商务智能RT(泰戈尔)

（商务智能)RT(泰戈尔)RabindranathTagoreFromWikipedia,thefreeencyclopedia(RedirectedfromTagore,Rabindranath)Jumpto:navigation,searchRabindranathTagoreRabindranathTagoreinKolkata,c.1915Born7May1861CalcuttaDied7August1941(aged80)CalcuttaOccupationpoet,playwright,philosopher,composer,artistWritingperiodBengalRenaissanceNotableaward(s)NobelPrizeinLiterature(1913)Influenced[show]Signature"Tagore"redirectshere.Forotheruses,seeTagore(disambiguation).RabindranathTagore(help·info)α[(Bengali:ঁঁঁঁঁঁঁঁঁঁঁঁঁঁঁঁ,β[IPA:

[ɾobinɾdɾɾonatɾɾɾɾakuɾ](help·info))(7May1861–7August1941),γ[alsoknownbythesobriquetGurudev,δ[wasaBengalipoet,Brahmoreligionist,visualartist,playwright,novelist,andcomposerwhoseworksreshapedBengaliliteratureandmusicinthelate19thandearly20thcenturies.HebecameAsia'sfirstNobellaureate[1]whenhewonthe1913NobelPrizeinLiterature.APiraliBrahmin[2][3][4]fromCalcutta,Bengal,Tagorefirstwrotepoemsattheageofeight.Attheageofsixteen,hepublishedhisfirstsubstantialpoetryunderthepseudonymBhanushingho("SunLion")andwrotehisfirstshortstoriesanddramasin1877.InlaterlifeTagoreprotestedstronglyagainsttheBritishRajandgavehissupporttotheIndianIndependenceMovement.Tagore'slifeworkendures,intheformofhispoetryandtheinstitutionhefounded,Visva-BharatiUniversity.Tagorewrotenovels,shortstories,songs,dance-dramas,andessaysonpoliticalandpersonaltopics.Gitanjali(SongOfferings),Gora(Fair-Faced),andGhare-Baire(TheHomeandtheWorld)areamonghisbest-knownworks.Hisverse,shortstories,andnovels,whichoftenexhibitedrhythmiclyricism,colloquiallanguage,meditativenaturalism,andphilosophicalcontemplation,receivedworldwideacclaim.TagorewasalsoaculturalreformerandpolymathwhomodernisedBengaliartbyrejectingstricturesbindingittoclassicalIndianforms.TwosongsfromhiscanonarenowthenationalanthemsofBangladeshandIndia:theAmarShonarBanglaandtheJanaGanaManarespectively.Contents[hide]•1Earlylife(1861–1901)•2Twilightyears(1932–1941)•3Travels•4Workso4.1Novelsandnon-fictiono4.2Musicandartworko4.3Theatricalpieceso4.4Shortstorieso4.5Poetry•5Politicalviews•6Impactandlegacy•7Bibliography(partial)•8Seealso•9Notes•10Citations•11Timeline•12References•13Furtherreading•14Externallinks[edit]Earlylife(1861–1901)Mainarticle:LifeofRabindranathTagore(1861–1901)Tagorein1879,whenhewasstudyinginEngland.Tagore(nicknamed"Rabi")wasborntheyoungestofthirteensurvivingchildrenintheJorasankomansioninCalcutta(nowKolkata,India)ofparentsDebendranathTagore(1817-1905)andSaradaDevi(1830-1875).ε[TheTagorefamilyweretheBrahmofoundingfathersoftheAdiDharmfaith.Afterundergoinghisupanayanatageeleven,TagoreandhisfatherleftCalcuttaon14February1873totourIndiaforseveralmonths,visitinghisfather'sSantiniketanestateandAmritsarbeforereachingtheHimalayanhillstationofDalhousie.There,Tagorereadbiographies,studiedhistory,astronomy,modernscience,andSanskrit,andexaminedtheclassicalpoetryofKālidāsa.[6][7]In1877,herosetonotabilitywhenhecomposedseveralworks,includingalongpoemsetintheMaithilistylepioneeredbyVidyapati.Asajoke,hemaintainedthatthesewerethelostworksofBhānusiṃha,anewlydiscovered17th-centuryVaiṣṇavapoet.[8]Healsowrote"Bhikharini"(1877;"TheBeggarWoman"—theBengalilanguage'sfirstshortstory)[9][10]andSandhyaSangit(1882)—includingthefamouspoem"NirjharerSwapnabhanga"("TheRousingoftheWaterfall").TagoreandhiswifeMrinaliniDeviin1883.Seekingtobecomeabarrister,TagoreenrolledatapublicschoolinBrighton,Englandin1878.HestudiedlawatUniversityCollegeLondon,butreturnedtoBengalin1880withoutadegree.On9December1883hemarriedMrinaliniDevi(bornBhabatarini,1873–1900);theyhadfivechildren,twoofwhomlaterdiedbeforereachingadulthood.