Nazma Yeasmeen Haque observes the monsoon come alive in Tagore

Although I have been in possession of this enchanting book, Gogone Goroje Megh Ghono Borosha, for a fairly long period of time, by the time I started going through it, there came as if by sheer coincidence the season of 'Borsha', our monsoon which as usual is both gorgeous and harrowing at one and the same time. Thus happened a union of nature and my mental preparedness to read the book that became so close to my heart. This book sings to you, recites to you, it tells you stories, narrates essays and reads letters to you. The wholeness of Tagore's writings against the backdrop of the monsoon -- his most favourite season is near complete in this work compiled by Muhammad Habibur Rahman. It is enriched further with a preface written by him in a marvellously scholarly way. It is a treatise. One cannot expect to find each and every write-up of Tagore on the same theme to be included in one book, for obvious reasons, and, therefore, a sampling is done to represent Tagore's feelings, thoughts and messages through careful research. It is not only his erudition and love for rich literary work that are so well-known but also the fact that in the preface, Rahman emerges as a consummate musicologist, which is some discovery to cheer ourselves up.
This analysis of ragas of classical songs, their suitability in different parts of a whole day also in terms of the cycle of seasons, particularly the monsoon, and Rahman's comment that some of Tagore's songs on 'Borsha' appeal more when unaccompanied by musical instruments are all corroborated by an elaborate discussion throughout the preface. For example, Rahman asks if there is any need for any kind of accompaniment, including one to mark the beat of the song, "Emono diney tare bola jae"? It stirs the fine sensibilities of any lover of Tagore songs, particularly in the rainy season, that consumes one's being. The preface is furthermore embellished by a quotation from an Australian professor of geography, BLC Johnson, from his book, Bangladesh, which depicts a comprehensive picture of the monsoon in this deltaic land. A little paraphrasing of the quotation tells us that in order to fully describe the impact of the rainy season such as this, facts and data would not be as much sufficient as would be the letters that Tagore penned sixty years ago. Johnson also added that all such compositions on the climate of this region evoke memories that make one feel nostalgic. The fact that Johnson, in spite of being involved in a subject as systematic as geography, preferred to rely more on Tagore's writings brings out the significance and, therefore, validity of such a work in a profoundly literary-cum-scientific way.
In other words, to Johnson, Tagore's writings are more convincing than the data normally used for such a study. Such is the beauty and relevance of Tagore's writings in various genres, weaving a tapestry of wet monsoon that touches one's heart, that it fills one with inexplicable joy, pain and ecstasy and, of course, like Tagore, keeps one aware of the misery of others. Although all six seasons have their fair share in the poetry and songs of Tagore, yet his fascination for the beauty, passion, bustle and fury of the monsoon emerges supreme in a creative way. Would it be wrong, then, to surmise that Tagore is addicted to the monsoon, his most favourite season? The book under review bears testimony to this fact which Tagore manifests in his poetry, songs, short stories, essays and letters, all centering around the monsoon. One wonders if exactly this kind of compilation on other seasons is possible given the fact that there are songs and poetry on them as well.
Justice Rahman has done a splendid job of collating all such writings under one cover. Thus Tagore's most favourite season reaches its ascendancy as the queen of seasons. One of his utterances has it that if votes were counted in the ambience of ragas, then certainly the monsoon would be the winner as it has ragas such as Megh, Mollar, Desh and many others that are many more in number than those occupied even by the spring, which most probably seems to be his second love. The preface of this book is a treasury of information much of which was hitherto unknown to most of us. Facts such as the nearly twenty-two to twenty-three hundred songs that Tagore has written, of which only seven percent are given over to the monsoon; the celebrated song on the month of Sravana, "Shaono gogone ghor ghanoghota", that Tagore wrote at the age of fifteen and which was published in the magazine Bharoti in 1284 (Bengali year) is his first song on the rainy season; his last song on the same season, "Sraboner baridhara bohichhe biramhara", was written in 1347 (Bengali year) only eleven months before his death are all food for thought.
