ಮತ್ತಷ್ಟು ವರುಷಗಳುರುಳಿದಂತೆ ವರ್ತನೆ ಗಳುರುಳು ತಲೆಗುಸಿರು ಗಟ್ಟಿ ಗಟ್ಟಿ ಗಟ್ಟಿಸುತಬಂದು ಕೊನೆಗೂ ತೊಡೆ ಗಣಕವನೆತ್ತಿಕೊಂಡು ತಾನು ತಾನಾಗದೆ ಗಂಟಿಕ್ಕಿ ಹುಬ್ಬು ಮಧ್ಯೆ ಮಧ್ಯೆ ಮೆದ್ದಾಗೆರಡೆರಡೆಲೆ ನಾಕು ನಾಕಾಗೆಂಟೆಂಟಾಗುವಾಟ ಗಂಟುಗಂಟಾಗಿ ಕೆಲಸವಿದೇ ಕಾರ್ಯವಿದೇ ಎಂಬಂತೆ ಗಂಟೆ ಕಳೆ ವೇಷ ಗಂಟುಕಟ್ಟೋವರೆಗೆ ಮುಖ ವುಳಿಸುವಾಟದಂತೆ ಮೇಲ್ನೋಟಕ್ಕೆ ತಾಗದಂತೆ ಒಳಗೊಳಗೇ ಕುದಿಯುತ್ತೆ ಆಖೈರು ತಿದಿಯೊಂದು ಹಾಗೇ ಮುಂದರಿ ಯುತ್ತ ಹೇಗೆ ಯಿನ್ನು ನಾ ಫಿಸಿಕ್ಸು ಲಾಜಿಕ್ಕು ಫಿಲಾಸಫಿ ಸುವುದಂತ ಚಿಂತೆ ಅದೇ ಸರಪಳಿ ಯಲಿ ಸರಿ ಸರಿ ಸರಿಯುತ್ತ ಹಾಳಾಗಲಾ ಒಂದಿಷ್ಟು ಪದಶ್ಲೇಷೆಗಳದೇನೇನಕೋ ಹೀಗೆ ತಲೆಗ್ಹಿಡಿಸುತ್ತದಂತ ಸಿಂಟ್ಯಾಕ್ಟಿಕ ಭಂಗಿ ಭಂಗಿಸಿದಂತೆ ಯಂತ ಯಂಥದ್ದೆಲ್ಲವರ್ಥ ಅರ್ಥಾರ್ಥ ಅಪಾರಾರ್ಥವಾಪಾರ್ಥ ವಾಪಥ್ಯ ಸೀಮಾಂತೆಕ್ಕಿನ ಮಟ್ಟದಲಂತೂ ತಲೆ ಕುಣಿಸುತ್ತೆ ಮತ್ತದೇ ಧಾಟಿಯ ಸಾವಿರ ಪದ ನೆನೆ ನೆನೆಸಿ ಹುದುಗುಬರಿಸುತ್ತೆ ಮತ್ತೇರಿಸುತ್ತ ಶೆರೆ ಸೆರೆ ಅರರೆರೆ ಮತ್ತೆ ಮಾತ್ರೆಗಳೆರಡೆರಡೆಲೆಲೆ ನಾಕುನಾಕಾಗೆಂಟೆಂಟಾಗು ವಲ್ಲಿಗೆ ಪದಪದ ಹೊಸೆವೆಸೆವಾಟಮಾಟ ಹೊಸವೆ ನಿಸಲು ಮತ್ತದೆ ಶಾಬ್ದಿಕ ಬೌದ್ಧಿಕ ಜಿಮ್ನಾಸ್ಟಿ ಕಾಟವೆ ಮತ್ತೆ ಇಷ್ಟಕ್ಕೂ, ಹಃ! ಆಧುನಿಕೋತ್ತರ ಜೀವ ಜೀವನವೆಂದರೇನೊ? ದಾರಿಹೋಕ ಹೂ ಮಾರ್ವ ಜೀವ ದರ್ಶನಕ್ಕಿರುವಲ್ಲಿಗೆ, ಸಾಂಪ್ರದಾಯಿಕ ಮಾರ್ ಜಾಲನಿಗೂ ನವ ಜೀವನವೆನುವಲ್ಲಿಗೆ! ಕಾರಿ ಕಾರಿ ಬರೆ ಭಾವ ಸಾರಿಕೆ ಬರೆದು ಕೊರೆದು ವಕಾಲತ್ತಿಸಿ ವೈಭವೀ ಕರಿಸಿ ವಿಸರ್ಜಿಸು ವಾಟಕ್ಕೆ ವಾಕರಿಸದೆ ಯಾರಿಗ್ಗೊತ್ತಿಲ್ಲ ದುತ್ತರವೀ ಜಗ ದಗಲಕ್ಕೆ ಪ್ರಶ್ನೆ ಹುಡುಕೋ ತರ್ಕಮರ್ಕಟ ಕಂಟ್ರಿ ನಾ ಯೀ ಬಾಲ ಬುದ್ದಿ ವಾತ ಬಿಡಿ ಬಡಿಯುತ್ತೆ ಹೇಗೂ ಕೊನೆಗೊಮ್ಮೆ.
