Andrew Schelling is a poet, essayist, and translator of the poetry of India. He has taught at Naropa University for twenty years and from 1993–96 served as chair of the Jack Kerouac School of Disembodied Poetics founded by Alan Ginsburg and Anne Waldman. His publications include Tea Shack Interior and The Wisdom Anthology of North American Buddhist Poetry. He lives in Boulder, Colorado.
A selection of stirring love poems translated from Sanskrit by Andrew Schelling. My favorite closes the anthology, and furnishes this slim volume with a name as well:
Lone buck in the clearing nearby doe eyes him with such longing that there in the trees the hunter seeing his own girl lets the bow drop - Anonymous
Schelling's translations work so well as modern poems (compressed, colloquial, economical, and Imagistic) that you can start to grow a little suspicious: Did poets this distant in time and place really sound so much like us? Then again, the "us" sound sprung in no small part from the Modernist encounter with ancient non-Western literatures—Chinese, Japanese, even a sprinkling of "Shanti" in The Waste Land—so Schelling's deft bringing-over of yesteryear's Sanskrit giants into English is just the circle growing wider to stay unbroken.
The pocket size, new Preface, and generous Afterword make this new White Pine edition especially swell to get.
Dropping the Bow, Poems of Ancient India translated by Andrew Schelling
I read Dropping the Bow while dropping a load. I had carried the book home and it sat on my shelf unopened until needing a book to accompany my time spent in the toilet. The short, Haiku like poems were an exceptional companion. The poetry of ancient India, free from puritanical censorship, came across as honest and uncensored as Rumi, but with less of a metaphysical element. Many of the sensual love poems mirror Song of Songs, composed at a similar time. As an anthology of poems from vaporous authors, Mr. Schelling has kindly given short biographies of each. Though love is a central theme for most, also daily life, friendship, mensuration, and friendship fill the pages. In short, the tiny book was worth the read. Listen to how Bhavabbuti masterfully describes the life of the poet in working with critics and reaching out into the universe.
Critics scoff at my work and declare their contempt— no doubt they’ve got their own little wisdom. I write nothing for them. But because time is endless and our planet vast, I write these poems for a person who will one day be born with my sort of heart.
Or listen to the sensual nature of this poem that rivals Tagore:
Little gasps of breath, her eyelids barely parted, bristling skin and beads of sweat—
above love’s temple waves love’s banner, and I can only bow my head at the mysterious change a woman undergoes—
And the playfulness of Vacaspati, who seduces the reader,
Once again you mount this playful woman’s breasts and touch the vendor region along her thighs. Closing one arm around you she draws forth your pleasure with measured strokes of her hand Some other lifetime what austerities did you practice, O sitar, to win this reward?
After finishing this book, I wanted to know more. I had skipped the Forward and Afterward as I normally do with books like this, but longed to learn more. Listen to Vidya's masterly crafted poem, the image, sound, and dramatic tension:
On makeshift bedding in the cucumber garden, the hill tribe girl clings to her exhausted lover. Limbs still chafing with pleasure, dissolving against him she now and again with one bare foot jostles a shell necklace that hangs from a vine on the fence— rattling it through the night, scaring the jackals off.
This little book, accessible and enjoyable to those who may not know anything of Indian literature or poetry, would find it an excellent companion on for their daily bowel movement.