Rabindranath Tagore

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Rabindranath Tagore

Amar Shonar Bangla
  • (other works)
    • Notable awardsNobel Prize in Literature
    1913
    Spouse
    ​
    ​
    (m. 1883; died 1902)​
    Children5, including Rathindranath Tagore
    RelativesTagore family
    Signature
    Close-up on a Bengali word handwritten with angular, jaunty letters.
    Rabindranath Tagore's voice
    Rabindranath Tagore singing Tabu Mone Rekho
    Recorded c. 1930–40

    Rabindranath Thakur

    sobriquets Gurudeb, Kobiguru, and Biswokobi.[a]

    A

    universalist, internationalist, and ardent critic of nationalism,[15] he denounced the British Raj and advocated independence from Britain. As an exponent of the Bengal Renaissance, he advanced a vast canon that comprised paintings, sketches and doodles, hundreds of texts, and some two thousand songs; his legacy also endures in his founding of Visva-Bharati University.[16][17]

    Tagore modernised Bengali art by spurning rigid classical forms and resisting linguistic strictures. His novels, stories, songs, dance dramas, and essays spoke to topics political and personal.

    Amar Shonar Bangla". The Sri Lankan national anthem was also inspired by his work.[18] His song "Banglar Mati Banglar Jol" has been adopted as the state anthem of West Bengal
    .

    Family background

    See also: Tagore family

    The name Tagore is the anglicised transliteration of

    Pirali Brahmin ('Pirali' historically carried a stigmatized and pejorative connotation)[20][21] who originally belonged to a village named Kush in the district named Burdwan in West Bengal. The biographer of Rabindranath Tagore, Prabhat Kumar Mukhopadhyaya
    wrote in the first volume of his book Rabindrajibani O Rabindra Sahitya Prabeshak that

    The Kusharis were the descendants of Deen Kushari, the son of Bhatta Narayana; Deen was granted a village named Kush (in Burdwan zilla) by Maharaja Kshitisura, he became its chief and came to be known as Kushari.[12]

    Life and events

    Early life: 1861–1878

    Main article: Early life of Rabindranath Tagore
    Young Tagore in London, 1879

    The last two days a storm has been raging, similar to the description in my song—Jhauro jhauro borishe baridhara  [... amidst it] a hapless, homeless man drenched from top to toe standing on the roof of his steamer [...] the last two days I have been singing this song over and over [...] as a result the pelting sound of the intense rain, the wail of the wind, the sound of the heaving Gorai River, [...] have assumed a fresh life and found a new language and I have felt like a major actor in this new musical drama unfolding before me.

    — Letter to Indira Devi.[22]

    The youngest of 13 surviving children, Tagore (nicknamed "Rabi") was born on 7 May 1861 in the

    Calcutta,[23] the son of Debendranath Tagore (1817–1905) and Sarada Devi (1830–1875).[b]

    Black-and-white photograph of a finely dressed man and woman: the man, smiling, stands with the hand on the hip and elbow turned outward with a shawl draped over his shoulders and in Bengali formal wear. In front of him, the woman, seated, is in an elaborate dress and shawl; she leans against a carved table supporting a vase and flowing leaves.
    Tagore and his wife Mrinalini Devi, 1883

    Tagore was raised mostly by servants; his mother had died in his early childhood, and his father travelled widely.

    Bengal renaissance. They hosted the publication of literary magazines; theatre and recitals of Bengali and Western classical music featured there regularly. Tagore's father invited several professional Dhrupad musicians to stay in the house and teach Indian classical music to the children.[30] Tagore's oldest brother Dwijendranath was a philosopher and poet. Another brother, Satyendranath, was the first Indian appointed to the elite and formerly all-European Indian Civil Service. Yet another brother, Jyotirindranath, was a musician, composer, and playwright.[31] His sister Swarnakumari became a novelist.[32] Jyotirindranath's wife Kadambari Devi, slightly older than Tagore, was a dear friend and powerful influence. Her abrupt suicide in 1884, soon after he married, left him profoundly distraught for years.[33]

    Tagore largely avoided classroom schooling and preferred to roam the manor or nearby Bolpur and Panihati, which the family visited.[34][35] His brother Hemendranath tutored and physically conditioned him—by having him swim the Ganges or trek through hills, by gymnastics, and by practising judo and wrestling. He learned drawing, anatomy, geography and history, literature, mathematics, Sanskrit, and English—his least favourite subject.[36] Tagore loathed formal education—his scholarly travails at the local Presidency College spanned a single day. Years later, he held that proper teaching does not explain things; proper teaching stokes curiosity.[37]

    After his

    Kālidāsa.[38][39] During his 1-month stay at Amritsar in 1873 he was greatly influenced by melodious gurbani and Nanak bani being sung at Golden Temple, for which both father and son were regular visitors. He writes in his My Reminiscences (1912):

    The golden temple of Amritsar comes back to me like a dream. Many a morning have I accompanied my father to this Gurudarbar of the Sikhs in the middle of the lake. There the sacred chanting resounds continually. My father, seated amidst the throng of worshippers, would sometimes add his voice to the hymn of praise, and finding a stranger joining in their devotions they would wax enthusiastically cordial, and we would return loaded with the sanctified offerings of sugar crystals and other sweets.[40]

    He wrote 6 poems relating to Sikhism and several articles in Bengali children's magazine about Sikhism.[41]

    Tagore returned to Jorosanko and completed a set of major works by 1877, one of them a long poem in the Maithili style of Vidyapati. As a joke, he claimed that these were the lost works of newly discovered 17th-century Vaiṣṇava poet Bhānusiṃha.[42] Regional experts accepted them as the lost works of the fictitious poet.[43] He debuted in the short-story genre in Bengali with "Bhikharini" ("The Beggar Woman").[44][45] Published in the same year, Sandhya Sangit (1882) includes the poem "Nirjharer Swapnabhanga" ("The Rousing of the Waterfall").

