రవీంద్రనాథ్ టాగూర్ రచనలు
వికీపీడియా నుండి
రవీంద్రనాథ్ టాగూర్ రచనలు లో కవితలు,నవలలు, చిన్న కథలు, నాటికలు,పెయింటింగులు, డ్రాయింగులు మరియి సంగీతము కూడా ఉన్నాయి. వాటి లో చిన్న కథలకు చాలా ప్రాముఖ్యము ఉంది. సాధారణ మానవుల జీవితాల లో జరిగే వృత్తాంతాలు ఈ చిన్న కథలలో దాగి ఉంటాయి. బంగ్లా లో ఈ ప్రక్రియను సృష్టంచిన ఘనత కూడా ఆతనికే దక్కుతుంది. ఆతని రచనలలో ఆశావదము కనపడుతుంది.
విషయ సూచిక |
[మార్చు] నాటికలు
పదహారు సంవత్సరముల వయస్సులో మొదలు తన సోదరుడు జ్యోతిరీంద్రనాథ్ టాగూర్ రచించిన బూర్జువా నాగరికుడు (16 వ శతాబ్దపు ఫ్రెంచి రచయత మోలియే రచించిన లా బూర్జువా జెంటిల్హోమ్ ఆధారముగా ) నాటికలో ముఖ్య పాత్రతో తన నట జీవితమును మొదలు పెట్టెను. 20 సంవత్సరముల వయస్సులో వ్రాసిన వాల్మీకి ప్రతిభ ఆతని మొదట స్వీయరచిత నాటకము. ఇది టాగూర్ భవనము లో చూపబడినది. టగూర్ తన నవలలో ఏక్షన్ కాక ఫీలింగ్ ముఖ్యమని భావించెను (ఇది అప్పటి బెంగాలీ నాటకములలో కొత్త). 1890 లో రచించినవిసర్జన్("త్యాగము") ఆతని అత్యున్నత నాటకముగా చెప్పబడుతున్నది. ఆ తరువాత రచించిన నాటకములు తత్త్వ శాస్త్ర, రూపక భావములు కలిగి ఉంటాయి. 1912 లో రచించిన ఢాక్ ఘర్("పోస్టాఫీసు") కు లండన్,బెర్లిన్, పారిస్ ల నుంచి ఉన్మాద రివ్యూలు వచ్చాయి. టాగూర్ నాటకము ఛండాలిక గౌతమ బుద్దుని శిష్యుడు ఆనంద ఒక ఆదివాసి యువతిని నీళ్ళూ అడిగిన వైనాన్ని వివరెస్తున్నాయి.
Tagore's plays also are important to Bengali literature. All of his plays have been repeatedly staged and re-interpreted over the years. His most famous play, perhaps, is Raktakaravi ("Red Oleanders") — the name of a red flower. It tells of a king who lives behind an iron curtain while his subjects have cruelty and death delivered upon them at the slightest pretext. People are forced to work in the mines so that the kleptocratic king and his cronies may render themselves even more wealthy. The play follows the heroine Nandini, who leads the people and finally the king himself towards the destruction of this artifact of subjugation. However, this ultimate victory is preceded by numerous deaths, most importantly that of Ranjan, Nandini's lover and Kishore and young boy devoted to her. Tagore devoted much effort to Raktakaravi, with (at least) eleven extant revisions. However, Tagore's motivation in writing Raktakaravi is disputed, with some suggesting negative opinions formed during his visit to the mines of Bombay. Others attribute it to dislike of the West, while others think that a woman motivated him to create Nandini. Tagore's other notable plays include Chitrangada, Raja, Valmiki-Pratibha, and Mayar Khela.
[మార్చు] Short stories
Tagore began his career in short stories in 1877 — when he was only sixteen — with "Bhikharini" ("The Beggar Woman").[1] With this, Tagore effectively invented the Bangla-language short story genre.[2] 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.[1] 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.[1] 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.[3] In particular, such stories as "Cabuliwallah" ("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.[4] In "The Fruitseller from Kabul", Tagore speaks in first person as town-dweller and novelist who chances upon the Afghani seller. He attempts to distill 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 .... ".[5] Many of the other "Galpaguchchha" stories were written in Tagore’s Sabuj Patra period (1914–1917, again, named after one of the magazines that Tagore edited and heavily contributed to).[1]
Tagore's Golpoguchchho ("Bunch of Stories") remains among the most popular fictional works in Bangla literature. Its continuing influence on Bengali art and culture cannot be overstated; to this day, Golpoguchchho remains a point of cultural reference. Golpoguchchho has furnished subject matter for numerous successful films and theatrical plays, and its characters are among the most well known to Bengalis. The acclaimed film director Satyajit Ray based his film Charulata ("The Lonely Wife") on Nastanirh ("The Broken Nest"). This famous story has an autobiographical element to it, modelled to some extent on the relationship between Tagore and his sister-in-law, Kadambari Devi. Ray has also made memorable films of other stories from Golpoguchchho, including Samapti, Postmaster and Monihara, bundling them together as Teen Kanya ("Three Daughters"). Atithi is another poignantly lyrical Tagore story. Tarapada, a young Brahmin boy, catches a boat ride with a village zamindar. It turns out that he has run away from his home and has been wandering around ever since. The zamindar adopts him, and finally arranges a marriage to his own daughter. The night before the wedding Tarapada runs away again. Strir Patra (The letter from the wife) has to be one of the earliest depictions in Bangla literature of such bold emancipation of women. Mrinal is the wife of a typical Bengali middle class man. The letter, written while she is traveling (which constitutes the whole story), describes her petty life and struggles. She finally declares that she will not return to his patriarchical home, stating Amio bachbo. Ei bachlum ("And I shall live. Here, I live").
