rabindra nath  thakur   (tagore)

 

 

 DIPINTI DI R. TAGORE - Fantasy Animal  -  Birds  -  British Museum London

al museo di Rabindra Bharati chiamato anche Jorashanko Thakurbari  - calcutta -

si possono ammirare 40 dipinti - fotografie - scritti e oggetti personali

Tagore’s family made  also an art of draping sari

https://youtu.be/bBgFuQ_kNSc  -  tagore's painting

 

 

 

Asian Week a New York  2013
secondo posto a "Where the mind is without fear" realizzato da  Tagore nel 1910. inchiostro su carta quotata 100-150mila$ è passata di mano per 363mila $.
Acquirente un'istituzione asiatica.
riccarda mandrini - arteconomy24.ilsole24ore.com - 2013
Il mio istinto – ha scritto Tagore per il quale il ritmo era il principio di tutte le arti - mi ha indotto a conoscere che linee e colori nell’arte sono portatori di informazioni, ma cercano la loro incarnazione ritmica nelle immagini. Il loro scopo ultimo non è quello di illustrare o di copiare qualche fatto esterno o visione interiore, ma evolvere una totalità armonica che si trasforma attraverso i nostri occhi in immaginazione.
RT

     

INGRANDISCI

 

http://youtu.be/Zp6Js9pAOwc  

Natir Puja: The film directed by R. Tagore

dailymotion.com/tagore-au-petit-palais_creation

 

 

http://youtu.be/ubFc1nQdKYw  - nobel

 

... because of his profoundly sensitive, fresh and beautiful verse, by which, with consummate skill, he has made his poetic thought, expressed in his own English words, a part of the literature of the West ...

1913



vita della mia vita
sempre cercherò di conservare
puro il mio corpo
sapendo che la tua carezza vivente
mi sfiora tutte le membra.
Sempre cercherò di allontanare
ogni falsità dai miei pensieri
sapendo che tu sei la verità
che nella mente
mi ha acceso la luce della ragione.
Sempre cercherò di scacciare
ogni malvagità dal mio cuore
e farvi fiorire l’amore,
sapendo che hai la tua dimora
nel più profondo del cuore.
E sempre cercherò nelle mie azioni
di rivelare te
sapendo che è il tuo potere
che mi dà la forza di agire.
gitanjali – Il giardiniere





Il dolore della separazione
si spande per tutto il mondo
e fa nascere innumerevoli forme
nel cielo infinito.

La tristezza della separazione
fissa in silenzio per tutta la note
di stella in stella, e diventa canto
tra le foglie fruscianti
nella piovosa oscurità di luglio.

Questa pena che tutto pervade
s’infonda in amori e desideri,
in sofferenze e gioie nelle case umane
ed è la stressa che sempre si fonde
e sgorga in canti nel mio cuore di poeta.

Indugio
O morte, io so: tu hai intrecciato
un nido dentro il mio petto
dove in una serra solitaria fioriscono
tutti i miei affetti, i miei amori
le speranze segrete del cuore, le gioie
ed i dolori della vita, le pene dell'animo
tutti i desideri e le visioni, le lacrime ed i sorrisi
i segni e le immagini di ogni giorno
dove all'ombra di un Eden, senza timore
gioca il tesoro interiore
i pupazzi degli affetti, i ricordi degli amori
della vita, i raggi della felicità
Quante luci, quante ombre, lingue melodiose
di molti piccoli uccelli !
O morte, ho saputo: venuta qui dentro
hai intrecciato il mio nido.
Giorno e notte giochi insieme
col mondo interiore: vita irrequieta !
Osservo sulla via maestra il camminare

 

 

 

Tagore prize
Starting 2009, the Tagore Literature Awards will be announced in the last week of every December, after the winners of the general Akademi awards have been declared, Rao said. “We don’t want to club them,” the official added.     The Tagore awards will recognise the best literary contributions in eight Indian languages every year.

cithara paul - telegraphindia.com


Waiting
The song 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 ...
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 ...
But the lamp has not been lit
and I cannot ask him into my house
I live in the hope of meeting with him
but this meeting is not yet.





