Monday, September 18, 2023

ঈশ্বরচন্দ্র বিদ‍্যাসাগর

 আশ্বিনের এক উদ্ভাসিত প্রভাতে

তুমি জন্মিলে এই ক্লান্ত, শ্রান্ত জাতির

ক্রোড়ে। বিধির বিধান ছিল তোমার‌ই

উপরে। জাতির উত্তরণ তোমার‌ই স্কন্ধে।

শিখালে মাতৃভাষা, সংশোধিত লিপি

দ্বারা। এল 'বর্ণপরিচয়' বাঙালির শৈশবে।

উচ্চতর শিক্ষার সংশোধিত

রূপকার তুমি - অবদান অপরিমেয়।

জ্ঞানের তুণ হতে শর লয়ে

বিদীর্ণ করিলে অজ্ঞানের অন্ধকার।

বাঙলা গদ‍্যের শৈশবের পদক্ষেপকে

তুমি করিলে পরিণত, বলিষ্ঠ।

ভবিষ‍্যতের প্রজন্মের চির নমস্কার।

হে বীরসিংহের শ্রেষ্ঠ নরপুঙ্গব

প্রণমি তোমায় - আপামর জানিল তোমায় 

'দয়ার সাগর' বলে, 'বিদ‍্যাসাগর' বলে।

হে ঈশ্বরচন্দ্র, ব‍্যাঘ্রের ন‍্যায় আস্ফালিয়া

নিশার কবল হতে উদ্ধারিলা নারীকে -

জন্মিল 'হিন্দু বালিকা বিদ্যালয়';

জন্মিল বিধবা বিবাহ আইন;

প্রকাশিলে 'সব শুভকরী' ।

সমাজবক্ষে তোমার চরণ-চিহ্নের

অভাব আজিকে বড়‌ই লক্ষিত, হে প্রভু।

হে প্রভু, তোমার কঠোর-কোমল হৃদয়-সুধা

অবর্তমান, অবলুপ্ত। হে ভারতীশ্রষ্ঠ,

আশীর্বাদ করো যেন তোমার পদাঙ্ক

অনুসরণে কখনো না হয় পদস্খলন।

 

 



 

Sunday, April 17, 2022

Nirlipta

All this is a vast bioscope woven by the senses,

Choreographed by Nature's sublime skill;

To withdraw from it our only will

If we are to look upon the Reality's faces.

Man's Oldest Preoccupation

Forever the dreamer's most cherished dream,

Forever the thinking man's deepest thought,

Too far beyond the cosmos's fringeless rim,

Yet too close to be in the heart's yearning caught:

                Ancient of Days,

                Least trod of ways,

That which doth dim Heaven's brightest city

Is none but man's own immortality.

Wednesday, August 1, 2018

Timeless in Time


 I quite remember that afternoon bright
 When, up above, a solitary kite
 Gyrated slowly at an immense height
 While a single wisp of cloud - white and frayed,
 Dissolved slowly in the afternoon ray.
 The lonely street was silent and sleeping;
 Only the glistening sea was peeping
 Over the wall - the breeze carrying its spray.
 A clock ticked quietly over the settee.
 He sat on a chair and I at His feet.
 At length He softly asked, What time is it?
 But just as I turned to make a reply
 The clock in the room struck eternity.

Saturday, October 30, 2010

The Vanishing Cat

     Once upon an idle afternoon
When trees 'n' men were glad to doze 'n' swoon -
Save a squirrel that with furious zeal
Ceased not from a sharp staccato, that
But piled more dreaminess, you could feel -
I laid by the window  'cross a warm sun-shaft
Hoping to practise some of poetry's craft
By looking for missives in the blue of the sky
And breaking the ciphers of the clouds scudding by.
But the dozeful hour on every sense some magic wrought;
It blew and ruffled my pages with an air
As though a poesy is not what it sought.
Then a kite's soft treble sounded from her lair,
Whence a cat on the wall fixed me with a stare
And seemed to whisper: I am not, You are not!