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ಆತ್ಮೀಯ bondhuಗಳೇ, ಮೊನ್ನಿತ್ತೀಚೆಗೆ ನಾವೇನು ನಿಮ್ಮ ಜೊತೆ ಬಿಹೇವಿಯರಿಸಂ ವೇಷಗಟ್ಟುವಿಕೆಯ ಬಗೆಗೆ ಗಂಟೆಗಂಟಲು ಅವಲೋಕಿಸಿದೆವೋ .. ನಮ್ಮ ಆಧುನಿಕ ಕವಿಕಾವ್ಯೋದ್ಯೋಗರಹಸ್ಯವನ್ನು ಆಟೊರಿಕ್ಷಾಟನೆಯಲ್ಲಿ ಕತ್ತೆಯುಚ್ಚೆಹೊಯ್ವಂದದ ಅಪ್ರಕಟಿತ ಕವನವೊಂದೋದೇನು ಬಯಲುಗೊಳಿಸಿದ್ದೆವೋ... ಅದಕ್ಕೆಲ್ಲ ಮುನ್ನುಡಿಯಂತೆ.. ದಶಕವೊಂದರಷ್ಟು ಹಿಂದೆ.. ಹಾಗೆ ತಲೆ ತಳೆಯದ ಖಾಚಿತ್ಯಗಳು ವರ್ತನೆಯಲ್ಲಿ ಆವರ್ತಿಸುವ ವಿದ್ಯಮಾನವನ್ನು ಬ್ಲಾಗಾಭಿವ್ಯಕ್ತಿಗೊಳಿಸಿದ್ದೆವು.. ಆಗ ಅದು ಶ್ರೀಶ್ರೀಶ್ರೀ ದುರಹಂಕಾರಿಗಳ ಮುಂಗಾಣ್ಕೆಯಾಗಿತ್ತು ಎಂದು ಈಗ ಸತ್ಯೋತ್ತರವಾಗಿ ಭಾವಿಸಲು ಒಂದು ತೊಡಕಲ್ಲದ ತೊಡಕೇನೆಂದರೆ .. ಈಗ ಪುನರಾವಲೋಕಿಸಲು ಯತ್ನಿಸಿದರೆ ಅದು ಹೀಗೆ ಬೆಳೆಯುವ ಟ್ಯೂಮರಿನ ಮೊಳಕೆ ಮಾತ್ರವಾಗಿತ್ತು ಎಂಬ ಸೂಚನೆ ಆಗಲೇ ಶ್ರೀಶ್ರೀಶ್ರೀ ದುರಹಂಕಾರಿಗಳಿಗೆ ಇದ್ದಿತು ಎನ್ನಲು ಬಲವಾದ ಆಧಾರಗಳಿದ್ದಂತೆ ಅನಿಸುವುದಿಲ್ಲ... ಎನಿವೆ.. ಏನೀಗ..?, ಎಂದರೆ, ಹೇಗೂ ಇತ್ತೀಚೆಗೆ ನಮಗೆ ಪ್ರತಿಸ್ಪಂದನೆಯ 'ಭೂತ'ವೊಂದು ಮೆತ್ತಿಕೊಂಡಿರಲಾಗಿ.. ಆವೊಂದು "ಆಧುನಿಕ ಕವಿಕಾವ್ಯಕ್ಲೀಷೆ"ಗೆ ಪ್ರತಿಧ್ವನಿ ಅಥವಾ ಸ್ಟೇಟಸ್-update ಎನ್ನುವಂತೆ "ಆಧುನಿಕೋತ್ತರ ಸಂಪ್ರದಾಯದ ಭವಿಭಾವಶ್ಲೇಷೆ"ಗಳನ್ನು ವಿಶ್ಲೇಷಿಸಿ ಸಂಶ್ಲೇಶಿಸಿ ತಮ್ಮ ಆವಾಗಾಹನೆಗೆ ತನ್ಮೂಲಕ ನೀಡುತ್ತಿದ್ದೇವೆ.. ಓಡಿಸಿಯಾದರೂ ಓಡದೇ ಓದಿ ನೋಡಿ ..! ಧನ್ಯಬಾದಗಳೊಂದಿಗೆ ಶ್ರೀದುರಹಂಕಾರಿತ್ವಕ್ಕೆ ಯಾವತ್ತು ಪರ್ಯಾಯದಲ್ಲಿ ಶ್ರೀಶ್ರೀಶ್ರೀ ಮೂರ್ಶ್ರೀ ನಾವುಗಳು
ಹುಸಿವಚನ ಎಲ್ಲ ಮಾತೂ ಹಾಯ್ ಹುಸಿವಚನ ಎಲ್ಲ ಬರಿ ಮಾತೂ ಒಂದು ಋತು ಮಳಿ ನೀರು ಸುರಿದು ಸುರಿದು ಎಲ್ಲ ಹರಿದ್ಹೋಕೈತೋ ಎಲ್ಲ ಹರಿದ್ಹೋಕೈತೋ ಕಣ್ಣಿಂದ ಜೀವ ಸೆಲೆಯೂ.. * ಮಳಿಯಿಂದೀ ದಾಹ ಎಲ್ ತೀರತೈತೋ ಜೀವ ಹಚ್ಚಬ್ಯಾಡೋ ಎದಿ ಹಚ್ಚಬ್ಯಾಡೋ ಲೇ.. ಹೋ ... ಎದಿ ಉರಿಸಬ್ಯಾಡಿರೋ ಲೇ... ಎದಿ ಹಚ್ಚಬ್ಯಾಡಿರೋ ಲೇ... ಎದಿ ಉರಿಸಬ್ಯಾಡಿರೋ ಲೇ ಹಾಯೇ
GK Adiga's 'demon-past' haunts AK Ramanujan... ..from the darks of the nether-depths... into the grove of holy basil beyond...
