INTRODUCTION

Rabindranath Tagore, the renowned Bengali polymath, was a towering figure who left an in-
delible mark on the cultural and intellectual landscape of modern India. Born on 7 th May, 1861
in Calcutta (now Kolkata), Tagore's life and work were deeply intertwined with the tumul-
tuous social, political, and artistic movements that defined the nation during the late 19th and
early 20th centuries. As a poet, philosopher, artist, and social reformer, Tagore's prolific con-
tributions spanned a wide range of disciplines, earning him the Nobel Prize in Literature in
1913 and the admiration of both domestic and international audiences. Tagore's literary ge-
nius and his unwavering commitment to the ideals of humanitarianism, cultural exchange,
and universal understanding have cemented his legacy as one of the most influential figures
in India's modern history.

Tagore's early life was shaped by his privileged upbringing within the influential
Tagore family, known for its patronage of the arts and its progressive social and political
views. Growing up in a household that fostered intellectual discourse and creative expres-
sion, Tagore was exposed to a diverse array of cultural influences, from traditional Bengali
literature and music to the emerging Western philosophical and artistic traditions. His father,
Debendranath Tagore, was a leader of the Brahmo Samaj, a reformist Hindu movement.
Tagore was educated at home by tutors and exposed to a rich cultural environment from a
young age, fostering his love for literature, music, and art. Despite his aristocratic back-
ground, Tagore developed a deep empathy for the plight of the common people, and his writ-
ings often reflected a keen understanding of the struggles and aspirations of the Indian
masses.

Tagore's poetry, marked by its lyrical beauty and philosophical depth, is celebrated
worldwide. His collection "Gitanjali" ("Song Offerings") won him the Nobel Prize. Tagore
wrote several novels, each exploring different facets of human experience and social issues.
Apart from poetry and novels, Tagore's plays combine elements of drama, music, and dance,
often exploring themes of spirituality, love, and social justice. In his later years, Tagore took
up painting, creating a unique and expressive body of work. His art, characterized by its bold
forms and imaginative themes, was exhibited in various countries and gained critical ac-
claim.

Tagore was a visionary educator who founded the Visva-Bharati University at San-
tiniketan in 1921. He envisioned it as a place where the best of Eastern and Western cultures
could meet and flourish. The institution emphasized creativity, critical thinking, and a holis-
tic approach to education, promoting a sense of global citizenship among its students.
Through his writings and educational initiatives, Tagore championed the idea of "education-
sans-boundaries," where local and global perspectives would not be viewed as mutually ex-
clusive, but rather as complementary elements.

Tagore was deeply engaged with the social and political issues of his time. He advo-
cated for India's independence but also critiqued the narrowness of militant nationalism. His
renunciation of his knighthood in protest against the Jallianwala Bagh massacre in 1919 was
a powerful statement against colonial oppression. This act of defiance against colonial brutal-
ity underscored his commitment to India's freedom struggle. Tagore's vision extended beyond
India, as he promoted internationalism and cultural exchange, believing in the unity of hu-
manity.

Rabindranath Tagore's vast body of work continues to resonate across the world. His contri-
butions to literature, music, education, and social thought have made him a towering figure in
the cultural history of India and beyond. His philosophy of universalism, humanism, and the
interconnection of all cultures remains relevant today, inspiring people to strive for a world of
peace, understanding, and creativity. He also played a crucial role in the cultural renaissance
of India, advocating for a form of nationalism that was deeply rooted in India's spiritual and
cultural ethos while remaining open to global influences. His legacy as a maker of modern In-
dia lies in his vision of an independent India that values cultural diversity, humanism, and
universalism.

Further, this dissertation will deal with the development of Rabindranath Tagore as a literary
figure, his educational philosophy, his role as a social reformer and political thinker and his
influence on Modern Indian Thought.
 I

DEVELOPMENT AS A LITERARY FIGURE

To be born as the youngest member of a prosperous family is not necessarily a misfortune.

