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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.