poem explanation gitanjali

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Gitanjali: A Comprehensive Literary Analysis of Rabindranath Tagore’s Masterpiece

• Rabindranath Tagore

Rabindranath Tagore’s “Gitanjali” is a collection of poems that has captivated readers for over a century. This literary masterpiece has been translated into numerous languages and has won the Nobel Prize for Literature. In this article, we will provide a comprehensive literary analysis of “Gitanjali,” exploring its themes, style, and significance in the world of literature.

Background and Context

Rabindranath Tagore, the first non-European to win the Nobel Prize in Literature, is widely regarded as one of the greatest literary figures in Indian history. His works, which include poetry, novels, and plays, have been translated into numerous languages and continue to be celebrated for their lyrical beauty and profound insights into the human condition. Among his most famous works is Gitanjali, a collection of poems that was first published in 1910. Gitanjali, which means “song offerings,” is a deeply spiritual work that explores themes of love, devotion, and the search for meaning in life. In this article, we will provide a comprehensive literary analysis of Gitanjali, examining its themes, structure, and language in order to gain a deeper understanding of this masterpiece of Indian literature.

Tagore’s Life and Work

Rabindranath Tagore was a prolific writer, poet, and philosopher who left an indelible mark on Indian literature and culture. Born in Calcutta in 1861, Tagore was the youngest of thirteen children and grew up in a family that was deeply involved in the arts and literature. He began writing poetry at a young age and published his first collection of poems, “Bhanusimha Thakurer Padabali,” at the age of sixteen. Over the course of his life, Tagore wrote over 2,000 songs, numerous plays, and dozens of books of poetry and prose. He was the first non-European to win the Nobel Prize in Literature in 1913, and his work continues to be celebrated and studied around the world.

Structure and Form

The structure and form of Gitanjali is unique and unconventional. It is a collection of 103 poems, each with its own distinct theme and message. The poems are not arranged in any particular order, and there is no overarching narrative or plot. Instead, the poems are like individual pieces of a puzzle that come together to form a larger picture.

The form of the poems is also unconventional. They are written in free verse, without any strict rhyme or meter. This allows Tagore to experiment with language and create a more natural and organic flow to his poetry. The poems are also relatively short, with most being only a few lines long. This brevity allows Tagore to pack a lot of meaning into each poem, and to convey his message in a concise and powerful way.

Despite the unconventional structure and form, Gitanjali is a cohesive and powerful work of literature. The poems are deeply spiritual and philosophical, and they explore themes of love, faith, and the human condition. Through his poetry, Tagore invites the reader to reflect on their own life and to find meaning and purpose in the world around them.

Themes and Motifs

One of the most prominent themes in Gitanjali is the search for spiritual enlightenment. Throughout the collection of poems, Tagore explores the idea of connecting with a higher power and finding meaning in life beyond material possessions. This theme is exemplified in poems such as “The Gardener” and “The Child Angel,” where the speaker seeks guidance and understanding from a divine source.

Another recurring motif in Gitanjali is the natural world. Tagore frequently uses imagery of nature to convey emotions and ideas, such as in the poem “The Sunset of the City,” where the setting sun represents the end of a chapter in life. The use of nature in this way adds a sense of universality to the themes of the collection, as the natural world is something that all readers can relate to and understand.

Overall, the themes and motifs in Gitanjali work together to create a cohesive exploration of spirituality and the human experience. Through his use of language and imagery, Tagore invites readers to reflect on their own beliefs and values, making Gitanjali a timeless masterpiece of literature.

Symbolism and Imagery

Symbolism and imagery play a significant role in Rabindranath Tagore’s Gitanjali. The poems are filled with vivid and powerful images that evoke a range of emotions and ideas. One of the most prominent symbols in the collection is the image of the bird. Throughout the poems, birds are used to represent freedom, spirituality, and the human soul. In “Song 1,” for example, the speaker compares his soul to a bird that is trapped in a cage, longing to be set free. This image is a powerful metaphor for the human desire for spiritual liberation and transcendence. Other symbols in the collection include the sun, which represents enlightenment and divine knowledge, and the ocean, which symbolizes the vastness and mystery of the universe. Through these symbols and images, Tagore creates a rich and complex tapestry of meaning that invites readers to explore the depths of their own spiritual and emotional lives.

Language and Style

Tagore’s language and style in Gitanjali are both unique and captivating. He uses simple and straightforward language to convey complex emotions and ideas. His style is characterized by a lyrical quality that is both musical and poetic. The use of repetition, imagery, and symbolism is also prevalent throughout the work. Tagore’s language and style are integral to the overall impact of Gitanjali, as they help to create a sense of intimacy and emotional depth that is both powerful and moving.

Character Analysis

One of the most striking aspects of Gitanjali is the depth and complexity of its characters. Tagore’s ability to create fully realized individuals with unique personalities and motivations is a testament to his skill as a writer. The protagonist of the collection, who is often assumed to be Tagore himself, is a particularly fascinating character. He is introspective and contemplative, constantly searching for meaning and purpose in his life. His struggles with faith and doubt, as well as his deep love for nature and humanity, make him a relatable and sympathetic figure. Other characters in the collection, such as the various gods and goddesses that appear in the poems, are equally well-drawn and add to the richness of the work as a whole. Through his masterful characterizations, Tagore creates a world that is both vividly real and deeply spiritual.

