Rabindranath Tagore was a Bengali polymath who reshaped Bengali literature and music in the late 19th and early 20th centuries. He was the first non-European to win the Nobel Prize in Literature in 1913. Tagore wrote poetry and stories that modernized Bengali literature by introducing new forms and styles. He founded an ashram and school called Santiniketan that aimed to promote education. Tagore traveled widely in Asia, Europe, and North America, exposing the West to Indian culture and vice versa. He was a prominent figure in the Bengal Renaissance and advocated for Indian independence from British rule.

1. Rabindranath Tagore
“Tagore” redirects here. For other uses, see Tagore
(disambiguation).
Rabindranath Tagore[lower-alpha 1]
( i
/rəˈbindrəˈnɑːtˈtɑːɡɔr/; Bengali pronunciation:
[robind̪ro nat̪ʰ ʈʰakur]), also written Rabīndranātha
Thākura[1]
(7 May 1861 – 7 August 1941),[lower-alpha 2]
sobriquet Gurudev,[lower-alpha 3]
was a Bengali polymath
who reshaped Bengali literature and music, as well as
Indian art with Contextual Modernism in the late 19th
and early 20th centuries. Author of Gitanjali and its
“profoundly sensitive, fresh and beautiful verse”,[3]
he
became the first non-European to win the Nobel Prize
in Literature in 1913.[4]
In translation his poetry was
viewed as spiritual and mercurial; however, his “elegant
prose and magical poetry” remain largely unknown
outside Bengal.[5]
Tagore introduced new prose and
verse forms and the use of colloquial language into
Bengali literature, thereby freeing it from traditional
models based on classical Sanskrit. He was highly
influential in introducing the best of Indian culture to
the West and vice versa, and he is generally regarded
as the outstanding creative artist of the modern Indian
subcontinent.
A Pirali Brahmin from Calcutta with ancestral gentry
roots in Jessore, Tagore wrote poetry as an eight-year-
old.[6]
At age sixteen, he released his first substantial
poems under the pseudonym Bhānusiṃha (“Sun Lion”),
which were seized upon by literary authorities as long-
lost classics.[7][8]
He graduated to his first short sto-
ries and dramas—and the aegis of his birth name—by
1877. As a humanist, universalist internationalist, and
strident nationalist he denounced the British Raj and ad-
vocated independence from Britain. As an exponent of
the Bengal Renaissance, he advanced a vast canon that
comprised paintings, sketches and doodles, hundreds of
texts, and some two thousand songs; his legacy endures
also in the institution he founded, Visva-Bharati Univer-
sity.[9][10][11][12][13]
Tagore modernised Bengali art by spurning rigid classi-
cal forms and resisting linguistic strictures. His novels,
stories, songs, dance-dramas, and essays spoke to top-
ics political and personal. Gitanjali (Song Offerings),
Gora (Fair-Faced) and Ghare-Baire (The Home and the
World) are his best-known works, and his verse, short sto-
ries, and novels were acclaimed—or panned—for their
lyricism, colloquialism, naturalism, and unnatural con-
templation. His compositions were chosen by two na-
tions as national anthems: India's Jana Gana Mana and
Bangladesh's Amar Shonar Bangla. The lyrics and mu-
sic for the original song of Sri Lanka’s National Anthem
were also the work of Tagore.[14]
1 Early life: 1861–1878
Main article: Early life of Rabindranath Tagore
The youngest of thirteen surviving children, Tagore
(nicknamed “Rabi”) was born in the Jorasanko mansion
in Calcutta to parents Debendranath Tagore (1817–1905)
and Sarada Devi (1830–1875).[lower-alpha 4]
The last two days a storm has been raging, similar to the
description in my song—Jhauro jhauro borishe barid-
hara [... amidst it] a hapless, homeless man drenched
from top to toe standing on the roof of his steamer [...] the
last two days I have been singing this song over and over
[...] as a result the pelting sound of the intense rain, the
wail of the wind, the sound of the heaving Gorai [R]iver,
have assumed a fresh life and found a new language and
I have felt like a major actor in this new musical drama
unfolding before me.
“
”
— Letter to Indira Devi.[20]
Tagore was raised mostly by servants; his mother had died
in his early childhood and his father travelled widely.[21]
Tagore family was at the forefront of the Bengal renais-
sance. They hosted the publication of literary maga-
zines; theatre and recitals of Bengali and Western classi-
cal music featured there regularly. Tagore’s oldest brother
Dwijendranath was a philosopher and poet. Another
brother, Satyendranath, was the first Indian appointed to
the elite and formerly all-European Indian Civil Service.
Yet another brother, Jyotirindranath, was a musician,
composer, and playwright.[22]
His sister Swarnakumari
became a novelist. Jyotirindranath’s wife Kadambari,
slightly older than Tagore, was a dear friend and pow-
erful influence. Her abrupt suicide in 1884, soon after he
married, left him for years profoundly distraught.
Tagore largely avoided classroom schooling and pre-
ferred to roam the manor or nearby Bolpur and Panihati,
idylls which the family visited.[23][24]
His brother Hemen-
dranath tutored and physically conditioned him—by hav-
ing him swim the Ganges or trek through hills, by gym-
nastics, and by practising judo and wrestling. He learned
1

2. 2 2 SHELAIDAHA: 1878–1901
to draw, anatomy, geography and history, literature,
mathematics, Sanskrit, and English—his least favourite
subject.[25]
Tagore loathed formal education—his schol-
arly travails at the local Presidency College spanned a sin-
gle day. Years later he held that proper teaching does not
explain things; proper teaching stokes curiosity:[26]
Tagore and his wife Mrinalini Devi, 1883.
After his upanayan (coming-of-age) rite at age eleven,
Tagore and his father left Calcutta in February 1873
to tour India for several months, visiting his father’s
Santiniketan estate and Amritsar before reaching the
Himalayan hill station of Dalhousie. There, Tagore
read biographies, studied history, astronomy, modern sci-
ence, and Sanskrit, and examined the classical poetry of
Kālidāsa.[27][28]
Tagore returned to Jorosanko and completed a set of
major works by 1877, one of them a long poem in
the Maithili style of Vidyapati. As a joke, he claimed
that these were the lost works of (what he claimed
was) a newly discovered 17th century Vaiṣṇava poet
Bhānusiṃha.[29]
Regional experts accepted them as the
lost works of Bhānusiṃha.[lower-alpha 5][30]
He debuted in
the short-story genre in Bengali with “Bhikharini” (“The
Beggar Woman”).[31][32]
Published in the same year,
Sandhya Sangit (1882) includes the poem “Nirjharer
Swapnabhanga” (“The Rousing of the Waterfall”).
Tagore’s house in Shelaidaha, Bangladesh
2 Shelaidaha: 1878–1901
Because Debendranath wanted his son to become a bar-
rister, Tagore enrolled at a public school in Brighton,
East Sussex, England in 1878.[20]
He stayed for sev-
eral months at a house that the Tagore family owned
near Brighton and Hove, in Medina Villas; in 1877 his
nephew and niece—Suren and Indira Devi, the children
of Tagore’s brother Satyendranath—were sent together
with their mother, Tagore’s sister-in-law, to live with
him.[33]
He briefly read law at University College London,
but again left school. He opted instead for independent
study of Shakespeare, Religio Medici, Coriolanus, and
Antony and Cleopatra. Lively English, Irish, and Scot-
tish folk tunes impressed Tagore, whose own tradition
of Nidhubabu-authored kirtans and tappas and Brahmo
hymnody was subdued.[20][34]
In 1880 he returned to Ben-
gal degree-less, resolving to reconcile European novelty
with Brahmo traditions, taking the best from each.[35]
In 1883 he married Mrinalini Devi, born Bhabatarini,
1873–1902; they had five children, two of whom died in
childhood.[36]
In 1890 Tagore began managing his vast ancestral es-
tates in Shelaidaha (today a region of Bangladesh); he
was joined by his wife and children in 1898. Tagore re-
leased his Manasi poems (1890), among his best-known
work.[37]
As Zamindar Babu, Tagore criss-crossed the
riverine holdings in command of the Padma, the lux-
urious family barge. He collected mostly token rents
and blessed villagers who in turn honoured him with
banquets—occasionally of dried rice and sour milk.[38]
He met Gagan Harkara, through whom he became famil-
iar with Baul Lalon Shah, whose folk songs greatly in-
fluenced Tagore.[39]
Tagore worked to popularise Lalon’s
songs. The period 1891–1895, Tagore’s Sadhana period,
named after one of Tagore’s magazines, was his most
productive;[21]
in these years he wrote more than half the
stories of the three-volume, 84-story Galpaguchchha.[31]
Its ironic and grave tales examined the voluptuous poverty
of an idealised rural Bengal.[40]

3. 3
3 Santiniketan: 1901–1932
Main article: Middle years of Rabindranath Tagore
In 1901 Tagore moved to Santiniketan to found an
Tsinghua University, 1924.
A rare color photo of Rabindranath Tagore – with daughter Bela
to his left and daughter-in-law Pratima to his right. This photo-
graph was taken by Albert KAHN in 1921.
ashram with a marble-floored prayer hall—The Mandir—
an experimental school, groves of trees, gardens, a
library.[41]
There his wife and two of his children died.
His father died in 1905. He received monthly payments
as part of his inheritance and income from the Maharaja
of Tripura, sales of his family’s jewellery, his seaside
bungalow in Puri, and a derisory 2,000 rupees in book
royalties.[42]
He gained Bengali and foreign readers alike;
he published Naivedya (1901) and Kheya (1906) and
translated poems into free verse.
In November 1913, Tagore learned he had won that year’s
Nobel Prize in Literature: the Swedish Academy appre-
ciated the idealistic—and for Westerners—accessible na-
ture of a small body of his translated material focussed
on the 1912 Gitanjali: Song Offerings.[43]
In 1915, the
British Crown granted Tagore a knighthood. He re-
nounced it after the 1919 Jallianwala Bagh massacre.
In 1921, Tagore and agricultural economist Leonard
Elmhirst set up the “Institute for Rural Reconstruction”,
later renamed Shriniketan or “Abode of Welfare”, in
Surul, a village near the ashram. With it, Tagore sought
to moderate Gandhi’s Swaraj protests, which he occa-
sionally blamed for British India’s perceived mental —
and thus ultimately colonial — decline.[44]
He sought
aid from donors, officials, and scholars worldwide to
“free village[s] from the shackles of helplessness and ig-
norance” by “vitalis[ing] knowledge”.[45][46]
In the early
1930s he targeted ambient “abnormal caste conscious-
ness” and untouchability. He lectured against these, he
penned Dalit heroes for his poems and his dramas, and he
campaigned—successfully—to open Guruvayoor Temple
to Dalits.[47][48]
4 Twilight years: 1932–1941
Germany, 1931.
Dutta and Robinson describe this phase of Tagore’s life
as being one of a “peripatetic litterateur”. It affirmed his
opinion that human divisions were shallow. During a May
1932 visit to a Bedouin encampment in the Iraqi desert,