[11]In1890,Tagorebeganmanaginghisfamily'sestatesinShilaidaha,aregionnowinBangladesh;hewasjoinedbyhiswifeandchildrenin1898.Knownas"ZamindarBabu",Tagoretraveledacrossthevastestatewhilelivingoutofthefamily'sluxuriousbarge,thePadma,tocollect(mostlytoken)rentsandblessvillagers;inreturn,appreciativevillagersheldfeastsinhishonour.[12]Theseyears,whichcomposedTagore'sSadhanaperiod(1891–1895;namedforoneofTagore’smagazines),wereamonghismostfecund.Duringthisperiod,morethanhalfthestoriesofthethree-volumeandeighty-four-storyGalpaguchchhawerewritten.[9]Withironyandemotionalweight,theydepictedawiderangeofBengalilifestyles,particularlyvillagelife.[13]Tagore,photographedinHampstead,Englandin1912byJohnRothenstein.In1901,TagoreleftShilaidahaandmovedtoSantiniketan(WestBengal)tofindanashram,whichwouldgrowtoincludeamarble-flooredprayerhall("TheMandir"),anexperimentalschool,grovesoftrees,gardens,andalibrary.[14]There,Tagore'swifeandtwoofhischildrendied.Hisfatherdiedon19January1905,andhebeganreceivingmonthlypaymentsaspartofhisinheritance.HereceivedadditionalincomefromtheMaharajaofTripura,salesofhisfamily'sjewellery,hisseasidebungalowinPuri,andmediocreroyalties(Rs.2,000)fromhisworks.[15]Bynow,hisworkwasgaininghimalargefollowingamongBengaliandforeignreadersalike,andhepublishedsuchworksasNaivedya(1901)andKheya(1906)whiletranslatinghispoemsintofreeverse.On14November1913,Tagorelearnedthathehadwonthe1913NobelPrizeinLiterature.AccordingtotheSwedishAcademy,itwasgivenduetotheidealisticand—forWesternreaders—accessiblenatureofasmallbodyofhistranslatedmaterial,includingthe1912Gitanjali:SongOfferings.[16]In1915,TagorereceivedtheknighthoodfromtheBritishCrown.Butasamarkofrebuketotherulers,posttheJallianwalaBaghmassacrein1919,herenouncedthetitle.In1921,TagoreandagriculturaleconomistLeonardElmhirstsetuptheInstituteforRuralReconstruction(whichTagorelaterrenamedShriniketan—"AbodeofWealth")inSurul,avillageneartheashramatSantiniketan.Throughit,TagoresoughttoprovideanalternativetoGandhi'ssymbol-andprotest-basedSwarajmovement,whichhedenounced.[17]Herecruitedscholars,donors,andofficialsfrommanycountriestohelptheInstituteuseschoolingto"freevillage[s]fromtheshacklesofhelplessnessandignorance"by"vitaliz[ing]knowledge".[18][19]Intheearly1930s,healsogrewmoreconcernedaboutIndia's"abnormalcasteconsciousness"anduntouchability,lecturingonitsevils,writingpoemsanddramaswithuntouchableprotagonists,andappealingtoauthoritiesattheGuruvayoorTempletoadmitDalits.[20][21][edit]Twilightyears(1932–1941)Mainarticle:LifeofRabindranathTagore(1932–1941)Inhislastdecade,Tagoreremainedinthepubliclimelight,publiclyupbraidingGandhiforstatingthatamassive15January1934earthquakeinBiharconstituteddivineretributionforthesubjugationofDalits.[22]HealsomournedtheincipientsocioeconomicdeclineofBengalandtheendemicpovertyofCalcutta;hedetailedthelatterinanunrhymedhundred-linepoemwhosetechniqueofsearingdouble-visionwouldforeshadowSatyajitRay'sfilmApurSansar.