SRI AUROBINDO
Translations
AVAILABLE EDITIONS: |
|
Sri Aurobindo Birth Century Library: Set in
30 volumes.- Vol.
8 Sri Aurobindo.
Translations //
Sri Aurobindo Birth Century Library: Set in 30 volumes.- Volume 8.-
Pondicherry: Sri Aurobindo Ashram, 1972.- 412 p. |
► |
The Complete Works of Sri Aurobindo: set in
37 volumes. Vol. 5
Translations // The Complete Works of Sri Aurobindo:
Set in 37 volumes.- Volume 5.-
Pondicherry: Sri Aurobindo Ashram, 1999.- 628 p.- ISBN 81-7058-496-5 |
|
|
The Complete
Works of Sri Aurobindo
Set in 37 volumes
Volume 5 |
— ALL BOOK IN A SINGLE FILE |
|
PDF-file
|
—SET OF HTML FILES |
Notes |
Publisher’s Note |
|
Note on the Texts |
|
Note on this
e-publication
|
|
Part One. Translations from Sanskrit |
Section One. The Ramayana |
Pieces from the Ramayana |
1. Speech of
Dussaruth |
1 |
2. An Aryan City |
1 |
3. A Mother’s
Lament |
1 |
4. The Wife |
1 |
An Aryan City:
Prose Version |
N |
The Book of the
Wild Forest |
1 |
The Defeat of
Dhoomraksha |
|
Section Two. The Mahabharata |
Sabha Parva or
Book of the Assembly-Hall |
|
Virata Parva.
Fragments from Adhyaya 17 |
|
Udyoga Parva:
Rendering of the First Adhaya [1] |
|
Udyoga Parva:
Rendering of the First Adhaya [2] |
|
Udyoga Parva:
Passage from Adhyayas 75 |
|
Udyoga Parva:
Passage from Adhyayas 72 |
|
The Bhagavad Gita:
The First Six Chapters |
|
Appendix I:
Opening of Chapter VII |
|
Appendix II: A
Later Translation of the Opening of the Gita |
|
Vidula |
|
Section Three. Kalidasa |
Vikramorvasie or
The Hero and the Nymph |
vol 7 |
In the Gardens of
Vidisha or Malavica and the King |
|
The Birth of the War-God |
Stanzaic Rendering
of the Opening of Canto I |
|
Blank Verse
Rendering of Canto I |
|
Expanded Version of
Canto I and Part of Canto II |
|
Notes and Fragments |
Skeleton Notes on
the Kumarasambhavam: Canto V |
~3 vol/45 |
The Line of Raghou:
Rendering of the Opening [1] |
|
The Line of Raghou:
Rendering of the Opening [2] |
|
The Cloud Messenger:
Fragments from a Lost Translation |
|
Section Four. Bhartrihari. The Century of
Life |
Translator’s Note |
|
Invocation |
|
On Fools and Folly |
Love’s Folly |
|
The Middle Sort |
|
Obstinacy in Folly |
|
On the Same |
|
Obstinacy in Vice |
|
Folly’s Wisdom |
|
A Little Knowledge |
|
Pride of
Littleness |
|
Facilis Descensus |
|
The Great
Incurable |
|
Bodies without
Mind |
|
The Human Herd |
|
A Choice |
|
On Wisdom |
Poets and Princes |
|
True Wealth |
|
The Man of
Knowledge |
|
Fate and Wisdom |
|
The Real Ornament |
|
The Praises of
Knowledge |
|
Comparisons |
|
Worldly Wisdom |
|
Good Company |
|
The Conquests of
Sovereign Poetry |
|
Rarities |
|
The Universal
Religion |
|
Great and Meaner
Spirits |
|
The Narrow Way |
|
On Pride and Heroism |
Lion-Heart |
|
The Way of the
Lion |
|
A Contrast |
|
The Wheel of Life |
|
Aut Caesar aut
Nullus |
|
Magnanimity |
|
The Motion of
Giants |
|
Mainak |
|
Noble Resentment |
|
Age and Genius |
|
On Wealth |
The Prayer to
Mammon |
|
A Miracle |
|
Wealth the
Sorcerer |
|
Two Kinds of Loss |
|
The Triple Way of
Wealth |
|
The Beauty of
Giving |
|
Circumstance |
|
Advice to a King |
|
Policy |
|
The Uses of High
Standing |
|
Remonstrance with
the Suppliant |
|
The Rainlark to
the Cloud |
|
To the Rainlark |
|
On the Wicked |
Evil Nature |
|
The Human Cobra |
|
Virtue and Slander |
|
Realities |
|
Seven Griefs |
|
The Friendship of
Tyrants |
|
The Hard Lot of
the Courtier |
|
The Upstart |
|
Two Kinds of
Friendship |
|
Natural Enmities |
|
On Virtue |
Description of the
Virtuous |
|
The Noble Nature |
|
The High and
Difficult Road |
|
Adornment |
|
The Softness and
Hardness of the Noble |
|
The Power of
Company |
