Showing posts with label translation. Show all posts
Showing posts with label translation. Show all posts

Thursday, October 22, 2026

ବାଳ ବର୍ଗ ୧୫

ପାଲି ଧର୍ମପଦର ଓଡ଼ିଆ ପଦ୍ୟାନୁବାଦ

ଅନୁବାଦକ - ଶୈଲେନ ରାଉତରାୟ


ଶ୍ରୀଲଙ୍କାର ଅନୁରାଧାପୁର ସ୍ଥିତ ଅଭୟଗିରି ବିହାର
ଫଟୋ କ୍ରେଡ଼ିଟ୍ - ୱିକିମିଡିଆ କମନ୍ସ୍

ଓଡ଼ିଆ ପଦ୍ୟାନୁବାଦ

ଗୃହୀ ତଥା ପ୍ରବ୍ରଜିତ ଏହି ଦୁଇ ଜଣ
ଉଭୟ ମାନନ୍ତୁ ଯାହା ମୋର କୃତ କର୍ମ ।

କୃତ୍ୟ ବା ଅକୃତ୍ୟ ହେଉ ଯେ କୌଣସିଥିରେ
ରୁହନ୍ତୁ ଉଭୟ ଜନ ମୋହରି ବଶରେ ।

ଏପରି ଭାବରେ ମୂର୍ଖ ସଙ୍କଳ୍ପ କରଇ
ଇଚ୍ଛା, ଅଭିମାନ ତା'ର ଏଭଳି ବଢ଼ଇ ।୧୫।

ମୂଳ ପାଲି ପଦ

ମମେବ କତମ୍ମଞ୍ଞନ୍ତୁ ଗିହୀ ପବ୍ୱଜିତା ଉଭୋ ।
ମମେବାତିବସା ଅସ୍ସୁ କିଚ୍ଚାକିଚ୍ଚେସୁ କିସ୍ମିଚି ।
ଇତି ବାଳସ୍ସ ସଙ୍କପ୍ପୋ ଇଚ୍ଛାମାନୋ ଚ ବଡ୍ଡତି ।୧୫।

ମମୈବ କୃତଂ ମନ୍ୟନ୍ତାଂ ଗୃହୀ ପ୍ରବ୍ରଜିତା ଉଭୟେ ।
ମମୈବାତିବଶ‌ାଃ ସ୍ୟୁଃ କୃତ୍ୟାକୃତ୍ୟେଷୁ କସ୍ମି‌ଂଶ୍ଚିତ୍ ।
ଇତି ବାଳସ୍ୟ ସଂକଳ୍ପଃ ଇଚ୍ଛା ମାନଶ୍ଚ ବର୍ଦ୍ଧତେ ।୧୫।

ଅନୁବାଦକୀୟ ଟୀକା: ଏହି ଅଧମ ଅନୁବାଦକକୁ ପାଲି ଜଣା ନାହିଁ । ଏଣୁ ଏହି ପଦ୍ୟାନୁବାଦଟି ପାଇଁ ତାହାର ମୂଳ ସହାୟ ହେଲା  ପ୍ରଫେସର ପ୍ରହ୍ଲାଦ ପ୍ରଧାନଙ୍କ ଦ୍ୱାରା ସମ୍ପାଦିତ 'ପାଲି ଧର୍ମପଦ' ଗ୍ରନ୍ଥଟି, ଯେଉଁଥିରେ ସେ ସଂସ୍କୃତ ରୂପାନ୍ତର ସହ ଓଡ଼ିଆ ଗଦ୍ୟାନୁବାଦ କରିଯାଇଛନ୍ତି । ଗ୍ରନ୍ଥଟିର ପ୍ରଥମ ସଂସ୍କରଣ ୧୯୭୮ ମସିହାରେ ପ୍ରକାଶିତ । କିନ୍ତୁ ଏହି ଅନୁବାଦକ ୧୯୯୪ ମସିହାରେ କଟକସ୍ଥ ପ୍ରକାଶନ ସଂସ୍ଥା ଫ୍ରେଣ୍ଡ୍‌ସ୍‌ ପବ୍ଲିଶର୍ସ ଛାପିଥିବା ଦ୍ୱିତୀୟ ସଂସ୍କରଣଟି ବ୍ୟବହାର କରିଛି । ଏହା ଛଡ଼ା ଏହି ପଦ୍ୟାନୁବାଦ କରିବା ପାଇଁ 'ଦି ସେକ୍ରେଡ଼୍ ବୁକ୍ସ୍ ଅଫ୍ ଦି ଇଷ୍ଟ୍' ସିରିଜ୍‌ରେ ମାକ୍ସ୍ ମ୍ୟୁଲର୍‌ଙ୍କ ଦ୍ୱାରା ସମ୍ପାଦିତ 'ଦି ଧମ୍ମପଦ' ଇଂରାଜି ଗ୍ରନ୍ଥଟିର ୨୦୧୩ ମସିହାରେ ରୁଟ୍‌ଲେଜ୍ ଛାପିଥିବା ସଂସ୍କରଣଟିର ମଧ୍ୟ ବ୍ୟବହାର କରାଯାଇଛି ।

Thursday, October 15, 2026

I

Ramakanta Samantaray

Translated by Sailen Routray


Painting by Padmaja Routray (2025)

When I look for him
he is never to be found at hand. 

A fragrance wafts around the house.
That fragrance keeps one intxicated
throughout the day.

While cutting the vegetables
or grinding the besara
or turning the chakuli around
on the back of an oily pan,
he comes silently.
When I get startled and turn around
there is no one.
There is absolutely no one there.

My shadow's ghost dances on the wall.
I get startled again.

When I look for him he is never to be found at hand. 

Each and every word,
restlessly throngs the room. 
The night gets over
while I try and get hold of them
to adorn a sentence
that fits the shape of my mind. 

Note: The Odia original of this translated poem is sourced from the poetry collection 'Asaranti Rekhachitra', published in 2022 by Barsha Publication (Bhubaneswar). The poet Ramakanta Samantaray, born in 1972, has studied painting at the Bibhuti Kanungo College of Art and Craft (Bhubaneswar), and Odia Literature and Language at the Utkal University (Bhubaneswar). His doctoral work was a meditation on contemporary theatre in Odia. With this combination of literature, language, and the visual arts, he has been constantly working to create hybrid narratives. Apart from being a painter, he has also published fifteen books, including collections of poems and short stories, and novels. He has written and published articles on art, artists, and monographs in Odia. He presently lives and works in Bhubaneswar. 

Tuesday, September 22, 2026

ମାର୍କସ୍ ଅରିଲସ୍‌ଙ୍କର ବିଚାରମାଳା 

ଦ୍ୱିତୀୟ କାଣ୍ଡ - ନବମ ଓ ଦଶମ ଅଧ୍ୟାୟ

ଅନୁବାଦକ - ଶୈଲେନ ରାଉତରାୟ


ଷ୍ଟଇକ୍ ଦାର୍ଶନିକ ଡାୟୋଜିନସ୍ ବାବିଲୋନିକସ୍‌ଙ୍କର ଚିତ୍ର
ଫଟୋ କ୍ରେଡ଼ିଟ - ୱିକିମିଡ଼ିଆ କମନ୍ସ୍

ନବମ ଅଧ୍ୟାୟ

ଏହି ବ୍ୟାପାରଗୁଡ଼ିକ ସର୍ବଦା ସ୍ମରଣରେ ରଖ: ବ୍ରହ୍ମାଣ୍ଡର ପ୍ରକୃତି କଅଣ: ତୁମ୍ଭ ନିଜର ସ୍ୱାତ୍ମ ପ୍ରକୃତି କଅଣ: ଏବଂ ଦୁହିଙ୍କ ମଧ୍ୟରେ ସମ୍ପର୍କ କଅଣ ଅଟେ: କେଉଁ ବିଶାଳ ସମଷ୍ଟିର ତୁମ୍ଭେ କିଭଳି ବ୍ୟଷ୍ଟି ଅଟ । ତୁମ୍ଭେ ଯେଉଁ ବିଶାଳତାର ଅଂଶ ମାତ୍ର, ତହିଁର ପ୍ରକୃତିସଙ୍ଗତ ବାଣୀ ଓ କାର୍ଯ୍ୟ କରିବାରେ କେହି ତୁମ୍ଭକୁ ରୋକି ନ ପାରେ ।
ଦଶମ ଅଧ୍ୟାୟ

ପାପ କର୍ମ ଗୁଡ଼ିକର ତୁଳନା କଲା ବେଳେ - ସାଧାରଣ ଭାବରେ ଜ୍ଞାତ ଭାବରେ ଯଦି ସେଗୁଡ଼ିକ ତୁଳନୀୟ ତାହାହେଲେ - ଥିଓଫ୍ରାଷ୍ଟସ୍ ଦାର୍ଶନିକ ସୁଲଭ ଢଙ୍ଗରେ, ଯଥାର୍ଥରେ କୁହନ୍ତି ଯେ, କାମନାରୁ ଜାତ ଅପରାଧ, ଆବେଗରୁ ଜାତ ଅପରାଧ ତୁଳନାରେ ଅଧିକ ଧର୍ତ୍ତବ୍ୟ । କାରଣ ଆବେଗର ବଶବର୍ତ୍ତି ମାନବ ନିଜର ବିବେକଠାରୁ ଗୋଟିଏ ପ୍ରକାରର ବେଦନା ଓ ବିଭଙ୍ଗ ଯୋଗୁଁ ଦୂରେଇ ଯାଇ ପାପ କର୍ମ କରିଥାଏ । ପରନ୍ତୁ କାମନାର ଦାସତ୍ତ୍ୱ ଯୋଗୁଁ ପାପଲିପ୍ତ ବ୍ୟକ୍ତି ଦୁର୍ବଳ, ବିପ୍ରଦୂଷ୍ଟ ତଥା ନପୁଂସକ । 

