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278 Rakesh Desaiis about the same theme. For Divetiya, the common theme ofBuddhism may well equalize the status of a poem and that of atranslation.Narsinhrao Divetiya’a lifelong association with translationalso defined his talent. Mansukhlal Jhaveri, a noted Gujarati critic,comments:Even the best of Narsinhrao’s poetry could not haveattained Nhanalal’s sobriety, Kant’s elegance orBalvantrai’s freshness. Narasinhrao’s individual talent islimited to that extent. His vision is narrow to that extent.It seems that imitation (anukriti), and not originalcreation, suits his talent more. I have found only onepoem, which would overwhelm and which we would liketo murmur day in and day out: “Premal jyoti taro dakhavi,muj jivanpanth ujalya.” And it is not an independentpoem. Though it is true that that poem is not independent,it is certainly almost independent. “Lead kindly light”was translated by Narsinhrao also, and also by Kant.Kant’s translation might have been more “loyal” to theoriginal text, but Kant’s translation does not havetenderness, elegance and heartfelt yearning whichNarsinhrao’s translation has. Only Narsinhrao couldmanage the sustained rhythm of that poem, penetratingthrough heart. And that itself is his specific achievement.“Ghuvad” is another such example. It is inspired byEdgar Allan Poe’s “Raven.” But it is only inspired. Allartistic composition, other than the inspiration, isNarsinhrao’s only. And Narsinhrao could shine out in thatalso. Many more examples like “Mne preratatarakavrunda! A hun avyo re” or “Chanda” can be cited.It can be discerned from all these examples thatoriginality does not suit Narsinhrao’s talent.(Jhaveri 1959:296-297)It is notable that Narasinhrao Divetiya’s creatve writingmisses Kant’s elegance (“madhurya”), but his translation of “Lead