Saturday, September 18, 2010

Communique from a Night

The day left in crimson haste,
And night gathered in hope of rest
Like a bird settling in its nest.
The Moslem atop his distant mosque
Like happy refrain of the day's song
Cried a last time to praise his Lord.
And a priest ending his worship's task
Did sound once his temple gong
That struck a note from a lonely chord.
A murmur broke among the trees
Who whispered softly to the breeze.
A far whistle of a passing train,
A few brief calls of a woken wren;
Then a wind ere it could die
Lifted my curtain up and high -
The sky slipped in quickly with a sigh
And left on my pillow a starry question!


This poem is dedicated to Jibanananda Das whose poems thrill me every time I read them.

Tuesday, September 14, 2010

Untitled

In my search for you I have brooked
      The long scroll of life after life;
      Moving between life and death
For you, and you only, I have looked.

But this ev'ning, in the fading light
      Sitting alone by the river bank
      When sudden I hear your steps
The long hunt's end seems in sight.

But to whom or how can I bare the start
Of this sudden speechless throb in the heart?

A Promise

Embrace why my dear friend die who must one day?
Why speak to silence that echoes what I say?
To grasp at bright and shining shadows why
If fleeting white, as clouds in deep blue of sky?
My spring is over, my summer at an end -
The scent of flowers sorrowed memories wend.
As blooms on casket where the corse abide,
My winter's chill they vainly try to hide.
I mourned first this drama of human clay;
Denying, unable to grasp the briefly play.
Then a peep was stolen, a pall put away:
A kingdom greater than a thousand regal sway;
A rest completer than death can ever fetch;
A peace the deepest oceans never can match.


This sonnet was written after reading Shelley's Ode to West Wind - "If Winter comes, can spring be far behind?"
I dedicate it to my father and hope I shall meet him again - perhaps in another age and under another sky...

Sunday, September 5, 2010

Mask

He came a-walking slowly down the road
A stick in hand - some broken leafless branch.
A shock of dirty curly hair, a load
Of whiskers covered half his face; my hunch:
A beggar, idle rover with no abode.
A dark and dirty skin, a blank his face,
Resigned to fate and wearing meagre clothes
He trod on skinny legs with aimless pace.
Then sudden turned his head, his eyes met mine:
A flicker smile - half seen half guessed - appeared
And vanished, giving just a moment's shine.
And he trudged on the lonely road as evening neared.
Then with fierce delight and searing joy the guile
Was bared - it none but Achyuta's smile!


Achyuta, meaning the Infallible Lord, is, in the tradition of Gauriya Vaishnavism, one of the 108 names of Lord Krishna. This sonnet is dedicated to him on the occasion of his birthday.

Friday, September 3, 2010

The Artist

Past the long ages of changing scenes
Where time doth hang as mellow screens
A painter is spied, and holding brush
Is eager drawing a picture of hush :
The white hot haze of summer's day
As men in water and grass lay.
The artist since in grave has lain
But someone takes to painting again.
With guile he turns the painter the painting,
Betakes to canvas : a form that's breathing.
And chooses upon Life for hues of his palette,
And strokes of brush in the hands of his Fate.
Yet spurning Time, that canvas cloth's standing robust
While this greater painting but reduce to dust.





I dedicate this sonnet to Haiku.

My Autumn

         A sudden gust
Caught and shook the bowers
       Sending dead yellow leaves
       Full of soft memories
Floating down in showers
         Upon the grass.


       The leaves that once
Joined to stem and stalk of Life,
      And gilded by sun to vibrant green,
      Home to crows and cuckoos alike
Now fallen, and bare bowers seen
       That autumn announce.


O the One, why put away Thy mask so soon?


     The leaves that once
Adorned the tree
     Providing shady shelter to all
     Who sought it midst the heat and gall,
Loving and free.


O the One, wherefore do Thou rescind Thy boon?


     The leaves that once
Below heaven's immense span
     Of moon and stars and the Great Bear
     Rustling, whispered to eager ear
The secret of His mighty plan.


    The leaves, now I see
Aimlessly moving so,
     Remind me only of you;
     And leave me no work to do
And no place to go,
    But tread the path to Thee.




I dedicate this poem to my father.

Thursday, August 26, 2010

Travelogue

The long march - the days brief and rushing,
O'er rough hewn rocks and craggy paths
Boulders standing large, with huge girths
Like sentries to prevent passing.

Oftentimes, sudden a rush of sounds
Of Tartars riding from their lair,
The sound of hooves diffused o'er air
Like morse code of death floating mid mounds.