ସେ ଜଣେ ଦାର୍ଶନିକର ମର୍ଯ୍ୟାଦା ରକ୍ଷା କରି ଯଥାର୍ଥରେ କୁହନ୍ତି ଯେ, ସୁଖ ଉଦ୍ଦେଶ୍ୟରେ କରାଯାଇଥିବା ପାପ କଷ୍ଟରୁ ଜାତ ପାପ ଅପେକ୍ଷା ଅଧିକ ନିନ୍ଦନୀୟ । ଗୋଟିଏ କ୍ଷେତ୍ରରେ ଜଣେ ନିଜ ପ୍ରତି କରାଯାଇଥିବା ଅନ୍ୟାୟ ଯୋଗୁଁ ନିୟନ୍ତ୍ରଣ ହରାଏ । ଅନ୍ୟଟିରେ ସମ୍ପୂର୍ଣ୍ଣ ଭାବରେ ନିଜର ବାସନା ପୂର୍ତ୍ତିର ଇଚ୍ଛା ଯୋଗୁଁ ସ୍ୱତଃସ୍ଫୁର୍ତ୍ତ ଭାବରେ ଜଣେ ପାପ କର୍ମରେ ନିଜକୁ ନିୟୋଜିତ କରେ । 

ଅନୁବାଦକୀୟ ଟୀକା: ଗ୍ରୀକ ଓ ବିଶ୍ୱ ଦର୍ଶନ କ୍ଷେତ୍ରରେ ପ୍ରାଚୀନ ରୋମର ଚିନ୍ତକ ୧୬ତମ ସମ୍ରାଟ ମାର୍କସ ଅରିଲସ (୧୨୧-୧୮୦ ଖ୍ରୀଷ୍ଟାବ୍ଦ) ଙ୍କର ଗ୍ରନ୍ଥ ମେଡିଟେସନସ ର ଏକ ଗୁରୁତ୍ୱପୂର୍ଣ୍ଣ ସ୍ଥାନ ରହିଛି । ଷ୍ଟଇକ୍ ଦର୍ଶନ ପରମ୍ପରାର ଏକ କ୍ଲାସିକ୍ ଭାବରେ ଏହାକୁ ଗଣାଯାଏ । ପୃଥିବୀସାରା ଏବେ ଷ୍ଟଇକ୍ ଦର୍ଶନ ପରମ୍ପରାର ପୁନରୁତ୍ଥାନ ଘଟୁଅଛି । ଗ୍ରନ୍ଥଟିର ଅନୁବାଦଟି ମୂଳ ଗ୍ରୀକ ଭାଷାର ଦୁଇଟି ଭିନ୍ନ ଭିନ୍ନ ଇଂରାଜୀ ଭାଷାନ୍ତରର ସାହାଯ୍ୟ ନେଇ କରାଯାଇଅଛି ।

Tuesday, September 15, 2026

Chest

Ramakanta Samantaray

Translated by Sailen Routray


The tower of the Cathedral of Saint Domnius, Split, Croatia
(as seen from the Vestibule of Diocletian's Palace)
Photo credit: Wikimedia Commons/Sumit Surai

You are telling me
to turn into a stone.
I won't.

I can't bear such hardness.
I can't break apart
again and again.

Turn me into a handful of soil.
A stone
under the harsh sunshine.
Dew
with the night's touch.

I'll become soil. 
I will become whole
after having broken apart.

Note: The Odia original of this translated poem is sourced from the poetry collection 'Patha Asaranti', published in 2005 by Athena Books (Brahmapur). The poet Ramakanta Samantaray, born in 1972, has studied painting at the Bibhuti Kanungo College of Art and Craft (Bhubaneswar), and Odia Literature and Language at the Utkal University (Bhubaneswar). His doctoral work was a meditation on contemporary theatre in Odia. With this combination of literature, language, and the visual arts, he has been constantly working to create hybrid narratives. Apart from being a painter, he has also published fifteen books, including collections of poems and short stories, and novels. He has written and published articles on art, artists, and monographs in Odia. He presently lives and works in Bhubaneswar. 

Tuesday, September 8, 2026

ବାଳ ବର୍ଗ ୧୪

ପାଲି ଧର୍ମପଦର ଓଡ଼ିଆ ପଦ୍ୟାନୁବାଦ

ଅନୁବାଦକ - ଶୈଲେନ ରାଉତରାୟ


ଫାରସୀ ଶୈଳୀର ଚିତ୍ରରେ ବିଷ୍ଣୁଙ୍କର ଅବତାର ଭାବରେ ବୁଦ୍ଧ (ସପ୍ତଦଶ ଶତାବ୍ବୀ)
ଫଟୋ କ୍ରେଡ଼ିଟ୍ - କିମିଡିଆ କମନ୍ସ୍

ଓଡ଼ିଆ ପଦ୍ୟାନୁବାଦ

ନିଜ ଠାରେ ଯେଉଁ ପରି ସମ୍ଭାବନା ନାହିଁ
ମୂର୍ଖ ସେହି ଭାବନାର କାମନା କରଇ ।
ଭିକ୍ଷୁକମାନଙ୍କ ମଧ୍ୟେ ଇଚ୍ଛେ ଅଗ୍ରସ୍ଥାନ
ପରକୂଳେ ଚାହେଁ ପୂଜା, ଆବାସରେ ଧନ ।୧୪। 

ମୂଳ ପାଲି ପଦ

ଅସତ୍ ଭାବନମିଚ୍ଛେତ୍  ପୁରସ୍କାରଂ ଚ ଭିକ୍ଷୂଷୁ ।
ଆବାସେଷୁ ଚ ଐଶ୍ୱର୍ଯ୍ୟଂ ପୂଜାଃ ପରକୁଳେଷୁ ଚ ।୧୪।
ଅସତଂ ଭାବନମିଚ୍ଛେୟ୍ୟ ପୁରେକ୍କାରଞ୍ଚ ଭିକ୍ଖୁସୁ ।
ଆବାସେସୁ ଚ ଇସ୍ସରିୟଂ ପୁଜା ପରକୁଳେସୁ ଚ ।୧୪। 

ଅନୁବାଦକୀୟ ଟୀକା: ଏହି ଅଧମ ଅନୁବାଦକକୁ ପାଲି ଜଣା ନାହିଁ । ଏଣୁ ଏହି ପଦ୍ୟାନୁବାଦଟି ପାଇଁ ତାହାର ମୂଳ ସହାୟ ହେଲା  ପ୍ରଫେସର ପ୍ରହ୍ଲାଦ ପ୍ରଧାନଙ୍କ ଦ୍ୱାରା ସମ୍ପାଦିତ 'ପାଲି ଧର୍ମପଦ' ଗ୍ରନ୍ଥଟି, ଯେଉଁଥିରେ ସେ ସଂସ୍କୃତ ରୂପାନ୍ତର ସହ ଓଡ଼ିଆ ଗଦ୍ୟାନୁବାଦ କରିଯାଇଛନ୍ତି । ଗ୍ରନ୍ଥଟିର ପ୍ରଥମ ସଂସ୍କରଣ ୧୯୭୮ ମସିହାରେ ପ୍ରକାଶିତ । କିନ୍ତୁ ଏହି ଅନୁବାଦକ ୧୯୯୪ ମସିହାରେ କଟକସ୍ଥ ପ୍ରକାଶନ ସଂସ୍ଥା ଫ୍ରେଣ୍ଡ୍‌ସ୍‌ ପବ୍ଲିଶର୍ସ ଛାପିଥିବା ଦ୍ୱିତୀୟ ସଂସ୍କରଣଟି ବ୍ୟବହାର କରିଛି । ଏହା ଛଡ଼ା ଏହି ପଦ୍ୟାନୁବାଦ କରିବା ପାଇଁ 'ଦି ସେକ୍ରେଡ଼୍ ବୁକ୍ସ୍ ଅଫ୍ ଦି ଇଷ୍ଟ୍' ସିରିଜ୍‌ରେ ମାକ୍ସ୍ ମ୍ୟୁଲର୍‌ଙ୍କ ଦ୍ୱାରା ସମ୍ପାଦିତ 'ଦି ଧମ୍ମପଦ' ଇଂରାଜି ଗ୍ରନ୍ଥଟିର ୨୦୧୩ ମସିହାରେ ରୁଟ୍‌ଲେଜ୍ ଛାପିଥିବା ସଂସ୍କରଣଟିର ମଧ୍ୟ ବ୍ୟବହାର କରାଯାଇଛି ।

Tuesday, September 1, 2026

The Declaration of Emergency

Manmohan Choudhury

Translated by Sailen Routray

Jayaprakash Narayan (1902-1979)
Narayan was a key figure in the opposition
to the emergency imposed by Indira Gandhi in 1975
Photo credit: Wikimedia Commons/Nehru Memorial Museum


It was the 27th of June. I had gone to my brother-in-law Sri Krusnapada Bhowmik’s house, to paint an oil portrait of my mother-in-law. Krusna was then a highly placed official with the police. I would have hardly painted for an hour or so, when the telephone rang. I picked the receiver, someone from Gunanidhi Bhavan was calling me. Kshetrabasi Pati informed me over phone that Jayprakash Ji and other leaders had been arrested at the crack of dawn. A state of emergency had been declared in the country. I immediately returned home, packing up my paints and brushes.  Hearsays bandied that the censoring of newspapers had started. However, the rules for this purpose were yet to be created. News reached the offices of newspapers courtesy organisations like PTI. The full range of the day’s events was published in a special edition of The Samaja and later when proper censorship was instituted, all those news items were made to fit the official structures. 

After speaking with others, it was decided that a meeting would be called that afternoon at our home to discuss this development. According to the decision, around twenty-five people from Cuttack were informed about this. They assembled at our place around four. Amongst them were Harekrushna Mahtab, Nilamani Routray, Purnachandra Parida, Srikanta Panda, Biraja Ray, Bou, Syamali Mahapatra, Biswambhara Parida, sarvodaya activists such as Surendra Mohanty, Kshetrabasi Pati, Nikunja Das, and Gopal Prasad Das, etc. Dada was at Angul, so he arrived later. There were a lot of speculation in the meeting. It was evident that the declaration of a state of emergency had stunned everyone. After a long discussion it was decided that it must be opposed and as there was no possibility of the truth coming out in newspapers, some steps needed to be taken to inform the people of the real situation.

