Tuesday, 26 May 2015

Love and Longing Tagore Style



The Tagore buzz is still on and so here is another paraphrase. Did I just hear my regular readers (are there are any?) wail, ‘What, another one?’ To confess, Tagore, has really got under my skin and I can’t help but talk about his works. So begging pardon for this obsession, here is ‘another’ one…..


        This latest discovery belongs to the category of ‘Love and Longing’ and like many of Tagore’s love songs, is both a love song and a hymn. Many of Tagore’s verses, while overtly appearing as love songs can also, in the finest of ‘Bhakti’ traditions wherein the beloved is only another manifestation of the Supreme Being, be interpreted by the discerning listener as hymns to the Almighty.  

              So this one is about unrequited love, about the silent admirer who adores from a distance. Diligently retrieving bits and pieces of the words, glances and touches carelessly thrown away by the adored one, this lover weaves himself a wild and wonderful tapestry of dreams. And so he lives his love in his dreams, never mind that the Adored One is not even aware that he exists, let alone know of his love for her. And though he experiences his love vicariously and finally even rues that what he has are only the pieces and not the whole, I still find it kind of sweet and even poignant. In this day of loud, blatant, in-your-face expression of romance, the idea of a silent admirer living in the dream world he has woven around his Adoration, is not without appeal.

              And for the devotee, the song is a wistful expression of his devotion to the Almighty, of how because She never manifests in person, one can only worship from afar, finding Her in the bits and pieces of Her creations.

Ektuku Choyan Laage….

একটুকু ছোওয়া লাগে



একটুকু ছোঁওয়া লাগে, একটুকু কথা শুনি-
তাই দিয়ে মনে মনে রচি মম ফাল্গুনী ।

কিছু পলাশের নেশা, কিছু না চাঁপায় মেশা,
তাই দিয়ে সুরে সুরে রংগে রসে জাল বুনি ।

যেটুকু কাছেতে আসে ক্ষণিকের ফাঁকে ফাঁকে
চকিত মনের কোণে স্বপনের ছবি আঁকে ।

যেটুকু যায় যে দূরে ভাবনা কাঁপায় সুরে,
তাই নিয়ে যায় বেলা নূপুরের তাল গুনি ।।                                                      


With 
The lightest brush of your touch,
And 

The faintest murmur of your voice,
I compose for me,
My very own 

Spring Symphony!

With 
A tinge of the red of the Palash
And

A whiff of the fragrance of the Champa
I weave for me,
My very own 

Rhythm Tapestry!

And
Whatever little of You,
That slips through
Moment's seams
In my mind’s darkest corners
Draws vivid dreams.

Yet, 
All that of You,
Which, leaving me to rue,
Draws far away:
With the tinkle of anklet bells
Whiles to close,

My day.........

Friday, 13 February 2015

Lest You Forget: Another Tagore Translation

Prologue

Rain and snow have descended with vengeance on this little settlement nestled against the mountains. The afternoon is cold and dim, the mountain tops sprinkled with snow and curtained in clouds, the birds have hidden themselves as have the humans, down in the valley not a single light is lit, only the rain and wind roam wild and the mist swirls all around in gray swathes. I stand shivering on the porch, the hood of my fleece jacket pulled tight against my ears and look around. In that queer half light of an afternoon sun that has hidden itself from the rain and wind, it seems as if my little basti is floating in space on the back of the rain clouds, hemmed on one side by the grim, gray mountains, all alone, lost, forgotten by the real world......
It's all rather forlorn, so I retreat inside to the warmth of my little room, switch on the room heater and my iPad, burying myself deep inside the quilt as Hemanta's soulful voice fills the room with the Poet's terribly sad তবু মনে রেখো (Tobu Mone Rekho, Still, Remember Me).

This one's another of Tagore's jewels, a song for remembrance. It talks of how we continue to live even after death in the thoughts of those who loved us in life.
The verse contains a plaintive plea from the poet to his love, a plea that she continue to remember him even when she has finally reconciled to his loss and has stopped grieving for him. But the song is not just a love-song, for it echoes a want common to all of humanity, the desire to live forever, the desire to be immortal, to live on in the memories of those who come after us.

