagore en las barran- que hacia ti sólo vamos por los caminos cas de San Isidro: de la libertad! (Ocampo, 1982: 19-20)

Mi ojeada a América del Sur – escribe The acknowledgement of Europe Tagore a – no es re- in the form of the Nobel Prize, admit- confortante. La gente se ha enriqueci- tedly, played an instrumental role in do de repente, y no ha tenido tiempo de expanding Rabindranath’s fame; how- descubrir su alma. Es lastimoso ver su ever, that was not the sole important absoluta dependencia de Europa para factor. Perhaps the fact that Rabindra- sus pensamientos, que deben llegarles nath could conceptualise of a profound, totalmente hechos. No les avergüenza self-less love from within a colony enorgullecerse de cualquier moda que which had its own blood-trailed real- copian, o de cultura que compran a ity, made him even more poignant and aquel Continente… relevant in the Latin American coun- tries. It was also significant that despite ¿Pero dónde íbamos a comprar nuestra the huge popularity of Song Offerings cultura, si no en los países de dónde in the English West after receiving the venimos…? ¿Acaso la cultura europea Nobel Prize; in Spain, Camprubí and no es también la nuestra? (Ocampo, Jiménez chose to translate The Cres- 1961a: 69) cent Moon and then The Post-Office. In fact, Song Offerings would be the However, it did not take her long to ninth book Camprubí and Jiménez realise that there was something lack- would translate and publish in 1918. ing in that culture, and from that point In the first two texts they translated, stemmed her search for an American the ‘child’ played a very important role, identity, which led her to establish the and the emphasis was also on love, journal Sur, a journal that, according happiness, innocence; feelings that BHATTACHARYA. Exploring a South-South Dialogue ... 95

Hispanic world really needed at that leer al Rabindranath Tagore’ where time. These poems revived the decay- she also underscored the same aspect, ing modernismo in the Spanish Ameri- the refreshing nature of Rabindra- can countries, and in Spain gave birth nath’s poems, his concept of love and to a new kind of poetry, pure poetry or the fulfilment that he found in love, la poesía desnuda. The development of “Entrar en los poemas de Tagore, al ‘La poesía desnuda’ or ‘Naked Poetry’ salir de la novella de Proust [Swann’s in Spain had often been traced back Way, In Search of Lost Time], es el (Nemes, 1961; Johnson, 1965) to the 7th baño del viajero rendido y polvoriento song of Song Offerings, “My song has después de una travesía del desierto put off her adornments”. occidental. Es respirar aire puro de- Among other things, the Hispanic bajo de un ábrol secular después de world was also influenced by Rabin- una prolongada permanencia en una dranath’s ways of expression, his very gran ciudad.” (1961a, 20). This refresh- simple diction and use of imageries and ing, soothing aspect of Rabindranath’s metaphors, which were carried across notion of love would remain relevant successfully even in translations. Vari- even in 1961, when another Argentine ous authors would refer to this simplicity poet, Eduardo González Lanuza, would and accessibility of his poems. In 1918, again highlight this universal appeal in an open letter to Zenobia Camprubí, of Rabindranath’s poetry, the lucidity famous Spanish author and philosopher, of his poetry: Ortega y Gasset drew attention to the universal appeal of his poems: Tal vez el secreto fundamental de su [de Rabindranath] poética consista en ha- Rabindranaz [sic.], en cambio, no ne- ber sabido adquirir una cortés evanes- cesita nada histórico y suntuario, nada cencia, como de fantasma, fluctuante y peculiar de un tiempo y de un pueblo. casi traslucida, pero mantenedora por Con un poco de sol, de cielo y de nube, lo mismo de su perfil inconfundible. Si de hontanar y de sed, de tormentos y se ha podido definir la música como el de ribera, con el quicio de una puerta bordeado contorno del silencio, la poesía o el marco de una ventana donde aso- de Tagore se podría, a su vez, caracte- marse, sobre todo con un poco de amo- rizar como la ondulante – y deleitosa – roso incendio y de fiebre hacia Dios, ribera de lo inefable. (Sur, 1961: 46-47) elabora sus canciones. Esta lírica, se compone, pues, de cosas universales, It was not only Rabindranath’s po- que dondequiera hay, dondequiera ha ems and songs, his essays were also habido, y hace de ella un pájaro pron- quite popular in Spanish America. Oc- to a cantar desde toda rama. (Ortega y ampo, of course, was an avid reader of Gasset, 2011: 230) Rabindranath and had read almost all of his English works, but even Joaquín If this letter highlighted the initial González, Abel Alarcón and others Spanish response to Rabindranath, have also referred to Rabindranath’s the Latin American response could be essays. In his letter (dated Septem- found almost after nine years, when ber 23, 1924) to Rabindranath, José Victoria Ocampo wrote ‘La alegría de Vasconcelos referred to Personality, 96 Revista de Lenguas Modernas, N.° 25, 2016 / 81-99 / ISSN: 1659-1933