4. 4 5 TRAVELS
Last picture of Rabindranath, 1941
the tribal chief told him that “Our prophet has said that
a true Muslim is he by whose words and deeds not the
least of his brother-men may ever come to any harm ...”
Tagore confided in his diary: “I was startled into recog-
nizing in his words the voice of essential humanity.”[49]
To the end Tagore scrutinised orthodoxy—and in 1934,
he struck. That year, an earthquake hit Bihar and killed
thousands. Gandhi hailed it as seismic karma, as divine
retribution avenging the oppression of Dalits. Tagore re-
buked him for his seemingly ignominious inferences.[50]
He mourned the perennial poverty of Calcutta and the
socioeconomic decline of Bengal. He detailed these
newly plebeian aesthetics in an unrhymed hundred-line
poem whose technique of searing double-vision fore-
shadowed Satyajit Ray's film Apur Sansar.[51][52]
Fifteen
new volumes appeared, among them prose-poem works
Punashcha (1932), Shes Saptak (1935), and Patraput
(1936). Experimentation continued in his prose-songs
and dance-dramas: Chitra (1914), Shyama (1939), and
Chandalika (1938); and in his novels: Dui Bon (1933),
Malancha (1934), and Char Adhyay (1934).
Clouds come floating into my life, no longer to carry rain
or usher storm, but to add color to my sunset sky.
“
”
—Verse 292, Stray Birds, 1916.
Tagore’s remit expanded to science in his last years, as
hinted in Visva-Parichay, 1937 collection of essays. His
respect for scientific laws and his exploration of biol-
ogy, physics, and astronomy informed his poetry, which
exhibited extensive naturalism and verisimilitude.[53]
He
wove the process of science, the narratives of scientists,
into stories in Se (1937), Tin Sangi (1940), and Gal-
pasalpa (1941). His last five years were marked by
chronic pain and two long periods of illness. These began
when Tagore lost consciousness in late 1937; he remained
comatose and near death for a time. This was followed in
late 1940 by a similar spell. He never recovered. Poetry
from these valetudinary years is among his finest.[54][55]
A
period of prolonged agony ended with Tagore’s death on
7 August 1941, aged eighty; he was in an upstairs room of
the Jorasanko mansion he was raised in.[56][57]
The date is
still mourned.[58]
A. K. Sen, brother of the first chief elec-
tion commissioner, received dictation from Tagore on 30
July 1941, a day prior to a scheduled operation: his last
poem.[59]
I'm lost in the middle of my birthday. I
want my friends, their touch, with the earth’s
last love. I will take life’s final offering, I will
take the human’s last blessing. Today my sack
is empty. I have given completely whatever I
had to give. In return if I receive anything—
some love, some forgiveness—then I will take
it with me when I step on the boat that crosses
to the festival of the wordless end.
5 Travels
Jawaharlal Nehru and Rabindranath Tagore
Rabindranath with Einstein in 1930
Between 1878 and 1932, Tagore set foot in more than
thirty countries on five continents.[60]
In 1912, he took
a sheaf of his translated works to England, where they

5. 5
At the Majlis in Tehran, 1932.
gained attention from missionary and Gandhi protégé
Charles F. Andrews, Irish poet William Butler Yeats,
Ezra Pound, Robert Bridges, Ernest Rhys, Thomas Sturge
Moore, and others.[61]
Yeats wrote the preface to the
English translation of Gitanjali; Andrews joined Tagore
at Santiniketan. In November 1912 Tagore began tour-
ing the United States[62]
and the United Kingdom, stay-
ing in Butterton, Staffordshire with Andrews’s clergymen
friends.[63]
From May 1916 until April 1917, he lec-
tured in Japan and the United States.[64]
He denounced
nationalism.[65]
His essay “Nationalism in India” was
scorned and praised; it was admired by Romain Rolland
and other pacifists.[66]
Our passions and desires are unruly, but our character
subdues these elements into a harmonious whole. Does
something similar to this happen in the physical world?
Are the elements rebellious, dynamic with individual im-
pulse? And is there a principle in the physical world
which dominates them and puts them into an orderly or-
ganization?
“
”
— Interviewed by Einstein, 14 April 1930.[67]
Shortly after returning home the 63-year-old Tagore
accepted an invitation from the Peruvian government.
He travelled to Mexico. Each government pledged
US$100,000 to his school to commemorate the visits.[68]
A week after his 6 November 1924 arrival in Buenos
Aires,[69]
an ill Tagore shifted to the Villa Miralrío at
the behest of Victoria Ocampo. He left for home in Jan-
uary 1925. In May 1926 Tagore reached Naples; the next
day he met Mussolini in Rome.[70]
Their warm rapport
ended when Tagore pronounced upon Il Duce's fascist
finesse.[71]
He had earlier enthused: "[w]ithout any doubt
he is a great personality. There is such a massive vigour in
that head that it reminds one of Michael Angelo’s chisel.”
A “fire-bath” of fascism was to have educed “the immor-
tal soul of Italy ... clothed in quenchless light”.[72]
On 14 July 1927 Tagore and two companions began a
four-month tour of Southeast Asia. They visited Bali,
Java, Kuala Lumpur, Malacca, Penang, Siam, and Singa-
pore. The resultant travelogues compose Jatri (1929).[73]
In early 1930 he left Bengal for a nearly year-long
tour of Europe and the United States. Upon returning
to Britain—and as his paintings exhibited in Paris and
London—he lodged at a Birmingham Quaker settlement.
He wrote his Oxford Hibbert Lectures[lower-alpha 6]
and
spoke at the annual London Quaker meet.[74]
There, ad-
dressing relations between the British and the Indians —
a topic he would tackle repeatedly over the next two years
— Tagore spoke of a “dark chasm of aloofness”.[75]
He
visited Aga Khan III, stayed at Dartington Hall, toured
Denmark, Switzerland, and Germany from June to mid-
September 1930, then went on into the Soviet Union.[76]
In April 1932 Tagore, intrigued by the Persian mys-
tic Hafez, was hosted by Reza Shah Pahlavi.[77][78]
In
his other travels, Tagore interacted with Henri Bergson,
Albert Einstein, Robert Frost, Thomas Mann, George
Bernard Shaw, H.G. Wells, and Romain Rolland.[79][80]
Visits to Persia and Iraq (in 1932) and Sri Lanka (in 1933)
composed Tagore’s final foreign tour, and his dislike of
communalism and nationalism only deepened.[49]
Vice-
President of India M. Hamid Ansari has said that Ra-
bindranath Tagore heralded the cultural rapprochement
between communities, societies and nations much before
it became the liberal norm of conduct. Tagore was a
man ahead of his time. He wrote in 1932, while on a
visit to Iran, that “each country of Asia will solve its own
historical problems according to its strength, nature and
needs, but the lamp they will each carry on their path to
progress will converge to illuminate the common ray of
knowledge.”[81]
6 Works
Main article: Works of Rabindranath Tagore
Primitivism: a pastel-coloured rendition of a
Malaganmask from northern New Ireland.

6. 6 6 WORKS
Tagore’s Bengali-language initials are worked into this
“Ro-Tho” wooden seal, stylistically similar to designs
used in traditional Haida carvings. Tagore embellished
his manuscripts with such art.[82]
Known mostly for his poetry, Tagore wrote novels, es-
says, short stories, travelogues, dramas, and thousands
of songs. Of Tagore’s prose, his short stories are per-
haps most highly regarded; he is indeed credited with
originating the Bengali-language version of the genre.
His works are frequently noted for their rhythmic, op-
timistic, and lyrical nature. Such stories mostly bor-
row from deceptively simple subject matter: common-
ers. Tagore’s non-fiction grappled with history, linguis-
tics, and spirituality. He wrote autobiographies. His trav-
elogues, essays, and lectures were compiled into several
volumes, including Europe Jatrir Patro (Letters from Eu-
rope) and Manusher Dhormo (The Religion of Man). His
brief chat with Einstein, “Note on the Nature of Real-
ity”, is included as an appendix to the latter. On the
occasion of Tagore’s 150th birthday an anthology (titled
Kalanukromik Rabindra Rachanabali) of the total body
of his works is currently being published in Bengali in
chronological order. This includes all versions of each
work and fills about eighty volumes.[83]
In 2011, Harvard
University Press collaborated with Visva-Bharati Univer-
sity to publish The Essential Tagore, the largest anthol-
ogy of Tagore’s works available in English; it was edited
by Fakrul Alam and Radha Chakravarthy and marks the
150th anniversary of Tagore’s birth.[84]
6.1 Music
Tagore was a prolific composer with 2,230 songs to his
credit. His songs are known as rabindrasangit (“Tagore
Song”), which merges fluidly into his literature, most
of which—poems or parts of novels, stories, or plays
alike—were lyricised. Influenced by the thumri style of
Hindustani music, they ran the entire gamut of human
emotion, ranging from his early dirge-like Brahmo devo-
tional hymns to quasi-erotic compositions.[85]
They em-
ulated the tonal color of classical ragas to varying ex-
tents. Some songs mimicked a given raga’s melody and
rhythm faithfully; others newly blended elements of dif-
ferent ragas.[86]
Yet about nine-tenths of his work was
not bhanga gaan, the body of tunes revamped with “fresh
value” from select Western, Hindustani, Bengali folk and
other regional flavours “external” to Tagore’s own ances-
tral culture.[20]
Scholars have attempted to gauge the emo-
tive force and range of Hindustani ragas:
the pathos of the purabi raga reminded
Tagore of the evening tears of a lonely widow,
while kanara was the confused realization of
a nocturnal wanderer who had lost his way. In
bhupali he seemed to hear a voice in the wind
saying 'stop and come hither'.Paraj conveyed
to him the deep slumber that overtook one at
night’s end.[20]
—Reba Som, Rabindranath Tagore: The
Singer and His Song.”[87]
Tagore influenced sitar maestro Vilayat Khan and
sarodiyas Buddhadev Dasgupta and Amjad Ali Khan.[86]
His songs are widely popular and undergird the Bengali
ethos to an extent perhaps rivalling Shakespeare’s impact
on the English-speaking world. It is said that his songs are
the outcome of five centuries of Bengali literary churning
and communal yearning. Dhan Gopal Mukerji has said
that these songs transcend the mundane to the aesthetic
and express all ranges and categories of human emotion.
The poet gave voice to all—big or small, rich or poor. The
poor Ganges boatman and the rich landlord air their emo-
tions in them. They birthed a distinctive school of mu-
sic whose practitioners can be fiercely traditional: novel
interpretations have drawn severe censure in both West
Bengal and Bangladesh.
For Bengalis, the songs’ appeal, stemming from the com-
bination of emotive strength and beauty described as sur-
passing even Tagore’s poetry, was such that the Modern
Review observed that "[t]here is in Bengal no cultured
home where Rabindranath’s songs are not sung or at least
attempted to be sung ... Even illiterate villagers sing his
songs”. A. H. Fox Strangways of The Observer intro-
duced non-Bengalis to rabindrasangit in The Music of
Hindostan, calling it a “vehicle of a personality ... [that]
go behind this or that system of music to that beauty of
sound which all systems put out their hands to seize.”[89]
In 1971, Amar Shonar Bangla became the national an-
them of Bangladesh. It was written—ironically—to
protest the 1905 Partition of Bengal along communal
lines: lopping Muslim-majority East Bengal from Hindu-
dominated West Bengal was to avert a regional blood-
bath. Tagore saw the partition as a ploy to upend the
independence movement, and he aimed to rekindle Ben-
gali unity and tar communalism. Jana Gana Mana was
written in shadhu-bhasha, a Sanskritised register of Ben-
gali, and is the first of five stanzas of a Brahmo hymn