    Shilaidaha: 1878–1901

    Tagore's house in Shilaidaha, Bangladesh

    Because Debendranath wanted his son to become a barrister, Tagore enrolled at a public school in Brighton, East Sussex, England in 1878.

    kirtans and tappas and Brahmo hymnody was subdued.[22][47] In 1880, he returned to Bengal degree-less, resolving to reconcile European novelty with Brahmo traditions, taking the best from each.[48] After returning to Bengal, Tagore regularly published poems, stories, and novels. These had a profound impact within Bengal itself but received little national attention.[49] In 1883, he married 10-year-old[50] Mrinalini Devi, born Bhabatarini, 1873–1902 (this was a common practice at the time). They had five children, two of whom died in childhood.[51]

    Tagore family boat (bajra or budgerow), the "Padma".

    In 1890, Tagore began managing his vast ancestral estates in

    Lalon Shah, whose folk songs greatly influenced Tagore.[54] Tagore worked to popularise Lalon's songs. The period 1891–1895, Tagore's Sadhana period, named after one of his magazines, was his most productive;[29] in these years he wrote more than half the stories of the three-volume, 84-story Galpaguchchha.[44] Its ironic and grave tales examined the voluptuous poverty of an idealised rural Bengal.[55]

    Santiniketan: 1901–1932

    Main article: Middle years of Rabindranath Tagore
    Posed group black-and-white photograph of seven Chinese men, possibly academics, in formal wear: two wear European-style suits, the five others wear Chinese traditional dress; four of the seven sit on the floor in the foreground; another sits on a chair behind them at centre-left; two others stand in the background. They surround an eighth man who is robed, bearded, and sitting in a chair placed at centre-left. Four elegant windows are behind them in a line.
    Tsinghua University, 1924

    In 1901 Tagore moved to

    Naivedya
     (1901) and Kheya (1906) and translated poems into free verse.

    In 1912, Tagore translated his 1910 work

    India Society published the work in a limited edition, and the American magazine Poetry published a selection from Gitanjali.[58] In November 1913, Tagore learned he had won that year's Nobel Prize in Literature: the Swedish Academy appreciated the idealistic—and for Westerners—accessible nature of a small body of his translated material focused on the 1912 Gitanjali: Song Offerings.[59] He was awarded a knighthood by King George V in the 1915 Birthday Honours, but Tagore renounced it after the 1919 Jallianwala Bagh massacre.[60] Renouncing the knighthood, Tagore wrote in a letter addressed to Lord Chelmsford, the then British Viceroy of India, "The disproportionate severity of the punishments inflicted upon the unfortunate people and the methods of carrying them out, we are convinced, are without parallel in the history of civilised governments...The time has come when badges of honour make our shame glaring in their incongruous context of humiliation, and I for my part wish to stand, shorn of all special distinctions, by the side of my countrymen."[61][62]

    In 1919, he was invited by the president and chairman of Anjuman-e-Islamia, Syed Abdul Majid to visit Sylhet for the first time. The event attracted over 5000 people.[63]

    In 1921, Tagore and agricultural economist

    Guruvayoor Temple to Dalits.[67][68]

    Twilight years: 1932–1941

    In Germany, 1931
    Last picture of Rabindranath, 1941

    Dutta and Robinson describe this phase of Tagore's life as being one of a "peripatetic

    Apur Sansar.[71][72] Fifteen new volumes appeared, among them prose-poem works Punashcha (1932), Shes Saptak (1935), and Patraput (1936). Experimentation continued in his prose-songs and dance-dramas— Chitra (1914), Shyama (1939), and Chandalika (1938)— and in his novels— Dui Bon (1933), Malancha (1934), and Char Adhyay (1934).[73]

    Clouds come floating into my life, no longer to carry rain or usher storm, but to add color to my sunset sky.

     —Verse 292, Stray Birds, 1916.

    Tagore's remit expanded to science in his last years, as hinted in Visva-Parichay, a 1937 collection of essays. His respect for scientific laws and his exploration of biology, physics, and astronomy informed his poetry, which exhibited extensive naturalism and verisimilitude.[74] He wove the process of science, the narratives of scientists, into stories in Se (1937), Tin Sangi (1940), and Galpasalpa (1941). His last five years were marked by chronic pain and two long periods of illness. These began when Tagore lost consciousness in late 1937; he remained comatose and near death for a time. This was followed in late 1940 by a similar spell, from which he never recovered. Poetry from these valetudinary years is among his finest.[75][76] A period of prolonged agony ended with Tagore's death on 7 August 1941, aged 80.[23] He was in an upstairs room of the Jorasanko mansion in which he grew up.[77][78] The date is still mourned.[79] A. K. Sen, brother of the first chief election commissioner, received dictation from Tagore on 30 July 1941, a day before a scheduled operation: his last poem.[80]

    I'm lost in the middle of my birthday. I want my friends, their touch, with the earth's last love. I will take life's final offering, I will take the human's last blessing. Today my sack is empty. I have given completely whatever I had to give. In return, if I receive anything—some love, some forgiveness—then I will take it with me when I step on the boat that crosses to the festival of the wordless end.