Of course my version doesn’t compare in any measure to the original, but nevertheless, do read on.

I have also posted a link to a You Tube video of the song in Bengali. Let me know if you like it.
www.youtube.com/watch?v=X5aMrZoOV04

The Original Verse in Bong

Tobu mone rekho
Tobu mone rekho
Jodi dure jai chole
Tobu mone rekho
Jodi puratono prem
Dhaka pore jai nobo-premo-jal
Jodi thaki kacchakacchi,
Dekhite na pao chhayar moton
Aachhi na aachhi -
Tobu mone rekho.
Jodi jol aashe aankhipaate
Ekdin jodi khela theme jaye modhurate,
Tobu mone rekho
Ek din jodi badha pore kaje,
Sharodopraate -
Mone rekho
Jodi poriya mone
Chholochholo jol nai dekha deye noyonokone -
Tobu mone rekho.......


My Translation

Still remember me-
Even
when I have gone
far, far away...
Still,
Remember me!

Still remember me-
Even
when new passions
have overgrown old loves....
Still,
Remember me!

And
that time, when I elude your eyes,
and you wonder
whether I linger yet
there, just beyond the shadow’s edge.....
Remember me
O, still remember me.......

When tears overcast your eyes,
on that mellow night
when my play is done-
Remember me;
Just remember me...

When my work comes to an abrupt end
one balmy autumn morn-
Remember me
O, remember me.....

Then
on that day
when thoughts of me
no more wet
your eyes with tears-
Remember me......
Still,
Remember me......

Wednesday, 4 February 2015

Thoughts on Tagore


The British have an expression: ‘Bee in one’s bonnet’. The Cambridge dictionary says that this phrase means to keep talking about something again and again because you think it is important. Well, at present I have one (a bee, that is) buzzing around in my bonnet. The bee is of Tagore’s poetry. A trifle unusual bee I know, but since it is buzzing fast and strong and is rather compelling; I asked myself: why not share some of this buzz on ‘Blog Land’?

              Why Tagore? Good question. Well, it just so happened that I was surfing TV channels one bored evening and happened to hear the rendition of a Tagore song on DD Bangla. Struck by the melody and of course by the beautiful lyrics, I did a bit of reading around on his life and his poetry. And since then I have been, in one word, hooked.

              Tagore’s poetry has got this unique characteristic: it is insightful and yet does not use difficult words or complicated imagery to achieve this insight. So while reading his poems or listening to them as music, because of their deceptive simplicity, one may at the first go, actually miss the deeper import of his words. Because the language is so very simple, at times even colloquial, one easily understands the meaning of the individual words but strung together as they are in the verse, their exact connotation may not immediately be clear. Majority of Tagore’s poems have been set to music by the poet himself and are known to all as Rabindra Sangeet. He was a multifaceted personality, a talented music composer himself and the music of Rabindra Sangeet is as a result hauntingly beautiful. So even though one may not yet have grasped the connotation of his words, one can keep listening, enjoying the music, the external beauty of the words, their roll and rhythm.... Then one day it might just happen that while listening, the import of the verse hits you suddenly, like epiphany..; and for a moment, you find yourself totally stunned by this realisation, by the irrefutable Truth in his words...! 

              Tagore writes about many things, of love and longing, of devotion and the Creator, of life and its meaning, of death and dying.....; matters we do not usually bother about in the humdrum of our daily life. But with his simple allegories related to everyday life like the lonely boatman, the ebb and flow of the river, the daily bazaar, the village girl worshipping at the tiny roadside shrine or waiting for her love on a darkening night, he compels us to stop and to think, even if just for a blink. His words can actually be considered a religion, with the ability to shape your thought processes and mould your belief systems; but like Sufism, always looking within one’s self, very gentle, very secular, soaked in altruism and devoid of bigotry.

