Bankim Chandra Chattopadhyay Biography

Bankim Chandra Chattopadhyay was one of the greatest novelists and poets of India. He is famous as author of Vande Mataram, the national song of India.Bankim Chandra Chatterjee was born on June 27, 1838 in the village Kantalpara of the 24 Paraganas District of Bengal. He belonged to a family of Brahmins. The word 'Bankim Chandra' in Bengali means 'the moon on the second day of the bright fortnight'. Bankim Chandra's father Yadav Chandra Chattopadhyaya was in government service. After his birth he was posted to Midnapur as Deputy Collector.
Bankim Chandra Chatterjee had his early education in Midnapur. He was a brilliant student. After his early education in Midnapur Bankim Chandra Chatterji joined the Mohsin College at Hoogly and studied there for six years. Apart from his textbooks, Bankim Chandra Chattopadhyay, used to read other books in his leisure time. He was very much interested in the study of Sanskrit. His study of Sanskrit stood him in good stead. Later, when he wrote books in Bengali his knowledge of Sanskrit helped him immensely.In 1856, Bankim Chandra Chatterjee joined the Presidency College in Calcutta. In 1857, there was a strong revolt against the rule of East India Company but Bankim Chandra Chatterjee continued his studies and passed his B.A. Examination in 1859. The Lieutenant Governor of Calcutta appointed Bankim Chandra Chatterjee as Deputy Collector in the same year. Bankim Chandra Chatterjee was in Government service for thirty-two years and retired in 1891. He was a very conscientious worker.Bankim Chandra Chatterjee was married when he was only eleven . At that time his wife was only five years old. Bankim Chandra Chatterjee was only twenty two when his wife died. After some time he married again. His second wife was Rajlakshmi Devi. They had three daughters but no son.Bankim Chandra Chatterjee began his literary career as a writer of verse. He then turned to fiction. Durgeshnandini, his first Bengali romance, was published in 1865. His famous novels include Kapalkundala (1866), Mrinalini (1869), Vishbriksha (1873), Chandrasekhar (1877), Rajani (1877), Rajsimha (1881), and Devi Chaudhurani (1884). Bankim Chandra Chatterjee most famous novel was Anand Math (1882). Anand Math contained the song "Bande Mataram", which was later adopted as National Song.Bankim Chandra Chatterjee wanted to bring about a cultural revival of Bengal by stimulating the intellect of the Bengali speaking people through literary campaign. With this end in view he brought out monthly magazine called Bangadarshan in 1872.Bankim Chatterjee was superb story-teller, and a master of romance. No Bengali writer before or since has enjoyed such spontaneous and universal popularity as Chatterjee. His novels have been translated in almost all the major languages of India. He passed away on April 8, 1894.

Read More...

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 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 deceptively simple subject matter: commoners. 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. 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.

Read More...

Travels

Between 1878 and 1932, Tagore set foot in more than thirty countries on five continents. In 1912, he took a sheaf of his translated works to England, where they gained attention from missionary and Gandhi protégé Charles F. Andrews, Irish poet William Butler Yeats, Ezra Pound, Robert Bridges, Ernest Rhys, Thomas Sturge Moore, and others. Yeats wrote the preface to the English translation of Gitanjali; Andrews joined Tagore at Santiniketan. In November 1912 Tagore began touring the United States and the United Kingdom, staying in Butterton, Staffordshire with Andrews's clergymen friends. From May 1916 until April 1917, he lectured in Japan and the United States. He denounced nationalism. His essay "Nationalism in India" was scorned and praised; it was admired by Romain Rolland and other pacifists.

"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 which dominates them and puts them into an orderly organization?
 

— Interviewed by Einstein, 14 April 1930.

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. A week after his 6 November 1924 arrival in Buenos Aires, 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. Their warm rapport ended when Tagore pronounced upon Il Duce's fascist finesse. He had earlier enthused: "[w]ithout any doubt he is a great personality. There is such a massive vigour 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".

