The gardener — A Reader’s Guide
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The gardener — A Reader’s Guide can be approached with a clearer sense of reading commitment from its source measurements: 16,967 words, 1 hr 14 min estimated reading time, and 3 detected text sections.
The text analysis averages about 15.8 words per sentence, while the detected sections provide another way to judge how the source is divided.
Project Gutenberg metadata also associates the work with “Indic poetry -- Translations into English,” connecting these edition facts with the source record’s subject description.
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Read the Text
Languor was still upon the eyes of the dawn, and the dew in the air. The lazy smell of the damp grass hung in the thin mist above the earth. Under the banyan tree you were milking the cow with your hands, tender and fresh as butter. And I was standing still.
I did not say a word. It was the bird that sang unseen from the thicket. The mango tree was shedding its flowers upon the village road, and the bees came humming one by one. On the side of the pond the gate of _Shiva's_ temple was opened and the worshipper had begun his chants. With the vessel on your lap you were milking the cow. I stood with my empty can.
I did not come near you. The sky woke with the sound of the gong at the temple. The dust was raised in the road from the hoofs of the driven cattle. With the gurgling pitchers at their hips, women came from the river. Your bracelets were jingling, and foam brimming over the jar. The morning wore on and I did not come near you.
I was walking by the road, I do not know why, when the noonday was past and bamboo branches rustled in the wind. The prone shadows with their out-stretched arms clung to the feet of the hurrying light. The _koels_ were weary of their songs. I was walking by the road, I do not know why.
The hut by the side of the water is shaded by an overhanging tree. Some one was busy with her work, and her bangles made music in the corner. I stood before this hut, I know not why.
The narrow winding road crosses many a mustard field, and many a mango forest. It passes by the temple of the village and the market at the river landing place. I stopped by this hut, I do not know why.
Years ago it was a day of breezy March when the murmur of the spring was languorous, and mango blossoms were dropping on the dust. The rippling water leapt and licked the brass vessel that stood on the landing step. I think of that day of breezy March, I do not know why.
Shadows are deepening and cattle returning to their folds. The light is grey upon the lonely meadows, and the villagers are waiting for the ferry at the bank. I slowly return upon my steps, I do not know why.
I run as a musk-deer runs in the shadow of the forest mad with his own perfume. The night is the night of mid-May, the breeze is the breeze of the south. I lose my way and I wander, I seek what I cannot get, I get what I do not seek.
From my heart comes out and dances the image of my own desire. The gleaming vision flits on. I try to clasp it firmly, it eludes me and leads me astray. I seek what I cannot get, I get what I do not seek.
Hands cling to hands and eyes linger on eyes: thus begins the record of our hearts. It is the moonlit night of March; the sweet smell of _henna_ is in the air; my flute lies on the earth neglected and your garland of flowers in unfinished. This love between you and me is simple as a song.
Your veil of the saffron colour makes my eyes drunk. The jasmine wreath that you wove me thrills to my heart like praise. It is a game of giving and withholding, revealing and screening again; some smiles and some little shyness, and some sweet useless struggles. This love between you and me is simple as a song.
No mystery beyond the present; no striving for the impossible; no shadow behind the charm; no groping in the depth of the dark. This love between you and me is simple as a song.
We do not stray out of all words into the ever silent; we do not raise our hands to the void for things beyond hope. It is enough what we give and we get. We have not crushed the joy to the utmost to wring from it the wine of pain. This love between you and me is simple as a song.
The yellow bird sings in their tree and makes my heart dance with gladness. We both live in the same village, and that is our one piece of joy. Her pair of pet lambs come to graze in the shade of our garden trees. If they stray into our barley field, I take them up in my arms. The name of our village is Khanjan, and Anjan they call our river. My name is known to all the village, and her name is Ranjan.