Religious and Philosophical Influences

Rabindranath Tagore’s Gitanjali is a masterpiece that reflects the poet’s religious and philosophical influences. Tagore was deeply influenced by the teachings of Hinduism, Buddhism, and Christianity, which are reflected in his poetry. His spiritual beliefs are evident in the themes of his poems, which explore the nature of God, the meaning of life, and the human condition.

Tagore’s poetry is infused with the idea of unity and oneness, which is a central tenet of Hinduism and Buddhism. He believed that all living beings are interconnected and that the ultimate goal of life is to achieve spiritual enlightenment. This idea is reflected in his poem “The Gardener,” where he writes, “I am only a flower, / you are the sun and the sky, / and together we make a garden.”

Tagore’s poetry also reflects his Christian influences, particularly in his exploration of the concept of love. He believed that love was the most powerful force in the universe and that it had the power to transform individuals and society. This idea is evident in his poem “Unending Love,” where he writes, “I seem to have loved you in numberless forms, numberless times, / In life after life, in age after age forever.”

Overall, Tagore’s religious and philosophical influences are an integral part of his poetry and contribute to its timeless appeal. His exploration of the nature of God, the meaning of life, and the human condition continues to resonate with readers today, making Gitanjali a true masterpiece of world literature.

Impact and Legacy

The impact and legacy of Rabindranath Tagore’s Gitanjali cannot be overstated. The collection of poems, which won Tagore the Nobel Prize in Literature in 1913, has been translated into numerous languages and continues to inspire readers around the world. Gitanjali is not only a masterpiece of Bengali literature but also a significant contribution to world literature. It has influenced generations of writers and poets, and its themes of spirituality, love, and nature continue to resonate with readers today. Tagore’s use of simple language and imagery to convey complex emotions and ideas has made Gitanjali accessible to a wide audience, and its universal themes have ensured its enduring popularity. The legacy of Gitanjali is evident in the continued reverence for Tagore as a literary giant and cultural icon in India and beyond.

Reception and Criticism

Gitanjali, Rabindranath Tagore’s masterpiece, has received both praise and criticism since its publication in 1910. The collection of poems, which won Tagore the Nobel Prize in Literature in 1913, has been celebrated for its spiritual depth and lyrical beauty. However, some critics have also pointed out its occasional sentimentality and lack of political engagement. Despite these criticisms, Gitanjali remains a beloved work of literature that continues to inspire readers around the world.

Gender and Feminism

In Gitanjali, Rabindranath Tagore explores the themes of gender and feminism through his portrayal of women. The women in his poems are not passive objects of male desire, but rather active agents who challenge societal norms and expectations. They are strong, independent, and capable of making their own decisions. Tagore’s portrayal of women is a reflection of his own feminist beliefs, which were ahead of their time. He believed in the equality of men and women and advocated for women’s rights. Through his poetry, Tagore encourages women to break free from the constraints of patriarchy and to assert their own identities. His message is as relevant today as it was when he wrote Gitanjali over a century ago.

Colonialism and Nationalism

Colonialism and Nationalism played a significant role in shaping the literary works of Rabindranath Tagore, particularly in his masterpiece, Gitanjali. As a Bengali writer living under British colonial rule, Tagore was acutely aware of the political and cultural tensions of his time. His poetry reflects a deep sense of longing for freedom and national identity, as well as a critique of the oppressive colonial system.

In Gitanjali, Tagore explores themes of love, spirituality, and the search for meaning in a world dominated by colonialism. The poems are infused with a sense of melancholy and nostalgia for a lost way of life, as well as a yearning for a brighter future. At the same time, Tagore celebrates the beauty of his native Bengal and the richness of its cultural traditions.

Through his poetry, Tagore also critiques the narrow-mindedness of colonialism and its impact on Indian society. He challenges the idea that Western culture is superior to Indian culture, and instead celebrates the diversity and complexity of his own heritage. In doing so, he offers a powerful vision of Indian nationalism that is rooted in a deep appreciation for the country’s history and culture.

Overall, Colonialism and Nationalism are central themes in Gitanjali, and they reflect the complex political and cultural landscape of Tagore’s time. Through his poetry, Tagore offers a powerful critique of colonialism and a vision of Indian nationalism that is both inclusive and deeply rooted in the country’s cultural heritage.

Love and Relationships

Love and Relationships play a significant role in Rabindranath Tagore’s masterpiece, Gitanjali. The collection of poems explores the various facets of love, including romantic love, spiritual love, and love for humanity. Tagore’s portrayal of love is not limited to the conventional notions of love but goes beyond it to encompass the universal human experience of love and relationships. The poems in Gitanjali are a testament to the power of love to transform and transcend boundaries. Through his poetry, Tagore emphasizes the importance of love and relationships in our lives and how they shape our identity and purpose. The themes of love and relationships in Gitanjali are timeless and continue to resonate with readers across generations.

Nature and Environment

Rabindranath Tagore’s Gitanjali is not only a masterpiece of literature, but it also reflects the poet’s deep love and respect for nature and the environment. Throughout the collection of poems, Tagore portrays nature as a source of inspiration, solace, and spiritual enlightenment. He celebrates the beauty of the natural world, from the blooming flowers to the singing birds, and emphasizes the importance of preserving it for future generations. In one of the poems, he writes, “The earth is yours, and the fullness thereof; the world and they that dwell therein.” This line highlights the interconnectedness of all living beings and the responsibility we have to protect the planet we call home. Tagore’s Gitanjali serves as a reminder of the beauty and fragility of nature and the urgent need to take action to preserve it.

