1
THOU hast made me endless, such is thy pleasure. This frail vessel thou emptiest again and again, and fillest it ever with fresh life.
This little flute of a reed thou hast carried over hills and dales, and hast breathed through it melodies eternally new.
At the immortal touch of thy hands my little heart loses its limits in joy and gives birth to utterance ineffable.
Thy infinite gifts come to me only on these very small hands of mine. Ages pass, and still thou pourest, and still there is room to fill.

In this opening stanza, Rabindranath Tagore addresses a higher power, using the archaic form “THOU” to signify a divine entity. The poet acknowledges that his endless existence is a result of the divine will and pleasure. This recognition sets the tone for a relationship between the finite human self and the infinite divine.

The metaphor of the “frail vessel” is a powerful image representing the human body or soul. The cyclic process of emptying and filling the vessel with fresh life suggests the continuous cycle of birth, death, and rebirth. This echoes themes of reincarnation and the eternal nature of the soul.

The comparison of the poet’s soul to a “little flute of a reed” emphasizes the fragility and humility of the human spirit. The reed flute is an instrument that requires the breath of a player to produce music. Here, the divine force is likened to a musician who carries the flute over various terrains, symbolizing the diverse experiences of life.

The mention of “melodies eternally new” suggests the ever-changing, evolving nature of the human experience guided by the divine. Each new melody represents a unique aspect of life, continuously created and influenced by the divine breath.

The “immortal touch” of the divine hands signifies a direct and timeless connection between the divine and the poet’s heart. This touch transcends the limitations of the human experience, bringing immense joy. The ineffable utterance refers to a form of expression that is beyond the capacity of words to describe—a profound, spiritual expression that transcends linguistic boundaries.

The poet humbly acknowledges that the divine gifts are received on his “very small hands,” emphasizing the modesty and limited capacity of the individual. Despite the passage of ages, the divine blessings continue to pour in, and there is always room for more. This reflects the boundless and generous nature of the divine, offering an abundance of blessings that surpass the constraints of time.

2
WHEN thou commandest me to sing it seems that my heart would break with pride; and I look to thy face, and tears come to my eyes.
All that is harsh and dissonant in my life melts into one sweet harmony ⎯ and my adoration spreads wings like a glad bird on its flight across the sea.
I know thou takest pleasure in my singing. I know that only as a singer I come before thy presence.
I touch by the edge of the far spreading wing of my song thy feet which I could never aspire to reach.
Drunk with the joy of singing I forget myself and call thee friend who art my lord.

In this stanza, Tagore describes the overwhelming emotions that surge within him when commanded by the divine to sing. The poet’s heart is filled with an intense sense of pride, not in a self-centered way, but rather in response to the honor and privilege of being chosen to express himself through song at the divine’s command. The act of singing becomes a deeply emotional and almost sacred experience.

The poet’s gaze turns to the face of the divine, a moment of direct connection and acknowledgment. The tears in the poet’s eyes suggest a profound emotional response, possibly a combination of joy, reverence, and humility before the divine presence.

The act of singing at the divine command has a transformative effect on the poet’s life. The dissonance and harshness that may exist in the poet’s experiences and emotions are harmonized into a sweet, unified melody. This transformation is metaphorically compared to a bird in flight, spreading its wings joyfully across the sea. The imagery suggests a sense of liberation, joy, and the ability to transcend worldly troubles through the act of devotion.

The poet expresses a deep understanding of the divine pleasure derived from his singing. This awareness further strengthens the poet’s sense of purpose and connection to the divine. The act of singing becomes a sacred offering, a way for the poet to come into the presence of the divine, establishing a direct and personal connection through the medium of song.

The poet uses a metaphorical image to convey the connection between his song and the divine. The edge of the spreading wing of the song symbolizes the extent of the poet’s reach towards the divine. While the poet acknowledges the vast distance between himself and the divine feet, this metaphorical touch through song becomes a form of spiritual communion and aspiration.

The joy derived from singing becomes an intoxicating experience for the poet. In this state of ecstasy, the poet momentarily loses the sense of self and addresses the divine as a friend, despite recognizing the divine’s lordship. This blending of intimacy and reverence reflects the deep emotional and spiritual connection between the poet and the divine through the act of singing.

In this stanza, Tagore beautifully captures the transformative and joyous nature of singing as an act of devotion, bringing the poet closer to the divine and transcending the dissonances of life into harmonious adoration.

3
I KNOW not how thou singest, my master! I ever listen in silent amazement.
The light of thy music illumines the world. The life breath of thy music runs from sky to sky. The holy stream of thy music breaks through all stony obstacles and rushes on.
My heart longs to join in thy song, but vainly struggles for a voice. I would speak, but speech breaks not into song, and I cry out baffled. Ah, thou hast made my heart captive in the endless meshes of thy music, my master!

In this stanza, the poet expresses a sense of awe and wonder at the master’s singing. The use of the word “master” denotes a revered figure, possibly representing a divine or spiritual guide. The poet admits to not understanding the essence of how the master sings, emphasizing the mysterious and transcendent nature of the master’s musical expression. The poet listens in silent amazement, highlighting the profound impact that the master’s singing has on the observer.

The poet vividly describes the transformative power of the master’s music. The light of the music is metaphorically compared to an illuminating force that spreads across the world. The life breath of the music transcends boundaries, running from sky to sky, suggesting a universal and all-encompassing influence. The holy stream of music is portrayed as breaking through obstacles, signifying its ability to overcome challenges and flow incessantly.

The poet expresses a deep desire to actively participate in the master’s song, symbolizing a yearning for a connection with the divine through self-expression. However, the poet feels a struggle to find a voice, indicating a difficulty in translating inner emotions and thoughts into the transformative language of song. The attempt to speak falls short of becoming a song, leaving the poet feeling baffled and frustrated in the face of the master’s ineffable music.

The poet conveys a powerful metaphor— the master’s music has captured the poet’s heart, entwining it in endless meshes. This imagery suggests that the transformative and captivating nature of the master’s music has bound the poet’s heart in a spiritual and emotional embrace. The word “captive” conveys a sense of willing surrender, as the poet finds solace and connection within the enchanting realm of the master’s musical expression.

4
LIFE of my life, I shall ever try to keep my body pure, knowing that thy living touch is upon all my limbs.
I shall ever try to keep all untruths out from my thoughts, knowing that thou art that truth which has kindled the light of reason in my mind.
I shall ever try to drive all evils away from my heart and keep my love in flower, knowing that thou hast thy seat in the inmost shrine of my heart.
And it shall be my endeavour to reveal thee in my actions, knowing it is thy power gives me strength to act.

In this stanza, the poet addresses a divine or beloved figure as the “LIFE of my life.” This expression signifies a deep and intimate connection with a higher power. The poet commits to maintaining the purity of the body, understanding that the divine touch is present in every part of the physical being. This reflects a sense of reverence for the sacredness of the body as a vessel for the divine presence.

The poet pledges to keep falsehoods away from their thoughts, acknowledging that the divine represents the ultimate truth. The divine is recognized as the source that has ignited the light of reason in the poet’s mind. This commitment to truth reflects a spiritual and ethical dimension, emphasizing the alignment of thought with the divine truth.

The poet expresses a dedication to purifying the heart by eliminating all evils and nurturing the blossoming of love. The image of keeping love in flower suggests a continual cultivation and nurturing of positive and benevolent emotions. The acknowledgment that the divine has its seat in the inmost shrine of the heart reinforces the idea of an intimate and sacred connection with the divine within the core of the poet’s being.

The final commitment involves translating these spiritual aspirations into actions. The poet pledges to manifest the divine in their conduct, recognizing that the strength to act is derived from the divine power. This emphasizes the transformative influence of the divine, guiding and empowering the poet to live a life reflective of spiritual values and truths.

5
I ASK for a moment’s indulgence to sit by thy side. The works that I have in hand I will finish afterwards.
Away from the sight of thy face my heart knows no rest nor respite, and my work becomes an endless toil in a shoreless sea of toil.
To-day the summer has come at my window with its sighs and murmurs; and the bees are plying their minstrelsy at the court of the flowering grove.
Now it is time to sit quiet, face to face with thee, and to sing dedication of life in this silent and overflowing leisure.

In this stanza, the poet seeks a moment of indulgence, requesting to sit by the side of a beloved or divine figure. The poet prioritizes this intimate connection over the completion of ongoing tasks. This reflects a yearning for a pause from the demands of daily life to engage in a meaningful communion with the divine or a loved one.

The poet conveys the profound impact of being away from the sight of the beloved or divine presence. In the absence of this connection, the poet’s heart experiences unrest and toil. The metaphor of a “shoreless sea of toil” evokes a sense of endless labor and struggle, emphasizing the incompleteness and weariness that accompanies a lack of spiritual or emotional connection.

The poet introduces vivid imagery of the natural world. The arrival of summer is depicted through its characteristic sounds, including sighs and murmurs. The bees, in their buzzing activity, are likened to minstrels performing in the court of a flowering grove. This imagery sets a tranquil and vibrant scene, suggesting a harmonious connection between nature and the poet’s contemplative state.

The stanza concludes with the poet acknowledging the opportune moment to sit quietly in the presence of the beloved or the divine. The focus shifts from the external world to an internal, contemplative space. The poet expresses the intention to dedicate and celebrate life through song during this silent and abundant leisure, emphasizing the significance of such moments of communion and reflection.

6
PLUCK this little flower and take it, delay not! I fear lest it droop and drop into the dust.
It may not find a place in thy garland, but honour it with a touch of pain from thy hand and pluck it. I fear lest the day end before I am aware, and the time of offering go by.
Though its colour be not deep and its smell be faint, use this flower in thy service and pluck it while there is time.

In this stanza, the poet uses the metaphor of a little flower, urging someone to pluck it without delay. The urgency in the poet’s tone suggests a fear that the flower might wither and fall into the dust if not promptly taken. The flower holds symbolic significance, representing something precious or fleeting that requires immediate attention.

The poet acknowledges that the flower may not be considered valuable enough to find a place in the recipient’s garland. However, the poet urges the person to honor the flower with a touch of pain during plucking. This adds a layer of emotional depth, suggesting that even if the offering is not grand, it should be made with a genuine and heartfelt gesture. The fear expressed is that the day might end without the poet being aware, leading to a missed opportunity for offering.

The stanza concludes by emphasizing the simplicity and modesty of the flower. Its color is not deep, and its fragrance is faint, yet the poet encourages its use in the recipient’s service. The repetition of the urgency to pluck the flower while there is time reiterates the transient nature of the opportunity and underscores the importance of seizing the moment for offering.

In this brief yet poignant stanza, Tagore masterfully employs the metaphor of a little flower to convey themes of urgency, fleeting opportunities, and the value of simple and sincere gestures in the context of offering or devotion. The poet’s language evokes a sense of delicate beauty and a keen awareness of the passing of time.

7
MY song has put off her adornments.
She has no pride of dress and decoration. Ornaments would mar our union; they would
come between thee and me; their jingling would drown thy whispers.
My poet’s vanity dies in shame before thy sight. O master poet, I have sat down at thy
feet. Only let me make my life simple and straight, like a flute of reed for thee to fill with
music.

In this stanza, the poet personifies their song, describing it as having discarded its adornments. The song is portrayed as simple and unadorned, devoid of any pride in dress or decoration. The poet suggests that ornaments would be a hindrance to the union between the song and its intended recipient, possibly a divine or beloved figure. The jingling of ornaments is metaphorically presented as a potential interference, drowning out the whispers that may represent subtle, spiritual communication.

The poet acknowledges a transformation in their own perspective. The poet’s vanity, associated with the act of creating poetry, is described as dying in shame before the sight of the addressed figure, referred to as the “master poet.” This suggests a humility and surrender in the poet’s approach.

The poet expresses a symbolic act of submission by sitting down at the feet of the master poet, indicating a readiness to learn and be guided. The closing lines convey a desire for a simple and straightforward life, likening it to a flute made of reed. The purpose of this simplicity is to allow the addressed figure (master poet) to fill the poet’s life with music, suggesting a willingness to be shaped and inspired by the divine or the guiding influence represented by the master poet.

8
THE child who is decked with prince’s robes and who has jewelled chains round his neck loses all pleasure in his play; his dress hampers him at every step.
In fear that it may be frayed, or stained with dust he keeps himself from the world, and is afraid even to move.
Mother, it is no gain, thy bondage of finery, if it keep one shut off from the healthful dust of the earth, if it rob one of the right of entrance to the great fair of common human life.

In this stanza, the poet employs vivid imagery to depict a child adorned with princely attire, including jeweled chains around the neck. The luxurious clothing, far from bringing joy, is described as hindering the child’s play. The weight and constraints of the extravagant dress become a hindrance, impeding the child’s movement and diminishing the pleasure derived from play.

The poet highlights the child’s fear of damaging the expensive clothing. The concern for potential fraying or staining prevents the child from engaging with the world freely. The fear of soiling the attire goes to the extent that the child becomes hesitant to move, emphasizing the restrictive nature of the elaborate dress.

The poet addresses a mother figure, critiquing the idea of adorning a child with elaborate finery. The term “bondage of finery” suggests that the excessive emphasis on expensive clothing is a form of constraint. The poet argues that if such finery isolates the child from the natural elements, particularly the “healthful dust of the earth,” and denies them the right to participate in common human experiences, it brings no real gain. The “great fair of common human life” signifies the shared, diverse experiences of everyday existence that are essential for personal growth and development.

9
O FOOL, to try to carry thyself upon thy own shoulders! O beggar, to come to beg at thy own door!
Leave all thy burdens on his hands who can bear all, and never look behind in regret.
Thy desire at once puts out the light from the lamp it touches with its breath.
It is unholy ⎯ take not thy gifts through its unclean hands. Accept only what is offered by sacred love.

The poet begins with strong and vivid metaphors, addressing someone as a “fool” and a “beggar.” The metaphor of trying to carry oneself upon one’s own shoulders implies a futile and impractical attempt at self-reliance. Similarly, the image of a beggar coming to beg at their own door highlights the absurdity of seeking outside what one already possesses or has control over.

The poet advises relinquishing the burdens and responsibilities to someone capable of bearing them all. This suggests a surrender to a higher power or force that can handle the weight of life’s challenges. The counsel to “never look behind in regret” implies a forward-looking perspective, emphasizing the importance of letting go of past concerns and trusting the capability of the one who can bear the burdens.

The stanza introduces the theme of desire and its impact. The metaphor of desire extinguishing the light from a lamp suggests that excessive or misguided desires can dim the inner clarity or illumination. Desire, when uncontrolled or misdirected, has the power to overshadow the inner light, leading to a loss of spiritual or mental clarity.

The poet characterizes desire as “unholy” and warns against receiving gifts through its “unclean hands.” This emphasizes the impurity or negative influence associated with desires that are driven by selfishness or harmful intentions. Instead, the poet advocates accepting only those gifts that come from “sacred love,” suggesting a pure and selfless source of fulfillment.

10
HERE is thy footstool and there rest thy feet where live the poorest, and lowliest, and lost.
When I try to bow to thee, my obeisance cannot reach down to the depth where thy feet rest among the poorest, and lowliest, and lost.
Pride can never approach to where thou walkest in the clothes of the humble among the poorest, and lowliest, and lost.
My heart can never find its way to where thou keepest company with the companionless among the poorest, the lowliest, and the lost.

The poet describes a humble setting as the footstool for the addressed figure, suggesting a divine or revered presence. The location of this footstool is where the poorest, lowliest, and lost people reside. This imagery sets the tone for a sacred or spiritual encounter in a place associated with humility and adversity.

The poet expresses a symbolic act of obeisance or reverence, attempting to bow to the divine or revered figure. However, the depth of this reverence cannot fully reach the level where the feet of the addressed figure rest. This suggests a spiritual elevation that is beyond the poet’s immediate reach, emphasizing the exalted nature of the divine presence.

The poet highlights the incompatibility of pride with the divine or revered figure’s presence. The addressed figure is described as walking in the clothes of the humble among the poorest, lowliest, and lost. This imagery emphasizes the importance of humility and simplicity in the presence of the divine, contrasting with the negative connotations of pride.

The poet expresses a sense of distance between their heart and the divine presence. The addressed figure is described as keeping company with the companionless among the poorest, the lowliest, and the lost. This suggests a compassionate and inclusive divine presence, yet the poet acknowledges the challenge of fully reaching or understanding this profound connection.

11
LEAVE this chanting and singing and telling of beads! Whom dost thou worship in this lonely dark corner of a temple with doors all shut? Open thine eyes and see thy God is not before thee!
He is there where the tiller is tilling the hard ground and where the path-maker is breaking stones. He is with them in sun and in shower, and his garment is covered with dust. Put off thy holy mantle and even like him come down on the dusty soil!
Deliverance? Where is this deliverance to be found? Our master himself has joyfully taken upon him the bonds of creation; he is bound with us all for ever.
Come out of thy meditations and leave aside thy flowers and incense!
What harm is there if thy clothes become tattered and stained? Meet him and stand by him in toil and in sweat of thy brow.

The poet urges the reader to abandon traditional religious practices such as chanting, singing, and bead counting. The scene described is of a person in a secluded, dark corner of a closed temple. The poet challenges this isolated form of worship, suggesting that God is not confined to the temple and that one should open their eyes to perceive the divine presence beyond traditional rituals.

The poet identifies the presence of God in the mundane and laborious activities of the tiller and path-maker. The divine is not distant but intimately involved in the toil of those who work the land. The suggestion to “put off thy holy mantle” encourages a departure from the ceremonial and ritualistic aspects of worship. Instead, the poet advises adopting a humble and earthly existence, akin to God’s presence in the dusty soil.

The poet questions the notion of seeking deliverance through traditional means. Instead, the divine is presented as willingly participating in the bonds of creation. The master, likely referring to God, joyfully embraces the connections with all of creation and is bound with humanity forever. This challenges the idea of seeking separation from worldly existence as a path to salvation.

The poet advises stepping away from meditative practices and symbolic offerings like flowers and incense. The emphasis is on practical engagement with life. The potential harm to one’s clothes, symbolizing a disregard for external appearances, is considered inconsequential. The poet encourages meeting God in the midst of labor and exertion, emphasizing the value of physical involvement and shared toil.

12
THE time that my journey takes is long and the way of it long.
I came out on the chariot of the first gleam of light, and pursued my voyage through the wildernesses of worlds leaving my track on many a star and planet.
It is the most distant course that comes nearest to thyself, and that training is the most intricate which leads to the utter simplicity of a tune.
The traveller has to knock at every alien door to come to his own, and one has to wander through all the outer worlds to reach the innermost shrine at the end.
My eyes strayed far and wide before I shut them and said “Here art thou!”
The question and the cry “Oh, where?” melt into tears of a thousand streams and deluge the world with the flood of the assurance “I am!”

In this stanza, the poet reflects on the vastness and duration of their spiritual journey. The metaphorical journey is described as taking a long time, and the way is portrayed as extended. The poet symbolizes the commencement of this journey with the imagery of coming out on the chariot of the first gleam of light, suggesting the beginning of enlightenment or awareness. The voyage takes the poet through various worlds and realms, leaving traces on stars and planets, symbolizing the impact and influence of the journey on the broader cosmos.

The poet introduces the paradoxical idea that the most distant course paradoxically brings one nearest to oneself. This could imply that the journey, despite its external vastness, leads to an internal discovery or realization. The mention of training being intricate yet leading to the utter simplicity of a tune suggests that the process of self-discovery and spiritual development involves complexity but ultimately results in a profound simplicity or clarity.

The poet uses the metaphor of a traveler knocking at alien doors to convey the idea of exploring diverse experiences and perspectives in order to find one’s true self. The mention of wandering through outer worlds to reach the innermost shrine suggests the necessity of traversing external realms to access the deepest, innermost aspects of one’s being.

