Fruit-Gathering — Key Ideas to Explore
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This digital edition of Fruit-Gathering — Key Ideas to Explore is described by source-level measurements including 13,995 words, 1 hr 1 min estimated reading time, and 87 detected text sections.
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Come, pilgrims of the march, hurrying on your journey!
The trumpet lies in the dust waiting for us.
I was on my way to the temple with my evening offerings, seeking for a place of rest after the day’s dusty toil: hoping my hurts would be healed and the stains in my garment washed white, when I found thy trumpet lying in the dust.
Was it not the hour for me to light my evening lamp?
Had not the night sung its lullaby to the stars?
O thou blood-red rose, my poppies of sleep have paled and faded!
I was certain my wanderings were over and my debts all paid when suddenly I came upon thy trumpet lying in the dust.
Strike my drowsy heart with thy spell of youth!
Let my joy in life blaze up in fire. Let the shafts of awakening fly through the heart of night, and a thrill of dread shake blindness and palsy.
I have come to raise thy trumpet from the dust.
Sleep is no more for me—my walk shall be through showers of arrows.
Some shall run out of their houses and come to my side—some shall weep.
Some in their beds shall toss and groan in dire dreams.
For to-night thy trumpet shall be sounded.
From thee I have asked peace only to find shame.
Now I stand before thee—help me to put on my armour!
Let hard blows of trouble strike fire into my life.
Let my heart beat in pain, the drum of thy victory.
My hands shall be utterly emptied to take up thy trumpet.
When, mad in their mirth, they raised dust to soil thy robe, O Beautiful, it made my heart sick.
I cried to thee and said, “Take thy rod of punishment and judge them.”
The morning light struck upon those eyes, red with the revel of night; the place of the white lily greeted their burning breath; the stars through the depth of the sacred dark stared at their carousing—at those that raised dust to soil thy robe, O Beautiful!
Thy judgment seat was in the flower garden, in the birds’ notes in springtime: in the shady river-banks, where the trees muttered in answer to the muttering of the waves.
O my Lover, they were pitiless in their passion.
They prowled in the dark to snatch thy ornaments to deck their own desires.
When they had struck thee and thou wert pained, it pierced me to the quick, and I cried to thee and said, “Take thy sword, O my Lover, and judge them!”
Ah, but thy justice was vigilant.
A mother’s tears were shed on their insolence; the imperishable faith of a lover hid their spears of rebellion in its own wounds.
Thy judgment was in the mute pain of sleepless love: in the blush of the chaste: in the tears of the night of the desolate: in the pale morning-light of forgiveness.
O Terrible, they in their reckless greed climbed thy gate at night, breaking into thy storehouse to rob thee.
But the weight of their plunder grew immense, too heavy to carry or to remove.
Thereupon I cried to thee and said, Forgive them, O Terrible!
Thy forgiveness burst in storms, throwing them down, scattering their thefts in the dust.
Thy forgiveness was in the thunder-stone; in the shower of blood; in the angry red of the sunset.
Upagupta, the disciple of Buddha, lay asleep on the dust by the city wall of Mathura.
Lamps were all out, doors were all shut, and stars were all hidden by the murky sky of August.
Whose feet were those tinkling with anklets, touching his breast of a sudden?
He woke up startled, and the light from a woman’s lamp struck his forgiving eyes.
It was the dancing girl, starred with jewels, clouded with a pale-blue mantle, drunk with the wine of her youth.
She lowered her lamp and saw the young face, austerely beautiful.
“Forgive me, young ascetic,” said the woman; “graciously come to my house. The dusty earth is not a fit bed for you.”
The ascetic answered, “Woman, go on your way; when the time is ripe I will come to you.”
Suddenly the black night showed its teeth in a flash of lightning.
The storm growled from the corner of the sky, and the woman trembled in fear.
. . . . . . . . . . . . . . . . . . .
The branches of the wayside trees were aching with blossom.
Gay notes of the flute came floating in the warm spring air from afar.
The citizens had gone to the woods, to the festival of flowers.
From the mid-sky gazed the full moon on the shadows of the silent town.