    Travels

    Jawaharlal Nehru and Rabindranath Tagore, February 1940

    Our passions and desires are unruly, but our character subdues these elements into a harmonious whole. Does something similar to this happen in the physical world? Are the elements rebellious, dynamic with individual impulse? And is there a principle in the physical world that dominates them and puts them into an orderly organization?

    — Interviewed by Einstein, 14 April 1930.[81]
    Rabindranath with Einstein in 1930
    Iranian Majlis (parliament) in Tehran, Iran
    , 1932

    Between 1878 and 1932, Tagore set foot in more than thirty countries on five continents.

    William Butler Yeats, Ezra Pound, Robert Bridges, Ernest Rhys, Thomas Sturge Moore, and others.[83] Yeats wrote the preface to the English translation of Gitanjali; Andrews joined Tagore at Santiniketan. In November 1912 Tagore began touring the United States[84] and the United Kingdom, staying in Butterton, Staffordshire with Andrews's clergymen friends.[85] From May 1916 until April 1917, he lectured in Japan[86] and the United States.[87] He denounced nationalism.[88] His essay "Nationalism in India" was scorned and praised; it was admired by Romain Rolland and other pacifists.[89]

    Shortly after returning home, the 63-year-old Tagore accepted an invitation from the Peruvian government. He travelled to Mexico. Each government pledged US$100,000 to his school to commemorate the visits.[90] A week after his 6 November 1924 arrival in Buenos Aires,[91] an ill Tagore shifted to the Villa Miralrío at the behest of Victoria Ocampo. He left for home in January 1925. In May 1926 Tagore reached Naples; the next day he met Mussolini in Rome.[92] Their warm rapport ended when Tagore pronounced upon Il Duce's fascist finesse.[93] He had earlier enthused: "[w]without any doubt he is a great personality. There is such a massive vigor in that head that it reminds one of Michael Angelo's chisel." A "fire-bath" of fascism was to have educed "the immortal soul of Italy ... clothed in quenchless light".[94]

    On 1 November 1926 Tagore arrived in Hungary and spent some time on the shore of Lake Balaton in the city of Balatonfüred, recovering from heart problems at a sanitarium. He planted a tree, and a bust statue was placed there in 1956 (a gift from the Indian government, the work of Rasithan Kashar, replaced by a newly gifted statue in 2005) and the lakeside promenade still bears his name since 1957.[95]

    On 14 July 1927, Tagore and two companions began a four-month tour of Southeast Asia. They visited Bali, Java, Kuala Lumpur, Malacca, Penang, Siam, and Singapore. The resultant travelogues compose Jatri (1929).

    Hamid Ansari has said that Rabindranath Tagore heralded the cultural rapprochement between communities, societies and nations much before it became the liberal norm of conduct. Tagore was a man ahead of his time. He wrote in 1932, while on a visit to Iran, that "each country of Asia will solve its own historical problems according to its strength, nature and needs, but the lamp they will each carry on their path to progress will converge to illuminate the common ray of knowledge."[104]

    Works

    Main article: Works of Rabindranath Tagore
    See also:
    List of works of Rabindranath Tagore

    Known mostly for his poetry, Tagore wrote novels, essays, short stories, travelogues, dramas, and thousands of songs. Of Tagore's prose, his short stories are perhaps the most highly regarded; he is indeed credited with originating the Bengali-language version of the genre. His works are frequently noted for their rhythmic, optimistic, and lyrical nature. Such stories mostly borrow from the lives of common people. Tagore's non-fiction grappled with history, linguistics, and spirituality. He wrote autobiographies. His travelogues, essays, and lectures were compiled into several volumes, including Europe Jatrir Patro (Letters from Europe) and Manusher Dhormo (The Religion of Man). His brief chat with Einstein, "Note on the Nature of Reality", is included as an appendix to the latter. On the occasion of Tagore's 150th birthday, an anthology (titled Kalanukromik Rabindra Rachanabali) of the total body of his works is currently being published in Bengali in chronological order. This includes all versions of each work and fills about eighty volumes.[105] In 2011, Harvard University Press collaborated with Visva-Bharati University to publish The Essential Tagore, the largest anthology of Tagore's works available in English; it was edited by Fakrul Alam and Radha Chakravarthy and marks the 150th anniversary of Tagore's birth.[106]

    Drama

    Tagore performing the title role in Valmiki Pratibha (1881) with his niece Indira Devi as the goddess Lakshmi

    Tagore's experiences with drama began when he was sixteen, with his brother

    puri.[110]

    Chitrangada, Chandalika, and Shyama are other key plays that have dance-drama adaptations, which together are known as Rabindra Nritya Natya.

    Short stories

    Sabuj Patra magazine, edited by Pramatha Chaudhuri

    Tagore began his career in short stories in 1877—when he was only sixteen—with "Bhikharini" ("The Beggar Woman").