The poet describes a moment of realization or revelation when, after wandering and questioning, they shut their eyes and declare, “Here art thou!” This could signify the discovery of a sense of self or a connection with a higher truth. The question and cry of “Oh, where?” transform into tears, symbolizing a release of emotion and understanding. The flood of assurance “I am!” suggests a profound affirmation of existence and identity that transcends the initial uncertainty and searching.

13
THE song that I came to sing remains unsung to this day.
I have spent my days in stringing and in unstringing my instrument.
The time has not come true, the words have not been rightly set; only there is the agony of wishing in my heart.
The blossom has not opened; only the wind is sighing by.
I have not seen his face, nor have I listened to his voice; only I have heard his gentle footsteps from the road before my house.
The livelong day has passed in spreading his seat on the floor; but the lamp has not been lit and I cannot ask him into my house.
I live in the hope of meeting with him; but this meeting is not yet.

The poet begins by expressing regret that the intended song, the essence of their message or purpose, remains unexpressed. The act of spending days in stringing and unstringing the instrument suggests a continuous preparation or anticipation for the moment when the right words and melody will come together to convey the unsung song.

The poet describes the present as a time not yet aligned with the true moment for expression. The words have not been rightly set, implying a struggle to articulate the intended message. The agony of wishing in the heart conveys the deep desire for the right conditions to manifest. The imagery of the blossom not opening, with only the wind sighing, suggests a delayed or unrealized potential, emphasizing a sense of unfulfillment.

The poet acknowledges a lack of direct experience with the subject of the song, perhaps a divine or inspirational figure. Instead, the poet has heard only the gentle footsteps from a distance, creating a sense of anticipation and longing for a more intimate connection.

The poet describes spending the entire day preparing for the arrival of the subject of the song, symbolized by spreading his seat on the floor. However, the lamp, representing illumination or understanding, has not been lit, and the poet feels unable to invite the subject into their house. This could signify a lack of readiness or realization for a deeper connection.

The stanza concludes with the poet expressing hope for a future meeting with the subject of the song. Despite the current unfulfilled state, the poet remains optimistic about the eventual realization of this encounter.

14
MY desires are many and my cry is pitiful, but ever didst thou save me by hard refusals; and this strong mercy has been wrought into my life through and through.
Day by day thou art making me worthy of the simple, great gifts that thou gavest to me unasked ⎯ this sky and the light, this body and the life and the mind ⎯ saving me from perils of overmuch desire.
There are times when I languidly linger and times when I awaken and hurry in search of my goal; but cruelly thou hidest thyself from before me.
Day by day thou art making me worthy of thy full acceptance by refusing me ever and anon, saving me from perils of weak, uncertain desire.

The poet acknowledges having numerous desires and expressing a pitiful cry. However, instead of fulfilling every desire, the divine force or higher power has saved the poet through firm refusals. The notion of “hard refusals” suggests a protective and guiding force at work. The poet reflects on how this stern yet merciful intervention has become an integral part of their life, emphasizing the transformative impact of divine guidance.

The poet recognizes the process of becoming worthy of the simple yet profound gifts bestowed by the divine without explicit requests. These gifts include the sky, light, body, life, and mind. The divine intervention is framed as a means of saving the poet from the perils of excessive desire, suggesting that the divine guidance redirects the focus from insatiable desires toward appreciation for the essential and fundamental aspects of existence.

The poet describes fluctuating states of being—languidly lingering and actively hurrying in pursuit of goals. Despite these varied states, the divine force is portrayed as cruelly hiding itself. This could reflect moments of spiritual seeking or longing when the divine presence appears elusive or obscured.

The stanza concludes with the poet acknowledging the ongoing process of becoming worthy of the divine’s full acceptance. This worthiness is achieved through the divine’s consistent refusals, which act as a safeguard against weak and uncertain desires. The divine guidance serves to steer the poet away from potentially harmful or misguided yearnings.

15
I AM here to sing thee songs. In this hall of thine I have a corner seat.
In thy world I have no work to do; my useless life can only break out in tunes without a purpose.
When the hour strikes for thy silent worship at dark temple of midnight, command me, my master, to stand before thee to sing.
When in the morning air the golden harp is tuned, honour me, commanding my presence.

The poet declares their purpose to sing songs dedicated to a divine or revered figure. They envision themselves in the divine presence, referring to it as “this hall of thine,” with a humble corner seat. The poet expresses a sense of purposelessness in the worldly realm, describing their life as useless, yet finding meaning and expression through the creation of purposeful tunes dedicated to the divine.

The poet expresses readiness to respond to the divine call. When the designated hour for silent worship arrives, specifically at the dark temple of midnight, the poet implores the master to command their presence to stand and sing before the divine. This reflects the poet’s devotion and willingness to engage in worship during moments of spiritual significance.

The poet extends their availability for worship into the morning. As the golden harp is tuned in the morning air, the poet seeks the honor of being commanded to stand in the divine presence. This continues the theme of the poet’s dedication to singing songs in devotion to the divine.

16
I HAVE had my invitation to this world’s festival, and thus my life has been blessed. My eyes have seen and my ears have heard.
It was my part at this feast to play upon my instrument, and I have done all I could.
Now, I ask, has the time come at last when I may go in and see thy face and offer thee my silent salutation?

The poet begins by expressing gratitude for having received an invitation to the festival of life in this world. This invitation is seen as a blessing, and the poet acknowledges the sensory experiences that have enriched their life—seeing with their eyes and hearing with their ears. The imagery of a festival implies a celebration of existence, with the poet as a participant in the grand event of life.

The poet reflects on their role in the festival of life, comparing it to playing an instrument. The metaphor suggests that the poet has contributed to the celebration by utilizing their skills or talents to the best of their ability. The phrase “I have done all I could” indicates a sense of fulfillment in fulfilling their role in the grand spectacle of life.

Having played their part in the festival of life, the poet now poses a poignant question to a higher power, likely the divine. They inquire if the time has finally arrived when they may enter and witness the divine presence, offering a silent salutation. This marks a shift in focus from the worldly festival to a spiritual longing for a deeper connection with the divine.

17
I AM only waiting for love to give myself up at last into his hands. That is why it is so late and why I have been guilty of such omissions.
They come with their laws and their codes to bind me fast; but I evade them ever, for I am only waiting for love to give myself up at last into his hands.
People blame me and call me heedless; I doubt not they are right in their blame.
The market day is over and work is all done for the busy. Those who came to call me in vain have gone back in anger. I am only waiting for love to give myself up at last into his hands.

The poet declares their sole anticipation: waiting for love to envelop them completely. This patient waiting is given as the reason for the perceived lateness and the poet’s acknowledgment of omissions or delays. The delay may suggest a hesitation or resistance to surrendering to love, resulting in a sense of guilt.

The poet describes external influences—laws and codes—that attempt to bind or restrict them. However, the poet continually evades these constraints. The evasion is motivated by the singular focus on waiting for love to eventually take them entirely. This reflects a prioritization of a deeper, personal connection over societal norms or restrictions.

The poet acknowledges the criticism from others, being blamed and labeled heedless. Despite this, the poet expresses a lack of doubt about the accuracy of the blame. This suggests an acceptance or acknowledgment of the perceived heedlessness, likely driven by the poet’s unwavering focus on waiting for love.

The stanza concludes with a scene-setting metaphor: the market day is over, symbolizing the end of external activities or worldly engagements. Despite attempts from others to call the poet, these efforts have been in vain, leading to the visitors departing in anger. The poet reiterates their exclusive anticipation: waiting for love to finally embrace them fully.

18
CLOUDS heap upon clouds and it darkens. Ah, love, why dost thou let me wait outside at the door all alone?
In the busy moments of the noontide work I am with the crowd, but on this dark lonely day it is only for thee that I hope.
If thou showest me not thy face, if thou leavest me wholly aside, I know not how I am to pass these long, rainy hours.
I keep gazing on the far away gloom of the sky, and my heart wanders wailing with the restless wind.

The poet describes a darkening sky as clouds accumulate. In this atmospheric setting, the poet addresses love, expressing a sense of waiting outside alone at the door. The imagery suggests a metaphorical door that separates the poet from the object of their affection, and the question “why dost thou let me wait” reflects a longing for connection.

During the busy hours of noontide work, the poet is surrounded by a crowd, yet their focus and hope are solely directed toward the one they love. The contrast between the bustling crowd and the poet’s longing for the absent beloved creates a poignant atmosphere.

The poet expresses a deep yearning to see the face of the beloved. The prospect of being left aside evokes a sense of abandonment, intensifying the difficulty of passing the long, rainy hours. The rainy hours may symbolize a period of emotional or spiritual gloom.

The poet describes gazing at the distant gloom of the sky, possibly mirroring the emotional state of the poet. The heart is personified as wandering and wailing along with the restless wind, emphasizing the emotional turbulence and longing that the poet experiences in the absence of the beloved.

19
IF thou speakest not I will fill my heart with thy silence and endure it. I will keep still and wait like the night with starry vigil and its head bent low with patience.
The morning will surely come, the darkness will vanish, and thy voice pour down in golden streams breaking through the sky.
Then thy words will take wing in songs from every one of my birds’ nests, and thy melodies will break forth in flowers in all my forest groves.

The poet addresses a silence from a significant other, possibly the divine or a beloved person. If the silence persists, the poet declares their intention to fill their heart with that silence and endure it. The image of keeping still and waiting, akin to the night with starry vigil, emphasizes the enduring patience and quiet perseverance despite the absence of communication or response.

The poet expresses a hopeful anticipation for a positive change. The metaphor of the morning coming and the darkness vanishing symbolizes a transition from a period of obscurity or silence to a brighter, more communicative time. The imagery of the voice pouring down in golden streams breaking through the sky suggests a powerful and transformative communication or revelation.

The poet envisions a future state where the divine or beloved’s words will take flight like birds from every nest, symbolizing a widespread and harmonious expression. The melodies breaking forth in flowers in the forest groves evoke a sensory and natural imagery, suggesting a vibrant and beautiful manifestation of the awaited communication.

20
ON the day when the lotus bloomed, alas, my mind was straying, and I knew it not. My basket was empty and the flower remained unheeded.
Only now and again a sadness fell upon me, and I started up from my dream and felt a sweet trace of a strange fragrance in the south wind.
That vague sweetness made my heart ache with longing and it seemed to me that it was the eager breath of the summer seeking for its completion.
I knew not then that it was so near, that it was mine, and that this perfect sweetness had blossomed in the depth of my own heart.

The poet reflects on a significant day when the lotus bloomed. Unfortunately, the poet’s mind was wandering, and they were unaware of the blossoming beauty. The metaphor of an empty basket implies missed opportunities or lack of receptivity, and the lotus, a symbol of purity and enlightenment, goes unnoticed.

Occasionally, a sense of sadness interrupts the poet’s thoughts. These moments jolt the poet from their mental wanderings, and they detect a sweet trace of a peculiar fragrance carried by the south wind. This fragrance introduces an element of mystery and an awakening of senses.

The subtle sweetness experienced by the poet evokes a deep yearning in the heart. The poet perceives this sweetness as the eager breath of summer, seeking fulfillment or completion. The use of “vague” adds a sense of indistinct yet profound emotion.

In hindsight, the poet realizes that the sought-after sweetness was incredibly close, already belonging to them. The perfect sweetness, symbolized by the lotus, had blossomed within the poet’s own heart. This realization carries a profound sense of self-discovery and the potential for inner fulfillment.

21
I MUST launch out my boat. The languid hours pass by on the shore ⎯ Alas for me!
The spring has done its flowering and taken leave. And now with the burden of faded futile flowers I wait and linger.
The waves have become clamorous, and upon the bank in the shady lane the yellow leaves flutter and fall.
What emptiness do you gaze upon!
Do you not feel a thrill passing through the air with the notes of the far away song floating from the other shore?

The poet declares the necessity of embarking on a journey, using the metaphor of launching out a boat. The languid hours pass slowly on the shore, creating a sense of urgency and impatience. The mention of spring having completed its flowering suggests a transient phase that has come to an end. The poet now waits burdened with faded and futile flowers, symbolizing the passing of time and missed opportunities.

The surroundings become more dynamic and noisy, with the waves turning clamorous. The imagery of yellow leaves fluttering and falling indicates the changing seasons, possibly moving from spring to autumn. This imagery conveys a sense of transition, with nature mirroring the poet’s restlessness.

The poet addresses the reader or an observer, asking what emptiness they perceive. This suggests a contrast between the poet’s internal restlessness and the external stillness. The mention of a thrill passing through the air introduces a sense of anticipation, possibly triggered by distant music. The faraway song from the other shore symbolizes an invitation or a calling, adding a layer of mystery and longing to the poet’s journey.

22
IN the deep shadows of the rainy July, with secret steps, thou walkest, silent as night, eluding all watchers.
To-day the morning has closed its eyes, heedless of the insistent calls of the loud east wind, and a thick veil has been drawn over the ever-wakeful blue sky.
The woodlands have hushed their songs, and doors are all shut at every house. Thou art the solitary wayfarer in this deserted street. Oh my only friend, my best beloved, the gates are open in my house ⎯ do not pass by like a dream.

The poet describes a mysterious figure moving in the deep shadows of a rainy July. This figure, possibly a metaphorical presence or a personified force, walks with secret steps, remaining silent as the night and skillfully avoiding any watchers. The imagery sets a tone of secrecy and hidden movements.

The morning is personified as closing its eyes, indifferent to the loud calls of the east wind. The sky, which is usually ever-wakeful, is now veiled with a thick cover, suggesting a subdued or hidden aspect of nature. These atmospheric changes contribute to the sense of mystery and quietude.

Nature is depicted as silent, with the woodlands hushing their songs. The closed doors of every house add to the deserted atmosphere. In this quiet and empty street, the addressed figure becomes the solitary wayfarer, emphasizing a sense of aloneness and singularity.

The poet addresses someone intimately, expressing a deep connection as the only friend and best beloved. The gates of the poet’s house are open, inviting the figure not to pass by like a dream. The plea suggests a desire for a tangible presence rather than a fleeting and ephemeral encounter.

23
ART thou abroad on this stormy night on the journey of love, my friend? The sky groans like one in despair.
I have no sleep to-night. Ever and again I open my door and look out on the darkness, my friend!
I can see nothing before me. I wonder where lies thy path!
By what dim shore of the ink-black river, by what far edge of the frowning forest, through what mazy depth of gloom art thou threading thy course to come to me, my friend?

The poet inquires whether their friend is venturing out on a stormy night for the pursuit of love. The description of the sky groaning suggests a tumultuous and emotionally charged atmosphere, echoing the potential challenges or intensity associated with the journey of love.

The poet reveals their restlessness, unable to sleep on this night. The act of repeatedly opening the door and gazing into the darkness suggests an anxious anticipation or yearning for the friend. The darkness becomes a symbolic backdrop for the unknown and the mysteries of the friend’s journey.

Despite the poet’s vigilant watching, there is an inability to see anything ahead. This uncertainty intensifies the sense of mystery and anticipation regarding the friend’s path and destination. The poet is left wondering about the journey’s course.

The poet vividly imagines the friend’s journey, asking about the specific locations along the way. The mention of the ink-black river, the far edge of the frowning forest, and the mazy depth of gloom conjures images of challenging and mysterious terrains. The question highlights the friend’s determination to traverse difficult paths to reach the poet.

24
IF the day is done, if birds sing no more, if the wind has flagged tired, then draw the veil of darkness thick upon me, even as thou hast wrapt the earth with the coverlet of sleep and tenderly closed the petals of the drooping lotus at dusk.
From the traveller, whose sack of provisions is empty before the voyage is ended, whose garment is torn and dust-laden, whose strength is exhausted, remove shame and poverty, and renew his life like a flower under the cover of thy kindly night.

The poet, presumably addressing a divine or benevolent force, expresses a desire for the end of the day. The imagery of the birds ceasing to sing and the tired wind suggests a completion or weariness. The poet requests a thick veil of darkness to envelop them, drawing a parallel to the earth being covered with the coverlet of sleep. The metaphor of closing the petals of the drooping lotus at dusk adds a touch of tenderness and signifies the end of activity.

The poet extends the metaphor to depict a weary traveler whose provisions are depleted, garments are torn, and strength is exhausted before completing the journey. The plea is for the removal of shame and poverty, and a renewal of life akin to a flower blossoming under the cover of the kindly night. This reflects a hope for rejuvenation, protection, and a fresh start.

25
IN the night of weariness let me give myself up to sleep without struggle, resting my trust upon thee.
Let me not force my flagging spirit into a poor preparation for thy worship.
It is thou who drawest the veil of night upon the tired eyes of the day to renew its sight in a fresher gladness of awakening.

The poet expresses a desire to surrender to sleep without resistance during times of weariness. The act of giving oneself up to sleep symbolizes a relinquishing of control and an embrace of rest. Trust is placed in a higher power, perhaps divine, as the poet seeks solace and rejuvenation through the restful state of sleep.

The poet implores not to compel or push their tired spirit into a half-hearted or inadequate state of preparation for worship. There’s a recognition that genuine worship requires a spirit that is not forced or burdened but is instead willing and receptive.

The poet attributes the drawing of the night’s veil to a divine force. This act serves to rest the weary eyes of the day, symbolizing a temporary closure or respite. The purpose is to enable the day to awaken with a fresher, more joyful perspective. This imagery aligns with the cyclical nature of night and day, emphasizing the renewal and rejuvenation that comes with each dawn.

26
HE came and sat by my side but I woke not. What a cursed sleep it was, O miserable me!
He came when the night was still; he had his harp in his hands, and my dreams became resonant with its melodies.
Alas, why are my nights all thus lost? Ah, why do I ever miss his sight whose breath touches my sleep?

The poet narrates an incident where someone came and sat beside them, but the poet remained asleep and oblivious. The sleep is characterized as cursed, and the poet expresses a sense of misery for having missed the presence of the visitor.

The visitor, likely a significant figure, arrived during the quietness of the night. The mention of the harp suggests a musical and artistic presence. The melodies of the harp permeate the poet’s dreams, creating a harmonious and resonant atmosphere within the dream realm.

The poet laments the recurrent loss experienced during nights. There’s a sense of longing and regret for consistently missing the sight of this significant person. The mention of the person’s breath touching the poet’s sleep adds an intimate and tender quality, emphasizing the profound connection between the two.

27
LIGHT, oh where is the light? Kindle it with the burning fire of desire!
There is the lamp but never a flicker of a flame, ⎯ is such thy fate, my heart! Ah, death were better by far for thee!
Misery knocks at thy door, and her message is that thy lord is wakeful, and he calls thee to thy love-tryst through the darkness of night.
The sky is overcast with clouds and the rain is ceaseless. I know not what this is that stirs in me, ⎯ I know not its meaning.
A moment’s flash of lightning drags down a deeper gloom on my sight, and my heart gropes for the path to where the music of the night calls me.
Light, oh where is the light! Kindle it with the burning fire of desire! It thunders and the wind rushes screaming through the void. The night is black as a black stone. Let not the hours pass by in the dark. Kindle the lamp of love with thy life.

The poet begins with an urgent call for light, a metaphor for enlightenment or understanding. The instruction to kindle it with the burning fire of desire suggests that the light sought is not just external but also requires inner passion and longing.

Despite the presence of a lamp, there is no flame, symbolizing a lack of vitality or passion. The poet addresses their heart, suggesting a personal struggle or emotional stagnation. The mention of death being better implies a deep despair or frustration with the perceived fate.

The poet introduces the theme of misery, personifying it as a messenger. The message is that the lord, possibly a significant other or a divine entity, is awake and calls the speaker to a love tryst in the darkness of the night. This conveys a complex mix of longing, challenge, and a beckoning towards intimacy.

The atmospheric conditions reflect the speaker’s inner turmoil, with an overcast sky and ceaseless rain creating a somber mood. The poet acknowledges an emotional stirring but remains uncertain about its meaning, adding an element of mystery and introspection.