Rain blow snow in day and night
Inured to all the storm and sleet
In biting cold, in scorching heat
Endless trudge from height to height.

But perhaps at journey's end there is verdure
And the torturing joy of the One to endure.


I reproduce below the whole poem with its metrical scheme, a / denoting a flick and _ denoting a stroke.
The red vertical line denotes the scansion of span.
The long march| - the days brief and rushing,
 /      _     _           /     _      _      /     _   /  ; 
O'er rough hewn rocks| and craggy paths
 /       _        _       _       /      _   /     _   ;  
Boulders standing large,| with huge girths
 _     /      _      /     _        /       _      _   ;
Like sentries| to prevent passing.
/       _    _     /   _    _    _    /    ;     I am not sure if the syllabic quantitiesof sentries is correct.
                                                     My calculations give a 3:5 quantity for the two syllables which would
                                                     mean both are flicks, the second at most a rover.
Oftentimes, sudden| a rush of sounds
 _       _         _      /   _      /     _   ;      A run of three stokes followed by two iambs.
Of Tartars riding| from their lair,
 /    _    /     _  /     _     /      _  ;    Amphibrach, trochee, _/_  ; the from hover is a stroke while their a flick.
                                                   If considered as four iambs then it disagrees with the span.     
The sound of hooves| diffused o'er air
 /      _       /      _        /    _      /     _  ; exactly as the line before.
Like morse code of death| floating mid mounds.
 _       _        _      /     _      _   /     /       _   ;   An extra trochee before the penultimate iamb when  compared
                                                                      to the first line. However the rythm sound right: not so without
                                                                      the extra trochee.
Rain blow snow| in day and night
_       _      _      /     _     /      _    ;    A run of three strokes followed by two iambs. Her there is absolutely
                                                        no crossdraw between span and metric feet.
Inured to all| the storm and sleet   
 /  _      /   _   /     _       /     _   ;     Four iambs; here too no crossdraw.
In biting cold,| in scorching heat
/   _  /      _      /   _        /    _    ; Four iambs with no crossdraw; agrees with the preceeding line.
Endless trudge from height to height.
 _     _     _         /         _    /    _   ;   Exact replica of the first line of the stanza.

But perhaps| at journey's end| there is verdure
 /     /    _       /    _     /      /      _     /    /   _   ;  Anapest, paeon, cretic agreeing with no crossdraw.
And the torturing joy| of the One| to endure.
  /      /    _  /   /     _    /   /    _      /   /    _   ;   Paeon, _ followed by two anapests. Though the
                                                                     sequence of flicks and strokes is the same yet the
                                                                     thought span does not not agree with the earlier line's feet.

I dedicate this poem to Bhombol Das.

Monday, August 23, 2010

An obituary

I did not know him personally, yet heard many anecdotes of him from his mother. They were very fond of him. He died a year or two after this photo was taken. Long afterwards, almost eight years later, his mother had a daughter born to her and it is she who sent this photograph to me. It was only last week that the sister - who never saw this particular elder brother, for he died long before she was born - sent me his photo, remembering him on his birthday. His birthday fell on the 18th of August. The year was 1972.

So I thought let me remember him too, and sit down to write a few lines about the little I know about him. He was born in Calcutta (the current name of this eastern city is Kolkata, after how the natives call it themselves, Calcutta being an Anglicised version of the name) but the father (incidentally the father is no more; he passed away last year) being posted in Asansol, the baby was taken to that town and he grew up there. There cannot be many incidents in a short life. He was put in a preparatory school called Ananda Marg - a beautiful name isn't it? - and when this photo was taken he was visiting the Himalayas with his parents and maternal grandfather.

The most interesting part is about his death. He had this disease all the time and it could not be detected clinically, so subtle it is. It is in fact a universal malady, and it spares no one, man or woman, rich or poor, and it affects the saint and the sinner equally. It is called Life. Our whole existence is afflicted with this disease called Life.
All living things are submerged in this sea of Life. It brings death every moment and we are not aware of it, just like our little boy was not aware of it. It is inescapable and unavoidable.