    Patisar, Shajadpur, and Shilaida while managing the Tagore family's vast landholdings.[111] There, he beheld the lives of India's poor and common people; Tagore thereby took to examining their lives with a penetrative depth and feeling that was singular in Indian literature up to that point.[113] In particular, such stories as "Kabuliwala" ("The Fruitseller from Kabul", published in 1892), "Kshudita Pashan" ("The Hungry Stones") (August 1895), and "Atithi" ("The Runaway", 1895) typified this analytic focus on the downtrodden.[114] Many of the other Galpaguchchha stories were written in Tagore's Sabuj Patra period from 1914 to 1917, also named after one of the magazines that Tagore edited and heavily contributed to.[111]

    Novels

    Tagore wrote eight novels and four novellas, among them Nastanirh (1901), Noukadubi (1906), Chaturanga (1916) and Char Adhyay (1934).

    In Chokher Bali (1902–1903), Tagore inscribes Bengali society via its heroine: a rebellious widow who would live for herself alone. He pillories the custom of perpetual mourning on the part of widows, who were not allowed to remarry, who were consigned to seclusion and loneliness.

    Ghare Baire (The Home and the World, 1916), through the lens of the idealistic zamindar protagonist Nikhil, excoriates rising Indian nationalism, terrorism, and religious zeal in the Swadeshi movement; a frank expression of Tagore's conflicted sentiments, it emerged from a 1914 bout of depression. The novel ends in Hindu-Muslim violence and Nikhil's likely mortal—wounding.[115]

    His longest novel,

    Sepoy Mutiny is raised by Hindus as the titular gora—"whitey". Ignorant of his foreign origins, he chastises Hindu religious backsliders out of love for the indigenous Indians and solidarity with them against his hegemon-compatriots. He falls for a Brahmo girl, compelling his worried foster father to reveal his lost past and cease his nativist zeal. As a "true dialectic" advancing "arguments for and against strict traditionalism", it tackles the colonial conundrum by "portray[ing] the value of all positions within a particular frame [...] not only syncretism, not only liberal orthodoxy but the extremist reactionary traditionalism he defends by an appeal to what humans share." Among these, Tagore highlights "identity [...] conceived of as dharma."[117]

    In

    Dākshāyani—is torn between her pity for the sinking fortunes of her progressive and compassionate elder brother and his foil: her roué of a husband. Tagore flaunts his feminist leanings; pathos depicts the plight and ultimate demise of women trapped by pregnancy, duty, and family honor; he simultaneously trucks with Bengal's putrescent landed gentry.[118]
    The story revolves around the underlying rivalry between two families—the Chatterjees, aristocrats now on the decline (Biprodas) and the Ghosals (Madhusudan), representing new money and new arrogance. Kumudini, Biprodas' sister, is caught between the two as she is married off to Madhusudan. She had risen in an observant and sheltered traditional home, as had all her female relations.

    Others were uplifting: Shesher Kabita (1929) — translated twice as Last Poem and Farewell Song — is his most lyrical novel, with poems and rhythmic passages written by a poet protagonist. It contains elements of satire and postmodernism and has stock characters who gleefully attack the reputation of an old, outmoded, oppressively renowned poet who, incidentally, goes by a familiar name: "Rabindranath Tagore".

    Though his novels remain among the least-appreciated of his works, they have been given renewed attention via film adaptations, by Satyajit Ray for Charulata (based on Nastanirh) in 1964 and Ghare Baire in 1984, and by several others filmmakers such as Satu Sen for Chokher Bali already in 1938, when Tagore was still alive.

    Poetry

    Title page of the 1913 Macmillan edition of Tagore's Gitanjali
    Three-verse handwritten composition; each verse has original Bengali with English-language translation below: "My fancies are fireflies: specks of living light twinkling in the dark. The same voice murmurs in these desultory lines, which is born in wayside pansies letting hasty glances pass by. The butterfly does not count years but moments, and therefore has enough time."
    Part of a poem written by Tagore in Hungary, 1926

    Internationally, Gitanjali (Bengali: গীতাঞ্জলি) is Tagore's best-known collection of poetry, for which he was awarded the Nobel Prize in Literature in 1913. Tagore was the first non-European to receive a Nobel Prize in Literature and the second non-European to receive a Nobel Prize after Theodore Roosevelt.[119]

    Besides Gitanjali, other notable works include Manasi, Sonar Tori ("Golden Boat"), Balaka ("Wild Geese" – the title being a metaphor for migrating souls)[120]

    Tagore's poetic style, which proceeds from a lineage established by 15th- and 16th-century Vaishnava poets, ranges from classical formalism to the comic, visionary, and ecstatic. He was influenced by the atavistic mysticism of

    Upanishads, the Bhakti-Sufi mystic Kabir, and Ramprasad Sen.[121] Tagore's most innovative and mature poetry embodies his exposure to Bengali rural folk music, which included mystic Baul ballads such as those of the bard Lalon.[122][123] These, rediscovered and re-popularized by Tagore, resemble 19th-century Kartābhajā hymns that emphasize inward divinity and rebellion against bourgeois bhadralok religious and social orthodoxy.[124][125] During his Shelaidaha years, his poems took on a lyrical voice of the moner manush, the Bāuls' "man within the heart" and Tagore's "life force of his deep recesses", or meditating upon the jeevan devata—the demiurge or the "living God within".[22] This figure connected with divinity through appeal to nature and the emotional interplay of human drama. Such tools saw use in his Bhānusiṃha poems chronicling the Radha-Krishna romance, which were repeatedly revised over seventy years.[126][127]

    Later, with the development of new poetic ideas in Bengal – many originating from younger poets seeking to break with Tagore's style – Tagore absorbed new poetic concepts, which allowed him to further develop a unique identity. Examples of this include Africa and Camalia, which are among the better-known of his latter poems.