Only one field lies between us. Bees that have hived in our grove go to seek honey in theirs. Flowers launched from their landing-stairs come floating by the stream where we bathe. Baskets of dried _kusm_ flowers come from their fields to our market. The name of our village is Khanjan, and Anjan they call our river. My name is known to all the village, and her name is Ranjan.
The lane that winds to their house is fragrant in the spring with mango flowers. When their linseed is ripe for harvest the hemp is in bloom in our field. The stars that smile on their cottage send us the same twinkling look. The rain that floods their tank makes glad our _kadam_ forest. The name of our village is Khanjan, and Anjan they call our river. My name is known to all the village, and her name is Ranjan.
When the two sisters go to fetch water, they come to this spot and they smile. They must be aware of somebody who stands behind the trees whenever they go to fetch water.
The two sisters whisper to each other when they pass this spot. They must have guessed the secret of that somebody who stands behind the trees whenever they go to fetch water.
Their pitchers lurch suddenly, and water spills when they reach this spot. They must have found out that somebody's heart is beating who stands behind the trees whenever they go to fetch water.
The two sisters glance at each other when they come to this spot, and they smile. There is a laughter in their swift-stepping feet, which makes confusion in somebody's mind who stands behind the trees whenever they go to fetch water.
You walked by the riverside path with the full pitcher upon your hip. Why did you swiftly turn your face and peep at me through your fluttering veil? That gleaming look from the dark came upon me like a breeze that sends a shiver through the rippling water and sweeps away to the shadowy shore. It came to me like the bird of the evening that hurriedly flies across the lampless room from the one open window to the other, and disappears in the night. You are hidden as a star behind the hills, and I am a passer-by upon the road. But why did you stop for a moment and glance at my face through your veil while you walked by the riverside path with the full pitcher upon your hip?
Day after day he comes and goes away. Go, and give him a flower from my hair, my friend. If he asks who was it that sent it, I entreat you do not tell him my name--for he only comes and goes away.
He sits on the dust under the tree. Spread there a seat with flowers and leaves, my friend. His eyes are sad, and they bring sadness to my heart. He does not speak what he has in mind; he only comes and goes away.
Why did he choose to come to my door, the wandering youth, when the day dawned? As I come in and out I pass by him every time, and my eyes are caught by his face. I know not if I should speak to him or keep silent. Why did he choose to come to my door?
The cloudy nights in July are dark; the sky is soft blue in the autumn; the spring days are restless with the south wind. He weaves his songs with fresh tunes every time. I turn from my work and my eyes fill with the mist. Why did he choose to come to my door?
When she passed by me with quick steps, the end of her skirt touched me. From the unknown island of a heart came a sudden warm breath of spring. A flutter of a flitting touch brushed me and vanished in a moment, like a torn flower petal blown in the breeze. It fell upon my heart like a sigh of her body and whisper of her heart.
Why do you sit there and jingle your bracelets in mere idle sport? Fill your pitcher. It is time for you to come home.
Why do you stir the water with your hands and fitfully glance at the road for some one in mere idle sport? Fill your pitcher and come home.
The morning hours pass by--the dark water flows on. The waves are laughing and whispering to each other in mere idle sport.
The wandering clouds have gathered at the edge of the sky on yonder rise of the land. They linger and look at your face and smile in mere idle sport. Fill your pitcher and come home.
Do not keep to yourself the secret of your heart, my friend! Say it to me, only to me, in secret. You who smile so gently, softly whisper, my heart will hear it, not my ears.
The night is deep, the house is silent, the birds' nests are shrouded with sleep. Speak to me through hesitating tears, through faltering smiles, through sweet shame and pain, the secret of your heart!
"Come to us, youth, tell us truly why there is madness in your eyes?" "I know not what wine of wild poppy I have drunk, that there is this madness in my eyes." "Ah, shame!" "Well, some are wise and some foolish, some are watchful and some careless. There are eyes that smile and eyes that weep--and madness is in my eyes."