It was decided that if a small pamphlet were to be published and distributed at the railway station and the Badambadi bus stand, it would reach across the whole of Odisha overnight. Hence, a pamphlet was drafted. When the question arose as to who all would sign it, it was agreed that it would come out with Ramadevi’s signature. It seemed some friends were reluctant to put their names down on paper. It was also seen later that among the friends assembled that day, a few remained silent and did not engage in the unsettled state of affairs.

The pamphlet was immediately printed in the Gramsevak press and activists took it to the Badambadi bus stand and the railway station and came back after distributing copies of the pamphlet. That evening it was raining heavily. But who cared? It was observed that people were very eager to have a copy of the pamphlet.

On the second day, dada came and a meeting was held again. In this meeting, it was decided that a civil disobedience agitation would be held against the declaration of emergency. Then Section 144 of the IPC had been imposed in Cuttack. Immediately, Biraja Ray, Shyamali Mahapatra and Surendra Mohanty came forward, and were arrested after sloganeering and attempting to lecture near Gourishankar Park. Another pamphlet came out the day after exhorting all Indians to oppose the imposition of the emergency. Arrests were expected any time and someone shared the news that there was an order to arrest nine people including Nabakrushna Choudhury. In the midst of all this, it was decided after a discussion that I would not immediately come out to be arrested. Instead, I would organise the movement against the emergency in hiding for five to seven days before showing up for civil disobedience.

However, when a place for my hiding was looked for, all those friends whose homes were proposed in the discussion were hesitant citing multiple problems. On the other hand, rumour had spread that dada would get arrested. Hence, he was waiting, having packed his clothes and books on 28th June. But nothing was heard about my arrest. Later some people said that in order to hoodwink us, some of our friends were fed with wrong information from official sources.

Meanwhile, after having made arrangements for sharing news with the activists in various districts, I had started writing a letter to Vinobaji. In the letter, I had written that, “Indira Gandhi’s intention to end democracy and institute an authoritarian regime is now evident and I request you to raise your voice in support of democracy and civil rights.” I had not finished writing this letter. It was quite late in the night and no arrangements could be made for me to stay elsewhere, and therefore, I slept there. The police arrived in the wee hours of the morning of the 29th of June at around three o clock. Dada was sleeping in the room along the corridor. He got up and said, “I’ve been waiting for you since yesterday.” Then he got ready, wrapping up his bedding, etc. Bou got this news in Thoriasahi over telephone. Nikunja and others also got up from sleep and reached there. We were all getting ready to bid adieu to dada, and some people had started picking up his bedding, when dada asked the police, “Could you please show me the warrant?”

Lo and behold! When we saw the warrant, it had my name on it. Then I started packing my clothes and bedding, etc. I ended the incomplete letter to Vinoba by just writing, “I am getting arrested before I could finish writing this letter.” I left the letter in Sumitra’s care, told her to mail it to Vinobaji and left. There were two sub-inspectors of police. After we sat in the jeep, the driver had some difficulty in starting it. In the end, we had to push the jeep. I sarcastically said, “Now the government’s condition is like this jeep. It does not move until it’s pushed.” The police inspectors smiled.

I was taken to the jail in Cuttack. The very familiar ward number seventeen… On reaching there, I saw that Madan Sahoo, Anadi Nayak, and Manmohan Mishra, etc., had just arrived after being arrested. Later, other fellow workers also arrived. Ashok Das from Jajpur was also amongst them. It was a lively mess and the day was spent in commotion.

Conversations, flights of imagination, rights of the first-class prisoners, discussions and arguments with prison officials regarding the expectations from the jail, all these went on and on. Slowly we started settling down on our respective platforms. The readers might remember that I had described before that in prisons there were platforms that were six feet long and two and half feet wide, which were meant for the prisoners to sleep on. On one end of it lay a ridge that functioned as a pillow. You were meant to spread blankets and sheets on top of this and use it for sleeping and sitting.

We were getting ready to settle down in ward number seventeen. However, something else had been planned for me. At around ten in the night of the third day, Manmohan Mishra, Ashok Das and I were called and told that we would be taken elsewhere. We bundled up our belongings and went to the jail’s gate. I started singing a song of Kazi Nazrul–

কারার ঐ লৌহ কপাট

ভেঙে ফেল কর রে লোপাট

রক্ত জমাট শিকল পুজোর পাষাণ বেদী

The prison’s iron gates —

Break them, shatter them!

Destroy the blood stained stone altar

where chains are worshipped.

We were made to sit in two jeeps. The vehicles started moving towards Buxibazar and soon crossed the river Mahanadi and went further. Ashok babu and I were in one vehicle. The police officials made no reply when we asked them where we were being taken to. There was a desire to shout slogans while passing through the bazar, but it was eleven in the night and all the shops were shut. No one moved about on the streets. Who would hear our slogans?

The vehicle carrying Ashok and I started moving towards the road to Dhenkanal. It seemed we were being taken to either Dhenkanal or Angul. It could have been Sambalpur as well. However, the vehicle stopped in front of the gate of the jail in Dhenkanal at around one in the night and after dropping me there, the police officials left with Ashok. The jailer took me with him to a small ward located in a corner of the prison. I was alone there. I fell asleep in no time.

Note: This is a translation of a chapter from 'Kasturi Mruga Sama', the autobiography of Manmohan Choudhury (1915-2003). Choudhury was a freedom fighter and sarvodaya activist from Odisha who participated in almost all the popular socio-political movements of his times that happened in the state. He was also a noted writer of non-fiction in the Odia language who won major awards for his writing.

Saturday, August 8, 2026

ମାର୍କସ ଅରିଲସଙ୍କର 'ବିଚାରମାଳା'

ଦ୍ୱିତୀୟ କାଣ୍ଡ:  ସପ୍ତମ ଓ ଅଷ୍ଟମ ଅଧ୍ୟାୟ

ଅନୁବାଦକ - ଶୈଲେନ ରାଉତରାୟ


ଗ୍ରୀକ ଦାର୍ଶନିକ ଏପିକ୍ଟେଟସ (୫୦-୧୩୫ ଖ୍ରୀଷ୍ଟାବ୍ଦ)
ଫଟୋ କ୍ରେଡ଼ିଟ୍ - ୱିକିମିଡ଼ିଆ କମନ୍ସ୍

ସପ୍ତମ ଅଧ୍ୟାୟ

ତୁମେ ବାହାରର ଘଟଣାବଳୀ ଦ୍ୱାରା ବିଚଳିତ କି ? ତାହା ହେଲେ ନିଜେ କିଛି ସମୟ ଶାନ୍ତ ଜାଗାରେ ବିଶ୍ରାମ କର । ଏହା ଫଳରେ ତୁମେ ସତ୍ ଜ୍ଞାନ ପାଇବ ତଥା ନିଜର ବ୍ୟଗ୍ରତାକୁ କମାଇବାର ଉପାୟ ମଧ୍ୟ । ଆହୁରି ଏକ ପ୍ରମାଦ ବିରୁଦ୍ଧରେ ସଚେତ ରୁହ - ଅତ୍ୟଧିକ ବ୍ୟବସାୟରେ ନିଜକୁ ନିଯୁକ୍ତ ରଖି ହାଲିଆ ହେଉଥିବା ଲୋକଙ୍କର ମୂର୍ଖାମୀ;  ଯେଉଁମାନଙ୍କର ନିଜର ସମସ୍ତ ଉଦ୍ୟମ ଓ ଚିନ୍ତାକୁ କେନ୍ଦ୍ରିତ କରି ରଖିବା ପାଇଁ କୌଣସି ଲକ୍ଷ୍ୟ ବି ନଥାଏ । 

ଅଷ୍ଟମ ଅଧ୍ୟାୟ

ତୁମ୍ଭେ ସହଜରେ ଏପରି ଜଣେ ଲୋକଙ୍କର ଠିକଣା ପାଇବ ନାହିଁ, ଯେ କି ଅନ୍ୟମାନଙ୍କର ଆତ୍ମାର କାର୍ଯ୍ୟାବଳୀକୁ ନିରୀକ୍ଷଣ ନକରିପାରିଥିବାରୁ ଦୁଃଖପ୍ରାପ୍ତ ହୋଇଥିବେ । ମାତ୍ର ଯିଏ ନିଜର ଆତ୍ମା ଓ ଭାବନାର ଚଳନକୁ ଧ୍ୟାନ ସହକାରେ ଅବଲୋକନ କରନ୍ତି ନାହିଁ, ତାଙ୍କ ପାଇଁ ଦୁଃଖଭୋଗ ଅବ୍ୟଶମ୍ଭାବୀ ।    

ଅନୁବାଦକୀୟ ଟୀକା: ଗ୍ରୀକ ଓ ବିଶ୍ୱ ଦର୍ଶନ କ୍ଷେତ୍ରରେ ପ୍ରାଚୀନ ରୋମର ଚିନ୍ତକ ୧୬ତମ ସମ୍ରାଟ ମାର୍କସ ଅରିଲସ (୧୨୧-୧୮୦ ଖ୍ରୀଷ୍ଟାବ୍ଦ) ଙ୍କର ଗ୍ରନ୍ଥ ମେଡିଟେସନସ ର ଏକ ଗୁରୁତ୍ୱପୂର୍ଣ୍ଣ ସ୍ଥାନ ରହିଛି । ଷ୍ଟଇକ୍ ଦର୍ଶନ ପରମ୍ପରାର ଏକ କ୍ଲାସିକ୍ ଭାବରେ ଏହାକୁ ଗଣାଯାଏ । ପୃଥିବୀସାରା ଏବେ ଷ୍ଟଇକ୍ ଦର୍ଶନ ପରମ୍ପରାର ପୁନରୁତ୍ଥାନ ଘଟୁଅଛି । ଗ୍ରନ୍ଥଟିର ଅନୁବାଦଟି ମୂଳ ଗ୍ରୀକ ଭାଷାର ଦୁଇଟି ଭିନ୍ନ ଭିନ୍ନ ଇଂରାଜୀ ଭାଷାନ୍ତରର ସାହାଯ୍ୟ ନେଇ କରାଯାଇଅଛି ।

Saturday, August 1, 2026

Gandhiji’s padayatra

 Manmohan Choudhury

Translated by Sailen Routray


Gandhiji’s Harijan tour in Odisha was due in the month of May in 1934. To gift him a bagful, Surendra Patnaik and I were staying in my mamu’s house in Satyabhamapur and roaming around in neighbouring villages to collect money and donations. We enjoyed delicious meals at my mamu’s place. We succeeded in collecting some funds. At the same time, we were gathering different kinds of experiences as well.  One day, we had gone to Ghantimunda, on hearing that there was a rich mahajan there. On reaching the mahajan’s place, I saw an old man counting money sitting on his haunches on the veranda. He was wearing a really dirty dhoti, and had a topknot on the head. There was a lot of money piled up in bundles in front of him. We told him quite a bit about the importance of Gandhiji. The old man stopped counting money and listened to us. Towards the end when he said, “All right. It’s all good” – we thought that the old man would give us at least one bundle from the money piled in front of him. However, when he said “OK, take this” and took out a few coins from a fold on his waist and offered these to us, cold water fell on our hopes. We came back without taking what he offered to us. We used to be treated really well elsewhere. In many places, people would affectionately offer us food. While residing in Satyabhamapur, we had received the sad news of Utkal Gouraba Madhusudan Das’s demise.

