Rabindranath Tagore
Rabindranath Tagore
Rabindranath Tagore
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Jeebono Jokhon Shukaey Jaey When the heart is hard and parched up
Korunadharaey Esho come upon me with a shower of mercy.
Shokolo Madhuri Lukaey Jaey When grace is lost from life
Geetoshudharoshe Esho come with a burst of song.
Kormo Jokhon Probolo Aakar When tumultuous work raises its din
Goroji Uthiya Dhake Chari Dhar on all sides shutting me out from beyond,
Hridoyprante, Hey Jibononath come to me, my lord of silence
Shanto Chorone Esho with thy peace and rest.
Aaponare Jobe Koriya Kripon When my beggarly heart sits crouched
Kone Pore Thake Deenohino Mon shut up in a corner,
Duraar Khuliya, Hey Udaaro Nath break open the door, my king
Raajoshomarohe Esho and come with the ceremony of a king
Bashona Jokhon Bipulo Dhulaey When desire blinds the mind
Ondho Koriya Obodhe Bhulaey with delusion and dust
Ohe Pobitro, Ohey Onidro O thou holy one, thou wakeful
Rudro Aaloke Esho come with thy light and thy thunder
This song was sung by Rabindranath Tagore for Mahatma Gandhi, on September 26,
1932, right after Gandhi broke his fast unto death, undertaken to force the colonial British
Government to abjure its decision of separation of the lower castes as an electorate in
India.
RABINDRANATH TAGORE
Early life
Born on the 7th of May, 1861 in the city Kolkata in what is now West Bengal, India,
Rabindranath Tagore was the youngest of the thirteen children of Debendranath Tagore
and Sarada Devi. He was born into a rich household, which was also a center of culture in
those days. His family was a leader of the Brahmo Samaj - an offshoot of Hinduism,
which shunned deity worship in any form.
Tagore was mostly not taught in the formal confines of education, though he did go to a
number of schools in his childhood. Most of the education came from private tutoring at
home in the fields of history, modern science and the Sanskrit language. He was greatly
influenced by his elder brother Jyotirindranath Tagore - a talented musician and
playwright.
Rabindranath Tagore's first brush with poetry came in the form of a poem called
"Abhilaash" (desire), published anonymously in a magazine, at the age of thirteen in
1874. In the same year, he successfully undertook a project of translating the Macbeth
into Bengali.
Marana Re, Tuhu Mama Shyamasaman. You are like my lord Krishna, O Death.
Meghabarana Tujha, Meghajatajuta, Like my Krishna, your body has the color and your tresses, the
Raktakamalakara, Rakta-Adhara Puta, entangling of clouds
Tapabimochana Karuna Kor Taba Like my Krishna, your beautiful palms are as red as blood, and so
Mrityu-Amrita Kare Daan are your sweet lips
But unlike my lord, your compassionate lap soothes the heat of
suffering
- an excerpt from "Bhanusingher
and unlike my lord, it provides the eternal nectar - the nectar of
Padavali", indicating the despair that
Death
Radha feels because of being separated
from her lover, lord Krishna
- contextual translation by the author
In 1878, he went to Britain to study law, in order to become a barrister. However, the
work of Shakespeare seemed more enticing to him then law and he ended up exploring
the writing and work of Shakespeare. In 1880 he came back to India, without completing
his degree in law. Once in India, he went back to pursuing his interest in literature, drama
and music. However, this short exposure to the western culture readied his mind to form
the basis of his future form of music and philosophy as the fusion of the progressive
nature of the western thought process and the depth and vastness of the Indian culture.
His individualistic style found its first outlet in a collection of poems published as
"Sandhya Sangeet" (Evening Songs) in 1882. During the years from 1881 to 1885 he
achieved a number of firsts - a first set of devotional songs, his first musical play "Valmiki
Pratibha" (The Genius of Valmiki), his first books - "Rudrachhanda" (The Angry Rhythm)
and "Bhangahriday" (Broken Heart), and embarking upon his first long novel -
"Bauthakuranir Haat" (The Young Queen's Mart).
