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Tagore's Song Offerings: a Study on Beauty and Eternity
Everant.in/index.php/sshj Survey Report Social Science and Humanities Journal Tagore’s Song Offerings: A Study on Beauty and Eternity Dr. Tinni Dutta Lecturer, Department of Psychology , Asutosh College Kolkata , India. ABSTRACT Gitanjali written by Rabindranath Tagore (and the English translation of the Corresponding Author: Bengali poems in it, written in 1921) was awarded the Novel Prize in 1913. He Dr. Tinni Dutta called it Song Offerings. Some of the songs were taken from „Naivedya‟, „Kheya‟, „Gitimalya‟ and other selections of his poem. That is, the Supreme Being is complete only together with the soul of the devetee. He makes the mere mortal infinite and chooses to do so for His own sake, this could be just could be a faint echo of the AdvaitaPhilosophy.Tagore‟s songs in Gitanjali express the distinctive method of philosophy…The poet is nothing more than a flute (merely a reed) which plays His timeless melodies . His heart overflows with happiness at His touch that is intangible Tagore‟s song in Gitanjali are analyzed in this ways - content analysis and dynamic analysis. Methodology of his present study were corroborated with earlier findings: Halder (1918), Basu (1988), Sanyal (1992) Dutta (2002).In conclusion it could be stated that Tagore‟s songs in Gitanjali are intermingled with beauty and eternity.A frequently used theme in Tagore‟s poetry, is repeated in the song,„Tumiaamaydekechhilechhutir‟„When the day of fulfillment came I knew nothing for I was absent –minded‟, He mourns the loss. This strain of thinking is found also in an exquisite poem written in old age. -
PAPER VI UNIT I Non-Fictional Prose—General
PAPER VI UNIT I Non-fictional Prose—General Introduction, Joseph Addison’s The Spectator Papers: The Uses of the Spectator, The Spectator’s Account of Himself, Of the Spectator 1.1. Introduction: Eighteenth Century English Prose The eighteenth century was a great period for English prose, though not for English poetry. Matthew Arnold called it an "age of prose and reason," implying thereby that no good poetry was written in this century, and that, prose dominated the literary realm. Much of the poetry of the age is prosaic, if not altogether prose-rhymed prose. Verse was used by many poets of the age for purposes which could be realized, or realized better, through prose. Our view is that the eighteenth century was not altogether barren of real poetry. Even then, it is better known for the galaxy of brilliant prose writers that it threw up. In this century there was a remarkable proliferation of practical interests which could best be expressed in a new kind of prose-pliant and of a work a day kind capable of rising to every occasion. This prose was simple and modern, having nothing of the baroque or Ciceronian colour of the prose of the seventeenth-century writers like Milton and Sir Thomas Browne. Practicality and reason ruled supreme in prose and determined its style. It is really strange that in this period the language of prose was becoming simpler and more easily comprehensible, but, on the other hand, the language of poetry was being conventionalized into that artificial "poetic diction" which at the end of the century was so severely condemned by Wordsworth as "gaudy and inane phraseology." 1.2. -
Journal of Bengali Studies
ISSN 2277-9426 Journal of Bengali Studies Vol. 6 No. 1 The Age of Bhadralok: Bengal's Long Twentieth Century Dolpurnima 16 Phalgun 1424 1 March 2018 1 | Journal of Bengali Studies (ISSN 2277-9426) Vol. 6 No. 1 Journal of Bengali Studies (ISSN 2277-9426), Vol. 6 No. 1 Published on the Occasion of Dolpurnima, 16 Phalgun 1424 The Theme of this issue is The Age of Bhadralok: Bengal's Long Twentieth Century 2 | Journal of Bengali Studies (ISSN 2277-9426) Vol. 6 No. 1 ISSN 2277-9426 Journal of Bengali Studies Volume 6 Number 1 Dolpurnima 16 Phalgun 1424 1 March 2018 Spring Issue The Age of Bhadralok: Bengal's Long Twentieth Century Editorial Board: Tamal Dasgupta (Editor-in-Chief) Amit Shankar Saha (Editor) Mousumi Biswas Dasgupta (Editor) Sayantan