The Kiss
Lips' language to lips' ears.
Two drinking each other's heart, it seems.
Two roving loves who have left home
pilgrims to the confluence of lips.
Two waves rise by the law of love
to break and die on two sets of lips.
Two wild desires craving each other
meet at last at the body's limits.
Love's writing a song in dainty letters
layers of kiss-calligraphy on lips.
Plucking flowers from two sets of lips
perhaps to thread them into a chain later.
This sweet union of lips
is the red marriage-bed of a pair of smiles.

Tu sei la nuvola della sera
che vaga nel cielo dei miei sogni.
Io ti dipingo e ti modello
con i miei desideri d’amore.
Tu sei mia, solo mia
l’abitatrice dei miei infiniti sogni !
I tuoi piedi sono rosso-rosati
per la vampa del mio desiderio
spigolatrice dei miei canti
al tramonto !
Le tue labbra sono dolci-amare
del sapore del mio vino di dolore.
Tu sei mia, solo mia
abitatrice dei miei solitari sogni !
Ho oscurato i tuoi occhi
con l’ombra della mia passione
frequentatrice della profondità
del mio sguardo !
T’ho presa e ti stringo, amore mio
nella rete della mia musica.
Tu sei mia, solo mia
abitatrice dei miei immortali sogni !

 

Mi hai fatto senza fine
questa è la tua volontà.
Questo fragile vaso
continuamente tu vuoti
continuamente lo riempi
di vita sempre nuova.
Questo piccolo flauto di canna
hai portato per valli e colline
attraverso esso hai soffiato
melodie eternamente nuove.
Quando mi sfiorano le tue mani immortali
questo piccolo cuore si perde
in una gioia senza confini
e canta melodie ineffabili.
Su queste piccole mani
scendono i tuoi doni infiniti.
Passano le età, e tu continui a versare
e ancora c’è spazio da riempire.

 

fireflies
I touch God in my song
as the hill touches the far-away sea
with its waterfall.
The butterfly counts not months
but moments
and has time enough.
Let my love, like sunlight, surround you
and yet give you illumined freedom.
Love remains a secret even when spoken
for only a lover truly knows that he is loved.
Emancipation from the bondage of the soil
is no freedom for the tree.
In love I pay my endless debt to thee
for what thou art.




Speak to me, my love!
Tell me in words what you sang.
The night is dark.
The stars are lost in clouds.
The wind is sighing through the leaves.
I will let loose my hair.
My blue cloak will cling round me
like the night.
I will clasp your head to my bosom
And there in the sweet loneliness murmur
on your heart.
I will shut my eyes and listen.
I will not look in your face.
When your words are ended
we will sit still and silent.
Only the trees will whisper in the dark.
The night will pale.
The day will dawn.
We shall look at each other's eyes
and go on our different paths.
Speak to me, my love!
Tell me in words what you sang.
the gardener

 

IL NATALE  secondo tagore

Le sue parole sembrano state scritte oggi, per noi, ma portano la data del Natale 1932.    Il poeta e drammaturgo Tagore non è giunto a una fede cristiana esplicita   ma parla del Natale cristiano come noi oggi non avremmo il coraggio di fare. Fare una cerimonia religiosa particolare, in un giorno fissato per onorare i grandi uomini, è uno sdebitarci a poco prezzo. Non ricordandoci di loro per 364 giorni e onorandoli solo il 365°, noi facciamo piacere solo alla nostra vanità. La realizzazione della verità non sta nel riconoscere i nostri doveri: qui è facile sbagliarsi. Se cerchiamo di eliminare la nostra responsabilità ripetendo parole, rendiamo solo più difficile il cammino alla verità. Non vivendola nella nostra vita, pensiamo di salvarci presentando facili offerte di lode. Abbiamo ingabbiato dentro la ripetizione di rituali esteriori coloro che sono venuti a liberarci della esteriorità. Mi sento pieno di vergogna al pensiero di essere chiamato un giorno solo a compiere il rito celebrativo. È una mancanza di serietà molto grande ripagare con parole Colui al quale dobbiamo legarci con la vita. Parlerò della sua nascita legandola solo a una precisa data del calendario?