The young ascetic was walking in the lonely street, while overhead the lovesick _koels_ urged from the mango branches their sleepless plaint.
Upagupta passed through the city gates, and stood at the base of the rampart.
What woman lay in the shadow of the wall at his feet, struck with the black pestilence, her body spotted with sores, hurriedly driven away from the town?
The ascetic sat by her side, taking her head on his knees, and moistened her lips with water and smeared her body with balm.
“Who are you, merciful one?” asked the woman.
“The time, at last, has come to visit you, and I am here,” replied the young ascetic.
This is no mere dallying of love between us, my lover.
Again and again have swooped down upon me the screaming nights of storm, blowing out my lamp: dark doubts have gathered, blotting out all stars from my sky.
Again and again the banks have burst, letting the flood sweep away my harvest, and wailing and despair have rent my sky from end to end.
This have I learnt that there are blows of pain in your love, never the cold apathy of death.
The wall breaks asunder, light, like divine laughter, bursts in.
The heart of the night is pierced!
With your flashing sword cut in twain the tangle of doubt and feeble desires!
Come, you who are terrible in your whiteness.
O Light, your drum sounds in the march of fire, and the red torch is held on high; death dies in a burst of splendour!
O fire, my brother, I sing victory to you.
You are the bright red image of fearful freedom.
You swing your arms in the sky, you sweep your impetuous fingers across the harp-string, your dance music is beautiful.
When my days are ended and the gates are opened you will burn to ashes this cordage of hands and feet.
My body will be one with you, my heart will be caught in the whirls of your frenzy, and the burning heat that was my life will flash up and mingle itself in your flame.
The Boatman is out crossing the wild sea at night.
The mast is aching because of its full sails filled with the violent wind.
Stung with the night’s fang the sky falls upon the sea, poisoned with black fear.
The waves dash their heads against the dark unseen, and the Boatman is out crossing the wild sea.
The Boatman is out, I know not for what tryst, startling the night with the sudden white of his sails.
I know not at what shore, at last, he lands to reach the silent courtyard where the lamp is burning and to find her who sits in the dust and waits.
What is the quest that makes his boat care not for storm nor darkness?
Is it heavy with gems and pearls?
Ah, no, the Boatman brings with him no treasure, but only a white rose in his hand and a song on his lips.
It is for her who watches alone at night with her lamp burning.
She dwells in the wayside hut. Her loose hair flies in the wind and hides her eyes.
The storm shrieks through her broken doors, the light flickers in her earthen lamp flinging shadows on the walls.
Through the howl of the winds she hears him call her name, she whose name is unknown.
It is long since the Boatman sailed. It will be long before the day breaks and he knocks at the door.
The drums will not be beaten and none will know.
Only light shall fill the house, blessed shall be the dust, and the heart glad.
All doubts shall vanish in silence when the Boatman comes to the shore.
I cling to this living raft, my body, in the narrow stream of my earthly years.
I leave it when the crossing is over. And then?
I do not know if the light there and the darkness are the same.
The Unknown is the perpetual freedom:
He is pitiless in his love.
He crushes the shell for the pearl, dumb in the prison of the dark.
You muse and weep for the days that are done, poor heart!
Be glad that days are to come!
The hour strikes, O pilgrim!
It is time for you to take the parting of the ways!
His face will be unveiled once again and you shall meet.
Over the relic of Lord Buddha King Bimbisār built a shrine, a salutation in white marble.
There in the evening would come all the brides and daughters of the King’s house to offer flowers and light lamps.
When the son became king in his time he washed his father’s creed away with blood, and lit sacrificial fires with its sacred books.
The autumn day was dying.
The evening hour of worship was near.
Shrimati, the queen’s maid, devoted to Lord Buddha, having bathed in holy water, and decked the golden tray with lamps and fresh white blossoms, silently raised her dark eyes to the queen’s face.
The queen shuddered in fear and said, “Do you not know, foolish girl, that death is the penalty for whoever brings worship to Buddha’s shrine?
“Such is the king’s will.”