Thakur (Editor) 3 | Journal of Bengali Studies (ISSN 2277-9426) Vol. 6 No. 1 Copyrights © Individual Contributors, while the Journal of Bengali Studies holds the publishing right for re-publishing the contents of the journal in future in any format, as per our terms and conditions and submission guidelines. Editorial©Tamal Dasgupta. Cover design©Tamal Dasgupta. Further, Journal of Bengali Studies is an open access, free for all e-journal and we promise to go by an Open Access Policy for readers, students, researchers and organizations as long as it remains for non-commercial purpose. However, any act of reproduction or redistribution (in any format) of this journal, or any part thereof, for commercial purpose and/or paid subscription must accompany prior written permission from the Editor, Journal of Bengali Studies. -
Gate 3 Το Πόμολο Είναι Ένα Καλλιτεχνικό Project Που Ξεκίνησε Το 2000 Με Σκοπό Να Ολοκληρωθεί Σε 7 Τεύχη-Πύλες
”pomolo” means door-handle gate 3 Το πόμολο είναι ένα καλλιτεχνικό project που ξεκίνησε το 2000 με σκοπό να ολοκληρωθεί σε 7 τεύχη-πύλες. Μην το αναζητήσετε στα περίπτερα δεν θα το βρείτε πουθενά, διατίθεται μόνο σε φίλους, Curry spices, mango chutney, Taj Mahal, Gilgamesh δωρεάν, σε ηλεκτρονική και χάρτινη μορφή. epic, Rabindranath Tagore, Shiva and Parvati, Mather Ganga, Sadhus, Sarees, Rajasthan jewelry, Lord Pomolo is an art project which started in Ganesh, pujas, Kumbh Mela, sitar, The Blue City of 2000, and the aim was to be completed in Jodpour, textiles, herbs, medication for everything, 7 issues-gates. Don’t look for it, you will meditation, Teacher Osho… (and also Priyanka not find it at the news stands, it is only Chopra, Nitin Chauhan…) and of course the magic shared with friends, for free, as an e-zine word Namaste! or printed. These are some keywords that first come in my mind πόμολο#3 © Κυριακή Χατζησάββα when I think of Mother India. But She is more than Σχεδιασμός: Κυριακή Χατζησάββα Εκτύπωση: Snowflake that. She is the most multi-faced country in the world, Φεβρουάριος 2017 in fact She is a whole planet by Herself. pomolo#3 © Kyriaki Hadjisavva I still remember the day I bought my first “payal*” Design: Kyriaki Hadjisavva when I was a little girl… these little bells sounded so Printing: Snowflake February 2017 exotic to my ears… I remember I bought them for Above: Lord Ganesha. Right: a “very serious reason” and I had this idea that the Goddess Lakshmi with Owl. (Owl is indians used them for the same reason: to warn the the sacred symbol of greek goddess ants that a human is coming along so they move of Wisdom Athena… the greek away and not get smashed under the human feet! female Ganesha!?) I was so compassionate with all creations of God even the smallest… I still am. -
February 18, 2014 (Series 28: 4) Satyajit Ray, CHARULATA (1964, 117 Minutes)
February 18, 2014 (Series 28: 4) Satyajit Ray, CHARULATA (1964, 117 minutes) Directed by Satyajit Ray Written byRabindranath Tagore ... (from the story "Nastaneer") Cinematography by Subrata Mitra Soumitra Chatterjee ... Amal Madhabi Mukherjee ... Charulata Shailen Mukherjee ... Bhupati Dutta SATYAJIT RAY (director) (b. May 2, 1921 in Calcutta, West Bengal, British India [now India]—d. April 23, 1992 (age 70) in Calcutta, West Bengal, India) directed 37 films and TV shows, including 1991 The Stranger, 1990 Branches of the Tree, 1989 An Enemy of the People, 1987 Sukumar Ray (Short documentary), 1984 The Home and the World, 1984 (novel), 1979 Naukadubi (story), 1974 Jadu Bansha (lyrics), “Deliverance” (TV Movie), 1981 “Pikoor Diary” (TV Short), 1974 Bisarjan (story - as Kaviguru Rabindranath), 1969 Atithi 1980 The Kingdom of Diamonds, 1979 Joi Baba Felunath: The (story), 1964 Charulata (from the story "Nastaneer"), 1961 Elephant God, 1977 The Chess Players, 1976 Bala, 1976 The Kabuliwala (story), 1961 Teen Kanya (stories), 1960 Khoka Middleman, 1974 The Golden Fortress, 1973 Distant Thunder, Babur Pratyabartan (story - as Kabiguru Rabindranath), 1960 1972 The Inner Eye, 1972 Company Limited, 1971 Sikkim Kshudhita Pashan (story), 1957 Kabuliwala (story), 1956 (Documentary), 1970 The Adversary, 1970 Days and Nights in Charana Daasi (novel "Nauka Doobi" - uncredited), 1947 the Forest, 1969 The Adventures of Goopy and Bagha, 1967 The Naukadubi (story), 1938 Gora (story), 1938 Chokher Bali Zoo, 1966 Nayak: The Hero, 1965 “Two” (TV Short), 1965 The (novel), 1932 Naukadubi (novel), 1932 Chirakumar Sabha, 1929 Holy Man, 1965 The Coward, 1964 Charulata, 1963 The Big Giribala (writer), 1927 Balidan (play), and 1923 Maanbhanjan City, 1962 The Expedition, 1962 Kanchenjungha, 1961 (story). -