But how does this disease act and with what results? It is said by people who know, "Death has no reality except as a process of life." Equally life as we know it, in ourselves and in others, is nothing but a constant death. That is the truth of the matter. In our ordinary mentality the ideas we hold about life and death with all the consequent reactions of happiness or recoil are illusions of the mind. There is no separate name that can be given to this phenomenon; we cant separately call it life, neither can we call it death. Nor are there two separate entities one called life and the other death. It is one thing, one energy, irrespective of what we choose to call it.

How, then, does this one thing effect such vastly different results? For on the one hand we can imagine exuberant youth, boisterous childhood, energetic and lively growth - what we call the May of life - and on the other we are familiar with the picture of old age, of decadence, of wearing away, and finally of cessation that we call death. If it were just one principle and one uniform action without variance then why such widely disparate results?

The question is invalid because it it based on a false premise. More specifically, ours is a  false perception based on our mental samskaras or habits. There is an underlying principle which we must grasp with all our mind and heart in order to be able to cast off this veil of false perception. Point one: there is in fact only one principle of expansion that works everywhere in the universe. Point two: we are fundamentally disillusioned in thinking of this universe as a conglomeration of numberless separate entities - all is actually an inseparable and indivisible vast sea of Life. Just like we cannot assign any permanent existent value to particular waves in the ocean, so we cannot affirm our or our fellow beings' existence as separate from the whole. Just like each wave is an ephemeral and infinitesimal expression of the one existent ocean and the former has no separate law-of-existence-by-itself, so we are just waves of one sea of Life - now rising, reaching a crest, now falling and disappearing forever, but leaving the ocean unchanged. If Mr A thinks very highly of himself as a separate and distinct individual then there is only a superficial (a phenomenal) truth in his contention but the reality, in spite of the great individuality of Mr A, asserts itself otherwise with obvious results: he ages and he dies.

So what is this principle of expansion by which the universal Life functions? It is simply that: an instinct, an impulse to grow, spread, expand, increase. However the conditions under which it does so are unfortunate. There is no harmony and self-giving in the universe yet as the process of this expansion, rather all the opposites - devouring, strife, clash. Individual waves of life clashing and devouring to increase and expand themselves. So naturally there will be victims if there are to be victors! The rule of mutual help and growth is still an unknown or foreign principle and its vistas have not yet opened up in this tumultuous sea.

Even in temporary victorious growth it loses its permanence: for it mutates to something that was not what it was before. All growth as well as decadence is a mutation, a death of the original. Mr A at sixty may look upon Mr A at forty as himself but that would be a samskara and an invalid supposition with no reality to support it. In fact in this great hunger of life, in this immense battleground of mutual devouring he has mutated to something that has no correspondence with his former self. His body has become entirely different: there is not one original cell of a past Mr A in his current body, his life has changed irrevocably, his mind has changed too. A thread perhaps links him to the past, and that thread is memory, but we cannot on that ground say that the past has survived. For then Mr A's mother would remember more of Mr A's childhood than Mr A himself and certainly by that dint she has also a claim to be Mr A!

Even outwardly we see the same devouring action of life. I eat everyday - whether meat or grain - and it is in fact a devouring of another life to grow my own. In wild animals we see this same behaviour. Other realms of life are not so obvious but they exist and their oceans are bigger than this physical earth's. For instance, when I speak with someone face-to-face or over phone, or even communicate by letters, there is always and invariably an interchange. Even without such obvious contacts, the fact is that each one of us is always and unceasingly in a state of exchange with the vast ocean of Life of which we are a part. The yogis are aware of this just as we are aware of out physical world and to communicate they use this ether of life. The guru may help his disciple puissantly without the latter knowing of the action but he would feel the results nonetheless!

I am sorry to have digressed from my original intention of writing an obituary. Coming back to this boy who died,  I admit I feel sorry for him. Just as I feel sorry for myself too. How nice would it have been if no one died. Each could maintain himself and grow by mutual help! Alas that is not yet to be.
Incidentally, this boy's name was also Tirthankar Ghosh.

My first rudimentary observations of poetic style


There were times in my life when I took up pen and paper inspired by my father’s example, who at a certain stage of his life used to write poetry regularly, and sat down to write a few verses. They never came. It seemed the Muse was not disposed kindly towards me. Consequently I gave up.

Much later I came to know through my readings that to create poetry worth the name one has to be visited by inspiration. The urge must be pregnant with a poetic vision. Poetry cannot be born out of a passing mental wish of writing one. It is not something that can be produced to order.