In
which, behold, a Chicago University linguistics professor of a
multi-faceted Kannada-Tamil-English dead poet's humble translation work in
English, gets extensively modified (rather'editoriated' / EXORcised) by a Kannada-medium village-bred faceless unhumble pedestrian indignant alive...
" The ex / The Buried / The Spirit of the Tense Past " (AKR-MGK's translation of GKA's 'Bhootha', but heavily edited / reworked by yours truly)
Haunting here are the fetus-crypts of the tense-past: the stale air of abyss inside the pent old well is crawling up, head down, on all fours leaping on the back of the lullabying sunbeam is gushing even onto the canopy of holy basil grove. The corded umbilical discarded at the bank the cut mouse tail writhes. To me who gropes with eyes stuck in darkness flashes, all of the sudden, a golden streak: a squirming feather-burnt star-- somehow fallen into the new-moon moats.
The past ghosts all over the Current Affairs. One fold above the water, seven snow-capped peaks beneath; out of blue accidentally fire-speak* spitting snow-cowered innocent volcano. Fold up the paper if you will -- in the soundless skeleton rooms dumb beckoning missing beat: the carnival of reversed feet. In the waters stagnant in the inner depths heaping spermatozoa beating their hands; beneath the curtain-fall of the dais-noir, speak-picking glitter-pointed tail, -- do these not desire out-yard's colorful canopy of creepers and flowers?