Shrimati bowed to the queen, and turning away from her door came and stood before Amitā, the newly wed bride of the king’s son.
A mirror of burnished gold on her lap, the newly wed bride was braiding her dark long tresses and painting the red spot of good luck at the parting of her hair.
Her hands trembled when she saw the young maid, and she cried, “What fearful peril would you bring me! Leave me this instant.”
Princess Shuklā sat at the window reading her book of romance by the light of the setting sun.
She started when she saw at her door the maid with the sacred offerings.
Her book fell down from her lap, and she whispered in Shrimati’s ears, “Rush not to death, daring woman!”
Shrimati walked from door to door.
She raised her head and cried, “O women of the king’s house, hasten!
“The time for our Lord’s worship is come!”
Some shut their doors in her face and some reviled her.
The last gleam of daylight faded from the bronze dome of the palace tower.
Deep shadows settled in street corners: the bustle of the city was hushed: the gong at the temple of Shiva announced the time of the evening prayer.
In the dark of the autumn evening, deep as a limpid lake, stars throbbed with light, when the guards of the palace garden were startled to see through the trees a row of lamps burning at the shrine of Buddha.
They ran with their swords unsheathed, crying, “Who are you, foolish one, reckless of death?”
“I am Shrimati,” replied a sweet voice, “the servant of Lord Buddha.”
The next moment her heart’s blood coloured the cold marble with its red.
And in the still hour of stars died the light of the last lamp of worship at the foot of the shrine.
The day that stands between you and me makes her last bow of farewell.
The night draws her veil over her face, and hides the one lamp burning in my chamber.
Your dark servant comes noiselessly and spreads the bridal carpet for you to take your seat there alone with me in the wordless silence till night is done.
My night has passed on the bed of sorrow, and my eyes are tired. My heavy heart is not yet ready to meet morning with its crowded joys.
Draw a veil over this naked light, beckon aside from me this glaring flash and dance of life.
Let the mantle of tender darkness cover me in its folds, and cover my pain awhile from the pressure of the world.
The time is past when I could repay her for all that I received.
Her night has found its morning and thou hast taken her to thy arms: and to thee I bring my gratitude and my gifts that were for her.
For all hurts and offences to her I come to thee for forgiveness.
I offer to thy service those flowers of my love that remained in bud when she waited for them to open.
I found a few old letters of mine carefully hidden in her box—a few small toys for her memory to play with.
With a timorous heart she tried to steal these trifles from time’s turbulent stream, and said, “These are mine only!”
Ah, there is no one now to claim them, who can pay their price with loving care, yet here they are still.
Surely there is love in this world to save her from utter loss, even like this love of hers that saved these letters with such fond care.
Bring beauty and order into my forlorn life, woman, as you brought them into my house when you lived.
Sweep away the dusty fragments of the hours, fill the empty jars, and mend all that has been neglected.
Then open the inner door of the shrine, light the candle, and let us meet there in silence before our God.
The pain was great when the strings were being tuned, my Master!
Begin your music, and let me forget the pain; let me feel in beauty what you had in your mind through those pitiless days.
The waning night lingers at my doors, let her take her leave in songs.
Pour your heart into my life strings, my Master, in tunes that descend from your stars.
In the lightning flash of a moment I have seen the immensity of your creation in my life—creation through many a death from world to world.
I weep at my unworthiness when I see my life in the hands of the unmeaning hours,—but when I see it in your hands I know it is too precious to be squandered among shadows.
I know that at the dim end of some day the sun will bid me its farewell.
Shepherds will play their pipes beneath the banyan trees, and cattle graze on the slope by the river, while my days will pass into the dark.
This is my prayer, that I may know before I leave why the earth called me to her arms.
Why her night’s silence spoke to me of stars, and her daylight kissed my thoughts into flower.
Before I go may I linger over my last refrain, completing its music, may the lamp be lit to see your face and the wreath woven to crown you.
What music is that in whose measure the world is rocked?
We laugh when it beats upon the crest of life, we shrink in terror when it returns into the dark.
But the play is the same that comes and goes with the rhythm of the endless music.