    Songs (Rabindra Sangeet)

    Tagore was a prolific composer, with around 2,230 songs to his credit.[128] His songs are known as rabindrasangit ("Tagore Song"), which merges fluidly into his literature, most of which—poems or parts of novels, stories, or plays alike—were lyricized. Influenced by the thumri style of Hindustani music, they ran the entire gamut of human emotion, ranging from his early dirge-like Brahmo devotional hymns to quasi-erotic compositions.[129] They emulated the tonal color of classical ragas to varying extents. Some songs mimicked a given raga's melody and rhythm faithfully, others newly blended elements of different ragas.[130] Yet about nine-tenths of his work was not bhanga gaan, the body of tunes revamped with "fresh value" from select Western, Hindustani, Bengali folk and other regional flavors "external" to Tagore's own ancestral culture.[22]

    Rabindranath Tagore reciting Jana Gana Mana

    In 1971,

    Bharot Bhagyo Bidhata that Tagore composed. It was first sung in 1911 at a Calcutta session of the Indian National Congress,[132]
    and was adopted in 1950 by the Constituent Assembly of the Republic of India as its national anthem.

    Sri Lanka's National Anthem was inspired by his work.[18]

    For Bengalis, the songs' appeal, stemming from the combination of emotive strength and beauty described as surpassing even Tagore's poetry, was such that the Modern Review observed that "[t]here is in Bengal no cultured home where Rabindranath's songs are not sung or at least attempted to be sung... Even illiterate villagers sing his songs".[133] Tagore influenced sitar maestro Vilayat Khan and sarodiyas Buddhadev Dasgupta and Amjad Ali Khan.[130]

    Art works

    Black-and-white photograph of a stylised sketch depicting a tribal funerary mask.
    Primitivism: a pastel-coloured rendition of a Malagan mask from northern New Ireland, Papua New Guinea
    Black-and-white close-up photograph of a piece of wood boldly painted in unmixed solid strokes of black and white in a stylised semblance to "ro" and "tho" from the Bengali syllabary.
    Tagore's Bengali-language initials, the letters র and ঠ, are worked into this "Ro-Tho" (of RAbindranath THAkur) wooden seal, stylistically similar to designs used in traditional Haida carvings from the Pacific Northwest region of North America. Tagore often embellished his manuscripts with such art.[134]

    At sixty, Tagore took up drawing and painting; successful exhibitions of his many works—which made a debut appearance in Paris upon encouragement by artists he met in the south of France

    Malanggan people of northern New Ireland, Papua New Guinea, Haida carvings from the Pacific Northwest region of North America, and woodcuts by the German Max Pechstein.[134] His artist's eye for handwriting was revealed in the simple artistic and rhythmic leitmotifs embellishing the scribbles, cross-outs, and word layouts of his manuscripts. Some of Tagore's lyrics corresponded in a synesthetic sense with particular paintings.[22]

    Surrounded by several painters Rabindranath had always wanted to paint. Writing and music, playwriting and acting came to him naturally and almost without training, as it did to several others in his family, and in even greater measure. But painting eluded him. Yet he tried repeatedly to master the art and there are several references to this in his early letters and reminiscence. In 1900 for instance, when he was nearing forty and already a celebrated writer, he wrote to Jagadish Chandra Bose, "You will be surprised to hear that I am sitting with a sketchbook drawing. Needless to say, the pictures are not intended for any salon in Paris, they cause me not the least suspicion that the national gallery of any country will suddenly decide to raise taxes to acquire them. But, just as a mother lavishes most affection on her ugliest son, so I feel secretly drawn to the very skill that comes to me least easily." He also realized that he was using the eraser more than the pencil, and dissatisfied with the results he finally withdrew, deciding it was not for him to become a painter.[136]

    Face of a woman, inspired by Kadambari Devi.[137] Ink on paper. National Gallery of Modern Art, New Delhi

    India's National Gallery of Modern Art lists 102 works by Tagore in its collections.[138][139]

    In 1937, Tagore's paintings were removed from Berlin's baroque Crown Prince Palace by the Nazi regime and five were included in the inventory of "degenerate art" compiled by the Nazis in 1941–1942.[140]

    Politics

    Main article: Political views of Rabindranath Tagore
    Photo of a formal function, an aged bald man and old woman in simple white robes are seated side-by-side with legs folded on a rug-strewn dais; the man looks at a bearded and garlanded old man seated on another dais at left. In the foreground, various ceremonial objects are arrayed; in the background, dozens of other people observe.
    Tagore hosts Gandhi and wife Kasturba at Santiniketan in 1940.

    Tagore opposed imperialism and supported Indian nationalists,[141][142][143] and these views were first revealed in Manast, which was mostly composed in his twenties.[52] Evidence produced during the Hindu–German Conspiracy Trial and latter accounts affirm his awareness of the Ghadarites and stated that he sought the support of Japanese Prime Minister Terauchi Masatake and former Premier Ōkuma Shigenobu.[144] Yet he lampooned the Swadeshi movement; he rebuked it in The Cult of the Charkha, an acrid 1925 essay.[145] According to Amartya Sen, Tagore rebelled against strongly nationalist forms of the independence movement, and he wanted to assert India's right to be independent without denying the importance of what India could learn from abroad.[146] He urged the masses to avoid victimology and instead seek self-help and education, and he saw the presence of British administration as a "political symptom of our social disease". He maintained that, even for those at the extremes of poverty, "there can be no question of blind revolution"; preferable to it was a "steady and purposeful education".[147][148]

    So I repeat we never can have a true view of man unless we have a love for him. Civilisation must be judged and prized, not by the amount of power it has developed, but by how much it has evolved and given expression to, by its laws and institutions, the love of humanity.