I also witnessed zamindary oppression for the first time during this period. Once we had gone to Lekhanpur and were the guests of the zamindar there. He was also a supporter of the freedom movement. His office was located in front of our residence. A large number of people were assembled there. I looked up on suddenly hearing a lot of noise and saw a petty official hitting a man with shoes. I was thunderstruck when I saw this. Later I regretted that I did not protest against this.

During this period, a certain feeling of cosmopolitanism had started taking hold of my mind. People from across the world, from all the countries, belong to one common humanity, that all people should unite overcoming the barriers of the discriminations associated with nation states, such ideas were creating an inclination towards liberalism in my mind. Along with this, there were also the romantic ideas related to the working class. Be it workers from Kolkata’s jute mills, or those laboring elsewhere, whenever I met them in villages, I would want to talk to them about their lives. In Padmapur, we came to know that quite a few families from there had migrated to Brazil and were settled there. These linkages between Odisha’s rural hinterland and faraway South America created quite a bit of excitement in my mind. I thought this was how the whole world was going to become one. 

We returned to Cuttack as the time for Gandhiji’s tour was close at hand. We had managed to collect around three hundred rupees. Gandhiji came to Angul via Sambalpur. The Deputy Commissioner there warned the people that no one should extend any cooperation towards the events concerning Gandhiji’s welcome and felicitations. Only Girijabhushan Dutta somehow could put up a tent and made a place for Gandhiji to stay. However, quite a few people from the nearby villages turned up to see Gandhiji. Girija babu was working as a contractor in Angul. He was independent and fearless. Later he supported the cause of the Garjat Movement in Odisha. It was on his land that later khudi built the ashram in Angul.

Gandhiji went to Puri in the evening, passing Cuttack, in the Talcher Train. He was supposed to come to Cuttack from Puri. A seven days long whirlwind tour had been planned for him. He was supposed to move around in a vehicle and have two to three meetings per day. But the next day we got the news that Gandhiji would start his padayatra from Puri. His motor tour was cancelled. It came to be known that the local leaders had arranged for police protection for him on receiving the news that the Puri pandas, the priests at the Jagannath temple, were conspiring to get him beaten up. He had decided on a padayatra to make it easier for those people to beat him up, if that was what they wanted.

Wherever his tour had already been fixed, both the people and the organisers who had been making the arrangements felt frustrated with this sudden change in plan. Many even went and started arguing with him. However, Gandhiji was unperturbed. The schedule for a seven days long padayatra from Puri to Cuttack was fixed. I went and joined the padayatra on the second day in Sakhigopal. My job was to write about Gandhiji’s speeches in detail and to take photographs at his meetings.

Rabindranath Tagore’s elder brother Dwijendranath had invented a method of stenography in Bangla and had published a book on the topic. Khudi had a copy of the book and it came to my hands. I had been practicing this method of shorthand writing. In reality, I had not developed any level of competence and my speed was not that good. However, as each sentence of Gandhiji’s Hindi speeches was being translated into Odia as he spoke, I got the time I needed to write these fast. For the first few days, after I cleaned up the text of the speech, Gandhiji would take a look and make the corrections himself. Later he thought these corrections were not needed. Then I would show the text to Kaka Kalelkar or someone else.

In the padayatra, I was walking two and half to three miles in the morning and the same distance in the afternoon. The padayatra would begin in the morning after everybody had an early breakfast. In the evening, we would set off after finishing dinner around five or five-thirty. There was no worry of arranging food at the night halt. It was summer, so everyone slept in the open. During the day, a house or some temporary shade created by woven mats of coconut fronds would be needed. Before leaving, Gandhiji would personally supervise whether the pit latrines, soiled leaf-plates, etc. had been properly buried under the earth or not. He would see to it that everything had been cleaned up properly. He would also take care of all those who accompanied him on the march. What had been cooked, whether there were any leftovers, he would take stock of this as well.  Once when he heard that my sister Chuni had a thorn in one of her feet, he sat down to remove it out himself. On another occasion, he heard that there was surplus cooked rice, and became pacified only when he was informed that it could be put to good use by making pakhala out of it.

Many distinguished people were coming to meet Gandhiji. They came from a variety of backgrounds, and from outside the country as well. A German man called Kuti Buto from South-West Africa was there in the padayatra from the beginning to the end. He used to identify himself as a member of the Nazi party. He was one of the chief attractions of the padayatra. Wherever he went, he ended up drinking ten, twelve tender coconuts at one go. Two Czechoslovakian guys arrived in Puri, may be at Siulachaka or Satyabhamapur. Thakkar Bapa was there from Puri till Cuttack. N. R. Malkani, the secretary of Harijan Seva Sangh, was there from Bairi to Bhadrak. Satish Chandra Dasgupta arrived at Siulachaka for the first time. Gandhiji had a two-weeks long programme in Bengal after Odisha. Satish babu had allotted that duration of time to Odisha on Bengal’s behalf. Therefore, after reaching Cuttack, Gandhiji left for Patna to attend a meeting of All Indian Congress Committee, and after coming back from there, he got down at Bairi station and again started the second phase of the padayatra. The padayatra was supposed to take place till Baleswar. However, rains started in Jajpur, and therefore, it had to be stopped in Bhadrak.

Agatha Harrison, an English woman who loved India, was in the second padayatra for many days. Pierre Ceresole, from a pacifist service organization called Service Civil International, had come to serve the earthquake affected people of Bihar. He was also with Gandhiji for a few days. Minoo Masani was then a key leader of the Congress Socialist Party. After having come here, he also spent two, three days in the padayatra and had few rounds of discussions with Gandhiji. Ghanshyam Das Birla had come, too. He arrived at the most inconvenient spot for halting, Intaripokhari. Gandhiji stayed there in a tiny house. The rest were put up in a banana grove. There it was very difficult to get even a little milk for Birlaji.

At every halt, Gandhiji would first address the assembled masses and speak against untouchability. Raju-da would translate these speeches. Gandhiji would speak one sentence and then its translation would follow. The speeches would not be too long. He was trying to explain a few basic points at all the places. People used to come from places far away just to have a glimpse of Gandhiji. Many would arrive at inopportune times and grow anxious to see Gandhiji. During the day, he would usually sit in an open area. Therefore, this posed no difficulties. However, in the night, when Gandhiji would be sleeping, people would disturb him by holding lanterns near his face and shining torches at him.

Numerous episodes have stayed in my memory forever. Once the halt was in the yard of a temple or may be a matha. Someone spread Gandhiji’s bedding on a spot that was just five to seven feet away from its boundary wall made up of dry, thorny plants. Gandhiji had already sat upon the bedding when my father saw this and said, “It’s a wild place. There might be dangerous creatures around. Let’s shift the bedding a little farther from the boundary wall.” Gandhiji smiled and replied, “Gopa babu! If a snake had to bite me, couldn’t it crawl a little farther and do so?” The bedding stayed where it was. 

At another place, as it became too hot, Gandhiji went and sat down in the shade of a mango orchard. The trees were filled with insects. It was difficult for a man to sit there in peace. When someone expressed irritation about this, Gandhiji made the following remark, “What’s their fault? If we’re insects, we’d have done exactly the same.” In Cuttack district, Satyabhamapur was quite some distance away from Lekhanpur. It became quite late while traveling there. So, in Gopinathpur, Gandhiji started running after going down the embankment. For the distance of almost half a mile, it was a proper run. Everyone was panting while trying to follow him.

The halt before Jajpur was on the bank of river Budha at night. There, as soon as the evening prayer got over, dark clouds gathered in the sky, and soon it started raining incessantly. There was a small shop there. One of its rooms had a little space. Gandhiji and around seven to eight women took shelter there. For everyone else, only seven to eight feet long mats of woven coconut fronds were available. There were twenty-one or twenty-two of us who put up a canvas against these mats and took shelter underneath. By the time we could make these arrangements, it started raining cats and dogs. The rains continued well into the night. Throughout the night all of us dozed inside the makeshift hut leaning on to and colliding with each other.

It rained heavily at Todanga in Baleswar district as well. Bhadrak was twelve miles from there. It was decided that Gandhiji would walk this stretch at one go and end the Odisha tour after staying for two days at Jivramji’s Ashram in Bhadrak. According to this plan, we left in the morning, rested for a bit once on the road and reached Bhadrak at midday.

In the second phase of the padayatra, Badama got smallpox. She died of the illness. My mother arrived at the Kabirpur halt from Cuttack. Gandhiji consoled her. Then, I didn’t show my feelings. It could be the influence of the prayers that detailed the characteristics of an equanimous person, or because of my shyness. Later my grandmother died during the padayatra led by Vinobaji; even at that time I showed such detached manner. If it were analyzed to find out whether this was due to my equanimity or lack of sensitivity, the latter would be true. Often I have thought of Badama and Ma and have missed them deeply. Now I think that not experiencing sorrow or happiness is not a sign of health. What is desirable is that a human being should not be overwhelmed by either sorrow or happiness and their intelligence should function properly under all circumstances. However, one’s sensibility must remain fresh. The current social climate numbs our sensibility. Therefore, we need ways to keep it fresh and sharp. Otherwise, a lack of sensitivity and lifelessness would pass itself off as equanimity. That’s what it seems like when one sees Vinobaji’s activities.