In Haimanti, Tagore takes on the institution of Hindu marriage. He describes, via Strir Patra, the dismal lifelessness of Bengali women after they are married off, hypocrisies plaguing the Indian middle class, 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 (as depicted in the epic Ramayana). 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").
[మార్చు] Novels
Among Tagore's works, his novels are among the least-acknowledged. These include Chaturanga, Gora (1910), Shesher Kobita, Ghare Baire, Char Odhay, and Noukadubi. Ghare Baire or The Home and the World, (which was also released as the film by Satyajit Ray, Ghare Baire) examines rising nationalistic feeling among Indians while warning of its dangers, clearly displaying Tagore's distrust of nationalism — especially when associated with a religious element. In some sense, Gora shares the same theme, raising questions regarding the Indian identity. As with Ghore Baire, matters of self-identity, personal freedom, and religious belief are developed in the context of an involving family story and a love triangle.
Shesher Kobita (translated twice, as Last Poem and as Farewell Song) is his most lyrical novel, containing as it does poems and rhythmic passages written by the main character (a poet). Nevertheless, it is also Tagore's most satirical novel, exhibiting post-modernist elements whereby several characters make gleeful attacks on the reputation of an old, outmoded, oppressively-renowned poet (named Rabindranath Tagore). Though his novels remain under-appreciated, they have recently been given new attention through many movie adaptations by such film directors as Satyajit Ray. Most prominent among these is a version of Chokher Bali, which features Aishwariya Rai. A favorite trope of these directors is to employ rabindra sangeet in the film adaptations' soundtracks. Among Tagore's notable non-fiction books are Iurop Jatrir Patro ("Letters from Europe") and Manusher Dhormo ("The Religion of Man").
[మార్చు] Poetry
Internationally, Gitanjali (Bangla: গীতাঞ্জলি) is Tagore's best-known collection of poetry, winning him his Nobel Prize. Song VII from Gitanjali reads as follows:
Original text in Bangla and Roman scripts (গীতাঞ্জলি 127):
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Free-verse translation by Tagore (Gitanjali, verse VII):[6]
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"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." |
Besides Gitanjali, other notable works include Manasi, Sonar Tori ("Golden Boat"), Balaka ("Wild Geese" — the title being a metaphor for migrating souls),[7] and Purobi. Sonar Tori's most famous poem — dealing with the ephemeral nature of life and achievement — goes by the same name; it ends with the haunting phrase "শূন্য নদীর তীরে রহিনু পড়ি / যাহা ছিল লয়ে গেল সোনার তরী" ("shunya nadir tire rahinu pari / jaha chhilo loye gelo shonar tori" — "all I had achieved was carried off on the golden boat — only I was left behind."). In Dui Bigha Jomi ("A Strip of Land"), Tagore explores the plight of a sharecropper whose meager parcel of farmland is taken over — using falsified papers — by a moneylender; the poem concludes: "rajar hosto kore shomosto kangaler dhon churi" ("it is the king's hand that steals from the downtrodden"). Sonar Tori also contains Hing Ting Chhot. Although comic in form, it illuminates what Tagore saw as Bengali society's crippling lack of vision, originality, and wisdom: durbodh ja chhilo kichu hoye gelo jol, shunno akasher moto ottonto nirmol ("Oh yes, now all has been explained, like the empty expanse of the open sky"). Throughout his life, Tagore experimented with different poetic styles. For example, in his early years, he occasionally wrote his works in Shadhu Bhasha (a Sanskritized dialect of Bangla); later, Tagore moved seamlessly to using Chalit (a more popular dialect). Lastly, the poems in Balaka mark a start of an epoch; the most notable of these reads:
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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, 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.
[మార్చు] Music and artwork
Tagore was also an accomplished musician and painter. Indeed, he wrote some 2,230 songs; together, these comprise rabindra sangeet (রবীন্দ্র সংগীত), now an integral part of Bengali culture. Yet, Tagore's music is inseparable from his literature, most of which — poems or parts of novels, stories, or plays alike — became lyrics for his songs. These ran the whole gamut of human emotion, and are still frequently used to give voice to a wide range of experiences. Such is true of two such works: Bangladesh's Aamaar Sonaar Baanglaa (আমার সোনার বাঙলা) and India's Jana Gana Mana (জন গণ মন); Tagore thus became the only person ever to have written the national anthems of two nations. Tagore also had an artist's eye for his own handwriting, embellishing the cross-outs and word layouts in his manuscripts with simple artistic leitmotifs.
At age 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[8] — were held throughout Europe. Tagore — who likely exhibited protanopia ("color blindness"), or partial lack of (red-green, in Tagore's case) colour discernment — painted in a style characterised by peculiarities in aesthetic and colouring style. Nevertheless, Tagore took to emulating numerous styles, including that of craftwork by the Malanggan people of northern New Ireland, Haida carvings from the Pacific Northwest region of North America, and woodcuts by Max Pechstein.[9]
[మార్చు] Citations
మూస:IndicText మూస:Wikiquote
[మార్చు] References
- Chakravarty, A (1961), A Tagore Reader, Beacon Press, ISBN 0-8070-5971-4.
- Dutta, K & Robinson, A (1995), Rabindranath Tagore: The Myriad-Minded Man, St. Martin's Press, ISBN 0-312-14030-4.
- Dutta, K (editor) & Robinson, A (editor) (1997), Rabindranath Tagore: An Anthology, St. Martin's Press, ISBN 0-312-16973-6.
- Dyson, KK (2001), "Rabindranath Tagore and his World of Colours", Parabaas [April 1, 2006].
- Tagore, R (1977), Collected Poems and Plays of Rabindranath Tagore, Macmillan Publishing, ISBN 0-02-615920-1.