              While the verses of ‘Gitanjali’ were translated into English by the Poet himself, most of his remaining major works in Bengali are without any official English translation. As a result the audience for his works is limited. I feel that this is a sad situation, because in today’s environment of consumerism, growing interpersonal distances, intolerance, bigotry and other such 21st century maladies, Tagore’s words have deep relevance. The world would definitely benefit from a wider interest in his works and consequently, of the ethos therein.

              In fact, there is this song called ‘Shudhu Jaoa Aasha’, or ‘This Coming and Going’ which is a commentary on the relentless and futile pursuit of physical goals by human kind. He talks about how we spend our entire lifetime immersed in back-breaking toil, setting impossible, often pointless objectives and trying to achieve them, while missing out on something that is much, much more important, that is the soul to soul connections between human beings. In this short life, a mere blip in the Universe’s timeline, we are so bogged down by other goals, that we have absolutely no time to work on reaching out to our friends, acquaintances, soul-mates..... and so these associations remain unfinished, incomplete........


Shudu jaoa asha, shudhu shrote bhasa
Shudu alo andhare , kaanda hasha.
Shudhu dyakha paoa, Shudhu chue jaoa
Shudhu dure jete jete kende chaoa
Shudhu nobo durashaye age chole jae
Piche phele jae, miche asha.......Oshesh basona loye banga bol
Pranpon kaje pae bhanga phol.
Bhanga tori dhore bhase parabare
Bhab kende more, bhanga bhasha.
Hridoye, hridoye adho porichoy
Adhkhani kotha sango nahi hoye;
Laje bhoe trashe, adho bishshase
Shudu adhkhani bhalobasa!




Just this coming and this going,
Down the stream, this endless floating,
With tears while in shadows , with smiles while in light
Just this coming and this going.......

Just this a-moment’s meeting,
These half-touches, oh so fleeting.......
Then the pain of tears, at this parting...
Just this coming and this going.......

Just this forward surging,
So fruitless, borne on newer misgivings;
All these broken hopes, in the dust, on departing.....
Just this coming and this going....

With fading strength, yet relentlessly toiling,
With great desires in the heart, still bearing....
Reach failures; only failures lie ahead, a’looming.
Just this coming and this going....

To a broken boat, desperately clinging
Bereft of words, emotions weeping,
Just this coming and this going....

At the meeting of souls,
Words begun do not find completion;
Under fear, reticence, disbelief and trepidation,
Love happens
But comes not to fruition.


              I’ve attempted a paraphrase, although I am fully aware that it is absolutely nowhere near the original. But for those of you who are not familiar with Bengali, I hope it will convey at least an essence of what the poet has said. May be it would even help engage your interest in the Poet’s works and may be you would be encouraged to read the English version of the Gitanjali and perhaps even venture to listen to some Rabindra Sangeet......

Friday, 30 January 2015

Where have all the Kabuliwallahs gone?


I had read ‘Kabuliwallah’, Rabindranath Tagore’s poignant story of a wandering Pathan trader, as part of my school curricula. Funnily, I had not read it in the original Bengali which is my mother tongue, but in Hindi, the story being a chapter in my Hindi Literature course book. But that had not mattered at all, because simply written and easy to absorb, ‘Kabuliwallah’ was one chapter that we were all happy to take exam questions on. And exams questions were what mattered in those days, especially with respect to Hindi and specifically Hindi grammar ( a subject which with it dangerous habit of assigning gender to non living things like tables and chairs, remains a mystery to me till this day)

I have always been fond of reading and in those days I would make it a point to read up both my English and Hindi literature books even before the school reopened for the new session. I would read them, not as chapters to keep ahead of my classmates but as story books, simply for the pure joy of reading. And so I had read ‘Kabuliwallah’ too, long before our Hindi teacher took it up as course material. I had been moved by the bond of affection that blossomed between the ‘Kabuliwallah’, an Afghan dry fruits seller presumably from Kabul and the little girl called Minnie. Aided by Tagore’s vivid narrative, I would picture in my child’s mind the large Afghan dressed in his typical Pathani suit, his broken Hindi coloured with his native Pashto, chatting with the cocky little kid over handfuls of kishmish and kaju. And when, at the end of the story, the now grown up Minnie is unable to recognise and acknowledge her old friend, I would actually feel miffed with the girl and indignantly question as to how one could forget so easily.

