Rabindra Natya in Rabindra Translation: Problems in Translation of Rabindranath and Translation in Tagore’s Perspective

It is not possible to give completeness to the vastness and depth of Rabindranath’s genius from the perspective of any particular creation. In every layer of his creation is intertwined his artistic soul. The illumination of Rabindranath’s genius is multi-voiced in every phase of his creative life; through has life, feelings, knowledge, work and thoughts it has attained multidimensionality. In his multidimensional life, every level carries separate significance. In his essay named Art and Tradition, while giving the definition of art, he spoke about creativity. It moves beyond reality in the perspectives of its form. From the very beginning of his literary life, Rabindranath devoted himself to the vision of forms with a thoughtful and inquisitive mind, thinking about one drama after another. Amidst the diversity, translated literature has secured a special place in his literary world. Along with the names of Shakespeare, Goethe, Camur, Bertold Brecht, the name of Rabindranath is also found it one searches the history of translated literature. Just as he translated his own creations, he also translated the creations of others. Again, his creation was also translated by others. Translation is an art work, a process of co-ordination. Translation creates the process of bridging two different languages and two different cultures. Just as when a sapling grows in a particular soil and then is replanted in another climate and soil, translation is such a process. Though Rabindranath Tagore the grandson of Dwarkanath and the son of Prince Debendranth is recognized by the world as a world poet, he was simultaneously a dramatist, novelist, essayist, composer, and creator of stories, philosopher and also a translator. He was that seed of the Tagore family which had turned into a giant tree. Rabindranath’s life had an inseparable connection with the Upanishads. Besides, the breeze of Islamic and European culture had merged in the Jorasanko Tagore house. This compact matter altogether made the man Rabindranath and his literature rise above everything. Rabindranath started translation own writings into English at the request of native and foreign admires. He started the translation of his self-created wrights through the translation of the poem ‘Nishphal Kamana’ from the poetry collection “Manashi”. From ‘Valmiki Prativa’ in 1881 to ‘Shyama’ written in 1939, Rabindranath wrote nearly 50 dramas, both small and large. Among these, the discussion about the problems of translation his dramas, especially regarding the translation done by himself, is the subject of this essay.