IL FIGLIO DEL PADRE È NATO NELLA NOSTRA VITA

il giorno in cui abbiano compiuto una rinuncia in nome della verità, il giorno in cui abbiamo chiamato fratello con amore vero un altro uomo. Questo è il Natale, in qualsiasi momento avvenga! Il giorno della nascita di Gesù può arrivare nella nostra vita in qualsiasi momento, così come il giorno della sua crocifissione arriva un giorno dopo l’altro. In questo giorno particolare, in tutti i paesi, in tutte le chiese si elevano inni di lode a Colui che ha parlato a tutti gli uomini del Padre supremo. E fuori da quelle stesse chiese la terra è bagnata dal sangue per l’uccisione dei fratelli. Coloro che oggi gli elevano inni di lode nel tempio, lo rinnegano col tuono del cannone, lo deridono nella sua parola facendo piovere dal cielo la morte. C’è un’avidità crudele: è tolto con violenza il cibo ai poveri. Coloro che non hanno il coraggio di affrontare le percosse opponendosi alla violenza nel nome di Cristo, ritti davanti all’altare, inneggiano con parole formali alla vittoria del Misericordioso trafitto dalla lancia. Allora, perché questo è un giorno di festa? Come posso sapere che Cristo è nato in terra? Di che cosa posso gioire? Come posso proclamare solo a parole la nuova nascita di quello stesso Gesù che da un’altra parte percuoto con le mie stesse mani? Anche oggi nella storia umana Egli è crocifisso ogni momento.

EGLI HA CHIAMATO L’UOMO FIGLIO DEL PADRE SUPREMO.

Ha detto al fratello di unirsi al fratello; ha fatto umile offerta della verità umana sull’altare. Ci ha esortato con parole eterne all’unità. Ma di secolo in secolo noi abbiamo rigettato il suo invito. Abbiamo fatto di tutto per opporci alla sua parola. Nelle formule dei Veda è scritto che Dio è Padre; per questo c’è la preghiera: «Si risvegli in noi la coscienza che Egli è Padre!». Colui che è venuto a darci la consapevolezza di questa paternità, frustrato e deriso è arrivato alla nostra porta. Non releghiamo la sua parola solo nel canto e nelle lodi. Oggi è giorno per pentirsi, non per godere. Oggi la vergogna per quello che l’uomo compie pervade tutto il mondo. Abbassiamo nella polvere il nostro capo altezzoso e dagli occhi scendano lacrime. Il Natale è un giorno di riflessione, un giorno per farci tutti umili.

Santiniketon, 25 dicembre 1932

astori.it  - jesuschrist.it - cbci.org

 

 

       tagore_einstein_gandhi      

 

 

Rabindranath Tagore  

In Conversation with Albert Einstein

Tagore and Einstein met through a common friend, Dr. Mendel. Tagore visited Einstein at his residence at Kaputh in the suburbs of Berlin on July 14, 1930, and Einstein returned the call and visited Tagore at the Mendel home. Both conversations were recorded. The July 14 conversation is reproduced here, and was originally published in The Religion of Man (George, Allen & Unwin, Ltd., London), Appendix II, pp. 222-225.

TAGORE: I was discussing with Dr. Mendel today the new mathematical discoveries which tell us that in the realm of infinitesimal atoms chance has its play; the drama of existence is not absolutely predestined in character.
EINSTEIN: The facts that make science tend toward this view do not say good-bye to causality.
TAGORE: Maybe not, yet it appears that the idea of causality is not in the elements, but that some other force builds up with them an organized universe.
EINSTEIN: One tries to understand in the higher plane how the order is. The order is there, where the big elements combine and guide existence, but in the minute elements this order is not perceptible.
TAGORE: Thus duality is in the depths of existence, the contradiction of free impulse and the directive will which works upon it and evolves an orderly scheme of things.
EINSTEIN: Modern physics would not say they are contradictory. Clouds look as one from a distance, but if you see them nearby, they show themselves as disorderly drops of water.
TAGORE: I find a parallel in human psychology. 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 impulse? And is there a principle in the physical world which dominates them and puts them into an orderly organization?
EINSTEIN: Even the elements are not without statistical order; elements of radium will always maintain their specific order, now and ever onward, just as they have done all along. There is, then, a statistical order in the elements.
TAGORE: Otherwise, the drama of existence would be too desultory. It is the constant harmony of chance and determination which makes it eternally new and living.
EINSTEIN: I believe that whatever we do or live for has its causality; it is good, however, that we cannot see through to it.
TAGORE: There is in human affairs an element of elasticity also, some freedom within a small range which is for the expression of our personality. It is like the musical system in India, which is not so rigidly fixed as western music. Our composers give a certain definite outline, a system of melody and rhythmic arrangement, and within a certain limit the player can improvise upon it. He must be one with the law of that particular melody, and then he can give spontaneous expression to his musical feeling within the prescribed regulation. We praise the composer for his genius in creating a foundation along with a superstructure of melodies, but we expect from the player his own skill in the creation of variations of melodic flourish and ornamentation.

