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Subha Chakraborty Dasgupta 165whole. He feels that man realised himself, fulfilled himself inknowing others, in bringing them closer or working for them. It wasthis truth or essence of man that tried to express itself throughliterature and hence one could conceive of literature in terms of awhole where each literary work played its part in realising theperfection of the whole. Rabindranath does speak of one literature,of essences and truths, but what lends a different dimension to histheory of essences and truths is the fact that they are contingent onhuman relations. The thought process is open-ended – the creation ofthe literary tower forever remains incomplete with just the ideal ofthe end stamped on its innermost core. Within this framework thetranslational norm will also be open-ended enough to include freeadaptations of poems that can belong anywhere and to all.Rabindranath's vision of visvasahitya finds resonance inmany of the poet-translators of the period. The first collections ofworld poetry in Bangla were Tirthasalil (1908), Tirtharenu (1910)and Manimanjusha (1915) and their author Satyendranath Dutta.There were five hundred and three texts from different periods andcountries. Translations were made from Chinese, Persian, English,French, and from several Indian languages. In one of the earlierpoems Satyendranath seems a little unsure of the end-product, “I donot know what I did in the context of what I had set out to do”(1984:123). The pre-translational phase, one governed by theideology of faithfulness and by visions of precise contours, soongives way to other exigencies, more immediate perhaps, morenecessary to the literary system. The leading poets of the periodencourage Satyendranath in his efforts to translate – Rabindranathtells him after reading Tirtharenu that his translations are notsilpakarya (artifacts), but sristikarya (creative acts). Earlier afterreading Tirthasalil, he had written that the translated poems hadtaken shelter in the branches of the original to blossom in all theirbeauty and rasa. The translation of a poem was in fact, he writes,both a translation and a new poem. In other words, the translatedpoem also had to be accepted as a poem in the target literature to