[23][24]Tagorealsocompiledfifteenvolumesofwritings,includingtheprose-poemsworksPunashcha(1932),ShesSaptak(1935),andPatraput(1936).Hecontinuedhisexperimentationsbydevelopingprose-songsanddance-dramas,includingChitrangada(1914),[25]Shyama(1939),andChandalika(1938),andwrotethenovelsDuiBon(1933),Malancha(1934),andCharAdhyay(1934).Tagoretookaninterestinscienceinhislastyears,writingVisva-Parichay(acollectionofessays)in1937.Hisexplorationofbiology,physics,andastronomyimpactedhispoetry,whichoftencontainedextensivenaturalismthatunderscoredhisrespectforscientificlaws.Healsowovetheprocessofscience(includingnarrativesofscientists)intomanystoriescontainedinsuchvolumesasSe(1937),TinSangi(1940),andGalpasalpa(1941).[26]Tagore'slastfouryearsweremarkedbychronicpainandtwolongperiodsofillness.ThesebeganwhenTagorelostconsciousnessinlate1937;heremainedcomatoseandneardeathforanextendedperiod.Thiswasfollowedthreeyearslaterinlate1940byasimilarspell,fromwhichheneverrecovered.ThepoetryTagorewroteintheseyearsisamonghisfinest,andisdistinctiveforitspreoccupationwithdeath.[27][28]Afterextendedsuffering,Tagorediedon7August1941(22Shravan1348)inanupstairsroomoftheJorasankomansioninwhichhewasraised;[29][30]hisdeathanniversaryisstillmournedinpublicfunctionsheldacrosstheBengali-speakingworld.[edit]TravelsTagore(center,atright)visitsChineseacademicsatTsinghuaUniversityin1924.Owingtohisnotablewanderlust,between1878and1932,Tagorevisitedmorethanthirtycountriesonfivecontinents;[31]manyofthesetripswerecrucialinfamiliarisingnon-Indianaudiencestohisworksandspreadinghispoliticalideas.In1912,hetookasheafofhistranslatedworkstoEngland,wheretheyimpressedmissionaryandGandhiprotégéCharlesF.Andrews,Anglo-IrishpoetWilliamButlerYeats,EzraPound,RobertBridges,ErnestRhys,ThomasSturgeMoore,andothers.[32]Indeed,YeatswrotetheprefacetotheEnglishtranslationofGitanjali,whileAndrewsjoinedTagoreatSantiniketan.On10November1912,TagoretouredtheUnitedStates[33]andtheUnitedKingdom,stayinginButterton,StaffordshirewithAndrews’clergymenfriends.[34]From3May1916untilApril1917,TagorewentonlecturingcircuitsinJapanandtheUnitedStates,[35]duringwhichhedenouncednationalism—particularlythatoftheJapaneseandAmericans.Healsowrotetheessay"NationalisminIndia",attractingbothderisionandpraise(thelatterfrompacifists,includingRomainRolland).[36]ShortlyafterreturningtoIndia,the63-year-oldTagorevisitedPeruattheinvitationofthePeruviangovernment,andtooktheopportunitytovisitMexicoaswell.Bothgovernmentspledgeddonationsof$100,000totheschoolatShantiniketan(Visva-Bharati)incommemorationofhisvisits.[37]Aweekafterhis6November1924arrivalinBuenosAires,Argentina,[38]anillTagoremovedintotheVillaMiralríoatthebehestofVictoriaOcampo.HeleftforIndiainJanuary1925.On30May1926,TagorereachedNaples,Italy;hemetfascistdictatorBenitoMussoliniinRomethenextday.[39]TheirinitiallywarmrapportlasteduntilTagorespokeoutagainstMussolinion20July1926.[40]Tagore(firstrow,thirdfigurefromright)meetsmembersoftheIranianMajlis(Tehran,April-May1932).TagorevisitedShirazinthesameyear,[1].On14July1927,Tagoreandtwocompanionsbeganafour-monthtourofSoutheastAsia,visitingBali,Java,KualaLumpur,Malacca,Penang,Siam,andSingapore.Tagore'straveloguesfromthetourwerecollectedintothework"Jatri".[41]Inearly1930heleftBengalforanearlyyear-longtourofEuropeandtheUnitedStates.OncehereturnedtotheUK,whilehispaintingswerebeingexhibitedinParisandLondon,hestayedataFriendssettlementinBirmingham.There,hewrotehisHibbertLecturesfortheUniversityofOxford(whichdealtwiththe"ideaofthehumanityofourGod,orthedivinityofMantheEternal")andspokeatLondon'sannualQuakergathering.