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A 2003 lecture about translation and remembrance
Radice delivered the lecture at Rabindra Bhavan in Ahmedabad on 24 February 2003, in memory of Sujata Chaudhuri and the victims of the Gujarat riots. Scroll republished it on 14 November 2024. It is a first-person account of his work, not a new interview. Scroll identified Radice as a British poet, writer, translator and senior lecturer in Bengali at the School of Oriental and African Studies, University of London. It reported that he died in England on 11 November 2024, aged 73.
The lecture’s title phrase—“How lucky I am to have chosen Bengali to learn and study”—points to a personal history as well as a scholarly one. Radice said he learned to speak Bengali chiefly from Sujata and Kanti Prosad Chaudhuri, who spoke the language with him and corrected his efforts. His first stay in their Kolkata home was in 1976. Sujata later helped him with flower descriptions for the glossary of his 1985 Penguin Selected Poems of Tagore.
What Radice wanted to carry into English
Radice’s aim was to convey what he considered Tagore’s poetic greatness and craftsmanship in English, including qualities he felt earlier translations—including Tagore’s own English versions—had not satisfactorily conveyed. That is Radice’s critical judgment, not a neutral verdict on every previous translation.
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For him, a poem’s effect comes from elements working together: verse form, rhythm, structure, language, feeling, imagery, moral depth and wit. Rather than match Bengali forms mechanically, he asked what a poem did as a whole and looked for English resources that could produce a persuasive analogous effect. As he put it, “What matters is whether a rhythmic energy in the original somehow surfaces in the translation too.”
How he translated rhythm and form
Moving the refrain in “Maran-milan”
In “Maran-milan” (“Death-wedding”), Radice discusses the Bengali refrain “Death, Death.” Instead of keeping it in a fixed position to mirror the original, he moved it through the stanza. The shifting refrain suggests quiet, unpredictable footsteps. For the English rhythm, he used flexible five-foot blank verse, often with a trochaic movement, rather than reproducing the Bengali metre pattern exactly. The example shows his principle in practice: preserve the poem’s action and sound in English, even when that means changing where a repeated phrase falls.
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Pauses, stanza shapes and half-rhymes
Radice also treated the page as part of a poem’s rhythm. In “Badhu” (“Bride”), he retained gaps within lines to preserve pauses and the visual arrangement. He said the same attention to spacing had led him to encourage a colleague translating Somali poetry to keep similar gaps.
In “Pakshi-manab” (“Flying Man”), he describes a three-line stanza with a descending pattern of five, four and three feet. In “Bir-purush” (“The Hero”), he uses rhythmic turns and half-rhyme to carry the poem’s wit and precision. These are not decorative effects added after the meaning; in his account, they help the English poem do its work.
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“Tabla-rhythm” and poems that walk across the page
For “Tapobhanga” (“The Wakening of Siva”), Radice describes long lines that usually have six stresses, sometimes five or seven, with stretches of three light syllables often falling between stresses. He called the resulting gallop “tabla-rhythm.” His term names the felt movement he heard, rather than a claim that the English lines duplicate a Bengali metre.
He called some poems “sari poems” because they “walk across the page” in asymmetrical shapes. To judge their visual effect, he laid the pages out physically. Together, these examples show why his method attends to how a poem sounds and looks, as well as what its words mean.
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How diction and emotion shape the English
Radice’s account emphasizes that Tagore’s Bengali can move between Sanskrit-rooted or classical vocabulary and colloquial idiom, onomatopoeia, humour and domestic speech. He describes responding to some classical words with selected Latinate English terms, while keeping ordinary speech and colloquial energy where the poem calls for them. The choice is one of register: English should signal a comparable shift without making every voice sound elevated or every line sound conversational.
He also reads “Tal-gach” (“Palm-tree”) through an emotional tension: the tree resembles a child drawn toward imaginative escape yet attached to its earth-mother. That idea, in his view, affects how the poem’s language, rhythm and structure should work together. Radice’s compact formulation of the principle was, “No feeling, no art.”
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Where to read Radice’s translations
Readers who want to explore the translations discussed in the lecture can begin with Radice’s Selected Poems of Tagore, the 1985 Penguin selection. Scroll also names his translations of Gitanjali and The Home and the World, as well as his translation of Michael Madhusudan Dutt’s The Poem of the Killing of Meghnad. For a different scale of work, Particles, Jottings, Sparks: The Collected Brief Poems gathers brief poems. These titles offer different routes into his work; the lecture does not compare editions or establish their current availability.
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