His young years were highly influenced by his sister-in-law, Kadambari - wife of his
brother, Jyotirindranath Tagore. The two were very close, with Kadambari Devi actively
encouraging Tagore to write poetry and drama. Since Tagore's mother died when he was
very young, Kadambari partially filled the void, in some ways a maternal figure and later,
a friend and possibly a muse for Tagore's early work. In fact he had dedicated many
pieces of his work to Kadambari Devi. However, it is commonly believed that when
Tagore got married in 1883 to Mrinalini Devi, Kadambari possibly felt heart-broken which
eventually led to her committing suicide in 1884. This event left an indelible mark in
Tagore's mind and he felt highly devastated and lonely. In fact, it is said, that the
complexities of the relationships between him, Kadambari Devi and Jyotirindranath
Tagore, was explored by Rabindranath Tagore in his novella, Nashtanir in 1901.
Kadambari Devi's death was the beginning of a series of tragedies in the form of deaths
of many a close ones, that Tagore had to endure through his long life. Shortly after the
death of Kadambari Devi, he composed this poem:
Hai Kotha Jabe ! Alas, where will you go!
Ononto Ojana Desh, Nitanto Je Eka Tumi, In that endless, unknown land, and you alone, all alone,
Poth Kotha Pabe ! How will you find your way!
Hai Kotha Jabe ! Alas, where will you go!
Mora Keho Shathe Rohibo Na, None of us will be there for you
Mora Keho Kotha Kohibo Na. None of us to chat and talk to
Mora Boshe Kandibo Hethaey, We shall sit here and shall weep,
Shunne Cheye Dakibo Tomaey; Gazing off into the void, we'll call to you;
Moha She Bijon Majhe Hoyto Bilapdhoni Amidst that vast, that lonely place perhaps our
Majhe Majhe Shunibare Pabe lamentations
Hai Kotha Jabe ! You might chance to hear from time to time,
Alas, where will you go!
- "Kothay"
- translated by Rabindranath Tagore
From 1884 to 1890, Rabindranath Tagore produced more masterpieces like the musical
play "Mayar Khela" (Game of Illusion), a collection of essays on literary criticism, a five
act drama "Rajo-o-Rani" (King and Queen) and the play "Visarjan" (Sacrifice).
Joto Chao Toto Lao Toroni-Pore Take it, take as much as you can load.
Aar Achhe? - Aar Nai, Diyechhi Bhore. Is there more? No, none, I have put it aboard.
Etokaal Nodikule My intense labour here by the river -
Jaha Loey Chhinu Bhule I have parted with it all, layer upon layer;
Shokoli Dilam Tule Now take me as well, be kind, take me aboard.
Thore Bhithore -
Ekhon Amare Laho Koruna Kore No room, no room, the boat is too small.
Loaded with my gold paddy, the boat is full.
Thain Nai, Thain Nai - Chhoto She Tori Across the rain-sky clouds heave to and fro,
Amari Sonar Dhane Giyechhe Bhori. On the bare river-bank, I remain alone -
Shrabongogono Ghire What I had has gone: the golden boat took all.
Ghono Megh Ghure Phire,
Shunnyo Nodir Teere
- translated by William Radice
Rohinu Pori -
Jaha Chhilo Niye Gelo Sonar Tori
In the following ten years, he worked on his serial novels, "Chokher Bali" (Sand in the
Eye, or Eyesore) and "Naukadubi" (The Boat Wreck). He also wrote several essays and
poems, many of which were to be a part of "Gitanjali" (Offering of Songs) - a collection of
157 devotional poems published in 1910.
The running of Shantiniketan created financial troubles for him in the initial years when
he had to sell parts of his property and family jewelry. His wife, Mrinalini, and daughter,
Renuka, died within a span of six months in 1902, after which he composed a collection
of poems, "Smaran" (In Memoriam), which he dedicated to the memory of his late wife.