The imagery of a flash of lightning intensifying the darkness speaks to moments of revelation or insight. Despite this, the speaker’s heart is still searching for the path towards the beckoning music of the night, suggesting a quest for meaning and connection.

The poem concludes with a reiterated plea for light, emphasizing the need to kindle it with the burning fire of desire. The atmospheric elements, including thunder and rushing wind, contribute to the tumultuous backdrop. The night is described as black as a black stone, emphasizing its depth and obscurity. The final call is to not let the hours pass in darkness and to kindle the lamp of love with one’s life, suggesting a profound and transformative illumination through the power of love and desire.

28
OBSTINATE are the trammels1 , but my heart aches when I try to break them.
Freedom is all I want, but to hope for it I feel ashamed.
I am certain that priceless wealth is in thee, and that thou art my best friend, but I have not the heart to sweep away the tinsel that fills my room.
The shroud that covers me is a shroud of dust and death; I hate it, yet hug it in love. My debts are large, my failures great, my shame secret and heavy; yet when I come to ask for my good, I quake in fear lest my prayer be granted.

The poet acknowledges the stubbornness of the restraints (trammels) that bind them. However, attempting to break free causes emotional pain. The desire for freedom is strong, but there’s a sense of shame associated with daring to hope for it. This conveys the internal conflict and the emotional toll of yearning for liberation.

The poet expresses certainty that invaluable wealth resides within, and the divine is the best friend. However, there’s reluctance to clear away the superficial and distracting elements (tinsel) that clutter the poet’s surroundings. This metaphorical room may represent the poet’s inner self, filled with distractions that hinder a deeper connection.

The poet describes being covered by a shroud of dust and death, expressing both hatred and an oddly affectionate embrace of this covering. There’s acknowledgment of significant debts, failures, and secret shame. Despite the desire to seek blessings or goodness, there’s a fear that the prayer might be granted, suggesting a complex relationship with one’s own desires and the potential consequences of their fulfillment.

29
HE whom I enclose with my name is weeping in this dungeon. I am ever busy building this wall all around; and as this wall goes up into the sky day by day I lose sight of my true being in its dark shadow.
I take pride in this great wall, and I plaster it with dust and sand lest a least hole should be left in this name; and for all the care I take I lose sight of my true being.

The poet refers to someone, perhaps a significant other or a deeper aspect of the self, enclosed within the confines of the poet’s name. This person is metaphorically weeping in a dungeon, suggesting a state of emotional or spiritual confinement. The poet confesses to being continually occupied with constructing a metaphorical wall around this enclosed entity. As the wall rises into the sky, it casts a dark shadow, symbolizing the increasing separation from the poet’s true essence.

The poet takes pride in the construction of the wall, emphasizing the efforts made to prevent any breach in the symbolic enclosure represented by the name. The act of plastering it with dust and sand implies a meticulous but ultimately futile attempt to fortify the wall. Despite the meticulous care, the poet acknowledges the unintended consequence—the gradual loss of sight or connection with their true essence.

30
I CAME out alone on my way to my tryst. But who is this that follows me in the silent dark?
I move aside to avoid his presence but I escape him not.
He makes the dust rise from the earth with his swagger; he adds his loud voice to every word that I utter.
He is my own little self, my lord, he knows no shame; but I am ashamed to come to thy door in his company.

The poet sets the scene of embarking alone on a journey to a meeting or rendezvous. However, there’s a mysterious presence that follows in the silent darkness, introducing an element of intrigue.

Despite attempts to avoid this presence, the poet cannot escape it. The vivid imagery describes the intruder’s swagger, which raises dust from the earth, and their loud voice that interjects into every word spoken by the poet. This intrusion disrupts the solitude and creates a sense of disturbance.

The revelation unfolds that the mysterious follower is the poet’s own self. The self is characterized as little, lacking shame, and possessing an unapologetic nature. Despite this, the poet expresses shame at the prospect of approaching a higher or divine presence with this unrefined aspect of themselves.

31
“PRISONER, tell me, who was it that bound you?”
“It was my master,” said the prisoner.
“I thought I could outdo everybody in the world in wealth and power, and I amassed in my own treasure-house the money due to my king. When sleep overcame me I lay upon the bed that was for my lord, and on waking up I found I was a prisoner in my own treasure-house.”
“Prisoner, tell me who was it that wrought this unbreakable chain?”
“It was I,” said the prisoner, “who forged this chain very carefully. I thought my invincible power would hold the world captive leaving me in a freedom undisturbed. Thus night and day I worked at the chain with huge fires and cruel hard strokes. When at last the
work was done and the links were complete and unbreakable, I found that it held me in its grip.”

The speaker, possibly an observer or interrogator, questions a prisoner about their captivity, seeking insight into the circumstances that led to their confinement.

The prisoner attributes their bondage to their own master, suggesting a complex relationship where the one in control becomes the cause of the other’s captivity.

The prisoner recounts a tale of ambition and excess. They sought to surpass everyone in wealth and power, accumulating money owed to their king in a personal treasure-house. The irony unfolds as the prisoner, in a moment of vulnerability during sleep, becomes captive in the very wealth and power they sought.

The interrogator continues to probe, seeking to understand the origin of the unbreakable chain that binds the prisoner.

The prisoner confesses to being the creator of their own unbreakable chain, symbolizing the self-imposed constraints born out of their pursuit of invincible power and control. The irony lies in the realization that the very chain crafted to dominate the world became a shackle, binding the prisoner to their own creation.

32
BY all means they try to hold me secure who love me in this world. But it is otherwise with thy love which is greater than theirs, and thou keepest me free.
Lest I forget them they never venture to leave me alone. But day passes by after day and thou art not seen.
If I call not thee in my prayers, if I keep not thee in my heart, thy love for me still waits for my love.

The poet acknowledges the attempts of those who love them in the worldly sense to keep them secure and perhaps constrained. However, the tone shifts as the poet contrasts this with the divine love, asserting that God’s love surpasses all others and has the liberating power to keep the poet free.

The poet reflects on the worldly love, highlighting its constant presence, always fearing being forgotten. In contrast, the poet notes the absence of the divine presence, stating that days pass without the tangible sight of God.

The poet acknowledges the patient and enduring nature of divine love. Even if the poet neglects to call upon God in prayer or fails to keep God in their heart, God’s love remains steadfast and waits for reciprocal love from the poet.

33
WHEN it was day they came into my house and said, “We shall only take the smallest room here.”
They said, “We shall help you in the worship of your God and humbly accept only our own share of his grace”; and then they took their seat in a corner and they sat quiet and meek.
But in the darkness of night I find they break into my sacred shrine, strong and turbulent, and snatch with unholy greed the offerings from God’s altar.

The poem begins with visitors arriving at the poet’s house during the day, expressing modesty by claiming they will only occupy the smallest room available.

The visitors profess a willingness to assist in the poet’s worship and only seek their rightful share of God’s grace. They appear humble and unassuming, taking a seat in a corner, portraying a demeanor of meekness.

However, as night falls, the visitors’ true nature is revealed. They intrude forcefully and disruptively into the poet’s sacred space, displaying strength and turbulence. In an act of unholy greed, they seize the offerings from the altar intended for God.

34
LET only that little be left of me whereby I may name thee my all.
Let only that little be left of my will whereby I may feel thee on every side, and come to
thee in everything, and offer to thee my love every moment.
Let only that little be left of me whereby I may never hide thee.
Let only that little of my fetters be left whereby I am bound with thy will, and thy purpose
is carried out in my life ⎯ and that is the fetter of thy love.

The poet expresses a desire to retain only a small part of themselves, just enough to be able to call upon the divine, addressing God as their all.

The poet wishes to preserve a fragment of their will, allowing them to sense the divine presence in all aspects of life. This fragment would enable them to come to God in every circumstance and express love continuously.

The poet desires to keep a part of themselves that would never conceal or hide the divine presence. This suggests a longing for transparency and openness in the relationship with God.

The poet concludes by expressing a willingness to retain only the aspect of their bonds or limitations that align with God’s will. The only chain they wish to keep is the one formed by God’s love, indicating a surrender to divine purpose and a recognition of the binding force of God’s love in their life.

35
WHERE the mind is without fear and the head is held high;
Where knowledge is free;
Where the world has not been broken up into fragments by narrow domestic walls;
Where words come out from the depth of truth;
Where tireless striving stretches its arms towards perfection;
Where the clear stream of reason has not lost its way into the dreary desert sand of
dead habit;
Where the mind is led forward by thee into ever-widening thought and action ⎯
Into that heaven of freedom, my Father, let my country awake.

Tagore envisions a society where individuals can express their thoughts and ideas without fear, where people hold their heads high in confidence. He desires a place where knowledge is accessible to all, emphasizing the importance of free and open education.

Tagore longs for a world without divisive boundaries, where people are not separated by narrow, parochial concerns. He envisions a society where communication is rooted in truthfulness and sincerity. Tagore seeks a society where continuous effort and striving for perfection are valued and encouraged.

He wishes for a place where rational thinking is not lost to stagnant and lifeless traditions. Tagore expresses the idea that the mind should be guided towards progressive and broad thinking by a higher force. The stanza is conclud by invoking a vision of a heavenly state of freedom and urges for his country to awaken to such ideals.

36
THIS is my prayer to thee, my lord ⎯ strike, strike at the root of penury in my heart.
Give me the strength lightly to bear my joys and sorrows.
Give me the strength to make my love fruitful in service.
Give me the strength never to disown the poor or bend my knees before insolent might.
Give me the strength to raise my mind high above daily trifles.
And give me the strength to surrender my strength to thy will with love.

In this prayer, the poet implores the divine to address the fundamental poverty within their heart. It’s a request for a profound transformation or purification, striking at the root of inner lack or inadequacy. The poet seeks strength not only to endure but to gracefully carry both joys and sorrows, emphasizing a balanced and resilient approach to life.

There’s a desire for the strength to turn love into a productive force, manifesting in selfless service to others. The poet asks for the strength to remain compassionate towards the less fortunate and to stand firm against oppressive forces, refusing to bow down to unjust power. There’s a plea for the strength to elevate the mind above mundane concerns, suggesting a desire for a higher, more enlightened perspective.

The poet concludes by seeking the strength to willingly surrender their own strength to the divine will, emphasizing a harmonious and loving submission to a higher power.

37
I THOUGHT that my voyage had come to its end at the last limit of my power, ⎯ that the path before me was closed, that provisions were exhausted and the time come to take shelter in a silent obscurity.
But I find that thy will knows no end in me. And when old words die out on the tongue, new melodies break forth from the heart; and where the old tracks are lost, new country is revealed with its wonders.

The poet reflects on a moment in their life when they believed their journey had reached its conclusion. They felt they had reached the limit of their abilities, and the path ahead seemed closed, with resources depleted, prompting a contemplation of seeking refuge in a quiet and obscure existence.

Contrary to the perceived end, the poet discovers that the divine will within them is boundless. In moments when old expressions or ways of understanding fade away, fresh inspirations and new expressions emerge from the depths of their heart. The metaphor of losing old tracks and discovering new wonders signifies the continuous unfolding of spiritual and creative possibilities.

38
THAT I want thee, only thee ⎯ let my heart repeat without end. All desires that distract me, day and night, are false and empty to the core.
As the night keeps hidden in its gloom the petition for light, even thus in the depth of my unconsciousness rings the cry ⎯ I want thee, only thee.
As the storm still seeks its end in peace when it strikes against peace with all its might, even thus my rebellion strikes against thy love and still its cry is ⎯ I want thee, only
thee.

The poet expresses an unceasing and singular desire for the divine, emphasizing that any other desires that divert their attention are deemed false and empty at their core. Drawing a metaphor from the night hiding the plea for light, the poet suggests that deep within their unconsciousness, there is a constant yearning for the divine presence.

The poet compares their inner rebellion, akin to a storm, which ultimately seeks peace. Similarly, their defiance against divine love is met with a persistent cry for unity and closeness with the divine.

39
WHEN the heart is hard and parched up, come upon me with a shower of mercy.
When grace is lost from life, come with a burst of song.
When tumultuous work raises its din on all sides shutting me out from beyond, come to me, my lord of silence, with thy peace and rest.
When my beggarly heart sits crouched, shut up in a corner, break open the door, my king, and come with the ceremony of a king.
When desire blinds the mind with delusion and dust, thou holy one, thou wakeful, come with thy light and thy thunder.

In moments of emotional hardness and spiritual aridity, the poet calls for a compassionate intervention, likening it to a refreshing shower of mercy to soften the heart. In times when grace seems absent, the poet implores for its return, visualizing it as a burst of uplifting song that can restore the lost sense of grace.

Amidst the chaos of busy and noisy work, the poet seeks the presence of the divine, the “lord of silence,” to bring a tranquil peace and rest that transcends the external clamor. In moments of inner poverty and isolation, the poet invites the divine to break through metaphorical doors, bringing regal grandeur and ceremony, signifying a royal arrival that can uplift and enrich the impoverished heart.

In times of misguided desires leading to confusion, the poet calls upon the holy and wakeful presence of the divine to bring clarity, light, and the resonating power of thunder.

40
THE rain has held back for days and days, my God, in my arid heart. The horizon is fiercely naked ⎯ not the thinnest cover of a soft cloud, not the vaguest hint of a distant cool shower.
Send thy angry storm, dark with death, if it is thy wish, and with lashes of lightning startle the sky from end to end.
But call back, my lord, call back this pervading silent heat, still and keen and cruel, burning the heart with dire despair.
Let the cloud of grace bend low from above like the tearful look of the mother on the day of the father’s wrath.

In this metaphorical expression, the poet describes a prolonged absence of spiritual nourishment and divine grace in their heart. The arid heart is compared to a horizon without a trace of clouds or the promise of refreshing rain. The poet expresses a willingness to endure any divine intervention, even if it comes in the form of a fierce and threatening storm. This demonstrates a deep surrender to the divine will, irrespective of its nature.

The poet pleads for the return of a more benevolent divine influence, describing the current spiritual condition as a silent and cruel heat that brings despair and longing. The poet invokes the image of a cloud of divine grace descending with compassion, akin to a mother’s tearful gaze during a moment of paternal anger. This signifies a plea for a merciful and nurturing divine presence.

41
WHERE dost thou stand behind them all, my lover, hiding thyself in the shadows? They push thee and pass thee by on the dusty road, taking thee for naught. I wait here weary hours spreading my offerings for thee, while passers by come and take my flowers, one by one, and my basket is nearly empty.
The morning time is past, and the noon. In the shade of evening my eyes are drowsy with sleep. Men going home glance at me and smile and fill me with shame. I sit like a beggar maid, drawing my skirt over my face, and when they ask me, what it is I want, I drop my eyes and answer them not.
Oh, how, indeed, could I tell them that for thee I wait, and that thou hast promised to come. How could I utter for shame that I keep for my dowry this poverty. Ah, I hug this pride in the secret of my heart.
I sit on the grass and gaze upon the sky and dream of the sudden splendour of thy coming ⎯ all the lights ablaze, golden pennons flying over thy car, and they at the roadside standing agape, when they see thee come down from thy seat to raise me from the dust, and set at thy side this ragged beggar girl a-tremble1 with shame and pride, like
a creeper in a summer breeze.
But time glides on and still no sound of the wheels of thy chariot. Many a procession passes by with noise and shouts and glamour of glory. Is it only thou who wouldst stand in the shadow silent and behind them all? And only I who would wait and weep and
wear out my heart in vain longing?

The lover remains hidden, standing behind others in the shadows. Passersby push him aside on the dusty road, oblivious to his true identity. This sets the stage for the lover’s mysterious and concealed nature. The speaker waits tirelessly, offering flowers that are taken by others. The weariness intensifies as the day progresses. Glances from those going home fill the speaker with shame, reflecting the societal judgment and the speaker’s emotional vulnerability.

The speaker daydreams of the lover’s grand arrival. The imagery of lights ablaze, golden pennons flying, and the lover raising the speaker from the dust creates a vivid picture of anticipated splendor. The contrast between this dream and the speaker’s actual situation heightens the emotional impact. The speaker grapples with the difficulty of revealing her waiting and poverty. There’s a complex interplay of pride, shame, and the secret embrace of these emotions in the heart. This emotional conflict adds depth to the speaker’s character.

The speaker sits on the grass, gazes upon the sky, and dreams. The natural elements, such as the sky and the summer breeze, serve as symbolic elements reflecting the speaker’s emotional state and longing. Despite the elaborate fantasies and dreams, there is still no sign of the lover’s arrival. Other processions pass by with noise and glamour, emphasizing the stark contrast between the lover’s silent presence and the bustling activities of the world.

The closing lines encapsulate the essence of the poem, questioning whether the lover deliberately stays in the shadows. The speaker’s enduring wait and the unmet promises evoke a sense of longing and heartache.

42
EARLY in the day it was whispered that we should sail in a boat, only thou and I, and never a soul in the world would know of this our pilgrimage to no country and to no end.
In that shoreless ocean, at thy silently listening smile my songs would swell in melodies, free as waves, free from all bondage of words.
Is the time not come yet? Are there works still to do? Lo, the evening has come down upon the shore and in the fading light the seabirds come flying to their nests.
Who knows when the chains will be off, and the boat, like the last glimmer of sunset, vanish into the night?

The poem opens with a whispered suggestion that only the speaker and the beloved should sail in a boat. The secrecy of this pilgrimage is emphasized, as the world would be unaware of their journey. This sets the tone for a private, personal, and undisclosed experience.

The idea of sailing on a shoreless ocean is metaphorical and suggests boundless possibilities, representing a journey without a specific destination. The speaker envisions their songs swelling like waves in this limitless ocean, free from the constraints of words. This symbolizes the liberating and unrestrained nature of the journey.

The beloved’s smile is described as silently listening. This indicates a profound connection and understanding between the speaker and the beloved that goes beyond verbal communication. The smile becomes a source of inspiration, causing the speaker’s songs to swell in melodies.

The speaker questions whether the time for this journey has arrived. The evening setting and the imagery of seabirds returning to their nests suggest a moment of completion or culmination. The fading light adds a sense of urgency and anticipation. The poem concludes with contemplation about when the chains will be removed. These “chains” may represent obstacles or responsibilities. The image of the boat vanishing into the night, like the last glimmer of sunset, suggests the mysterious and inevitable nature of their journey, leaving the ending open-ended and filled with anticipation.

43
THE day was when I did not keep myself in readiness for thee; and entering my heart unbidden even as one of the common crowd, unknown to me, my king, thou didst press the signet of eternity upon many a fleeting moment of my life.
And to-day when by chance I light upon them and see thy signature, I find they have lain scattered in the dust mixed with the memory of joys and sorrows of my trivial days forgotten.
Thou didst not turn in contempt from my childish play among dust, and the steps that I heard in my playroom are the same that are echoing from star to star.

The speaker begins by reminiscing about a time when they were not prepared for the divine presence. In the past, the speaker wasn’t consciously attuned to the spiritual realm. This initial unreadiness signifies a period when the awareness of the divine was not a constant companion in their life.

Despite the initial unpreparedness, the divine entered the poet’s heart unbidden, much like an unassuming member of the common crowd. This unexpected intrusion, marked by the pressing of the “signet of eternity,” represents a divine acknowledgment of the fleeting moments in the speaker’s life. The use of the term “king” suggests the divine’s regal authority over the poet’s existence.

The divine presence imprinted eternity upon the seemingly trivial and transient moments of the poet’s life. These moments, once overlooked in the dust of forgetfulness, now bear the eternal signature. The poet’s encounters with joy and sorrow, now mixed with the divine imprint, gain a renewed significance.

The poem implies that, in the present moment, the poet chances upon these moments and rediscovers the divine signatures. The act of finding these signatures among the memories of trivial days suggests a deeper understanding and appreciation of the divine influence in retrospect. It emphasizes the timelessness of the divine intervention, regardless of the poet’s awareness.