[42]There(addressingrelationsbetweentheBritishandIndians,atopichewouldgrapplewithoverthenexttwoyears),Tagorespokeofa"darkchasmofaloofness".[43]HelatervisitedAgaKhanIII,stayedatDartingtonHall,thentouredDenmark,Switzerland,andGermanyfromJunetomid-September1930,thentheSovietUnion.[44]Lastly,inApril1932,Tagore—whowasacquaintedwiththelegendsandworksofthePersianmysticHafez—wasinvitedasapersonalguestofShahRezaShahPahlaviofIran.[45][46]SuchextensivetravelsallowedTagoretointeractwithmanynotablecontemporaries,includingHenriBergson,AlbertEinstein,RobertFrost,ThomasMann,GeorgeBernardShaw,H.G.WellsandRomainRolland.[47][48]Tagore'slasttravelsabroad,includingvisitstoPersiaandIraq(in1932)andCeylonin1933,onlysharpenedhisopinionsregardinghumandivisionsandnationalism.[49][edit]WorksMainarticle:WorksofRabindranathTagoreTagore'sBengali-languageinitialsareworkedintothis"Ra-Tha"woodenseal,whichbearsclosestylisticsimilaritytodesignsusedintraditionalHaidacarvings.Tagoreoftenembellishedhismanuscriptswithsuchart.(Dyson2001)Tagore'sliteraryreputationisdisproportionatelyinfluencedbyregardforhispoetry;however,healsowrotenovels,essays,shortstories,travelogues,dramas,andthousandsofsongs.OfTagore'sprose,hisshortstoriesareperhapsmosthighlyregarded;indeed,heiscreditedwithoriginatingtheBengali-languageversionofthegenre.Hisworksarefrequentlynotedfortheirrhythmic,optimistic,andlyricalnature.Suchstoriesmostlyborrowfromdeceptivelysimplesubjectmatter:thelivesofordinarypeople.[edit]Novelsandnon-fictionTagorewroteeightnovelsandfournovellas,includingChaturanga,ShesherKobita,CharOdhay,andNoukadubi.GhareBaire(TheHomeandtheWorld)—throughthelensoftheidealisticzamindarprotagonistNikhil—excoriatesrisingIndiannationalism,terrorism,andreligiouszealintheSwadeshimovement;afrankexpressionofTagore'sconflictedsentiments,itemergedoutofa1914boutofdepression.Indeed,thenovelbleaklyendswithHindu-MuslimsectarianviolenceandNikhil'sbeing(probablymortally)wounded.[50]Insomesense,Gorasharesthesametheme,raisingcontroversialquestionsregardingtheIndianidentity.AswithGhoreBaire,mattersofself-identity(jāti),personalfreedom,andreligionaredevelopedinthecontextofafamilystoryandlovetriangle.[51]AnotherpowerfulstoryisJogajog(Relationships),wheretheheroineKumudini—boundbytheidealsofShiva-Sati,exemplifiedbyDākshāyani—istornbetweenherpityforthesinkingfortunesofherprogressiveandcompassionateelderbrotherandhisfoil:herexploitative,rakish,andpatriarchicalhusband.Init,Tagoredemonstrateshisfeministleanings,usingpathostodepicttheplightandultimatedemiseofBengaliwomentrappedbypregnancy,duty,andfamilyhonour;simultaneously,hetreatsthedeclineofBengal'slandedoligarchy.[52]Othernovelsweremoreuplifting:ShesherKobita(translatedtwice—LastPoemandFarewellSong)ishismostlyricalnovel,withpoemsandrhythmicpassageswrittenbythemaincharacter(apoet).Italsocontainselementsofsatireandpostmodernism;stockcharactersgleefullyattackthereputationofanold,outmoded,oppressivelyrenownedpoetwho,incidentally,goesbythenameofRabindranathTagore.Thoughhisnovelsremainamongtheleast-appreciatedofhisworks,theyhavebeengivenrenewedattentionviafilmadaptationsbysuchdirectorsasSatyajitRay;theseincludeChokherBaliandGhareBaire;manyhavesoundtracksfeaturingselectionsfromTagore'sownRabindrasangeet.Tagorewrotemanynon-fictionbooks,writingontopicsrangingfromIndianhistorytolinguistics.Asidefromautobiographicalworks,histravelogues,essays,andlectureswerecompiledintoseveralvolumes,includingIuropJatrirPatro(LettersfromEurope)andManusherDhormo(TheReligionofMan).