Social and Political Issues

One of the most prominent social and political issues addressed in Rabindranath Tagore’s Gitanjali is the struggle for Indian independence from British colonial rule. Throughout the collection of poems, Tagore expresses his deep love for his country and his desire for its freedom. He also critiques the oppressive nature of colonialism and the ways in which it has disrupted traditional Indian culture and values. Additionally, Tagore addresses issues of class and caste, advocating for greater equality and social justice. Overall, Gitanjali serves as a powerful commentary on the social and political issues of its time, and continues to resonate with readers today.

Spirituality and Mysticism

Spirituality and Mysticism are two of the most prominent themes in Rabindranath Tagore’s Gitanjali. The poems in this collection are deeply rooted in the poet’s spiritual beliefs and his quest for a deeper understanding of the divine. Tagore’s spirituality is not limited to any particular religion or tradition, but rather encompasses a universal understanding of the divine that transcends all boundaries.

The poems in Gitanjali are filled with mystical imagery and metaphors that evoke a sense of wonder and awe. Tagore’s use of nature imagery, in particular, is a recurring motif throughout the collection. He often uses the natural world as a metaphor for the divine, portraying it as a source of beauty, wonder, and inspiration.

One of the most striking aspects of Tagore’s spirituality is his emphasis on the importance of personal experience and direct communion with the divine. He encourages his readers to seek out their own spiritual path and to cultivate a deep and personal relationship with the divine. This emphasis on personal experience is reflected in the intimate and confessional tone of many of the poems in Gitanjali.

Overall, the spirituality and mysticism in Gitanjali are an integral part of the collection’s appeal and enduring popularity. Tagore’s universal message of love, compassion, and spiritual awakening continues to resonate with readers around the world, making Gitanjali a timeless masterpiece of world literature.

Interpretations and Readings

Gitanjali, a collection of poems by Rabindranath Tagore, has been interpreted and read in various ways since its publication in 1910. The poems have been translated into numerous languages and have been appreciated by readers across the world. The collection has been interpreted as a spiritual journey, a celebration of nature, a reflection on love and relationships, and a critique of colonialism.

One of the most common interpretations of Gitanjali is that it is a spiritual journey of the poet. The poems are seen as a quest for the divine, a search for meaning and purpose in life. The poems are filled with references to God, the soul, and the afterlife. The poet’s longing for the divine is expressed through his use of imagery and metaphors, such as the sun, the moon, and the stars.

Another interpretation of Gitanjali is that it is a celebration of nature. The poems are filled with descriptions of the natural world, such as the flowers, the birds, and the trees. The poet’s love for nature is expressed through his use of vivid imagery and sensory details. The poems are seen as a tribute to the beauty and wonder of the natural world.

Gitanjali has also been interpreted as a reflection on love and relationships. The poems are filled with expressions of love, longing, and desire. The poet’s relationships with his loved ones, such as his wife and children, are explored in the poems. The poems are seen as a celebration of the joys and sorrows of love and relationships.

Finally, Gitanjali has been interpreted as a critique of colonialism. The poems are filled with references to the poet’s homeland, India, and his people. The poet’s love for his country and his people is expressed through his use of imagery and metaphors. The poems are seen as a critique of the oppressive colonial rule that India was under at the time of the collection’s publication.

In conclusion, Gitanjali is a masterpiece of literature that has been interpreted and read in various ways. The collection has been appreciated for its spiritual depth, its celebration of nature, its reflection on love and relationships, and its critique of colonialism. The poems continue to inspire readers across the world and are a testament to the enduring power of Tagore’s poetry.

Comparative Analysis with Other Works

When it comes to comparing Gitanjali with other works, it is important to note that Tagore’s masterpiece stands out for its unique blend of spirituality, humanism, and poetic beauty. While there are certainly other works of literature that explore similar themes, few can match the depth and complexity of Gitanjali. For example, the poetry of William Wordsworth and Samuel Taylor Coleridge often deals with themes of nature, spirituality, and the human experience, but their works lack the universal appeal and emotional resonance of Tagore’s writing. Similarly, the works of other Indian poets such as Mirza Ghalib and Kabir also explore themes of spirituality and humanism, but they do not possess the same level of poetic beauty and emotional depth as Gitanjali. Ultimately, it is this unique combination of spiritual insight, humanistic values, and poetic beauty that sets Gitanjali apart from other works of literature and makes it a true masterpiece of world literature.

Adaptations and Translations

One of the most remarkable aspects of Rabindranath Tagore’s Gitanjali is its ability to transcend linguistic and cultural barriers. Originally written in Bengali, the collection of poems has been translated into numerous languages, including English, French, German, and Spanish. These translations have allowed readers from all over the world to experience the beauty and depth of Tagore’s work. However, some critics argue that the translations do not fully capture the essence of the original text, as certain nuances and cultural references may be lost in translation. Despite this, the popularity of Gitanjali and its translations continues to grow, cementing its place as a timeless masterpiece of world literature.

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Gitanjali Poem Summary by Rabindranath Tagore

Table of Contents

Gitanjali, also known as “Song Offerings,” is a collection of poems by Rabindranath Tagore , the renowned Bengali poet and philosopher. First published in 1910, it is a significant work in Tagore’s literary career and was awarded the Nobel Prize in Literature in 1913. 

Gitanjali Poem Summary by Rabindranath Tagore- The collection consists of 103 poems that explore themes of love, spirituality, nature, and the relationship between humans and the divine. In this summary, we will provide an overview of the key themes and motifs found in Gitanjali.