7. 6.3 Theatre 7
that Tagore composed. It was first sung in 1911 at a Cal-
cutta session of the Indian National Congress[90]
and was
adopted in 1950 by the Constituent Assembly of the Re-
public of India as its national anthem.
6.2 Paintings
At sixty, Tagore took up drawing and painting; successful
exhibitions of his many works—which made a debut ap-
pearance in Paris upon encouragement by artists he met
in the south of France[91]
—were held throughout Europe.
He was likely red-green color blind, resulting in works
that exhibited strange colour schemes and off-beat aes-
thetics. Tagore was influenced by scrimshaw from north-
ern New Ireland, Haida carvings from British Columbia,
and woodcuts by Max Pechstein.[82]
His artist’s eye for
his handwriting were revealed in the simple artistic and
rhythmic leitmotifs embellishing the scribbles, cross-
outs, and word layouts of his manuscripts. Some of
Tagore’s lyrics corresponded in a synesthetic sense with
particular paintings.[20]
Surrounded by several painters Ra-
bindranath had always wanted to paint.
Writing and music, playwriting and acting
came to him naturally and almost without
training, as it did to several others in his
family, and in even greater measure. But
painting eluded him. Yet he tried repeatedly to
master the art and there are several references
to this in his early letters and reminiscence. In
1900 for instance, when he was nearing forty
and already a celebrated writer, he wrote to
Jagadishchandra Bose, “You will be surprised
to hear that I am sitting with a sketchbook
drawing. Needless to say, the pictures are not
intended for any salon in Paris, they cause
me not the least suspicion that the national
gallery of any country will suddenly decide
to raise taxes to acquire them. But, just as a
mother lavishes most affection on her ugliest
son, so I feel secretly drawn to the very skill
that comes to me least easily.” He also realized
that he was using the eraser more than the
pencil, and dissatisfied with the results he
finally withdrew, deciding it was not for him
to become a painter.[92]
Rabindra Chitravali, edited by noted art historian R. Siva
Kumar, for the first time makes the paintings of Tagore
accessible to art historians and scholars of Rabindranth
with critical annotations and comments It also brings to-
gether a selection of Rabindranath’s own statements and
documents relating to the presentation and reception of
his paintings during his lifetime.[93]
The Last Harvest : Paintings of Rabindranath Tagore
was an exhibition of Rabindranath Tagore’s paintings
to mark the 150th birth anniversary of Rabindranath
Tagore. It was commissioned by the Ministry of Cul-
ture, India and organised with NGMA Delhi as the nodal
agency. It consisted of 208 paintings drawn from the
collections of Visva Bharati and the NGMA and pre-
sented Tagore’s art in a very comprehensive way. The
exhibition was curated by Art Historian R. Siva Ku-
mar. Within the 150th birth anniversary year it was con-
ceived as three separate but similar exhibitions,and trav-
elled simultaneously in three circuits. The first selec-
tion was shown at Museum of Asian Art, Berlin,[94]
Asia
Society, New York,[95]
National Museum of Korea,[96]
Seoul, Victoria and Albert Museum,[97]
London, The Art
Institute of Chicago,[98]
Chicago, Petit Palais,[99]
Paris,
Galleria Nazionale d'Arte Moderna, Rome, National Vi-
sual Arts Gallery,[100]
Kuala Lumpur, McMichael Cana-
dian Art Collection,[101]
Ontario, National Gallery of
Modern Art,[102]
New Delhi
6.3 Theatre
Tagore performing the title role inValmiki Pratibha (1881) with
his niece Indira Devi as the goddess Lakshmi.
At sixteen, Tagore led his brother Jyotirindranath’s adap-
tation of Molière's Le Bourgeois Gentilhomme.[103]
At
twenty he wrote his first drama-opera: Valmiki Prati-
bha (The Genius of Valmiki). In it the pandit Valmiki
overcomes his sins, is blessed by Saraswati, and compiles
the Rāmāyana.[104]
Through it Tagore explores a wide
range of dramatic styles and emotions, including usage
of revamped kirtans and adaptation of traditional English
and Irish folk melodies as drinking songs.[105]
Another
play, Dak Ghar (The Post Office), describes the child
Amal defying his stuffy and puerile confines by ultimately
“fall[ing] asleep”, hinting his physical death. A story with
borderless appeal—gleaning rave reviews in Europe—
Dak Ghar dealt with death as, in Tagore’s words, “spir-
itual freedom” from “the world of hoarded wealth and
certified creeds”.[106][107]
In the Nazi-besieged Warsaw
Ghetto, Polish doctor-educator Janusz Korczak had or-
phans in his care stage The Post Office in July 1942.[108]
In
The King of Children, biographer Betty Jean Lifton sus-
pected that Korczak, agonising over whether one should
determine when and how to die, was easing the chil-

8. 8 6 WORKS
dren into accepting death.[109][110][111]
In mid-October,
the Nazis sent them to Treblinka.[112]
[I]n days long gone by [...] I can see [...] the King’s post-
man coming down the hillside alone, a lantern in his left
hand and on his back a bag of letters climbing down for
ever so long, for days and nights, and where at the foot of
the mountain the waterfall becomes a stream he takes to
the footpath on the bank and walks on through the rye;
then comes the sugarcane field and he disappears into the
narrow lane cutting through the tall stems of sugarcanes;
then he reaches the open meadow where the cricket chirps
and where there is not a single man to be seen, only the
snipe wagging their tails and poking at the mud with their
bills. I can feel him coming nearer and nearer and my
heart becomes glad.
“
”
— Amal in The Post Office, 1914.[113]
but the meaning is less intellectual, more
emotional and simple. The deliverance sought
and won by the dying child is the same
deliverance which rose before his imagination,
[...] when once in the early dawn he heard,
amid the noise of a crowd returning from
some festival, this line out of an old village
song, “Ferryman, take me to the other shore
of the river.” It may come at any moment of
life, though the child discovers it in death,
for it always comes at the moment when the
“I”, seeking no longer for gains that cannot be
“assimilated with its spirit”, is able to say, “All
my work is thine”.[114]
—W. B. Yeats, Preface, The Post Office, 1914.
His other works fuse lyrical flow and emotional rhythm
into a tight focus on a core idea, a break from prior Ben-
gali drama. Tagore sought “the play of feeling and not
of action”. In 1890 he released what is regarded as his
finest drama: Visarjan (Sacrifice).[104]
It is an adapta-
tion of Rajarshi, an earlier novella of his. “A forthright
denunciation of a meaningless [and] cruel superstitious
rite[s]",[115]
the Bengali originals feature intricate sub-
plots and prolonged monologues that give play to his-
torical events in seventeenth-century Udaipur. The de-
vout Maharaja of Tripura is pitted against the wicked
head priest Raghupati. His latter dramas were more
philosophical and allegorical in nature; these included
Dak Ghar. Another is Tagore’s Chandalika (Untouchable
Girl), which was modelled on an ancient Buddhist legend
describing how Ananda, the Gautama Buddha's disciple,
asks a tribal girl for water.[116]
In Raktakarabi (“Red” or “Blood Oleanders”), a klep-
tocrat rules over the residents of Yaksha puri. He and
his retainers exploit his subjects—who are benumbed by
alcohol and numbered like inventory—by forcing them
to mine gold for him. The naive maiden-heroine Nan-
dini rallies her subject-compatriots to defeat the greed
of the realm’s sardar class—with the morally roused
king’s belated help. Skirting the “good-vs-evil” trope,
the work pits a vital and joyous lèse majesté against the
monotonous fealty of the king’s varletry, giving rise to
an allegorical struggle akin to that found in Animal Farm
or Gulliver’s Travels.[117]
The original, though prized in
Bengal, long failed to spawn a “free and comprehensi-
ble” translation, and its archaic and sonorous didacti-
cism failed to attract interest from abroad.[4]
Chitrangada,
Chandalika, and Shyama are other key plays that have
dance-drama adaptations, which together are known as
Rabindra Nritya Natya.
6.4 Novels
Tagore wrote eight novels and four novellas, among
them Chaturanga, Shesher Kobita, Char Odhay, and
Noukadubi. Ghare Baire (The Home and the World)—
through the lens of the idealistic zamindar protagonist
Nikhil—excoriates rising Indian nationalism, terrorism,
and religious zeal in the Swadeshi movement; a frank
expression of Tagore’s conflicted sentiments, it emerged
from a 1914 bout of depression. The novel ends in
Hindu-Muslim violence and Nikhil’s—likely mortal—
wounding.[118]
Gora raises controversial questions regarding the Indian
identity. As with Ghare Baire, matters of self-identity
(jāti), personal freedom, and religion are developed in the
context of a family story and love triangle.[119]
In it an
Irish boy orphaned in the Sepoy Mutiny is raised by Hin-
dus as the titular gora—"whitey”. Ignorant of his foreign
origins, he chastises Hindu religious backsliders out of
love for the indigenous Indians and solidarity with them
against his hegemon-compatriots. He falls for a Brahmo
girl, compelling his worried foster father to reveal his lost
past and cease his nativist zeal. As a “true dialectic” ad-
vancing “arguments for and against strict traditionalism”,
it tackles the colonial conundrum by “portray[ing] the
value of all positions within a particular frame [...] not
only syncretism, not only liberal orthodoxy, but the ex-
tremest reactionary traditionalism he defends by an ap-
peal to what humans share.” Among these Tagore high-
lights “identity [...] conceived of as dharma."[120]
In Jogajog (Relationships), the heroine Kumudini—
bound by the ideals of Śiva-Sati, exemplified by
Dākshāyani—is torn between her pity for the sinking for-
tunes of her progressive and compassionate elder brother
and his foil: her roue of a husband. Tagore flaunts his
feminist leanings; pathos depicts the plight and ultimate
demise of women trapped by pregnancy, duty, and fam-
ily honour; he simultaneously trucks with Bengal’s putres-
cent landed gentry.[121]
The story revolves around the un-
derlying rivalry between two families—the Chatterjees,
aristocrats now on the decline (Biprodas) and the Ghos-