No water and no shelter for the fathers and forefathers. Shuttling tight through the high winds and rough tides the lands though found, seldom could they obtain. I know the tantra of exorcism, libation, yet have forgotten the mantra herein; just vacuously thus I am playing at waving the wand. Gosh! trusting the high priests, west we went; at least now must one dig into the est. hermeneutics: the stemming of karma, the cantos of action.
As one digs, first a chrysalis of clay; pushing the shovel deep and striking hard one might glimpse the streaking ore of gold. The alchemies of extraction, burning and decanting one should learn a little, at least now; the true craft of heating and beating the gold-- to cast it in the image of one’s own preferred god.
The water that rots in the well, up as vapor; all along the sky--its causal pathway; the invisible seed of the void room of overcast sky the all-nine-months longing fetus-shape-- rumbling of the liminal ghost, troubling of the thunderclap-- rain is the news-- presentationforthe past-form. The ridge of the land of labor--plowed and seeded fields; the holy grove of fruit-bearing paddy and wheat, the golden pinnacles of the temple towers.
We read with intrigue, the English translation of Gopalakrishna Adiga's celebrated Kannada poem "Bhootha", entitled "Ghost and Past", which is done by A.K. Ramanujan (AKR), in collaboration with M.G. Krishnamurthy (MGK). We find it somewhat misconceived, especially on account of the 'tense' that is involved.
Simply
put, Adiga's original is purposefully anchored in the present (recall
here, lines such as: 'ವರ್ತಮಾನ ಪತ್ರಿಕೆಯ ತುಂಬ ಭೂತದ ಸುದ್ದಿ'), and, as
such, most of the sentences therein are in the present continuous tense, --the tense of the continuously undertaken action. However, for reasons not
readily evident to us, in AKR-MGK's translation, such present continuous statements are turned into present-indefinite tense (a.k.a. simple present tense) statements, which makes them sound like rather timeless facts.
Originally,
in 'Bhootha', Adiga thinks aloud about the 'spirit' in
which the past is ( and is not) to be taken, at present, so as to
proceed to what he conceives as a golden future. In its initial portions, Adiga, through
dense metaphors -- most of which are framed in the present-continuous
tense -- describes the ways in which the past haunts him in the
present. In the next portions, he first shifts to discuss the methods for exorcising
this ill-spirit of past, and then to bring about the rather positive sense in which
the past is to be taken for best, to land on a vision of a
golden future. All in all, the poet is
situated in the present, and as such, most of his statements are in the
present-continuous tense. We must note here, to the best of what
we have come across, Adiga seems to be one of those poets who make
very thoughtful choices of words --- carefully crafting their statements. (For instance, there are anecdotes of him explaining to his friends how he would think for days before placing a single word 'ಉಡಾಫೆ' in his another celebrated poem "ಶ್ರೀ ರಾಮನವಮಿಯ ದಿವಸ"). For such works, it is not sufficient to interpret just by considering (factually) how a certain passage is worded. The interpretation must as well consider (counter-factually) how else could it have been worded otherwise (that the poet
chose not to do so, possibly for some reasons). Thus, the poet's omissions should also inform our
readings inasmuch as their selections.
For example, consider Adiga's opening lines: "ಕಾಡುತ್ತಿವೆ ಭೂತಕಾಲದ ಭ್ರೂಣಗೂಢಗಳು ''. It would rather sound more abstract, more general, more stylish if he would instead open either like "ಕಾಡುವವು ಭೂತಕಾಲದ ಭ್ರೂಣಗೂಢಗಳು", or even "ಕಾಡುತ್ತವೆ ಭೂತಕಾಲದ ಭ್ರೂಣಗೂಢಗಳು". But Adiga did not chose to do so. He instead prefers to resonate with the continuous action via 'ಕಾಡುತ್ತಿವೆ'. And he persists with the continuous action throughout the stanza, to end with "ಹಾಯುತ್ತಿದೆ ತುಳಸಿವೃಂದಾವನದ ಹೊದರಿಗೂ". The highlight herein is also on his intentional usage of the almost explicit first-person forms (e.g., "To me who gropes...").