|
The Three
Blessings |
|
The Ways of the
Good |
|
Wealth of Kindness |
|
The Good Friend |
|
The Nature of
Beneficence |
|
The Abomination of
Wickedness |
|
Water and Milk |
|
Altruism Oceanic |
|
The Aryan Ethic |
|
The Altruist |
|
Mountain Moloy |
|
On Firmness |
Gods |
|
The Man of High
Action |
|
Ornaments |
|
The Immutable
Courage |
|
The Ball |
|
Work and Idleness |
|
The Self-Reliance
of the Wise |
|
On Fate |
Fate Masters the
Gods |
|
A Parable of Fate |
|
Fate and Freewill |
|
Ill Luck |
|
Fate Masters All |
|
The Follies of
Fate |
|
The Script of Fate |
|
On Karma |
Action be Man’s
God |
|
The Might of Works |
|
Karma |
|
Protection from
behind the Veil |
|
The Strength of
Simple Goodness |
|
Foresight and
Violence |
|
Misuse of Life |
|
Fixed Fate |
|
Flowers from a
Hidden Root |
|
Miscellaneous Verses |
Definitions |
|
A Rarity |
|
The Flame of the
Soul |
|
The Conqueror |
|
The Hero’s Touch |
|
The Power of
Goodness |
|
Truth |
|
Woman’s Heart |
|
Fame’s Sufficiency |
|
Magnanimity |
|
Man Infinite |
|
The Proud Soul’s
Choice |
|
The Waverer |
|
Gaster Anaides |
|
The Rarity of the
Altruist |
|
Statesman and Poet |
|
The Words of the
Wise |
|
Noblesse Oblige |
|
The Roots of
Enjoyment |
|
Natural Qualities |
|
Death, not
Vileness |
|
Man’s Will |
|
The Splendid
Harlot |
|
Fate |
|
The Transience of
Worldly Rewards |
|
Prefatory Note on
Bhartrihari |
|
Section 5. Other Translations from
Sanskrit |
Opening of the
Kiratarjuniya |
|
Bhagawat: Skandha
I, Adhyaya I |
|
Bhavani
(Shankaracharya) |
|
Part Two. Translations from Bengali |
Section One. Vaishnava Devotional Poetry |
Radha’s Complaint
in Absence (Chundidas) |
|
Radha’s Appeal
(Chundidas) |
|
Karma: Radha’s
Complaint (Chundidas) |
|
Appeal (Bidyapati) |
|
Twenty-two Poems of Bidyapati |
[1. Childhood and
youth each other are nearing...] |
|
[2. Day by day
her milk-breasts drew splendour...] |
|
[3. Now and again
a sidelong look...] |
|
[4. Childhood and
youth, maiden, are met...] |
|
[5. Playing she
plays not, so newly shy...] |
|
[6. In elders’
eyes she brooks not stay...] |
|
[7. A little and
a little now...] |
|
[8. Childhood is
fled and youth in its seat...] |
|
[9. As the swan
sails, so moved she...] |
|
[10. I have seen
a girl no words can measure...] |
|
[11. When the
hour of twilight its period kept...] |
|
[12. A shining
grace the damsel’s face...] |
|
[13. The
moonwhite maiden from her bath...] |
|
[14. Beauty stood
bathing in the river...] |
|
[15. O happy day
that to mine eyes betrayed...] |
|
[16. Beautiful
Rai, the flower-like maid...] |
|
[17. Ah how shall
I her lovely body express...] |
|
[18. When the
young warm Love her heart doth fill...] |
|
[19. “’Tis night
and very timid my little love...] |
|
[20. The best of
the year has come, the Spring...] |
|
[21. In the
spring moonlight the lord of love...] |
|
[22. Hark how
round goes the instruments’ sound...] |
|
Selected Poems of Bidyapati |
[1. Wherever
her twin fair feet found room...] |
|
[2. Why fell
her face upon my sight...] |
|
[3. Sweet and
strange as ’t were a dream...] |
|
[4. Ah who
has built this girl of nectarous face...] |
|
[5. I saw not
to the heart’s desire...] |
|
[6. Caanou to
see I had desire...] |
|
[7. Lotus
bosom, lotus feet...] |
|
[8. How shall
I tell of Caanou’s beauty bright...] |
|
[9. Low on
her radiant forehead shone...] |
|
[10. The
manèd steeds in the mountain glens for fear...] |
|
[11. Hide now
thy face, O darling white...] |
|
[12. She
looked on me a little, then...] |
|
[13. Upon a
thorn when the flowers bloom...] |
|
[14. A new
Brindabun I see...] |
|
[15. Season
of honey when sweets combine...] |
|
[16. O