9. 6.6 Poetry 9
als (Madhusudan), representing new money and new ar-
rogance. Kumudini, Biprodas’ sister, is caught between
the two as she is married off to Madhusudan. She had
risen in an observant and sheltered traditional home, as
had all her female relations.
Others were uplifting: Shesher Kobita—translated twice
as Last Poem and Farewell Song—is his most lyrical
novel, with poems and rhythmic passages written by a
poet protagonist. It contains elements of satire and post-
modernism and has stock characters who gleefully at-
tack the reputation of an old, outmoded, oppressively
renowned poet who, incidentally, goes by a familiar
name: “Rabindranath Tagore”. Though his novels remain
among the least-appreciated of his works, they have been
given renewed attention via film adaptations by Ray and
others: Chokher Bali and Ghare Baire are exemplary. In
the first, Tagore inscribes Bengali society via its heroine:
a rebellious widow who would live for herself alone. He
pillories the custom of perpetual mourning on the part of
widows, who were not allowed to remarry, who were con-
signed to seclusion and loneliness. Tagore wrote of it: “I
have always regretted the ending”.
6.5 Stories
Tagore’s three-volume Galpaguchchha comprises eighty-
four stories that reflect upon the author’s surroundings, on
modern and fashionable ideas, and on mind puzzles.[31]
Tagore associated his earliest stories, such as those of
the "Sadhana" period, with an exuberance of vitality
and spontaneity; these traits were cultivated by zamindar
Tagore’s life in Patisar, Shajadpur, Shelaidaha, and other
villages.[31]
Seeing the common and the poor, he exam-
ined their lives with a depth and feeling singular in Indian
literature up to that point.[122]
In “The Fruitseller from
Kabul”, Tagore speaks in first person as a town dweller
and novelist imputing exotic perquisites to an Afghan
seller. He channels the lucubrative lust of those mired
in the blasé, nidorous, and sudorific morass of subconti-
nental city life: for distant vistas. “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.”[123]
The Golpoguchchho (Bunch of Stories) was written in
Tagore’s Sabuj Patra period, which lasted from 1914 to
1917 and was named for another of his magazines.[31]
These yarns are celebrated fare in Bengali fiction and are
commonly used as plot fodder by Bengali film and the-
atre. The Ray film Charulata echoed the controversial
Tagore novella Nastanirh (The Broken Nest). In Atithi,
which was made into another film, the little Brahmin boy
Tarapada shares a boat ride with a village zamindar. The
boy relates his flight from home and his subsequent wan-
derings. Taking pity, the elder adopts him; he fixes the
boy to marry his own daughter. The night before his wed-
ding, Tarapada runs off—again. Strir Patra (The Wife’s
Letter) is an early treatise in female emancipation.[124]
Mrinal is wife to a Bengali middle class man: prissy,
preening, and patriarchal. Travelling alone she writes
a letter, which comprehends the story. She details the
pettiness of a life spent entreating his viraginous virility;
she ultimately gives up married life, proclaiming, Amio
bachbo. Ei bachlum: “And I shall live. Here, I live.”
Haimanti assails Hindu arranged marriage and spotlights
their often dismal domesticity, the hypocrisies plagu-
ing the Indian middle classes, and how Haimanti, a
young woman, due to her insufferable sensitivity and
free spirit, foredid herself. In the last passage Tagore
blasts the reification of Sita's self-immolation attempt;
she had meant to appease her consort Rama's doubts
of her chastity. Musalmani Didi eyes recrudescent
Hindu-Muslim tensions and, in many ways, embodies
the essence of Tagore’s humanism. The somewhat auto-
referential Darpaharan describes a fey young man who
harbours literary ambitions. Though he loves his wife,
he wishes to stifle her literary career, deeming it unfem-
inine. In youth Tagore likely agreed with him. Darpa-
haran depicts the final humbling of the man as he ul-
timately acknowledges his wife’s talents. As do many
other Tagore stories, Jibito o Mrito equips Bengalis with
a ubiquitous epigram: Kadombini moriya proman korilo
she more nai—"Kadombini died, thereby proving that she
hadn't.”
6.6 Poetry
Tagore’s poetic style, which proceeds from a lineage es-
tablished by 15th- and 16th-century Vaishnava poets,
ranges from classical formalism to the comic, visionary,
and ecstatic. He was influenced by the atavistic mysti-
cism of Vyasa and other rishi-authors of the Upanishads,
the Bhakti-Sufi mystic Kabir, and Ramprasad Sen.[125]
Tagore’s most innovative and mature poetry embodies
his exposure to Bengali rural folk music, which in-
cluded mystic Baul ballads such as those of the bard
Lalon.[126][127]
These, rediscovered and repopularised by
Tagore, resemble 19th-century Kartābhajā hymns that
emphasise inward divinity and rebellion against bour-
geois bhadralok religious and social orthodoxy.[128][129]
During his Shelaidaha years, his poems took on a lyri-
cal voice of the moner manush, the Bāuls’ “man within
the heart” and Tagore’s “life force of his deep recesses”,
or meditating upon the jeevan devata—the demiurge or
the “living God within”.[20]
This figure connected with
divinity through appeal to nature and the emotional in-
terplay of human drama. Such tools saw use in his
Bhānusiṃha poems chronicling the Radha-Krishna ro-
mance, which were repeatedly revised over the course of
seventy years.[130][131]
The time that my journey takes is long and the way of it
long.

10. 10 7 POLITICS
I came out on the chariot of the first gleam of light, and
pursued my voyage through the wildernesses of worlds
leaving my track on many a star and planet.
It is the most distant course that comes nearest to thyself,
and that training is the most intricate which leads to the
utter simplicity of a tune.
The traveller has to knock at every alien door to come
to his own, and one has to wander through all the outer
worlds to reach the innermost shrine at the end.
My eyes strayed far and wide before I shut them and said
'Here art thou!'
The question and the cry 'Oh, where?' melt into tears of
a thousand streams and deluge the world with the flood of
the assurance 'I am!'
“
”
— Song XII, Gitanjali, 1913.[132]
Tagore reacted to the halfhearted uptake of modernist
and realist techniques in Bengali literature by writing
matching experimental works in the 1930s.[133]
These
include Africa and Camalia, among the better known
of his latter poems. He occasionally wrote poems us-
ing Shadhu Bhasha, a Sanskritised dialect of Bengali;
he later adopted a more popular dialect known as Cholti
Bhasha. Other works include Manasi, Sonar Tori (Golden
Boat), Balaka (Wild Geese, a name redolent of migrating
souls),[134]
and Purobi. Sonar Tori's most famous poem,
dealing with the fleeting endurance of life and achieve-
ment, goes by the same name; hauntingly it ends: Shunno
nodir tire rohinu poŗi / Jaha chhilo loe gêlo shonar tori—
"all I had achieved was carried off on the golden boat—
only I was left behind.” Gitanjali (গীতাঞ্িল) is Tagore’s
best-known collection internationally, earning him his
Nobel.[135]
Song VII of Gitanjali:
Tagore’s free-verse translation:
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.
My poet’s vanity dies in shame before thy sight.
O master poet, I have sat down at thy feet.
Only let me make my life simple and straight,
like a flute of reed for thee to fill with music.[1]
1. ^ Tagore 1952, p. 5.
“Klanti” (ক্ািন্; “Weariness”):
Gloss by Tagore scholar Reba Som:
Forgive me my weariness O Lord
Should I ever lag behind
For this heart that this day trembles so
And for this pain, forgive me, forgive me, O
Lord
For this weakness, forgive me O Lord,
If perchance I cast a look behind
And in the day’s heat and under the burning sun
The garland on the platter of offering wilts,
For its dull pallor, forgive me, forgive me O
Lord.[1]
1. ^ Tagore, Alam & Chakravarty 2011, p.
323.
Tagore’s poetry has been set to music by composers:
Arthur Shepherd's triptych for soprano and string quartet,
Alexander Zemlinsky's famous Lyric Symphony, Josef
Bohuslav Foerster's cycle of love songs, Leoš Janáček's
famous chorus “Potulný šílenec” ("The Wandering Mad-
man") for soprano, tenor, baritone, and male chorus—JW
4/43—inspired by Tagore’s 1922 lecture in Czechoslo-
vakia which Janáček attended, and Garry Schyman's
"Praan", an adaptation of Tagore’s poem “Stream of Life”
from Gitanjali. The latter was composed and recorded
with vocals by Palbasha Siddique to accompany Internet
celebrity Matt Harding's 2008 viral video.[136]
In 1917 his
words were translated adeptly and set to music by Anglo-
Dutch composer Richard Hageman to produce a highly
regarded art song: “Do Not Go, My Love”. The second
movement of Jonathan Harvey's “One Evening” (1994)
sets an excerpt beginning “As I was watching the sun-
rise ...” from a letter of Tagore’s, this composer having
previously chosen a text by the poet for his piece “Song
Offerings” (1985).[137]
7 Politics
Tagore hosts Gandhi and wife Kasturba at Santiniketan in 1940.
Tagore opposed imperialism and supported Indian
nationalists,[138][139][140]
and these views were first re-
vealed in Manast, which was mostly composed in
his twenties.[37]
Evidence produced during the Hindu–
German Conspiracy Trial and latter accounts affirm his
awareness of the Ghadarites, and stated that he sought the
support of Japanese Prime Minister Terauchi Masatake

11. 8.1 Theft of Nobel Prize 11
and former Premier Ōkuma Shigenobu.[141]
Yet he lam-
pooned the Swadeshi movement; he rebuked it in “The
Cult of the Charka", an acrid 1925 essay.[142]
He urged
the masses to avoid victimology and instead seek self-
help and education, and he saw the presence of British
administration as a “political symptom of our social dis-
ease”. He maintained that, even for those at the ex-
tremes of poverty, “there can be no question of blind
revolution"; preferable to it was a “steady and purpose-
ful education”.[143][144]
So I repeat we never can have a true view of man unless
we have a love for him. Civilisation must be judged and
prized, not by the amount of power it has developed, but
by how much it has evolved and given expression to, by
its laws and institutions, the love of humanity.
“
”
— Sādhanā: The Realisation of Life, 1916.[145]
Such views enraged many. He escaped assassination—
and only narrowly—by Indian expatriates during his
stay in a San Francisco hotel in late 1916; the plot
failed when his would-be assassins fell into argument.[146]
Tagore wrote songs lionising the Indian independence
movement.[147]
Two of Tagore’s more politically charged
compositions, "Chitto Jetha Bhayshunyo" (“Where the
Mind is Without Fear”) and "Ekla Chalo Re" (“If They
Answer Not to Thy Call, Walk Alone”), gained mass
appeal, with the latter favoured by Gandhi.[148]
Though
somewhat critical of Gandhian activism,[149]
Tagore was
key in resolving a Gandhi–Ambedkar dispute involving
separate electorates for untouchables, thereby mooting at
least one of Gandhi’s fasts “unto death”.[150][151]
7.1 Repudiation of knighthood
Tagore renounced his knighthood in response to the
Jallianwala Bagh massacre in 1919. In the repudiation
letter to the Viceroy, Lord Chelmsford, he wrote[152]
The time has come when badges of hon-
our make our shame glaring in the incongru-
ous context of humiliation, and I for my part,
wish to stand, shorn, of all special distinctions,
by the side of those of my countrymen who,
for their so called insignificance, are liable to
suffer degradation not fit for human beings.
8 Santiniketan and Visva-Bharati
Tagore despised rote classroom schooling: in “The Par-
rot’s Training”, a bird is caged and force-fed textbook
pages—to death.[153][154]
Tagore, visiting Santa Barbara
in 1917, conceived a new type of university: he sought
to “make Santiniketan the connecting thread between In-
dia and the world [and] a world center for the study of
humanity somewhere beyond the limits of nation and
geography.”[146]
The school, which he named Visva-
Bharati,[lower-alpha 7]
had its foundation stone laid on 24
December 1918 and was inaugurated precisely three
years later.[155]
Tagore employed a brahmacharya sys-
tem: gurus gave pupils personal guidance—emotional,
intellectual, and spiritual. Teaching was often done un-
der trees. He staffed the school, he contributed his No-
bel Prize monies,[156]
and his duties as steward-mentor
at Santiniketan kept him busy: mornings he taught
classes; afternoons and evenings he wrote the students’
textbooks.[157]
He fundraised widely for the school in Eu-
rope and the United States between 1919 and 1921.[158]
8.1 Theft of Nobel Prize
On 25 March 2004, Tagore’s Nobel Prize was stolen
from the safety vault of the Visva-Bharati University,
along with several other of his belongings.[159]
On 7 De-
cember 2004, the Swedish Academy decided to present
two replicas of Tagore’s Nobel Prize, one made of gold
and the other made of bronze, to the Visva-Bharati
University.[160]
9 Impact
Every year, many events pay tribute to Tagore:
Kabipranam, his birth anniversary, is celebrated by
groups scattered across the globe; the annual Tagore
Festival held in Urbana, Illinois (USA); Rabindra Path
Parikrama walking pilgrimages from Kolkata to San-
tiniketan; and recitals of his poetry, which are held
on important anniversaries.[62][161][162]
Bengali culture is
fraught with this legacy: from language and arts to his-
tory and politics. Amartya Sen deemed Tagore a “tower-
ing figure”, a “deeply relevant and many-sided contempo-
rary thinker”.[162]
Tagore’s Bengali originals—the 1939
Rabīndra Rachanāvalī—is canonised as one of his na-
tion’s greatest cultural treasures, and he was roped into
a reasonably humble role: “the greatest poet India has
produced”.[163]
Who are you, reader, reading my poems a hundred years
hence?
I cannot send you one single flower from this wealth of
the spring, one single streak of gold from yonder clouds.
Open your doors and look abroad.
From your blossoming garden gather fragrant memories
of the vanished flowers of an hundred years before.
In the joy of your heart may you feel the living joy that
sang one spring morning, sending its glad voice across an
hundred years.
“
”