The death of his father in 1905 saw him inherit part of the family estates. This and
royalties from his work helped him tide over the financial difficulties. In 1907, after the
death of his son, Samindranath, he withdrew from most public life, leaving the affairs of
running the Shantiniketan school to his colleague.
Since the British government never helped with the finances of the school, most of
whatever he earned - royalties, lecture honoraria, and rents from his estate, and even the
prize money from the Nobel prize he got, was poured into running the school - to ensure
that his ideals of education being the foundation stone of a strong nation was eventually
implemented.
Tagore - the Activist
His political views were articulated in various lectures, essays,
poems and songs that he composed or wrote. He was closely
associated with the Indian National Congress during this time. In
1896, he set to tune, the poem "Vande Mataram" (Mother, I bow to
thee), which was originally composed by Bankim Chandra
Chatterjee in 1882, as a part of the novel Anandamath. Tagore sang
the song in the 12th session of the Indian National Congress in
1896. This song later went on to be adopted as the national song of
India.
As a result of the angst of the people caused by the partition, the "Swadeshi Movement"
(Swadeshi means of one's own country) started in 1905, led by leaders like Aurobindo
Ghosh, Lokmanya Bal Gangadhar Tilak and Lala Lajpat Rai, which entailed the boycotting
of foreign goods in favor of indigenously produced goods. Rabindranath Tagore
vociferously supported the movement and wrote many patriotic songs and poems in
support of the movement. However, when the movement took on the color of violence
and rifts started between Hindus and Muslims, he felt heartbroken and withdrew from the
movement
He was critical of the later part of the Swadeshi movement and wrote essays like "Byadhi
o Pratikar" (The disease and its cure) in protest of the highly confrontationalist path that
the Swadeshi movement was taking, and its resultant violence that many agitated youth
were participating in.
His plays, "Dak Ghar" (Post Office) and "Raja" (King) were translated into English and
became popular. The Royal Albert Hall in London saw the dramatized version of his short
story "Dahlia" (the dramatized version was named The Queen of Arakan). Amongst all
this adulation, Tagore went on to visit the United States where he delivered a number of
lectures on metaphysical aspects. These lectures were later to become a part of his book
"Sadhana: The Realisation of Life".
On November 14, 1913, Rabindranath Tagore got to know of his being awarded the Nobel
prize in literature - making him the first Asian Nobel Laureate. The citation said that he
was awarded the Nobel prize
"because of his profoundly sensitive, fresh and beautiful verse, by which, with
consummate skill, he has made his poetic thought, expressed in his own English
words, a part of the literature of the West"
The very same year, he was also awarded the honorary D. Litt. degree by the Calcutta
University. In 1915, the British Crown bestowed knighthood on him. His work continued to
be translated in most major European languages and even in Arabic.
His poetic language varied with the times he lived in - starting from the archaic literary
form in which he used the formal written language to the colloquial style of writing. His
poems display the versatile nature of Tagore - he adapted the concepts of modern
poetry, when many modern poets began to question the relevance of Tagore's work as
years went by, thus proving that his importance in the literary world would be cemented
forever - the poems "Camelia" and "Africa" are examples of his poems from his latter
body of work.
While part of his poetic work was standalone and was written for the purpose of writing
poetry, a major part was integral to his other bodies of work, like novels and plays. His
musical plays have a huge collection of poems, expressing the emotions of the
characters.
Rabindranath Tagore set to tune many of his poems, thus leaving us with a sea of songs,
most of which are still in popular use in India. It is said that he composed nearly 2300
songs. These songs are categorized into four groups - worship, love, nation and nature
and together are known as "Rabindra Sangeet" (Music of Rabindranath).
Tagore collated various musical styles not only from Bengal but from around India and
even from Europe. While the tunes of some songs are based on the folk music of Bengal,
others float on the style of Carnatic music from south India. Many of his songs strictly
adhere to the Ragas of classical music while others are free-floating blends of various
Ragas to form a unique style. There are a few songs based on popular western dance
rhythms and even church music. Some of these inspired tunes are replicas of the
originals, while others have been remodeled by him to suit his style or the emotion he
wanted to portray.