You hide your treasure in the palm of your hand, and we cry that we are robbed.
But open and shut your palm as you will, the gain and the loss are the same.
At the game you play with your own self you lose and win at once.
I have kissed this world with my eyes and my limbs; I have wrapt it within my heart in numberless folds; I have flooded its days and nights with thoughts till the world and my life have grown one,—and I love my life because I love the light of the sky so enwoven with me.
If to leave this world be as real as to love it—then there must be a meaning in the meeting and the parting of life.
If that love were deceived in death, then the canker of this deceit would eat into all things, and the stars would shrivel and grow black.
The Cloud said to me, “I vanish”; the Night said, “I plunge into the fiery dawn.”
The Pain said, “I remain in deep silence as his footprint.”
“I die into the fulness,” said my life to me.
The Earth said, “My lights kiss your thoughts every moment.”
“The days pass,” Love said, “but I wait for you.”
Death said, “I ply the boat of your life across the sea.”
Tulsidas, the poet, was wandering, deep in thought, by the Ganges, in that lonely spot where they burn their dead.
He found a woman sitting at the feet of the corpse of her dead husband, gaily dressed as for a wedding.
She rose as she saw him, bowed to him, and said, “Permit me, Master, with your blessing, to follow my husband to heaven.”
“Why such hurry, my daughter?” asked Tulsidas. “Is not this earth also His who made heaven?”
“For heaven I do not long,” said the woman. “I want my husband.”
Tulsidas smiled and said to her, “Go back to your home, my child. Before the month is over you will find your husband.”
The woman went back with glad hope. Tulsidas came to her every day and gave her high thoughts to think, till her heart was filled to the brim with divine love.
When the month was scarcely over, her neighbours came to her, asking, “Woman, have you found your husband?”
The widow smiled and said, “I have.”
Eagerly they asked, “Where is he?”
“In my heart is my lord, one with me,” said the woman.
You came for a moment to my side and touched me with the great mystery of the woman that there is in the heart of creation.
She who is ever returning to God his own outflo wing of sweetness; she is the ever fresh beauty and youth in nature; she dances in the bubbling streams and sings in the morning light; she with heaving waves suckles the thirsty earth; in her the Eternal One breaks in two in a joy that no longer may contain itself, and overflows in the pain of love.
Who is she who dwells in my heart, the woman forlorn for ever?
I wooed her and I failed to win her. I decked her with wreaths and sang in her praise.
A smile shone in her face for a moment, then it faded.
“I have no joy in thee,” she cried, the woman in sorrow.
I bought her jewelled anklets and fanned her with a fan gem-studded; I made her a bed on a bedstead of gold.
There flickered a gleam of gladness in her eyes, then it died.
“I have no joy in these,” she cried, the woman in sorrow.
I seated her upon a car of triumph and drove her from end to end of the earth.
Conquered hearts bowed down at her feet, and shouts of applause rang in the sky.
Pride shone in her eyes for a moment, then it was dimmed in tears.
“I have no joy in conquest,” she cried, the woman in sorrow.
I asked her, “Tell me whom do you seek?”
She only said, “I wait for him of the unknown name.”
Days pass by and she cries, “When will my beloved come whom I know not, and be known to me for ever?”
Yours is the light that breaks forth from the dark, and the good that sprouts from the cleft heart of strife.
Yours is the house that opens upon the world, and the love that calls to the battlefield.
Yours is the gift that still is a gain when everything is a loss, and the life that flows through the caverns of death.
Yours is the heaven that lies in the common dust, and you are there for me, you are there for all.
When the weariness of the road is upon me, and the thirst of the sultry day; when the ghostly hours of the dusk throw their shadows across my life, then I cry not for your voice only, my friend, but for your touch.
There is an anguish in my heart for the burden of its riches not given to you.
The first poem of Fruit-Gathering immediately establishes a voice of readiness and incompletion: the speaker asks to be bid to gather fruits, though some are lost and some not ripe. This opening tension—between fullness and loss, between the call to action and the awareness of imperfection—runs through the collection. Tagore, who translated these poems from his own Bengali, uses a spare, lyrical English that often turns on paradox: the garden has yielded its all, yet the call comes in the weary hour of evening. The poems are numbered but untitled, creating a sequence that feels like a single unfolding meditation rather than a set of discrete pieces.