12. 12 11 ADAPTATIONS OF NOVELS AND SHORT STORIES IN CINEMA
— The Gardener, 1915.[164]
Tagore was renowned throughout much of Europe, North
America, and East Asia. He co-founded Dartington
Hall School, a progressive coeducational institution;[165]
in Japan, he influenced such figures as Nobel laure-
ate Yasunari Kawabata.[166]
Tagore’s works were widely
translated into English, Dutch, German, Spanish, and
other European languages by Czech indologist Vincenc
Lesný,[167]
French Nobel laureate André Gide, Russian
poet Anna Akhmatova,[168]
former Turkish Prime Min-
ister Bülent Ecevit,[169]
and others. In the United States,
Tagore’s lecturing circuits, particularly those of 1916–
1917, were widely attended and wildly acclaimed. Some
controversies[lower-alpha 8]
involving Tagore, possibly fic-
tive, trashed his popularity and sales in Japan and North
America after the late 1920s, concluding with his “near
total eclipse” outside Bengal.[5]
Yet a latent reverence of
Tagore was discovered by an astonished Salman Rushdie
during a trip to Nicaragua.[175]
By way of translations, Tagore influenced Chileans Pablo
Neruda and Gabriela Mistral; Mexican writer Octavio
Paz; and Spaniards José Ortega y Gasset, Zenobia Cam-
prubí, and Juan Ramón Jiménez. In the period 1914–
1922, the Jiménez-Camprubí pair produced twenty-two
Spanish translations of Tagore’s English corpus; they
heavily revised The Crescent Moon and other key titles. In
these years, Jiménez developed “naked poetry”.[176]
Or-
tega y Gasset wrote that “Tagore’s wide appeal [owes to
how] he speaks of longings for perfection that we all have
[...] Tagore awakens a dormant sense of childish won-
der, and he saturates the air with all kinds of enchant-
ing promises for the reader, who [...] pays little attention
to the deeper import of Oriental mysticism”. Tagore’s
works circulated in free editions around 1920—alongside
those of Plato, Dante, Cervantes, Goethe, and Tolstoy.
Tagore was deemed over-rated by some. Graham Greene
doubted that “anyone but Mr. Yeats can still take
his poems very seriously.” Several prominent Western
admirers—including Pound and, to a lesser extent, even
Yeats—criticised Tagore’s work. Yeats, unimpressed
with his English translations, railed against that “Damn
Tagore [...] We got out three good books, Sturge Moore
and I, and then, because he thought it more important
to know English than to be a great poet, he brought out
sentimental rubbish and wrecked his reputation. Tagore
does not know English, no Indian knows English.”[5][177]
William Radice, who “English[ed]" his poems, asked:
“What is their place in world literature?"[178]
He saw
him as “kind of counter-cultur[al],” bearing “a new kind
of classicism” that would heal the “collapsed romantic
confusion and chaos of the 20th [c]entury.”[177][179]
The
translated Tagore was “almost nonsensical”,[180]
and sub-
par English offerings reduced his trans-national appeal:
anyone who knows Tagore’s poems in
their original Bengali cannot feel satisfied
with any of the translations (made with or
without Yeats’s help). Even the translations
of his prose works suffer, to some extent,
from distortion. E.M. Forster noted [of] The
Home and the World [that] '[t]he theme is so
beautiful,' but the charms have 'vanished in
translation,' or perhaps 'in an experiment that
has not quite come off.'
—Amartya Sen, “Tagore and His India”.[5]
10 List of works
The SNLTR hosts the 1415 BE edition of Tagore’s com-
plete Bengali works. Tagore Web also hosts an edition of
Tagore’s works, including annotated songs. Translations
are found at Project Gutenberg and Wikisource. More
sources are below.
10.1 Original
Bengali
English
10.2 Translated
English
11 Adaptations of novels and short
stories in cinema
11.1 Bengali
• Natir Puja – 1932 – The only film directed by Ra-
bindranath Tagore
• Naukadubi – 1947 (Noukadubi) – Nitin Bose
• Kabuliwala – 1957 (Kabuliwala) – Tapan Sinha
• Kshudhita Pashaan – 1960 (Kshudhita Pashan) –
Tapan Sinha
• Teen Kanya – 1961 (Teen Kanya) – Satyajit Ray
• Charulata - 1964 (Nastanirh) – Satyajit Ray
• Ghare Baire – 1985 (Ghare Baire) – Satyajit Ray
• Chokher Bali – 2003 (Chokher Bali) – Rituparno
Ghosh
• Shasti – 2004 (Shasti) – Chashi Nazrul Islam
• Shuva – 2006 (Shuvashini) – Chashi Nazrul Islam

13. 13
• Chaturanga – 2008 (Chaturanga) – Suman
Mukhopadhyay
• Elar Char Adhyay – 2012 (Char Adhyay) –
Bappaditya Bandyopadhyay
11.2 Hindi
• Sacrifice – 1927 (Balidaan) – Nanand Bhojai and
Naval Gandhi
• Milan – 1947 (Nauka Dubi) – Nitin Bose
• Kabuliwala – 1961 (Kabuliwala) – Bimal Roy
• Uphaar – 1971 (Samapti) – Sudhendu Roy
• Lekin... – 1991 (Kshudhit Pashaan) – Gulzar
• Char Adhyay – 1997 (Char Adhyay) – Kumar Sha-
hani
• Kashmakash – 2011 (Nauka Dubi) – Rituparno
Ghosh
• “Bhikharin”
12 See also
• Tagore family
13 References
Gordon Square, London.
Gandhi Memorial Museum, Madurai.
Notes
[1] Romanised from Bengali script: Robindronath Ţhakur.
[2] Bengali calendar: 25 Baishakh, 1268 – 22 Srabon, 1348
(২৫শে বৈশাখ, ১২৬৮ – ২২শে শ্রাবণ, ১৩৪৮ বঙ্গাব্দ).
[3] Gurudev translates as “divine mentor”.[2]
[4] Tagore was born at No. 6 Dwarkanath Tagore Lane,
Jorasanko — the address of the main mansion (the Jo-
rasanko Thakurbari) inhabited by the Jorasanko branch
of the Tagore clan, which had earlier suffered an acrimo-
nious split. Jorasanko was located in the Bengali section
of Calcutta, near Chitpur Road.[15][16]
Dwarkanath Tagore
was his paternal grandfather.[17]
Debendranath had formu-
lated the Brahmoist philosophies espoused by his friend
Ram Mohan Roy, and became focal in Brahmo society
after Roy’s death.[18][19]
[5] ... and wholly fictitious ...
[6] On the “idea of the humanity of our God, or the divinity
of Man the Eternal”.
[7] Etymology of “Visva-Bharati": from the Sanskrit for
“world” or “universe” and the name of a Rigvedic goddess
(“Bharati”) associated with Saraswati, the Hindu patron
of learning.[155]
“Visva-Bharati” also translates as “India
in the World”.
[8] Tagore was no stranger to controversy: his dealings with
Indian nationalists Subhas Chandra Bose[5]
and Rash Be-
hari Bose,[170]
his yen for Soviet Communism,[171][172]
and papers confiscated from Indian nationalists in New
York allegedly implicating Tagore in a plot to overthrow
the Raj via German funds.[173]
These destroyed Tagore’s
image—and book sales—in the United States.[170]
His
relations with and ambivalent opinion of Mussolini re-
volted many;[72]
close friend Romain Rolland despaired
that "[h]e is abdicating his role as moral guide of the in-
dependent spirits of Europe and India”.[174]
Citations
[1] “Tagore, Sir Rabindranath”, in Webster’s Biographical
Dictionary (1943), Springfield, MA: G. & C. Merriam.
[2] Sil 2005.
[3] The Nobel Foundation.
[4] O'Connell 2008.
[5] Sen 1997.
[6] Tagore 1984, p. xii.
[7] Thompson 1926, pp. 27–28.
[8] Dasgupta 1993, p. 20.
[9] “Visva-Bharti-Facts and Figures at a Glance”.
[10] Datta 2002, p. 2.
[11] Kripalani 2005a, pp. 6–8.
[12] Kripalani 2005b, pp. 2–3.
[13] Thompson 1926, p. 12.