[edit]Musicandartwork"DancingGirl",anundatedink-on-paperpiecebyTagore.Tagorewasaprolificmusicianandpainter,writingaround2,230songs.Theycompriserabindrasangit(Bengali:ঁঁঁঁঁঁঁঁঁঁঁঁঁ—"TagoreSong"),nowanintegralpartofBengaliculture.Tagore'smusicisinseparablefromhisliterature,mostofwhich—poemsorpartsofnovels,stories,orplaysalike—becamelyricsforhissongs.PrimarilyinfluencedbythethumristyleofHindustaniclassicalmusic,theyrantheentiregamutofhumanemotion,rangingfromhisearlydirge-likeBrahmodevotionalhymnstoquasi-eroticcompositions.[53]Theyemulatedthetonalcolorofclassicalragastovaryingextents.Thoughattimeshissongsmimickedagivenraga'smelodyandrhythmfaithfully,healsoblendedelementsofdifferentragastocreateinnovativeworks.[54]ForBengalis,theirappeal,stemmingfromthecombinationofemotivestrengthandbeautydescribedassurpassingevenTagore'spoetry,wassuchthattheModernReviewobservedthat"[t]hereisinBengalnoculturedhomewhereRabindranath'ssongsarenotsungoratleastattemptedtobesung...Evenilliteratevillagerssinghissongs".MusiccriticArthurStrangwaysofTheObserverfirstintroducednon-BengalistorabindrasangeetwithhisbookTheMusicofHindostan,whichdescribeditasa"vehicleofapersonality...[that]gobehindthisorthatsystemofmusictothatbeautyofsoundwhichallsystemsputouttheirhandstoseize."[55]AmongthemareBangladesh'snationalanthemAmarShonarBangla(Bengali:ঁঁঁঁঁঁঁঁঁঁঁঁঁঁ)andIndia'snationalanthemJanaGanaMana(Bengali:ঁঁঁঁঁঁ);Tagorethusbecametheonlypersonevertohavewrittenthenationalanthemsoftwonations.Inturn,rabindrasangeetinfluencedthestylesofsuchmusiciansassitarmaestroVilayatKhan,andthesarodiyasBuddhadevDasguptaandAmjadAliKhan.[54]MuchofTagore'sartworkdabbledinprimitivism,includingthispastel-colouredrenditionofaMalangganmaskfromnorthernNewIreland.Atagesixty,Tagoretookupdrawingandpainting;successfulexhibitionsofhismanyworks—whichmadeadebutappearanceinParisuponencouragementbyartistshemetinthesouthofFrance[56]—wereheldthroughoutEurope.Tagore—wholikelyexhibitedprotanopia("colorblindness"),orpartiallackof(red-green,inTagore'scase)colourdiscernment—paintedinastylecharacterisedbypeculiaritiesinaestheticsandcolouringschemes.Nevertheless,Tagoretooktoemulatingnumerousstyles,includingthatofcraftworkbytheMalangganpeopleofnorthernNewIreland,HaidacarvingsfromthewestcoastofCanada(BritishColumbia),andwoodcutsbyMaxPechstein.[57]Tagorealsohadanartist'seyeforhisownhandwriting,embellishingthescribbles,cross-outs,andwordlayoutsinhismanuscriptswithsimpleartisticleitmotifs,includingsimplerhythmicdesigns.[edit]TheatricalpiecesTagore'sexperienceintheatrebeganatagesixteen,whenheplayedtheleadroleinhisbrotherJyotirindranath'sadaptationofMolière'sLeBourgeoisGentilhomme.Atagetwenty,hewrotehisfirstdrama-opera—ValmikiPratibha(TheGeniusofValmiki)—whichdescribeshowthebanditValmikireformshisethos,isblessedbySaraswati,andcomposestheRāmāyana.[58]Throughit,Tagorevigorouslyexploresawiderangeofdramaticstylesandemotions,includingusageofrevampedkirtansandadaptationoftraditionalEnglishandIrishfolkmelodiesasdrinkingsongs.[59]Anothernotableplay,DakGhar(ThePostOffice),describeshowachild—strivingtoescapehisstuffyconfines—ultimately"fall[s]asleep"(whichsuggestshisphysicaldeath).Astorywithworldwideappeal(itreceivedravereviewsinEurope),DakGhardealtwithdeathas,inTagore'swords,"spiritualfreedom"from"theworldofhoardedwealthandcertifiedcreeds".