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). In early 1930 he left Bengal for a nearly year-long tour of Europe and the United States. Upon returning to Britain—and as his paintings exhibited in Paris and London—he lodged at a Birmingham Quaker settlement. He wrote his Oxford Hibbert Lecturesι[›] and spoke at the annual London Quaker meet. There, addressing relations between the British and the Indians—a topic he would tackle repeatedly over the next two years—Tagore spoke of a "dark chasm of aloofness". He visited Aga Khan III, stayed at Dartington Hall, toured Denmark, Switzerland, and Germany from June to mid-September 1930, then went on into the Soviet Union. In April 1932 Tagore, intrigued by the Persian mystic Hafez, was hosted by Reza Shah Pahlavi. In his other travels, Tagore interacted with Henri Bergson, Albert Einstein, Robert Frost, Thomas Mann, George Bernard Shaw, H.G. Wells, and Romain Rolland. Visits to Persia and Iraq (in 1932) and Sri Lanka (in 1933) composed Tagore's final foreign tour, and his dislike of communalism and nationalism only deepened.

Read More...

Storie's

Tagore's three-volume Galpaguchchha comprises eighty-four stories that reflect upon the author's surroundings, on modern and fashionable ideas, and on mind puzzles. Tagore associated his earliest stories, such as those of the "Sadhana" period, with an exuberance of vitality and spontaneity; these traits were cultivated by zamindar Tagore’s life in Patisar, Shajadpur, Shelaidaha, and other villages. Seeing the common and the poor, he examined their lives with a depth and feeling singular in Indian literature up to that point. In "The Fruitseller from Kabul", Tagore speaks in first person as a town dweller and novelist imputing exotic perquisites to an Afghan seller. He channels the lucubrative lust of those mired in the blasé, nidorous, and sudorific morass of subcontinental city life: for distant vistas. "There were autumn mornings, the time of year when kings of old went forth to conquest; and I, never stirring from my little corner in Calcutta, would let my mind wander over the whole world. At the very name of another country, my heart would go out to it [...] I would fall to weaving a network of dreams: the mountains, the glens, the forest [...]."

The Golpoguchchho (Bunch of Stories) was written in Tagore's Sabuj Patra period, which lasted from 1914 to 1917 and was named for another of his magazines. These yarns are celebrated fare in Bengali fiction and are commonly used as plot fodder by Bengali film and theatre. The Ray film Charulata echoed the controversial Tagore novella Nastanirh (The Broken Nest). In Atithi, which was made into another film, the little Brahmin boy Tarapada shares a boat ride with a village zamindar. The boy relates his flight from home and his subsequent wanderings. Taking pity, the elder adopts him; he fixes the boy to marry his own daughter. The night before his wedding, Tarapada runs off—again. Strir Patra (The Wife's Letter) is an early treatise in female emancipation. Mrinal is wife to a Bengali middle class man: prissy, preening, and patriarchal. Travelling alone she writes a letter, which comprehends the story. She details the pettiness of a life spent entreating his viraginous virility; she ultimately gives up married life, proclaiming, Amio bachbo. Ei bachlum: "And I shall live. Here, I live."

Haimanti assails Hindu arranged marriage and spotlights their often dismal domesticity, the hypocrisies plaguing the Indian middle classes, and how Haimanti, a young woman, due to her insufferable sensitivity and free spirit, foredid herself. In the last passage Tagore blasts the reification of Sita's self-immolation attempt; she had meant to appease her consort Rama's doubts of her chastity. Musalmani Didi eyes recrudescent Hindu-Muslim tensions and, in many ways, embodies the essence of Tagore's humanism. The somewhat auto-referential Darpaharan describes a fey young man who harbours literary ambitions. Though he loves his wife, he wishes to stifle her literary career, deeming it unfeminine. In youth Tagore likely agreed with him. Darpaharan depicts the final humbling of the man as he ultimately acknowledges his wife's talents. As do many other Tagore stories, Jibito o Mrito equips Bengalis with a ubiquitous epigram: Kadombini moriya proman korilo she more nai—"Kadombini died, thereby proving that she hadn't.

Read More...