friend, my friend, has pain a farther bound...] |
|
[17. Still in
the highways wake nor dream...] |
|
[18. O life
is sweet but youth more bright...] |
|
[19. Angry
beauty, be not loth...] |
|
Selected Poems of Nidhou |
[1. Eyes of
the hind, you are my jailors, sweetest...] |
|
[2. Line not
with these dark rings thy bright eyes ever...] |
|
[3. If the
heart’s hope were never satisfied...] |
|
[4. What else
have I to give thee? I have yielded...] |
|
[5. My eyes
are lost in thine as in great rivers...] |
|
[6. Sweet,
gaze not always on thine own face in the mirror...] |
|
[7. Why
gazing in the glass I stand nor move...] |
|
[8. He whom I
woo makes with me no abiding...] |
|
[9. Cease,
clouds of autumn, cease to roll...] |
|
[10. The
Spring is here, sweet friend, the Spring is here...] |
|
[11. Ere I
had taken half my will of joy...] |
|
[12. Nay,
though thy absence was a tardy fire...] |
|
[13. I said
in anger, “When next time he prays...] |
|
[14. Ah
sweet, thou hast not understood my love...] |
|
[15. How much
thou didst entreat! with what sweet wooing...] |
|
[16. How
could I know that he was waiting only...] |
|
[17. Into the
hollow of whose hand my heart...] |
|
[18. Hast
thou remembered me at last, my own...] |
|
[19. I did
not dream, O love, that I...] |
|
[20. In true
sweet love what more than utter bliss is...] |
|
Selected Poems of Horo Thacoor |
[1. Who is
this with smearèd limbs...] |
|
[2. Lolita,
say...] |
|
[3. Look,
Lolita, the stream one loves so...] |
|
[4. I know
him by the eyes all hearts that ravish...] |
|
[5. O fondly
hast thou loved, thyself deceiving...] |
|
[6. What are
these wheels whose sudden thunder...] |
|
[7. All day
and night in lonely anguish wasting...] |
|
Selected Poems of Ganodas |
[1. O beauty
meant all hearts to move...] |
|
[2. Ah nurse,
what will become of us? This old...] |
|
[3. In vain
my hands bale out the waves inleaping...] |
|
[4. She. For
love of thee I gave all life’s best treasures...] |
|
[5.
Neatherdess, my star...] |
|
[6. Beautiful
Radha, Caanou dost thou see not...] |
|
[7. I will
lay bare my heart’s whole flame...] |
|
Section 2. Bankim Chandra Chatterjee |
Hymn to the Mother:
Bande Mataram |
|
Bande Mataram:
Translation in Prose |
|
Anandamath: The
First Thirteen Chapters |
|
Anandamath: A
Later Version of Chapters I and II: Appendix |
|
Section Three. Chittaranjan Das. Songs of
the Sea |
[I. O thou
unhoped-for elusive wonder of the skies...] |
|
[II. I lean
to thee a listening ear...] |
|
[III. Long
gazing on this dawn and restless sea...] |
|
[IV. The
flute of dawn has rung out on the sea...] |
|
[V. Upon
what bosom shall I lay my bliss...] |
|
[VI. Dawn has
become to me a golden fold...] |
|
[VII. Behold,
the perfect-gloried dawn has come...] |
|
[VIII. I have
no art of speech, no charm of song...] |
|
[IX. All day
within me only one music rings...] |
|
[X. What is
this play thou playest with my life?..] |
|
[XI. My heart
wings restless with this music’s pain...] |
|
[XII. O
painter, thou thy marvellous art didst use...] |
|
[XIII. O now
today like a too brilliant dream...] |
|
[XIV. The day
is filled with clouds and dusk and grey...] |
|
[XV. Today
the heavens are sealed with clouds and blind...] |
|
[XVI. This is
not now the lyre’s melodious stream...] |
|
[XVII. When
thy enormous wind has filled my breast...] |
|
[XVIII. O
high stark Death, ascetic proud and free...] |
|
[XIX. O loud
blind conqueror, stay thy furious car...] |
|
[XX. Thou
hast come back, O Lord! this soul, thy sky...] |
|
[XXI. The
light of the young dawn round every limb...] |
|
[XXII. O
today in heaven there rings high a mournful strain...] |
|
[XXIII.