In Bihar a famine struck when the agitation for gramdan was on a whirlwind. Jayaprakashji took the lead of the relief work after forming a relief committee. Vinoba offered the opinion that there was no need to get into that work. That everyone should just keep on doing the foundational work of receiving the gift of villages. This didn’t agree with my sensibilities. I had argued with Vinobaji strongly. He had offered the view that humans do not die till their prarabdha gets over. Therefore, only those whose prarabdha got over would die, and those whose prarabdha did not get over would continue to live no matter what. Therefore, there was no need to think about them. This ideology of the prarabdha could neither be proved nor disproved. This is what’s called a circular argument. However, later, Vinoba had given his consent to create gramsabhas and conduct relief work under their banner.

That’s all past. Now, when for all practical purposes, dictatorship had been established in India, falsehood and violence reigned supreme, and hundreds of people were murdered in Bihar and elsewhere in the country, it’s strange for Vinobaji to not be worried even slightly and support the regime by remarking that it’s a “time for discipline”. Gandhiji would be worried about the sorrows and pains of even his adversaries. He would think about possible remedies for them. And now when beginning with Jayaprakash Narayan hundreds and thousands of close colleagues were arrested, civil rights of the whole country were withdrawn, all of this not touching him at all was not a sign of equanimity. It’s a sign of emotional blockage and spiritual paralysis.

During the padayatra, one morning Gandhiji walked leaning on to my shoulders to have a conversation with me. He asked me, “What are you doing now and what do you want to do in future?” I said, “I’m interested in studying astronomy and its related fields.” He said, “You could study along with undertaking some work like Khadi.” I said, “Yes.” Our conversation ended with this. The fact of the matter was that I didn’t have any clarity about what I wanted, or didn’t want, to do, at that point of time. In a way, I was participating in the freedom struggle. I had a broad understanding that I had to go forward in that direction. The aspiration for a new society had also arisen by coming in touch with socialist thoughts. In another direction, I deeply wanted to know about the mysteries of our strange world that science was unveiling.  Due to my reserved nature, I was not openly discussing any of this with anyone. Therefore, what more could I discuss with Gandhiji?

Note: This is a translation of a chapter from 'Kasturi Mruga Sama', the autobiography of Manmohan Choudhury (1915-2003). Choudhury was a freedom fighter and sarvodaya activist from Odisha who participated in almost all the popular socio-political movements of his times that happened in the state. He was also a noted writer of non-fiction in the Odia language who won major awards for his writing.

Wednesday, July 22, 2026

ବାଳ ବର୍ଗ ୧୩

ପାଲି ଧର୍ମପଦର ଓଡ଼ିଆ ପଦ୍ୟାନୁବାଦ

ଅନୁବାଦକ - ଶୈଲେନ ରାଉତରାୟ


ବଜ୍ରଯୋଗିନୀ କେନ୍ଦ୍ରରେ ଥିବା ନରୋପା ପରମ୍ପରାର ବଉଧ ମଣ୍ଡଳ (୧୯ଶ ଶତାବ୍ଦୀ)
ଫଟୋ କ୍ରେଡ଼ିଟ୍ - ୱିକିମିଡିଆ କମନ୍ସ୍

ଓଡ଼ିଆ ପଦ୍ୟାନୁବାଦ

ଅପଗଣ୍ଡଟିର ଅଛି ଯାବତୀୟ ଜ୍ଞାନ 
ଅନର୍ଥର ପାଇଁ ଅଟେ ସେସବୁ ଜନମ । 
ଏସବୁ ଜ୍ଞାନ ତାହାର କରି ଶିରପାତ
ସମସ୍ତ ଶୁଭ କର୍ମକୁ କରଇ ନିପାତ ।୧୩। 

ମୂଳ ପାଲି ପଦ

ୟାବଦେବ ଅନର୍ଥାୟ ଜ୍ଞପ୍ତଂ ବାଳସ୍ୟ ଜାୟତେ ।
ହନ୍ତି ବାଳସ୍ୟ ସୂତ୍କର୍ଷଂ ମୂର୍ଦ୍ଧାନମସ୍ୟ ବିପାତୟତ୍ ।୧୩।
ଯାବଦେବ ଅନତ୍ଥାୟାଞତ୍ତଂ ବାଳସ୍ସ ଜାୟତି ।
ହନ୍ତି ବାଳସ୍ୱ ସୁକ୍କଂସଂ ମୁଦ୍ଧମସ୍ୱ ବିପାତୟଂ ।୧୩।

ଅନୁବାଦକୀୟ ଟୀକା: ଏହି ଅଧମ ଅନୁବାଦକକୁ ପାଲି ଜଣା ନାହିଁ । ଏଣୁ ଏହି ପଦ୍ୟାନୁବାଦଟି ପାଇଁ ତାହାର ମୂଳ ସହାୟ ହେଲା  ପ୍ରଫେସର ପ୍ରହ୍ଲାଦ ପ୍ରଧାନଙ୍କ ଦ୍ୱାରା ସମ୍ପାଦିତ 'ପାଲି ଧର୍ମପଦ' ଗ୍ରନ୍ଥଟି, ଯେଉଁଥିରେ ସେ ସଂସ୍କୃତ ରୂପାନ୍ତର ସହ ଓଡ଼ିଆ ଗଦ୍ୟାନୁବାଦ କରିଯାଇଛନ୍ତି । ଗ୍ରନ୍ଥଟିର ପ୍ରଥମ ସଂସ୍କରଣ ୧୯୭୮ ମସିହାରେ ପ୍ରକାଶିତ । କିନ୍ତୁ ଏହି ଅନୁବାଦକ ୧୯୯୪ ମସିହାରେ କଟକସ୍ଥ ପ୍ରକାଶନ ସଂସ୍ଥା ଫ୍ରେଣ୍ଡ୍‌ସ୍‌ ପବ୍ଲିଶର୍ସ ଛାପିଥିବା ଦ୍ୱିତୀୟ ସଂସ୍କରଣଟି ବ୍ୟବହାର କରିଛି । ଏହା ଛଡ଼ା ଏହି ପଦ୍ୟାନୁବାଦ କରିବା ପାଇଁ 'ଦି ସେକ୍ରେଡ଼୍ ବୁକ୍ସ୍ ଅଫ୍ ଦି ଇଷ୍ଟ୍' ସିରିଜ୍‌ରେ ମାକ୍ସ୍ ମ୍ୟୁଲର୍‌ଙ୍କ ଦ୍ୱାରା ସମ୍ପାଦିତ 'ଦି ଧମ୍ମପଦ' ଇଂରାଜି ଗ୍ରନ୍ଥଟିର ୨୦୧୩ ମସିହାରେ ରୁଟ୍‌ଲେଜ୍ ଛାପିଥିବା ସଂସ୍କରଣଟିର ମଧ୍ୟ ବ୍ୟବହାର କରାଯାଇଛି ।

Wednesday, July 8, 2026

ମାର୍କସ ଅରିଲସଙ୍କର 'ବିଚାରମାଳା'

ଦ୍ୱିତୀୟ କାଣ୍ଡ: ପଞ୍ଚମ ଓ ଷଷ୍ଠ ଅଧ୍ୟାୟ

ଅନୁବାଦକ - ଶୈଲେନ ରାଉତରାୟ


ରୋମୀୟ ସ୍ଟୟିକ ଦାର୍ଶନିକ ସେନେକା
ଫଟୋ କ୍ରେଡ଼ିଟ - ୱିକିମିଡ଼ିଆ କମନ୍ସ୍

ପଞ୍ଚମ ଅଧ୍ୟାୟ

ପ୍ରହର ପରେ ପ୍ରହର ଏହା ତୁମର ଧ୍ୟେୟ ହୋଇ ରହୁ - ଜଣେ ରୋମୀୟ ଭାବରେ ତଥା ଜଣେ ମନୁଷ୍ୟ ଭାବେ, ଯାହା ଉପସ୍ଥିତ ତାହାକୁ ମାନବିକ, ନ୍ୟାୟସଙ୍ଗତ ତଥା ସ୍ୱାଧୀନ ଭାବରେ ଉଚିତ ତଥା ପ୍ରାକୃତିକ ମର୍ଯ୍ୟାଦାର ସହ ସମ୍ପାଦିତ କରିବା । ଅନ୍ୟ କୌଣସି ବ୍ୟାପାରରୁ ନିଜର ମନକୁ ମୁକ୍ତ ରଖ । ଏହା ତୁମ୍ଭେ କରିବା ନିଶ୍ଚିତ ସମ୍ଭବ, ଯଦି ତୁମ୍ଭେ ନିଜର ସମସ୍ତ କାର୍ଯ୍ୟକୁ, ନିଜ ମନରୁ ସମସ୍ତ ବାଟବଣା ଚିନ୍ତା, ତର୍କର ନିର୍ଦ୍ଦେଶରୁ ଭାବନା-ଭିତ୍ତିକ ପଳାୟନ, ପ୍ରଦର୍ଶନର କାମନା, ଆତ୍ମ ପ୍ରଶସ୍ତି ତଥା ନିଜର ସ୍ଥିତାବସ୍ଥା ସହ ଅସନ୍ତୋଷ, ଆଦିକୁ, ଦୂରେଇ ଦେଇ, ଏପରି ଭାବରେ କରିପାରିବ, ଯେପରି ସେହି କାମଟି ତୁମ୍ଭର ଜୀବନର ଅନ୍ତିମ କାର୍ଯ୍ୟ । ଦେଖ, ମନୁଷ୍ୟକୁ କେତେ କମ ଜିନିଷ ଉପରେ ପ୍ରଭୁତ୍ୱ ବଜାୟ ରଖିବା ଆବଶ୍ୟକ, ଯାହା ଫଳରେ କି ତାହାର ଜୀବନ ହୋଇପାରିବ ନୀରବ ଓ ଦିବ୍ୟ: ତାହାକୁ କେବଳ ଏହି କେତୋଟି ଉପଦେଶକୁ ଆଚରଣରେ କରିବାକୁ ପଡ଼ିବ, ଏବଂ ଦେବତାମାନେ ତାହାଠାରୁ ଆଉ କିଛି ଅଧିକର ଅପେକ୍ଷା ରଖନ୍ତି ନାହିଁ ।