One of the central themes in Gitanjali is the pursuit of spiritual enlightenment and the yearning for a deeper connection with the divine. Tagore expresses his devotion and surrender to God in several poems, presenting himself as a humble seeker in search of transcendence. 

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Gitanjali Poem Summary by Rabindranath Tagore- In “Song 1,” he writes, “Thou hast made me endless, such is thy pleasure. This frail vessel thou emptiest again and again, and fillest it ever with fresh life.” Here, Tagore emphasizes the idea of surrendering oneself to the divine will, acknowledging that God is the ultimate source of life and fulfillment.

Gitanjali Poem Summary by Rabindranath Tagore- Nature also plays a significant role in Gitanjali, with Tagore often using natural imagery to convey deeper philosophical truths. In many poems, he celebrates the beauty of the natural world and sees it as a reflection of the divine. For example, in “Song 2,” he writes, “I ask for a moment’s indulgence to sit by thy side. 

The works that I have in hand I will finish afterwards. Away from the sight of thy face my heart knows no rest nor respite.” Tagore’s use of nature imagery here enhances the sense of serenity and tranquility, suggesting that being in nature brings him closer to God.

Gitanjali Poem Summary by Rabindranath Tagore- Love, both divine and human, is another prominent theme in Gitanjali. Tagore explores the depths of love and its transformative power. In many poems, he expresses his longing for a spiritual union with the divine, describing it as a passionate love affair. In “Song 9,” he writes, 

“In the dusky path of a dream I went to seek the love who was mine in a former life. Her house stood at the end of a desolate street.” This poem reflects the poet’s yearning for the divine presence, which he perceives as a reunion with a long-lost lover.

Gitanjali Poem Summary by Rabindranath Tagore- Moreover, Tagore delves into the complexities of human relationships, particularly the dynamics between lovers and the pain of separation. In “Song 11,” he writes, “Where dost thou stand behind them all, my lover, hiding thyself in the shadows? 

Gitanjali Poem Summary by Rabindranath Tagore- They push thee and pass thee by on the dusty road, taking thee for naught.” This poem highlights the anguish of unrequited love and the feeling of being overlooked or ignored by the beloved.

Throughout Gitanjali, Tagore’s poetic language and imagery create a sense of ethereal beauty and evoke deep emotions. He employs metaphors and symbols to convey profound spiritual insights and to capture the essence of his experiences. 

Gitanjali Poem Summary by Rabindranath Tagore- The poems are filled with vivid descriptions of landscapes, flowers, birds, and various elements of nature, creating a rich tapestry of imagery that adds to the overall atmosphere of mysticism and wonder.

Gitanjali Poem Summary by Rabindranath Tagore- In addition to the thematic elements, Gitanjali also reflects Tagore’s broader philosophical and cultural beliefs. Tagore was a proponent of universalism and believed in the essential unity of all religions and cultures. In Gitanjali, he incorporates elements of Hinduism, Islam, and other religious traditions, emphasizing the universality of spiritual truths and the interconnectedness of all beings.

Q: When was Gitanjali published?  

A: Gitanjali was first published in 1910.

Q: How many poems are included in Gitanjali? 

A: Gitanjali consists of 103 poems.

Q: Did Rabindranath Tagore win any awards for Gitanjali? 

A: Yes, Rabindranath Tagore was awarded the Nobel Prize in Literature in 1913 for his collection of poems, Gitanjali.

Q: What are the main themes in Gitanjali? 

A: The main themes in Gitanjali include spirituality, the pursuit of enlightenment, the relationship between humans and the divine, love (both divine and human), nature, and the pain of separation.

Q: How does Tagore use nature in Gitanjali? 

A: Tagore often uses nature imagery in Gitanjali to convey deeper philosophical truths and to reflect the beauty and harmony of the natural world as a reflection of the divine. Nature serves as a metaphor and symbol for spiritual transcendence and brings the poet closer to God.

Q: What is the significance of love in Gitanjali? 

A: Love, both divine and human, is a significant theme in Gitanjali. Tagore explores the transformative power of love and expresses his longing for a spiritual union with the divine. He also delves into the complexities of human relationships, including the pain of unrequited love and the anguish of separation.

Q: What cultural and philosophical beliefs does Gitanjali reflect? 

A: Gitanjali reflects Rabindranath Tagore’s broader cultural and philosophical beliefs, including universalism and the essential unity of all religions and cultures. Tagore incorporates elements from various religious traditions, emphasizing the universality of spiritual truths and the interconnectedness of all beings.

Q: Is Gitanjali still relevant today? 

A: Yes, Gitanjali remains relevant today as a timeless masterpiece of world literature. Its exploration of universal themes and its lyrical beauty continue to inspire and touch the hearts of readers across generations.

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Gitanjali By Rabindranath Tagore

Table of Contents

Introduction

            “Gitanjali” is one of the best-known works of Rabindranath Tagore for which he received the Nobel Prize in Literature in 1913. It is a collection of poems and another title of this collection is “The Song Offerings”. It explores the depths of the human spirit and its connection was published on August 1910, and comprised 157 songs. The English version was released in November 1912 by the India Society of London. It contained translations of 53 poems from the original Bengali Gitanjali, as well as 50 other poems from his drama Achalayantana & other books of poetry – mainly Gitimalya, Naivadya, and Kheya. It had a long introduction by the noted poet W. B. Yeats.