Sleep, sleep through clouded moons, O sea, at last...] |
|
[XXIV. Where
have I seen thee? where have clasped thy hand?...] |
|
[XXV. None is
awake in all the world but I...] |
|
[XXVI. The
sun has not yet risen. Luring night...] |
|
[XXVII. The
sunbeams fall and kiss thy lips and gleam...] |
|
[XXVIII. Nay,
nay, let be! O not today that sound...] |
|
[XXIX. How
many aeons hast thou flowed like this...] |
|
[XXX. What
years, what clime, what dim and distant shore...] |
|
[XXXI. My
sleepless midnight thou hast filled indeed...] |
|
[XXXII.
Lighting small lamps and in a little room...] |
|
[XXXIII.
Evening has not descended yet, fast sets the sun...] |
|
[XXXIV. In
this hushed evening on thy billows grey...] |
|
[XXXV.
Evening has fallen upon the world; its fitting tone...] |
|
[XXXVI. The
great heavens have no voice, the world is lying still...] |
|
[XXXVII. O by
long prayer, by hard attempt have bloomed...] |
|
[XXXVIII.
Here there is light,— is it darkness on thy farther shore?..] |
|
[XXXIX. Burns
on that other shore the mystic light...] |
|
[XL. This
shore and that shore,— I am tired, they pall...] |
|
Section Four. Disciples and Others |
Hymn to India
(Dwijendralal Roy) |
|
Mother India
(Dwijendralal Roy) |
|
The Pilot (Atulprasad
Sen) |
|
Mahalakshmi (Anilbaran
Roy) |
|
The New Creator
(Aruna) |
|
Lakshmi (Dilip Kumar
Roy) |
|
Aspiration: The New
Dawn (Dilip Kumar Roy) |
|
Farewell Flute (Dilip
Kumar Roy) |
|
Uma (Dilip Kumar Roy) |
|
Faithful (Dilip
Kumar Roy) |
|
Since thou hast
called me (Sahana) |
|
A Beauty infinite
(Jyotirmayi) |
|
At the day-end
(Nirodbaran) |
|
The King of kings
(Nishikanto) |
|
Part Three. Translations from Tamil |
Andal |
Andal: The
Vaishnava Poetess |
|
To the Cuckoo |
|
I Dreamed a
Dream |
|
Ye Others |
|
Nammalwar |
Nammalwar: The
Supreme Vaishnava Saint and Poet |
|
Nammalwar’s Hymn
of the Golden Age |
|
Love-Mad |
|
Kulasekhara Alwar |
Refuge |
|
Tiruvalluvar |
Opening of the
Kural |
|
Part Four. Translations from Greek |
On a Satyr and
Sleeping Love: Epigram (Plato) |
|
A Rose of Women:
Epigram (Meleager) |
|
Opening of the
Iliad (Homer) |
|
Opening of the
Odyssey (Homer) |
|
Hexameters from
Homer |
|
Part Five. Translations from Latin |
Hexameters from
Virgil [1] |
|
Hexameters from
Virgil [2] |
|
Hexameter from
Horace |
|
Catullus to Lesbia |
|
Note on this e-publication
During the history of publication of
Sri Aurobindo’s works, their texts were modified here and there —
sometimes by elementary misprints, but more often because of the hard work of
editors, who:
(1) discovered and encrypted unprinted manuscripts or
their parts (this was a best part of what they could do);
(2) corrected previous misprints or unsound
modifications (a sound part of their work);
(3) corrected Sri Aurobondo’s factual or grammatical
inexactnesses or mistakes or grammatical characteristics (i.e. s / z) (what
would be appropriate only in footnotes, but not in the text
itself);
(4) made innumerable
“improvements” of the texts, when original words were replaced by
more “appropriate” ones; articles changed most freely; the tenses of verbs and
the singular and plural of nouns were often modified (and all these
“improvements” deform in some degree — even if in hardly notable —
the meaning, intonation, nuance, manner, style and therefore are inadmissible;
and, after all, we need Sri Aurobindo’s words, not editor’s);
(5) combined (using sometimes invented
insertions or modifying texts) different texts (or some parts of them) as if it
were one solid work (this also deforms meaning and context of originals and
often brings strange feeling when one style or tone is strangely jumped to
another. It would be too licentious even in someone’s work based on Sri
Aurobindo’s writings, but it is absolutely inadmissible in a book pretended to
be a collection of HIS works);
(6) cut off parts of the texts (especially of the
letters) under pretext that they are not of “general interest” — although,
rather, to fit the remains to a subject of a book or its section (and this is
the most disgusting spoilage and uncorrectable and grievous loss).