And to this day, I have always pictured an Afghan in my mind as this giant with the gentle heart, the ‘Kabuliwallah’ who carries in his jhola an imprint of his child’s palm and for their smiles, bribes little kids with fistfuls of kaju, kishmish, akhrot and khubani .......

“On 16 December 2014, 9 gunmen conducted a terrorist attack on the Army Public School in the northwestern Pakistani city of Peshawar. The militants entered the school and opened fire on school staff and children, killing 145 people, including 132 schoolchildren, ranging between eight and eighteen years of age. Two of the gunmen were Afghani.”
             Can you tell me where the Kabuliwallahs have all gone ?

Saturday, 24 January 2015

Hitchhiking in Hooghly


           Murphy’s Law says: ‘Anything that can go wrong will go wrong’. My friend, Wiki P adds that this phenomenon is caused by the ‘perversity of the universe’. After 42 years on this planet, of which a large chunk was spent suffering under the yoke of this ‘perversity’, I feel sufficiently qualified to add a corollary to this theorem. I call it “Aibee’s Corollary to the Murphy’s Law” and it goes thus: ‘If you had the temerity to think that nothing can go wrong, something will!’

Recently, we (i.e. the Other Half and me) had an early morning flight to catch from Kolkata to Delhi. Since we were not based in Kolkata proper but at one of the numerous Bong-towns that cluster protectively around Kolkata, we decided, that instead of taking the risk of blundering around at unearthly hours of the morning, we would prudently move to the airport the night before and camp at the airport itself for the night. Not wanting to leave anything to chance, we had booked the bus tickets well in advance, packed a ‘dobole’ bed sheet for the ‘camping in the airport’ part, squeezed in a tiffin box with luchie and aloor torkari (a Bong food staple for journeys), pushed in a polythene bag with some last minute fish fries and bundled ourselves onto the five pm South Bengal State Transport Special, direct for Airport Gate No 1.

Right at the beginning of the journey, something unusual happened, a portent of the things to come that I confess, I had totally missed. As I settled down into my seat (it was No 23, the window-side half of a two-seater), a young man who had been hovering in the background announced to my Other Half, “24 is mine!” Other Half, in a manner that was suspiciously and uncharacteristically mild, suggested that a relook of both their tickets could clear the matter. As for myself, after a quick & covert once-over of the young man in question and deciding that he was too “shondesh”y for my tastes, I joined in the ticket-‘re-look’. Strangely, both his and Other Half’s tickets clearly said ‘No 24’ and ‘five pm’, leaving all three of us flummoxed. So Other Half handed over the ticket to the final adjudicating authority, the conductor. The conductor after cursory look dismissed the whole matter with a deprecating nod at the young man, “This ticket was for yesterday!’  In silent triumph, Other Half promptly re-claimed No 24 as the young man retreated into the belly of the bus, duly subdued .

Soon the bus took off and as I snuggled back into the seat, I could not help but wonder “What if it had been our ticket that was of the wrong date?” With the successful resolve of this initial snag, things seemed to look real good for the rest of our journey. The inside of the bus was warm even in this chilly winter evening, the seats did not lack comfort, our luggage (all 80 kgs of it) was snugly secured and the bus which was now hurtling through the darkness with the comforting speed of Harry Potters’s ‘Knight Bus’, promised to drop us at Airport Gate No 1 well within the next three hours. So as I closed my eyes in complete satisfaction at the state of things, I made the fatal mistake of thinking, ‘Things are moving so smoothly, nothing can go wrong now!’ and therefore set the stage for invoking of the Aibee’s Corollary..... Unbeknownst to me, the Universe was already smiling its perverse smile......