The divine did not disdain the poet’s childish play among dust. The steps that echoed in the playroom are metaphorically linked to the celestial realm, echoing from star to star. This interconnection signifies the divine’s acceptance of the poet’s mundane existence and underscores the continuity of the divine presence throughout the poet’s life.

44
THIS is my delight, thus to wait and watch at the wayside where shadow chases light
and the rain comes in the wake of the summer.
Messengers, with tidings from unknown skies, greet me and speed along the road. My
heart is glad within, and the breath of the passing breeze is sweet.
From dawn till dusk I sit here before my door, and I know that of a sudden the happy
moment will arrive when I shall see.
In the meanwhile I smile and I sing all alone. In the meanwhile the air is filling with the
perfume of promise.

The poem opens with the poet expressing joy in waiting and observing at the wayside. Here, nature plays a significant role as the interplay between shadow and light, and the arrival of rain after the summer, symbolizes the cyclical and harmonious patterns of existence. Nature becomes a canvas where the poet finds delight in observing its dynamic and ever-changing elements.

The poet perceives messengers carrying tidings from unknown skies. These messengers, possibly symbolic of transcendent or spiritual influences, greet the poet and swiftly traverse the road. The mysterious origin of these messengers adds an element of divine anticipation to the scene.

As the messengers pass by, the poet’s heart is filled with gladness. This inner joy suggests a profound connection between the poet’s spirit and the elements of nature. The anticipation of something positive contributes to the poet’s sense of well-being, creating a moment of serenity and contentment.

The poet describes spending the time from dawn till dusk in contemplative waiting, stationed before their door. This patient waiting is portrayed as a serene and meditative activity. The poet is aware that, in a sudden and unexpected moment, the awaited joy will manifest, and the scene will unfold.

During this period of waiting, the poet chooses solitude. Smiling and singing alone, the poet creates an atmosphere of personal celebration. The act of singing becomes a form of expression, adding a musical dimension to the anticipation. The poet, in this solitude, finds joy in the moment itself, independent of the awaited event.

While waiting, the air is described as filling with the perfume of promise. This fragrance symbolizes the anticipation of something positive, an upcoming event or revelation. The promise in the air adds a layer of optimism to the overall atmosphere.

45
HAVE you not heard his silent, steps?
He comes, comes, ever comes.
Every moment and every age, every day and every night he comes, comes, ever comes.
Many a song have I sung in many a mood of mind, but all their notes have always
proclaimed, “He comes, comes, ever comes.”
In the fragrant days of sunny April through the forest path he comes, comes, ever
comes.
In the rainy gloom of July nights on the thundering chariot of clouds he comes, comes,
ever comes.
In sorrow after sorrow it is his steps that press upon my heart, and it is the golden touch
of his feet that makes my joy to shine.

The poem opens with a rhetorical question, asking if the reader has not heard the silent steps of the divine. The repetition of “He comes, comes, ever comes” emphasizes the perpetual nature of the divine arrival. This repetition creates a rhythmic quality, echoing the continuous and unending nature of the divine presence.

Tagore expands the concept of divine arrival to encompass every moment, age, day, and night. This universal presence suggests that the divine is not confined by time or specific circumstances. The all-encompassing nature of the divine’s arrival is echoed through the repetitive phrase, reinforcing the idea that the divine is a constant in the ever-changing landscape of existence.

The poet describes various manifestations of the divine’s arrival in different seasons and moods. In the fragrant days of sunny April, the divine comes through the forest path. This imagery evokes a sense of renewal and vitality associated with spring. In the rainy gloom of July nights, the divine arrives on the thundering chariot of clouds, symbolizing the majestic and awe-inspiring nature of the divine presence.

The poet acknowledges the presence of the divine in moments of sorrow. The steps of the divine press upon the poet’s heart in times of sadness, yet it is the golden touch of the divine’s feet that brings forth joy. This duality emphasizes the transformative power of the divine, turning sorrow into an opportunity for inner illumination and joy.

The use of symbolic imagery, such as forest paths, thundering chariots of clouds, and the golden touch of feet, adds depth to the poem. These images evoke a sensory and emotional response, enriching the reader’s experience and understanding of the divine presence.

46
I KNOW not from what distant time thou art ever coming nearer to meet me. Thy sun
and stars can never keep thee hidden from me for aye.
In many a morning and eve thy footsteps have been heard and thy messenger has come
within my heart and called me in secret.
I know not why to-day my life is all astir, and a feeling of tremulous joy is passing
through my heart.
It is as if the time were come to wind up my work, and I feel in the air a faint smell of thy
sweet presence.

The poem begins with the speaker expressing a lack of knowledge about the distant time from which the divine comes nearer. This uncertainty adds an element of mystery to the divine presence, emphasizing that its nature transcends human comprehension. The perpetual approach of the divine is suggested by the phrase “ever coming nearer,” creating a sense of inevitability.

The speaker acknowledges that neither the sun nor the stars can keep the divine hidden. This cosmic reference implies that the divine is not confined by celestial bodies or temporal boundaries. The celestial bodies become metaphors for the vastness of the divine, reinforcing its omnipresence and its ability to traverse the cosmic expanse to approach the individual.

The poem introduces the idea of intimate communication between the divine and the speaker. Footsteps are heard, and a messenger comes within the speaker’s heart, calling in secret. This imagery suggests a personal and direct connection with the divine, transcending the limitations of external manifestations.

The speaker describes a feeling of tremulous joy passing through the heart. This emotional response signifies an awakening or renewal within the speaker’s being. The use of “tremulous” suggests a delicate and subtle joy, emphasizing the profound impact of the divine presence on the speaker’s inner state.

The poem conveys a sense that the time has come for the speaker to wind up their work. This may imply a completion of spiritual or worldly tasks, aligning with the idea of divine timing. The faint smell of the divine’s sweet presence in the air adds a sensory dimension to the anticipation, creating an atmosphere of heightened awareness.

47
THE night is nearly spent waiting for him in vain. I fear lest in the morning he suddenly
come to my door when I have fallen asleep wearied out. Oh friends, leave the way open
to him ⎯ forbid him not.
If the sound of his steps does not wake me, do not try to rouse me, I pray. I wish not to
be called from my sleep by the clamorous choir of birds, by the riot of wind at the festival
of morning light. Let me sleep undisturbed even if my lord comes of a sudden to my
door.
Ah, my sleep, precious sleep, which only waits for his touch to vanish.
Ah, my closed eyes that would open their lids to the light of his smile when he stands
before me like a dream emerging from darkness of sleep.
Let him appear before my sight as the first of all lights and all forms. The first thrill of joy
to my awakened soul let it come from his glance. And let my return to myself be
immediate return to him.

The poem opens with the night being nearly spent as the speaker waits for the divine presence. This nighttime setting often symbolizes a period of spiritual darkness or longing. The act of waiting implies a deep yearning for a divine encounter.

There is a fear expressed by the speaker, fearing that the divine might arrive unexpectedly while they are asleep. This fear suggests the intensity of the desire to be fully awake and aware when the divine presence manifests. The speaker addresses friends, urging them to leave the way open for the divine and not to forbid his entry. This plea may indicate a desire for an unhindered, direct connection with the divine without any external interference.

The speaker expresses a profound attachment to sleep, describing it as precious and only awaiting the touch of the divine to vanish. Sleep becomes a metaphor for spiritual unawareness or a state of dormancy that is transformed by the divine encounter. The poem employs sensory imagery, describing the clamorous choir of birds, the riot of wind, and the festival of morning light. These images evoke a sense of the external world trying to disturb the speaker’s spiritual repose.

The speaker envisions the divine as a dream emerging from the darkness of sleep. This image suggests a spiritual awakening, where the divine presence is perceived as the first of all lights and forms. The divine smile becomes a source of joy and illumination.

48
THE morning sea of silence broke into ripples of bird songs; and the flowers were all
merry by the roadside; and the wealth of gold was scattered through the rift of the clouds
while we busily went on our way and paid no heed.
We sang no glad songs nor played; we went not to the village for barter; we spoke not a
word nor smiled; we lingered not on the way. We quickened our pace more and more as
the time sped by.
The sun rose to the mid sky and doves cooed in the shade. Withered leaves danced
and whirled in the hot air of noon. The shepherd boy drowsed and dreamed in the
shadow of the banyan tree, and I laid myself down by the water and stretched my tired
limbs on the grass.
My companions laughed at me in scorn; they held their heads high and hurried on; they
never looked back nor rested; they vanished in the distant blue haze. They crossed
many meadows and hills, and passed through strange, far-away countries. All honour to
you, heroic host of the interminable path! Mockery and reproach pricked me to rise, but
found no response in me. I gave myself up for lost in the depth of a glad humiliation ⎯
in the shadow of a dim delight.
The repose of the sun-embroidered green gloom slowly spread over my heart. I forgot
for what I had travelled, and I surrendered my mind without struggle to the maze of
shadows and songs.
At last, when I woke from my slumber and opened my eyes, I saw thee standing by me,
flooding my sleep with thy smile. How I had feared that the path was long and
wearisome, and the struggle to reach thee was hard!

The poem begins with an evocative image of the morning sea of silence breaking into ripples of bird songs. This imagery sets the tone for a spiritual awakening, a breaking of silence, and the emergence of a new consciousness.

The flowers are described as being merry, and the wealth of gold is scattered through the rift of the clouds. Nature seems to respond joyously to the spiritual awakening, creating a harmonious and celebratory atmosphere. The travelers in the poem distance themselves from the ordinary activities of life. They do not sing, play, barter in the village, or engage in social interactions. This detachment reflects a focus on a higher purpose, transcending the mundane concerns of daily life.

The travelers quicken their pace, emphasizing a sense of urgency and purpose in their spiritual journey. The passage of time is marked by the rising sun, the cooing doves, and the withered leaves dancing in the hot noon air. The poet describes himself as laying down by the water, stretching tired limbs on the grass. The weariness suggests the challenges and struggles faced in the journey, and the decision to rest amid mockery and reproach from companions.

The poet experiences mockery and reproach from companions who rush forward without looking back. However, the poet surrenders to a “glad humiliation” and finds delight in the shadows and songs, indicating a shift in perspective and a willingness to accept a different path.

The poem reaches its climax with the poet waking from slumber and seeing the divine figure standing by him, flooding his sleep with a smile. The fear of a long and wearisome path is replaced by the joy of the divine presence, suggesting that the struggle was worthwhile.

49
YOU came down from your throne and stood at my cottage door.
I was singing all alone in a corner, and the melody caught your ear. You came down
and stood at my cottage door.
Masters are many in your hall, and songs are sung there at all hours. But the simple
carol of this novice struck at your love. One plaintive little strain mingled with the great
music of the world, and with a flower for a prize you came down and stopped at my
cottage door.

The poem opens with a powerful image of the divine figure descending from a throne and standing at the door of the poet’s cottage. This descent symbolizes a direct engagement between the divine and the human, breaking down barriers and hierarchies. The poet describes singing alone in a corner, emphasizing the solitude of the devotee. The melody, simple and sincere, catches the ear of the divine, suggesting that genuine devotion is recognized even in moments of solitude.

Despite the presence of many masters and songs in the divine hall, it is the “plaintive little strain” of the novice that strikes at the divine’s love. The divine recognizes the purity and sincerity in the simple carol, highlighting the value of heartfelt devotion over elaborate rituals.

The phrase “mingled with the great music of the world” suggests that the simple song of the devotee becomes an integral part of the grand symphony of existence. The divine acknowledges and appreciates the contribution of this humble strain to the universal music.

The divine, moved by the novice’s song, descends with a flower as a prize and stops at the cottage door. The flower symbolizes a gift of recognition and appreciation bestowed upon the humble devotee, indicating divine approval and grace.

50
I HAD gone a-begging from door to door in the village path, when thy golden chariot
appeared in the distance like a gorgeous dream and I wondered who was this King of all
kings!
My hopes rose high and me thought my evil days were at an end, and I stood waiting for
alms to be given unasked and for wealth scattered on all sides in the dust.
The chariot stopped where I stood. Thy glance fell on me and thou earnest down with a
smile. I felt that the luck of my life had come at last. Then of a sudden thou didst hold
out thy right hand and say “What hast thou to give to me?”
Ah, what a kingly jest was it to open thy palm to a beggar to beg! I was confused and
stood undecided, and then from my wallet I slowly took out the least little grain of corn
and gave it to thee.
But how great my surprise when at the day’s end I emptied my bag on the floor to find a
least little grain of gold among the poor heap. I bitterly wept and wished that I had had
the heart to give thee my all.

The poet describes going from door to door in the village, begging for alms. The arrival of the divine is compared to a “gorgeous dream” and the appearance of a golden chariot, signifying an otherworldly and majestic presence. The poet expresses high hopes and anticipation as the divine chariot approaches. There is an expectation of the end of “evil days” and the arrival of unexpected wealth. However, when the divine King stops and looks at the poet, the unexpected happens.

The divine, instead of bestowing wealth upon the poet, extends an open palm and asks, “What hast thou to give to me?” This action is described as a “kingly jest,” a playful and ironic reversal of roles where the divine appears to beg from the human.

Confused and undecided, the poet takes out the least little grain of corn from the wallet and offers it to the divine. This gesture represents the poet’s humble and meager offering in response to the divine’s unexpected request.

At the end of the day, when the poet empties the bag expecting to find only meager offerings, there is a surprising discovery—a least little grain of gold among the poor heap. The reward is unexpected and contrasts with the initial confusion and hesitation.

51
THE night darkened. Our day’s works had been done. We thought that the last guest
had arrived for the night and the doors in the village were all shut. Only some said, The
king was to come. We laughed and said “No, it cannot be!”
It seemed there were knocks at the door and we said it was nothing but the wind. We
put out the lamps and lay down to sleep. Only some said, “It is the messenger!” We
laughed and said “No, it must be the wind!”
There came a sound in the dead of the night. We sleepily thought it was the distant
thunder. The earth shook, the walls rocked, and it troubled us in our sleep. Only some
said, it was the sound of wheels. We said in a drowsy murmur, “No, it must be the
rumbling of clouds!”
The night was still dark when the drum sounded. The voice came “Wake up! Delay not!
“We pressed our hands on our hearts and shuddered with fear. Some said, “Lo, there is
the king’s flag!” We stood up on our feet and cried “There is no time for delay!”
The king has come but where are lights, where are wreaths? Where is the throne to
seat him? Oh, shame! Oh utter shame! Where is the hall, the decorations? Some one
has said, “Vain is this cry! Greet him with empty hands, lead him into thy rooms all
bare!”
Open the doors, let the conch-shells be sounded! In the depth of the night has come the
king of our dark, dreary house. The thunder roars in the sky. The darkness shudders
with lightning. Bring out thy tattered piece of mat and spread it in the courtyard. With
the storm has come of a sudden our king of the fearful night.

The villagers, having completed their day’s works, believe that the last guest has arrived, and the doors are shut for the night. However, when some suggest that the king is coming, skepticism prevails, and they dismiss the knocks and sounds as mere wind.

As the night progresses, there are signs of a significant arrival—the sound of wheels, the trembling of the earth, and the rumbling that disturbs their sleep. The villagers attribute these signs to natural phenomena like thunder and clouds, showing their initial lack of awareness.

The turning point occurs when the drum sounds, signaling the urgent awakening. The message is clear—delay not! The villagers, now aware of the king’s imminent arrival, express fear and awe. The realization of the divine presence prompts an immediate response.

The poem highlights the unpreparedness of the villagers for the arrival of the king. Questions arise about the absence of lights, wreaths, throne, hall, and decorations—all essential elements to properly receive a king. The tone shifts to shame and realization of their inadequacy.

Despite the lack of preparations, the urgency to welcome the king intensifies. The villagers are urged to open the doors, sound conch shells, and spread a tattered piece of mat in the courtyard. The suddenness of the king’s arrival is compared to a storm, emphasizing the overwhelming nature of the divine visitation.

52
I THOUGHT I should ask of thee ⎯ but I dared not ⎯ the rose wreath thou hadst on thy
neck. Thus I waited for the morning, when thou didst depart, to find a few fragments on
the bed. And like a beggar I searched in the dawn only for a stray petal or two.
Ah me, what is it I find? What token left of thy love? It is no flower, no spices, no vase
of perfumed water. It is thy mighty sword, flashing as a flame, heavy as a bolt of
thunder. The young light of morning comes through the window and spreads itself upon
thy bed. The morning bird twitters and asks, “Woman, what hast thou got?” No, it is no
flower, nor spices, nor vase of perfumed water ⎯ it is thy dreadful sword.
I sit and muse in wonder, what gift is this of thine. I can find no place where to hide it. I
am ashamed to wear it, frail as I am, and it hurts me when I press it to my bosom. Yet
shall I bear in my heart this honour of the burden of pain, this gift of thine.
From now there shall be no fear left for me in this world, and thou shalt be victorious in
all my strife. Thou hast left death for my companion and I shall crown him with my life.
Thy sword is with me to cut asunder my bonds, and there shall be no fear left for me in
the world.
From now I leave off all petty decorations. Lord of my heart, no more shall there be for
me waiting and weeping in corners, no more coyness and sweetness of demeanour.
Thou hast given me thy sword for adornment. No more doll’s decorations for me!

The poet expresses his hesitation in directly asking for a rose wreath worn by the beloved. Instead, he waits for the morning after her departure, hoping to find a few fragments on the bed. However, what he discovers is not a delicate token of love but a mighty sword.

The sword is presented as a powerful and imposing symbol. It is described as flashing like a flame and heavy as a bolt of thunder. Unlike the expected fragrant and gentle tokens of love, the sword becomes an unexpected and formidable gift.

Despite the initial shock, the poet contemplates the nature of this unexpected gift. The sword, though unwieldy and painful to press against his frail bosom, becomes an honour. It transforms into a symbol of the burden of pain that he is willing to bear.

The poet asserts that the sword will bring victory in all his strife. It represents a source of courage and strength, leaving no fear in the world. Death is acknowledged as a companion, and the poet vows to crown death with his life, indicating a fearless acceptance of mortality.

The receipt of the sword marks a transformation in the poet’s outlook. He decides to leave behind petty decorations and adornments, discarding coyness and sweetness of demeanour. The sword becomes the adornment, symbolizing a departure from superficial and trivial embellishments.

53
BEAUTIFUL is thy wristlet, decked with stars and cunningly wrought in myriad-coloured
jewels. But more beautiful to me thy sword with its curve of lightning like the outspread
wings of the divine bird of Vishnu, perfectly poised in the angry red light of the sunset.
It quivers like the one last response of life in ecstasy of pain at the final stroke of death; it
shines like the pure flame of being burning up earthly sense with one fierce flash.
Beautiful is thy wristlet, decked with starry gems; but thy sword, O lord of thunder, is
wrought with uttermost beauty, terrible to behold or to think of.

The poem starts by praising the wristlet adorned with stars, described as “beautiful.” However, the poet goes on to express that, to him, the sword is even more beautiful. This sets up a deliberate contrast between the delicate ornamentation of the wristlet and the power and potency of the sword.

The wristlet is depicted as a beautiful accessory decked with stars and myriad-colored jewels. It represents conventional beauty, perhaps associated with adornment, aesthetics, and a sense of delicacy. The stars and jewels evoke an image of celestial and earthly beauty.

In contrast, the sword is described as possessing a curve of lightning, resembling the outspread wings of the divine bird of Vishnu. The sword is not merely an instrument but a symbol of power, divine energy, and strength. Its beauty lies in its potency and its ability to bring about both pain and ecstasy.

The imagery in the poem is dynamic, with the sword quivering and shining in the red light of the sunset. The quivering represents the final response of life, while the shining is likened to the pure flame of being. These vivid images convey a sense of intensity, movement, and the transformative power of the sword.

The poet acknowledges that the beauty of the sword is “terrible to behold or to think of.” This acknowledgment adds complexity to the notion of beauty, suggesting that beauty can be both enchanting and fearsome.