Together, these songs express the entire gamut of human emotions. One can always find
a song appropriate for any particular occasion or any particular emotion. That is probably
why even today, around a century away from the time these songs find relevance in
everyday life. Movies and soaps widely use them in soundtracks. Not only Bengali
movies, but also mainstream Hindi movies use music based on the songs of Tagore. One
encounters them very frequently on television, radio and even on the lips of the common
public. Experts continually experiment with the songs - by stylizing them to suit the
occasion - but the underlying emotion and basis of tune always remains the same since
they touch the very soul of the listener.
Novels and Short stories
Tagore wrote a number of novels and novellas, with each depicting a facet of Indian life
at the time it was written, seen through the socio-politcal lens of Tagore. "Ghare Baire"
(The Home and the World) depicts Tagore's angst at the means that the freedom
movement had employed through his portrayal of a rich home in feudal India, and its
interaction with a machiavellian freedom fighter.
On the other hand, "Gora" depicts the conflicts inherent in the changing social and
religious outlook of India - the demands of a deep rooted Hindu outlook pitted against
the apparent liberalism of the Brahmo Samaj.
In the novel "Chokher Bali" (Sand of the Eye, or Eyesore), Tagore explores the state of
widows in India. He paints the desires and longings of an educated widow through the
interplay of relationships and sexuality.
His novel, "Shesher Kobita" (The Last Poem), written in 1928, at the age of 67, was a
beautiful attempt by Tagore to showcase his hold over the skills of story-telling,
irrespective of the society he belonged to at that time. It was a modern approach to
outline the ways of the educated men and women of the time, their aspirations and their
broader outlook to issues of marriage, love and loyalty. His stlye of writing was also like
never before, with sparkling conversations, interspersed with modern poetry. In the
novel, he even goes to the extent of including a character by the name of Rabi Thakur
(his own name, called in affection), who is made a subject of ridicule by the male
protagonist, since the protagonist believes that a poet should never outlive his age since
his writing can never continually reflect the changing aspirations and outlook of society.
By writing the novel in this manner, Tagore was able to underline the fact that he could
never be made to be extinct, as some modern poets of the time had been hinting at,
through various fora.
The novella "Nastanir" (Broken Nest) provided an insight into the relationship that Tagore
shared with his brother and brother's wife but more importantly provided a very modern
view of the separated concepts of attraction, love and marriage.
While Tagore's novels were beautiful, it was his plethora of short stories that really
showcased Tagore's talent in prose better. The stories written around the time he was in
Shilaidaha reflected the life and aspirations of the poor people of rural India. Some of
these stories were "Kabuliwalah" (The Fruitseller from Kabul), "Khshudita Pashan" and
"Atithi".
"Kabuliwalah" explores the longing borne out of being torn away from one's native land in
the lap of nature by the dictates of earning livelihood. It also effectively questions some
deep rooted notions and prejudices existing in the society. "Atithi" depicts the transient
nature of the poet himself through the story of a runaway child, who is adopted by a
Zamindar (nobleman) and who again runs away when the Zamindar arranges the
marriage of his daughter to him. It portrays the longing for shackle-free living and a
sense of non-permanence in attachment, that Tagore too might have felt at the time.
In the short stories in his later years, Tagore explores the
human psyche deeply and touches upon various socially
relevant issues. "Haimanti" shows the shallowness of the
institution of marriage and how the married woman must
stifle her sensitiveness and spirit of freedom in order to save
her marriage and yet she must prove her virtuosity to her
husband, like Sita had to do for lord Rama in the Ramayana.