Politics

Tagore's political thought was tortured. He opposed imperialism and supported Indian nationalists, and these views were first revealed in Manast, which was mostly composed in his twenties. 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. Yet he lampooned the Swadeshi movement; he rebuked it in "The Cult of the Charka", an acrid 1925 essay. 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".

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 argument. Yet Tagore renounced his knighthood and wrote songs lionising the Indian independence movement. 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 favoured by Gandhi. Though somewhat critical of Gandhian activism, 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".

Tagore despised rote classroom schooling: in "The Parrot's Training", a bird is caged and force-fed textbook pages—to death.Tagore, visiting Santa Barbara in 1917, 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." The school, which he named Visva-Bharati,η[›] had its foundation stone laid on 24 December 1918 and was inaugurated precisely three years later. 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, and his duties as steward-mentor at Santiniketan kept him busy: mornings he taught classes; afternoons and evenings he wrote the students' textbooks. He fundraised widely for the school in Europe and the United States between 1919 and 1921.

Read More...

Poetry And Rabindranath Tagore

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 Vyasa and other rishi-authors of the Upanishads, the Bhakti-Sufi mystic Kabir, and Ramprasad Sen. 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. These, rediscovered and repopularised by Tagore, resemble 19th-century Kartābhajā hymns that emphasise inward divinity and rebellion against bourgeois bhadralok religious and social orthodoxy. 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". 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 the course of seventy years.

Tagore reacted to the halfhearted uptake of modernist and realist techniques in Bengali literature by writing matching experimental works in the 1930s. These include Africa and Camalia, among the better known of his latter poems. He occasionally wrote poems using Shadhu Bhasha, a Sanskritised dialect of Bengali; he later adopted a more popular dialect known as Cholti Bhasha. Other works include Manasi, Sonar Tori (Golden Boat), Balaka (Wild Geese, a name redolent of migrating souls), and Purobi. Sonar Tori's most famous poem, dealing with the fleeting endurance of life and achievement, goes by the same name; hauntingly it ends: Shunno nodir tire rohinu poŗi / Jaha chhilo loe gêlo shonar tori—"all I had achieved was carried off on the golden boat—only I was left behind." Gitanjali (গীতাঞ্জলি) is Tagore's best-known collection internationally, earning him his Nobel. 

Song of Gitangali:

আমার  এ গান ছেড়েছে তার

  সকল অলংকার

তোমার কাছে রাখে নি আর

সাজের অহংকার।

অলংকার যে মাঝে প'ড়ে

মিলনেতে আড়াল করে,

তোমার কথা ঢাকে যে তার

মুখর ঝংকার।

তোমার কাছে খাটে না মোর

কবির গরব করা-

মহাকবি, তোমার পায়ে

দিতে চাই যে ধরা।

জীবন লয়ে যতন করি

যদি সরল বাঁশি গড়ি,

আপন সুরে দিবে ভরি

সকল ছিদ্র তার। 

My song has put off her adornments.

She has no pride of dress and decoration.

Ornaments would mar our union; they would come

between thee and me; their jingling would drown thy whispers.

My poet's vanity dies in shame before thy sight.

O master poet, I have sat down at thy feet.

Only let me make my life simple and straight,

like a flute of reed for thee to fill with music.

ক্লান্তি আমার ক্ষমা করো প্রভু,

পথে যদি পিছিয়ে পড়ি কভু॥

এই-যে হিয়া থরোথরো কাঁপে আজি এমনতরো

এই বেদনা ক্ষমা করো, ক্ষমা করো, ক্ষমা করো প্রভু॥

এই দীনতা ক্ষমা করো প্রভু,

পিছন-পানে তাকাই যদি কভু।

দিনের তাপে রৌদ্রজ্বালায় শুকায় মালা পূজার থালায়,

সেই ম্লানতা ক্ষমা করো, ক্ষমা করো, ক্ষমা করো প্রভু॥

My song has put off her adornments.

She has no pride of dress and decoration.

Ornaments would mar our union; they would come

between thee and me; their jingling would drown thy whispers.

My poet's vanity dies in shame before thy sight.

O master poet, I have sat down at thy feet.

Only let me make my life simple and straight,

like a flute of reed for thee to fill with music.