Under favorable circumstances, it may turn out to be an asset. Tagore’s case is an example in
this point. If his inborn genius was a major factor in making him an outstanding literary fig-
ure, the environment in the family was no less important factor in unfolding it. Tagore him -
self was very conscious of this as he confirms in his reminiscences.

“In early age I had a great advantage that an atmosphere of literary activities per-
vaded the house day and night. Their enthusiasm for literary and artistic pursuits was
unbounded, as if they were trying by all possible ways to usher in the modem era of
Bengal. Dress and costumes, poems and music, painting, staging of dramas, religious
discourses, patriotic activities—in respect of all such matters, their minds were domi-
nated by a comprehensive ideal of nationalism.”1

Tagore’s intense feeling of patriotism again infused by the family atmosphere provided the
incentive for developing his literary talents. The atmosphere of patriotism prevailed in the
family over several generations. Tagore’s grandfather Dwarkanath set the tone for it. Though
he mixed intimately with the members of the European society, he never gave up the Indian

1
Rabindranath Tagore, My Reminiscences (Delhi: Manohar Publication, 1983), pp. 23-24.
style of living. He loved it so intensely that even in his long sojourn in England, he continued
to dress in Indian style and used to take delight in smoking the hukkah. This spirit was inher-
ited by his sons.

The tradition not only continued in the next generation but was even intensified. Satyendra
Nath took delight in composing patriotic songs in Bengali. In collaboration with his elder
cousin Ganendra- Nath and Naagpal Mitra, he organized the Hindu Mela in Calcutta to
encourage the growth of patriotic feelings among his country¬ men and to promote the sale
of indigenous goods. Hemendra Nath insisted that the members of the family should study
Bengali and develop their command over the language. The Hindu Mela provided Tagore the
scope to give expression to his feelings about his land of birth, in poetry. It appears that on
two occasions, he participated in the programmes of the Hindu Mela by reciting his poems on
India. The first occasion was in 1875 when he was only fourteen years of age. It was
considered so important an event that it was reported in the leading daily next day. 2 The
theme of the poem imagines the sage Vyas sitting on the Himalayas recalling the glory of
India’s past and contrasting it with the present lowly state and poses the question:

“Will the ashes of India’s past glory kindle again a blazing fire and light up the
world?”

His sensitive mind was fully conscious of the insignificant role played by the Bengali of his
day and fired by patriotic thoughts he keenly felt that somebody should undertake to wipe out
this disgrace. Thus, in an essay he observes:

“After remaining silent for long years, the heart of Bengal is surcharged with ideas.
Let her speak out her own feelings in her own language. The chorus of the world will
be made sweeter when the Bengali takes part in it.”3

He was proud of his country’s ancient past. He strongly wished that India should be rein-
stated to her position of glory. This desire finds expression in one of his sonnets which finds
place, in his book of verse Naivedya.

2
Indian Daily News, February 15th, 1875
3
Bichitra Prabandha
 The availability of more than one literary journal run by the family acted as a direct incen-
tive to his writing. The Tattvabodhini Patrika published one of his earliest poems, Abhilash,
towards the end of December 1874, when he was barely thirteen. Later, when he was still in
his teens, he became a regular contributor to the other family journal Sadhana.

The greatest incentive came from Kadambari Devi, the worthy wife of Jyotirindranath. She
came to the family when Rabindranath was only seven years old. Felt attracted to this gifted
brother-in- law, she smothered him with affection. He carried this memory even to his old
age and reminisces in the following words:

“In my life when the first daughter-in-law came to our house from outside,
My mind was like a boat in anchor, but a tide came roaring to toss it about.
Providence brought me bounty overflowing the measured ration of happiness.”4

When his mother died in his early age, it was this loving sister-in-law who took upon herself
the task of looking to his comforts and showering on him the necessary affection to lighten
his grief. This remarkable lady not only loved literature but took keen interest in it, particu -
larly in poetry. Taking such delight in poetry, she naturally felt interested in the poetic talent
displayed by her young brother-in-law and encouraged him in his efforts. But she would take
particular care to avoid the growth of any feeling of undue pride in him. She wanted him to
develop his powers to his utmost and, therefore, would never let him know that he was pro-
gressing very well indeed.
Unfortunately, this charming lady committed suicide for some unknown reason in 1884.
Tagore records in his reminiscences that he had never before felt the sting of death so sharply
as on this occasion. Overwhelmed with a sense of deep gratitude, he dedicated two of his
books, published shortly after this shocking event, to her memory.