Soon we had crossed the halfway mark, and were now zooming through the busy highway, the driver manoeuvring the bus like it were a sleek 2 wheeled Yamaha RX 100 rather than the 200 kilo ( ...I think) giant on 4 wheels. I must have dozed off when the bus came to an abrupt stop, dangerously close to the stately behind of another State Transport giant. ‘Jam, biraat (huge) jam,” announced one Mr Know-it-All, who had just returned after emptying his bladder by the roadside and consequently had had a look at the extent of the jam.  “Will never clear before three hours,” added another gentleman. “Could be even till morning!” came an ominous rejoinder from a monkey-capped, mufflered Nostradamus, declared through clouds of portentous cigarette smoke. So we waited, patiently at first but as the clock ticked and as the prophesies grew more sinister, both of us became increasingly worried. Visions of missing our flight and having to fish out additional 20 grands each to book seats on the next day’s flight, danced in both our heads.

And before I knew it, I was jolted out from my comfy seat by a peremptory, “Get off!” from Other Half. Dazed, I found myself scrambling down the bus with the few pieces of luggage that I could carry and straggling after ‘Other Half’ as he hauled the heavier pieces on the highway towards some unknown destination. He settled me down in the middle of the jam of vehicles, between a huge car-carrier and a largish truck and returned to lug back the remaining luggage. So there I stood, like a zombie, right in the middle of the highway at nine o’clock on a really dark and chilly winter night, too dazed to even wonder of what the subsequent plan of action was. But Other Half was in his element. Returning victoriously with the remaining luggage, he gestured to the driver of a Matador van that was standing on the edge of the road. Immediately the cleaner of the vehicle began picking up our luggage like they were match boxes and hurling them onto the vehicle back. Before I could protest, Other Half had boarded the driver’s cabin, and dragging me in behind him, he happily announced to the driver, “Chalo Bhai.” And we were off.  No, that was an understatement. We were not just ‘off’ we were ‘offfffffff’, flying that is! The matador driver seemed to be some kind of a speed freak and he wove the van through the traffic like a maniac, sometimes wavering so close to the sides of the trucks and buses that I could spot the mud stains on their paintwork, sometimes wildly careening off the road onto the katcha side walk, sometimes shooting across to the other side of the road , right into the face of incoming traffic........, punctuating all this deathly acrobatics with his van’s horn whose guttural shriek punctured my eardrums and turned me temporarily deaf. Oh and did I mention how the moment we had boarded the van the till then impenetrable jam had cleared like a miracle and our South Bengal State Transport giant had simply shot across the road, giving us absolutely no opportunity to re-board it?  Other Half was however ready with his explanations for me, which he delivered at the top of his voice over the shriek of the horn and the rattling of all 80 kilos of luggage at the back of the truck. Fearing we could miss our flight because the jam did not show any signs of clearing, Other Half had requested the van driver if he could try and manoeuvre his van through the jam, his vehicle being small and lithe, and kindly drop us at the nearest town so that we could take a cab from there to the airport. The man had agreed without hesitation and so that was why we were where we were now, racing through the traffic. Of course, Other Half had not envisaged that the jam would clear in a jiffy the moment we had boarded the van! But I could explain that part quite confidently: Aibee Corollary!!!!

