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280 Rakesh DesaiIn this context, Narsinhrao Divetiaya’s translation is largelya transcreation of the British romantic texts while it translates itssensibility and taste into Gujarati poetry. As Divetiya informs in histeeka on “Ghuvad,” his translation of Edgar Allan Poe’s “Raven” isindependent of the original except for the despairing refrain “Nevermore,” which is in the context of the dead Lenore in the originalpoem, and which refers to puzzles of human life in general in thetranslated version “Ghuvad.” Further, his translation of CardinalNewman’s “Lead kindly light” at the request of Mahatma Gandhicould be a celebrated example of transcreation. But the very processof transcreation, in terms of the degree of creation, transcending theoriginal, may complicate the issue further. Moreover, NarsinhraoDivetiya’s extensive teekas to the poems are often a retranslation ofa translation of a British romantic lyric. Further, these teekas refer tothe act of translation as either a bhashantar, or a prerit or inspiredversion or rememoration of sanskara, chhaya, nakal or anukaran,suggesting, at least, the plural mode of translation. They also suggestthe problematic status of a source language text which ranges frombeing a sanskara to a literal text. The teekas create a conceptualspace wherein the issue of translation may be discussed in thecontext of empirical practice, keeping up its richness andcomplexity.NOTES1. All the quotations from Gujarati texts, cited in this paper, are mytranslations.