However, over the last few years, I have, for the first time in my life, grown some appreciation for poetry. Before this, I got at the meaning of a poem with difficulty, but the enjoyment of it always eluded me. Now, after reading certain poems or parts thereof, I can feel a thrill. This proves that the real appreciation is growing.  

So I decided to peer closer at the techniques of poetry with the intention of both appreciating and also writing a few lines of my own!

Here are certain general features of poems  that struck me as markedly different from prose.

Rule 1.  Rule of Colour
An unreined use of adjectives that would be considered incompatible in prose writing. 
Eg.    Prose:  colour is associated with material things and light.
         Poetry: colour associated with just anything at all, even psychological  attributes!
         Eg. Golden peace; red anger; violet ecstasy etc.

Rule 2. Assigning human attributes to inanimate nature
A thumb rule is to imagine every inanimate object as a living being with a personality. Consequently one may assign certain verbs to inanimate things.
         Eg. laughter of flowers; breath of flowers; sprint of wind across meadows, etc.

Rule 3. Shortening of words
        Eg. Amid  to  mid;  Awakens   to  awake, etc.
Also modifications of words, like
        You  becomes  thee / ye;  has becomes  hast; does becomes dost; there becomes yon;  are becomes art; morning becomes morn, etc. Similarly liveth, waketh, doeth, etc.

Rule 4. Imaginative adjectives
      Eg. Fresh childhood; ancient joys; eremite silence; earthly hour; lonely flute, etc.

Rule 5. Prepositions out the window
Grammar must take the back seat. Also prepositions must be done away with as much as possible, and even where impossible! Eg. He speak

Rule 6. Subject predicate interchange
Prose: Cannot spoil the sweet meaning
Verse: Cannot the sweet meaning spoil

Rule 7. Use of images
A vigorous use of images peppering the whole body of the poem should enhance the beauty of it. They are stand alone components which, with a little skill and with a little indulgence, can be introduced anywhere in the middle.


Sunday, August 22, 2010

To Manojit Bhattacharya, with love

Muse, O Muse, hearken and lend me thy strongest wings!
As I set out his glorious 'n' kindly life to sing.
Not ornery, nor small, but a heaven-invading stature is his,
Over-n-high his nature soars like the planes of his office.
Joyfully he bore the sharp smites of life
In the tender ages before he took to a wife.
Took care of his brother as a tiger its cub,
Bravely shielding him from every blow and snub.
Halcyon days came dancing and blessed him a scion,
A father's love and a mother's care has now made him a lion.
Treading over far lands and away from home's cover
Tirelessly working he trots the globe over.
As life's bright sun crossed the high noon
Computer cometh to the pater as a boon;
Held and holed up near machine and its traps:
Adobe Photoshop and all the killer apps!
Reveller of life, and yet through it all
Yearns for the Spirit and strains for its call;
And this ends the acrostic - my one gambol.

Friday, August 20, 2010

Bathers at Asniers

It is difficult to say why Georges-Pierre Seurat was taken up  with the idea of points. We can only guess that it was an obsessive inspiration that compelled him to study the works of contemporary scientists on this subject before applying them painstakingly in his paintings. It was perhaps one of those stray threads in Nature's immense evolutionary gossamer that she did not bother to tie up in the end and left dangling: for that particular genre did not have any lasting effect in the field of art except to make Seurat known, and to gift to the art-loving world the La Grande Jatte.

The La Grande Jatte may be his most famous work, but I like his Bathers at Asniers best. The painting powerfully transports the viewer to an experience of the white heat of an afternoon that has put the earth as if into a trance. That trance is not broken, but rather strangely intensified, by the cooing of the boy in the water. Looking long at it sends one into a reverie...



La Grande Jatte: it took Seurat two whole years to complete
I cant say, not being an art critic, why La Grande Jatte is considered to be a masterpiece. Two generations of critics and art-lovers must have had their valid reasons for it. However it seems to me that to approach art with a scientific mind is to land up with a blend that serves neither supremely. Then, as in Seurat, the technique becomes all important pushing the inspiration and the idea to the backburner. Then the work loses beauty at the cost of technical accomplishment.
 