Tagore's poetry has been set to music by composers: Arthur Shepherd's triptych for soprano and string quartet, Alexander Zemlinsky's famous Lyric Symphony, Josef Bohuslav Foerster's cycle of love songs, Leoš Janáček's famous chorus "Potulný šílenec" ("The Wandering Madman") for soprano, tenor, baritone, and male chorus—JW 4/43—inspired by Tagore's 1922 lecture in Czechoslovakia which Janáček attended, and Garry Schyman's "Praan", an adaptation of Tagore's poem "Stream of Life" from Gitanjali. The latter was composed and recorded with vocals by Palbasha Siddique to accompany Internet celebrity Matt Harding's 2008 viral video. In 1917 his words were translated adeptly and set to music by Anglo-Dutch composer Richard Hageman to produce a highly regarded art song: "Do Not Go, My Love". The second movement of Jonathan Harvey's "One Evening" (1994) sets an excerpt beginning "As I was watching the sunrise ..." from a letter of Tagore's, this composer having previously chosen a text by the poet for his piece "Song Offerings" (1985).

Read More...

Shelaidaha(1878–1901)

Debendranath wanted his son to become a barrister; thus, in 1878, Tagore enrolled at a public school in Brighton, East Sussex, England. He stayed for several months at a house that the Tagore family owned near Brighton and Hove, in Medina Villas; in 1877 his nephew and niece—Suren and Indira Devi, the children of Tagore's brother Satyendranath—were sent together with their mother, Tagore's sister-in-law, to live with him. He briefly read law at University College London, but again left school. He opted instead for independent study of Shakespeare, Religio Medici, Coriolanus, and Antony and Cleopatra. Lively English, Irish, and Scottish folk tunes impressed Tagore, whose own tradition of Nidhubabu-authored kirtans and tappas and Brahmo hymnody was subdued. In 1880 he returned to Bengal degree-less, resolving to reconcile European novelty with Brahmo traditions, taking the best from each. In 1883 he married Mrinalini Devi, born Bhabatarini, 1873–1902; they had five children, two of whom died in childhood
 In 1890 Tagore began managing his vast ancestral estates in Shelaidaha (today a region of Bangladesh); he was joined by his wife and children in 1898. Tagore released his Manasi poems (1890), among his best-known work. As Zamindar Babu, Tagore criss-crossed the riverine holdings in command of the Padma, the luxurious family barge. He collected mostly token rents and blessed villagers who in turn honoured him with banquets—occasionally of dried rice and sour milk. He met Gagan Harkara, through whom he became familiar with Lalon, whose folk songs greatly influenced Tagore. Tagore worked to popularise Lalon's songs. The period 1891–1895, Tagore's Sadhana period, named after one of Tagore's magazines, was his most productive; in these years he wrote more than half the stories of the three-volume, 84-story Galpaguchchha.Its ironic and grave tales examined the voluptuous poverty of an idealised rural Bengal.

Read More...

Santiniketan(1901–1932)

In 1901 Tagore moved to Santiniketan to found an ashram with a marble-floored prayer hall—The Mandir—an experimental school, groves of trees, gardens, a library. There his wife and two of his children died. His father died in 1905. He received monthly payments as part of his inheritance and income from the Maharaja of Tripura, sales of his family's jewelry, his seaside bungalow in Puri, and a derisory 2,000 in book royalties. He gained Bengali and foreign readers alike; he published Naivedya (1901) and Kheya (1906) and translated poems into free verse. 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 focussed on the 1912 Gitanjali: Song Offerings. In 1915, the British Crown granted Tagore a knighthood. He renounced it after the 1919 Jallianwala Bagh massacre.
In 1921, Tagore and agricultural economist Leonard Elmhirst set up the "Institute for Rural Reconstruction", later renamed Shriniketan or "Abode of Welfare", in Surul, a village near the ashram. With it, Tagore sought to moderate Gandhi's Swaraj protests, which he occasionally blamed for British India's perceived mental—and thus ultimately colonial—decline. He sought aid from donors, officials, and scholars worldwide to "free village[s] from the shackles of helplessness and ignorance" by "vitalis[ing] knowledge". In the early 1930s he targeted ambient "abnormal caste consciousness" and untouchability. He lectured against these, he penned Dalit heroes for his poems and his dramas, and he campaigned—successfully—to open Guruvayoor Temple to Dalits.