54
I ASKED nothing from thee; I uttered not my name to thine ear. When thou took’st thy
leave I stood silent. I was alone by the well where the shadow of the tree fell aslant, and
the women had gone home with their brown earthen pitchers full to the brim. They
called me and shouted, “Come with us, the morning is wearing on to noon.” But I
languidly lingered awhile lost in the midst of vague musings.
I heard not thy steps as thou camest. Thine eyes were sad when they fell on me; thy
voice was tired as thou spokest low ⎯ “Ah, I am a thirsty traveller.” I started up from my
day-dreams and poured water from my jar on thy joined palms. The leaves rustled
overhead; the cuckoo sang from the unseen dark, and perfume of babla flowers came
from the bend of the road.
I stood speechless with shame when my name thou didst ask. Indeed, what had I done
for thee to keep me in remembrance? But the memory that I could give water to thee to
allay thy thirst will cling to my heart and enfold it in sweetness. The morning hour is late,
the bird sings in weary notes, neem leaves rustle overhead and I sit and think and think.

The narrator recounts an incident where they provided water to a weary traveler without expecting anything in return. The poem unfolds with the narrator expressing that they sought nothing from the traveler and did not reveal their name during the encounter.

As the traveler took leave, the narrator stood silently alone by a well, where the shadow of a tree fell aslant. The women, having completed their chores with brimming earthen pitchers, called out to the narrator to join them. However, lost in vague musings, the narrator lingered by the well, showing a detachment from the routine.

The arrival of the traveler was unperceived by the narrator; their steps went unheard. When the traveler spoke, their eyes reflected sadness, and their voice carried weariness. The traveler identified themselves as a thirsty traveler, prompting the narrator to interrupt their day-dreams and offer water from their jar to quench the traveler’s thirst.

The poet weaves a vivid scene, describing the rustling leaves overhead, the distant song of a cuckoo, and the fragrance of babla flowers from the bend of the road. These sensory details enhance the atmosphere, emphasizing the natural beauty and tranquility of the setting.

The poem takes an introspective turn when the narrator, upon being asked their name, experiences a sense of shame. They ponder what they have done to be remembered by the traveler. The poem closes with the narrator reflecting on the enduring memory of providing water to the thirsty traveler. Despite not knowing their name, the memory of the simple act of kindness becomes a source of sweetness that envelops the narrator’s heart.

In the concluding lines, the poet sets the scene with the late morning hour, the bird singing in weary notes, and the rustling neem leaves overhead. The narrator sits in contemplation, emphasizing the reflective and meditative tone of the poem. The repetition of “think and think” suggests the deep introspection and significance the narrator attributes to this seemingly unremarkable encounter.

55
LANGUOR is upon your heart and the slumber is still on your eyes.
Has not the word come to you that the flower is reigning in splendour among thorns?
Wake, oh awaken! Let not the time pass in vain!
At the end of the stony path, in the country of virgin solitude my friend is sitting all alone.
Deceive him not. Wake, oh awaken!
What if the sky pants and trembles with the heat of the midday sun ⎯ what if the burning
sand spreads its mantle of thirst ⎯
Is there no joy in the deep of your heart? At every footfall of yours, will not the harp of
the road break out in sweet music of pain?

Rabindranath Tagore beckons the reader to awaken from languor and embrace the vitality of life. The poet employs vivid imagery and metaphorical language to convey the urgency of seizing the present moment.

The opening lines depict a sense of lethargy that has settled upon the heart, and the metaphorical slumber that still clouds the eyes. Tagore then introduces the idea that amidst challenges (“thorns”), there is a flourishing beauty (“flower”) reigning in splendor. This juxtaposition encourages the reader to awaken to the hidden joys even in the midst of difficulties.

The poet implores the reader to wake up and not let time slip away in vain. The mention of a friend sitting alone in the country of “virgin solitude” suggests the importance of companionship and connection, urging the reader not to deceive their friend by remaining inactive.

Tagore continues to employ vivid descriptions, mentioning the scorching midday sun, burning sand, and the panting sky. Despite these challenging conditions, the poet asks whether there is no joy in the deep recesses of the heart. The imagery of the road’s “harp” breaking out in “sweet music of pain” at every footfall emphasizes the idea that the journey itself, with its pains and pleasures, is a source of profound experience and beauty.

56
THUS it is that thy joy in me is so full. Thus it is that thou hast come down to me. O
thou lord of all heavens, where would be thy love if I were not?
Thou hast taken me as thy partner of all this wealth. In my heart is the endless play of
thy delight. In my life thy will is ever taking shape.
And for this, thou who art the King of kings hast decked thyself in beauty to captivate my
heart. And for this thy love loses itself in the love of thy lover, and there art thou seen in
the perfect union of two.

Rabindranath Tagore expresses a profound connection and union between the divine and the human soul. The poet addresses a higher power, referred to as the “lord of all heavens,” acknowledging the completeness of joy that exists in the divine-human relationship.

The poet reflects on the divine’s descent, emphasizing that the joy experienced by the divine in the poet is so abundant and fulfilling. The rhetorical question, “O thou lord of all heavens, where would be thy love if I were not?” suggests the reciprocity and interdependence of the divine-human connection.

The divine is portrayed as a generous partner, sharing all wealth and delight with the poet. The poet perceives the constant manifestation of the divine will in their life, indicating a harmonious alignment between the individual’s choices and the divine plan.

The vivid imagery of the divine adorning itself in beauty to captivate the poet’s heart adds a visual element to the spiritual connection. The description of the divine losing itself in the love of the lover underscores the depth and intensity of this divine-human union, culminating in a perfect unity of two entities.

57
LIGHT, my light, the world-filling light, the eye-kissing light, heart-sweetening light!
Ah, the light dances, my darling, at the centre of my life; the light strikes, my darling, the
chords of my love; the sky opens, the wind runs wild, laughter passes over the earth.
The butterflies spread their sails on the sea of light. Lilies and jasmines surge up on the
crest of the waves of light.
The light is shattered into gold on every cloud, my darling, and it scatters gems in
profusion.
Mirth spreads from leaf to leaf, my darling, and gladness without measure. The
heaven’s river has drowned its banks and the flood of joy is abroad.

Rabindranath Tagore personifies light, addressing it as “my light.” The poet uses vivid and evocative language to describe the transformative and uplifting qualities of this light.

The poet celebrates light as a world-filling, eye-kissing, and heart-sweetening force. The repetition of the term “my darling” adds an intimate and affectionate tone, emphasizing a personal connection with the light.

The imagery of light dancing at the center of the poet’s life suggests its central and pivotal role. The light is not just illuminating; it actively engages with the poet’s emotions, striking the chords of love and opening up the sky. This dynamic portrayal contributes to the sense of a living and responsive light.

The description of butterflies spreading their sails and flowers surging on the waves of light creates a visual spectacle, emphasizing the beauty and abundance associated with the presence of light. The metaphor of light being shattered into gold on every cloud and scattering gems reinforces its richness and brilliance.

The mention of mirth spreading and gladness without measure conveys the infectious and expansive nature of the light’s influence. The metaphor of the heaven’s river drowning its banks and the flood of joy being abroad paints a picture of overwhelming bliss and abundance.

58
LET all the strains of joy mingle in my last song ⎯ the joy that makes the earth flow over
in the riotous excess of the grass, the joy that sets the twin brothers, life and death,
dancing over the wide world, the joy that sweeps in with the tempest, shaking and
waking all life with laughter, the joy that sits still with its tears on the open red lotus of
pain, and the joy that throws everything it has upon the dust, and knows not a word.

Rabindranath Tagore expresses a desire for his final song to encompass various strains of joy. The poet envisions a song that captures the diverse and abundant manifestations of joy in the world.

The first image presented is that of joy causing the earth to overflow, symbolized by the riotous excess of grass. This portrayal suggests a vibrant and exuberant joy that is so intense it spills over into the natural world.

The mention of the twin brothers, life and death, dancing over the wide world, conveys a sense of cosmic harmony where the contrasting elements of existence coalesce in a dance of joy. This imagery suggests that joy is not confined to life alone but extends into the realm of death, emphasizing the cyclical and interconnected nature of joy and sorrow.

The reference to joy sweeping in with the tempest, shaking and waking all life with laughter, adds a dynamic and powerful dimension to the portrayal of joy. The tempest becomes a metaphor for the forceful and transformative nature of joy, capable of shaking the foundations of life and awakening laughter in its wake.

The image of joy sitting still with its tears on the open red lotus of pain introduces a poignant and contemplative aspect of joy. It suggests that joy can coexist with pain, finding a quiet and reflective space amid suffering.

Finally, the depiction of joy throwing everything it has upon the dust, knowing not a word, portrays a selfless and unrestrained joy that gives itself fully without seeking recognition or verbal expression. This emphasizes the pure and wordless essence of true joy.

59
YES, I know, this is nothing but thy love, O beloved of my heart ⎯ this golden light that
dances upon the leaves, these idle clouds sailing across the sky, this passing breeze
leaving its coolness upon my forehead.
The morning light has flooded my eyes ⎯ this is thy message to my heart. Thy face is
bent from above, thy eyes look down on my eyes, and my heart has touched thy feet.

the speaker acknowledges and recognizes the presence of divine love in the natural elements surrounding them. The various elements of nature serve as manifestations of the beloved, bringing a sense of connection and spiritual communion.

The golden light dancing upon the leaves is seen as an expression of the beloved’s love. This radiant light is symbolic of a divine presence, and the dance of light on the leaves signifies the dynamic and playful nature of this love.

The idle clouds sailing across the sky are perceived as another manifestation of the beloved’s love. The movement of the clouds is a transient and gentle display, reflecting the ever-present and serene nature of divine love.

The passing breeze, leaving its coolness upon the speaker’s forehead, is interpreted as a tender caress from the beloved. The touch of the breeze brings a sense of comfort and refreshment, symbolizing the soothing and caring aspect of divine love.

As the morning light floods the speaker’s eyes, it is regarded as a direct message from the beloved to the heart. The light serves as a metaphorical illumination, bringing clarity and insight to the speaker’s understanding of the divine presence.

The speaker envisions the beloved’s face bending from above, looking down on their eyes. This imagery suggests a benevolent and watchful gaze, indicating the loving and protective nature of the divine presence.

In the final lines, the speaker expresses a profound connection, stating that their heart has touched the feet of the beloved. This gesture symbolizes humility, reverence, and a spiritual surrender to the divine.

Overall, the passage conveys a deep sense of spiritual awareness and a personal connection with the beloved through the beauty and harmony of nature. The speaker finds reassurance, guidance, and love in the subtle yet profound manifestations of the divine presence in the world around them.

60
ON the seashore of endless worlds children meet. The infinite sky is motionless
overhead and the restless water is boisterous. On the seashore of endless worlds the
children meet with shouts and dances.
They build their houses with sand and they play with empty shells. With withered leaves
they weave their boats and smilingly float them on the vast deep. Children have their
play on the seashore of worlds.
They know not how to swim, they know not how to cast nets. Pearl fishers dive for
pearls, merchants sail in their ships, while children gather pebbles and scatter them
again. They seek not for hidden treasures, they know not how to cast nets.
The sea surges up with laughter and pale gleams the smile of the sea beach. Deathdealing waves sing meaningless ballads to the children, even like a mother while rocking
her baby’s cradle. The sea plays with children, and pale gleams the smile of the sea
beach.
On the seashore of endless worlds children meet. Tempest roams in the pathless sky,
ships get wrecked in the trackless water, death is abroad and children play. On the
seashore of endless worlds is the great meeting of children.

On the seashore of endless worlds, children come together in a meeting that transcends the boundaries of the earthly realm. The vast and infinite sky remains motionless above them, while the turbulent waters of the restless sea express their exuberance. Shouts and dances fill the air as the children engage in joyous gatherings on this boundless seashore.

Their activities include building houses with sand and playing with empty shells. The children craft boats from withered leaves, merrily setting them afloat on the expansive depths of the sea. In this playful setting, the children create their own world on the seashore of endless possibilities.

Lacking the skills of swimming or net casting, the children contrast with pearl fishers and merchants who navigate the waters in search of treasures. The children, however, content themselves with gathering and scattering pebbles, showing a simplicity and innocence in their pursuits. They remain oblivious to hidden treasures and the complexities of life’s endeavors.

The sea itself becomes a participant in their play, surging with laughter, and the sea beach radiates a pale smile. Even as death-dealing waves sing seemingly meaningless ballads, akin to a mother rocking her baby’s cradle, the sea engages in a lighthearted interaction with the children. The sea plays, and the smile of the sea beach takes on a gentle glow.

Amidst the tempests in the pathless sky, shipwrecks in trackless waters, and the omnipresence of death, the children continue to play undeterred. The seashore of endless worlds becomes the grand meeting ground for children, where life’s uncertainties and dangers coexist with the pure and unbridled joy of childhood.

61
THE sleep that flits on baby’s eyes ⎯ does anybody know from where it comes? Yes,
there is a rumour that it has its dwelling where, in the fairy village among shadows of the
forest dimly lit with glow-worms, there hang two timid buds of enchantment. From there
it comes to kiss baby’s eyes.
The smile that flickers on baby’s lips when he sleeps ⎯ does anybody know where it
was born? Yes, there is a rumour that a young pale beam of a crescent moon touched
the edge of a vanishing autumn cloud, and there the smile was first born in the dream of
a dew-washed morning ⎯ the smile that flickers on baby’s lips when he sleeps.
The sweet, soft freshness that blooms on baby’s limbs ⎯ does anybody know where it
was hidden so long? Yes, when the mother was a young girl it lay pervading her heart in
tender and silent mystery of love ⎯ the sweet, soft freshness that has bloomed on
baby’s limbs.

The sleep that delicately graces the eyes of a baby is said to originate from a mystical dwelling. There’s a rumor suggesting that it resides in the fairy village, nestled among the shadows of a forest softly illuminated by glow-worms. Here, two shy buds of enchantment hang, and from this ethereal place, sleep journeys to gently kiss the baby’s eyes.

As for the smile that playfully dances on a baby’s lips during sleep, its origins are shrouded in an enchanting tale. There’s a rumor that a young, pale beam of the crescent moon delicately touched the edge of a fading autumn cloud. In this magical moment, the smile was born, emerging in the dreams of a dew-washed morning — the very smile that flickers on a baby’s lips while peacefully asleep.

The sweet and tender freshness that adorns a baby’s limbs — where has it been hidden for so long? The answer lies in the heart of the mother. During her youth, it permeated her heart with a gentle and silent mystery of love. This sweet, soft freshness has bloomed on the baby’s limbs, carrying the essence of the mother’s enduring love.

62
WHEN I bring to you coloured toys, my child, I understand why there is such a play of
colours on clouds, on water, and why flowers are painted in tints ⎯ when I give coloured
toys to you, my child.
When I sing to make you dance I truly know why there is music in leaves, and why
waves send their chorus of voices to the heart of the listening earth ⎯ when I sing to
make you dance.
When I bring sweet things to your greedy hands I know why there is honey in the cup of
the flower and why fruits are secretly filled with sweet juice ⎯ when I bring sweet things
to your greedy hands.
When I kiss your face to make you smile, my darling, I surely understand what the
pleasure is that streams from the sky in morning light, and what delight that is which the
summer breeze brings to my body ⎯ when I kiss you to make you smile.

This poem takes the reader on a reflective journey through the poet’s observations and insights into the profound joys derived from simple interactions with a child. Each stanza unveils a deeper understanding of nature and life through the lens of parenthood.

In the first part, the act of presenting colored toys to the child prompts the poet to contemplate the play of colors in the natural world. The poet draws parallels between the vivid hues of clouds, water, and flowers, and the vibrant colors found in the child’s playthings. It becomes a metaphorical exploration of the beauty and diversity inherent in the world.

The second stanza delves into the transformative power of music. Singing to make the child dance leads the poet to recognize the music present in leaves and the harmonious voices resonating in waves. The act of making the child dance becomes a conduit for understanding the interconnectedness of sound in nature.

The third part unfolds as the poet brings sweet things to the child’s eager hands. This simple gesture triggers reflections on the symbolic meanings of honey in flowers and the hidden sweetness within fruits. It serves as a metaphor for discovering the concealed joys and sweetness in life.

In the final stanza, the act of kissing the child to elicit a smile becomes a profound experience. The poet contemplates the pleasure derived from the morning sky and the delight carried by the summer breeze. This act of bringing joy to the child becomes a channel for connecting with the profound and intrinsic joys present in the elements of nature.

63
THOU hast made me known to friends whom I knew not. Thou hast given me seats in
homes not my own. Thou hast brought the distant near and made a brother of the
stranger.
I am uneasy at heart when I have to leave my accustomed shelter; I forget that there
abides the old in the new, and that there also thou abidest.
Through birth and death, in this world or in others, wherever thou leadest me it is thou,
the same, the one companion of my endless life who ever linkest my heart with bonds of
joy to the unfamiliar.
When one knows thee, then alien there is none, then no door is shut. Oh, grant me my
prayer that I may never lose the bliss of the touch of the one in the play of the many.

In this poem, the speaker expresses profound gratitude to the divine for expanding their connections and making them known to friends they had not previously encountered. The divine has granted them a place in homes that were once unfamiliar and has bridged the gap between the distant and the near, turning strangers into brothers.

The speaker acknowledges a sense of unease when leaving their accustomed shelter, forgetting that the divine exists both in the old and the new. The divine is a constant presence that transcends boundaries and remains unchanged. Whether in this world or beyond, through the cycles of birth and death, the divine guides the speaker, creating an eternal bond that brings joy even in the face of the unfamiliar.

The poem emphasizes that once someone knows the divine, there is no longer a sense of alienation, and all doors are open. The divine becomes the unifying force that connects hearts and transcends the limitations of the material world. The speaker concludes with a prayer, expressing the desire never to lose the blissful connection with the divine amidst the diverse experiences of life.

64
ON the slope of the desolate river among tall grasses I asked her, “Maiden, where do
you go shading your lamp with your mantle? My house is all dark and lonesome ⎯ lend
me your light!” She raised her dark eyes for a moment and looked at my face through
the dusk. “I have come to the river,” she said, “to float my lamp on the stream when the
daylight wanes in the west.” I stood alone among tall grasses and watched the timid
flame of her lamp uselessly drifting in the tide.
In the silence of gathering night I asked her, “Maiden, your lights are all lit ⎯ then where
do you go with your lamp? My house is all dark and lonesome, ⎯ lend me your light.”
She raised her dark eyes on my face and stood for a moment doubtful. “I have come,”
she said at last, “to dedicate my lamp to the sky.” I stood and watched her light
uselessly burning in the void.
In the moonless gloom of midnight I asked her, “Maiden, what is your quest holding the
lamp near your heart? My house is all dark and lonesome, ⎯ lend me your light.” She
stopped for a minute and thought and gazed at my face in the dark. “I have brought my
Gitanjali: Spiritual Poems of Rabindranath Tagore – An e-book presentation by The Spiritual Bee 47
light,” she said, “to join the carnival of lamps.” I stood and watched her little lamp
uselessly lost among lights.

The poem narrates the speaker’s encounters with a maiden carrying a lamp on the slope of a desolate river. In the first interaction, the speaker, surrounded by darkness, implores the maiden to lend him her light. She explains that she has come to the river to float her lamp as daylight wanes. The speaker watches her lamp drift uselessly in the tide.

As night descends in silence, the speaker, still in darkness, questions the maiden about her lit lamps and requests her light for his dark and lonesome house. She hesitates but ultimately reveals that she has come to dedicate her lamp to the sky. The speaker observes her light burning ineffectively in the void.

In the moonless midnight, the speaker once again inquires about the maiden’s quest as she holds the lamp close to her heart. He seeks her light for his dark house. After a moment of thought, the maiden discloses that she brought her light to join the carnival of lamps. The speaker witnesses her small lamp becoming inconspicuous among the multitude of lights. The poem explores themes of illumination, purpose, and the symbolic significance of the maiden’s lamp in different contexts.