However, AKR-MGK have switched to the present-indefinite tense for the same lines in their translation : "Secret embryos of the demon-past haunt..." etc, and persists with it, to end with "and go beyond into the garden of the basil bush". The reasons for this are not clear, but we may suspect that it is from a stylistic consideration. Now, as mentioned before, this style indeed is equally possible and attractive in Kannada as well, only that Adiga went otherwise, likely for the aforesaid reasons.
(And lest we dig into the evident misconception of the translators in the same stanza. It was the 'stale air' that was gushing out into the holy grove for Adiga -- metaphorically, but, for AKR-MGK, it is literally the secret embryos themselves --" 'in' the stale air...'they' crawl up.. and gush out"... )
To us, this translation of AKR-MGK is inappropriate at least on two counts. Firstly,
and crucially, Adiga is intentionally anchored in the present, and is
looking at the way the past is affecting him at the present moment, and is
contemplating -- what course of action it is that he must take now, so that
the future is 'golden'. Thus, for Adiga herein, it is all about the
continuous action in the present, even while keeping the past in mind, as well as keeping an eye open for the future. Secondly, for Adiga, arguably, the haunting of the
spirit of past isn't a timeless
fact (akin to the indefinite tense-forms) that is aught to be there so indefinitely. These spirits are
haunting at the present for sure, but he intends to exorcise them in his
next stanzas, to find a better way of engaging with the past, so that
these spirits of past no longer persist with their haunting activity.
Even
more arguably, some of the the originally glorious statements somehow have
become rather underwhelming in AKR-MGK's translation. For example: "...and the rain is the present of past forms", which
misses a few of the multiplicity of interpretations possible for the
original, e.g., : "rain is the news" (to the seeds buried). ಕಾದುಗಾರಾದ
ನೆಲದೊಳಗಿರುವ ಬೀಜಕ್ಕೆ ಗುಡುಗುಸಿಡಿಲು ಎಂಬವು ಮಳೆಯ ವರ್ತಮಾನವನ್ನು ನೀಡುತ್ತವೆ ಎಂಬ
ವಿಜ್ಞಾನದ ಅಖ್ಯಾನ ಈ ಅನುವಾದದಲ್ಲಿ ಎಲ್ಲಿಗೆ ಹೋಯಿತೋ!
Thus, as we go
through the choices that AKR-MGK make in this translation, a deep urge
to modify the same occurs to us, at the least as an exercise. (Modify and not necessarily to re-do afresh). We are bound to change the entire phrasing in some places.
So, here we are, with this
heavily modified translation. As thus, it is not an
entirely original translation written from-the-scratch. And, it is done here just as an exercise, with no commercial interest
whatsoever to infringe any copyright otherwise.
We have also taken the opinion of certain LLMs on our translation, including GPT. And should we clarify, its highness GPT (may peace be upon us🙃)
has immensely boosted our ego by vindicating our translation--our
choices of words and tense forms--over those of AKR-MGK!!! And lest
again we clarify, it seldom involves any original translation in it self
by any learned LLM; every word and sentence in English in here is either from
AKR-MGK or from yours truly highnessees.
So, read-n-reread-n-joy, and critique!
