Rabindranath Tagore: A Great Indian Poet and Writer

My principle memory of Rabindranath Tagore (1861-1941) lies not in his verse, music, dramatizations, books, or canvases, yet rather with his “Jana Gana Mana” (Thou Art the Ruler of the Minds of All People), India’s national song of praise. When I was a free-vivacious young lady, presumably in third grade, I recall school began each day with everybody singing this tune. I additionally recollect singing it in chorale on different events like Indian Republic Day, which praises the appropriation of the nation’s constitution on January 26, 1950. Sixty after eight years, Tagore’s national song of praise has not lost its appeal and prominence. Regardless it warms the hearts of a great many Indians both in India and abroad.

Another of my memories is watching Tagore’s plays organized in my school’s theater. His move dramatizations, for example, “Chitrangada” and “Chandalika,” exhibited his enthusiasm for various kinds of stories. For instance, Tagore’s 1892 work “Chitrangada” is roused by a story in the Hindu epic “Mahabharata.” The title character is the little girl of the ruler of Manipura and the spouse of the incredible warrior Arjuna. Chitrangada and Arjuna meet amid the last’s campaign to Manipura. Arjuna approaches the lord for her turn in marriage, and the ruler concedes to the condition that Arjuna will remain with his better half in Manipura and that their kids will be the beneficiaries to the kingdom. Arjuna consents to marry the princess, and in the end, their child Babruvahana is destined to them.

In 1938, Tagore stated “Chandalika,” a story that addresses the delicate subject of the rank framework in Hindu society. This current work’s message is that every person are equivalent paying little respect to their societal position, and it gets through the story of a young lady, Prakriti, who is destined to an “unapproachable” station, the Chandalis. Due to her standing, Prakriti endures horrible separation and shamefulness. Indeed, even the sellers in her town disregard her. At some point, she happens to meet a Buddhist priest named Ananda, who approaches her and requests water. At first, she rejects since she trusts that water from a low-position individual’s hands is dirtied, and that by offering it she would submit a religious offense. In any case, Ananda instructs her that every person are equivalent and that the contrast among upper and lower positions is the result of an uncalled for society. Persuaded by the priest’s caring words, Prakriti eventually serves him water, an activity that gives her satisfaction and fearlessness.

Rabindranath Tagore was the most youthful child of Debendranath Tagore, one of the authors of the nineteenth century Hindu religious change development, the Brahmo Samaj. Despite the fact that he had the open door for formal tutoring in England, the youthful Rabindranath had little enthusiasm for formal training and came back to India before completing his instruction abroad. At home, his dad masterminded private mentoring, the adaptable pace of which claimed considerably more to him than the school’s inflexible educational modules. Amid this time, his scholarly skyline extended and he built up a wide scope of interests, particularly in expressions of the human experience.

What’s more, Rabindranath experienced childhood in a melodic domain. His senior sibling Jyotirindranath used to try different things with various melodic conventions, which presented Rabindranath to traditional, people, reverential, and different kinds of music. In his in excess of 2,000 pieces, he communicates all way and class of human feeling. It is this range makes his music engaging everybody – old and youthful, rich and poor.

Another essential element of Rabindranath Tagore’s inheritance is his association with Shantiniketan, a town in Birbhum District in what is today the province of West Bengal in eastern India. After his dad acquired the land in 1862, it was utilized for an ashram, an otherworldly place for contemplation, however Tagore in the long run formed it into Vishva Bharati University, which – as its name demonstrates – incorporated learning from everywhere throughout the world (vishva) with the interesting intelligence and soul of India (bharati). The college additionally epitomized its originator’s reasoning of instruction and social congruity. With his thriving enthusiasm for social change in his later years, Tagore contacted poor people and lectured the standards of opportunity and collaboration among all individuals paying little mind to station and statement of faith. In this regard, he was enormously affected by Mahatma Gandhi’s lessons. Both had incredible regard for each other, and Gandhi visited Shantiniketan on four separate events – twice with his better half Kasturba and twice alone.

Tagore’s life likewise incorporated a lot of despondency. In 1902, his significant other Mrinalini Devi passed away. At that point, in progression, he lost his more youthful little girl, child and cherishing father. He was despondent for quite a while. In his works, one can see the mix of individual distress and analysis on social and political changes in pilgrim Bengal in the mid twentieth century:

I saw the self-destructive frenzy of the advanced age

What’s more, found in its body

The unexpected mutilation of offensiveness

(“Rabindranath Tagore: a 125th birth commemoration volume,” Calcutta : Govt. of West Bengal, Dept. of Information and Cultural Affairs, 1988.)

Tagore, the Poet

Tagore composed his first section when he was just eight years of age. Like a writer destined to make, sections in this manner poured normally from his pen. With the distributions of “Sandhya Sangit” (Evening Songs) in 1882 and “Prabhat Sangit” (Morning Songs) in 1883 Rabindranath verified his place among the most recognized artists of his period. His enthusiasm for the perception of normal individuals’ lives in customary circumstances discovered articulation in ballads distributed under the title “Chhabi O Gan” (Pictures and Songs).

Sweet is this world, I wish ne’er to leave,

I long for an abode in mankind’s heart.

(“Rabindranath Tagore, the vocalist and his tune,” Reba Som, New Delhi: Penguin, Viking, c2009.)

In 1881 at twenty years old, Tagore composed his first sensational piece “Valmiki Pratibha” (The Genius of Valmiki), which was appeared at Tagore’s manor in Calcutta. His dramatizations are so famous today that they are as yet arranged in theaters in India and Bangladesh.

Leave a Reply

Your email address will not be published. Required fields are marked *