"Youth, why do you stand so still under the shadow of the tree?" "My feet are languid with the burden of my heart, and I stand still in the shadow." "Ah, shame!" "Well, some march on their way and some linger, some are free and some are fettered--and my feet are languid with the burden of my heart."
"What comes from your willing hands I take. I beg for nothing more." "Yes, yes, I know you, modest mendicant, you ask for all that one has."
"If there be a stray flower for me I will wear it in my heart." "But if there be thorns?" "I will endure them." "Yes, yes, I know you, modest mendicant, you ask for all that one has."
"If but once you should raise your loving eyes to my face it would make my life sweet beyond death." "But if there by only cruel glances?" "I will keep them piercing my heart." "Yes, yes, I know you, modest mendicant, you ask for all that one has."
"Trust love even if it brings sorrow. Do not close up your heart." "Ah no, my friend, your words are dark, I cannot understand them."
"The heart is only for giving away with a tear and a song, my love." "Ah no, my friend, your words are dark, I cannot understand them."
"Pleasure is frail like a dewdrop, while it laughs it dies. But sorrow is strong and abiding. Let sorrowful love wake in your eyes." "Ah no, my friend, your words are dark, I cannot understand them."
"The lotus blooms in the sight of the sun, and loses all that it has. It would not remain in bud in the eternal winter mist." "Ah no, my friend, your words are dark, I cannot understand them."
Your questioning eyes are sad. They seek to know my meaning as the moon would fathom the sea. I have bared my life before your eyes from end to end, with nothing hidden or held back. That is why you know me not. If it were only a gem I could break it into a hundred pieces and string them into a chain to put on your neck. If it were only a flower, round and small and sweet, I could pluck it from its stem to set it in your hair. But it is a heart, my beloved. Where are its shores and its bottom? You know not the limits of this kingdom, still you are its queen. If it were only a moment of pleasure it would flower in an easy smile, and you could see it and read it in a moment. If it were merely a pain it would melt in limpid tears, reflecting its inmost secret without a word. But it is love, my beloved. Its pleasure and pain are boundless, and endless its wants and wealth. It is as near to you as your life, but you can never wholly know it.
Speak to me, my love! Tell me in words what you sang. The night is dark. The stars are lost in clouds. The wind is sighing through the leaves. I will let loose my hair. My blue cloak will cling round me like night. I will clasp your head to my bosom; and there in the sweet loneliness murmur on your heart. I will shut my eyes and listen. I will not look in your face. When your words are ended, we will sit still and silent. Only the trees will whisper in the dark. The night will pale. The day will dawn. We shall look at each other's eyes and go on our different paths. Speak to me, my love! Tell me in words what you sang.
You are the evening cloud floating in the sky of my dreams. I paint you and fashion you ever with my love longings. You are my own, my own, Dweller in my endless dreams!
Your feet are rosy-red with the glow of my heart's desire, Gleaner of my sunset songs! Your lips are bitter-sweet with the taste of my wine of pain. You are my own, my own, Dweller in my lonesome dreams!
With the shadow of my passion have I darkened your eyes, Haunter of the depth of my gaze! I have caught you and wrapt you, my love, in the net of my music. You are my own, my own, Dweller in my deathless dreams!
My heart, the bird of the wilderness, has found its sky in your eyes. They are the cradle of the morning, they are the kingdom of the stars. My songs are lost in their depths. Let me but soar in that sky, in its lonely immensity. Let me but cleave its clouds and spread wings in its sunshine.
Tell me if this be all true, my lover, tell me if this be true. When these eyes flash their lightning the dark clouds in your breast make stormy answer. Is it true that my lips are sweet like the opening bud of the first conscious love? Do the memories of vanished months of May linger in my limbs? Does the earth, like a harp, shiver into songs with the touch of my feet? Is it then true that the dewdrops fall from the eyes of night when I am seen, and the morning light is glad when it wraps my body round? Is it true, is it true, that your love travelled alone through ages and worlds in search of me? That when you found me at last, your age-long desire found utter peace in my gentle speech and my eyes and lips and flowing hair? Is it then true that the mystery of the Infinite is written on this little forehead of mine? Tell me, my lover, if all this be true.