Read More...

Tagore Music & Art

Tagore composed 2,230 songs and was a prolific painter. His songs compose rabindrasangit ("Tagore Song"), which merges fluidly into his literature, most of which—poems or parts of novels, stories, or plays alike—were lyricised. 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. 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. 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 flavours "external" to Tagore's own ancestral culture. Scholars have attempted to gauge the emotive force and range of Hindustani ragas:

“[...] the pathos of the purabi raga reminded Tagore of the evening tears of a lonely widow, while kanara was the confused realization of a nocturnal wanderer who had lost his way. In bhupali he seemed to hear a voice in the wind saying 'stop and come hither'.Paraj conveyed to him the deep slumber that overtook one at night’s end. ”

—Reba Som, Rabindranath Tagore: The Singer and His Song.

Tagore influenced sitar maestro Vilayat Khan and sarodiyas Buddhadev Dasgupta and Amjad Ali Khan. His songs are widely popular and undergird the Bengali ethos to an extent perhaps rivaling Shakespeare's impact on the English-speaking world. It is said that his songs are the outcome of five centuries of Bengali literary churning and communal yearning. Dhan Gopal Mukerji has said that these songs transcend the mundane to the aesthetic and express all ranges and categories of human emotion. The poet gave voice to all—big or small, rich or poor. The poor Ganges boatman and the rich landlord air their emotions in them. They birthed a distinctive school of music whose practitioners can be fiercely traditional: novel interpretations have drawn severe censure in both West Bengal and Bangladesh.

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". Arthur Strangways of The Observer introduced non-Bengalis to rabindrasangit in The Music of Hindostan, calling it a "vehicle of a personality ... [that] go behind this or that system of music to that beauty of sound which all systems put out their hands to seize."

In 1971, Amar Shonar Bangla became the national anthem of Bangladesh. It was written—ironically—to protest the 1905 Partition of Bengal along communal lines: lopping Muslim-majority East Bengal from Hindu-dominated West Bengal was to avert a regional bloodbath. Tagore saw the partition as a ploy to upend the independence movement, and he aimed to rekindle Bengali unity and tar communalism. Jana Gana Mana was written in shadhu-bhasha, a Sanskritised register of Bengali, and is the first of five stanzas of a Brahmo hymn that Tagore composed. It was first sung in 1911 at a Calcutta session of the Indian National Congress and was adopted in 1950 by the Constituent Assembly of the Republic of India as its national anthem.

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—were held throughout Europe. He was likely red-green color blind, resulting in works that exhibited strange colour schemes and off-beat aesthetics. Tagore was influenced by scrimshaw from northern New Ireland, Haida carvings from British Columbia, and woodcuts by Max Pechstein. His artist's eye for his handwriting were 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.

Read More...

Rabindranath Tagore Work in the Brahmo Samaj

Rabindranath wrote Sandhya Sangeet - Evening songs, a volume of Bengali verse, came out in 1882. Between 1884 and 1890 various volumes of his poems appeared, together with a profuse output of prose articles, criticism, plays and novels. Tagore married when he was 23. At this stage, beyond his literary pursuits, he had begun sharing his father’s religious responsibilities. In 1911, Tagore took over the leadership of the Adi Brahmo Samaj. Under the influence of Rabindranath, Adi Brahmo Samaj was showing signs of revival. The old rule of allowing Brahmins to the pulpit were being relaxed and men of other castes were being invited into it. The Tattwabodhini Patrika had secured a new band of writers and young men trained under Rabindranath came forward to take up the work of the Samaj. Rabindranath was also intimate with Trailokyanath Sanyal who inspired him in the composition of Brahmasangeet. Rabindranath stated a Boys Boarding school - the Brahamacharyashram (or Ashram) School was inaugurated on 22 December 1901 with only a few pupils, his son being one of them, and with an equal number of teachers. It was to be run on the pattern of teachers and pupils living together amidst natural surroundings and willingly accepting an austere standard of living, often working with their own hands in Shantiniketan.The boys were trained to habits of economy, moderation, self control and due reverence of their teachers and their spiritual interests were taken care by encouraging habits of daily devotion. In 1912 Tagore left for the United Kingdom. Some of his poems and writings had already been translated into English and had attracted the attention of the well-known English painter Sir William Rothenstein and the poet W B Yeats. He made such an impression on the British writers and intellectuals that he was at once accepted as a great poet and intellectual. He was awarded the Nobel Prize for Literature in November 1913.