ଷଷ୍ଠ ଅଧ୍ୟାୟ

ଯାଅ, ଯାଅ, ହେ ମୋର ଆତ୍ମନ୍ ! ନିଜକୁ ତିରଷ୍କୃତ ଓ ଅପମାନିତ କରିବା ନିମନ୍ତେ ! ହେଲେ ଆହୁରି ଅଳ୍ପ ସମୟ ମଧ୍ୟରେ ହିଁ ନିଜର ମହତ ରଖିବା ନିମନ୍ତେ ସମୟ ଅତିବାହିତ ହୋଇଯିବ । ମନୁଷ୍ୟର ଏକ ହିଁ ଜୀବନ, ତୁମର ଅନ୍ତ ଅତି ନିକଟରେ, ହେଲେ ତେବେ ମଧ୍ୟ ନିଜର ମହତ ପାଇଁ ତୁମ୍ଭେ ଲୋଚନ ଫେଡ଼ ନାହିଁ, କିନ୍ତୁ ନିଜର ଆନନ୍ଦକୁ ଅନ୍ୟମାନଙ୍କର ମନ ଓ ମତ ଉପରେ ନିର୍ଭରଶୀଳ କରି ରଖ । 

ଅନୁବାଦକୀୟ ଟୀକା: ଗ୍ରୀକ ଓ ବିଶ୍ୱ ଦର୍ଶନ କ୍ଷେତ୍ରରେ ପ୍ରାଚୀନ ରୋମର ଚିନ୍ତକ ୧୬ତମ ସମ୍ରାଟ ମାର୍କସ ଅରିଲସ (୧୨୧-୧୮୦ ଖ୍ରୀଷ୍ଟାବ୍ଦ) ଙ୍କର ଗ୍ରନ୍ଥ ମେଡିଟେସନସ ର ଏକ ଗୁରୁତ୍ୱପୂର୍ଣ୍ଣ ସ୍ଥାନ ରହିଛି । ଷ୍ଟଇକ୍ ଦର୍ଶନ ପରମ୍ପରାର ଏକ କ୍ଲାସିକ୍ ଭାବରେ ଏହାକୁ ଗଣାଯାଏ । ପୃଥିବୀସାରା ଏବେ ଷ୍ଟଇକ୍ ଦର୍ଶନ ପରମ୍ପରାର ପୁନରୁତ୍ଥାନ ଘଟୁଅଛି । ଗ୍ରନ୍ଥଟିର ଅନୁବାଦଟି ମୂଳ ଗ୍ରୀକ ଭାଷାର ଦୁଇଟି ଭିନ୍ନ ଭିନ୍ନ ଇଂରାଜୀ ଭାଷାନ୍ତରର ସାହାଯ୍ୟ ନେଇ କରାଯାଇଅଛି ।

Friday, May 8, 2026

ବାଳ ବର୍ଗ ୧୨

ପାଲି 'ଧର୍ମପଦ'ର ଓଡ଼ିଆ ପଦ୍ୟାନୁବାଦ

ଅନୁବାଦକ - ଶୈଲେନ ରାଉତରାୟ


ପ୍ରଜ୍ଞା ପାରମିତା କେନ୍ଦ୍ରରେ ଥାଇ ବୌଦ୍ଧ ମଣ୍ଡଳ (୧୯ଶ ଶତାବ୍ଦୀ)
ଫଟୋ କ୍ରେଡ଼ିଟ - ୱିକିମିଡିଆ କମନ୍ସ୍

ଓଡ଼ିଆ ପଦ୍ୟାନୁବାଦ

ପାପ କର୍ମ କୃତ ମାତ୍ରେ ସଦ୍ୟ କ୍ଷୀର ପରି
ନିଜର ସ୍ୱଭାବକୁ କେବେ ହେଁ ନ ଛାଡ଼ଇ ।

ମୂର୍ଖକୁ ଜଳାଇ କରଇ ଅନୁସରଣ
ଭସ୍ମରେ ଆଚ୍ଛନ୍ନ  ଯେପରି ହବ୍ୟବାହନ ।୧୨। 

ମୂଳ ପାଲି ପଦ

ନହି ପାପଂ କୃତଂ କର୍ମ୍ମ ସଦ୍ୟଃ କ୍ଷୀରମିବ ମୁଞ୍ଚତି ।
ଦହତ୍ ତତ୍ ବାଳମନ୍ୱେତି ଭସ୍ମଚ୍ଛନ୍ନଃ ଇବ ପାବକଃ ।୧୨।

ନହି ପାପଂ କତଂ କମ୍ମଂ ସଜ୍ଜୁ ଖୀରଂ ବ ମୁଚ୍ଚତି ।
ଡହନ୍ତ‌ଂ ବାଳମନ୍ୱେତି ଭସ୍ମଚ୍ଛନ୍ନୋ ବ ପାବକୋ ।୧୨।

ଅନୁବାଦକୀୟ ଟୀକା: ଏହି ଅଧମ ଅନୁବାଦକକୁ ପାଲି ଜଣା ନାହିଁ । ଏଣୁ ଏହି ପଦ୍ୟାନୁବାଦଟି ପାଇଁ ତାହାର ମୂଳ ସହାୟ ହେଲା  ପ୍ରଫେସର ପ୍ରହ୍ଲାଦ ପ୍ରଧାନଙ୍କ ଦ୍ୱାରା ସମ୍ପାଦିତ 'ପାଲି ଧର୍ମପଦ' ଗ୍ରନ୍ଥଟି, ଯେଉଁଥିରେ ସେ ସଂସ୍କୃତ ରୂପାନ୍ତର ସହ ଓଡ଼ିଆ ଗଦ୍ୟାନୁବାଦ କରିଯାଇଛନ୍ତି । ଗ୍ରନ୍ଥଟିର ପ୍ରଥମ ସଂସ୍କରଣ ୧୯୭୮ ମସିହାରେ ପ୍ରକାଶିତ । କିନ୍ତୁ ଏହି ଅନୁବାଦକ ୧୯୯୪ ମସିହାରେ କଟକସ୍ଥ ପ୍ରକାଶନ ସଂସ୍ଥା ଫ୍ରେଣ୍ଡ୍‌ସ୍‌ ପବ୍ଲିଶର୍ସ ଛାପିଥିବା ଦ୍ୱିତୀୟ ସଂସ୍କରଣଟି ବ୍ୟବହାର କରିଛି । ଏହା ଛଡ଼ା ଏହି ପଦ୍ୟାନୁବାଦ କରିବା ପାଇଁ 'ଦି ସେକ୍ରେଡ଼୍ ବୁକ୍ସ୍ ଅଫ୍ ଦି ଇଷ୍ଟ୍' ସିରିଜ୍‌ରେ ମାକ୍ସ୍ ମ୍ୟୁଲର୍‌ଙ୍କ ଦ୍ୱାରା ସମ୍ପାଦିତ 'ଦି ଧମ୍ମପଦ' ଇଂରାଜି ଗ୍ରନ୍ଥଟିର ୨୦୧୩ ମସିହାରେ ରୁଟ୍‌ଲେଜ୍ ଛାପିଥିବା ସଂସ୍କରଣଟିର ମଧ୍ୟ ବ୍ୟବହାର କରାଯାଇଛି ।

Wednesday, April 8, 2026

ବାଳ ବର୍ଗ ୧୧

ପାଲି 'ଧର୍ମପଦ'ର ଓଡ଼ିଆ ପଦ୍ୟାନୁବାଦ

ଅନୁବାଦକ - ଶୈଲେନ ରାଉତରାୟ


ବୋର୍ବୋଦୁରର ୯ମ ଶତାବ୍ଦୀର ବୌଦ୍ଧ ମନ୍ଦିରର ମଣ୍ଡଳ ଆକାରର ଭିତ୍ତିଚିତ୍ର
ଫଟୋ କ୍ରେଡ଼ିଟ - ୱିକିମିଡିଆ କମନ୍ସ୍

ଓଡ଼ିଆ ପଦ୍ୟାନୁବାଦ

କଉଣସି ମୂର୍ଖ ଲୋକ ମାସ ମାସ ଧରି
ଯଦି କୁଶର ଅଗ୍ରରେ ଭୋଜନ କରଇ ।

ଧର୍ମଜ୍ଞ ବ୍ୟକ୍ତିର ଷୋ'ଳ କଳାରୁ ଗୋଟିଏ 
କଳାଏକୁ ମଧ୍ୟ ସିଏ ଯୋଗ୍ୟ ତ ନହୁଏ ।୧୧।

ମୂଳ ପାଲି ପଦ

ମାସେ ମାସେ କୁଶାଗ୍ରେଣ ବାଳୋ ଭୁଞ୍ଜୀତ ଭୋଜନମ୍ ।
ନ ସଃ ସଙ୍ଖ୍ୟାତଧର୍ମ୍ମାଣାଂ କଳାମ୍ ଅର୍ହତି ଷୋଡ଼ଶୀମ୍ ।।

ମାସେ ମାସେ କୁସଗ୍ଗେନ ବାଳୋ ଭୁଞ୍ଜେଥ ଭୋଜନଂ ।
ନ ସୋ ସଙ୍ଖାତଧମ୍ମାନଂ କଳଂ ଅଗ୍ଘତି ସୋଳସିଂ ।୧୧।