Elective English - III DENG202
Elective English - III DENG202 ELECTIVE ENGLISH—III Copyright © 2014, Shraddha Singh All rights reserved Produced & Printed by EXCEL BOOKS PRIVATE LIMITED A-45, Naraina, Phase-I, New Delhi-110028 for Lovely Professional University Phagwara SYLLABUS Elective English—III Objectives: To introduce the student to the development and growth of various trends and movements in England and its society. To make students analyze poems critically. To improve students' knowledge of literary terminology. Sr. Content No. 1 The Linguist by Geetashree Chatterjee 2 A Dream within a Dream by Edgar Allan Poe 3 Chitra by Rabindranath Tagore 4 Ode to the West Wind by P.B.Shelly. The Vendor of Sweets by R.K. Narayan 5 How Much Land does a Man Need by Leo Tolstoy 6 The Agony of Win by Malavika Roy Singh 7 Love Lives Beyond the Tomb by John Clare. The Traveller’s story of a Terribly Strange Bed by Wilkie Collins 8 Beggarly Heart by Rabindranath Tagore 9 Next Sunday by R.K. Narayan 10 A Lickpenny Lover by O’ Henry CONTENTS Unit 1: The Linguist by Geetashree Chatterjee 1 Unit 2: A Dream within a Dream by Edgar Allan Poe 7 Unit 3: Chitra by Rabindranath Tagore 21 Unit 4: Ode to the West Wind by P B Shelley 34 Unit 5: The Vendor of Sweets by R K Narayan 52 Unit 6: How Much Land does a Man Need by Leo Tolstoy 71 Unit 7: The Agony of Win by Malavika Roy Singh 84 Unit 8: Love Lives beyond the Tomb by John Clare 90 Unit 9: The Traveller's Story of a Terribly Strange Bed by Wilkie Collins 104 Unit 10: Beggarly Heart by Rabindranath Tagore 123 Unit 11: Next Sunday by -
From Gitanjali to Song Offerings: Interrogating the Politics of Translation in the Light of Colonial Interaction
From Gitanjali to Song Offerings: Interrogating the Politics of Translation in the Light of Colonial Interaction Urmi Sengupta1 In English prose there is a magic which seems to transmute my Bengali verses into something which is original again in a different manner. Therefore, it not only satisfies me but gives me delight to assist my poems in their English birth....Fundamental idea is the same, but the vision changes. A poem can only be relived in a different atmosphere (Mitra 390) The above mentioned lines quoted from a letter of Rabindranath Tagore (1861-1941) addressed to D. J. Anderson spell out beautifully the nuances of the role played by Tagore as a translator of his collection of Bangla geeti-kavita titled Gitanjali (1910) into English prose. Song Offerings (also containing a few selected poems from nine of his earlier collections of poetry Gitimalya, Kalpana, Chaitali, Kheya, Naivedya, Shishu, Achalayatan , Utsarga and Swaran ) which was first published by Indian Society, London in November, 1912 and later by Macmillan and Company, London in March, 1913 received unprecedented appreciation in the West and had already been reprinted ten times within a span of a few months before it was awarded the Nobel Prize in Literature in November,1913. Of the two main standpoints that strive to explain this high acclaim for Song Offerings in the target language-culture , one is enunciated clearly by the Nobel Committee of 1913 in their citation which declares “Because of his profoundly sensitive, fresh and beautiful verse, by which, with consummate skill, he has made his poetic thought, expressed in his own English words, a part of the 1 Urmi Sengupta is working as a Junior Research Scholar in the Department of Comparative Literature, Jadavpur University, Kolkata and pursuing PhD from the same. -
Irrevocable Ethics in Rabindranath Tagore's