The first of these is Saisab Sangeet, a collection of poems composed by him when he was still
in his teens. Evidently, the death of the sister-in-law who provided him the inspiration to
write them acted as the incentive for its belated publication. The words recorded in the dedi-
cation read in translation:
“I dedicate these poems to you. It is long ago that I used to write them in your pres-
ence and read them out to you. They carry the memory of your affection. So, I am led
to think that wherever you are, these poems will not escape your eyes.”

4
Akash Pradeep
The other book is Bhanu Sinha Thakre Pada Vali. It has some interesting features of its own.
Under his sister-in-law’s encouragement, Tagore wrote a number of poems following the Pa-
davalis of the Vaishnava poets. They were published in the different issues of the family jour-
nal Bharati, between 1877 and 1881. In spite of his sister-in-law’s request Tagore was reluc-
tant to publish in the first instance the compilation as he found no literary qualities of his own
reflected in them. It is her memory again that provided the incentive to publish these poems.
The touching dedication reads:

“You had requested me to publish the collection of poems written under the pseudo-
nym Bhanu Sinha. I did not comply with your request then. I have published it today,
but you are not here to see it.”

It is now time to trace the growth of Tagore’s poetry through the early formative stage to the
stage of maturity. It appears that three distinct phases of growth are noticeable. We may have
already noted that even from his early childhood, Tagore developed an intense love of nature.
That was naturally the inspiration for his poems in the early formative stage, which Tagore
very aptly calls the copy-book stage of his poetry. 5 The idea is that at this stage his efforts
were more directed to imitating established poets. One example is Bhanu Sinha Thakore Pada
Vali. The other example is the collection of poems published under the title Saisab Sangeet.
There is indication that he was influenced here by the poet Biharilal Chakravarty, the friend
of the family. This is reflected both in the rhymes adopted by him and the description of
scenes, though admittedly they carry promise of future greatness.
Tagore himself says that he crossed the threshold of the copy¬ book stage of his poetry in his
book of poems, Sandhya Sangeet. The poems included in this collection bear the impress of
his own style for the first time. It was definitely a step forward towards maturity and he was
immensely delighted to realize this. Its significance escaped the eyes of many, but not the dis-
cerning eye of Bankim Chandra Chatterjee, the greatest literary figure of this age, who made
no mistake in reading in it the happy news of the advent of another literary giant.
His compliment came in the form of a gesture which is worth mentioning. Romesh Chandra
Dutt, another great literary figure was celebrating his daughter’s marriage to which both
Bankim Chandra and Rabindranath Tagore were invitee. When Bankim Chandra arrived, he
was welcomed with garland while Rabindranath Tagore looked on. Bankim Chandra there-
upon tool off the garland and placed it on the neck of Rabindranath Tagore.
The restoration of the bond with nature was accomplished under very dramatic circum-
stances. Young Rabindranath was then living in a house rented by his brother Jyotirindranath
in Sudder Street which overlooked a row of tall trees fringing the Free School Street, Cal -
cutta. As he came out to the open balcony one morning, he saw the glory of the rising sun be-
hind the screen of the trees dispelling the veil of the morning mist. The impact of the scenic
beauty broke the spell of his isolation. He felt the exhilaration of a man released from con-
finement within a cave. This provided the inspiration for the famous poem Nirjharer Swapna
Bhanga (The break of the spell of the Cataract) which appears in his next book of verses,
Prabhat Sangeet.
5
Preface to Sandhya Sangeet
The Prabhat Sangeet thus marks the end of the second phase of the formative stage of
Tagore’s poetic life. We find a note of cheerfulness in the poems of this new collection. It is
here for the first time that we get poems which bear the mark of Tagore’s genius though they
had not yet attained maturity. In his own assessment, this book makes available to the reader
the first fruits of his poetic efforts.
After that, Tagore’s poetry made a rapid advance towards maturity. This seal of maturity is
noticeable in Kori-O-Kamal published in 1886. It reflects the characteristic features of his po-