And if time permits, ask a GPT / Llama / duck.ai / any LLM/gen-ai to compare with AKR's work and GKA's original, by copypasting it all (including the premise above) into that one's mouth..! ======================================================================
UI User Interface to Uppimaniasm Homagic ode to his high anthem -:ದಕ್ಷಿಣೆಯುತ್ತರ:-
what does not lie what does not lie between U and I what does not lie does naught at all lie
not the truth sembling lie
is not true all that lies
lie's truth where does it lie
the days pent beneath they lie
in remembrance nothing seems to lie
poles apart pupils see to lie
backward to answer dig what may belie what may be lie
The heart has poured it all out, yet here I hear you lie The jasmine, the champak, seldom that you bring them by Oh dear, the match of black beads, thou shalt get not to tie thou shalt get knot to tie
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ಬುದ್ದಿವಂತ(ಮಂಕ)ರು ಎಂದು ಮಿತ್ರರಿಂದ ಕೂಗಲ್ಪಟ್ಟವರು ಊ..ಐ ನಾಮ ಕಣ್ಣಮೇಲೆ ಹಾಕಿ- ಸಿಕೊಂಡರು... ನಿಜದಲ್ಲಿ ನಾಮ-ದೇವ ಉಪ್ಪ-ಇಂದ್ರನಿಗೆ ಮುಗಿಸಲೆಂದು ಕಡಿಯುತಿದ್ದ ಕೈ -ಗಳಲಿ ಸುಳ್ಸುಳ್ಳೇ ತಮ್ಮ ತಲೆ ಕೆರೆಸಿಸಿಕೊಂಡರು... ತತ್ಫಲವಾಗಿ ಬಹು ಸಂವತ್ಸರಗಳಿಂದ 'ಏನಿಲ್ಲ ಏನಿಲ್ಲ' ಎನ್ನುತ್ತಲೇ ಸುಮ್ಮನೇ ತಲೆಕೊರೆಯುತ್ತ ಇದ್ದ ಆಂಗ್ಲಾನುವಾದನ ಹುಣ್ಣು ತಾವುಗಳ ಕೈತಾಗಿ- ಸಿಕೊಂಡಂತಾಯಿತು. ---------------------------------------------------------------------------------------------------------------------------
Not the truth-resembling lie Not all the lies are true Truth of lie is not lie
ಕಳೆದ ದಿನಗಳಲೇನೂ ಇಲ್ಲ ನೆನಪುಗಳಲಿ ಏನೇನಿಲ್ಲ ಉತ್ತರ, ದಕ್ಷಿಣ ಸೇರಿಸೋದೆಂಬರೆ ನೀನಿಲ್ಲ ಪ್ರಶ್ನೆಗೆ ಉತ್ತರ ಹುಡುಕಿದರೆ ಏನೇನಿಲ್ಲ ಕೆದಕಿದರೆ ಏನೇನಿಲ್ಲ
what/nothing is in the days-spent what all is not there in memories north, south to join them, you are not there for the question, the answer if it is searched, what all isn't there(?!) if it is digged, what all isn't there(?!)
ಮನಸಿನೊಳಗೆ ಖಾಲಿ ಖಾಲಿ ನೀ ಮನದೊಳಗೆ ಇದ್ದರೂ ಮಲ್ಲಿಗೆ ಸಂಪಿಗೆ ತರದೆ ಹೋದರು ನೀ ನನಗೆ ಓ ನಲ್ಲ ನೀನಲ್ಲ ಕರಿಮಣಿ ಮಾಲೀಕ ನೀ ನಲ್ಲ
in the heart, it is just emptiness though thou art there in the heart the jasmine, the champak, if you do not bring them for me oh dear, you aren't, the owner of the 'black bead' (mangalasuthra / thali), aren't you dear!
ಆವತ್ತು ಯಾವತ್ತು ಎಲ್ಲ ತೆಗೆದು ಚರಿತಾಂತ ಸ್ತ್ರೀತ್ವ ವನ್ನಾರೋಪಿಸಿದಿರೋ ಮತ್ತೂ ತಿಳಿ ಯದಾಗುತ್ತೆ
ಆ ಯೋನಿಯಲಿ ತೋಚಿದಂತೆ ಗೀಚಿಕೊಳ್ಳೋದ ತೊಡೆದು ಸಯನ್ಸಂತ ಯೂನಿ ವರಸಲಾಗಿ ವಸ್ತುನಿಷ್ಠ ಸಗಣಿ ಸಾರಿಸಲಾದಂತೆ ಅಲ್ಲಿ ಫೇನ್ಮಣ್ಣು ಪಥಗಳಿಗೆ ಯಥಾನು ವಜನು ಹಾಕಿ ಕೂಡಿಕಳೆದು ವರ್ಗಕ್ಕೇರಿಸಿ ಸಂಯೋಜಿಸಿ ನೋಡಿದರೆ ಸಿಗೋದು ಎಲ್ಲ ಒಂದಾಗದಸಂಭವನೀಯತೆಯಷ್ಟೇ
We always come loaded
of what we never know
All our thoughts speeches
and silences
cum-laudead .
Epistemics sans ontics
Logics les pretentious
Theorems ad'hominems *
Unloading it
all et.al., with
a fart albeit
of which yet
hope Eye do **
That we play to
is the gallery of language
the eggshell of Mr Key
