My brother Jyotirindra unreservedly let me go my own way to self-knowledge, and only since then could my nature prepare to put forth its thorns, it may be, but likewise its flowers. This experience of mine has led me to dread, not so much evil itself, as tyrannical attempts to create goodness. Of punitive police, political or moral, I have a wholesome horror. The state of slavery which is thus brought on is the worst form of cancer to which humanity is subject.
My brother at one time would spend days at his piano engrossed in the creation of new tunes. Showers of melody would stream from under his dancing fingers, while Akshay Babu and I, seated on either side, would be busy fitting words to the tunes as they grew into shape to help to hold them in our memories.[34] This is how I served my apprenticeship in the composition of songs.
While we were growing to boyhood music was largely cultivated in our family. This had the advantage of making it possible for me to imbibe it, without an effort, into my whole being. It had also the disadvantage of not giving me that technical mastery which the effort of learning step by step alone can give. Of what may be called proficiency in music, therefore, I acquired none.
Ever since my return from the Himalayas it was a case of my getting more freedom, more and more. The rule of the servants came to an end; I saw to it with many a device that the bonds of my school life were also loosened; nor to my home tutors did I give much scope. Gyan Babu, after taking me through "The Birth of the War-god" and one or two other books in a desultory fashion, went off to take up a legal career. Then came Braja Babu. The first day he put me on to translate "The Vicar of Wakefield." I found that I did not dislike the book; but when this encouraged him to make more elaborate arrangements for the advancement of my learning I made myself altogether scarce.
As I have said, my elders gave me up. Neither I nor they were troubled with any more hopes of my future. So I felt free to devote myself to filling up my manuscript book. And the writings which thus filled it were no better than could have been expected. My mind had nothing in it but hot vapour, and vapour-filled bubbles frothed and eddied round a vortex of lazy fancy, aimless and unmeaning. No forms were evolved, there was only the distraction of movement, a bubbling up, a bursting back into froth. What little of matter there was in it was not mine, but borrowed from other poets. What was my own was the restlessness, the seething tension within me. When motion has been born, while yet the balance of forces has not matured, then is there blind chaos indeed.
My sister-in-law[35] was a great lover of literature. She did not read simply to kill time, but the Bengali books which she read filled her whole mind. I was a partner in her literary enterprises. She was a devoted admirer of "The Dream Journey." So was I; the more particularly as, having been brought up in the atmosphere of its creation, its beauties had become intertwined with every fibre of my heart. Fortunately it was entirely beyond my power of imitation, so it never occurred to me to attempt anything like it.
"The Dream Journey" may be likened to a superb palace of Allegory, with innumerable halls, chambers, passages, corners and niches full of statuary and pictures, of wonderful design and workmanship; and in the grounds around gardens, bowers, fountains and shady nooks in profusion. Not only do poetic thought and fancy abound, but the richness and variety of language and expression is also marvellous. It is not a small thing, this creative power which can bring into being so magnificent a structure complete in all its artistic detail, and that is perhaps why the idea of attempting an imitation never occurred to me.
At this time Viharilal Chakravarti's series of songs called Sarada Mangal were coming out in the Arya Darsan. My sister-in-law was greatly taken with the sweetness of these lyrics. Most of them she knew by heart. She used often to invite the poet to our house and had embroidered for him a cushion-seat with her own hands. This gave me the opportunity of making friends with him. He came to have a great affection for me, and I took to dropping in at his house at all times of the day, morning, noon or evening. His heart was as large as his body, and a halo of fancy used to surround him like a poetic astral body which seemed to be his truer image. He was always full of true artistic joy, and whenever I have been to him I have breathed in my share of it. Often have I come upon him in his little room on the third storey, in the heat of noonday, sprawling on the cool polished cement floor, writing his poems. Mere boy though I was, his welcome was always so genuine and hearty that I never felt the least awkwardness in approaching him. Then, wrapt in his inspiration and forgetful of all surroundings, he would read out his poems or sing his songs to me. Not that he had much of the gift of song in his voice; but then he was not altogether tuneless, and one could get a fair idea of the intended melody.[36] When with eyes closed he raised his rich deep voice, its expressiveness made up for what it lacked in execution. I still seem to hear some of his songs as he sang them. I would also sometimes set his words to music and sing them to him.
He was a great admirer of Valmiki and Kalidas. I remember how once after reciting a description of the Himalayas from Kalidas with the full strength of his voice, he said: "The succession of long ā sounds here is not an accident. The poet has deliberately repeated this sound all the way from Devatatma down to Nagadhiraja as an assistance in realising the glorious expanse of the Himalayas."
At the time the height of my ambition was to become a poet like Vihari Babu. I might have even succeeded in working myself up to the belief that I was actually writing like him, but for my sister-in-law, his zealous devotee, who stood in the way. She would keep reminding me of a Sanskrit saying that the unworthy aspirant after poetic fame departs in jeers! Very possibly she knew that if my vanity was once allowed to get the upper hand it would be difficult afterwards to bring it under control. So neither my poetic abilities nor my powers of song readily received any praise from her; rather would she never let slip an opportunity of praising somebody else's singing at my expense; with the result that I gradually became quite convinced of the defects of my voice. Misgivings about my poetic powers also assailed me; but, as this was the only field of activity left in which I had any chance of retaining my self-respect, I could not allow the judgment of another to deprive me of all hope; moreover, so insistent was the spur within me that to stop my poetic adventure was a matter of sheer impossibility.