Sadhana, Nationalism explaining how Paris, which established the famous poet deeply he was moved by these books. as a modern painter. In 1967, famous Nationalism, though not as popular as Mexican poet and diplomat, Octavio Paz his poems, would remain relevant in the (1914-1998) delivered a lecture at Delhi Hispanic world for a long time, as we see University in India, where he discussed in the writing of the famous Argentine Rabindranath’s paintings and poems and author Jorge Luis Borges (1899-1986). the intricate relationship between these In a short piece published in the Tagore different forms of art: “Tagore wanted to Centenary issue of Sur, Borges drew a sing with the lines and colours. There- connection between the way Shaw re- fore, instead of words and letters, he set jected capitalism and the way Rabindra- off with lines and paints, which are al- nath eschewed imperialism: ways rhythmical.” (Paz, 1991). To anyone familiar with the range Shaw rechazaba el capitalism, que of Rabindranath’s creations, it would condena a los unos a la pobreza y a los appear that while rendering his works otros al tedio; parejamente Rabindra- into English, the poet probably chose to nath Tagore rechazaba el imperialis- expose only a few aspects of his self and mo que disminuye a los oprimidos y al hide the rest. Yet, with that fractional opresor. La cultura oriental y la occi- exposure Spanish America ‘discovered’ dental se conjugaron en este hombre, an alternative in his writings; an alter- que manejó los dos instrumentos del native set of beliefs, expressions and inglés y del bengalí; en cada página de ways of thinking, which came from an- este libro conviven la afirmación asiá- other colony like their own, and won tica de las ilimitadas posibilidades del over the colonisers. Probably, therein alma y el recelo que la máquina del es- was the importance and necessity of tado inspiraba a Spencer. (1961: 61) a South-South dialogue, which Rabi- ndranath and his Spanish American Having suffered for a long time contemporaries had exemplified. from internal colonialism and the US imperialism, perhaps it was easier for the Spanish American countries to Notes understand Rabindranath’s warnings against narrow Nationalism and ap- 1. The reason behind focusing on these preciate his ideas of Internationalism. three countries is purely logistical – most Rabindranath’s paintings were not of the texts/ authors I have been able to less known in the Spanish America ei- locate so far, belong to these countries. ther. In many of her writings Victoria 2. Some sporadic translations have been Ocampo referred to the “doodling” Rabi- done by S.P. Ganguly, Malabika Bhatta- ndranath used to make in his notebooks charya and other scholars. However, during his stay in Argentina. Though as far as I know, no complete book of this was an old habit of the poet, Ocampo Rabindranath has been translated into was perhaps one of the first persons to Spanish directly from Bangla. encourage him, and later she would play 3. I shall not go into detailed analysis of an instrumental role in organizing an ex- the latter part, as that would require a hibition of Rabindranath’s paintings in separate article. BHATTACHARYA. Exploring a South-South Dialogue ... 97

4. For a brief overview of Rabindranath’s 15. In fact, Mistral did not cite any source life and works, see (Kripalani, Rabin- at all, except the name and nationality dranath Tagore: A Biography). of the poet/author. 5. Elsewhere I have written about some 16. Bangla source poem: ‘Chaturi’ of Shishu. of the earliest Spanish and Spanish 17. For some strange reason, the English American translations of Rabindra- translation capitalizes the ‘y’ of ‘you’, nath, including the translations made which is not there in the Spanish by Pérez de Ayala and Abel Alarcón. source text. For details, see (Bhattacharya, 2012). 18. The incident, however, found no men- 6. He did write a few letters to Zenobia tion in Neruda’s Memoirs, though he Camprubí, but those were very brief mentioned the Tagore family and Vi- and formal correspondences. For de- cente Huidobro in the book. tails see (Das & Ganguly, Saswato mouchak, 1987). 7. A detailed account of his plan and the Bibliography Spanish euphoria can be found in (Das & Ganguly, Saswato mouchak, 1987). Autobiografía de Gabriela Mistral. (26 8. Details on the articles published here de julio de 1930). En O. M. Benítez can be found in (Dyson, 2009) (Ed.), Gabriela Mistral: Su prosa y 9. Details on the articles published here poesía en Colombia (Vol. 1, pág. 119). can be found in (Scriba, 2011) Bogotá: Convenio Andrés Bello. 10. For details on Rabindranath and Ocam- Bhattacharya, N. (2012). Gitanjali and po, see (Dyson, 2009), (Ghosh, 2010) Its Afterlife in the Hispanic World: and (Ganguly, The Kindred Voice: Re- Two Forgotten Translations. The flections on Tagore in Spain and Latin Visva-Bharati Quarterly, 20-21, America, 2011)and (Ganguly, Ocampo 151-164. y Tagore: Entre la Vision de Uno y lo Blanco, A. C. (1998-99). Un apunte Otro). There are also other significant sobre la fortuna de Tagore en Es- works by these and other scholars. paña. Archivum, 147-179. Recupe- 11. See note 5. rado el 24 de febrero de 2013, de 12. Rabindranath translated these poems dialnet.unirioja.es/descarga/articu- of Kabir in assistance with Evelyn Un- lo/144202.pdf derhill and Ajit Kumar Chakraborty. For Borges, J. L. (Mayo-Junio de 1961). El details, see (Das, The English Writings Nacionalismo y Tagore. Sur, 60-61. of Rabindranath Tagore, 2011). Chacon, A. (s.f.). The Forgotten Sto- 13. From Ruiz’s (Ruiz, 2014) article, it see- ne: On Rabindranath Tagore and med that José Vasconcelos was hea- Latin America. Recuperado el 07 de ding the Ministry of Education during marzo de 2013, de Parabaas: http:// this time. Given his interest on Rabin- www.parabaas.com/SHEET3/LE- dranath, it was no wonder that he would KHA16/forgotten.html promote this kind of a book. Cuando Huidobro acusa a Pablo Neru- 14. Needless to add, that Mistral knew da de plagiar el poema de Rabindra- nothing about the Bangla source poem, nath Tagore. (21 de enero de 2013). ‘Dui pakhi’ of Sonar Taree. Recuperado el 7 de marzo de 2013, de Muladar News Website: http:// 98 Revista de Lenguas Modernas, N.° 25, 2016 / 81-99 / ISSN: 1659-1933

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