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Ch. 31: An Essay on Music

I had been proposing to study for the bar when my father had recalled me home from England. Some friends concerned at this cutting short of my career pressed him to send me off once again. This led to my starting on a second voyage towards England, this time with a relative as my companion. My fate, however, had so strongly vetoed my being called to the bar that I was not even to reach England this time. For a certain reason we had to disembark at Madras and return home to Calcutta. The reason was by no means as grave as its outcome, but as the laugh was not against me, I refrain from setting it down here. From both my attempted pilgrimages to Lakshmi's[48] shrine I had thus to come back repulsed. I hope, however, that the Law-god, at least, will look on me with a favourable eye for that I have not added to the encumbrances on the Bar-library premises.

My father was then in the Mussoorie hills. I went to him in fear and trembling. But he showed no sign of irritation, he rather seemed pleased. He must have seen in this return of mine the blessing of Divine Providence.

The evening before I started on this voyage I read a paper at the Medical College Hall on the invitation of the Bethune Society. This was my first public reading. The Reverend K. M. Banerji was the president. The subject was Music. Leaving aside instrumental music, I tried to make out that to bring out better what the words sought to express was the chief end and aim of vocal music. The text of my paper was but meagre. I sang and acted songs throughout illustrating my theme. The only reason for the flattering eulogy which the President bestowed on me at the end must have been the moving effect of my young voice together with the earnestness and variety of its efforts. But I must make the confession to-day that the opinion I voiced with such enthusiasm that evening was wrong.

The art of vocal music has its own special functions and features. And when it happens to be set to words the latter must not presume too much on their opportunity and seek to supersede the melody of which they are but the vehicle. The song being great in its own wealth, why should it wait upon the words? Rather does it begin where mere words fail. Its power lies in the region of the inexpressible; it tells us what the words cannot.

So the less a song is burdened with words the better. In the classic style of Hindustan[49] the words are of no account and leave the melody to make its appeal in its own way. Vocal music reaches its perfection when the melodic form is allowed to develop freely, and carry our consciousness with it to its own wonderful plane. In Bengal, however, the words have always asserted themselves so, that our provincial song has failed to develop her full musical capabilities, and has remained content as the handmaiden of her sister art of poetry. From the old Vaishnava songs down to those of Nidhu Babu she has displayed her charms from the background. But as in our country the wife rules her husband through acknowledging her dependence, so our music, though professedly in attendance only, ends by dominating the song.

I have often felt this while composing my songs. As I hummed to myself and wrote the lines:

Do not keep your secret to yourself, my love, But whisper it gently to me, only to me.

I found that the words had no means of reaching by themselves the region into which they were borne away by the tune. The melody told me that the secret, which I was so importunate to hear, had mingled with the green mystery of the forest glades, was steeped in the silent whiteness of moonlight nights, peeped out of the veil of the illimitable blue behind the horizon--and is the one intimate secret of Earth, Sky and Waters.

In my early boyhood I heard a snatch of a song:

Who dressed you, love, as a foreigner?

This one line painted such wonderful pictures in my mind that it haunts me still. One day I sat down to set to words a composition of my own while full of this bit of song. Humming my tune I wrote to its accompaniment:

I know you, O Woman from the strange land! Your dwelling is across the Sea.

Had the tune not been there I know not what shape the rest of the poem might have taken; but the magic of the melody revealed to me the stranger in all her loveliness. It is she, said my soul, who comes and goes, a messenger to this world from the other shore of the ocean of mystery. It is she, of whom we now and again catch glimpses in the dewy Autumn mornings, in the scented nights of Spring, in the inmost recesses of our hearts--and sometimes we strain skywards to hear her song. To the door of this world-charming stranger the melody, as I say, wafted me, and so to her were the rest of the words addressed.

Long after this, in a street in Bolpur, a mendicant Baul was singing as he walked along:

How does the unknown bird flit in and out of the cage! Ah, could I but catch it, I'd ring its feet with my love!

I found this Baul to be saying the very same thing. The unknown bird sometimes surrenders itself within the bars of the cage to whisper tidings of the bondless unknown beyond. The heart would fain hold it near to itself for ever, but cannot. What but the melody of song can tell us of the goings and comings of the unknown bird?

That is why I am always reluctant to publish books of the words of songs, for therein the soul must needs be lacking.


[48] The Goddess of Wealth.

[49] As distinguished generally from different provincial styles, but chiefly from the Dravidian style prevalent in the South. Tr.


Rabindranath Tagore