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Abhisara - The Tryst Notes FROM RHAPSODY
Abhisara - The Tryst Notes FROM RHAPSODY
- Sanyasi Upagupta / Was asleep under the shade of / The city ramparts of
Mathura— The poem begins by introducing Upagupta, a sanyasi (a wandering
ascetic) who has renounced worldly pleasures and attachments. He is sleeping
under the shade of the city walls of Mathura, an ancient city in India that was a
centre of Buddhism at the time.
- A breeze had blown off the lamps and flares. / The palace doors were shut. /
The stars of the night / Had disappeared behind clouds — The poet sets the
scene of a dark and silent night, suggesting a sense of mystery and solitude. The
lamps and flares that usually light up the city have been blown off by the wind, the
palace doors are closed, and the stars are hidden behind clouds. The darkness also
foreshadows the suffering and isolation that Basabdatta will face later in the poem.
- Whose foot adorned with anklets / Suddenly rang on his chest? / Startled, the
sanyasi woke up. / His dreams fled. — The poet introduces a sudden contrast to
the quietness of the night with the sound of anklets ringing on Upagupta's chest.
Anklets are ornaments worn by women around their ankles, often associated with
dancers and courtesans. The sound startles Upagupta and wakes him up from his
sleep, interrupting his dreams. This suggests that Upagupta's peaceful state of mind
is disturbed by the intrusion of worldly desires and temptations.
- A dim light shone on his forgiving eyes. / The court dancer was going for a
tryst with her lover, / Intoxicated with her own vernal bloom. / Dressed in a
deep blue saree, / Her ornament tinkled — The poet describes the appearance of
Basabdatta, the court dancer who has accidentally stepped on Upagupta. She is
carrying a dim light that shines on Upagupta's eyes, which are described as
forgiving, implying that he does not hold any grudge or anger against her.
Basabdatta is on her way to meet her lover, and she is intoxicated with her own
vernal bloom, meaning that she is enjoying her youth and beauty. She is dressed in
a deep blue saree, a traditional Indian garment, and her ornaments make a tinkling
sound as she moves. The poet uses vivid imagery and sensory details to portray
Basabdatta as an attractive and sensual woman who represents worldly pleasures
and passions.
- As her foot fell on the monk, / Basabdatta halted. / With her lantern, she
examined his young radiant form — / A calm enduring tender face, / A glance
gleaming with compassion, / A white moon-like forehead aglow with gracious
peace. — The poet narrates how Basabdatta stops when she realizes that she has
stepped on Upagupta. She uses her lantern to examine his appearance, and she is
struck by his young radiant form, which contrasts with his ascetic lifestyle. She
notices his calm enduring tender face, which shows his patience and kindness; his
glance gleaming with compassion, which shows his empathy and understanding;
and his white moon-like forehead aglow with gracious peace, which shows his
wisdom and serenity. The poet uses similes and metaphors to portray Upagupta as
an attractive and spiritual man who represents renunciation and enlightenment.
- The woman spoke in a gentle voice, / Her eye drooping with embarrassment, /
“Pardon me, O youthful one, / I will be grateful if you come to my home. / The
ground here is hard and rough. / This is not the right place to sleep.” — The
poet narrates how Basabdatta speaks to Upagupta in a gentle voice, showing her
politeness and respect. She apologizes for waking him up and invites him to come to
her home, offering him a more comfortable place to sleep than the hard and rough
ground. She also implies that she is interested in him romantically or sexually by
calling him youthful one and inviting him to her home.
- The sanyasi responded with kind words, / “It is not yet time for me / To visit O
graceful one, / Please go your way in prosperity. / When the time is right, I will
myself / Come to your bower.” — The poet narrates how Upagupta responds to
Basabdatta's invitation with kind words, showing his courtesy and respect. He
declines her offer to come to her home, saying that it is not yet time for him to visit
her. He asks her to go her way in prosperity, meaning that he wishes her well and
happiness. He also promises to come to her bower, meaning her house or bedroom,
when the time is right. This suggests that he is not rejecting her completely, but
postponing their meeting for a more appropriate occasion.