In "Strir Patra" (The Letter from the Wife) he takes up the issue of emancipation of
women and the drudgery of a married woman's life. The last line from the story
summarizes Tagore's view of what a woman should be:
"Ami Banchbo. Ei Banchlum" (I shall live. And now, I live)
Similarly "Jibito-o-Mrito" (Living and Dead) portrays the difficult life of a widow and the
various superstitions that became a barrier to free living of women of those days. This
story too ends with a haunting line, when the widow commits suicide in the end:
"Kadombini Moriya Proman Korilo She More Nai" (By dying Kadambini
proved that he did not die)
A very common thread running through most of his stories and novels is his portrayal of
the Indian woman. The stories are aligned to underline the need to liberate women from
the boundaries of superstition, religion and subjugation.
Even today, movie makers and television producers often base their work on the novels
and short stories of Tagore, each individual wanting to present this same story in his or
her own style. Most of his novels and many of his short stories have already been
presented on the movie screen and television screen a number of times in varying forms
- not only in Bengali but also in Hindi.
On the other hand, he also dabbled in the complexities and travails of love in the musical
plays of "Shyama", "Shapmochan" (Release of the Curse) and "Mayar Khela" (Game of
Illusion). In the musical drama "Chitrangada", Tagore uses the mythological tale from
Mahabharata, of Arjuna (one of the protagonists of Mahabharata) and Chitrangada -
princess of Manipur - to uphold his vision of woman as a partner rather than a goddess or
a mere pet. He ends the play with the female protagonist (Chitrangada) proclaiming her
nature thus:
"Rakta Karabi" (Red Oleanders) turned out to be Tagore's most popular play in prose. In
this complex symbolic play, he tackles the subject of subjugation of people to meet the
greed of the ruler and how both greed and subjugation is destroyed by the presence of
an unfearing free spirit. Another highly allegorical play was the "Dakghar" (Post Office),
where Tagore explores the psyche of a sick and dying child, bound to his room with only a
window being his contact to the outside world with his only wish of meeting the royal
physician, which is ultimately met at the time of his death. Through his beautiful play,
Tagore brings forth the concept of spiritual freedom and the way one remains bound
throughout life.
Tagore's plays are frequently performed and adapted for new experimental versions in
the world of drama even today. And their popularity extends to lands beyond India.
Paintings
DANCING GIRL
PAINTING BY RABINDRANATH
TAGORE, UNDATED
Courtesy: Wikimedia Commons
World View
Rabindranath Tagore remained an enigma to many, as far as his political views were
concerned. Though he was a patriot to the core, his views were often criticized and even
ridiculed - probably because they never aligned with the conventional view of
nationalism.
His love for his country is sufficiently underlined in numerous patriotic songs he wrote in
his lifetime. Two of these songs are now national songs of two countries. As already
mentioned, Bangladesh adopted "Amar Sonar Bangla" as its national song, though the
origin of this song lay in Tagore's protest of the Biritish decision of the partitioning of
Bengal in 1905.
India adopted Tagore's song, "Jana Gana Mana" as its national song. This song was first
sung in 1911 at the Calcutta session of the Indian National Congress. The national song
adopted the first two stanzas of the a five stanza song written in Sanskrit.
Jana Gana Mana Adhinayaka Jaya Hey Thou art the ruler of the minds of all people,
Bharata Bhagya Vidhata Dispenser of India's destiny.
Punjaba Sindhu Gujarata Maratha Thy name rouses the hearts of Punjab, Sind,
Dravida Utkala Banga Gujarat and Maratha,
Vindhya Himachala Yamuna Ganga Of the Dravida and Orissa and Bengal;
Uchhala Jaladhi Taranga It echoes in the hills of the Vindhyas and Himalayas,
Tava Shubha Namey Jagey mingles in the music of Jamuna and Ganges and is
Tava Shubha Ashisha Mangey chanted by the waves of the Indian Sea.
Gahey Tava Jaya Gatha They pray for thy blessings and sing thy praise.
Jana Gana Mangala Dayaka Jaya Hey The saving of all people waits in thy hand,
Bharata Bhagya Vidhata Thou dispenser of India's destiny.