Int.J.Eng.Lang.Lit&Trans.StudiesINTERNATIONAL JOURNAL OF ENGLISH LANGUAGE, Vol.3.Issue.3 LITERATURE.2016 (July-Sept.) AND TRANSLATION STUDIES (IJELR) A QUARTERLY, INDEXED, REFEREED AND PEER REVIEWED OPEN ACCESS INTERNATIONAL JOURNAL http://www.ijelr.in KY PUBLICATIONS RESEARCH ARTICLE ARTICLE Vol. 3. Issue.3.,2016 (July-Sept. ) IRREVOCABLE ETHICS IN RABINDRANATH TAGORE’S NASTANIRH TRANSLATED IN TO CHARULATHA BY SATHYAJITH RAY P. ATHAHAR Assistant Professor, MITS, Madanapalle ABSTRACT Extraordinarily honored as Grand master of Bengal, legend of Indian subcontinent, clinched effortlessly to adore India with highest acclaim Nobel for Literature, is Rabindranath Tagore. The present abstract talks about Tagore’s novel Nastanirh (The Fouled Nest/The Broken Nest). It was the time when Bengal renaissance was in full swing in late 19th century and people of Bengal were exploring their lives in terms of their wealth as an integral part of the moment. The story is to be understood and interpreted in a sense of accountability. The present paper talks about the moralities of the story from words translated in to images. It was first translated in to English by Lago and Supriyasen and formed the basis for the film, Charulatha by Satyajit Ray in 1964. The discussion takes the reader through the Bengali audience by translation of the novel in to the film in which Satyajit Ray uses the fire motif to highlight the constructive as well as destructive potential of a woman’s unleashed sexuality. There are two sub texts embedded in this motif which are immediate evidence to audience of Bengal. There are three aspects is consideration to Tagore’s work and Ray’s translation. -
'Nastanirh' of Rabindranath Tagore
INTERNATIONALJOURNALOF MULTIDISCIPLINARYEDUCATIONALRESEARCH ISSN:2277-7881; IMPACT FACTOR :6.514(2020); IC VALUE:5.16; ISI VALUE:2.286 Peer Reviewed and Refereed Journal: VOLUME:10, ISSUE:1(3), January :2021 Online Copy Available: www.ijmer.in FEMININE PSYCHOLOGY IN THE SHORT STORY “NASTANIRH” OF RABINDRANATH TAGORE Dr.Biva Rani Das Assistant Professor Dhakuakhana College, Dhakuakhana, Assam The Abstract Female characters have played an important role in the short stories of Rabindranath Tagore. The female characters of his short stories are more prominent than the male characters. Most of his stories are centred round the endless problems and contradictions faced by the females. “Nastanirh”, a short story by Rabindranath, has been regarded as one of the best short stories ever. The short story titled “Nastanirh” was published in 1308 Bangabda in the Baishakh-Agrahayan issue of a magazine named “Bharati”. (Majumdar, Samaresh, p 150). Feminist ideals have been perfectly reflected in the short story. The eternal fact of dominance over the inner minds of females has been vividly exposed. The complex male-female relationship is aptly portrayed in this short story by means of psycho- analytic descriptions. In this Research paper, we are going to present a discussion on the topic of “Feminine psychology in the short story “Nastanirh” of Rabindranath Tagore.” Keywords: Feminine, Male, Psychology, Nastanirh, Rabindranath, Charu, Bhupati. Introduction: The plot of the short-story is about the scenario of the degraded conjugal life of Charulata and Bhupati. Bhupati couldn’t manage time to stay with his new wed young wife due to his hectic preparations of publishing a newspaper. -
The Being of Bhasha: a General Introduction (Volume 1, Part 2) Chief Editor: G.N
The Being of Bhasha: A General Introduction (Volume 1, Part 2) Chief Editor: G.N. Devy The first volume of the People’s Linguistic Survey of India brings to the reader the journey undertaken in 2010, by a group of visionaries led by G.N. Devy to document the languages of India as they existed then. The aim of the People’s Linguistic Survey of India was to document the languages spoken in India’s remotest corners. India’s towns and cities too have found a voice in this survey. The Being of Bhasha forms the introduction to the series. 