- Eventually, a fiery spark thundered, / Opened a monstrous mouth. / The
young woman shivered with alarm. / As a terrifying destructive wind howled, /
A lightning ripped a cruel smile / Across the sky. — The poet describes a sudden
change in the weather, as a storm breaks out. A fiery spark thundered, meaning that
a lightning bolt struck with a loud noise; opened a monstrous mouth, meaning that it
created a large opening in the sky; the young woman shivered with alarm, meaning
that Basabdatta was scared by the storm; as a terrifying destructive wind howled,
meaning that a strong wind blew with a loud sound; a lightning ripped a cruel smile
across the sky, meaning that another lightning bolt flashed across the sky in a
mocking way. The poet uses personification and imagery to portray the storm as a
violent and menacing force that threatens Basabdatta's happiness and safety.
- The year was not out. / It was an evening in Chaitra. / The breeze fluttered
with restlessness / The trees along the path were laden with buds. / The King’s
Garden was flush with blooms of Bakul, / Parul and rajanigandha — The poet
shifts the scene to another time and place, after some months have passed. It was
an evening in Chaitra, meaning that it was springtime in the Hindu calendar; the
breeze fluttered with restlessness, meaning that the wind was gentle and playful; the
trees along the path were laden with buds, meaning that they were full of new
growth; the King’s Garden was flush with blooms of Bakul, Parul and rajanigandha,
meaning that it was filled with fragrant flowers of different kinds. The poet uses
imagery and sensory details to portray the spring season as a time of beauty and
renewal.
- From afar, wafting with the draft / Was the mesmerising timbre of a flute. / The
city was empty as everyone had left for / The festival of flowers in the honeyed
woods —The poet describes how from afar, wafting with the draft was the
mesmerising timbre of a flute, meaning that from a distance, carried by the wind was
the enchanting sound of a flute; the city was empty as everyone had left for the
festival of flowers in the honeyed woods, meaning that there was no one in the city
as they had all gone to celebrate a festival of flowers in the sweet-smelling forest.
The poet uses alliteration and assonance to create a musical effect and to suggest a
festive and joyful atmosphere.
- The full moon smiled at the town / Emptied of people and protectors. / On the
lonely moonlit path, / The sanyasi walked alone— The poet describes how the full
moon smiled at the town emptied of people and protectors, meaning that the moon
shone brightly on the deserted city; on the lonely moonlit path, the sanyasi walked
alone, meaning that Upagupta walked by himself on a path illuminated by the
moonlight. The poet uses personification and contrast to create a sense of loneliness
and isolation for Upagupta.
- Under leafy branches, from where / Cuckoos cooed repeatedly — / After so
many days, was it time for him / To fulfil his tryst with the beloved? —The poet
describes how under leafy branches, from where cuckoos cooed repeatedly,
meaning that Upagupta walked under trees where cuckoos sang over and over; after
so many days, was it time for him to fulfil his tryst with the beloved? meaning that
after waiting for so long, was he finally going to meet his lover? The poet uses
rhetorical questions and repetition to create a sense of anticipation and curiosity for
Upagupta's destination.
- Crossing the town, the wise one / Went beyond the city walls. / He stood
beside the moat — / In the shade of the mango grove — The poet narrates how
crossing the town, the wise one went beyond the city walls, meaning that Upagupta
left the city and went outside its boundaries
- He represents the ideal of a Buddhist monk who has renounced worldly pleasures
and attachments and seeks enlightenment. Upagupta is a sanyasi who lives a simple
and detached life as an ascetic, not seeking material comforts or fame. He is also a
wise and compassionate teacher who instructs others in his faith and helps them find
peace and happiness. He is based on a historical figure who was revered by
Emperor Ashoka and had a large following in Myanmar.
- He represents the contrast between the worldly and the spiritual life. Upagupta is a
sanyasi who is not tempted by Basabdatta's beauty or wealth, but remains faithful to
his vows and principles. He also does not reject Basabdatta's invitation, but
postpones it for a more appropriate time. He believes that everything happens
according to a divine plan and that he will meet her when the time is right. He
symbolizes the detachment and patience of spiritual existence, as well as the
potential for transformation and enlightenment through love and compassion.