In creation we follow the central law of existence, but if we do not cut ourselves adrift from it, we can have sufficient freedom within the limits of our personality for the fullest self-expression.
EINSTEIN: That is possible only when there is a strong artistic tradition in music to guide the people's mind. In Europe, music has come too far away from popular art and popular feeling and has become something like a secret art with conventions and traditions of its own.
TAGORE: You have to be absolutely obedient to this too complicated music. In India, the measure of a singer's freedom is in his own creative personality. He can sing the composer's song as his own, if he has the power creatively to assert himself in his interpretation of the general law of the melody which he is given to interpret.
EINSTEIN: It requires a very high standard of art to realize fully the great idea in the original music, so that one can make variations upon it. In our country, the variations are often prescribed.
TAGORE: If in our conduct we can follow the law of goodness, we can have real liberty of self-expression. The principle of conduct is there, but the character which makes it true and individual is our own creation. In our music there is a duality of freedom and prescribed order.
EINSTEIN: Are the words of a song also free? I mean to say, is the singer at liberty to add his own words to the song which he is singing?
TAGORE: Yes. In Bengal we have a kind of song-kirtan, we call it-which gives freedom to the singer to introduce parenthetical comments, phrases not in the original song. This occasions great enthusiasm, since the audience is constantly thrilled by some beautiful, spontaneous sentiment added by the singer.
EINSTEIN: Is the metrical form quite severe?
TAGORE: Yes, quite. You cannot exceed the limits of versification; the singer in all his variations must keep the rhythm and the time, which is fixed. In European music you have a comparative liberty with time, but not with melody.
EINSTEIN: Can the Indian music be sung without words? Can one understand a song without words?
TAGORE: Yes, we have songs with unmeaning words, sounds which just help to act as carriers of the notes. In North India, music is an independent art, not the interpretation of words and thoughts, as in Bengal. The music is very intricate and subtle and is a complete world of melody by itself.
EINSTEIN: Is it not polyphonic?
TAGORE: Instruments are used, not for harmony, but for keeping time and adding to the volume and depth. Has melody suffered in your music by the imposition of harmony?
EINSTEIN: Sometimes it does suffer very much. Sometimes the harmony swallows up the melody altogether.
TAGORE: Melody and harmony are like lines and colors in pictures. A simple linear picture may be completely beautiful; the introduction of color may make it vague and insignificant. Yet color may, by combination with lines, create great pictures, so long as it does not smother and destroy their value.
EINSTEIN: It is a beautiful comparison; line is also much older than color. It seems that your melody is much richer in structure than ours. Japanese music also seems to be so.
TAGORE: It is difficult to analyze the effect of eastern and western music on our minds. I am deeply moved by the western music; I feel that it is great, that it is vast in its structure and grand in its composition. Our own music touches me more deeply by its fundamental lyrical appeal. European music is epic in character;

it has a broad background and is Gothic in its structure.
EINSTEIN: This is a question we Europeans cannot properly answer, we are so used to our own music. We want to know whether our own music is a conventional or a fundamental human feeling, whether to feel consonance and dissonance is natural, or a convention which we accept.
TAGORE: Somehow the piano confounds me. The violin pleases me much more.
EINSTEIN: It would be interesting to study the effects of European music on an Indian who had never heard it when he was young.
TAGORE: Once I asked an English musician to analyze for me some classical music, and explain to me what elements make for the beauty of the piece.
EINSTEIN: The difficulty is that the really good music, whether of the East or of the West, cannot be analyzed.
TAGORE: Yes, and what deeply affects the hearer is beyond himself.
EINSTEIN: The same uncertainty will always be there about everything fundamental in our experience, in our reaction to art, whether in Europe or in Asia. Even the red flower I see before me on your table may not be

the same to you and me.
TAGORE: And yet there is always going on the process of reconciliation between them, the individual taste conforming to the universal standard.