2014 978-81-250-5488-7 152 pp ` 790 Rights: World 978-81-250-5775-8 (E-ISBN) The Languages of Jammu & Kashmir (Volume 12, Part 2) Volume Editor: Omkar N. Koul The twelfth volume of the People’s Linguistic Survey of India documents the languages of the State of Jammu & Kashmir. The book is divided into three parts—the first part covers the scheduled languages, Dogri and Kashmiri; the second part, the non-scheduled and minor languages; and the third part is devoted to Sanskrit, Persian, Hindi and Urdu which have played an important role in the state and also influenced local languages. Though Urdu is the official state language, of late there has been a shift in the linguistic profile in Jammu & Kashmir as there have been some linguistic movements towards inclusion of local languages in various domains. In the discussions about the languages, there is information about their contemporary status, their historical evolution and structural aspects. The linguistic map included in the volume also gives an idea of areas where the main languages are spoken. -
Biography of Sarojini Naidu Saroji Naidu Also Known by the Sobriquet the Nightingale of India, Was a Child Prodigy, Indian Indep
Biography of Sarojini Naidu Saroji Naidu also known by the sobriquet The Nightingale of India, was a child prodigy, Indian independence activist and poet. Naidu was the first Indian woman to become the President of the Indian National Congress and the first woman to become the Governor of Uttar Pradesh state. was a great patriot, politician, orator and administrator. of all the famous women of India, Mrs. Sarojinidevi Naidu's name is at the top. Not only that, but she was truly one of the jewels of the world. Being one of the most famous heroines of the 20th century, her birthday is celebrated as "Women's Day" Early Life She was born in Hyderabad. Sarojini Chattopadhyay, later Naidu belonged to a Bengali family of Kulin Brahmins. But her father, Agorenath Chattopadhyay, after receiving a doctor of science degree from Edinburgh University, settled in Hyderabad State, where he founded and administered the Hyderabad College, which later became the Nizam's College in Hyderabad. Sarojini Naidu's mother Barada Sundari Devi was a poetess baji and used to write poetry in Bengali. Sarojini Naidu was the eldest among the eight siblings. One of her brothers Birendranath was a revolutionary and her other brother Harindranath was a poet, dramatist, and actor. Sarojini Naidu was a brilliant student. She was proficient in Urdu, Telugu, English, Bengali, and Persian. At the age of twelve, Sarojini Naidu attained national fame when she topped the matriculation examination at Madras University. Her father wanted her to become a mathematician or scientist but Sarojini Naidu was interested in poetry. -
Barrenness and Bengali Cinema
1 “May You Be the Mother of A Hundred Sons!”: Barrenness vs. Motherhood in Bengali Cinema” Somdatta Mandal Department of English & Other Modern European Languages Visva-Bharati, Santiniketan Borrowing from the recently published novel The Palace of Illusions, Chitra Banerjee Divakaruni’s reimagining of the world-famous epic Mahabharata, let me begin with a well-known story. “Gandhari’s marriage, although she’d given up so much for its sake, was – like Kunti’s – not a happy one. Dhritarashtra was a bitter man. He never got over the fact that he’d been passed over by the elders – just because he was blind – when they decided which of the brothers should be king… The goal of Dhritarashtra’s life was to have a son who could inherit the throne after him. But here a problem arose, for in spite of his assiduous attempts Gandhari didn’t conceive for many years. When she finally did, it was too late. Kunti was already pregnant with Judhisthir. A year came. A year went. Yudhisthir was born. As the first male child of the next generation, the elders declared, the throne would be his. Dhritarashtra’s spies brought more bad news. Kunti was pregnant again. Now there were two obstacles between Dhritarashtra and his desire. Gandhari’s stomach grew large as a giant beehive, but her body refused to go into labor. Perhaps the frustrated king berated her, or perhaps the fact that he’d taken one of her waiting women as his mistress drove Gandhari to her act of desperation. She struck her stomach again and again until she bled, and bleeding gave birth to a huge, unformed ball of flesh.