About Rabindranath Tagore

            The poet of the ‘Gitanjali’ Rabindranath Tagore is a great poet, short story writer, singer, translator, social reformer, and philosopher in the modern history of Indian English Literature. It was Tagore who was introduced as the first Asian, who was awarded with Nobel Prize for his famous book ‘Gitanjali” in 1913. He wrote his first poem when he was only 8 years old.

Tagore also wrote the National Anthem of India in 1950, which is Jana, Gana, Mana………… He was referred to as “The Bard of Bengal”. He also wrote the Bangladesh Anthem and Founder of Santiniketan.

Themes Of Gitanjali

            The main theme of Gitanjali is Mysticism. According to Indian Philosophy, mysticism is the highest stage where the human soul is in direct contact with God. A mystic thinks that the world we see with our eyes and ears is not real and that there is a more real-world behind if that can only be understood spiritually, not through the senses. Mysticism is not something that can be explained logically. All mystics try to separate themselves from the outside world and connect with the world inside. This type of mysticism is based on the ideas of renunciation, detachment from the world, and asceticism

            Tagore was influenced by a lot of mystic writers such as – Walt Whitman, Kahil Gibran, and Sri Aurobindo. Still, Tagore’s version of mysticism is a little bit different from the others.

            Gitanjali is God’s prayer. It is a collection of songs about God and praise for him, which was deeply rooted in the ancient tradition of Indian Vaishnava poetry and mystical, eternal, and sublime qualities. They have a wide range of moods and ways of doing things. The theme of God runs through the whole Gitanjali.

            Gitanjali also has a theme about nature. It looks at the connection between God and nature. His lyrics stand out because of how beautiful and full of images they are. These images come from nature and Indian Mythology.

            Gitanjali does not just talk about the relationship between a man’s soul and God. It also talks about the relationship between a man’s soul and God. It also talks about the relationship between a man’s soul and other men. It stands up for the rights of the poor and humble, who are often denied the most essential rights of man.

            At the end of Gitanjali, Tagore also writes about death, and he does so in many different and artistic ways. He doesn’t fear death. Instead, he looks forward to it with joy because it’s the only way to be with God. He said,

“Death looks scary but it brings the soul of a person to a meeting with the eternal.”

            There are many kinds of love in Gitanjali, including love for women, love for other people, love for humanity, love for God, love for beauty, and love for truth. Tagore is a poet who loves God and religion, and his poetry shows the world’s truth, happiness, and beauty. He wrote,

“Love is the only reality and it is eternal. All else is maya, illusion.”

Tagore’s philosophy of life in Gitanjali

            Tagore’s Gitanjali is a collection of poems that reflects his personal philosophy of life. It is a deeply spiritual work that celebrates the beauty of the world and the unity of all beings. Tagore believed that we should live our lives in harmony with nature. He saw nature as a manifestation of the divine and he believed that we can learn to connect with God through our appreciation of the natural world. He wrote,

“Where the mind is without fear and  the head is held high;

Where the knowledge is free; Where the world has not been broken up into fragments by narrow domestic walls;

Where words come out from the depth of truth.”

            Tagore’s philosophy of life is also reflected in his emphasis on the importance of compassion and service to others. He believed that we should all strive to make the world a better place for everyone. He wrote:

“I shall never be afraid to ask for blessing, and  I shall never feel ashamed to beg for love.”

            In the modern days of nihilism and despair the poems in ‘Gitanjali’ offer a kind of ‘faith and optimism’. Man can get rid of all kinds of despair and suffering, if he sacrifices himself to God. God will then carry his burden of life. The poet says this in his song.

“Leave all thy burden on his hands  who can bear all, and never look behind I regret.”

            Humanization of the divine is one of the significant aspects of Tagore’s poetry. God is presented as existing among the simple, poor, and humble people. So to ignore them is to ignore God. For example

“Here is thy footstool and  there rest thy feet where  live the poorest and  lowliest and lost.”

            Tagore uses a wide range of vivid and picturesque images and symbols that are drawn from everyday life as well as from age-old myths. For example –

“This little flute of a reed   thou host carried over   hills and dales, and host   breathed through eternally new”

            Human existence is compared to a flute through which God creates a new Melody.

            Material desires and ego are the main barriers in the path towards God. Man is chained by shackles of desire and ego. Until and unless he sacrifices his desires, he cannot have a glimpse of God. In the song No IX, the poet says:

“Thy desire at once put out the light  from the lamp it touches with its breath.”

            “Gitanjali” is a masterpiece that explores the depths of the human soul, the mysteries of the universe, and the quest for transcendence. Tagore’s poetic brilliance, combined with his profound spirituality, love, and human experience, has created a work that continues to inspire and resonate with readers worldwide. The collection’s translation into various languages further spread its influence, cementing Tagore’s reputation as a poet of global significance.

            Thus, “Gitanjali” stands as a testament to the power of poetry to transcend boundaries and illuminate the timeless truths of human conditions.

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Gitanjali- Introduction & Summary

Contents in the Article

GITANJALI (Poem Number 11)

Introduction of the poem.

Rabindranath Tagore’s song― “Leave this Chanting and Singing”, is a song of enlightened devotion. The poet tells that real worship does not lie in chanting devotional songs and counting beads but in performing purposeful physical labour. God lives simplicity, not the show and hypocrisy of worship. To realize God we should associate ourselves in honest hard work with the humble farmers and labourers who cultivate lands and feed millions and make roads by breaking stones to make the world a better place. God resides with the simple, honest and hard working people. The poet advises the mistaken devotees of God, not to seek God in temples, churches and mosques but to know the truth and recognize the sanctity of labour. They should also indulge in honest hard labour to realize God.