mukto-mona.com - cs.brockport.edu

 

  

         I have no special talent.       I am only passionately curious      

albert einstein

 

       in questo mondo è più difficile vincere il pregiudizio che dividere l'atomo       

albert einstein

 

 

 

 

 

IMPORTANTE MANOSCRITTO DI EINSTEIN NEGLI ARCHIVI DELL'UNIVERSITA' DI LEYDE - OLANDA
un saggio di 16 pagine in tutto. risale al 1924 e descrive la trasformazione degli atomi di un gas a temperature molto basse. Tale processo è attualmente conosciuto come condensazione Bose-Einstein. Negli anni Venti Einstein giro' in lungo e in largo l'Europa per tenere conferenze e letture sulle sue teorie.

adnkronos

 

  EINSTEINJAHR 2005 

 

 

Tagore in the United States : A Brief Discussion

Recently I have heard certain questions being raised pertaining to Rabindranath Tagore's relationship with the United States. Some have expressed interest in this matter as well. Hence,this rather brief discussion.
Tagore had sent his eldest son Rathindranath and Santosh Chandra, the son of a friend to study agriculture and animal husbandry in the United States when the boys were respectively seventeen and eighteen years old. His intention was to have them acquire scientific knowledge to help solve the problem of persistent food shortage in India. In those days (1905) it was far more common for the sons of affluent families to travel abroad (typically England) to study law or prepare for civil service by completing the ICS (Indian Civil Service) examinations (translator's note: in this, as in many other matters, these aspects of Tagore's thoughts and visions were clearly precursors of attempts at national reconstruction and development which became a hallmark of Mahatma Gandhi 's activities later. Tagore's and Gandhi's views and methodologies, however, were not often convergent). Sometime later, Rabindranath sent his youngest son-in-law Nagendranath Gangopadhyay to the United States for the same purpose. It was extremely rare in those days to choose the United States for higher studies over England, Germany, France or Japan. Rathindranath has recounted in his Pitrismriti and On the Edges of Time that no one from the University of Illinois was present to receive him at the railway station because they had presumed that two students were due to arrive from Indiana (instead of India)!
Tagore traveled to the United States for the first time near the end of 1912, accompanied by Rathindranath and his daughter-in-law Pratima Devi. Even though he was then over fifty, his name was hardly known in the West. From New York, they traveled to Urbana, the small town where Rathindranath had studied at the university. This time Rathindranath began graduate studies in biology (translator's note: his intentions to pursue a doctoral degree, however, were never fulfilled- see The Myriad-Minded Man (MMM) by Krishna Datta and Andrew Robinson). Rabindranath, meanwhile, read from translations of some of his essays in Bengali at the local Unitarian Church. These were his first lectures outside India. Perhaps because his own Brahmo faith had Unitarian influences, his audiences seemed to have liked these writings. Near the beginning of 1913, he read a few more essays in Chicago, and then proceeded to Rochester, New York, to attend a conference on religions. Here he presented a lecture under the title Race Conflict. Thereafter, he went to Harvard to present a few more talks. After traveling to a few more cities he returned to Urbana. After six months there, the poet grew tired mentally. It had been planned originally that they would stay there a while, and Rathindranath would finish his research in the meantime. It was not to be. The chief outcome of this trip was a major change in Tagore's conceptions for the Brahmacharya Ashram at Santiniketan. He felt deeply the need to establish a technical division and a hospital there, and educate the students in science. In his new conception, Jagadananda Roy (a science teacher and writer of popular science- translator) and Rathindranath would carry out experimental research in laboratories. The idea of establishing a university at Santiniketan also germinated in his mind at this time.
Realizing that receiving (British) government money for his work at Santiniketan might interfere with his freedom (translator's note: in a related letter, he asserted "no one is going to put chains on my feet"- see MMM), Rabindranath worked tirelessly for the rest of his life to raise much-needed funds for carrying out his novel experiments in education from within and outside India. His efforts to use his students in the production of plays and dance-dramas even in old age were also motivated by the same desire. Unfortunately, he continued to face acute financial woes again and again.
In 1916, Major J.B.Pond of the J.B.Pond Lyceum proposed to Tagore that he would receive a compensation of $12,000 if he agreed to present lectures at several U.S. cities in accordance with an itinerary drawn up by his organization. On account of his Nobel Prize, and the fact that many of his writings had by then been translated into several European languages, Rabindranath was at this time an internationally renowned figure. Accompanying Tagore on his trip this time were C.F.Andrews, William Pearson and Mukul De, a young painter. Beginning with Seattle, Rabindranath traveled across the United States, lecturing in city after city, sometimes repeating the same talks, until he arrived in New York. In a letter written during that tour, he wrote (to paraphrase a delightfully rhyming bon mot), "I travel, I roar, I earn, I dissipate". At length, the arrangement became sufficiently unbearable, and Rabindranath was forced to cancel his contract despite a high financial loss. The lectures he presented on the tour may be found in his books Nationalism and Personality. At the time of the tour, Europe was engaged in World War I. He repeatedly warned that the spirit of extreme and virulent nationalism would drag the world towards destruction, and advocated vigilance and restraint. Judging by the events that followed twenty or twenty-five years later, it is eminently clear that Tagore's prophesies were right on the mark. The seed of World War II may be found dormant within the events of this period. Sometime later, Bertrand Russell spoke sternly against narrow nationalism and the institution of war and was imprisoned. Many in Europe and America were greatly piqued by Tagore's pacifist and anti-nationalist message. This might well be the primary reason behind the erosion of his popularity in the West.