    — Sādhanā: The Realisation of Life, 1916.[149]

    Such views enraged many. He escaped assassination—and only narrowly—by Indian expatriates during his stay in a San Francisco hotel in late 1916; the plot failed when his would-be assassins fell into an argument.[150] Tagore wrote songs lionizing the Indian independence movement.[151] Two of Tagore's more politically charged compositions, "Chitto Jetha Bhayshunyo" ("Where the Mind is Without Fear") and "Ekla Chalo Re" ("If They Answer Not to Thy Call, Walk Alone"), gained mass appeal, with the latter favored by Gandhi.[152] Though somewhat critical of Gandhian activism,[153] Tagore was key in resolving a Gandhi–Ambedkar dispute involving separate electorates for untouchables, thereby mooting at least one of Gandhi's fasts "unto death".[154][155]

    Repudiation of knighthood

    See also: List of people who have declined a British honour § Renouncing an honour

    Tagore renounced his knighthood in response to the Jallianwala Bagh massacre in 1919. In the repudiation letter to the Viceroy, Lord Chelmsford, he wrote[156]

    The time has come when badges of honour make our shame glaring in the incongruous context of humiliation, and I for my part, wish to stand, shorn, of all special distinctions, by the side of those of my countrymen who, for their so-called insignificance, are liable to suffer degradation not fit for human beings.

    Santiniketan and Visva-Bharati

    Santiniketan
    , India

    Tagore despised rote classroom schooling, as shown in his short story, "The Parrot's Training", wherein a bird is caged and force-fed textbook pages—to death.[157][158] Visiting Santa Barbara in 1917, Tagore conceived a new type of university: he sought to "make Santiniketan the connecting thread between India and the world [and] a world center for the study of humanity somewhere beyond the limits of nation and geography."[150] The school, which he named Visva-Bharati,[d] had its foundation stone laid on 24 December 1918 and was inaugurated precisely three years later.[159] Tagore employed a brahmacharya system: gurus gave pupils personal guidance—emotional, intellectual, and spiritual. Teaching was often done under trees. He staffed the school, he contributed his Nobel Prize monies,[160] and his duties as steward-mentor at Santiniketan kept him busy: mornings he taught classes; afternoons and evenings he wrote the students' textbooks.[161] He fundraised widely for the school in Europe and the United States between 1919 and 1921.[162]

    Theft of Nobel Prize

    On 25 March 2004, Tagore's Nobel Prize was stolen from the safety vault of the Visva-Bharati University, along with several other of his belongings.[163] On 7 December 2004, the Swedish Academy decided to present two replicas of Tagore's Nobel Prize, one made of gold and the other made of bronze, to the Visva-Bharati University.[164] It inspired the fictional film Nobel Chor. In 2016, a baul singer named Pradip Bauri, accused of sheltering the thieves, was arrested.[165][166]

    Impact and legacy

    See also: List of things named after Rabindranath Tagore
    Bust of Rabindranath in Tagore promenade, Balatonfüred, Hungary
    Rabindranath Tagore statue in Dublin, Ireland

    Every year, many events pay tribute to Tagore: Kabipranam, his birth anniversary, is celebrated by groups scattered across the globe; the annual Tagore Festival held in Urbana, Illinois (US); Rabindra Path Parikrama walking pilgrimages from Kolkata to Santiniketan; and recitals of his poetry, which are held on important anniversaries.[84][167][168] Bengali culture is fraught with this legacy: from language and arts to history and politics. Amartya Sen deemed Tagore a "towering figure", a "deeply relevant and many-sided contemporary thinker".[168][146] Tagore's Bengali originals—the 1939 Rabīndra Rachanāvalī—is canonized as one of his nation's greatest cultural treasures, and he was roped into a reasonably humble role: "the greatest poet India has produced".[169]

    Tagore was renowned throughout much of Europe, North America, and East Asia. He co-founded

    Nguyen An Ninh[172] Tagore's works were widely translated into English, Dutch, German, Spanish, and other European languages by Czech Indologist Vincenc Lesný,[173] French Nobel laureate André Gide, Russian poet Anna Akhmatova,[174] former Turkish Prime Minister Bülent Ecevit,[175] and others. In the United States, Tagore's lecturing circuits, particularly those of 1916–1917, were widely attended and wildly acclaimed. Some controversies[e] involving Tagore, possibly fictive, trashed his popularity and sales in Japan and North America after the late 1920s, concluding with his "near total eclipse" outside Bengal.[9] Yet a latent reverence of Tagore was discovered by an astonished Salman Rushdie during a trip to Nicaragua.[181]

    By way of translations, Tagore influenced Chileans Pablo Neruda and Gabriela Mistral; Mexican writer Octavio Paz; and Spaniards José Ortega y Gasset, Zenobia Camprubí, and Juan Ramón Jiménez. In the period 1914–1922, the Jiménez-Camprubí pair produced twenty-two Spanish translations of Tagore's English corpus; they heavily revised The Crescent Moon and other key titles. In these years, Jiménez developed "naked poetry".[182] Ortega y Gasset wrote that "Tagore's wide appeal [owes to how] he speaks of longings for perfection that we all have [...] Tagore awakens a dormant sense of childish wonder, and he saturates the air with all kinds of enchanting promises for the reader, who [...] pays little attention to the deeper import of Oriental mysticism". Tagore's works circulated in free editions around 1920—alongside those of Plato, Dante, Cervantes, Goethe, and Tolstoy.