ଅନୁବାଦକୀୟ ଟୀକା: ଏହି ଅଧମ ଅନୁବାଦକକୁ ପାଲି ଜଣା ନାହିଁ । ଏଣୁ ଏହି ପଦ୍ୟାନୁବାଦଟି ପାଇଁ ତାହାର ମୂଳ ସହାୟ ହେଲା  ପ୍ରଫେସର ପ୍ରହ୍ଲାଦ ପ୍ରଧାନଙ୍କ ଦ୍ୱାରା ସମ୍ପାଦିତ 'ପାଲି ଧର୍ମପଦ' ଗ୍ରନ୍ଥଟି, ଯେଉଁଥିରେ ସେ ସଂସ୍କୃତ ରୂପାନ୍ତର ସହ ଓଡ଼ିଆ ଗଦ୍ୟାନୁବାଦ କରିଯାଇଛନ୍ତି । ଗ୍ରନ୍ଥଟିର ପ୍ରଥମ ସଂସ୍କରଣ ୧୯୭୮ ମସିହାରେ ପ୍ରକାଶିତ । କିନ୍ତୁ ଏହି ଅନୁବାଦକ ୧୯୯୪ ମସିହାରେ କଟକସ୍ଥ ପ୍ରକାଶନ ସଂସ୍ଥା ଫ୍ରେଣ୍ଡ୍‌ସ୍‌ ପବ୍ଲିଶର୍ସ ଛାପିଥିବା ଦ୍ୱିତୀୟ ସଂସ୍କରଣଟି ବ୍ୟବହାର କରିଛି । ଏହା ଛଡ଼ା ଏହି ପଦ୍ୟାନୁବାଦ କରିବା ପାଇଁ 'ଦି ସେକ୍ରେଡ଼୍ ବୁକ୍ସ୍ ଅଫ୍ ଦି ଇଷ୍ଟ୍' ସିରିଜ୍‌ରେ ମାକ୍ସ୍ ମ୍ୟୁଲର୍‌ଙ୍କ ଦ୍ୱାରା ସମ୍ପାଦିତ 'ଦି ଧମ୍ମପଦ' ଇଂରାଜି ଗ୍ରନ୍ଥଟିର ୨୦୧୩ ମସିହାରେ ରୁଟ୍‌ଲେଜ୍ ଛାପିଥିବା ସଂସ୍କରଣଟିର ମଧ୍ୟ ବ୍ୟବହାର କରାଯାଇଛି ।

Wednesday, April 1, 2026

He will fulfil all your desires

Bhima Bhoi

Translated by Sailen Routray


Tulips by Mughal era artist Ustad Mansur
Photo credit: Wikimedia Commons

He will fulfil all your desires.
He is present as the formless emptiness. [0]

The fourteen worlds vibrate.
Blessed is the grace 
of the Name that is audible. [1]

Meditate and walk on the path of righteousness.
Unceasingly ask for protection. [2]

Have His vision every morning and evening.
Knowing the mind, 
He will surely be pleased. [3]

Reason out both Truth and Reality.
Recognize the formless
while remaining in form. [4]

Every moment seek the company of saints
and serve them.
Carry the sayings of the Master in your head. [5]

From this illusory world redeem me;
For this, Bhima Bhoi seeks refuge. [6]

Note: Bhima Bhoi (1850-1895) was an 19th century Odia saint poet. His compositions were instrumental in the spread of Mahima religion in peninsular India, especially in the Odia speaking regions. His bhajans remain popular even today, and are performed widely. Although he was ignored by the literary establishment of his times, he is a major figure in the history of Odia literature now, with texts like "Stuti Chintamani" and "Bramha Nirupana Gita" considered as classics. 

First line of the bhajan in Odia: "Karibe mana kamana purna go" 

Sunday, March 1, 2026

Drown your body in the ocean of being

Bhima Bhoi

Translated by Sailen Routray


  Jaali work at Safdarjung Tomb, Delhi
Wikimedia Commons/Pallav.journo

Drown your body 
in the ocean of being. [0]

That ocean of being?
Take refuse in that.
Carrying out
what the master orders. [1]

You will be saved
when you practice thatness.
You will be met 
in the Brahman.
The three gunas will then fall off 
becoming without desires. [2]

A human birth is of value.
Cognize it in this body.
You won't get this
rare birth again. [3]

The Brahman is indivisible.
It's not possible to break it into parts.
You will be saved from this earth 
only when you take refuse in that. [4]

Offer this body and life
to the Lord.
You will be redeemed
when the embodied one 
expands in the Brahman. [5]

Bhima the Kondh says
this verse is entangled.
It's the enlightened ones
who like the dharma.

Note: Bhima Bhoi (1850-1895) was an 19th century Odia saint poet. His compositions were instrumental in the spread of Mahima religion in peninsular India, especially in the Odia speaking regions. His bhajans remain popular even today, and are performed widely. Although he was ignored by the literary establishment of his times, he is a major figure in the history of Odia literature now, with texts like "Stuti Chintamani" and "Bramha Nirupana Gita" considered as classics. 

First line of the bhajan in Odia: "Brahma sagare pinda jhasAa nei" 

Sunday, February 8, 2026

ବାଳ ବର୍ଗ ୯

ପାଲି 'ଧର୍ମପଦ'ର ଓଡ଼ିଆ ପଦ୍ୟାନୁବାଦ

ଅନୁବାଦକ - ଶୈଲେନ ରାଉତରାୟ


ଅଜନ୍ତାର ଚତୁର୍ଥ ଗୁମ୍ଫାରେ ବୋଧିସତ୍ତ୍ୱମାନଙ୍କ ଦ୍ୱାରା ପରିବେଷ୍ଟିତ ବୁଦ୍ଧ
ମହାରାଷ୍ଟ୍ରର ଔରଙ୍ଗାବାଦ (ଖ୍ରୀଷ୍ଟପୂର୍ବ ଦ୍ୱିତୀୟ ଶତାବ୍ଦୀରୁ ସପ୍ତମ ଶତାବ୍ଦୀ)
ଫଟୋ କ୍ରେଡ଼ିଟ - ୱିକିମିଡିଆ କମନ୍ସ୍

ଓଡ଼ିଆ ପଦ୍ୟାନୁବାଦ

ଯେଉଁ କାମ କରି ଅନୁତାପ ଲୋଡ଼ା ନାହିଁ
ନିଶ୍ଚିତ ଭାବରେ ତାହା କର୍ତ୍ତବ୍ୟ ଅଟଇ ।
ବିପାକ ଫଳକୁ ଯା' ପ୍ରସନ୍ନଚିତ୍ତ ହୋଇ
ଉତ୍ତମ ମନରେ ଭୋଗ କରିତେ ପଡ଼ଇ ।୯। 

ମୂଳ ପାଲି ପଦ

ତଞ୍ଚ କମ୍ମଂ କତଂ ସାଧୁ ଯଂ କତ୍ୱା ନାନୁତପ୍ପତି ।
ଯସ୍ସ ପତୀତୋ ସୁମନୋ ବିପାକଂ ପଟିବେସତି ।।
ତତ୍ ଚ କର୍ମ୍ମ କୃତଂ ସାଧୁ ୟତ୍ କୃତ୍ୱା ନାନୁତପ୍ୟତେ ।
ୟସ୍ୟ ପ୍ରତୀତଃ ସୁମନା ବିପାକଂ ପ୍ରତିସେବତେ ।୯।

ଅନୁବାଦକୀୟ ଟୀକା: ଏହି ଅଧମ ଅନୁବାଦକକୁ ପାଲି ଜଣା ନାହିଁ । ଏଣୁ ଏହି ପଦ୍ୟାନୁବାଦଟି ପାଇଁ ତାହାର ମୂଳ ସହାୟ ହେଲା  ପ୍ରଫେସର ପ୍ରହ୍ଲାଦ ପ୍ରଧାନଙ୍କ ଦ୍ୱାରା ସମ୍ପାଦିତ 'ପାଲି ଧର୍ମପଦ' ଗ୍ରନ୍ଥଟି, ଯେଉଁଥିରେ ସେ ସଂସ୍କୃତ ରୂପାନ୍ତର ସହ ଓଡ଼ିଆ ଗଦ୍ୟାନୁବାଦ କରିଯାଇଛନ୍ତି । ଗ୍ରନ୍ଥଟିର ପ୍ରଥମ ସଂସ୍କରଣ ୧୯୭୮ ମସିହାରେ ପ୍ରକାଶିତ । କିନ୍ତୁ ଏହି ଅନୁବାଦକ ୧୯୯୪ ମସିହାରେ କଟକସ୍ଥ ପ୍ରକାଶନ ସଂସ୍ଥା ଫ୍ରେଣ୍ଡ୍‌ସ୍‌ ପବ୍ଲିଶର୍ସ ଛାପିଥିବା ଦ୍ୱିତୀୟ ସଂସ୍କରଣଟି ବ୍ୟବହାର କରିଛି । ଏହା ଛଡ଼ା ଏହି ପଦ୍ୟାନୁବାଦ କରିବା ପାଇଁ 'ଦି ସେକ୍ରେଡ଼୍ ବୁକ୍ସ୍ ଅଫ୍ ଦି ଇଷ୍ଟ୍' ସିରିଜ୍‌ରେ ମାକ୍ସ୍ ମ୍ୟୁଲର୍‌ଙ୍କ ଦ୍ୱାରା ସମ୍ପାଦିତ 'ଦି ଧମ୍ମପଦ' ଇଂରାଜି ଗ୍ରନ୍ଥଟିର ୨୦୧୩ ମସିହାରେ ରୁଟ୍‌ଲେଜ୍ ଛାପିଥିବା ସଂସ୍କରଣଟିର ମଧ୍ୟ ବ୍ୟବହାର କରାଯାଇଛି ।

Sunday, February 1, 2026

That uncreated wind moves

Bhima Bhoi

Translated by Sailen Routray


The arched jali of Humayun's Tomb
featuring a 6-fold Islamic geometric pattern
Photo credit: https://commons.wikimedia.org/Hu741f4
/

That uncreated wind moves
through the night and the day.
Who has found its beginning or the end?
Where are the marks it leaves? [0]

Its path is an emptiness in the great space.
One meets it in formlessness, and in no-colour, 
No one could penetrate it and get hold of it,
either through the body or in the world. [1] 

It's not to be found at the doors
of wakefulness or perception. 
Nor does it reside in the mind.
It cannot be felt at all in the body, 
or in its shadows, or its illusions. [2]

At the door of desires and imagination
it does not get mixed up in the five senses.
Who would find it,
one who does not have a breath or a shadow? [3]

It does not enter the shapes of words.
It's beyond the twenty one worlds.
It's the essence underlying everything,
with its only feet remaining hidden, submerged. [4]

It's not to be found in human habitations.
Where does it reside?
He, who will take me to it,
I will hold on to his feet. [5]

It does not partake of devotion and service.
It cannot be seen. Nor can one talk about it.
It stays alone, all by itself,
says Bhima Bhoi. [6]

Note: Bhima Bhoi (1850-1895) was an 19th century Odia saint poet. His compositions were instrumental in the spread of Mahima religion in peninsular India, especially in the Odia speaking regions. His bhajans remain popular even today, and are performed widely. Although he was ignored by the literary establishment of his times, he is a major figure in the history of Odia literature now, with texts like "Stuti Chintamani" and "Bramha Nirupana Gita" considered as classics. 