Upon arriving in New York on a tour of the United States in 1920 Tagore observed that the enthusiasm and ebullience with which he had been received during his preceding visit were palpably lacking this time around. He gave a few lectures in New York and at Harvard, no doubt, but there was a clear absence of sincerity and warmth all around him. This time his efforts at fund-raising for Visva-Bharati met with even more dismal results. Not many seemed to be eager to pay much heed to the message of India's "mystic" poet, nor had any interest to know about Visva-Bharati. Feeling imprisoned within the walls of the sky-hugging luxury hotel, he became quite weary and restless. He attempted to arrange a meeting with Mrs. Carnegie; she declined. The Rockefellers, likewise, spurned his overtures (translator's note: in this context, it is tempting to cite an incident that occurred during Tagore's stay at Yama Farms, a retreat for American millionaires and their guests- intellectuals of world stature. It turns out that late one day, while two emigre Russian artists were busy sketching him, Tagore pulled out a handkerchief from inside his robe, and a dime fell out. Tagore apparently said to his visitors, "Isn't it odd, an old gentleman gave me this as he was waiting for his car. Do I look like a tramp?" The infamous dime, it seems, was given to him as alms earlier that day by a stranger! Upon further inquiry, it was determined that the benevolent donor was none other than John D. Rockefeller, who had mentioned giving the dime to "an old Negro!". Readers may draw their own conclusions about America's super-rich from this incident. To find out more, see MMM). About a month later, he received an invitation from the Junior League; however, here, too, he was unsuccessful in raising any money. One professor wanted to know the British government's attitude towards Santiniketan. It gradually became clear to Rabindranath that his relinquishment of the Knighthood in 1919 in protest of the Amritsar massacre had not pleased Americans either. On a more positive note, the American Poetry Society gave him a warm reception.
Later, in Chicago, Tagore stayed for a few days at the home of Mrs. Moody, wife of a professor at the University of Illinois. The English version of his Chitra was dedicated to her. Meanwhile, Major Pond of the Lyceum had arranged for fifteen lectures in Texas. During this lecture tour Rabindranath met Leonard Elmhirst for the first time. This young Englishman (translator's note: Elmhirst had a degree in agriculture from Cornell University) later helped Rabindranath considerably in his rural development project at Sriniketan, a hamlet near Santiniketan. He accompanied Tagore on his journey to South America in 1924, and when Tagore fell ill on board the ship, took care of him for two months in Argentina. Elmhirst's American friend, Dorothy Straight, who later became his wife, provided funds for the work at Sriniketan (translator's note: she apparently did so more out of her fondness for Elmhirst than for her interest in Tagore or his educational projects- see MMM). Overall, Tagore received little by way of funds or recognition from this tour of the United States. Compared with England, the lack of idealism he witnessed there became recurrent in his memory for years afterwards.
In 1929, Canada's Council of Education invited Tagore to discuss his ideas on Education and Leisure. This was his first formal recognition as an educator from outside India. In Vancouver, he met Canada's Governor General, Lord Willingdon, who later became Viceroy of India.
During the tour of 1929, Rabindranath received invitations from several U.S. cities, and eventually arrived at Los Angeles. It was the encounter with immigration officials at this port of entry that offended Tagore greatly (translator's note: he was detained for half an hour, asked questions such as if he had any criminal record, and finger-printed, among other acts of humiliation). Abruptly cutting his visit short, he decided to go to Japan instead. "I am sorry I must take back this memory of American bad manners he said later. Incidentally, it may be mentioned that he was detained for several hours by U.S. customs in 1912.
Following his tour of the Soviet Union, Tagore returned to the U.S. for what would be his last visit in late 1930. He waited in vain for a month and a half to meet with the Rockefellers. One business organization welcomed him at a lavish dinner reception (with 500 invited guests). Commenting on the reception, the Saturday Review observed that even though there were several well-known business and wealthy personages listed among the invitees, there was not one recognizable writer or poet among them. The Review wondered if such a thing could have happened in France, for instance. Rabindranath had a meeting with President Herbert Hoover, arranged by the Ambassador of Great Britain. There were several exhibitions of his paintings; however, no lectures were organized. Most Americans were presumably wary of the possibility that Tagore might compliment the Soviet socialist experiments. Once again, his hopes of raising funds for education in the U.S. were dashed.
In conclusion, it may be said that during the first third of this (the twentieth) century, the United States lagged considerably behind Europe both culturally and intellectually. Few Americans had any interest about the civilization or heritage of Oriental cultures (translator's note: with a few exceptions, such as the historian and scholar Will Durant). Sadly, such interest is generally lacking even today. It is true that the writings of Ralph W. Emerson (translator's note: and also Henry D. Thoreau), the famed Boston brahmin who had great regard for Indian culture, inspired many educated Bengalis at the time. However, while Tagore met first-rate intellectuals and thinkers in many countries of the world who pointed him in new directions, and illuminated him further in his efforts at uniting the East and the West, such individuals were sorely lacking in the United States. The Hindu Poet's speeches on race relations and his exhortations about the consequences of narrow nationalism did not make much impact in American minds. We have seen already that his efforts at fund-raising for Santiniketan were largely futile. For these reasons, we find virtually no mention of the United States anywhere in Tagore's writings. Likewise, Tagore, too, is largely forgotten today in the United States .