So now we have Sri Aurobondo’s works with varied
places — when one of variants, perhaps, is authentic, while other —
not quite. May be some day we will see realy Complite Works of Sri Aurobindo
without prenominate defects. But now, what can we do, when we have not originals
at hand to check alternatives against them?
(1) Sometimes we can correct situation No 5 —
i.e. separate different texts, joined together.
(2) Sometimes we can correct situation No 6 —
whenever we find full version, we can provide fragment of the text by footnote
with full version or even replace this fragment by full version.
(3) We can evince most of the cases of situations Nos
3 and 4. For this purpose we compared the texts of different editions and
provide differing places with appropriate footnotes in our files. (By the way,
this symbol by symbol comparison allowed us also to avoid misprints of scanning
and OCR procedures.) And when this comparison does not make us sure which
variant is authentic, we, at least, become aware of the fact and details of such
variations.
To distinguish
numerous footnotes of this kind we used special style: (1) colour of numbers of
footnotes are dark red; (2) when cursor is placed over differing piece, its
background is changed to light red (also it allows readers to compare easily
differing place in a text with a pop-up hint that contains alternative variant).
During this comparison, to avoid overloading of the texts by footnotes, we ignored differences of register,
punctuation, paragraphs, variants of languages
or transliterations of the same word (for example, in one edition the word
is printed in English transliteration, in another – in Devanagari), sometimes — variants of proper names
(especially solid or separate spelling).
Also we did not made any footnotes in cases of distinct misprints — just corrected them.
In the footnotes of every file we added
a link to another edition of current work (if it exists).
In the Contents above, opposite every work (to the
right) we indicated compared
edition:
1
Sri Aurobindo Birth Century Library: Set in 30 volumes.– Volume 8.–
Translations.– Pondicherry: Sri Aurobindo Ashram, 1972.– 412 p.
N The work was not compared with other editions.
2 Archives and Research: A biannual journal.— Volume 1, No2 (1977, December)
3 Archives and Research: A biannual journal.— Volume 1, No1 (1977, April)
4 Archives and Research: A biannual journal.- Volume 7, No1 (1983, April).- 97 p.
5 Archives and Research: A biannual journal.- Volume 2, No1 (1978, April).- 108 p.
6 Archives and Research: A biannual journal.- Volume 5, No2 (1981, December).- 112-212 p.
7 Sri Aurobindo Birth Century Library: Set in 30 volumes.- Volume 27.- Supplement.- Pondicherry: Sri Aurobindo Asram, 1972.- 511 p.
8 Sri Aurobindo Birth Century Library: Set in 30 volumes.- Volume 17.- The Hour of God and other writings.- Pondicherry: Sri Aurobindo Asram, 1972.- 406 p.
9 Compared with text of earlier publication (we have not exact bibliography information on this publication — text was found in Internet).
10 Archives and Research: A biannual journal.- Volume 3, No2 (1979, December).- 123-233 p.
11 Archives and Research: A biannual journal.- Volume 14, No1 (1990, April).- 115 p.
12 Archives and Research: A biannual journal.- Volume 8, No1 (1984, April).- 124 p.