14. 14 13 REFERENCES
[14] “Celebrating Rabindranath Tagore’s legacy”.
[15] Dutta & Robinson 1995, p. 34.
[16] Dutta & Robinson 1995, p. 37.
[17] The News Today 2011.
[18] Roy 1977, pp. 28–30.
[19] Tagore, Dutta & Robinson 1997, pp. 8–9.
[20] Ghosh 2011.
[21] Thompson 1926, p. 20.
[22] Tagore, Dutta & Robinson 1997, p. 10.
[23] Thompson 1926, pp. 21–24.
[24] Das 2009.
[25] Dutta & Robinson 1995, pp. 48–49.
[26] Dutta & Robinson 1995, pp. 50.
[27] (Dutta & Robinson 1995, pp. 55–56).
[28] (Stewart & Twichell 2003, p. 91).
[29] (Stewart & Twichell 2003, p. 3).
[30] Tagore, Stewart & Twichell 2003, p. 3.
[31] Tagore & Chakravarty 1961, p. 45.
[32] Tagore, Dutta & Robinson 1997, p. 265.
[33] Dutta & Robinson 1995, p. 68.
[34] Thompson 1926, p. 31.
[35] Tagore, Dutta & Robinson 1997, pp. 11–12.
[36] Dutta & Robinson 1995, p. 373.
[37] Scott 2009, p. 10.
[38] Dutta & Robinson 1995, pp. 109–111.
[39] Chowdury, A. A. (1992), Lalon Shah, Dhaka,
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[42] Dutta & Robinson 1995, pp. 139–140.
[43] Hjärne 1913.
[44] Dutta & Robinson 1995, pp. 239–240.
[45] Dutta & Robinson 1995, p. 242.
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[49] Dutta & Robinson 1995, p. 317.
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[52] Dutta & Robinson 1995, p. 342.
[53] Tagore & Radice 2004, p. 28.
[54] Dutta & Robinson 1995, p. 338.
[55] Indo-Asian News Service 2005.
[56] Dutta & Robinson 1995, p. 367.
[57] Dutta & Robinson 1995, p. 363.
[58] The Daily Star 2009.
[59] Sigi 2006, p. 89.
[60] Dutta & Robinson 1995, pp. 374–376.
[61] Dutta & Robinson 1995, pp. 178–179.
[62] University of Illinois at Urbana-Champaign.
[63] Tagore & Chakravarty 1961, p. 1–2.
[64] Dutta & Robinson 1995, p. 206.
[65] Hogan & Pandit 2003, pp. 56–58.
[66] Tagore & Chakravarty 1961, p. 182.
[67] Tagore 1930, pp. 222–225.
[68] Dutta & Robinson 1995, p. 253.
[69] Dutta & Robinson 1995, p. 256.
[70] Dutta & Robinson 1995, p. 267.
[71] Dutta & Robinson 1995, pp. 270–271.
[72] Kundu 2009.
[73] Tagore & Chakravarty 1961, p. 1.
[74] Dutta & Robinson 1995, pp. 289–292.
[75] Dutta & Robinson 1995, pp. 303–304.
[76] Dutta & Robinson 1995, pp. 292–293.
[77] Tagore & Chakravarty 1961, p. 2.
[78] Dutta & Robinson 1995, p. 315.
[79] Tagore & Chakravarty 1961, p. 99.
[80] Tagore & Chakravarty 1961, pp. 100–103.
[81] “Vice President speaks on Rabindranath Tagore | 17033”.
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[82] Dyson 2001.
[83] Pandey 2011.
[84] The Essential Tagore, Harvard University Press, retrieved
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15. 15
[86] Dasgupta 2001.
[87] Som 2010, p. 38.
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[90] Monish R. Chatterjee (13 August 2003). “Tagore and
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[103] Lago 1977, p. 15.
[104] Tagore & Chakravarty 1961, p. 123.
[105] Dutta & Robinson 1995, pp. 79–80.
[106] Tagore, Dutta & Robinson 1997, pp. 21–23.
[107] Tagore & Chakravarty 1961, pp. 123–124.
[108] Lifton & Wiesel 1997, p. 321.
[109] Lifton & Wiesel 1997, pp. 416–417.
[110] Lifton & Wiesel 1997, pp. 318–321.
[111] Lifton & Wiesel 1997, pp. 385–386.
[112] Lifton & Wiesel 1997, p. 349.
[113] Tagore & Mukerjea 1914, p. 68.
[114] Tagore & Mukerjea 1914, pp. v–vi.
[115] Ayyub 1980, p. 48.
[116] Tagore & Chakravarty 1961, p. 124.
[117] Ray 2007, pp. 147–148.
[118] Dutta & Robinson 1995, p. 192–194.
[119] Dutta & Robinson 1995, p. 154–155.
[120] Hogan 2000, pp. 213–214.
[121] Mukherjee 2004.
[122] Tagore & Chakravarty 1961, pp. 45–46.
[123] Tagore & Chakravarty 1961, pp. 48–49.
[124] Ray 2007, pp. 59–60.
[125] Roy 1977, p. 201.
[126] Tagore, Stewart & Twichell 2003, p. 94.
[127] Urban 2001, p. 18.
[128] Urban 2001, pp. 6–7.
[129] Urban 2001, p. 16.
[130] Tagore, Stewart & Twichell 2003, p. 95.
[131] Tagore, Stewart & Twichell 2003, p. 7.
[132] Prasad & Sarkar 2008, p. 125.
[133] Dutta & Robinson 1995, p. 281.
[134] Dutta & Robinson 1995, p. 192.
[135] Tagore, Stewart & Twichell 2003, pp. 95–96.
[136] Harding 2008.
[137] Harvey 1999, pp. 59, 90.
[138] Tagore, Dutta & Robinson 1997, p. 127.
[139] Tagore, Dutta & Robinson 1997, p. 210.
[140] Dutta & Robinson 1995, p. 304.
[141] Brown 1948, p. 306.
[142] Dutta & Robinson 1995, p. 261.
[143] Tagore, Dutta & Robinson 1997, pp. 239–240.
[144] Tagore & Chakravarty 1961, p. 181.
[145] Tagore 1916, p. 111.
[146] Dutta & Robinson 1995, p. 204.
[147] Dutta & Robinson 1995, pp. 215–216.
[148] Chakraborty & Bhattacharya 2001, p. 157.
[149] Mehta 1999.
[150] Dutta & Robinson 1995, pp. 306–307.

16. 16 14 BIBLIOGRAPHY
[151] Dutta & Robinson 1995, p. 339.
[152] “Tagore renounced his Knighthood in protest for Jalian-
walla Bagh mass killing”. The Times of India (Mumbai:
Bennett, Coleman & Co. Ltd.). 13 April 2011. Retrieved
17 February 2012.
[153] Tagore, Dutta & Robinson 1997, p. 267.
[154] Tagore & Pal 2004.
[155] Dutta & Robinson 1995, p. 220.
[156] Roy 1977, p. 175.
[157] Tagore & Chakravarty 1961, p. 27.
[158] Dutta & Robinson 1995, p. 221.
[159] “Tagore’s Nobel Prize stolen”. The Times of India (The
Times Group). 25 March 2004. Retrieved 10 July 2013.
[160] “Sweden to present India replicas of Tagore’s Nobel”. The
Times of India (The Times Group). 7 December 2004.
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[161] Chakrabarti 2001.
[162] Hatcher 2001.
[163] Kämpchen 2003.
[164] Tagore & Ray 2007, p. 104.
[165] Farrell 2000, p. 162.
[166] Dutta & Robinson 1995, p. 202.
[167] Cameron 2006.
[168] Sen 2006, p. 90.
[169] Kinzer 2006.
[170] Dutta & Robinson 1995, p. 214.
[171] Dutta & Robinson 1995, p. 297.
[172] Dutta & Robinson 1995, pp. 214–215.
[173] Dutta & Robinson 1995, p. 212.
[174] Dutta & Robinson 1995, p. 273.
[175] Dutta & Robinson 1995, p. 255.
[176] Dutta & Robinson 1995, pp. 254–255.
[177] Bhattacharya 2001.
[178] Tagore & Radice 2004, p. 26.
[179] Tagore & Radice 2004, pp. 26–31.
[180] Tagore & Radice 2004, pp. 18–19.
[181] Vocation, Ratna Sagar, 2007, p. 64, ISBN 81-8332-175-5
14 Bibliography
14.1 Primary
Anthologies
• Tagore, Rabindranath (1952), Collected Poems and
Plays of Rabindranath Tagore, Macmillan Pub-
lishing (published January 1952), ISBN 978-0-02-
615920-3
• Tagore, Rabindranath (1984), Some Songs and Po-
ems from Rabindranath Tagore, East-West Publica-
tions, ISBN 978-0-85692-055-4
• Tagore, Rabindranath; Alam, F. (editor);
Chakravarty, R. (editor) (2011), The Essential
Tagore, Harvard University Press (published 15
April 2011), p. 323, ISBN 978-0-674-05790-6
• Tagore, Rabindranath; Chakravarty, A. (editor)
(1961), A Tagore Reader, Beacon Press (published
1 June 1961), ISBN 978-0-8070-5971-5
• Tagore, Rabindranath; Dutta, K. (editor); Robinson,
A. (editor) (1997), Selected Letters of Rabindranath
Tagore, Cambridge University Press (published 28
June 1997), ISBN 978-0-521-59018-1
• Tagore, Rabindranath; Dutta, K. (editor); Robinson,
A. (editor) (1997), Rabindranath Tagore: An An-
thology, Saint Martin’s Press (published November
1997), ISBN 978-0-312-16973-2
• Tagore, Rabindranath; Ray, M. K. (editor) (2007),
The English Writings of Rabindranath Tagore 1, At-
lantic Publishing (published 10 June 2007), ISBN
978-81-269-0664-2
Originals
• Tagore, Rabindranath (1916), Sādhanā: The Reali-
sation of Life, Macmillan
• Tagore, Rabindranath (1930), The Religion of Man,
Macmillan
Translations
• Tagore, Rabindranath; Mukerjea, D. (translator)
(1914), The Post Office, London: Macmillan
• Tagore, Rabindranath; Pal, P. B. (translator) (2004),
“The Parrot’s Tale”, Parabaas (1 December 2004)
• Tagore, Rabindranath; Radice, W. (translator)
(1995), Rabindranath Tagore: Selected Poems (1st
ed.), London: Penguin (published 1 June 1995),
ISBN 978-0-14-018366-5

17. 14.2 Secondary 17
• Tagore, Rabindranath; Radice, W (translator)
(2004), Particles, Jottings, Sparks: The Collected
Brief Poems, Angel Books (published 28 December
2004), ISBN 978-0-946162-66-6
• Tagore, Rabindranath; Stewart, T. K. (transla-
tor); Twichell, C. (translator) (2003), Rabindranath
Tagore: Lover of God, Lannan Literary Selec-
tions, Copper Canyon Press (published 1 November
2003), ISBN 978-1-55659-196-9
14.2 Secondary
Articles
• Bhattacharya, S. (2001), Translating Tagore, Chen-
nai, India: The Hindu (published 2 September
2001), retrieved 9 September 2011
• Brown, G. T. (1948), “The Hindu Conspiracy:
1914–1917”, The Pacific Historical Review (Univer-
sity of California Press, published August 1948) 17
(3): 299–310, doi:10.2307/3634258, ISSN 0030-
8684
• Cameron, R. (2006), “Exhibition of Bengali Film
Posters Opens in Prague”, Radio Prague (31 March
2006), retrieved 29 September 2011
• Chakrabarti, I. (2001), “A People’s Poet or a Liter-
ary Deity?", Parabaas (15 July 2001), retrieved 17
September 2011
• Das, S. (2009), “Tagore’s Garden of Eden”, The
Telegraph (Calcutta, India, published 2 August
2009), retrieved 29 September 2011
• Dasgupta, A. (2001), “Rabindra-Sangeet as a Re-
source for Indian Classical Bandishes", Parabaas
(15 July 2001), retrieved 17 September 2011
• Dyson, K. K. (2001), “Rabindranath Tagore and His
World of Colours”, Parabaas (15 July 2001), re-
trieved 26 November 2009
• Ghosh, B. (2011), “Inside the World of Tagore’s
Music”, Parabaas (August 2011), retrieved 17
September 2011
• Harvey, J. (1999), In Quest of Spirit: Thoughts on
Music, University of California Press, retrieved 10
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• Hatcher, B. A. (2001), "Aji Hote Satabarsha Pare:
What Tagore Says to Us a Century Later”, Parabaas
(15 July 2001), retrieved 28 September 2011
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ture 1913: Rabindranath Tagore—Award Ceremony
Speech, Nobel Foundation (published 10 December
1913), retrieved 17 September 2011
• Jha, N. (1994), “Rabindranath Tagore” (PDF),
PROSPECTS: The Quarterly Review of Education
(Paris: UNESCO: International Bureau of Educa-
tion) 24 (3/4): 603–19, retrieved 30 August 2011
• Kämpchen, M. (2003), “Rabindranath Tagore in
Germany”, Parabaas (25 July 2003), retrieved 28
September 2011
• Kinzer, S. (2006), “Bülent Ecevit, Who Turned
Turkey Toward the West, Dies”, The New York
Times (5 November 2006), retrieved 28 September
2011
• Kundu, K. (2009), “Mussolini and Tagore”,
Parabaas (7 May 2009), retrieved 17 September
2011
• Mehta, S. (1999), The First Asian Nobel Laureate,
Time (published 23 August 1999), retrieved 30 Au-
gust 2011
• Meyer, L. (2004), “Tagore in The Netherlands”,
Parabaas (15 July 2004), retrieved 30 August 2011
• Mukherjee, M. (2004), "Yogayog (“Nexus”) by Ra-
bindranath Tagore: A Book Review”, Parabaas (25
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• Pandey, J. M. (2011), Original Rabindranath Tagore
Scripts in Print Soon, Times of India (published 8
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• O'Connell, K. M. (2008), "Red Oleanders (Rak-
takarabi) by Rabindranath Tagore—A New Trans-
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• Radice, W. (2003), “Tagore’s Poetic Greatness”,
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• Robinson, A., “Rabindranath Tagore”,
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• Sen, A. (1997), “Tagore and His India”, The New
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• Sil, N. P. (2005), "Devotio Humana: Rabindranath’s
Love Poems Revisited”, Parabaas (15 February
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Books
• Ayyub, A. S. (1980), Tagore’s Quest, Papyrus
• Chakraborty, S. K.; Bhattacharya, P. (2001), Lead-
ership and Power: Ethical Explorations, Oxford Uni-
versity Press (published 16 August 2001), ISBN
978-0-19-565591-9

