04-07-2006, 10:35 AM
hotaht dheka
![[Image: hotaahtdheka.gif]](http://i35.photobucket.com/albums/d188/himaloy/hotaahtdheka.gif)
06-02-2006, 10:08 AM
06-02-2006, 10:09 AM
Tagore (left) meets with Mahatma Gandhi at Santiniketan in 1940.
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...
Tagore in 1879, when he was studying in England
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translation from Gitanjali
"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."
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...
Tagore in 1879, when he was studying in England
[attachment=2726]
translation from Gitanjali
"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."
06-02-2006, 10:20 AM
Short stories
A drawing by Nandalall Bose illustrating Tagore's short story "The Hero", an English-language translation of which appeared in the 1913 Macmillan publication of Tagore's The Crescent Moon.
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The four years from 1891 to 1895 are known as Tagore’s "Sadhana" period (named for one of Tagore’s magazines)...This period was among Tagore 's most fecund, yielding more than half the stories contained in the three-volume Galpaguchchha, which itself is a collection of eighty-four stories...Such stories usually showcase Tagore’s reflections upon his surroundings, on modern and fashionable ideas, and on interesting mind puzzles (which Tagore was fond of testing his intellect with)...Tagore typically associated his earliest stories (such as those of the "Sadhana" period) with an exuberance of vitality and spontaneity; these characteristics were intimately connected with Tagore’s life in the common villages of, among others, Patisar, Shajadpur, and Shilaida while managing the Tagore family’s vast landholdings...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....In "The Fruitseller from Kabul", Tagore speaks in first person as town-dweller and novelist who chances upon the Afghani seller...He attempts to distil the sense of longing felt by those long trapped in the mundane and hardscrabble confines of Indian urban life, giving play to dreams of a different existence in the distant and wild mountains: "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 .... "....Many of the other Galpaguchchha stories were written in Tagore’s Sabuj Patra period (1914–1917; also named for one of Tagore's magazines).
A 1913 illustration by Asit Kumar Haldar accompanying "The Beginning", a prose-poem appearing in Tagore's The Crescent Moon.
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Tagore's Golpoguchchho (Bunch of Stories) remains among Bangla literature's most popular fictional works, providing subject matter for many successful films and theatrical plays...Satyajit Ray's film Charulata was based upon Tagore's controversial novella, Nastanirh (The Broken Nest)...In Atithi (also made into a film), the young Brahmin boy Tarapada shares a boat ride with a village zamindar...The boy reveals that he has run away from home, only to wander around ever since...Taking pity, the zamindar adopts him and ultimately arranges his marriage to the zamindar's own daughter...However, the night before the wedding, Tarapada runs off — again. Strir Patra (The Letter from the Wife) is among Bangla literature's earliest depictions of the bold emancipation of women... The heroine Mrinal, the wife of a typical patriarchical Bengali middle class man, writes a letter while she is traveling (which constitutes the whole story)...It details the pettiness of her life and struggles; she finally declares that she will not return to her husband's home with the statement Amio bachbo. Ei bachlum ("And I shall live. Here, I live")...In Haimanti, Tagore takes on the institution of Hindu marriage, describing the dismal lifelessness of married Bengali women, hypocrisies plaguing the Indian middle classes, and how Haimanti, a sensitive young woman, must — due to her sensitiveness and free spirit — sacrifice her life. In the last passage, Tagore directly attacks the Hindu custom of glorifying Sita's attempted self-immolation as a means of appeasing her husband Rama's doubts... Tagore also examines Hindu-Muslim tensions in Musalmani Didi, which in many ways embodies the essence of Tagore's humanism...On the other hand, Darpaharan exhibits Tagore's self-consciousness, describing a young man harboring literary ambitions...Though he loves his wife, he wishes to stifle her own literary career, deeming it unfeminine...Tagore himself, in his youth, seems to have harbored similar ideas about women...Darpaharan depicts the final humbling of the man via his acceptance of his wife's talents...As many other Tagore stories, Jibito o Mrito provides the Bengalis with one of their more widely used epigrams: Kadombini moriya proman korilo she more nai ("Kadombini died, thereby proved that she hadn't").