65
WHAT divine drink wouldst thou have, my God, from this overflowing cup of my life?
My poet, is it thy delight to see thy creation through my eyes and to stand at the portals
of my ears silently to listen to thine own eternal harmony?
Thy world is weaving words in my mind and thy joy is adding music to them. Thou givest
thyself to me in love and then feelest thine own entire sweetness in me.

The speaker portrays their life as an overflowing cup, a vessel filled with the experiences, emotions, and richness of existence.

The act of offering a “divine drink” from the cup of life to God suggests a sense of surrender and devotion. The speaker contemplates whether God finds delight in perceiving His creation through the lens of the speaker’s life, emphasizing a personal and intimate connection between the creator and the created. The metaphorical overflow of the cup symbolizes the abundance of life experiences that the speaker presents to the divine.

The poet is also addressed in the poem, creating a dynamic interplay between the human artist and the divine creator. The speaker wonders if the poet takes pleasure in witnessing their creation unfold, seeing the world through the speaker’s eyes, and listening to the divine harmony resonating within their consciousness.

The imagery of God’s world weaving words in the speaker’s mind and adding music to their thoughts portrays a collaborative and creative relationship. The divine is an active participant in the speaker’s inner world, contributing to the formation of thoughts and the emotional cadence of life. This collaborative act of creation becomes a source of joy and sweetness for both the speaker and God.

The final lines emphasize the reciprocal nature of the relationship. God gives Himself to the speaker in an act of divine love, and in return, the speaker feels the full sweetness of God’s presence within them. The intertwining of the divine and human experiences becomes a transformative and enriching exchange, highlighting the deep spiritual connection that transcends the boundaries between the created and the creator. Ultimately, the poem celebrates the intimate communion between the speaker, the poet, and God, exploring the beauty that arises from this interconnectedness.

66
SHE who ever had remained in the depth of my being, in the twilight of gleams and of
glimpses; she who never opened her veils in the morning light, will be my last gift to
thee, my God, folded in my final song.
Words have wooed yet failed to win her; persuasion has stretched to her its eager arms
in vain.
I have roamed from country to country keeping her in the core of my heart, and around
her have risen and fallen the growth and decay of my life.
Over my thoughts and actions, my slumbers and dreams, she reigned yet dwelled alone
and apart.
Many a man knocked at my door and asked for her and turned away in despair.
There was none in the world who ever saw her face to face, and she remained in her
loneliness waiting for thy recognition.

This presence, referred to as “she,” is portrayed as an enigmatic and veiled figure, existing in the twilight of glimpses and subtle illuminations within the speaker’s consciousness.

The speaker describes “her” as someone who has never revealed herself fully in the bright light of morning, suggesting a persistent and subtle presence that remains hidden and unexplored. Despite attempts through words and persuasion, the speaker acknowledges that this elusive figure has resisted complete understanding or possession.

Throughout the speaker’s life’s journey, from country to country, “she” has been at the core of the speaker’s heart, witnessing the ebb and flow of life’s experiences. The speaker’s thoughts, actions, slumbers, and dreams have all been under her influence, yet she remains distant and solitary, reigning over the speaker’s inner world.

Despite the speaker’s longing and the inquiries of others who sought her, “she” has never been fully revealed or recognized by anyone. The poem captures the essence of an ineffable presence that is an integral part of the speaker’s being, a presence that exists in solitude, waiting for a divine recognition.

In the final lines, the speaker suggests that this mysterious figure will be their last gift to God, folded within their final song. The poem, with its lyrical and introspective tone, explores themes of spiritual longing, the ineffable nature of divine connection, and the enduring mystery of a presence that dwells within the depths of one’s being.

67
THOU art the sky and thou art the nest as well.
O thou beautiful, there in the nest it is thy love that encloses the soul with colours and
sounds and odours.
There comes the morning with the golden basket in her right hand bearing the wreath of
beauty, silently to crown the earth.
And there comes the evening over the lonely meadows deserted by herds, through
trackless paths, carrying cool draughts of peace in her golden pitcher from the western
ocean of rest.
But there, where spreads the infinite sky for the soul to take her flight in, reigns the
stainless white radiance. There is no day nor night, nor form nor colour, and never,
never a word.

The poet employs vivid imagery and metaphors to convey the essence of the divine encompassing both the vast expanse of the sky and the nurturing shelter of a nest.

In the opening lines, the poet addresses the divine as both the sky and the nest. The sky symbolizes boundless expansiveness, while the nest conveys a sense of warmth, protection, and nurturing. The poet suggests that within the nest, it is the divine love that envelops the soul, manifesting through colors, sounds, and odors.

The poem further explores the cyclical nature of time, depicting the morning and evening as divine manifestations. The morning is personified as carrying a golden basket with a wreath of beauty, symbolizing the beginning of a new day filled with grace. The evening, in contrast, brings a sense of tranquility and peace as it traverses deserted meadows and pathways, offering cool draughts from the western ocean of rest.

The crux of the poem lies in the description of the infinite sky, where the soul takes flight. In this realm, characterized by stainless white radiance, the poet transcends conventional concepts of day and night, form and color, and even language. It is a realm of pure, wordless existence, where the soul experiences a profound connection with the divine.

68
THY sunbeam comes upon this earth of mine with arms outstretched and stands at my
door the livelong
day to carry back to thy feet clouds made of my tears and sighs and
songs.
With fond delight thou wrappest about thy starry breast that mantle of misty cloud,
turning it into numberless shapes and folds and colouring it with hues ever changing.
It is so light and so fleeting, tender and tearful and dark, that is why thou lovest it, O thou
spotless and serene. And that is why it may cover thy awful white light with its pathetic
shadows.

Through vivid imagery and metaphors, Tagore paints a picture of the sunbeam’s journey and its significance in carrying human emotions and experiences back to the divine.

The poem begins by addressing the sunbeam as it comes upon the earth with outstretched arms. The sunbeam is personified as a benevolent presence that stands at the poet’s door throughout the day. This anthropomorphic portrayal emphasizes the intimacy between the earthly and the divine.

The poet suggests that the sunbeam serves as a messenger, carrying back to the divine feet clouds made of the poet’s tears, sighs, and songs. Here, clouds symbolize the poet’s emotional expressions, ranging from sorrows to joys, which are metaphorically woven into the fabric of the clouds. The sunbeam acts as a conduit, transporting these human experiences to the divine realm.

The poet marvels at the sunbeam’s ability to transform the misty clouds into various shapes, folds, and colors. This transformation reflects the fluid and ever-changing nature of human emotions. The sunbeam, described as spotless and serene, finds delight in the delicate and transient quality of the clouds. The interplay of light and shadow suggests a symbiotic relationship between the divine purity and the poignant shadows of human experience.

69
THE same stream of life that runs through my veins night and day runs through the
world and dances in rhythmic measures.
It is the same life that shoots in joy through the dust of the earth in numberless blades of
grass and breaks into tumultuous waves of leaves and flowers.
It is the same life that is rocked in the ocean-cradle of birth and of death, in ebb and in
flow.
I feel my limbs are made glorious by the touch of this world of life. And my pride is from
the life-throb of ages dancing in my blood this moment.

The poem “THE same stream of life that runs through my veins night and day” by Rabindranath Tagore reflects on the interconnectedness of life that flows through both the individual and the entire world. The poet uses vivid imagery and rhythmic expressions to convey the essence of life’s continuity and vitality.

The central metaphor of the “stream of life” running through the poet’s veins emphasizes the intimate connection between the poet’s existence and the universal flow of life. This stream is not confined to individual boundaries but transcends to encompass the entire world.

Tagore portrays life as a dynamic force that manifests itself in various forms, using the rhythmic measures of dance to symbolize its pulsating energy. The stream of life is compared to blades of grass, leaves, and flowers, vividly illustrating its diverse expressions in nature. The choice of words such as “joy,” “tumultuous waves,” and “dances” evokes a sense of celebration and vitality.

The poet expands the metaphor to include the larger cycles of life, from birth to death, and the continuous ebb and flow of existence. The reference to the “ocean-cradle” emphasizes the vastness and depth of life’s journey, suggesting a cosmic rhythm that encompasses both creation and dissolution.

The physical experience of feeling one’s limbs “made glorious” by the touch of life underscores the profound impact of this life force on the individual. The poet’s pride is derived from recognizing the timeless and universal nature of life, echoing through the ages and dancing in the poet’s blood at that very moment.

70
IS it beyond thee to be glad with the gladness of this rhythm? To be tossed and lost and
broken in the whirl of this fearful joy?
All things rush on, they stop not, they look not behind, no power can hold them back,
they rush on.
Keeping steps with that restless, rapid music, seasons come dancing and pass away ⎯
colours, tunes, and perfumes pour in endless cascades in the abounding joy that
scatters and gives up and dies every moment.

The poet questions whether the reader is capable of finding joy in the ever-changing rhythm of life. The use of the word “beyond” suggests a potential reluctance or hesitation on the part of the reader to fully engage with the vivacious and unpredictable nature of existence.

The poem vividly describes life’s rhythm as a force that is unstoppable, constantly moving forward without looking back. The imagery of being “tossed and lost and broken” in the whirl of this joyful rhythm conveys the tumultuous and unpredictable nature of life’s experiences.

The poet emphasizes the relentless progression of time and the transient nature of all things. The description of seasons coming and going, accompanied by the imagery of colors, tunes, and perfumes, illustrates the continuous flow of life and its myriad expressions. The cascading abundance of joy is portrayed as a dynamic force that scatters, gives up, and dies in every moment, highlighting the impermanence and constant renewal inherent in life’s rhythm.

Overall, the poem encourages the reader to embrace and celebrate the vibrant and ever-changing rhythm of life, acknowledging that it unfolds with relentless energy and offers a richness of experiences, colors, and sensations. It prompts contemplation on the beauty found in the present moment and the fleeting nature of joy, urging a willingness to participate fully in life’s rhythmic dance.

71
THAT I should make much of myself and turn it on all sides, thus casting coloured
shadows on thy radiance ⎯ such is thy maya.
Thou settest a barrier in thine own being and then callest thy severed self in myriad
notes. This thy self-separation has taken body in me.
The poignant song is echoed through all the sky in many-coloured tears and smiles,
alarms and hopes; waves rise up and sink again, dreams break and form. In me is thy
own defeat of self.
This screen that thou hast raised is painted with innumerable figures with the brush of
the night and the day. Behind it thy seat is woven in wondrous mysteries of curves,
casting away all barren lines of straightness.
The great pageant of thee and me has overspread the sky. With the tune of thee and
me all the air is vibrant, and all ages pass with the hiding and seeking of thee and me.

The poet begins by acknowledging the illusion of self-importance, expressing the idea that making much of oneself and casting colored shadows on the radiance of the divine is a manifestation of maya. Maya, in Hindu philosophy, refers to the illusory nature of the material world that conceals the true nature of reality.

The poet suggests that the divine sets a barrier within its own being, creating a separation that results in myriad notes and forms. This self-separation is portrayed as taking body in the poet, indicating a deep connection between the individual and the divine.

The poem describes the poignant song echoing through the sky, filled with tears, smiles, alarms, and hopes. The waves of life rise and sink, dreams break and form, symbolizing the constant ebb and flow of existence. In the poet, the divine experiences its own defeat of self, suggesting a profound merging of individual identity with the universal.

The screen raised by the divine is depicted as painted with innumerable figures, representing the complexities of life and existence. Behind this screen, the divine’s seat is woven with mysterious curves, rejecting the barren lines of straightness. This imagery conveys the richness and intricacies of the divine’s creation.

The great pageant of “thee and me” has overspread the sky, indicating the dynamic relationship between the individual and the divine. The tune of “thee and me” vibrates through the air, transcending all ages and encompassing the hiding and seeking, suggesting a timeless and eternal interplay between the self and the divine.

72
HE it is, the innermost one, who awakens my being with his deep hidden touches.
He it is who puts his enchantment upon these eyes and joyfully plays on the chords of
my heart in varied cadence of pleasure and pain.
He it is who weaves the web of this maya in evanescent hues of gold and silver, blue
and green, and lets peep out through the folds his feet, at whose touch I forget myself.
Days come and ages pass, and it is ever he who moves my heart in many a name, in
many a guise, in many a rapture of joy and of sorrow.

The poet rejects the traditional notion of deliverance through renunciation. Instead, he finds the embrace of freedom in the manifold bonds of delight that life offers. The metaphorical language of being embraced by freedom in a thousand bonds suggests that the poet sees spiritual fulfillment in the richness and diversity of life’s experiences.

The divine is portrayed as continuously offering the poet the fresh and vibrant experiences symbolized by the “wine of various colours and fragrance.” This divine essence fills the poet’s life to the brim, emphasizing abundance and completeness.

The poet envisions a world where the divine presence is celebrated and acknowledged. The reference to lighting a hundred different lamps with the divine flame suggests a universal recognition of the divine in various aspects of life.

The rejection of sensory experiences is also dismissed. The poet vows never to shut the doors of his senses, believing that the delights of sight, hearing, and touch are avenues through which he can experience divine joy. This perspective contrasts with ascetic traditions that emphasize sensory renunciation.

The poem concludes with the transformation of illusions into the “illumination of joy” and desires ripening into “fruits of love.” This imagery signifies a spiritual alchemy where mundane experiences and desires are transmuted into a higher, more profound understanding of love and joy.

73
DELIVERANCE is not for me in renunciation. I feel the embrace of freedom in a
thousand bonds of delight.
Thou ever pourest for me the fresh draught of thy wine of various colours and fragrance,
filling this earthen vessel to the brim.
My world will light its hundred different lamps with thy flame and place them before the
altar of thy temple.
No, I will never shut the doors of my senses. The delights of sight and hearing and
touch will bear thy delight.
Gitanjali: Spiritual Poems of Rabindranath Tagore – An e-book presentation by The Spiritual Bee 52
Yes, all my illusions will burn into illumination of joy, and all my desires ripen into fruits of
love.

Tagore expresses a profound perspective on deliverance and spirituality. He begins by rejecting the idea of renunciation as the path to salvation, emphasizing that true freedom is found in the joyous embrace of life’s myriad experiences. The poet perceives a divine presence in every aspect of life and compares the experience to being offered a continuous stream of fresh, colorful, and fragrant wine from the divine source.

Tagore’s connection with the divine is depicted as a celebration of life’s pleasures and the acknowledgment of the divine in the sensory experiences of sight, hearing, and touch. He envisions a world illuminated by the flame of the divine, with a hundred different lamps symbolizing the diverse expressions of life’s joys. The poet rejects asceticism and embraces the fullness of life, declaring his intention to keep the doors of his senses open to the delights that bear the touch of the divine.

The poem concludes with a powerful affirmation that all illusions will transform into the illumination of joy, and desires will mature into the fruits of love. This transformation is portrayed as a spiritual alchemy where the ordinary experiences of life become infused with divine significance, leading to a heightened sense of awareness and fulfillment.

74
THE day is no more, the shadow is upon the earth. It is time that I go to the stream to fill
my pitcher.
The evening air is eager with the sad music of the water. Ah, it calls me out into the
dusk. In the lonely lane there is no passer by, the wind is up, the ripples are rampant in
the river.
I know not if I shall come back home. I know not whom I shall chance to meet. There at
the fording in the little boat the unknown man plays upon his lute.

As the day comes to an end and shadows fall upon the earth, the speaker feels compelled to go to the stream to fill their pitcher. The transition from day to night is described with a melancholic tone, setting the stage for a reflective and contemplative mood.

The evening air is described as being filled with the “sad music of the water,” creating an atmosphere that calls the speaker to venture out into the dusk. The mention of the wind and the rampant ripples in the river adds to the sense of solitude and the quiet beauty of the natural surroundings.

The speaker contemplates the unknown as they acknowledge the uncertainty of the journey. The mention of not knowing if they will come back home and the uncertainty of whom they might meet contributes to the introspective theme of the poem. The element of unpredictability in the speaker’s journey adds a layer of mystery and adventure.

The poem ends with an image of an unknown man playing a lute in a little boat at the fording. This image reinforces the theme of uncertainty and the unpredictable encounters that life may bring. The lute playing on the river becomes a symbol of the serendipitous and artistic moments that can occur in the course of one’s journey.

75
THY gifts to us mortals fulfil all our needs and yet run back to thee un-diminished.
The river has its everyday work to do and hastens through fields and hamlets; yet its
incessant stream winds towards the washing of thy feet.
The flower sweetens the air with its perfume; yet its last service is to offer itself to thee.
Thy worship does not impoverish the world.
From the words of the poet men take what meanings please them; yet their last meaning
points to thee.

The speaker begins by recognizing that the gifts provided by the divine are abundant and fulfill all the needs of mortals. Despite the continuous flow of these gifts, the speaker notes that they do not diminish; instead, they return to the divine source undiminished. This notion reflects the inexhaustible and generous nature of divine blessings.

The metaphor of the river is employed to illustrate this idea. The river, in its everyday work, traverses fields and hamlets, symbolizing the continuous and purposeful movement of life. However, the ultimate destination of the river is the washing of the divine feet. This image suggests that, in the grand scheme of existence, all earthly activities contribute to a higher, spiritual purpose.

The poem further extends its imagery to the flower, which sweetens the air with its fragrance. Despite this pleasing offering, the flower’s ultimate service is to offer itself to the divine. The act of offering signifies a selfless surrender and a recognition of the divine as the ultimate recipient of all beauty and goodness.

The speaker emphasizes that the worship of the divine does not deplete or impoverish the world. Instead, it enriches and elevates life. The poet’s words may carry various meanings for individuals, but the ultimate significance points toward the divine. This suggests that even in the diversity of interpretations, the underlying essence leads back to a higher spiritual truth.

76
DAY after DAY, O lord of my life, shall I stand before thee face to face? With folded
hands, O lord of all worlds, shall I stand before thee face to face?
Under thy great sky in solitude and silence, with humble heart shall I stand before thee
face to face?
In this laborious world of thine, tumultuous with toil and with struggle, among hurrying
crowds shall I stand before thee face to face?
And when my work shall be done in this world, O King of kings, alone and speechless
shall I stand before thee face to face?

The repeated refrain, “face to face,” underscores the intense desire for a personal and intimate connection with the divine. The speaker contemplates standing before the Lord on a daily basis, emphasizing the consistency and constancy of this devotional act.

The first stanza conveys a sense of reverence and submission, as the speaker envisions standing before the Lord with folded hands. This gesture symbolizes humility and surrender in the presence of the supreme deity, referred to as the “lord of all worlds.”

The second stanza shifts the scene to the vast sky, portraying a connection with the divine in solitude and silence. The speaker emphasizes a humble heart, suggesting an inner disposition of reverence and awe when standing before the Lord in the serenity of nature.

In the third stanza, the speaker acknowledges the challenges of the earthly realm, describing it as “laborious” and “tumultuous with toil and struggle.” Despite the chaotic and hurried nature of the world, the speaker envisions standing face to face with the Lord amidst the crowds, highlighting a desire for divine connection amid life’s challenges.

The final stanza reflects on the completion of one’s worldly tasks. The speaker envisions standing “alone and speechless” before the “King of kings” after finishing their work. This suggests a moment of profound reflection and spiritual reckoning at the culmination of earthly responsibilities.

77
I KNOW thee as my God and stand apart ⎯ I do not know thee as my own and come
closer. I know thee as my father and bow before thy feet ⎯ I do not grasp thy hand as
my friend’s.
I stand not where thou comest down and ownest thyself as mine, there to clasp thee to
my heart and take thee as my comrade.
Thou art the Brother amongst my brothers, but I heed them not, I divide not my earnings
with them, thus sharing my all with thee.
In pleasure and in pain I stand not by the side of men, and thus stand by thee. I shrink
to give up my life, and thus do not plunge into the great waters of life.