18. 18 14 BIBLIOGRAPHY
• Dasgupta, T. (1993), Social Thought of Ra-
bindranath Tagore: A Historical Analysis, Abhi-
nav Publications (published 1 October 1993), ISBN
978-81-7017-302-1
• Datta, P. K. (2002), Rabindranath Tagore’s The
Home and the World: A Critical Companion (1st
ed.), Permanent Black (published 1 December
2002), ISBN 978-81-7824-046-6
• Dutta, K.; Robinson, A. (1995), Rabindranath
Tagore: The Myriad-Minded Man, Saint Martin’s
Press (published December 1995), ISBN 978-0-
312-14030-4
• Farrell, G. (2000), Indian Music and the West,
Clarendon Paperbacks Series (3 ed.), Oxford Uni-
versity Press (published 9 March 2000), ISBN 978-
0-19-816717-4
• Hogan, P. C. (2000), Colonialism and Cultural Iden-
tity: Crises of Tradition in the Anglophone Litera-
tures of India, Africa, and the Caribbean, State Uni-
versity of New York Press (published 27 January
2000), ISBN 978-0-7914-4460-3
• Hogan, P. C.; Pandit, L. (2003), Rabindranath
Tagore: Universality and Tradition, Fairleigh Dick-
inson University Press (published May 2003), ISBN
978-0-8386-3980-1
• Kripalani, K. (2005), Dwarkanath Tagore: A For-
gotten Pioneer—A Life, National Book Trust of In-
dia, ISBN 978-81-237-3488-0
• Kripalani, K. (2005), Tagore—A Life, National
Book Trust of India, ISBN 978-81-237-1959-7
• Lago, M. (1977), Rabindranath Tagore, Boston:
Twayne Publishers (published April 1977), ISBN
978-0-8057-6242-6
• Lifton, B. J.; Wiesel, E. (1997), The King of Chil-
dren: The Life and Death of Janusz Korczak, St.
Martin’s Griffin (published 15 April 1997), ISBN
978-0-312-15560-5
• Prasad, A. N.; Sarkar, B. (2008), Critical Response
To Indian Poetry in English, Sarup and Sons, ISBN
978-81-7625-825-8
• Ray, M. K. (2007), Studies on Rabindranath Tagore
1, Atlantic (published 1 October 2007), ISBN 978-
81-269-0308-5, retrieved 16 September 2011
• Roy, B. K. (1977), Rabindranath Tagore: The Man
and His Poetry, Folcroft Library Editions, ISBN
978-0-8414-7330-0
• Scott, J. (2009), Bengali Flower: 50 Selected Poems
from India and Bangladesh (published 4 July 2009),
ISBN 978-1-4486-3931-1
• Sen, A. (2006), The Argumentative Indian: Writings
on Indian History, Culture, and Identity (1st ed.), Pi-
cador (published 5 September 2006), ISBN 978-0-
312-42602-6
• Sigi, R. (2006), Gurudev Rabindranath Tagore—A
Biography, Diamond Books (published 1 October
2006), ISBN 978-81-89182-90-8
• Som, R. (2010), Rabindranath Tagore: The Singer
and His Song, Viking (published 26 May 2010),
ISBN 978-0-670-08248-3
• Thompson, E. (1926), Rabindranath Tagore: Poet
and Dramatist, Pierides Press, ISBN 978-1-4067-
8927-0
• Urban, H. B. (2001), Songs of Ecstasy: Tantric
and Devotional Songs from Colonial Bengal, Oxford
University Press (published 22 November 2001),
ISBN 978-0-19-513901-3
Photographs
• Photo of Tagore in Shiraz, 29.616445; 52.542114:
Flickr (published 16 March 2006), 2006, retrieved
30 August 2011
Videos
• Harding, M. (2008), Where the Hell is Matt?,
YouTube (published 20 June 2008), retrieved 26
November 2009
Other
• “68th Death Anniversary of Rabindranath Tagore”,
The Daily Star (Dhaka, published 7 August 2009),
2009, retrieved 29 September 2011
• “Recitation of Tagore’s Poetry of Death”, Hindustan
Times (Indo-Asian News Service), 2005
• Archeologists Track Down Tagore’s Ancestral Home
in Khulna, The News Today (published 28 April
2011), 2011, retrieved 9 September 2011
• The Nobel Prize in Literature 1913, The Nobel Foun-
dation, retrieved 14 August 2009
• “History of the Tagore Festival”, Tagore Festi-
val Committee (University of Illinois at Urbana-
Champaign: College of Business), retrieved 29
November 2009
14.3 Texts
Original

19. 19
[1] Thought Relics, Internet Sacred Text Archive
Translated
[1] Chitra at Project Gutenberg
[2] Creative Unity at Project Gutenberg
[3] The Crescent Moon at Project Gutenberg
[4] The Cycle of Spring at Project Gutenberg
[5] Fruit-Gathering at Project Gutenberg
[6] The Fugitive at Project Gutenberg
[7] The Gardener at Project Gutenberg
[8] Gitanjali at Project Gutenberg
[9] Glimpses of Bengal at Project Gutenberg
[10] The Home and the World at Project Gutenberg
[11] The Hungry Stones at Project Gutenberg
[12] The King of the Dark Chamber at Project Gutenberg
[13] Mashi at Project Gutenberg
[14] My Reminiscences at Project Gutenberg
[15] The Post Office at Project Gutenberg
[16] Sadhana: The Realisation of Life at Project Gutenberg
[17] Songs of Kabir at Project Gutenberg
[18] The Spirit of Japan at Project Gutenberg
[19] Stories from Tagore at Project Gutenberg
[20] Stray Birds at Project Gutenberg
15 Further reading
• Abu Zakaria, G. (editor) (2011). Rabindranath
Tagore—Wanderer zwischen Welten. Klemm and
Oelschläger. ISBN 978-3-86281-018-5.
• Chaudhuri, A. (editor) (2004). The Vintage Book
of Modern Indian Literature (1st ed.). Vintage (pub-
lished 9 November 2004). ISBN 978-0-375-71300-
2.
• Deutsch, A. (editor); Robinson, A. (editor) (1989).
The Art of Rabindranath Tagore (1st ed.). Monthly
Review Press (published August 1989). ISBN 978-
0-233-98359-2.
16 External links
• Rabindranath Tagore at DMOZ
Analyses
• Ezra Pound: “Rabindranath Tagore”, The Fort-
nightly Review, March 1913
• ... Current Articles, Parabaas
• ... The Founder, Visva-Bharati University
• Mary Lago Collection, University of Missouri
Audiobooks
• ... with Albert Einstein and H. G. Wells, School of
Wisdom
Texts
• Bichitra: Online Tagore Variorum
• Works by Rabindranath Tagore at Project Guten-
berg
• Works by or about Rabindranath Tagore at Internet
Archive
• Works by Rabindranath Tagore at LibriVox (public
domain audiobooks)
Talks
• South Asian American Digital Archive (SAADA)

20. 20 17 TEXT AND IMAGE SOURCES, CONTRIBUTORS, AND LICENSES
17 Text and image sources, contributors, and licenses
17.1 Text
• Rabindranath Tagore Source: http://en.wikipedia.org/wiki/Rabindranath_Tagore?oldid=663823217 Contributors: Eloquence, Mav,
Clasqm, Andre Engels, Caltrop, Montrealais, Olivier, Leandrod, Stevertigo, Hfastedge, Paul Barlow, DopefishJustin, Fuzzie, Yann, Delir-
ium, Skysmith, Paul A, Ahoerstemeier, TUF-KAT, Александър, Error, Sray, Charles Matthews, Dcoetzee, Zoicon5, Tpbradbury, Paul-
L~enwiki, Jose Ramos, Lumos3, Fredrik, Goethean, Modulatum, Chancemill, Pjedicke, Llavigne, Sverdrup, Hemanshu, Texture, Auric,
Rrjanbiah, JackofOz, JerryFriedman, Alan Liefting, Pulokito, Centrx, Nichalp, Curps, Michael Devore, Mboverload, Ragib, Golbez,
Utcursch, LordSimonofShropshire, Alexf, Metlin, LiDaobing, Quadell, MisfitToys, Mukerjee, Zbd, SimonArlott, Necrothesp, Fashion-
Nugget, Mschlindwein, Trilobite, Jojo1000, D6, Freakofnurture, Venu62, JoshuaNewman, Johan Elisson, Groucho~enwiki, Rich Farm-
brough, Bender235, LordGulliverofGalben, CanisRufus, Maclean25, Friedrichhajji, Kwamikagami, Shanes, Mark R Johnson, Jough, Sole
Soul, Atomique~enwiki, Viriditas, Cmdrjameson, Cavrdg, ‫ריינהארט‬ ‫,לערי‬ Darwinek, Idleguy, Haham hanuka, Ranveig, Jumbuck, Rashed,
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Deeahbz, Shmitra, Schzmo, Dangerous-Boy, Blacksun, Harac, SDC, Palica, Graham87, BD2412, David Levy, Kbdank71, Dpr, Dwai-
payanc, Rjwilmsi, Gamesmasterg9, Koavf, Syndicate, TheRingess, MZMcBride, Mikem, Peripatetic, Brighterorange, Yug, Afterwriting,
The wub, Bhadani, Tbone, Sango123, Aveekbh, Titoxd, FlaBot, RobertG, GnuDoyng, Getafix, Hottentot, ApprenticeFan, Czar, Sstrader,
Piniricc65, David Haberlah, Chobot, K2wiki, Bgwhite, Dj Capricorn, Chaldar, YurikBot, Wester, Deeptrivia, RussBot, Ericorbit, Gaius
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Anonymous from the 21st century, Dragonzz, I.U.Parlar, GrouchoBot, Micione, Nayvik, Ananyapaul, Omnipaedista, RibotBOT, SassoBot,
Mukuts, ElizaS, Chandan Guha, Shadowjams, Ecpe, Green Cardamom, FrescoBot, Unspokentruth, LucienBOT, Unitanode, Gopaljirai,
Amartya ray2001, BoundaryRider, Citation bot 1, Bikramvaskar, Vanished user indfoijwe3ty, Marixist101, SpacemanSpiff, Richard Rein-
hardt, SriSuren, SFanta, Alonso de Mendoza, RedBot, MastiBot, Wikitanvir, Fixer88, Nijgoykar, Subhamrony, Plasticspork, Jauhienij,
TobeBot, Trappist the monk, BengaliHindu, Dinamik-bot, Vrenator, Hristo.Hr, Jethwarp, Aurorion, Rashalna, PleaseStand, Satdeep Gill,
Tbhotch, Reach Out to the Truth, David.sarkar, Umran Chowdhury, DARTH SIDIOUS 2, RjwilmsiBot, DRAGON BOOSTER, WildBot,
Slon02, Steve03Mills, Shalinkwr, Mitprat, EmausBot, Orphan Wiki, Holdeshobuj, Paleolithic1288, Dheemahi, WikitanvirBot, Debjato,
Sukumar Ray, Stephencole2, Bryonmorrigan, Kkm010, The Madras, Eugenio Hansen, OFS, ZéroBot, Paolo84, Trinanjon, Subhom.mitra,
Mar4d, Overvital1288, Averaver, QEDK, Avinashmaurya, Rangakuvara, Austin1231austin, Shreya 4 Mehra, ChuispastonBot, Srujanku-
mar88, Helpsome, ClueBot NG, Smtchahal, Ekkavi, Kelli.hansen, Cloverleaf01, Mundugumor, Movses-bot, Rossi101, Florence foucault,
Frietjes, Patrick emerson, Alex-engraver, Hazhk, Murphy dean, CaroleHenson, Mohd. Toukir Hamid, Sabujeinstein, Rumelasengupta,
Adityan bhadra, Sudiptamunsi, Webmaestro365, Helpful Pixie Bot, Armunalam, GeoffreySuchart, Partha ban, Titodutta, Neerajrkrish,
BG19bot, Sritamonline, Gurt Posh, Mahzabinliza, Thecrookedbookshelf, Jim35meyers, Lifeformnoho, Snow Rise, Solomon7968, Ravbsu,
Lowlova, Maahmaah, Smmmaniruzzaman, Ezaid Fabber, Pirehelokan, Tamravidhir, BattyBot, Dav subrajathan.357, Arr4, Logatorial,
SD5bot, 23 editor, JYBot, Boseritwik, BrightStarSky, Dexbot, Kmzayeem, Surge elec, 25 Cents FC, Abitoby, Periglio, ਰਾਜੇਨ੍ਦ੍ਰ ਸਿੰਘ,
Beckmanse, Leemon2010, Wikirishiaacharya, Vanished user kjn lsr35kjhwertsek4, Royroydeb, Vegetarianra025, Johnkishore, Sagarika18,
Ugog Nizdast, Nikhilmn2002, বিজয় চক্রবর্তী, Adirlanz, Liz, ITeachThem, AkhilKumarPal, Uck22, Roja1971, Leelakrishna86, Happiest
persoN, Mouryan, William Edward Marvolo Reddle, Ashutosh4422, Tanns.25630, FACBot, ArNab MACHO ROCKSS, Omio Asad,
Bertilone, RajatTikmany, Sqizcm, Ankush 89 and Anonymous: 589