    Tagore was deemed over-rated by some. Graham Greene doubted that "anyone but Mr. Yeats can still take his poems very seriously." Several prominent Western admirers—including Pound and, to a lesser extent, even Yeats—criticized Tagore's work. Yeats, unimpressed with his English translations, railed against that "Damn Tagore [...] We got out three good books, Sturge Moore and I, and then, because he thought it more important to see and know English than to be a great poet, he brought out sentimental rubbish and wrecked his reputation. Tagore does not know English, no Indian knows English."[9][183] William Radice, who "English[ed]" his poems, asked: "What is their place in world literature?"[184] He saw him as "kind of counter-cultur[al]", bearing "a new kind of classicism" that would heal the "collapsed romantic confusion and chaos of the 20th century."[183][185] The translated Tagore was "almost nonsensical",[186] and subpar English offerings reduced his trans-national appeal:

    Anyone who knows Tagore's poems in their original Bengali cannot feel satisfied with any of the translations (made with or without Yeats's help). Even the translations of his prose works suffer, to some extent, from distortion. E.M. Forster noted [of] The Home and the World [that] '[t]he theme is so beautiful,' but the charms have 'vanished in translation,' or perhaps 'in an experiment that has not quite come off.'

    — Amartya Sen, "Tagore and His India".[9]

    Museums

    Jorasanko Thakur Bari, Kolkata; the room in which Tagore died in 1941.

    There are eight Tagore museums, three in India and five in Bangladesh:

    Jorasanko Thakur Bari (

    Thakurs; anglicised to Tagore) in Jorasanko, north of Kolkata, is the ancestral home of the Tagore family. It is currently located on the Rabindra Bharati University campus at 6/4 Dwarakanath Tagore Lane[187] Jorasanko, Kolkata 700007.[188]
    It is the house in which Tagore was born, and also the place where he spent most of his childhood and where he died on 7 August 1941.

    List of works

    Main articles: List of works by Rabindranath Tagore and Adaptations of works of Rabindranath Tagore in film and television

    Who are you, reader, reading my poems a hundred years hence?
    I cannot send you one single flower from this wealth of the spring, one single streak of gold from yonder clouds.
    Open your doors and look abroad.
    From your blossoming garden gather fragrant memories of the vanished flowers of an hundred years before.
    In the joy of your heart may you feel the living joy that sang one spring morning, sending its glad voice across an hundred years.

    The Gardener, 1915[189]

    The SNLTR hosts the 1415 BE edition of Tagore's complete Bengali works. Tagore Web also hosts an edition of Tagore's works, including annotated songs. Translations are found at Project Gutenberg and Wikisource. More sources are below.

    Original

    Original poetry in Bengali
    Bengali title Transliterated title Translated title Year
    ভানুসিংহ ঠাকুরের পদাবলী
    Bhānusiṃha Ṭhākurer Paḍāvalī
    		 Songs of Bhānusiṃha Ṭhākur 1884
    মানসী Manasi The Ideal One 1890
    সোনার তরী Sonar Tari The Golden Boat 1894
    গীতাঞ্জলি Gitanjali Song Offerings 1910
    গীতিমাল্য Gitimalya Wreath of Songs 1914
    বলাকা Balaka The Flight of Cranes 1916
    Original dramas in Bengali
    Bengali title Transliterated title Translated title Year
    বাল্মিকী প্রতিভা Valmiki-Pratibha The Genius of Valmiki 1881
    কালমৃগয়া Kal-Mrigaya The Fatal Hunt 1882
    মায়ার খেলা Mayar Khela The Play of Illusions 1888
    বিসর্জন Visarjan The Sacrifice 1890
    চিত্রাঙ্গদা Chitrangada Chitrangada 1892
    রাজা Raja The King of the Dark Chamber 1910
    ডাকঘর Dak Ghar The Post Office 1912
    অচলায়তন Achalayatan The Immovable 1912
    মুক্তধারা Muktadhara The Waterfall 1922
    রক্তকরবী Raktakarabi Red Oleanders 1926
    চণ্ডালিকা Chandalika The Untouchable Girl 1933
    Original fiction in Bengali
    Bengali title Transliterated title Translated title Year
    নষ্টনীড় Nastanirh The Broken Nest 1901
    গোরা Gora Fair-Faced 1910
    ঘরে বাইরে
    Ghare Baire
    		 The Home and the World 1916
    যোগাযোগ Yogayog Crosscurrents 1929
    Original nonfiction in Bengali
    Bengali title Transliterated title Translated title Year
    জীবনস্মৃতি Jivansmriti My Reminiscences 1912
    ছেলেবেলা Chhelebela My Boyhood Days 1940
    Works in English
    Title Year
    Thought Relics 1921[original 1]