I love you, beloved. Forgive me my love. Like a bird losing its way I am caught. When my heart was shaken it lost its veil and was naked. Cover it with pity, beloved, and forgive me my love.
If you cannot love me, beloved, forgive me my pain. Do not look askance at me from afar. I will steal back to my corner and sit in the dark. With both hands I will cover my naked shame. Turn your face from me, beloved, and forgive me my pain.
If you love me, beloved, forgive me my joy. When my heart is borne away by the flood of happiness, do not smile at my perilous abandonment. When I sit on my throne and rule you with my tyranny of love, when like a goddess I grant you my favour, bear with my pride, beloved, and forgive me my joy.
Do not go, my love, without asking my leave. I have watched all night, and now my eyes are heavy with sleep. I fear lest I lose you when I am sleeping. Do not go, my love, without asking my leave.
I start up and stretch my hands to touch you. I ask myself, "Is it a dream?" Could I but entangle your feet with my heart and hold them fast to my breast! Do not go, my love, without asking my leave.
Lest I should know you too easily, you play with me. You blind me with flashes of laughter to hide your tears. I know, I know your art. You never say the word you would.
Lest I should not prize you, you elude me in a thousand ways. Lest I should confuse you with the crowd, you stand aside. I know, I know your art, You never walk the path you would.
Your claim is more than that of others, that is why you are silent. With playful carelessness you avoid my gifts. I know, I know your art, You never will take what you would.
He whispered, "My love, raise your eyes." I sharply chid him, and said "Go!"; but he did not stir. He stood before me and held both my hands. I said, "Leave me!"; but he did not go.
He brought his face near my ear. I glanced at him and said, "What a shame!"; but he did not move. His lips touched my cheek. I trembled and said, "You dare too much;" but he had no shame.
He put a flower in my hair. I said, "It is useless!"; but he stood unmoved. He took the garland from my neck and went away. I weep and ask my heart, "Why does he not come back?"
Would you put your wreath of fresh flowers on my neck, fair one? But you must know that the one wreath that I had woven is for the many, for those who are seen in glimpses, or dwell in lands unexplored, or live in poets' songs.
It is too late to ask my heart in return for yours. There was a time when my life was like a bud, all its perfume was stored in its core. Now it is squandered far and wide. Who knows the enchantment that can gather and shut it up again? My heart is not mine to give to one only, it is given to the many.
My love, once upon a time your poet launched a great epic in his mind. Alas, I was not careful, and it struck your ringing anklets and came to grief. It broke up into scraps of songs and lay scattered at your feet. All my cargo of the stories of old wars was tossed by the laughing waves and soaked in tears and sank. You must make this loss good to me, my love. If my claims to immortal fame after death are shattered, make me immortal while I live. And I will not mourn for my loss nor blame you.
I try to weave a wreath all the morning, but the flowers slip and they drop out. You sit there watching me in secret through the corner of your prying eyes. Ask those eyes, darkly planning mischief, whose fault it was.
I try to sing a song, but in vain. A hidden smile trembles on your lips, ask of it the reason of my failure. Let your smiling lips say on oath how my voice lost itself in silence like a drunken bee in the lotus.
It is evening, and the time for the flowers to close their petals. Give me leave to sit by your side, and bid my lips to do the work that can be done in silence and in the dim light of stars.
The volume opens with a dramatic dialogue between a servant and a queen, a scene that establishes the book's central tension between service and desire. The servant asks to be made the gardener of the queen's flower garden, renouncing swords and conquests for the duty of keeping paths fresh and swinging her among saptaparna branches. His promised rewards—holding her fists like lotus-buds, tingeing her soles with ashoka juice—are tactile and intimate, grounding the exchange in sensory detail rather than abstract devotion.