Let me quote Sri Aurobindo in this matter:
" There have been periods of artistic creation, ages of reason, in which the rational and intellectual tendency has prevailed in poetry and art;... At their best these periods have achieved work of a certain greatness, but predominantly of an intellectual greatness and perfection of technique rather than achievements of a supreme inspired and revealing beauty."

Then he goes on to say: "But great art is not satisfied with representing the intellectual truth of things, which is always their superficial or exterior truth; it seeks for a deeper and original truth which escapes the eye of the mere sense or the mere reason, the soul in them, the unseen reality which is not that of their form and process but of their spirit."

Sometimes a too much obsession with technique can render the art work into "a cold and mechanical workmanship" and "it ceases to be art". However, the Bathers, my favourite, can be exculpated from this defect as it is from a pre-pointillism era of Seurat's life, a painting done when he was twenty-four. It was created with the same kind of brush strokes that other artists use. There were complicated techniques even in that, like the balaye, among others, but it was a normal oil-on-canvas painting above everything else. The touchstone of its excellence is that it can convey the viewer to a long bygone summer's day with all its concomitant mesmerising timelessness.


Or is it the painting that has such power, and not something or someone else in the viewer that remembers? Who can say?...

Tuesday, January 29, 2008

Samba Sy

I had never liked Samba Sy. My feeling towards him, at best, was a stoic tolerance. At its worst,... unspeakable! And that evening, as he sat uninvited in my living room, helping himself generously to my dinner, swigging my beer, and letting out that disgusting yell from time to time that he tried to pass as laughter, my feeling for him was rising slowly - like the mercury on a hot day - towards that 'unspeakable'.
I sat helplessly, pretending to be a good host - amused at his jokes and letting out a dry laugh now and then in response, but all the while wringing his neck in my imagination and bestowing him such appellations as would not bear mentioning.
However, Samba Sy was not heedful of anything.
The dinner before him was as good as he could ever hope to get. Moreover, he had managed to turn the tables on us, and like a master chess player, delegated me to the position of a check-mated king who was now bound to put up with his every caprice for as long as he would be with us. And to think that it was all my fault!
With him devouring my dinner a few feet away I recalled the ill-fated day I first saw Samba Sy. He was on a diet solely of biscuits then. He had suddenly appeared on the deck of our ship. The sun had not risen, yet it was light enough to recognize men at short distances. Strolling leisurely on the wings of the bridge, I was taking in the view of the whole ship. From this high vantage point one could see the whole ship stretched out before him - just as a seagull would see it - the ship and beyond, to the horizon on all sides where the vast ocean embraced the sky.
A beautiful morning , I thought - very quiet - till my eyes fell upon a sitting figure on deck. I did a double take - and then stared on and on till my eyes almost popped out. This man was not anyone of the crew!! Where did he come from?! We had sailed out two days ago and were right then seven hundred miles from the nearest shore. The Atlantic Ocean stretched out interminably
on all sides.
I ran down to the deck and accosted the sitting figure. A face out of the deepest Africa, expressionless yet sombre, a youth in his mid twenties was before me. He avoided my eyes and looked straight before him with a mien that exuded a mixture of obstinacy and resignation.
"Who the hell are you?"
"Samba Sy" he replied.
Several questions and a good deal fewer replies later I managed to piece together the story of Samba Sy and solved the mystery of his sudden appearance on my ship in the middle of nowhere.
He revealed that he was a deserter from the Senegalese army. He threw his gun and uniform in the water by the wharf and sneaked one night onto a ship that he heard was sailing for Brazil. After coming on board he made for the after part of the ship and for some time hid inside the funnel. Finding it too hot for his comfort, he got out and quickly clambered into the lifeboat and hid himself under the thwarts. He lived off the lifeboat rations of biscuits and water and never once popped his head over the gunwale for fear of getting caught. On the second night he felt the engine in the ship's belly come to life, heard a rush of feet on the deck, the loud hoots of the tugs, and saw the lights of the port fade off gradually. He was off! At last Africa was behind him. For the rest of the night there was quietness broken only by the dull throb of the engine. The diet of biscuits had weakened him greatly, yet he did not come out of hiding till two full days had gone by.
He imagined Brazil a beautiful haven for guys like him where he could hope to start a new and better and easier life.
Hang his easier life! He has already made life very difficult for us - the captain and me. What excuse was there for us to have allowed a man to sneak on board? Didn't the company offices in India wired us beforehand underscoring this possibility of a stowaway? So the captain took it out on me, and I went down and took it out on the bosun. Well, didn't I tell him to search every inch of the ship before sailing out? But the night of sailing was dark and Samba's complexion was dark as the night sky, and his hiding place was pitch dark too. So, all in all, Samba succeeded in embarking upon his surreptitious journey.
[to be continued]