So now that the jam had cleared, Other Half requested the van driver, ‘Could you catch the bus?’ Before the words had even left his mouth, the driver had already pressed down on the pedals with vengeance and we shot out of the mass of trucks and carriers to begin a car chase so thrilling and death-defying that it could put to shame the best of Hollywood action flicks. But the effort was of no avail for our SBSTC giant was far-far beyond this little matador’s ilk. Once or twice when we did manage to catch up with the bus, our friend the van driver poked his head out of the vehicle and tried to stop the bus, yelling, “Dada, your passengers here....stop stop...” but in vain. Not one to easily give up, he changed tactics. He asked me to wave at the bus remarking, ‘Seeing ‘ladies’ the driver might stop’. So I dutifully peered out of the window and began gesticulating madly at the bus, but ‘ladies’ or no ‘ladies’, the bus was in no mood to forgive prodigal passengers. By this time, both of us had decided that, no matter, we could easily get down at the next town barely 30 km away and hire a cab which could drop us at the airport in half an hour. But the van driver took the bus’ refusal to stop personally. He began devising newer strategies to force the bus to stop, each one more deadly than the next. So, driven by our instincts of self preservation, we requested the man to drop us at the next toll plaza. He generously kept his offer of dropping us off at the next town open but we were too rattled to take it. So he dropped us off at the toll plaza, generously helping us with our luggage and reiterating his previous offer. But we thanked him and plonked ourselves at the toll plaza, hoping to see our bus. That unfortunately was not to be. The bus had probably long crossed the toll plaza, given its crazy speed and we were stranded with no cab/bus in sight and no Plan B. It was then that the toll plaza guard took pity on us and flagged down another matador, this one slightly smaller than the previous one. When we requested the driver to give us a ride into the next town, his response like that of the previous man was very forthcoming and very positive. So we plonked our luggage onto the van and but this time as the space in the driver’s cabin was limited, we sat in the van’s open back, using our suitcases as seats. And so our bright green matador went on its way, rattling and clanging happily over the highway like Dickens’ ‘Ghost of Christmas Present’. We did get numerous curious looks, from the drivers of trucks travelling on the same road, from the straggly lot of late night passers-by hurrying to their homes in the cold and also from the occasional chai-wallah warming his hands on his tiny kerosene stove. I know we looked pretty incongruous, two city slickers sitting atop branded luggage on the back of a rusty matador van in the middle of the night.......And so that is how we entered Hooghly, over the Bali bridge, the lights of the Dakkhineshwar Kali Mandir twinkling at us in amusement.

And oh, we did reach the airport well in time, albeit after midnight. And so after a filling dinner of aloor torkari, luchie and fish fry, we dutifully rolled out the ‘dobol’ bedsheet over the sparkling (but cold) granite floor of the renovated terminal of NSCB international airport and went to sleep, dreaming of chasing errant SBSTC buses in flying matador vans over the quiet Hooghly..........

And I must not forget to write a special thanks to the driver of the matador van (the stunts-man, that is) for his sheer niceness and artless eagerness to help. I do not know his name but I remember his vehicle number, WB 11C 4840 (though I must confess that when I had memorised the number I had done so as a safeguard in case of any negative incident) and I would like to simply say, ‘Thank you’. I know he is unlikely to read my post. But I hope, that for those of you who do read it, it would help to reinforce/reaffirm your faith in the innate goodness of human beings.

You would agree with me that though I have tried to look at the whole experience humorously, it was not exactly that. Being alone and stranded on a highway in the middle of the night with tons of luggage is not something that can be considered safe anywhere in the world and especially not in India. But strangely and heart-warmingly, at no point of our hitchhiking travail did we experience any negativity, not from the drivers of the vehicles who gladly gave us a ride, not from the toll plaza guards who flagged down the ride for us and especially not from the truck drivers and their staff plying on the highway. There were not even cat calls except the one time when sitting atop the matador, we heard someone calling out ‘Airport, oye airport, airport...!!!’ It was our stunts-man,  the matador driver! He had probably stopped on the way after dropping us off at the toll plaza and now back on the road, had spotted us hitching a ride atop another van. He was waving and smiling in amusement, and as we mouthed ‘thank you’, he gave one final expansive wave and zoomed off into the night. Thank you, WB 11C 4840, may your tribe increase.............

Friday, 23 January 2015

A haiku for Shillong.....

Cloud cast skies
            Pink orchids
                     And a wet green morn
                              Welcome to Shillong....

                           
              

Wednesday, 21 January 2015

Of the Mashi s and Pishi s


Bengalis, herein-after referred to as ‘Bongs’ (no offence meant; it’s just a term of endearment and of course it does make typing easier) are blessed with a language that is not only evolved and evocative but also sweet to the ears. And Bongs have taken this sweetness a step further with their veritable thesaurus of terms for blood relations. Let me elaborate.