some material has been taken from Prabhat Kumar Mukhopadhyay's Rabindra Jivan Katha - cs.brockport.edu
by Dr. Rajat Chanda, Bell Laboratories, New Jersey, USA
translated with kind permission from the Bengali by Monish R. Chatterjee

  

disegno di william rothenstein - 1912
fb/rabindranath - 2015

 

 

You must be the change

you wish to see in the world

 

www.mkgandhi.org

 

TAGORE'S THOUGHTS

AND OPINIONS PROVOKED GANDHI AND NEHRU TO OPEN THEIR MINDS TO A LARGER WORLDVIEW. WHILE GANDHI WAS THE LEADER OF NATIONALISM AND NEHRU, THE NURTURER, TAGORE WAS THE UNACKNOWLEDGED FORCE BEHIND THEM.
timesofindia.indiatimes.com

 

 



I HOPE I AM AS GREAT A BELIEVER IN FREE AIR AS THE POET
GANDHI

.
EINSTEIN ON GANDHI
I BELIEVE THAT GANDHI'S VIEWS WERE
THE MOST ENLIGHTENED OF ALL THE POLITICAL MEN IN OUR TIME
WE SHOULD STRIVE TO DO THINGS IN HIS SPIRIT
NOT TO USE VIOLENCE IN FIGHTING FOR OUR CAUSE
BUT BY NON-PARTICIPATION IN ANYTHING YOU BELIEVE IS EVIL


La lezione più importante che l'uomo possa imparare in vita sua
non è che nel mondo esiste il dolore
ma che dipende da noi trarne profitto
che ci è consentito trasformarlo in gioia

 

 



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