Summary of the Poem

God loves simplicity. God loves reality. “Work is Worship” is the message of God and the best recipe to realize God.

God does not like the show of making worship and so the poet tells the devotees of God who renounce the world of work and duty and segregrate themselves in the dark corner of a temple singing devotional songs and counting beads in the name of God’s worship. The poet tells them that they are mistaken and deceiving themselves. They should know that God can never be approached or realized through this hypocritical way of worship.

The poet tells the devotees and worshippers of God clearly that God can be found in performing humble work like the work of a farmer who ploughs the field to grow food for the millions of his fellow human beings. The worker is poor and despised by the rich but he is loved his Creator because he earns his livelihood through hard purposeful labour. God loves the labourers who work hard by breaking stones and making roads for their fellow beings to walk to their work and prosperity. The peasants and labourers are simple, honest folk who are not afraid of hard work in hot sun or of cold rain. They care for their work not for their clothes and comforts. God resides with these simple, honest and hardworking people. The poet advises his mistakes and followers who seek God in temples, mosques and churches but to realize the truth and recognize the sanctity of labour. They should also indulge in simple but purposive manual labour without worrying about their clothes and comforts. The singing of hymns, praying, counting beads and wearing holy mantle are all hypocritical and God does not love hypocrisy.

The poet asks mistaken and devotees worshippers of God, who renounce the world and waste their lives chanting hymns and counting beads in temples mosques and churches away from humble toiling masses in the belief that by so doing they will achieve deliverance. There renunciation is escapism. They are running away from simple honest labour which is their duty to do in the name of “deliverance” and God. The poet points out that our Creator himself has bound himself in the chains of his duty towards his creation and joyfully preforms his duties. If God binds himself in chains of duty why should his devotees and worshippers forsake honest labour thinking it beneath their dignity to indulge in physical labour. It is this sacred labour of duty which binds the Creator to his creation and so he can be achieved only through honest physical labour with the humble toiling masses.

The poet tells the worshippers and followers of God, who renounce the world and engage themselves in meditation singing of hymns chanting of “mantras” and counting of beads in the name of God in the mistaken belief that they can achieve God in this way, that they are wrong. They should stop doing this and realize the truth. God cannot be achieved by the show of worship-wearing holy mantle chanting prayers singing devotional songs, burning incense and segregating themselves from honest labour and humble fellow beings. He asks them to mix and mingle with their fellow beings in performing their worldly duties without caring for their clothes and without considering that physical labour is beneath their dignity. No labour is mean. All work is sacred. If these sincere but mistaken devotees realize their mistake and take to honest physical labour they will meet God in the pleasure of honest work and duty.

The phrase “Work is Worship” has a deeper meaning and significance than is generally believed. It is the surest prescription of finding God. God lives among the honest workers and can be found there. He cannot be achieved in the seclusion of the so-called sacred places.

English Literature— Important links

• “The Flute player of Brindaban”- Summary, Analysis & Explanation
• Baugmaree (By Toru Dutt)- Introduction, Summary, Analysis & Explanation
• Sarojini Naidu as a Love poet / Love poems of Sarojini Naidu
• “Tintern Abbey” by Wordsworth- Introduction and summary
• “Ode to the West Wind”- Introduction & Complete Explanation
• “Ode To a Nightingale” By John Keats- Stanza wise Summary
• Nurse’s Song by William Blake | Summary & Complete Explanation
• Absalom and Achitophel (John Dryden)- Introduction & Summary
• “PARADISE LOST” as an Epic- By John Milton
• Sonnet 29- When, in disgrace with fortune (William Shakespeare)
• SONNET 138- When my love swears (Analysis and Explanation)
• John Keats as Poet of Sensuousness | English Literature
• The World is Too Much With Us- Summary & Stanza-wise Explanation
• William Wordsworth as a Poet of Nature | Notes / Essay
• Dryden as a Satirical Poet

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Indian english history, gitanjali: song no. 2: when thou commandest me—summary and critical appreciation, summary of the song no. 2 in gitanjali:, explanatory word-meanings:.

1. When thou...to sing = the poet sings when God wills him to do so. 2. Commandest = bids, orders. 3. It seems...pride = under divine inspiration his heart puffs up with joy and pride. 4. Seems =appears.  5. I look...face = in such moments of ecstasy he stands face to face with his maker. 6. Tears...eyes = tears of ecstasy well up in the poet's eyes. 7. All that...sweet harmony = all the discordant, ugly, evil and wicked forces which envelop human soul transform into the harmony of sweet music. 8. Melts = transforms. 9. Sweet harmony = pleasant and melodious state of affairs. 10. My adoration spreads...the sea = the poet is lost in meditation and prayer and his soul endeavours to reach the infinite like a joyously singing bird which with its outspread wings soars higher in order to cross the vast sea. 

Paraphrase: 

According to the poet, God has blessed him with poetic gift, so he is divinely inspired. The poet says that when God enlightens him, he sings. Under divine inspiration, he harmoniously sings. When he is inspired, his heart breaks with pride and joy, and tears of joy pour out of his eyes. In such moments of inspiration, his soul is one with the divine, and he stands face to face with God, his Maker. There is much that is discordant, ugly, foul and wicked in the human soul, but music purifies the soul of that wickedness. The discordant or jarring elements are reduced to harmony, and peace descends on the human soul. Music has an ennobling and uplifting effect on the human soul. Mystic bliss results when one devotes one's talents to worship of God. In such moments the human soul rises high to become one with God, its maker. The human soul is likened to a bird with its wings out-spread, flying across the sea of eternity in its efforts to reach the divine.