Saturday, December 1, 2007

All in a day's work

Call me TG.
Today I am going to relate the happenings of an evening at my workplace. This evening was not special in any way - rather like many other evenings. Run of the mill. But it exemplifies how intense were my days.
I was fast asleep on my high and cosy cot. Suddenly, a flash of lightning lit up the room and faded again. There was no way I could have seen the bolt. But believe it or not, I woke up. Something broke my slumber - as a waving hand would brush aside and break a cobweb - so something stirred me from my sleep. I leaped out of bed and craned out from the porthole - tensely scanning the sky.
A lot was at stake. How much? A lot. Some 30,000 tons of premium rice - neatly packed in sacks and bags. On their way from Bangkok in Thailand to countries in West Africa. And water its greatest enemy. Rain its deadly foe. Five cargo holds in the ship lay open just then - each more than half full with the rice - lying vulnerable to the weather which was already worsening as dark clouds billowed in the equally dark night-sky.
Even as I strained my eyes to assess the sky, another blue-white scorpion raced from the sky to the horizon. For a moment one could see the whole anchorage as in day. And at the same time there was an anxious knock on my cabin's door, "Chief, Chief, rain coming."
I wasted no time. I knew that speed of action would make or break me. My feelings were not that of panic: but there was felt an intense pressure from which the mind had gone numb and all that was left of it was a picture of a string of actions to be performed successively between 'now' and an event when all the hatches would be tightly shut.
I got into my shoes, yanked open the door, and ran following the sailor down the corridor, down the stairs and out through the heavy water-tight door which brought me on open deck.
Buffeted by a wind which had the smell of approaching rain, I clambered down the companionway and reached the hatch nearest to the accommodation. Barking orders to two hands to start closing the hatch, I yelled at the Thai longshoremen to get out of the hold.
Eight pontoons, each weighing some 3 tons, would slide along tracks on the edges of the hatch and fall neatly one after the other to cover the hold. This work was done by hydraulic pressure. From a control box near the hatch, levers would have to be operated to activate the hydraulic oil which flowed through pipes at an incredible pressure of 150 kgs/sq cm!!! Just imagine!
The sailor at the lever pulled it and the first of the huge pontoons started rolling out over the hatch with a great noise that seemed ominously to mimic the thunder. I knew that in 30 minutes all five hatches on the ship could be closed. The closing had to be done one hatch at a time as otherwise the decades-old hydraulic pumps of the ship could not generate enough pressure to work several hatches simultaneously. I hoped the rain would not be on us in that time. In half an hour the operation could be completed.
I was wrong.
The dockers - a mix of men and women - were precipitously clambering out from the trunkway, their bodies glistening with sweat under the powerful mercury vapour lamps atop the masts.
Two pontoons had come over the hatch. The third was following. In this race with time a terrible impatience had cast a shadow on my mind. I would have liked to see the pontoons fly into position instead of swaggering and rumbling along.
Just then there was a sudden sharp report - like a gunshot - followed by a 'whooosh'!! And from somewhere further up the deck, towards the bow of the ship, and amidst the jungle of several pipelines, I could see a big jet of some liquid spring up towards the sky.
I was six months running on that ship and knew instantly what had happened. The hydraulic pipe had burst. The breeze had picked up and was nearing gale. It carried a whiff of the oil on my face.
I took off in a frantic run towards the masthouse where the oil-pumps were housed. Like a man under some spell I switched off the pumps and closed the valves. Immediately the oil spray subsided. I yelled "sawdust" to the sailor on gangway duty. Sawdust, when thrown on oil, absorbs it and checks the flow. The large amount of oil that had escaped in that short time was already gathering into a considerable flow and making its way towards the scupper from where it would run down the ship's side and into the sea - where it would cause pollution - and once discovered - as it would surely be at daybreak - would result in heavy fines being clamped by the port authorities.
Oil pollution is every seaman's nightmare. But even that was not on my mind. I had noticed the lightnings piercing the sky more frequently and almost overhead then. The wind had whipped up a choppy sea making the bow of the ship at anchor swing giddily to and fro.
The burst pipe made the hatch closing system dead. I had four open hatches and a fifth half-open and cargo worth millions of dollars lying helplessly at the mercy of the rain. As chief mate I was wholly responsible for the cargo. I didn't want to hash up. I looked up at the sky. Just then a big drop fell on my cheek. It was cold and it stung. Looking up and down the length of the ship - a humongous affair measuring some 160 meters from end to end - in that dark night, under that billowing sky, in the middle of a hundred insouciant men, I suddenly felt cold and tired and lonely.