Read More...

Education of Tagore

Rabindranath Tagore ,was born into a prominent Calcutta jorasakor thakurbari family known for its socio-religious and cultural innovations during the 19th Bengal Renaissance. The profound social and cultural involvement of his family would later play a strong role in the formulation of Rabindranath’s educational priorities.  His grandfather Dwarkanath was involved in supporting medical facilities, educational institutions and the arts, and he fought for religious and social reform and the establishment of a free press.  His father was also a leader in social and religious reform, who encouraged a multi-cultural exchange in the family mansion Jorasanko. Within the joint family, Rabindranath’s thirteen brothers and sisters were mathematicians, journalists, novelists, musicians, artists.  His cousins, who shared the family mansion, were leaders in theatre, science and a new art movement. 

The tremendous excitement and cultural richness of his extended family  permitted young Rabindranath to absorb and learn subconsciously at his own pace, giving him a dynamic open model of education, which he later tried to recreate in his school at Santiniketan.  Not surprisingly, he found his outside formal schooling to be inferior and boring and, after a brief exposure to several schools, he refused to attend school. The only degrees he ever received were honorary ones bestowed late in life.His experiences at Jorasanko provided him with a lifelong conviction concerning the importance of freedom in education.  He also realized in a profound manner  the importance of the arts for developing empathy and sensitivity, and the necessity for an intimate relationship with one’s cultural and natural environment. In participating in the cosmopolitan activities of the family, he came to reject narrowness in general, and in particular, any form of narrowness that separated human being from human being. He saw education as a vehicle for appreciating the richest aspects of other cultures, while maintaining one’s own cultural specificity. As he wrote

I was brought up in an atmosphere of aspiration, aspiration for the expansion of the human spirit.  We in our home sought freedom of power in our language, freedom of imagination in our literature, freedom of soul in our religious creeds and that of mind in our social environment.  Such an opportunity has given me confidence in the power of education which is one with life and only which can give us real freedom, the highest that is claimed for man, his freedom of moral communion in the human world.... I try to assert in my words and works that education has its only meaning and object in freedom–freedom from ignorance about the laws of the universe, and freedom from passion and prejudice in our communication with the human world.  In my institution I have attempted to create an atmosphere of naturalness in our relationship with strangers, and the spirit of hospitality which is the first virtue in men that made civilization possible.I invited thinkers and scholars from foreign lands to let our boys know how easy it is to realise our common fellowship, when we deal with those who are great, and that it is the puny who with their petty vanities set up barriers between man and man.As well as growing up in a household that was the meeting place for leading artists and intellectuals from India and the West, Rabindranath had a further experience which was unusual for someone of his upbringing.  In the 1890s, he was put in charge of the family's rural properties in East Bengal. His first experiments in adult education were carried out there as he gradually became aware of the acute material and cultural poverty that permeated the villages, as well as the great divide between the uneducated rural areas and the city elites.  His experiences made him determined to do something about rural uplift, and later at Santiniketan, students and teachers were involved with literacy training and social work and the promotion of cooperative schemes. As an alternative to the existing forms of education, he started a small school at Santiniketan in 1901 that developed into a university and rural reconstruction centre, where he tried to develop an alternative model of education that stemmed from his own learning experiences. 