This initial poem sets a pattern: many pieces in The Gardener are structured as direct address or miniature dramas, with speakers who plead, question, or confess. The queen's final line—"Your prayers are granted, my servant"—grants a wish that immediately complicates the power dynamic, a move Tagore repeats throughout the collection.
Dialogue as a Mode of Longing
Several poems in The Gardener are cast as conversations or monologues directed at a silent listener. The second poem features a poet who is asked whether he hears "the message of the hereafter" and replies by describing his watch for "young straying hearts" and the need to weave their songs. The questioner's voice is never heard again; the poet's answer becomes a self-justification for remaining engaged with the world rather than retreating into contemplation of death.
Other pieces use a similar structure: a speaker addresses a beloved, a traveller, or an abstraction like Beauty or Peace. The effect is to create a sense of urgent presence—the reader overhears a plea or a confession that expects no reply. In poem 63, the repeated question "Traveller, must you go?" is answered only by the traveller's silence, and the speaker's helplessness is rendered through small, concrete details: "Your horse stands saddled at the gate."
Flowers, Dust, and the Material of Devotion
Tagore's imagery draws repeatedly on flowers, dust, and the physical objects of care. The servant in the opening poem promises to "keep fresh the grassy path" and to "decorate your footstool with sandal and saffron paste." These are not metaphors for abstract love; they are tasks that involve the hands. Later, a blind girl offers a flower chain in a lotus leaf, and the speaker kisses her, saying she is "blind even as the flowers are."
Dust appears as a mark of intimacy: the servant asks to "kiss away the speck of dust that may chance to linger" on the queen's feet. In poem 56, the speaker laments that her love has been dragged into the open, leaving her "stripped naked before the world with its lidless eyes." The contrast between sheltered corners and exposed ground recurs, often tied to the vulnerability of being seen.
The Poet's Evening and the Threshold of Parting
Evening and night are the dominant temporal settings. The poet in poem 2 listens "because some one may call from the village, late though it be." The early evening star disappears, a funeral pyre glows by the river, and jackals cry in a deserted courtyard. This is not a peaceful dusk but a charged threshold between day and darkness, life and death, presence and absence.
Parting is a recurring event, often treated with a ritual quality. Poem 61 urges the heart to let the parting be "sweet" and "not a death but completeness." The speaker asks for "the last touch of your hands" to be "gentle like the flower of the night." The language of ending is softened into imagery of folding wings and fading light, yet the pain remains explicit: in poem 57, the speaker says, "I plucked your flower, O world! I pressed it to my heart and the thorn pricked." The flower fades, but the pain remains.
The Self-Consciousness of Translation
Tagore's preface states that the translations are "not always literal—the originals being sometimes abridged and sometimes paraphrased." This editorial note is a rare glimpse into the author's own hand as translator. The English versions bear the mark of a poet reshaping his work for a new audience, choosing which images to retain and which to condense.
One consequence is a certain spareness: the poems often rely on short lines and simple syntax, with few adjectives. The queen's speech in the opening poem is direct: "What folly is this?" and "What will your duties be?" The servant's replies are elaborate but not ornate. This restraint may reflect Tagore's deliberate choice to prioritize clarity over ornament, or it may be a trace of the abridgment he mentions. Readers familiar with Bengali poetry may sense a compression that gives the English versions a distinctive, almost brittle quality.
These poems reward attention to their small, precise details: the "red juice of ashoka petals," the "scented oil" for the lamp, the "worn-out moon" that lights the jackals' cries. Tagore's speakers are often caught between roles—servant and lover, poet and watchman, the one who stays and the one who leaves. The collection does not resolve these tensions but lets them stand, each poem a momentary arrangement of longing and loss.
That Tagore collection left me thinking about thresholds—those quiet spaces where parting and meeting blur. It reminded me of another book I once held, Rhymes of the Survey and Frontier — Inside the Classic, where the land itself feels like a lover’s boundary. Both linger like dust on a windowsill, softly settling long after you’ve turned the last page.
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