A drawing by Nandalall Bose illustrating Tagore's short story "The Hero", an English-language translation of which appeared in the 1913 Macmillan publication of Tagore's The Crescent Moon.
[attachment=2727]
The four years from 1891 to 1895 are known as Tagore’s "Sadhana" period (named for one of Tagore’s magazines)...This period was among Tagore 's most fecund, yielding more than half the stories contained in the three-volume Galpaguchchha, which itself is a collection of eighty-four stories...Such stories usually showcase Tagore’s reflections upon his surroundings, on modern and fashionable ideas, and on interesting mind puzzles (which Tagore was fond of testing his intellect with)...Tagore typically associated his earliest stories (such as those of the "Sadhana" period) with an exuberance of vitality and spontaneity; these characteristics were intimately connected with Tagore’s life in the common villages of, among others, Patisar, Shajadpur, and Shilaida while managing the Tagore family’s vast landholdings...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....In "The Fruitseller from Kabul", Tagore speaks in first person as town-dweller and novelist who chances upon the Afghani seller...He attempts to distil the sense of longing felt by those long trapped in the mundane and hardscrabble confines of Indian urban life, giving play to dreams of a different existence in the distant and wild mountains: "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 .... "....Many of the other Galpaguchchha stories were written in Tagore’s Sabuj Patra period (1914–1917; also named for one of Tagore's magazines).
A 1913 illustration by Asit Kumar Haldar accompanying "The Beginning", a prose-poem appearing in Tagore's The Crescent Moon.
[attachment=2728]
Tagore's Golpoguchchho (Bunch of Stories) remains among Bangla literature's most popular fictional works, providing subject matter for many successful films and theatrical plays...Satyajit Ray's film Charulata was based upon Tagore's controversial novella, Nastanirh (The Broken Nest)...In Atithi (also made into a film), the young Brahmin boy Tarapada shares a boat ride with a village zamindar...The boy reveals that he has run away from home, only to wander around ever since...Taking pity, the zamindar adopts him and ultimately arranges his marriage to the zamindar's own daughter...However, the night before the wedding, Tarapada runs off — again. Strir Patra (The Letter from the Wife) is among Bangla literature's earliest depictions of the bold emancipation of women... The heroine Mrinal, the wife of a typical patriarchical Bengali middle class man, writes a letter while she is traveling (which constitutes the whole story)...It details the pettiness of her life and struggles; she finally declares that she will not return to her husband's home with the statement Amio bachbo. Ei bachlum ("And I shall live. Here, I live")...In Haimanti, Tagore takes on the institution of Hindu marriage, describing the dismal lifelessness of married Bengali women, hypocrisies plaguing the Indian middle classes, and how Haimanti, a sensitive young woman, must — due to her sensitiveness and free spirit — sacrifice her life. In the last passage, Tagore directly attacks the Hindu custom of glorifying Sita's attempted self-immolation as a means of appeasing her husband Rama's doubts... Tagore also examines Hindu-Muslim tensions in Musalmani Didi, which in many ways embodies the essence of Tagore's humanism...On the other hand, Darpaharan exhibits Tagore's self-consciousness, describing a young man harboring literary ambitions...Though he loves his wife, he wishes to stifle her own literary career, deeming it unfeminine...Tagore himself, in his youth, seems to have harbored similar ideas about women...Darpaharan depicts the final humbling of the man via his acceptance of his wife's talents...As many other Tagore stories, Jibito o Mrito provides the Bengalis with one of their more widely used epigrams: Kadombini moriya proman korilo she more nai ("Kadombini died, thereby proved that she hadn't").
06-03-2006, 08:45 AM
Dancing Girl, an undated ink-on-paper piece by Tagore
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Tagore (at right, on the dais) hosts Mahatma Gandhi and wife Kasturba at Santiniketan in 1940.
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Tagore's signature
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Tagore (at right, on the dais) hosts Mahatma Gandhi and wife Kasturba at Santiniketan in 1940.
[attachment=2739]
...
Tagore's signature
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06-09-2006, 09:31 AM