[60][61]Hisotherworks—emphasizingfusionoflyricalflowandemotionalrhythmtightlyfocusedonacoreidea—wereunlikepreviousBengalidramas.Hisworkssoughttoarticulate,inTagore'swords,"theplayoffeelingandnotofaction".In1890hewroteVisarjan(Sacrifice),regardedashisfinestdrama.[58]TheBengali-languageoriginalsincludedintricatesubplotsandextendedmonologues.Later,hisdramasprobedmorephilosophicalandallegoricalthemes;theseincludedDakGhar.AnotherisTagore'sChandalika(UntouchableGirl),whichwasmodeledonanancientBuddhistlegenddescribinghowAnanda—theGautamaBuddha'sdisciple—askswaterofanAdivasi("untouchable")girl.[62]Lastly,amonghismostfamousdramasisRaktakaravi(RedOleanders),whichtellsofakleptocratickingwhoenricheshimselfbyforcinghissubjectstomine.Theheroine,Nandini,eventuallyralliesthecommonpeopletodestroythesesymbolsofsubjugation.Tagore'sotherplaysincludeChitrangada,Raja,andMayarKhela.DancedramasbasedonTagore'splaysarecommonlyreferredtoasrabindranrityanatyas.[edit]ShortstoriesAdrawingbyNandalallBoseillustratingTagore'sshortstory"TheHero",anEnglish-languagetranslationofwhichappearedinthe1913MacmillanpublicationofTagore'sTheCrescentMoon.Tagore’s"Sadhana"period,comprisingthefouryearsfrom1891to1895,wasnamedforoneofTagore’smagazines.ThisperiodwasamongTagore'smostfecund,yieldingmorethanhalfthestoriescontainedinthethree-volumeGalpaguchchha,whichitselfisacollectionofeighty-fourstories.[9]SuchstoriesusuallyshowcaseTagore’sreflectionsuponhissurroundings,onmodernandfashionableideas,andoninterestingmindpuzzles(whichTagorewasfondoftestinghisintellectwith).Tagoretypicallyassociatedhisearlieststories(suchasthoseofthe"Sadhana"period)withanexuberanceofvitalityandspontaneity;thesecharacteristicswereintimatelyconnectedwithTagore’slifeinthecommonvillagesof,amongothers,Patisar,Shajadpur,andShilaidawhilemanagingtheTagorefamily’svastlandholdings.[9]There,hebeheldthelivesofIndia’spoorandcommonpeople;TagoretherebytooktoexaminingtheirliveswithapenetrativedepthandfeelingthatwassingularinIndianliteratureuptothatpoint.[63]In"TheFruitsellerfromKabul",Tagorespeaksinfirstpersonastown-dwellerandnovelistwhochancesupontheAfghaniseller.HeattemptstodistilthesenseoflongingfeltbythoselongtrappedinthemundaneandhardscrabbleconfinesofIndianurbanlife,givingplaytodreamsofadifferentexistenceinthedistantandwildmountains:"Therewereautumnmornings,thetimeofyearwhenkingsofoldwentforthtoconquest;andI,neverstirringfrommylittlecornerinCalcutta,wouldletmymindwanderoverthewholeworld.Attheverynameofanothercountry,myheartwouldgoouttoit...Iwouldfalltoweavinganetworkofdreams:themountains,theglens,theforest".[64]ManyoftheotherGalpaguchchhastorieswerewritteninTagore’sSabujPatraperiod(1914–1917;alsonamedforoneofTagore'smagazines).[9]A1913illustrationbyAsitKumarHaldaraccompanying"TheBeginning",aprose-poemappearinginTagore'sTheCrescentMoon.Tagore'sGolpoguchchho(BunchofStories)remainsamongBengaliliterature'smostpopularfictionalworks,providingsubjectmatterformanysuccessfulfilmsandtheatricalplays.SatyajitRay'sfilmCharulatawasbaseduponTagore'scontroversialnovella,Nastanirh(TheBrokenNest).InAtithi(alsomadeintoafilm),theyoungBrahminboyTarapadasharesaboatridewithavillagezamindar.Theboyrevealsthathehasrunawayfromhome,onlytowanderaroundeversince.Takingpity,thezamindaradoptshimandultimatelyarrangeshismarriagetothezamindar'sowndaughter.However,thenightbeforethewedding,Tarapadarunsoff—again.StrirPatra(TheLetterfromtheWife)isamongBengaliliterature'searliestdepictionsoftheboldemancipationofwomen.TheheroineMrinal,thewifeofatypicalpatriarchicalBengalimiddleclassman,writesaletterwhilesheistraveling(whichconstitutesthewholestory).Itdetailsthepettinessofherlifeandstruggles;shefinallydeclaresthatshewillnotreturntoherhusband'shomewiththestatementAmiobachbo.Eibachlum("AndIshalllive.Here,Ilive").InHaimanti,TagoretakesontheinstitutionofHindumarriage,describingthedismallifelessnessofmarriedBengaliwomen,hypocrisiesplaguingtheIndianmiddleclasses,andhowHaimanti,asensitiveyoungwoman,must—duetohersensitivenessandfreespirit—sacrificeherlife.Inthelastpassage,TagoredirectlyattackstheHinducustomofglorifyingSita'sattemptedself-immolationasameansofappeasingherhusbandRama'sdoubts.TagorealsoexaminesHindu-MuslimtensionsinMusalmaniDidi,whichinmanywaysembodiestheessenceofTagore'shumanism.Ontheotherhand,DarpaharanexhibitsTagore'sself-consciousness,describingayoungmanharboringliteraryambitions.Thoughheloveshiswife,hewishestostifleherownliterarycareer,deemingitunfeminine.Tagorehimself,inhisyouth,seemstohaveharboredsimilarideasaboutwomen.Darpaharandepictsthefinalhumblingofthemanviahisacceptanceofhiswife'stalents.AsmanyotherTagorestories,JibitooMritoprovidestheBengaliswithoneoftheirmorewidelyusedepigrams:Kadombinimoriyapromankoriloshemorenai("Kadombinidied,therebyprovedthatshehadn't").[edit]PoetryBāulfolksingersinSantiniketanduringtheannualHolifestival.Tagore'spoetry—whichvariedinstylefromclassicalformalismtothecomic,visionary,andecstatic—proceedsoutalineageestablishedby15th-and16th-centuryVaiṣṇavapoets.Tagorewasalsoinfluencedbythemysticismoftherishi-authorswho—includingVyasa—wrotetheUpanishads,theBhakta-SufimysticKabir,andRamprasad.[65]YetTagore'spoetrybecamemostinnovativeandmatureafterhisexposuretoruralBengal'sfolkmusic,whichincludedballadssungbyBāulfolksingers—especiallythebardLālanŚāh.[66][67]These—whichwererediscoveredandpopularisedbyTagore—resemble19th-centuryKartābhajāhymnsthatemphasizeinwarddivinityandrebellionagainstreligiousandsocialorthodoxy.[68][69]DuringhisShilaidahayears,hispoemstookonalyricalquality,speakingviathemanermanus(theBāuls'"manwithintheheart")ormeditatinguponthejivandevata("livingGodwithin").Thisfigurethussoughtconnectionwithdivinitythroughappealtonatureandtheemotionalinterplayofhumandrama.TagoreusedsuchtechniquesinhisBhānusiṃhapoems(whichchronicletheromancebetweenRadhaandKrishna),whichherepeatedlyrevisedoverthecourseofseventyyears.[70][71]Later,Tagorerespondedtothe(mostly)crudeemergenceofmodernismandrealisminBengaliliteraturebywritingexperimentalworksinthe1930s.[72]ExamplesworksincludeAfricaandCamalia,whichareamongthebetterknownofhislatterpoems.HealsooccasionallywrotepoemsusingShadhuBhasha(aSanskritiseddialectofBengali);later,hebeganusingCholtiBhasha(amorepopulardialect).OthernotableworksincludeManasi,SonarTori(GoldenBoat),Balaka(WildGeese—thetitlebeingametaphorformigratingsouls),[73]andPurobi.SonarTori'smostfamouspoem—dealingwiththeephemeralnatureoflifeandachievement—goesbythesamename;itendswiththehauntingphrase"ঁঁঁঁঁঁঁঁঁঁঁঁঁঁঁঁঁঁঁঁঁঁ/ঁঁঁঁঁঁঁঁঁঁঁঁঁঁঁঁঁঁঁঁঁঁ"("Shunnonodirtirerohinupoŗi/Jaha

chhiloloegêloshonartori"—"allIhadachievedwascarriedoffonthegoldenboat—o