The opening lines express a sense of reverence and distance. The speaker acknowledges God as their deity, standing apart and bowing before His feet. The tone is one of humility and acknowledgment of a higher power.

The subsequent lines introduce different roles of God – as a father and as a brother. The speaker expresses a willingness to bow before God as a father, a figure of authority and guidance. However, when God takes on the role of a brother, the speaker seems to maintain a certain detachment, not sharing their earnings or treating God as a companion in the worldly sense.

The poem suggests a deliberate choice on the part of the speaker to stand apart from God in certain situations. The speaker acknowledges God’s presence but refrains from getting too close, especially in the mundane aspects of life.

The last lines convey a sense of hesitation and reluctance to fully engage with the profound and challenging aspects of life, symbolized by the “great waters of life.” The speaker seems to shrink from the idea of giving up their life completely, highlighting a tension between the desire for spiritual connection and the fear or hesitation to fully embrace the divine and life’s challenges.

78
WHEN the creation was new and all the stars shone in their first splendour, the gods
held their assembly in the sky and sang “Oh, the picture of perfection! The joy
unalloyed!”
But one cried of a sudden ⎯ “It seems that somewhere there is a break in the chain of
light and one of the stars has been lost.”
The golden string of their harp snapped, their song stopped, and they cried in dismay ⎯
“Yes, that lost star was the best, she was the glory of all heavens!”
From that day the search is unceasing for her, and the cry goes on from one to the other
that in her the world has lost its one joy!
Only in the deepest silence of night the stars smile and whisper among themselves ⎯
“Vain is this seeking! Unbroken perfection is over all!”

In the beginning, during the newness of creation, the gods gathered in the sky to appreciate the splendor of the stars. There is an atmosphere of joy and perfection as the gods sing in praise of the celestial display.

However, the perfection is abruptly interrupted when one god notices a missing star, suggesting a break in the chain of light. This incident disrupts the divine assembly, causing the gods to cease their song and express dismay at the loss.

The missing star is described as the best, the glory of all heavens, and her absence creates a void that affects the entire celestial composition. The gods initiate an unceasing search for her, and the cry goes on among them, mourning the loss of the star that was the world’s ultimate joy.

Despite the ongoing search and lament, the stars themselves, in the deepest silence of the night, share a different perspective. They smile and whisper to each other, conveying a sense of reassurance. The message is that the seeking is in vain because unbroken perfection already encompasses everything.

The poem, through its mythological imagery, reflects on the eternal search for perfection and the idea that, despite disruptions and losses, an inherent and unbroken perfection prevails in the grand tapestry of the universe. It suggests a profound wisdom in accepting the natural order of things and finding solace in the silent assurance of unblemished perfection.

79
IF it is not my portion to meet thee in this my life then let me ever feel that I have missed
thy sight ⎯ let me not forget for a moment, let me carry the pangs of this sorrow in my
dreams and in my wakeful hours.
As my days pass in the crowded market of this world and my hands grow full with the
daily profits, let me ever feel that I have gained nothing ⎯ let me not forget for a
moment, let me carry the pangs of this sorrow in my dreams and in my wakeful hours.
When I sit by the roadside, tired and panting, when I spread my bed low in the dust, let
me ever feel that the long journey is still before me ⎯ let me not forget for a moment, let
me carry the pangs of this sorrow in my dreams and in my wakeful hours.
When my rooms have been decked out and the flutes sound and the laughter there is
loud, let me ever feel that I have not invited thee to my house ⎯ let me not forget for a
moment, let me carry the pangs of this sorrow in my dreams and in my wakeful hours.

This poem reflects a deep yearning and sorrowful longing for a divine presence. The speaker expresses a desire to feel the pain of missing the beloved, even if they do not get the opportunity to meet in this lifetime.

The verses depict different scenarios in life—busy days in the marketplace, moments of weariness by the roadside, and joyous occasions with laughter and music. In each situation, the speaker wishes to carry the awareness of not having met the beloved, feeling the pangs of sorrow in both dreams and wakeful hours.

The portrayal of a crowded market symbolizes the bustling and materialistic nature of everyday life. The speaker, despite engaging in worldly pursuits and gaining daily profits, wants to retain the awareness of missing the beloved.

Similarly, when fatigued and resting by the roadside, the speaker wishes to feel the journey is still ahead, emphasizing a continuous yearning for the divine presence.

Even during moments of celebration when rooms are decked out, flutes play, and laughter resounds, the speaker wants to maintain the awareness of not having invited the beloved to the house.

The poem captures the theme of spiritual yearning, emphasizing the importance of carrying the consciousness of divine absence amidst the various experiences of life. It reflects a persistent ache for a connection with the divine that transcends the worldly engagements and joys.

80
I AM like a remnant of a cloud of autumn uselessly roaming in the sky, O my sun everglorious! Thy touch has not yet melted my vapour, making me one with thy light, and
thus I count months and years separated from thee.
If this be thy wish and if this be thy play, then take this fleeting emptiness of mine, paint it
with colours, gild it with gold, float it on the wanton wind and spread it in varied wonders.
And again when it shall be thy wish to end this play at night, I shall melt and vanish away
in the dark, or it may be in a smile of the white morning, in a coolness of purity
transparent.

This poem conveys the speaker’s sense of separation and longing for unity with the divine, represented metaphorically by the sun. The speaker likens themselves to a remnant of a cloud in the autumn sky, wandering without purpose. Despite being in the presence of the ever-glorious sun, the speaker feels untouched, emphasizing the distance between them and the divine light.

The imagery of the cloud, untouched by the sun’s melting touch, symbolizes the lingering separation and the passage of time measured in months and years spent without unity with the divine.

The speaker expresses a willingness to be transformed and molded according to the divine will. They describe their emptiness as fleeting, suggesting a transient state that can be filled with divine colors and adorned with gold, subject to the whims of the divine play.

The poem ends with a surrender to the divine will. The speaker acknowledges that when the divine decides to end the play, they will melt away, either in the darkness of night or the purity of the morning. This final surrender reflects a deep acceptance of the divine plan and a willingness to merge into the divine essence.

81
ON many an idle day have I grieved over lost time. But it is never lost, my lord. Thou
hast taken every moment of my life in thine own hands.
Hidden in the heart of things thou art nourishing seeds into sprouts, buds into blossoms,
and ripening flowers into fruitfulness.
I was tired and sleeping on my idle bed and imagined all work had ceased. In the
morning I woke up and found my garden full with wonders of flowers.

In this poem, the speaker reflects on the concept of time and its relationship with divine providence. The speaker confesses to having grieved over what they perceived as lost time on many idle days. However, they quickly realize and affirm that no moment is truly lost, as every instant of their life is in the hands of the divine.

The speaker metaphorically describes how the divine is actively engaged in the unfolding of life. The divine is portrayed as hidden in the heart of things, nurturing the growth and transformation of seeds into sprouts, buds into blossoms, and flowers into fruitfulness. This imagery symbolizes the continuous cycle of life, growth, and fruition, suggesting that every moment is purposeful and part of a larger, divine plan.

The personal experience of the speaker is then recounted. In a state of weariness, they had been sleeping on an idle bed, feeling as though all work had come to a halt. However, upon awakening in the morning, they discover their garden filled with the wonders of blooming flowers. This serves as a metaphor for the unseen and continuous divine work, even in moments when one might perceive idleness or inactivity.

82
TIME is endless in thy hands, my lord. There is none to count thy minutes.
Days and nights pass and ages bloom and fade like flowers. Thou knowest how to wait.
Thy centuries follow each other perfecting a small wild flower.
We have no time to lose, and having no time we must scramble for our chances. We
are too poor to be late.
And thus it is that time goes by while I give it to every querulous1
man who claims it, and
thine altar is empty of all offerings to the last.
At the end of the day I hasten in fear lest thy gate be shut; but I find that yet there is
time.

In this poem, the speaker reflects on the nature of time and its endlessness in the divine realm. The poem begins with the assertion that time is boundless in the hands of the lord, and there is no one to measure or count the divine minutes. The passage of days, nights, and ages is compared to the blooming and fading of flowers, emphasizing the natural and cyclical progression of time.

The lord is characterized as one who knows how to wait patiently. The divine centuries unfold, perfecting even the smallest and seemingly insignificant aspects of creation, symbolized by a “small wild flower.” This imagery suggests that the divine operates on a timescale that is beyond human comprehension, and every moment is purposefully and patiently crafted.

Contrasting with the divine perspective on time, the speaker acknowledges the human experience of time scarcity. They express a sense of urgency, stating that “We have no time to lose” and that, being economically impoverished in terms of time, humans must seize their chances promptly. The speaker describes the human condition of constantly scrambling for opportunities due to the limited nature of time.

Despite the human rush, the speaker acknowledges that the divine altar remains empty of offerings until the last. This may imply that in the grander scheme of things, the divine is not hurried or pressured by time constraints. The poem concludes with the speaker expressing fear of finding the divine gate shut at the end of the day, only to discover that there is still time, suggesting a reassurance that the divine presence is accessible and forgiving.

83
MOTHER, I shall weave a chain of pearls for thy neck with my tears of sorrow.
The stars have wrought their anklets of light to deck thy feet, but mine will hang upon thy
breast.
Wealth and fame come from thee and it is for thee to give or to withhold them. But this
my sorrow is absolutely mine own, and when I bring it to thee as my offering thou
rewardest me with thy grace.

In this poignant poem, the speaker addresses their mother, expressing the intention to weave a chain of pearls for her neck using the tears of sorrow. The act of weaving a chain of pearls signifies an offering of beauty and adornment to the mother figure. However, the unique aspect here is that these pearls are formed from the tears shed in times of sorrow, suggesting a deep emotional and personal connection between the speaker and their mother.

The speaker acknowledges that the stars themselves have created anklets of light to adorn the mother’s feet, emphasizing the celestial beauty offered by the universe. Despite this, the speaker’s gift is intended to be more intimate and heartfelt, as the pearls are to hang upon the mother’s breast, symbolizing a direct and emotional connection.

The poem reflects on the nature of offerings and gifts. While wealth and fame are considered gifts that come from the mother, the speaker distinguishes their sorrow as something exclusively their own. This sorrow is presented as a personal offering to the mother, and the speaker finds solace in the grace bestowed upon them by the mother in response to this unique and genuine gift.

84
IT is the pang of separation that spreads throughout the world and gives birth to shapes
innumerable in the infinite sky.
It is this sorrow of separation that gazes in silence all night from star to star and
becomes lyric among rustling leaves in rainy darkness of July.
It is this overspreading pain that deepens into loves and desires, into sufferings and joys
in human homes; and this it is that ever melts and flows in songs through my poet’s
heart.

In this poignant poem, Tagore explores the profound theme of separation and its far-reaching impact on the world. The verse suggests that the pain of separation is not confined to individual experiences but permeates the entire world, giving rise to countless shapes in the vast expanse of the infinite sky.

The sorrow of separation is personified as a silent observer that gazes from star to star throughout the night. This sorrow becomes a source of inspiration, turning into lyrical expressions that are heard among the rustling leaves during the rainy darkness of July. The poet beautifully captures the universal nature of this emotion, portraying it as a force that transcends personal boundaries and connects with the cosmic elements.

The overspreading pain of separation, as described in the poem, goes beyond mere personal grief. It is depicted as a force that deepens into various human emotions, including loves and desires, as well as sufferings and joys within the realm of human homes. This pervasive pain is presented as a dynamic and transformative element that continuously flows as songs through the heart of the poet.

85
WHEN the warriors came out first from their master’s hall, where had they hid their
power? Where were their armour and their arms?
They looked poor and helpless, and the arrows were showered upon them on the day
they came out from their master’s hall.
When the warriors marched back again to their master’s hall where did they hide their
power?
They had dropped the sword and dropped the bow and the arrow; peace was on their
foreheads, and they had left the fruits of their life behind them on the day they marched
back again to their master’s hall.

Tagore’s poem reflects on the enigmatic nature of power and the transformations experienced by warriors as they move between their master’s hall and the outside world. The poem begins by questioning the concealment of the warriors’ power and weaponry when they first emerge from their master’s hall. Despite appearing poor and defenseless, the warriors become the targets of arrows on that day.

The poem explores the paradox of power, suggesting that the true strength of the warriors might be hidden or manifested in unexpected ways. As the warriors return to their master’s hall, the poem raises the question of where they hide their power. The answer lies in the abandonment of their sword and bow, symbolizing a choice for peace. The warriors, now with a demeanor of tranquility, leave behind the fruits of their life as they reenter the master’s hall.

In essence, the poem contemplates the dual nature of power – its concealment and its subsequent manifestation in acts of peace. The warriors’ journey becomes a metaphor for the complexities of strength, vulnerability, and the pursuit of a harmonious existence. The shedding of arms and the embrace of peace represent a transformation that transcends the conventional notions of power associated with conflict.

86
DEATH, thy servant, is at my door. He has crossed the unknown sea and brought thy
call to my home.
The night is dark and my heart is fearful yet I will take up the lamp, open my gates and
bow to him my welcome. It is thy messenger who stands at my door.
I will worship him with folded hands, and with tears. I will worship him placing at his feet
the treasure of my heart.
He will go back with his errand done, leaving a dark shadow on my morning; and in my
desolate home only my forlorn self will remain as my last offering to thee.

In this poignant poem, the speaker personifies death as a servant who has arrived at the door. Death is portrayed as a messenger, having crossed the “unknown sea” to deliver its inevitable summons to the speaker’s home.

Despite the darkness of the night and the fear in the speaker’s heart, there is a courageous acceptance of death. The speaker resolves to take up the lamp, open the gates, and welcome death with reverence. The act of bowing to death is a symbolic gesture of acknowledging its inevitability.

The speaker expresses a willingness to worship death with folded hands and tears, offering the very treasure of their heart. This act of worship is a profound acceptance of the natural cycle of life and death.

The poem suggests that, after completing its mission, death will leave a lasting impact, casting a “dark shadow” on the speaker’s morning. The final image is one of desolation, with only the speaker’s forlorn self remaining as the ultimate offering to a higher power, perhaps addressing the divine or the cosmic forces that govern life and death. The poem evokes deep emotions and reflections on mortality and the acceptance of life’s inevitable conclusion.

87
IN desperate hope I go and search for her in all the corners of my room; I find her not.
My house is small and what once has gone from it can never be regained. But infinite is
thy mansion, my lord, and seeking her I have come to thy door. I stand under the golden
canopy of thine evening sky and I lift my eager eyes to thy face.
I have come to the brink of eternity from which nothing can vanish ⎯ no hope, no
happiness, no vision of a face seen through tears.
Oh, dip my emptied life into that ocean, plunge it into the deepest fullness.
Let me for once feel that lost sweet touch in the allness of the universe.

This poem reflects the speaker’s intense and desperate search for someone, presumably a beloved or a divine presence. The speaker begins by expressing the futile nature of their search within the confines of their small room. The inability to find what has been lost is emphasized with the statement that once something has left the small space of the house, it cannot be regained.

In contrast to the limitations of the speaker’s house, the poem introduces the idea of the infinite mansion of the lord. This lord is addressed with reverence, and the speaker seeks the elusive figure in the vastness of this divine space. The act of standing under the “golden canopy” of the evening sky and lifting eager eyes to the lord’s face suggests a spiritual or metaphysical quest.

The speaker, having come to the “brink of eternity,” expresses a desire for an encounter that transcends the boundaries of time and space. The reference to the “ocean” and the plea to dip the emptied life into that ocean signify a longing for a profound and transformative experience. The speaker wishes to feel a “lost sweet touch” within the vastness of the universe, seeking a connection that goes beyond the limitations of the material world. The poem evokes themes of spiritual longing, the infinite nature of divine presence, and the quest for a meaningful connection that transcends the finite aspects of human existence.

88
DEITY of the ruined temple! The broken strings of Vina sing no more your praise. The
bells in the evening proclaim not your time of worship. The air is still and silent about
you.
In your desolate dwelling comes the vagrant spring breeze. It brings the tidings of
flowers ⎯ the flowers that for your worship are offered no more.
Your worshipper of old wanders ever longing for favour still refused. In the eventide,
when fires and shadows mingle with the gloom of dust, he wearily comes back to the
ruined temple with hunger in his heart.
Many a festival day comes to you in silence, deity of the ruined temple. Many a night of
worship goes away with lamp unlit.
Many new images are built by masters of cunning art and carried to the holy stream of
oblivion when their time is come.
Only the deity of the ruined temple remains unworshipped in deathless neglect.

This poem depicts a sense of abandonment and neglect directed towards a deity associated with a ruined temple. The speaker laments the deity’s current state, emphasizing the lack of praise and worship that once surrounded it.

The broken strings of the Vina, a traditional Indian musical instrument, are used as a metaphor to convey that the deity’s praises are no longer sung. The bells that used to announce the time of worship remain silent, creating an atmosphere of stillness and neglect.

The temple is described as ruined, with the air being still and silent around it. The deity’s dwelling is characterized as desolate, and the worship that once took place there has ceased. The arrival of the spring breeze, which typically brings tidings of flowers for worship, is now presented as a melancholic reminder of offerings that are no longer made.

The worshipper, who once sought favor from the deity, now wanders with a heart full of hunger, suggesting a spiritual emptiness or a longing for a connection that remains unfulfilled. The festival days, usually vibrant with celebrations, are now described as silent and marked by the absence of lit lamps.

The poem reflects on the transient nature of worship and the changing dynamics between the worshippers and the deity. The deity, once revered, now stands in neglect and is contrasted with the transient nature of new images that are crafted and eventually discarded. Despite the neglect, the deity of the ruined temple remains untouched by the passing of time and continues to exist in a state of deathless neglect.

89
NO more noisy, loud words from me ⎯ such is my master’s will. Henceforth I deal in
whispers. The speech of my heart will be carried on in murmurings of a song.
Men hasten to the King’s market. All the buyers and sellers are there. But I have my
untimely leave in the middle of the day, in the thick of work.
Let then the flowers come out in my garden, though it is not their time and let the midday
bees strike up their lazy hum.
Full many an hour have I spent in the strife of the good and the evil, but now it is the
pleasure of my playmate of the empty days to draw my heart on to him; and I know not
why is this sudden call to what useless inconsequence

This poem expresses a shift in the speaker’s communication style and a departure from noisy and loud words to a more subdued and subtle form of expression. The change is attributed to the will of the speaker’s master, suggesting a higher authority or a spiritual guide.

The speaker states that henceforth, they will deal in whispers, and the speech of their heart will be conveyed through the murmurings of a song. This implies a move towards a quieter, more introspective mode of communication, perhaps emphasizing a deeper, more internalized connection with their emotions and thoughts.

While others are busy in the King’s market, engaged in buying and selling, the speaker takes an untimely leave in the middle of the day, in the thick of work. This departure suggests a deviation from the conventional path, choosing a different course aligned with the speaker’s personal inclinations.

The speaker welcomes the flowers to come out in their garden, even if it’s not their usual time, and invites the midday bees to hum lazily. These natural elements contribute to a tranquil atmosphere, further emphasizing the departure from the bustling market and the adoption of a more serene environment.

The speaker reflects on the hours spent in the struggle between good and evil but acknowledges a new calling. The playmate of the empty days, a mysterious figure or force, draws the speaker’s heart toward him. The speaker expresses a sense of wonder or confusion about this sudden call and refers to it as a “useless inconsequence,” suggesting a departure from conventional concerns or priorities.

90
ON the day when death will knock at thy door what wilt thou offer to him?
Oh, I will set before my guest the full vessel of my life ⎯ I will never let him go with
empty hands.
All the sweet vintage of all my autumn days and summer nights, all the earnings and
gleanings of my busy life will I place before him at the close of my days when death will
knock at my door.

In this poem, the speaker contemplates the inevitable arrival of death and reflects on what they will offer when it comes to their door. The tone is contemplative, and the speaker seems prepared to face the end with a sense of purpose.