21. 17.2 Images 21
17.2 Images
• File:Bundesarchiv_Bild_102-11643,_Rabindranath_Tagore.jpg Source: http://upload.wikimedia.org/wikipedia/commons/3/3b/
Bundesarchiv_Bild_102-11643%2C_Rabindranath_Tagore.jpg License: CC BY-SA 3.0 de Contributors: This image was provided to
Wikimedia Commons by the German Federal Archive (Deutsches Bundesarchiv) as part of a cooperation project. The German Federal
Archive guarantees an authentic representation only using the originals (negative and/or positive), resp. the digitalization of the originals
as provided by the Digital Image Archive. Original artist: Unknown
• File:Carl_Spitzweg_021-detail.jpg Source: http://upload.wikimedia.org/wikipedia/commons/8/81/Carl_Spitzweg_021-detail.jpg Li-
cense: Public domain Contributors: Diese Datei: File:Carl Spitzweg 021.jpg
Original artist: Carl Spitzweg
• File:Commons-logo.svg Source: http://upload.wikimedia.org/wikipedia/en/4/4a/Commons-logo.svg License: ? Contributors: ? Original
artist: ?
• File:Dejvice,_Thákurova,_Thákurova_busta_(01).jpg Source: http://upload.wikimedia.org/wikipedia/commons/5/53/Dejvice%2C_
Th%C3%A1kurova%2C_Th%C3%A1kurova_busta_%2801%29.jpg License: CC BY-SA 3.0 Contributors: Own work Original artist:
ŠJů (cs:ŠJů)
• File:Folder_Hexagonal_Icon.svg Source: http://upload.wikimedia.org/wikipedia/en/4/48/Folder_Hexagonal_Icon.svg License: Cc-by-
sa-3.0 Contributors: ? Original artist: ?
• File:Gandhi-Tagore-cropped.jpg Source: http://upload.wikimedia.org/wikipedia/commons/a/a1/Gandhi-Tagore-cropped.jpg License:
Public domain Contributors: ? Original artist: Unknown author
• File:Gnome-mime-sound-openclipart.svg Source: http://upload.wikimedia.org/wikipedia/commons/8/87/
Gnome-mime-sound-openclipart.svg License: Public domain Contributors: Own work. Based on File:Gnome-mime-audio-openclipart.
svg, which is public domain. Original artist: User:Eubulides
• File:Last_pic_of_Tagore.jpg Source: http://upload.wikimedia.org/wikipedia/commons/1/14/Last_pic_of_Tagore.jpg License: Public
domain Contributors: Link Original artist: Unknown
• File:NehruTagore.jpg Source: http://upload.wikimedia.org/wikipedia/commons/8/87/NehruTagore.jpg License: Public domain Contrib-
utors: Anonymous Original artist: Royroydeb
• File:Nobel_Prize.png Source: http://upload.wikimedia.org/wikipedia/en/e/ed/Nobel_Prize.png License: ? Contributors:
Derivative of File:NobelPrize.JPG Original artist:
Photograph: JonathunderMedal: Erik Lindberg (1873-1966)
• File:Portal-puzzle.svg Source: http://upload.wikimedia.org/wikipedia/en/f/fd/Portal-puzzle.svg License: Public domain Contributors: ?
Original artist: ?
• File:Rabindranath-Tagore-Mrinalini-Devi-1883.jpg Source: http://upload.wikimedia.org/wikipedia/commons/5/58/
Rabindranath-Tagore-Mrinalini-Devi-1883.jpg License: Public domain Contributors: http://nobelprize.org/literature/articles/sen/
index.html Original artist: Unknown
• File:Rabindranath-Tagore-bust-Patel-memorial-(cropped).jpg Source: http://upload.wikimedia.org/wikipedia/commons/7/71/
Rabindranath-Tagore-bust-Patel-memorial-%28cropped%29.jpg License: CC-BY-SA-3.0 Contributors: Transferred from bn.wikipedia;
transfer was stated to be made by Tanvir Rahman. Original artist: Original uploader was Jonoikobangali at bn.wikipedia
• File:Rabindranath_Tagore_-_with_daughter_Bela_to_his_left_and_daughter-in-law_Pratima_to_his_right.jpg Source:
http://upload.wikimedia.org/wikipedia/commons/2/26/Rabindranath_Tagore_-_with_daughter_Bela_to_his_left_and_daughter-in-law_
Pratima_to_his_right.jpg License: Public domain Contributors: http://albert-kahn.hauts-de-seine.net/ Original artist: Albert KAHN
• File:Rabindranath_Tagore_Ra-Tha_seal_initials.jpg Source: http://upload.wikimedia.org/wikipedia/commons/b/bd/Rabindranath_
Tagore_Ra-Tha_seal_initials.jpg License: Public domain Contributors: ? Original artist: ?
• File:Rabindranath_Tagore_Rabindra_Bhavana_collection_2155_pastel_mask.jpg Source: http://upload.wikimedia.org/wikipedia/
commons/2/28/Rabindranath_Tagore_Rabindra_Bhavana_collection_2155_pastel_mask.jpg License: Public domain Contributors: http:
//www.parabaas.com/rabindranath/articles/pKetaki2.html Original artist: Rabindranath Tagore
• File:Rabindranath_Tagore_monument_inscription_in_Gordon_Square.jpg Source: http://upload.wikimedia.org/wikipedia/
commons/4/40/Rabindranath_Tagore_monument_inscription_in_Gordon_Square.jpg License: CC BY-SA 3.0 Contributors: Own work
(photograph) Original artist: Fæ
• File:Rabindranath_with_Einstein.jpg Source: http://upload.wikimedia.org/wikipedia/commons/0/09/Rabindranath_with_Einstein.
jpg License: Public domain Contributors: UNESCO Gallery Original artist: UNESCO
• File:Speaker_Icon.svg Source: http://upload.wikimedia.org/wikipedia/commons/2/21/Speaker_Icon.svg License: Public domain Con-
tributors: ? Original artist: ?
• File:Speakerlink-new.svg Source: http://upload.wikimedia.org/wikipedia/commons/3/3b/Speakerlink-new.svg License: CC0 Contribu-
tors: Own work Original artist: Kelvinsong
• File:Tabu_Mone_Rekho_Sung_by_Rabindranath_Tagore_Himself.ogg Source: http://upload.wikimedia.org/wikipedia/commons/
d/d9/Tabu_Mone_Rekho_Sung_by_Rabindranath_Tagore_Himself.ogg License: Public domain Contributors: http://www.youtube.com/
watch?v=r9teMCBGS7Q Original artist: Rabindranath Tagore
• File:Tagore-THU.jpg Source: http://upload.wikimedia.org/wikipedia/commons/b/bd/Tagore-THU.jpg License: Public domain Contrib-
utors: ? Original artist: ?
• File:Tagore3.jpg Source: http://upload.wikimedia.org/wikipedia/commons/b/ba/Tagore3.jpg License: Public domain Contributors: Var-
ious, e.g. [1], published in 1914 in Sweden in Les Prix Nobel 1913, p. 60 Original artist: Unknown
• File:Tagore_Iran.jpg Source: http://upload.wikimedia.org/wikipedia/commons/1/1d/Tagore_Iran.jpg License: Public domain Contribu-
tors: en.wikipedia Original artist: original uploader: Zereshk

22. 22 17 TEXT AND IMAGE SOURCES, CONTRIBUTORS, AND LICENSES
• File:Tagore_Kuthibari.jpg Source: http://upload.wikimedia.org/wikipedia/commons/1/15/Tagore_Kuthibari.jpg License: CC-BY-SA-
3.0 Contributors: Own work Original artist: Armanaziz
• File:Tagore_handwriting_Bengali.jpg Source: http://upload.wikimedia.org/wikipedia/commons/d/df/Tagore_handwriting_Bengali.
jpg License: Public domain Contributors: http://www.terebess.hu/english/tagore5.html Original artist: Rabindranath Tagore
• File:Tagore_manuscript6_c.jpg Source: http://upload.wikimedia.org/wikipedia/commons/2/21/Tagore_manuscript6_c.jpg License:
Public domain Contributors: http://www.calcuttaweb.com/tagore/manuscript.shtml Original artist: Rabindranath Tagore
• File:Tagore_on_Gandhi.jpg Source: http://upload.wikimedia.org/wikipedia/commons/d/d8/Tagore_on_Gandhi.jpg License: CC BY
2.0 Contributors: Tagore on Gandhi Original artist: Ryan from Toronto, Canada
• File:Valmiki_Pratibha_Indira_Devi_&_Rabindranath_Tagore.jpg Source: http://upload.wikimedia.org/wikipedia/commons/1/11/
Valmiki_Pratibha_Indira_Devi_%26_Rabindranath_Tagore.jpg License: Public domain Contributors: Indira Devi Chowdhurani. Ra-
bindra Smriti — Kolkata: Visva-Bharati, 1974. Original artist: Unknown
• File:Wikidata-logo.svg Source: http://upload.wikimedia.org/wikipedia/commons/f/ff/Wikidata-logo.svg License: Public domain Con-
tributors: Own work Original artist: User:Planemad
• File:Wikiquote-logo.svg Source: http://upload.wikimedia.org/wikipedia/commons/f/fa/Wikiquote-logo.svg License: Public domain
Contributors: ? Original artist: ?
• File:Wikisource-logo.svg Source: http://upload.wikimedia.org/wikipedia/commons/4/4c/Wikisource-logo.svg License: CC BY-SA 3.0
Contributors: Rei-artur Original artist: Nicholas Moreau
• File:Wikiversity-logo-Snorky.svg Source: http://upload.wikimedia.org/wikipedia/commons/1/1b/Wikiversity-logo-en.svg License: CC
BY-SA 3.0 Contributors: Own work Original artist: Snorky
17.3 Content license
• Creative Commons Attribution-Share Alike 3.0