" Why don't we use the crane?" said a voice at my back. I turned to find the second mate - and a very good friend of mine - standing pensively. He was not distraught like me. One thing about Parani is that you rarely found him distraught, though he walked on the edge as frequently as any other seafarer.
"Don't think we can make it in time." my voice seemed to tail off. Another drop fell on my bare arm. Summoning all my energies I followed Parani. Together with two cadets we passed the crane wire around a pulley and hooked up the first pontoon. At this moment Parani climbed up into the crane.
Here I shall digress to quickly describe the cranes. There were 5 of them on that ship - one for each hold. They towered over the deck. The turntable with the operator's cabin housed above it were 30 feet above the deck level. But the booms were immense. When raised to a vertical position they reached a height of 70 feet. Altogether they were each of them a monster.
As Parani went up into the belly of the monster I remained on top of the pontoons to signal to him. I raised my hand, and he started hauling - very slowly - for a sudden jerk could cause the steel wire to part. The big pontoons began rolling once again. I stood on the woobly pontoons trying to be on my feet, and at the same time, with my right hand raised high, signalling to him continuously.      
There was a clap of thunder nearby and a slow pitter patter of rain started.
We worked with as much speed as we were capable of, while exercising greatest caution. For, a slightly more than a prudent pull on the crane joystick, arising out of impatience and urgency, would break the wire, resulting in projectiles such as shackles, hooks and torn pieces of metal flying all over – killing men in their path in an instant. As for me, a fall could mean being crushed by the rolling pontoons or at the very least, breaking a bone or two by landing on the rice sacks some 30 feet below.
At last the No 5 hatch was closed shut as the last pontoon came against the stoppers with a loud ‘wham’.

Without wasting a second Parani clambered out of the crane and I jumped down from the hatch-top: both of us scampered toward hatch No 4 – the next in line.
One after another all hatches were closed but while at hatch No 2 the rain increased. We worked as if we didn’t notice, carrying on till all hatches were tightly shut. Drenched thoroughly, we shivered now and then in the gale.
The rain went on unceasing through the night. We didn’t rest. Torches in hand, we entered the holds – then pitch dark due to the cover – and inspected the damage. In all holds, some of the topmost layer of sacks were wet, which we pulled and heaved and set aside. This went on for hours. We came out of the ship’s belly well after midnight.
The rain had stopped with daybreak. The sea had subsided. The anchorage was teeming with crafts and the port of Bangkok was bustling again with life.The sky had cleared. With tiny flakes of torn clouds floating in a pale blue sky and an orange sun glorifying the wide heavens, last night’s nightmare seemed to recede very far into the past. They were quickly invoked again, however, when I caught sight of a gleaming red-and-white boat - piercing the sea like a torpedo and throwing a long trail in its wake – making straight for our ship.
The boat brought the agent and the shippers to assess the damage.
They did their work and later in the day a long flat barge came alongside to take away the wet bags. The longshoremen had resumed the loading of the ship from dawn after the ship’s handful crew repeated the night’s process in reverse, that is, opened all hatches using the crane. The bust pipe would not be repaired till the next day. The day passed on well. The captain popped into my office after lunch to inform that the cost of the damage was about $ 3000. That was the only jarring note during the day.
As the cargo work would continue through the night, I handed over the charges to Parani, who had had some rest in the afternoon. Then after an early dinner I tucked away for the night.
I could not say how long I had been asleep when suddenly, I woke up. There was a hurried rap on my door. The voice of the sailor on duty rang outside: “Chief, Chief, hurry!! Rain coming!!”