First line of the bhajan in Odia: "Bahuchhi abanaa baai, dibaa nisi eka hoi" 

Thursday, January 8, 2026

ବାଳ ବର୍ଗ ୮

ପାଲି 'ଧର୍ମପଦ'ର ଓଡ଼ିଆ ପଦ୍ୟାନୁବାଦ

ଅନୁବାଦକ - ଶୈଲେନ ରାଉତରାୟ


ଇଣ୍ଡୋନେସିଆର ଯବ ଦ୍ୱୀପର ପ୍ରଜ୍ଞାପାରମିତାଙ୍କର ପ୍ରତିମୂର୍ତ୍ତି
ଫଟୋ କ୍ରେଡ଼ିଟ - ୱିକିମିଡିଆ କମନ୍ସ୍

ଓଡ଼ିଆ ପଦ୍ୟାନୁବାଦ

ଯେଉଁ କାମ କରି ଜଣେ ହୁଏ ଅନୁତପ୍ତ
ନିଶ୍ଚିତ ଭାବରେ ତାହା ନୁହଇଁ କର୍ତ୍ତବ୍ୟ ।
ବିପାକ ଫଳକୁ ଯା'ର ଅଶ୍ରୁମୁଖ ହୋଇ
ରୋଦନ କରିଣ ଭୋଗ କରିତେ ପଡ଼ଇ ।୮। 

ମୂଳ ପାଲି ପଦ

ନ ତଂ କମ୍ମ କତଂ ସାଧୁ ଯଂ କତ୍ୱା ଅନୁତପ୍ପତି ।
ଯସ ଅସ୍ୱୁମୁଖୋ ରୋଦଂ ବିପାକଂ ପଟିବେସତି ।।
ନ ତତ୍ କର୍ମ୍ମ କୃତଂ ସାଧୁ ୟତ୍ କୃତ୍ୱା ଅନୁତପ୍ୟତେ ।
ୟସ୍ୟ ଅଶ୍ରୁମୁଖୋ ରୁଦନ୍ ବିପାକଂ ପ୍ରତିସେବତେ ।୮।

ଅନୁବାଦକୀୟ ଟୀକା: ଏହି ଅଧମ ଅନୁବାଦକକୁ ପାଲି ଜଣା ନାହିଁ । ଏଣୁ ଏହି ପଦ୍ୟାନୁବାଦଟି ପାଇଁ ତାହାର ମୂଳ ସହାୟ ହେଲା  ପ୍ରଫେସର ପ୍ରହ୍ଲାଦ ପ୍ରଧାନଙ୍କ ଦ୍ୱାରା ସମ୍ପାଦିତ 'ପାଲି ଧର୍ମପଦ' ଗ୍ରନ୍ଥଟି, ଯେଉଁଥିରେ ସେ ସଂସ୍କୃତ ରୂପାନ୍ତର ସହ ଓଡ଼ିଆ ଗଦ୍ୟାନୁବାଦ କରିଯାଇଛନ୍ତି । ଗ୍ରନ୍ଥଟିର ପ୍ରଥମ ସଂସ୍କରଣ ୧୯୭୮ ମସିହାରେ ପ୍ରକାଶିତ । କିନ୍ତୁ ଏହି ଅନୁବାଦକ ୧୯୯୪ ମସିହାରେ କଟକସ୍ଥ ପ୍ରକାଶନ ସଂସ୍ଥା ଫ୍ରେଣ୍ଡ୍‌ସ୍‌ ପବ୍ଲିଶର୍ସ ଛାପିଥିବା ଦ୍ୱିତୀୟ ସଂସ୍କରଣଟି ବ୍ୟବହାର କରିଛି । ଏହା ଛଡ଼ା ଏହି ପଦ୍ୟାନୁବାଦ କରିବା ପାଇଁ 'ଦି ସେକ୍ରେଡ଼୍ ବୁକ୍ସ୍ ଅଫ୍ ଦି ଇଷ୍ଟ୍' ସିରିଜ୍‌ରେ ମାକ୍ସ୍ ମ୍ୟୁଲର୍‌ଙ୍କ ଦ୍ୱାରା ସମ୍ପାଦିତ 'ଦି ଧମ୍ମପଦ' ଇଂରାଜି ଗ୍ରନ୍ଥଟିର ୨୦୧୩ ମସିହାରେ ରୁଟ୍‌ଲେଜ୍ ଛାପିଥିବା ସଂସ୍କରଣଟିର ମଧ୍ୟ ବ୍ୟବହାର କରାଯାଇଛି ।

Thursday, January 1, 2026

That effulgent radiance

Bhima Bhoi

Translated by Sailen Routray


Photo credit: commons.wikimedia.org/Mayooranathan 

That effulgent radiance
does not allow itself to to caught.
The Self that is beyond all light
sports therein. [0]

It seems as if It has forms.
But It roams in formlessness.
It abides in a place 
that remains invisible. [1]

It stays unmanifest.
There is no speech forthcoming from It.
But It flows from the beings of those
who abide in grace. [2]

If you try to cognise It
by the operations of duality,
It slips through your fingers.
Its limbs are exceedingly smooth. [3]

It creates through desirelessness.
It persists in deep wisdom.
It exists surely in no-thought. [4]

    It flows from nothingness.
That absolute bliss stems 
from the verses that stream
from His lotus feet. [5] 

Note: Bhima Bhoi (1850-1895) was an 19th century Odia saint poet. His compositions were instrumental in the spread of Mahima religion in peninsular India, especially in the Odia speaking regions. His bhajans remain popular even today, and are performed widely. Although he was ignored by the literary establishment of his times, he is a major figure in the history of Odia literature now, with texts like "Stuti Chintamani" and "Bramha Nirupana Gita" considered as classics. 

Monday, December 1, 2025

Go through the scripture of the body

Bhima Bhoi

Translated by Sailen Routray


Shadows of a group of tourists, including a photographer,
on the slope of Mount Bromo volcano, Indonesia
Photo credit: 
commons.wikimedia.org/Jakub Hałun

Go through the scripture of this body.
Recognize the forms 
and choose the one that you must. [0]

The body extends.
It carries the empty mansion within.
Oh wise ones, understand the body.
You will surely then
arrive at the house of the absolute. [1]

In this vessel of the body
you carry the eternal one.
Manifestly, you move it back and forth.
When this vessel dissolves, 
who will be able to see His grace? [2]   

I speak directly, in front of your eyes.
But you think of it as a dream. 
This body that is the universe,
functions with His commands,
which melts even stones. [3]

Do not roam around deluded 
in the world outside.
Move towards determining the self.
To become acquainted with the ultimate,
persist in your pursuit.
He will take you to the city immaterial. [4]

The ultimate truth is always, already available.
It operates through actions.
Serve the Guru. 
Follow It through meditation,
the one who resides inside this body. [5]

He is the formless Being.
He can be seen through desireless devotion.
Bhima the Kondh says,
the lake of the Guru's lotus feet
lie high above this body. [6]

Note: Bhima Bhoi (1850-1895) was an 19th century Odia saint poet. His compositions were instrumental in the spread of Mahima religion in peninsular India, especially in the Odia speaking regions. His bhajans remain popular even today, and are performed widely. Although he was ignored by the literary establishment of his times, he is a major figure in the history of Odia literature now, with texts like "Stuti Chintamani" and "Bramha Nirupana Gita" considered as classics.

Saturday, November 15, 2025

He is a slave to devotion

Bhima Bhoi

Translated by Sailen Routray


Photo credit: commons.wikimedia.org/Mayooranathan

He is a slave
to His devotees' devotion. [0]

He is not there in desires.
He abides in desirelessness. 
He reveals Himself in true speech. [1]

Have you been initiated with a mantra?
Have you made someone into a guru?
The instructions 
are available beforehand. [2]

An embodied being is born.
It won't take anything along.
What remain 
are honour and dishonour. [3]

The Lord has given everything 
in the womb itself.
All that has perished 
through the pursuit of one's own happiness. [4]

One could not quite get hold of It.
One is caught in delusion.
That is nobody's fault. [5]

Bhima the Kondh says,
do not blame the Guru.
The grace of his feet are endless. [6]

Note: Bhima Bhoi (1850-1895) was an 19th century Odia saint poet. His compositions were instrumental in the spread of Mahima religion in peninsular India, especially in the Odia speaking regions. His bhajans remain popular even today, and are performed widely. Although he was ignored by the literary establishment of his times, he is a major figure in the history of Odia literature now, with texts like "Stuti Chintamani" and "Bramha Nirupana Gita" considered as classics.

ବାଳ ବର୍ଗ ୧୫ ପାଲି ଧର୍ମପଦର ଓଡ଼ିଆ ପଦ୍ୟାନୁବାଦ ଅନୁବାଦକ - ଶୈଲେନ ରାଉତରାୟ ଶ୍ରୀଲଙ୍କାର ଅନୁରାଧାପୁର ସ୍ଥିତ ଅଭୟଗିରି ବିହାର ଫଟୋ କ୍ରେଡ଼ିଟ୍ - ୱିକିମିଡିଆ କମନ୍ସ୍...