Stanza.2: 

Paraphrase:.

The poet knows that God takes pleasure in his song, for harmony of discordant notes is the basis of a song, and such harmony is also the basis of God's creation. A musician brings order out of disorder, just as God Himself imposed law and order on chaos—a welter of warring elements—and in this way creation took place. This creation is the music of God. That is why it is only through music that the human soul can become one with the divine. The poet says with great humility that even in moments of such mystic inspiration, he does not have a full glimpse of Him. He only hopes to touch His feet with the out-spread wings of his soul. However, intoxicated with the ecstatic joy, resulting from his inspired singing, he forgets that he is the servant of God and not His equal. God is his lord and master, but in such moments of mystic ecstasy he begins to feel that he is the equal and friend of God, instead of being a mere humble devotee.

Critical Appreciation:

Introduction: .

The song entitled When Thou Commandest Me is a beautiful poem which has been extracted from Tagore's collection of songs entitled Gitanjali. In this song, the poet emerges as a mystic longing and endeavoring to meet his lord and merge his identity into him. The song gives expression to the poet's most sincere and intense feelings of ecstasy, pride, admiration, gratitude and humility. 

Thought-Content: 

According to the poet, he sings because God wills him to do so. It is only under divine inspiration that he can sing. His heart is filled with ecstasy and pride and tears come to his eyes when he feels thus divinely favoured and inspired. Whatever has been coarse and cruel, all that is full of strife and discord gets dissolved into the harmony of sweet music. The base and selfish instincts are sublimated into love and devotion. The poet has become a worshipper and lover of God. His adoration spreads wings like a glad bird taking its flight across the sea. He wants to reach God through his songs. The human soul is compared to a bird with its wings out-spread, flying across the sea of eternity in its efforts to reach the divine. 

The poet knows that God is pleased with his songs and it is only through singing that he can realise the divine presence in his life. Born aloft by the wings of his song: he can touch the divine feet which otherwise he could never hope to reach. When he feels the presence of the Divinity in his heart he is overwhelmed with ecstasy. He forgets that he is only a servant and calls God as his friend who is really his lord and master. 

His Lyricism: 

Tagore's lyrics have supreme beauty. They shine like smile. Some of them glisten like tears, some blush like the cheeks of a pride and some flash like lightning in the darkness of soul. Sarojini Naidu's dictum that his songs are the Lyre of Heaven is a true summary of Tagore's lyricism. Tagore as a supreme lyricist prays: 

All that is harsh and dissonant in my life melts into one sweet harmony-and my adoration spreads wings like a glad bird on its flight across the sea. I know thou takest pleasure in my singing. I know that only as a singer I come before thy presence. 

Drunk with the joy of singing. I forget myself and call thee friend who art my lord. 

The Use of Images: 

The poet expresses his visions, emotions and experiences through metaphor, simile, and personification and mythological or legendry images: 

 "All that is harsh and dissonant in my life melts into one sweet harmony-and my adoration spreads wings like a glad bird on its flight across the sea." 

The poet reveals himself through images in which the tenors and vehicles reciprocate. For instance, the poet and God appear to be singers. Both are related to music imagery: 

Poet's Emotions: 

In utter humility and gratitude the poet confesses that he sings because of God's inspiration. This singular honour of divine inspiration makes the poet full of gratitude and he feels that his heart is incapable of harbouring such immense joy and may burst. Such feelings bring tears and joy to his eyes. 

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Gitanjali 3

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I know not how thou singest, my master! I ever listen in silent amazement.

The light of thy music illumines the world. The life breath of thy music runs from sky to sky. The holy stream of thy music breaks through all stony obstacles and rushes on.

My heart longs to join in thy song, but vainly struggles for a voice. I would speak, but speech breaks not into song, and I cry out baffled. Ah, thou hast made my heart captive in the endless meshes of thy music, my master!

From  Gitanjali  (Macmillan and Company, 1916) by Rabindranath Tagore. This poem is in the public domain.

More by this poet

Gitanjali 15.

I am here to sing thee songs. In this hall of thine I have a corner seat.

In thy world I have no work to do; my useless life can only break out in tunes without a purpose.

When the hour strikes for thy silent worship at the dark temple of midnight, command me, my master, to stand before thee to sing.

When in the morning air the golden harp is tuned, honour me, commanding my presence.

Gitanjali 14

My desires are many and my cry is pitiful, but ever didst thou save me by hard refusals; and this strong mercy has been wrought into my life through and through.

Day by day thou art making me worthy of the simple, great gifts that thou gavest to me unasked—this sky and the light, this body and the life and the mind—saving me from perils of overmuch desire.

There are times when I languidly linger and times when I awaken and hurry in search of my goal; but cruelly thou hidest thyself from before me.

Gitanjali 13

The song that I came to sing remains unsung to this day.

I have spent my days in stringing and in unstringing my instrument.

The time has not come true, the words have not been rightly set; only there is the agony of wishing in my heart.

The blossom has not opened; only the wind is sighing by.

I have not seen his face, nor have I listened to his voice; only I have heard his gentle footsteps from the road before my house.

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Marjorie Perloff, Leading Scholar of Avant-Garde Poetry, Dies at 92

A forceful advocate for experimental poetry, she argued that a critic’s task was not to search for meaning, but to explicate the form and texture of a poem.