The Unread Letter and the Hidden Signal
Several poems return to the image of a message that cannot be read by conventional means. In poem IV, the speaker wakes to find a letter but cannot read it; he will not trouble the wise man with his books. Instead, he lets the rustling leaves read it aloud, the rushing stream chant it, and the seven wise stars sing it from the sky. The unread letter lightens burdens and turns thoughts into songs—a knowledge that bypasses intellect. Poem V reframes this: a handful of dust once hid the signal, but now the speaker reads it in all that hid it before—petals, waves, hill summits. The error was in turning the face away. These poems suggest that spiritual insight is not acquired through study but through a shift in attention, a willingness to find meaning in the material world.
The Woman Who Waits for the Unknown Name
A striking figure appears in poems LVI and LVII: a woman who dwells in the speaker's heart, described as forlorn forever. She is the woman in sorrow who rejects wreaths, jewelled anklets, a golden bed, and even a car of triumph. She cries, 'I have no joy in thee,' 'I have no joy in these,' 'I have no joy in conquest.' When asked whom she seeks, she answers: 'I wait for him of the unknown name.' This figure is both a personification of the soul's longing and a counterpoint to the earlier poem LV, where Tulsidas guides a widow to find her husband not in heaven but in her own heart. The woman in LVII remains unfulfilled, her waiting unresolved within the excerpt—a reminder that the collection does not offer easy closure.
Paradoxes of Loss and Gain
Tagore frequently inverts expected values. Poem LVIII declares: 'Yours is the gift that still is a gain when everything is a loss, and the life that flows through the caverns of death.' The heaven that lies in common dust, the light that breaks from dark, the good that sprouts from strife—these are not consolations but assertions that opposites coexist. Poem LIX shifts to a more intimate register: the speaker cries not for the friend's voice but for the touch, and feels anguish for the burden of riches not given. The hand reached through the night becomes a tangible connection across loneliness. The collection's structure, moving from the general to the personal and back, mirrors this pattern of seeking the eternal in the immediate, the whole in the fragment.
Readers approaching Fruit-Gathering will find a sequence best taken slowly, poem by poem, allowing the recurring images—the boat, the road, the bud, the dust—to accumulate meaning. Tagore's English, while polished, retains a syntax that sometimes echoes Bengali rhythms; reading aloud can reveal the musicality beneath the spare lines. The poems do not argue a thesis but enact a search, and the gaps between them are as significant as the words. Pay attention to the shifts in address: the Master, the king, the friend, the unknown beloved—each names a different facet of longing.
Reading Tagore’s unread letter, I remembered sitting on my grandmother’s porch, waiting for a sign I couldn’t name. Years later, a slim volume of playful imitations brought back that same ache—how homage and longing both reach for something just out of grasp. A Century of Parody and Imitation — A Reader’s Guide felt like finding her old letters, half-joking, half-tender, never sent.
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Diane Jones - 1 month ago
Fruit Gathering, while containing moments of poetic brilliance, suffers from a lack of cohesion and often drifts into obscure symbolism that feels detached. The poems, though lyrical, don't always connect with the reader on an emotional level. For those new to Tagore, this might be a challenging start compared to his more accessible works like Gitanjali. -
Shelley Torres - 2 weeks ago
Fruit Gathering is a sublime collection of poems that celebrates the beauty of nature and human emotion. Tagore's lyrical mastery shines through each verse, offering profound insights and a sense of peace. This book is a treasure for poetry lovers, and I find myself returning to its pages for inspiration and solace. -
Tammy Brandon Lewis - 1 week ago
Fruit Gathering is a decent collection of Tagore's poems, with some truly beautiful pieces that resonate deeply. However, the overall tone can feel repetitive, and a few poems lack the freshness of his earlier works. Still, it's a solid read for those exploring classic Indian poetry.
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Emma Mitchell
1 month ago