Translation and Subversion

This change in the tone and tenor of translations into Indian languages paralleled the growth and momentum of the nationalist movement for Indian independence. This is a change that we see after 1857. Translation was seen as a political act of defiance. These were translations of works that carried the militant nationalist ideal, and very often they were from one Indian language to another. We have already seen the translation activity of Premchand and Ganesh Shankar Vidyarthi who translated works with a clear call for revolution and political self-confidence. Deenbandhu Mitra's Bengali play Neel Darpan written in 1858 was translated into English as The Indigo-planting Mirror . It was an open call for revolt against British injustice and the translation was meant to rouse the elite intellectuals of Bengal. Perhaps it did serve this purpose, for it motivated Girish Chandra Ghosh to establish the first theatre company in Bengal. The English translation was banned and Rev.James Long, who had allegedly translated the play, was prosecuted for this. Indian language translations of Bankim Chandra Chatterjee's Anandamath propagated the call to arms in favour of Mother India. Vande Mataram became the rallying cry for nationalists around the country, thanks to translations. Sarat Chandra Chatterjee became a household name in most Indian homes because he was widely translated. There are critics who consider him the most pervasive cultural influence in India of those times.

Mahatma Gandhi who was a Gujarati could reach out to the people at large, only through translations. His thoughts and philosophy were an integral part of his politics on nationalism. They could influence the freedom movement for Indian independence only because it trickled down to the people at the grassroots level. This was made possible only through translations into various Indian languages done by faceless people who took this as a mission. Thus the role played by translations in the building of the nation was crucial.