Tagore's songs on the monsoon are endless. Next is his abundance of poetry that accommodates juvenile psychology and also caters to the emotional state of a sensitive mind. The rainbow's magical charms are exuded in each and every line. A sampling of the poetry shows an interesting assortment of the highly lyrical, humorous and also satirical in the selections. Justice Rahman has demonstrated the ingenuity of a researcher. 'Meghdut' is an overwhelming eulogy to the great epic poet Kalidasa in which Tagore re-tells of the pain of separation between the lover and his beloved as an embodiment of the great divide existing between any two suffering souls. In fact, there are two poems as well as two essays with the same title, 'Meghdut' perhaps for accentuating the monsoon which is the central theme of the book. The poem 'Shonar Tori' is practically the signature tune of the book with its first line, 'Gogone Goroje Megh Ghono Barosha' as the title that sums up all about monsoon by highlighting it. Some of the poems are sung as songs that touch an expectant heart for the rain to fill by drenching with showers, bringing vibrancy within. Nature is soaked and readied for germination, in the same way that a lover of 'Barsha' re-creates her or his inner feelings, thoughts and dreams.
Tagore's letters and essays are no less than the songs and poetry that are included in this selection. Rahman has done a great job in making us familiar with these, thus opening up a new vista for our enlightenment and recreation. Each of the letters that is included, although each narrates the characteristics, is distinct in its own focus. This probably is the rationale behind the selection that has added variety to the compilation of letters. As one goes through them, one perceives it. For instance, in the second letter, a colossus-like Tagore sounds absolutely mischievous imagining the predicament of people from the aristocratic families running out of their mansions in the middle of the night in whatever clothing they were in, the moment a big jolt shakes the earth. He finds his imagination extremely hilarious and enjoys it thoroughly in all the simplicity of a child.
In the third letter, Tagore presents himself as a complete family man, particularly as a father. The fifth letter describes the high velocity of cyclone associated with rain and thunder that has the poet experience real life drama and turn into a person witnessing the harsh realities of life. Instantly he dispels the myth of recollecting one's lover's (here, a woman) face in such inclement weather as poets so long have chanted. He rather comes to the realization that in such a situation, when dust or particles of gravel invade one's eyes, one's own safety comes first. From such a discovery and confession of Tagore, male lovers may learn a lesson --- not to be pretentious in language while expressing love! Being forthright is being genuine. Another letter exposes the oppression and torment of a heavy monsoon wherein Tagore describes graphically the untold sufferings of people, animals, reptiles, insects and the environment that are all devastated. He sounds pessimistic and in a tone of frustration asserts that we human beings are a vanquished species at the hands of rulers, religious scriptures and also nature itself, in this case, the turbulent monsoon. Although Tagore was in anguish and pain seeing the travails of people around him, nevertheless it did not deter him from his creativity as he would sublimate it oftentimes as a joke cracked by nature with which we have a relationship between a grandparent and a grandchild. In a letter writen to his relative, Hemendrabala Devi, the advice that he gives her on learning English is most practical and appropriate even for today's learners. Here he sounds like a school counsellor. The last letter addressed to the same person, coincidentally the last entry in this book, has reference to the early chair that Victoria Ocampo gave him to be used on his journey by sea, a fact he fondly mentions as the only memento that remains a witness to his meeting with her.
Rahman's selection of Tagore's essays crowns his endeavour in this compilation. To this reviewer, it is the ultimate as far as an all-encompassing portrayal of the rainy season is concerned. In terms of profundity in all shades of the term, it is superb. Each essay is a song -- a beautifully melodious song. One feels like reading them over and over again. Among them, the essay 'Asharh' captivates one the most as it elucidates the characteristics of the monsoon in a variegated way that otherwise would have remained inconceivable to us. A number of assertions such as: with the monsoon we human beings have an unconditional relationship; we do not get ourselves involved in any practical transactions with it as we do with other seasons; the monsoon in a very special way belongs to the poets; the monsoon is a season for leisure and many others herald the adorability of this season. Tagore misses 'Borsha' in its heavy downpour as he had experienced it in his childhood and wonders if the rainy season has paid more attention to its 'economy' these days! Once again, generous thanks to the learned compiler who has breathed new life into this work on a single theme. In comparison with the abundance and depths of messages that the songs, poetry, essays and letters contain on the monsoon, the short stories seem rather pale. They do not create an ambience as does the former. However, having considered the extent of the undertaking, one cannot but conclude that Justice Rahman has produced an outstanding work that is bound to gladden the hearts of monsoon lovers, of course, by not being oblivious to its adverse effects, as Tagore reminds us.
As the nimbus in the vast canvas of the sky brings forth graceful showers of rain, we pray that it cleanses us. Let us all sing songs of the monsoon in unison with Tagore to renew our life, to revive the spirit behind life.

Dr. Nazma Yeasmeen Haque, an educationist, is a regular contributor to The Daily Star .