- He represents the fulfilment of Basabdatta's tryst. Upagupta is the beloved that
Basabdatta has been waiting for since their first encounter. He tells her that he will
come to her bower when the time is right, and he keeps his word. He meets her
under the moonlight in the mango grove, where they share a moment of intimacy
and peace. He symbolizes the completion of Basabdatta's worldly journey, as he
helps her overcome her suffering and find dignity and grace.
The title also reflects the tone of the poem, which is lyrical and evocative. The title
creates a musical effect through the use of alliteration (the repetition of consonant
sounds) and assonance (the repetition of vowel sounds). The title also creates a
visual effect through the use of imagery (the use of words to create a picture in the
reader's mind). The title conveys a sense of beauty, harmony, and mystery that
matches the mood and atmosphere of the poem.
- Discuss the contrast between the worldly and the spiritual life
as portrayed by Tagore in this poem. How does he use the
characters of Basabdatta and Upagupta to illustrate this
contrast?
Answer: One of the main themes of the poem is the contrast between the worldly
and the spiritual life, which Tagore portrays through the characters of Basabdatta
and Upagupta. Basabdatta represents the worldly life, which is characterized by
materialism, passion, and pleasure. Upagupta represents the spiritual life, which is
characterized by detachment, wisdom, and peace.
- Basabdatta is a court dancer who enjoys her beauty, wealth, and fame. She is
driven by her passions and desires, and seeks pleasure and happiness in her lover.
She is also vulnerable to the dangers and uncertainties of the world, such as the
storm and the disease that afflict her. She symbolizes the impermanence and
suffering of worldly existence, as well as the potential for redemption and
transformation through love and compassion.
- Upagupta is a sanyasi who lives a simple and detached life as an ascetic. He has
renounced worldly pleasures and attachments and follows the path of Buddhism. He
is not tempted by Basabdatta's beauty or wealth, but remains faithful to his vows and
principles. He also does not reject Basabdatta's invitation, but postpones it for a
more appropriate time. He believes that everything happens according to a divine
plan and that he will meet her when the time is right. He symbolizes the detachment
and patience of spiritual existence, as well as the potential for transformation and
enlightenment through love and compassion.
Tagore uses various literary devices such as contrast, irony, and symbolism to
illustrate this contrast between the two characters and their lifestyles. For example,
he contrasts the dark and stormy night in the first part of the poem with the serene
and festive evening in the second part of the poem. He also contrasts Basabdatta's
lavish and superficial lifestyle with Upagupta's simple and profound lifestyle. He uses
irony to show how Basabdatta's worldly success leads to her downfall, while
Upagupta's spiritual renunciation leads to his fulfilment. He also uses symbolism to
show how Basabdatta and Upagupta represent different aspects of human nature
and different paths to happiness.
Tagore creates a sensory experience for the reader by using imagery and symbolism
to engage their emotions and imagination. He also conveys deeper meanings and
messages by using imagery and symbolism to express his views on love,
compassion, and spirituality. He shows how love can transform a person's life and
bring them peace and happiness. He also shows how compassion can heal a
person's wounds and bring them dignity and grace. He also shows how spirituality
can guide a person's actions and decisions and bring them wisdom and serenity .
- Tagore shows the transformative power of love and kindness by depicting how
Upagupta and Basabdatta change each other's lives for the better. Upagupta helps
Basabdatta overcome her suffering and find dignity and grace. He offers her water,
balm, and comfort when she is in pain and isolation. He also fulfils his promise to
come to her bower when the time is right, showing his faithfulness and respect.
Basabdatta helps Upagupta realize his true nature and purpose. She awakens him
from his sleep, both literally and figuratively. She invites him to her home,
recognizing his beauty and kindness. She also receives his comfort, care, and
promise when she is in need, showing her gratitude and humility.
- Tagore challenges the societal norms and prejudices that separate Upagupta and
Basabdatta by portraying their relationship as a pure and noble one. He shows that
their love is not based on lust or greed, but on compassion and human connection.
He shows that their love transcends the barriers of caste, class, and religion, which
are often used to discriminate and oppress people. He shows that their love is not
bound by time or place, but by a divine plan and a spiritual bond.
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