Jaya Hey Jaya Hey Jaya Hey Victory, victory, victory to thee.
Jaya Jaya Jaya Jaya Hey !
Tagore was also against the notion of nationalism taking on a color of chauvinism in the
form of extreme pride for one's roots, culture or past glory. He instead believed in the
wholesome development of the mind and thus, the nation. This is why he not only
opposed the form of nationalism promoted by the mainstream political leaders of the
Congress as well as the violent revolutionary movement. He believed that it was this
animal-like nationalist feeling which was the cause of the strife and war which enveloped
most of the first half of the 20th century. Tagore wrote "Chitto Jetha Bhoyshunnyo"
(Where the mind is without fear) in his collection of poems, "Gitanjali":
In spite of the fact that Tagore was opposed to most of the views and methods of
Mahatma Gandhi, he respected and loved Gandhi as much as Gandhi revered Tagore.
Both viewed each other as great patriots and saints and a lot has always been written
about their camaraderie. This is what Tagore had to say about Gandhi:
An ascetic himself, he does not frown on the joy of others, but works for the
enlivening of their existence day and night. He exalts poverty in his own
life, but no man in India has striven more assiduously than he for the
material welfare of his people.
His religious views were shaped by his upbringing in a household which followed the way
of the Brahma Samaj - belief in God as an infinite singularity, omnipresent and
omniscient, and the self as originating from this singularity and eventually dissipating
into it. Brahma Samaj followers did not believe in idol worship and shunned all forms of
ritualism and superstition. Tagore, because of his conditioning, believed in the same
premises and used to preach the importance of knowledge over all else and of love
rather than rivalry in various communities.
His later life was marked by two phases of painful illness, which severely restricted his
travels within and outside India. However, he spent a lot of time in thought and
introspection and his poems of these last years, from 1937 to 1941 are filled with
symbolization of death, realization and sometimes even the hope of recovery.
He also explored the world of science and he compiled a
collection of essays called Visva Parichay, which was book on
science for children and general readers. He underscored the
need for a holistic approach to education where science was
an integral part of humanities and vice-versa. His last few
works too included references to science or scientists.
The end came on the 7th of August, 1941, two months after
he turned 80, in the same house that he spent his childhood
in. He was cremated in the banks of river Ganga, which was
preceded by a procession through the streets of Calcutta,
where an ocean of admirers accompanied his body, becoming
a single mass of sorrow and tears.
Tagore left the world but the world will remember him as the
medium of Devi Saraswati - the Hindu goddess of learning -
Buy this Wall Hanging
for it was through Tagore that she must have shown the world
a way to live through love. RABINDRANATH TAGORE
Tobu Mone Rekho Jodi Dure Jai Chole. Even so, remember me If I should move far away
Tobu... Even so...
Jodi Puratono Prem Dhaka Pore Jae Nobopremojale If the old love should be lost in the mazes of a new
Tobu Mone Rekho... passion
Jodi Thaki Kachhakachhi, Even so, remember me...
Dekhite Na Pao Chhayar Moto Achhi Na Achhi And if although I am near
Jodi Jol Aashe Ankhipate My presence, like a shadow, is shrouded with doubt
Ek Din Jodi Khela Theme Jae Modhurate Your eyes might cloud with tears
Tobu Mone Rekho... And if one lonely night this game should end
Ek Din Jodi Badha Pore Kaje Sharodo Prate Even so, remember me...
Tobu... If, on an autumn moon, the final blow should fall
Jodi Poriya Mone Even so...
Chholochholo Jol Nai Dekha Daie Noyonokone And if, remembering me,
Tobu Mone Rekho tears do not glisten in the corners of your eyes
Even so, remember me...
- a poem from the collection "Manasi", in the form it is
popularly sung - translated by the Sunetra Gupta, novelist
(http://sunetragupta.com/Templates/evenso.asp)
This article was written by Nilanjan Guin. Nilanjan is professionally a web developer
(Unlimited FX Web Technologies), an amateur photographer and a movie buff.
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