etry like a strong note of optimism and a style in which human attributes are ascribed to dif-
ferent parts of nature and even to inanimate objects. To his eyes nature is not dead but pulsat -
ing with life. The seasons are dancing maidens, the sunlight reflected on the dew drop is a
message of love from the sun. The stars lighting up the night sky are so many heads of cattle
being grazed about by an unseen cowherd. Even abstract ideas take concrete shape as living
things. These new features are noticeable for the first time in Kori-Kamal.
Tagore’s literary efforts were diversified from the beginning. Apart from poetry, he made
rapid progress in other fields as well. By the turn of the century, we find him established as a
writer of distinction in many fields. His first book of plays, Rudra Chanda, was published in
1881, when he was barely twenty. The same year, he wrote Valmiki Pratibha which adopted
the story of the transformation of the robber chief Ratnakar into a great poet by the grace of
goddess Saraswati.
In Valmiki Pratibha, Tagore carried out with success an experiment with a new idea. The
drama is written in songs on the lines of the opera but is somewhat different from an opera.
Tagore himself points out that in contrast with the opera where the music receives more atten-
tion than the play, here the development of the play is the objective while songs play a minor
role as an aid to embellish the speech of the actor. To distinguish it from the opera he calls it
Geet Nitya (song-play). The play is further distinguished by another new feature in that here
he experimented with new tunes for the songs. His approach was eclectic. He not only
adopted Indian classical tunes but also borrowed liberally from the tunes composed by his el-
der brother Jyotirindranath. He also took full advantage of his acquaintance with Western mu-
sic and adapted some tunes. He had developed a particular fascination for the Irish Melodies
composed by Muir and did not hesitate to apply the tune of one of its songs to a song of this
play.
The next drama produced by Tagore is Bisarjan in blank verse, which has for its theme an ex-
perience obtained in a dream. This is one of the finest dramas in Bengali literature.
Tagore’s first novel Bou Thakuranir Haat published in 1883 is evidently immature. The next
novel Rajarshi, which shares the theme of Bisarjan, reveals little beyond a promise of future
greatness. It was published in 1887. But, Chokher Bali published in 1903 surprisingly records
a considerable advance. It is a fine novel giving all the indications of Tagore’s maturity in the
field.
During the long gap between the publication of Rajarshi and Chokher Bali, Tagore experi-
mented in writing short stories. In the nineties of the last century, his main preoccupation was
stories and he produced scores of them which have found place in his Galpa Guchha. They
established his reputation as a great short story writer.
In the poem, Jogia, in his book, Kori-O-Komal, the theme is the wonderful experience of
thrill enjoyed by the poet one fine sunny morning. While giving expression to this emotion,
he used the phrase that the emotion of thrill was dancing from tree to tree. What he meant to
say was obvious, namely, that the emotion of thrill felt in his heart had taken concrete shape
in the form of the beauty of the sun’s rays playing on the leaves of trees.
Tagore had early success as a writer in his native Bengal. With his translations of some of his
poems he became rapidly known in the West. In fact his fame attained a luminous height, tak-
ing him across continents on lecture tours and tours of friendship. For the world he became
the voice of India’s spiritual heritage; and for India, especially for Bengal, he became a great
living institution. He also won the Nobel Prize in Literature for his collection Geetanjali.

Although Tagore wrote successfully in all literary genres, he was first of all a [Link]
these, he wrote musical dramas, dance dramas, essays of all types, travel diaries, and two
autobiographies, one in his middle years and the other shortly before his death in 1941.
Tagore also left numerous drawings and paintings, and songs for which he wrote the music
himself.

So, by the turn of the century, we find Tagore equally well at ease in poetry, drama, fiction
and short story. It may not be far from truth to say that had he given up writing at this stage,
he would have still remained as the most versatile figure in the history of Bengali literature,
though the world would have missed much.