Rabindranath composed his first poem at age eight, and by the end of his life, had written over twenty-five volumes of poetry, fifteen plays, ninety short stories, eleven novels, thirteen volumes of essays, initiated and edited various journals, prepared Bengali textbooks, kept up a correspondence involving thousands of letters, composed over two thousand songs; and - after the age of seventy - created more than two thousand pictures and sketches.  He dedicated forty years of his life to his educational institution at Santiniketan, West Bengal.  Rabindranath’s school contained a children’s school as well as a university known as Visva-Bharati and a rural education Centre known as Sriniketan.

Read More...

Educational Idea of Rabindranath Tagore

Rabindranath Tagore's role in the innovation of educational ideas has been eclipsed by his fame as a poet. He was a pioneer in the field of education. For the last forty years of his life he was content to be a schoolmaster in humble rural surroundings, even when he had achieved fame such as no Indian had known before. He was one of the first, in India, to think out for himself and put in practice principles of education which have now become commonplace of educational theory, if not yet of practice.

Today we all know that what the child imbibes at home and in school is far more important than what he studies at college, that the teaching is more easily and naturally communicated through the child's mother-tongue than through an alien medium, that learning through activity is more real than through the written word, that wholesome education consists in training of all the senses along with the mind instead of cramming the brain with memorized knowledge, that culture is something much more than academic knowledge. But few of Rabindranath's countrymen took notice of him when he made his first experiments in education in 1901 with less than half a dozen pupils. A poet's whim, thought most of them. Even today few of his countrymen understand the significance of these principles in their national  life. The schoolmaster is still the most neglected member of our community, despite the fact that Rabindranath attached more merit to what he taught to children in his school than to the Hibbert lectures he delivered before the distinguished audience at Oxfoard.

Mahatma Gandhi adopted the scheme of teaching through crafts many years after Rabindranath had worked it out at Santiniketan. In fact the Mahatma imported his first teachers for his basic School from Santiniketan.
If Rabindranath had done nothing else, what he did at Santiniketan and Sriniketan would be sufficient to rank him as one of the India's greatest nation-builders.

With the years, Rabindranath had won the world and the world in turn had won him. He sought his home everywhere in the world and would bring the world to his home. And so the little school for children at Santiniketan became a world university, Visva-Bharati, a centre for Indian Culture, a seminary for Eastern Studies and a meeting-place of the East and West. The poet selected for its motto an ancient Sanskrit verse, Yatra visvam bhavatieka nidam, which means, "Where the whole world meets in a single nest."

Read More...

Biography Of Rabindranath Tagore

Rabindranath Tagore was a great Indian poet, philosopher, painter, patriot, humanist,Rabindranath was born on 6 May, 1861 in his ancestral home at Jorasanko in Calcutta. He was the fourteenth child of his parents. He was brought up in a big affluent joint family along with other children. But he was different from others.

 School education within the four walls did not please him. He liked the outside world-the open sky overhead and the earth under the feet. So he was educated at home by private teachers who taught him various subjects. From his early years, Rabindranath wrote poems. Some of his poems were published in periodicals. studied in London, returned to India, and was married in 1883. He founded Visvabharati, a university at Santiniketan (near Bolpur), He visited and lectured in Canada, the United States, South America, England and several countries of Europe, the Soviet Union, Turkey, Iran, Ceylon, China, and Japan. He was in personal contact with Henri Bergson, Benedetto Croce, Albert Einstein, Bertrand Russell, and other leading intellectual figures of his period.

 Rabindranath Tagore wrote not only poems but also short stories, dramas, novels and essays. India's most popular poet, He was awarded the Nobel Prize for Literature for his famous book of songs called 'Gitanjali' in 1913.
The two-time winner of the prestigious Lu Xun Prize for literature regrets that not many of Tagore works have been translated into Chinese. “We expect more translations in the near future as TagoreÂ’s popularity has not decreased in China. This will give me more opportunity to read his other works as well,” he hopes.
Often described as China’s best male writer on the female psyche, Feiyu produces well-drawn characters with indulgent metaphors. His book “Three Sisters” recounts the story of three women — all siblings struggling to survive the aftermath of China’s cultural revolution, a complex moral tale that also illuminates the country’s rise from sleeping tiger to global power.

Read More...