The speaker states that on the day when death arrives, they will set before their guest the full vessel of their life. This metaphorical vessel represents the entirety of the speaker’s existence, encompassing all the experiences, memories, and contributions they have accumulated throughout their lifetime.

The speaker expresses a determination not to let death depart with empty hands. Instead, they plan to offer all the sweet vintage of their autumn days and summer nights. This imagery suggests a rich and diverse collection of life experiences, symbolized by the seasons of autumn and summer.

The phrase “earnings and gleanings of my busy life” reinforces the idea that the speaker’s life has been full and productive. Everything they have gained, both through deliberate efforts (“earnings”) and incidental acquisitions (“gleanings”), will be presented to death as a form of offering.

The overall sentiment is one of embracing mortality and offering the totality of one’s life as a gift to death. It reflects a perspective that sees death not merely as an end but as an opportunity to share the richness of one’s existence with the inevitable visitor.

91
O THOU the last fulfilment of life, Death, my death, come and whisper to me!
Day after day have I kept watch for thee; for thee have I borne the joys and pangs of life.
All that I am, that I have, that I hope and all my love have ever flowed towards thee in
depth of secrecy. One final glance from thine eyes and my life will be ever thine own.
The flowers have been woven and the garland is ready for the bridegroom. After the
wedding the bride shall leave her home and meet her lord alone in the solitude of night.

In this poem, the speaker addresses death as the ultimate fulfillment of life, referring to it as “the last fulfilment of life.” The tone is contemplative, and the speaker eagerly awaits the arrival of death.

The speaker personifies death, addressing it as “Death, my death,” and invites it to come and whisper to them. There is a sense of anticipation and readiness for the inevitable end. The speaker has been keeping watch day after day, bearing both the joys and pains of life in anticipation of this moment.

The declaration that “All that I am, that I have, that I hope and all my love have ever flowed towards thee in depth of secrecy” suggests a deep acceptance of the inevitability of death. The speaker has, in a sense, dedicated their entire being and existence to this ultimate reality.

The final glance from death’s eyes is seen as a transformative moment, after which the speaker’s life will be eternally linked to death. The imagery of a wedding is employed to depict this union. The flowers have been woven, and the garland is ready, symbolizing the preparation for the union between the speaker and death. The mention of the bride leaving her home and meeting her lord alone in the solitude of the night reinforces the idea of a profound and solitary encounter with death.

Overall, the poem explores the complex emotions and acceptance associated with mortality, portraying death not as an adversary but as the culmination and fulfillment of life.

92
I KNOW that the day will come when my sight of this earth shall be lost, and life will take
its leave in silence, drawing the last curtain over my eyes.
Yet stars will watch at night, and morning rise as before, and hours heave like sea
waves casting up pleasures and pains.
When I think of this end of my moments, the barrier of the moments breaks and I see by
the light of death thy world with its careless treasures. Rare is its lowliest seat, rare is its
meanest of lives.
Things that I longed for in vain and things that I got ⎯ let them pass. Let me but truly
possess the things that I ever spurned and overlooked.

The speaker acknowledges the certainty that there will come a day when they will lose sight of the Earth, and life will quietly draw its curtain over their eyes. This portrayal of death is serene and calm, devoid of fear or resistance.

Despite this approaching end, the poem emphasizes the continuity of the natural world. Stars will still watch at night, mornings will continue to rise, and the passage of time will persist with its ebb and flow of pleasures and pains. This suggests a cyclical and eternal nature to life, beyond the individual’s existence.

The speaker then experiences a shift in perspective when contemplating the end of their moments. The barrier of time seems to dissolve, allowing the speaker to see the world illuminated by the light of death. In this altered perception, the world is recognized for its treasures, even in its seemingly insignificant aspects. The use of the word “careless” suggests a nonchalant, yet valuable, quality to the world’s treasures.

The poem concludes with a realization and a desire for a deeper understanding. The speaker expresses a willingness to let go of the things they longed for in vain and the things they acquired. Instead, there is a yearning to truly possess the things that were previously spurned and overlooked. This shift in perspective signifies a profound acceptance of life’s inherent richness, even in its seemingly ordinary and unnoticed elements.

93
I HAVE got my leave. Bid me farewell, my brothers! I bow to you all and take my
departure.
Here I give back the keys of my door ⎯ and I give up all claims to my house. I only ask
for last kind words from you.
We were neighbours for long, but I received more than I could give. Now the day has
dawned and the lamp that lit my dark corner is out. A summons has come and I am
ready for my journey.

In this poem, the speaker announces their departure, bidding farewell to their brothers. There is a sense of finality and acceptance as the speaker relinquishes their connection to their home and seeks kind words from those they leave behind.

The act of giving back the keys of the door and renouncing all claims to the house symbolizes a complete departure. It signifies the speaker’s readiness to move on from their physical dwelling and the life associated with it.

The speaker acknowledges the long period of being neighbors, emphasizing the reciprocity in their relationships. However, the speaker feels that they have received more than they could give, possibly suggesting a sense of indebtedness or gratitude for the experiences and relationships they had.

The metaphor of the lamp being out indicates that a guiding light in the speaker’s life, which brightened their dark corner, has now ceased to shine. The mention of a summons suggests a higher calling or a fate that the speaker is ready to embrace.

As the speaker expresses their preparedness for the journey, there’s an air of resignation and acceptance of the natural course of life. The poem captures the bittersweet moment of leave-taking, where the speaker moves forward with a sense of closure and readiness for what lies ahead.

94
AT this time of my parting, wish me good luck, my friends! The sky is flushed with the
dawn and my path lies beautiful.
Ask not what I have with me to take there. I start on my journey with empty hands and
expectant heart.
I shall put on my wedding garland. Mine is not the red-brown dress of the traveller, and
though there are dangers on the way I have no fear in my mind.
The evening star will come out when my voyage is done and the plaintive notes of the
twilight melodies be struck up from the King’s gateway.

In this poem, the speaker addresses their friends at the time of their departure, asking for good luck. The setting is described as the dawn, and the speaker expresses optimism about the beautiful path that lies ahead.

The speaker emphasizes that, at this moment of parting, it is not important to inquire about what possessions they are taking along. They are embarking on the journey with empty hands, symbolizing a sense of detachment and openness to whatever awaits them.

The reference to putting on a wedding garland suggests a ceremonial aspect to the departure, perhaps indicating a significant transition or transformation in the speaker’s life. The speaker’s attire is contrasted with that of a typical traveler, and despite acknowledging potential dangers on the journey, there is a lack of fear in their mind.

The poem concludes with a hopeful image of the evening star appearing after the voyage is completed. The mention of twilight melodies being struck up from the King’s gateway adds a poetic and musical touch, suggesting a harmonious and celebratory end to the speaker’s journey.

95
I WAS not aware of the moment when I first crossed the threshold of this life.
What was the power that made me open out into this vast mystery like a bud in the
forest at midnight!
When in the morning I looked upon the light I felt in a moment that I was no stranger in
this world, that the inscrutable without name and form had taken me in its arms in the
form of my own mother.
Even so, in death the same unknown will appear as ever known to me. And because I
love this life, I know I shall love death as well.
The child cries out when from the right breast the mother takes it away, in the very next
moment to find in the left one its consolation.

In this poem, the speaker reflects on the mystery of life and the transitions from birth to death. The opening lines express the speaker’s lack of awareness of the moment when they first entered life, describing it as crossing the threshold. The comparison to a bud opening in the forest at midnight emphasizes the mysterious and profound nature of this event.

As the speaker looked upon the light in the morning, there was a realization that they were not a stranger in this world. The reference to the inscrutable without name and form taking the speaker in its arms in the form of their mother suggests a deep connection between the speaker and the unknown, transcending the physical form.

The speaker anticipates that in death, the same unknown will appear, remaining known to them. The acceptance and love for life extend to an expectation of loving death as well. This acceptance is illustrated with a poignant metaphor: the child cries when taken from the right breast, but finds consolation in the left one in the very next moment. This metaphor symbolizes the cyclical and interconnected nature of life and death, emphasizing the speaker’s acceptance and love for both.

96
WHEN I go from hence let this be my parting word, that what I have seen is
unsurpassable.
I have tasted of the hidden honey of this lotus that expands on the ocean of light, and
thus am I blessed ⎯ let this be my parting word.
In this playhouse of infinite forms I have had my play and here have I caught sight of him
that is formless.
My whole body and my limbs have thrilled with his touch who is beyond touch; and if the
end comes here, let it come ⎯ let this be my parting word.

The speaker, contemplating their departure, declares that their parting word is the acknowledgment that what they have seen is unsurpassable. This suggests a deep appreciation for the richness of their experiences and the beauty they have encountered.

The metaphor of tasting the hidden honey of a lotus that expands on the ocean of light symbolizes the profound and delightful experiences the speaker has had. The imagery of the lotus and the ocean of light conveys a sense of spiritual awakening and enlightenment.

In the playhouse of infinite forms, the speaker has had their play, indicating a journey through various experiences and manifestations. The mention of catching sight of the formless suggests an encounter with a transcendent, spiritual reality beyond the visible and tangible.

The speaker describes a profound connection with the formless, expressing that their entire being has thrilled with the touch of the divine, which is beyond physical touch. The speaker is content, stating that if the end comes here, they are ready for it. This poem encapsulates a sense of spiritual fulfillment and a readiness for whatever may come next.

97
WHEN my play was with thee I never questioned who thou wert. I knew nor shyness nor
fear, my life was boisterous.
In the early morning thou wouldst call me from my sleep like my own comrade and lead
me running from glade to glade.
On those days I never cared to know the meaning of songs thou sangest to me. Only
my voice took up the tunes, and my heart danced in their cadence.
Now, when the playtime is over, what is this sudden sight that is come upon me? The
world with eyes bent upon thy feet stands in awe with all its silent stars.

In this poem, the speaker reflects on a past time when they were intimately connected with a divine presence, experiencing a carefree and joyous existence.

During the period when the speaker’s “play was with thee,” they describe a relationship with a divine being. In this state, the speaker had no need to question the identity of this divine presence. There was a sense of familiarity and closeness, where shyness and fear were absent from the speaker’s life, and it was characterized by boisterousness.

The speaker vividly recalls the mornings when the divine presence would call them from sleep, acting as a companion, leading them from one delightful place to another. During this playful period, the speaker didn’t concern themselves with understanding the deeper meaning of the songs sung by the divine being. Instead, their voice naturally joined the tunes, and their heart danced to the music’s rhythm.

Now, with the “playtime” over, the speaker experiences a sudden realization or vision. The world, represented by “all its silent stars,” is in awe, with its eyes focused on the divine presence’s feet. This shift suggests a transition from a carefree and playful interaction with the divine to a more reverent and awe-inspiring perception. The poem captures the transformative nature of the speaker’s relationship with the divine, evolving from a playful connection to a profound sense of reverence.

98
I WILL deck thee with trophies, garlands of my defeat. It is never in my power to escape
unconquered.
I surely know my pride will go to the wall, my life will burst its bonds in exceeding pain,
and my empty heart will sob out in music like a hollow reed, and the stone will melt in
tears.
I surely know the hundred petals of a lotus will not remain closed for ever and the secret
recess of its honey will be bared.
From the blue sky an eye shall gaze upon me and summon me in silence. Nothing will
be left for me, nothing whatever, and utter death shall I receive at thy feet.

In this poem, the speaker expresses a profound acceptance of defeat and a willingness to embrace vulnerability and surrender to a higher power or force.

The speaker metaphorically addresses this higher power, stating that they will “deck thee with trophies, garlands of my defeat.” This imagery suggests an offering of the speaker’s failures and vulnerabilities as a form of adornment. There’s a recognition that escape from challenges and defeats is beyond the speaker’s control.

The speaker anticipates that their pride will be humbled, and life will bring intense pain, leading to a cathartic expression of sorrow akin to music from a hollow reed. The metaphor of a stone melting in tears conveys a sense of transformation and emotional release.

The reference to the lotus, a symbol of purity and enlightenment, adds another layer to the poem. The speaker acknowledges that the closed petals of the lotus (representing hidden aspects) will eventually open, revealing the secret honey within. This could symbolize a revelation or awakening.

The poem concludes with a powerful image of an eye from the blue sky gazing upon the speaker and silently summoning them. The speaker envisions a complete surrender, where nothing will be left, and they will receive “utter death” at the feet of this higher power. This portrayal reflects a profound spiritual or existential submission to a force greater than oneself.

99
WHEN I give up the helm I know that the time has come for thee to take it. What there is
to do will be instantly done. Vain is this struggle.
Then take away your hands and silently put up with your defeat, my heart, and think it
your good fortune to sit perfectly still where you are placed.
These my lamps are blown out at every little puff of wind, and trying to light them I forget
all else again and again.
But I shall be wise this time and wait in the dark, spreading my mat on the floor; and
whenever it is thy pleasure, my lord, come silently and take thy seat here.

The speaker addresses someone, possibly a divine or transcendent presence, stating that when they “give up the helm,” it signifies that the time has come for this higher power to assume control. The notion that what needs to be done will be instantly accomplished implies a trust in the inevitability and precision of cosmic order.

The speaker advises their heart to accept defeat gracefully, encouraging it to find good fortune in sitting still in its current place. This may symbolize an acknowledgment of the futility of certain struggles and the wisdom in embracing stillness and acceptance.

The imagery of lamps being blown out by every little puff of wind serves as a metaphor for life’s challenges and distractions that can easily extinguish one’s inner light. The speaker recognizes the tendency to forget important things when engrossed in relighting these metaphorical lamps.

In the resolution, the speaker expresses a newfound wisdom. Instead of futilely trying to relight the lamps in the dark, they choose to wait in stillness, spreading a mat on the floor. The invitation for the higher power to come silently and take its seat suggests a willingness to allow divine intervention or guidance without resistance. The mat on the floor could symbolize a humble and receptive posture.

100
I DIVE down into the depth of the ocean of forms, hoping to gain the perfect pearl of the
formless.
No more sailing from harbour to harbour with this my weather-beaten boat. The days
are long passed when my sport was to be tossed on waves.
And now I am eager to die into the deathless.
Into the audience hall by the fathomless abyss where swells up the music of toneless
strings I shall take this harp of my life.
I shall tune it to the notes of for ever, and, when it has sobbed out its last utterance, lay
down my silent harp at the feet of the silent.

The speaker expresses a deep desire to explore the profound depths of existence, symbolized by the ocean of forms. The reference to gaining the “perfect pearl of the formless” suggests a quest for a transcendent truth or ultimate reality beyond the diverse and transient forms of the world.

The metaphor of sailing from harbour to harbour in a weather-beaten boat represents the speaker’s past experiences of navigating through life’s challenges and uncertainties. However, the speaker declares that these days are long past, indicating a shift in focus from worldly pursuits to a more profound spiritual quest.

The desire to “die into the deathless” reflects the speaker’s aspiration for spiritual liberation or union with the eternal. This can be interpreted as a longing to transcend the limitations of the mortal existence and merge with the timeless and formless essence.

The imagery of an “audience hall” and the “fathomless abyss” where the music of toneless strings swells up suggests a spiritual gathering or cosmic concert. The harp of the speaker’s life becomes a symbolic instrument tuned to the notes of eternity. The intention is to play this harp until its last utterance, signifying the completion of the spiritual journey, after which the speaker will lay down the silent harp at the feet of the silent.

101
EVER in my life have I sought thee with my songs. It was they who led me from door to
door, and with them have I felt about me, searching and touching my world.
It was my songs that taught me all the lessons I ever learnt; they showed me secret
paths, they brought before my sight many a star on the horizon of my heart.
They guided me all the day long to the mysteries of the country of pleasure and pain,
and, at last, to what palace gate have they brought me in the evening at the end of my
journey?

In this poem, the speaker reflects on the role of their songs throughout their life, describing how the songs have been guides and teachers leading them on a journey of discovery and exploration.

The speaker personifies their songs, attributing to them the ability to lead and guide. The songs become companions that have accompanied the speaker on a quest, prompting them to move from door to door, symbolizing the exploration of different experiences and aspects of life.

The metaphor of searching and touching the world suggests that the songs have been instrumental in helping the speaker connect with and understand the world around them. The songs have served as a source of illumination, revealing secret paths and bringing forth the beauty represented by stars on the horizon of the speaker’s heart.

The lessons learned from the songs have been valuable, shaping the speaker’s understanding of pleasure and pain. The songs have acted as a constant companion throughout the day, guiding the speaker through the mysteries of life.

The poem concludes with the speaker pondering the destination to which their songs have led them. The mention of a “palace gate” at the end of the journey suggests a culmination or a final destination reached through the guidance of the songs. The evening signifies the end of the day or the end of the speaker’s life journey, and the palace gate symbolizes a place of significance or fulfillment.

102
I BOASTED among men that I had known you. They see your pictures in all works of
mine. They come and ask me, “Who is he?” I know not how to answer them. I say,
“Indeed, I cannot tell.” They blame me and they go away in scorn. And you sit there
smiling.
I put my tales of you into lasting songs. The secret gushes out from my heart. They
come and ask me, “Tell me all your meanings.” I know not how to answer them. I say,
“Ah, who knows what they mean!” They smile and go away in utter scorn. And you sit
there smiling.

In this poem, the speaker reflects on the challenge of conveying the essence of their connection with someone (referred to as “you”) to others. The speaker boasts to people that they have known this person, and the person’s images are present in all the speaker’s works.

However, when others inquire about the identity of the person, the speaker finds it difficult to provide a satisfactory answer. The speaker admits, “Indeed, I cannot tell,” indicating the ineffability or indescribable nature of their connection with this person. The inability to articulate the nature of their relationship leads to the scorn of those who inquire, but the person being spoken about remains unfazed, sitting there and smiling.

Despite the challenges, the speaker attempts to express their connection through lasting songs. The speaker puts their tales of this person into songs, and the secret of their connection gushes out from the speaker’s heart. Yet, when others ask for the meanings behind the songs, the speaker again finds it challenging to explain. The speaker responds with, “Ah, who knows what they mean!” The people, in turn, smile and leave in scorn, while the person being spoken about continues to smile.

The poem explores themes of ineffability, the limitations of language in expressing deep connections, and the enigmatic nature of relationships that can be sensed or felt but are difficult to put into words. The person’s continual smile suggests a serene acceptance of the mysterious and unspoken aspects of their connection with the speaker.

103
IN one salutation to thee, my God, let all my senses spread out and touch this world at
thy feet.
Like a rain-cloud of July hung low with its burden of unshed showers let all my mind
bend down at thy door in one salutation to thee.
Let all my songs gather together their diverse strains into a single current and flow to a
sea of silence in one salutation to thee.
Like a flock of homesick cranes flying night and day back to their mountain nests let all
my life take its voyage to its eternal home in one salutation to thee.

The opening lines of the poem express the speaker’s profound desire for a comprehensive connection with God. In a symbolic act of salutation, the speaker wishes for all their senses to spread out and touch the world at God’s feet, signifying a holistic engagement with the divine.

The metaphor of a rain-cloud in July, weighed down with unshed showers, is introduced to illustrate the speaker’s readiness to pour forth their thoughts and emotions in an act of salutation. The mind bending down at God’s door symbolizes humility and submission, emphasizing the reverential nature of the speaker’s approach.

Moving forward, the poem conveys the convergence of the speaker’s artistic expressions, represented by songs, into a single current. The aim is to offer this unified creative expression to God, visualized as a “sea of silence.” This image suggests a serene and transcendent destination for the diverse strains of artistic output.

The concluding metaphor likens the speaker’s life journey to a flock of homesick cranes. The cranes, flying night and day back to their mountain nests, symbolize the soul’s longing for a spiritual home. The entire voyage of life is envisioned as a journey back to an eternal abode, underscoring the idea of offering one’s entire existence in a profound salutation to God.