    Translated

    English translations
    Year Work
    1914 Chitra[text 1]
    1922 Creative Unity[text 2]
    1913 The Crescent Moon[text 3]
    1917 The Cycle of Spring[text 4]
    1928 Fireflies
    1916 Fruit-Gathering[text 5]
    1916 The Fugitive[text 6]
    1913 The Gardener[text 7]
    1912 Gitanjali: Song Offerings[text 8]
    1920 Glimpses of Bengal[text 9]
    1921 The Home and the World[text 10]
    1916 The Hungry Stones[text 11]
    1991 I Won't Let you Go: Selected Poems
    1914 The King of the Dark Chamber[text 12]
    2012 Letters from an Expatriate in Europe
    2003 The Lover of God
    1918 Mashi[text 13]
    1928 My Boyhood Days
    1917 My Reminiscences[text 14]
    1917 Nationalism
    1914 The Post Office[text 15]
    1913 Sadhana: The Realisation of Life[text 16]
    1997 Selected Letters
    1994 Selected Poems
    1991 Selected Short Stories
    1915 Songs of Kabir[text 17]
    1916 The Spirit of Japan[text 18]
    1918 Stories from Tagore[text 19]
    1916 Stray Birds[text 20]
    1913 Vocation[190]
    1921 The Wreck

    See also

    References

    Gordon Square, London
    Gandhi Memorial Museum, Madurai

    Notes

    1. ^ Gurudev translates as "divine mentor", Bishokobi translates as "poet of the world" and Kobiguru translates as "great poet".[11] 
    2. Ram Mohan Roy, and became focal in Brahmo society after Roy's death.[27][28]
    3. ^ On the "idea of the humanity of our God, or the divinity of Man the Eternal".
    4. ^ Etymology of "Visva-Bharati": from the Sanskrit for "world" or "universe" and the name of a Rigvedic goddess ("Bharati") associated with Saraswati, the Hindu patron of learning.[159] "Visva-Bharati" also translates as "India in the World".
    5. ^ Tagore was no stranger to controversy: his dealings with Indian nationalists Subhas Chandra Bose[9] and Rash Behari Bose,[176] his yen for Soviet Communism,[177][178] and papers confiscated from Indian nationalists in New York allegedly implicating Tagore in a plot to overthrow the Raj via German funds.[179] These destroyed Tagore's image—and book sales—in the United States.[176] His relations with and ambivalent opinion of Mussolini revolted many;[94] close friend Romain Rolland despaired that "[h]e is abdicating his role as moral guide of the independent spirits of Europe and India".[180]

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    70. ^ Dutta & Robinson 1995, pp. 312–313.
    71. ^ Dutta & Robinson 1995, pp. 335–338.
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    76. ^ Indo-Asian News Service 2005.
    77. ^ Dutta & Robinson 1995, p. 367.
    78. ^ Dutta & Robinson 1995, p. 363.
    79. ^ The Daily Star 2009.
    80. ^ Sigi 2006, p. 89.
    81. ^ Tagore 1930, pp. 222–225.
    82. ^ Dutta & Robinson 1995, pp. 374–376.
    83. ^ Dutta & Robinson 1995, pp. 178–179.
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    88. ^ Hogan & Pandit 2003, pp. 56–58.
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    90. ^ Dutta & Robinson 1995, p. 253.
    91. ^ Dutta & Robinson 1995, p. 256.
    92. ^ Dutta & Robinson 1995, p. 267.
    93. ^ Dutta & Robinson 1995, pp. 270–271.
    94. ^ a b Kundu 2009.
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    97. ^ Dutta & Robinson 1995, pp. 289–292.
    98. ^ Dutta & Robinson 1995, pp. 303–304.
    99. ^ Dutta & Robinson 1995, pp. 292–293.
    100. ^ Tagore & Chakravarty 1961, p. 2.
    101. ^ Dutta & Robinson 1995, p. 315.
    102. ^ Tagore & Chakravarty 1961, p. 99.
    103. ^ Tagore & Chakravarty 1961, pp. 100–103.
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    108. ^ Tagore & Chakravarty 1961, pp. 123–124.
    109. ^ Tagore & Chakravarty 1961, p. 124.
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    111. ^ a b c d Tagore & Chakravarty 1961, p. 45.
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    Bibliography

    Primary

    Anthologies

    Originals

    Translations

    Secondary

    Articles

    Books

    Other

    Texts

    Original

    1. ^ Thought Relics, Internet Sacred Text Archive

    Translated

    1. ^ Chitra at Project Gutenberg
    2. ^ Creative Unity at Project Gutenberg
    3. ^ The Crescent Moon at Project Gutenberg
    4. ^ The Cycle of Spring at Project Gutenberg
    5. ^ Fruit-Gathering at Project Gutenberg
    6. ^ The Fugitive at Project Gutenberg
    7. ^ The Gardener at Project Gutenberg
    8. ^ Gitanjali at Project Gutenberg
    9. ^ Glimpses of Bengal at Project Gutenberg
    10. ^ The Home and the World at Project Gutenberg
    11. ^ The Hungry Stones at Project Gutenberg
    12. ^ The King of the Dark Chamber at Project Gutenberg
    13. ^ Mashi at Project Gutenberg
    14. ^ My Reminiscences at Project Gutenberg
    15. ^ The Post Office at Project Gutenberg
    16. ^ Sadhana: The Realisation of Life at Project Gutenberg
    17. ^ Songs of Kabir at Project Gutenberg
    18. ^ The Spirit of Japan at Project Gutenberg
    19. ^ Stories from Tagore at Project Gutenberg
    20. ^ Stray Birds at Project Gutenberg

    Further reading
    Library resources about
    Rabindranath Tagore
    By Rabindranath Tagore

    Analyses

    Audiobooks

    Texts

    Talks