While boring old English refers to the all types of aunts, uncles, nephews and nieces as simply aunts, uncles, nephews and nieces, Bongs have different forms of address for the different kinds of aunts, uncles, nephews, nieces and all other sundry relations that can exist in a family. I am personally blessed with loads of uncles and aunts, both on my mother's and father's sides and I have different names of address for each one of them. Pan India (barring a few variations) one’s mother’s sister is a ‘Mousi/Mashi/Masi and brother a ‘Mama’, one’s father’s brother a Chacha/Kaku and sister a ‘Bua/Pishi’. Now this is ok provided you have one, or at the most two of each. What happens, if like me, you have about half a dozen of each on either side? Now addressing elders by their names is an anathema in India; hence to avoid the ensuing confusion and ‘Comedy of Error’ that is likely to arise if one had to address all aunts simply as ‘Aunt’ or all uncles as plain ‘Uncle’, Bongs have evolved this unique system of nomenclature, which though not quite standardised, has proved to be a useful working system.

Let me explain. Take my Masis (or as in Bong ‘Mashi’): as I have four of them, I address them as Boro (eldest) Mashi, Mejo (the second) Mashi, Shejo (the third) Mashi and Choto (the youngest) Mashi. But the issue doesn’t end there. All Shejos i.e. the third sibling, especially women, for some obscure reason don’t like being a ‘Shejo’. So I have been instructed to address her as ‘Phul’ Mashi, the ‘phul’ meaning ‘flower’ (and not ‘full’ and definitely not ‘fool’, in case you were thinking so). I have still not met my Phul Mashi as she lives in another country and as a child, because of the Phul before her name, I would actually visualise her as this forest nymph decked in flowery tiaras with long strings of blossoms trailing down her waist length hair! And for the record, I also have a ‘Phul’ Mama; but I must confess that even as a child, I could never quite bring myself to visualise him with flowers in his hair. He is pretty active on the World Wide Web now and I think when he reads this, he would be grateful to me for this little courtesy.

My Shejo Pishi also did not like to called a ‘Shejo’; so I had to address her as Choto (youngest) Pishi. Now that created a problem because it meant that the real youngest Pishi now had her bona-fide name usurped. So I was instructed to refer to her as “Mishti’ (Sweet) Pishi; this subtle flattery helping to keep her in good humour and cleverly averting a potential sibling war.

For the fourth in line, Bongs have another colourful term, “Ranga” i.e. ‘vibrant’ or ‘Colourful’. Now unfortunately because my mother has only four sisters, I do not have a ‘Colourful’ Mashi; but because my father has five sisters, I do have a ‘Colourful’ Pishi. And true to her name, she is a rainbow hued personality, the perfect ‘Ranga’. In stark contrast, my Ranga Mama is a rather quiet person, the picture of sobriety and very very unlike his name.

As for the ‘Chachas’ or ‘Kakus’ i.e. ones father’s brothers: the rule is simple. In case the brother is older to your Dad, he is to be addressed as Jethu i.e. ‘Boro Jethu’, ‘Mejo Jethu’ and so on and so forth. In case, he is younger to your Dad, you call him ‘Boro Kaku’, ‘Mejo Kaku’ etc. The only corruption of this rule is with respect to the ‘Choto Kakus’. This poor chap has often to bear the ignominy of being called ‘Chotka’, an abbreviated form of ‘Choto-Kaku’, this license being taken because of him being the youngest and therefore unlikely to throw his weight around his nephews and nieces over a name.  

With the two-child norm now firmly in place in generally all Bong households, the need for this nomenclature system is fast disappearing. Most present day Bong families have usually one or two kids, rarely three (sometimes even none) and the ‘ranga’s, ‘phul’s and ‘choto’s are fading from the collective Bong consciousness. I know that the sacrifice of a few  ‘ranga’ , ‘phul’ and ‘choto’ on the altar of population control is the necessity of our times, but one does feel a little nostalgic for them.  And then when our nephew addresses Other Half ( who by the way is his ‘Boro Jethu’) as ‘Boss’, I can only echo Dylan ‘...the times they are a-changin....’!

The masked waitress had placed a wooden tray with three little black porcelain bowls: one, the staple green chillies in vin...