By Clay Risen

Marjorie Perloff, whose incisive, at times idiosyncratic readings of avant-garde artists like Ezra Pound, John Cage and John Ashbery made her one of the world’s leading scholars of contemporary poetry, died on Sunday at her home in the Pacific Palisades neighborhood of Los Angeles. She was 92.

Her daughters, Carey and Nancy Perloff, confirmed the death.

Professor Perloff, who spent the latter part of her career at Stanford University, made her name as a forceful advocate for experimental poetry, reaching back to early 20th-century writers like Pound and Gertrude Stein and embracing more recent movements like Language poetry and conceptual poetry.

Such work is sometimes dismissed as intentionally difficult, but Professor Perloff managed to parse and explain it in clear, jargon-free books and essays for both academic and general-interest readers. She argued that a critic’s task was not to search for meaning, but to explicate the form and texture of a poem.

“Many people faced with difficult, abstract, nontraditional writing don’t know what to say,” Charles Bernstein, a poet and professor emeritus of English at the University of Pennsylvania, said in a phone interview. “She’d make it familiar, she’d solve the puzzle, to some degree.”

Though she taught in some of the top literature programs in the country and served a term as president of the Modern Language Association, her field’s leading professional group, Professor Perloff was considered something of an outsider in the way she approached poetry and in the writers she chose to champion.

She was a critic of the Western canon, but not for the usual reasons. Her concern was not that it left out people of color or of non-European heritage, but that it was an obstacle to the avant-garde; indeed, she could be withering in her criticism of works by non-Western authors that nevertheless replicated the tropes of canonical writing.

Professor Perloff was an advocate of close reading, or the word-by-word, line-by-line examination of a text, and of seeking beauty in literature, long after both concepts had become suspect in some academic circles for playing down the social and political contexts of a work.

“She definitely turned against the reigning mode of whom to read and how to write about them to expand the canon and look at more challenging experimental work,” Andrew Epstein, a professor of English at Florida State University, said in a phone interview.

Professor Perloff gained notice with her 1977 book “Frank O’Hara: Poet Among Painters,” the first full-length assessment of a writer who until then had been largely ignored by scholars but who, in part thanks to her, has since come to be regarded as one of the most significant American poets of the past century.

Starting in the early 1980s, she wrote a series of books that traced the history of avant-garde poetry, along the way dipping into art, music and philosophy. She also argued that the rise of electronic media required radical new ways of writing and thinking.

In the face of a seemingly limitless access to information, Professor Perloff called for an appreciation of what she called “unoriginal genius” — the use of other people’s words in new and surprising ways.

She shed critical light on movements like Brazilian Concretism and the “constrained” writing of the French Oulipo group, as well as on individual contemporary avant-gardists like Mr. Bernstein, Lyn Hejinian ( who died last month) and Kenneth Goldsmith, whose 2007 work “Traffic” is a transcript of a weekend’s worth of traffic reports from a New York City radio station.

That might sound like an empty exercise, and Mr. Goldsmith has many detractors . But Professor Perloff admiringly placed his work within a sprawling context that encompassed Italian futurist writers, Russian Constructivist art and postwar American architectural criticism.

“In observing the Aristotelian unities of time, place and action,” she wrote in “Unoriginal Genius: Poetry by Other Means in the New Century” (2010), “Goldsmith has produced a powerful image of contemporary life in all its boredom, ritual, nervousness and fear.”

Professor Perloff was born Gabriele Schüller Mintz on Sept. 28, 1931, in Vienna. Her father, Maximilian, was a lawyer and close friend of the economist Friedrich Hayek. On March 15, 1938, two days after Nazi Germany annexed Austria, Gabriele and her family, who were Jewish, fled the country to New York. There her mother, Ilse (Schüller) Mintz, received a doctorate in economics from Columbia University and joined the staff of the National Bureau of Economic Research.

The Mintzes lived in the Riverdale section of the Bronx. At age 14, Gabriele changed her name to Marjorie, which she considered more American. She attended the Ethical Culture Fieldston School in the Bronx and then Oberlin and Barnard, where she studied English and graduated in 1953. That same year she married Joseph Perloff, a cardiologist.

Dr. Perloff, who pioneered the study of congenital heart disease, died in 2014 . Along with their two daughters, Professor Perloff is survived by three grandchildren.

Soon after marrying, the couple moved to Washington, where her husband joined the faculty at Georgetown University. Professor Perloff pursued a master’s degree in English at the Catholic University of America and later a doctorate, which she received in 1965 with a dissertation on William Butler Yeats.

She taught at Catholic from 1966 to 1971, when she moved to the University of Maryland. She remained there even after the Perloffs moved to Philadelphia so that her husband could take a job at the University of Pennsylvania, forcing her to commute some 130 miles each way, several days a week.

Dr. Perloff was a strong supporter of his wife’s career, and when she received a compelling offer to teach at the University of Southern California, he left his job to follow her. She taught there until 1986, when she moved to Stanford.

Though Professor Perloff took emeritus status in 2001, she remained active, writing reviews and essays for journals like Boston Review and The Times Literary Supplement, as well as seven more books, including a memoir, “The Vienna Paradox” (2004), and, in 2022, her translation of notebooks that the philosopher Ludwig Wittgenstein kept during World War I.

Just a few weeks before her death, the publisher Liveright released a new translation of Wittgenstein’s “Tractatus Logico-Philosophicus,” with a foreword by Professor Perloff.

“Many people in my field were always waiting to see what she’d do next,” Professor Epstein said.

Clay Risen is a Times reporter on the Obituaries desk. More about Clay Risen