CU-BA- English Literature- VI

["Depending on their research, researchers operationalize the term in different ways. There are many techniques to assess optimism, just like there are for evaluating any other trait characteristic. One such tool is the Life Orientation Test (LOT), an 8-item scale created in 1985 by Michael Scheier and Charles Carver. When assessing dispositional optimism and pessimism , people are often asked if they anticipate positive or negative events in the future (see below). Each person receives a unique optimism and pessimism score from the LOT. These two scores correlate behaviorally at a r = 0.5 level. Higher social standing, better relationship outcomes, and a decreased loss of wellbeing after adversity are all predicted with optimistic scores on this scale. Optimism is linked to health- promoting behaviors, while pessimism is linked to health-harming habits. According to others, optimism and pessimism represent the two extremes of the same continuum, with any difference between them reflecting factors like social desirability. However, confirmatory modeling backs a two-dimensional model, and the two dimensions predict various results. The common association between pessimism and optimism emerges as a result of a general well-being component and impacts from the family environment, according to genetic modeling, which supports this independence. Patients with high dispositional optimism may have a stronger immune system because it protects it from psychological stressors, according to some research. It seems that optimists live longer. Explaining in style Different from dispositional theories of optimism is explanatory style. The attributional style theory contends that dispositional optimism and pessimism are reflections of the ways people interpret events, i.e., that attributions produce these dispositions, even though it is related to life- orientation measures of optimism. An optimist would see this failure as transient, not applicable in future situations, and not their fault. Measures of attributional style separate explanations for occurrences along three dimensions: whether they are based on internal or external causes, whether they are thought to be stable or unstable causes, and whether they are general or situation-specific. The metrics also differentiate between attributions for good and negative occurrences. An optimist believes that good things have underlying, stable, and universal causes. Pessimistic theories link bad events, including relationship difficulties, to these attributes of stability, globality, and internality. Models of optimistic and pessimistic attributions demonstrate that attributions itself are a cognitive style; people who favor global explanations do so for all different kinds of occurrences, and the styles are correlated. Furthermore, people differ in how pessimistic they attribute negative occurrences and how optimistic they attribute positive events, yet these two attributes of optimism and pessimism are unrelated. The connection between an explanation style and optimism is a hot topic of discussion. Some academics contend that optimism is merely the colloquial name for explanatory style. 101","Explanatory style is often found to be significantly different from dispositional optimism, and the two should not be used interchangeably as they have, at best, a weak relationship. To \\\"bridge\\\" or further differentiate these notions, more research is needed. Origin: Differences in dispositional optimism and pessimism as well as in attributional style are heritable, just like all psychological traits. Environmental factors, such as the family environment, have a significant impact on both optimism and pessimism. Optimism has been hypothesized to be a reflection of underlying hereditary characteristics including IQ, temperament, and alcoholism. Twin studies have shown evidence that, for example, roughly 25% of dispositional optimism is inherited, making this trait a stable personality dimension and a predictor of life outcomes. The susceptibility to depression over the course of a person's lifespan is also determined by their genetic make-up, which interacts with environmental factors and other risks. Numerous theories contend that optimism can be acquired, and evidence suggests that the familial environment can moderately influence both optimism and neuroticism and pessimism. According to work using brain imaging and biochemistry, optimism and pessimism are biological traits that are related to brain circuits that are specifically designed for absorbing and incorporating views about good and bad information, respectively. Optimism and well-being: Numerous researches on optimism and psychological health have been conducted. In a 30-year study, Lee et al. (2019) evaluated cohorts of men from the Veterans Affairs Normative Aging Study and women from the Nurses' Health Study for general optimism and lifespan. The researchers discovered a link between more optimism and extraordinary longevity, which they defined as a life expectancy of above 85 years. Aspinwall and Taylor (1990) evaluated incoming freshmen on a number of personality traits, including optimism, self-esteem, locus of control, and others. While accounting for other personality traits, it was discovered that freshmen with high optimism scores prior to enrolling in college reported experiencing less psychological suffering than their more pessimistic classmates. The more upbeat students eventually experienced less anxiety, loneliness, and depression than their pessimistic classmates. As a result, this research points to a robust connection between optimism and psychological health. Low optimism may also contribute to the connection between carers' rage and a diminished sense of vitality. An optimistic outlook is favorably connected with life satisfaction, pleasure, and psychological and physical well-being and adversely correlated with depression and anxiety, according to a recent meta-analysis of the topic. This finding was confirmed by earlier research. 102","Researchers have discovered an explanation for the correlation: optimistic people lead healthier lives. For instance, optimists smoke less, engage in more exercise, eat more fruits, vegetables, and whole-grain bread, and drink alcohol in moderation. From the story narrated by Prabhat Kumar: The girl leaves without saying anything, but she never gives up. Even though she now carries a heavier burden as a result of her brother's passing, she still clings to the hope of improving the lives of her family. And I salute all of the unmarked troops who risk their lives every day, fight with a smile, and dream of a better future despite enormous obstacles. 6.3 SUMMARY \uf0b7 In Bengali literature, Prabhat Kumar Mukhopadhyay is a well-known and renowned author. After Rabindranath Tagore, he is the author of short stories with the most recognition. He also produced poetry, short stories, and novels. His poetry was published in the Bengali magazine Bharati when he was still in school. His short writings, which focus on a simple, clear outlook on life, helped him become well-known. Throughout his career, he produced fourteen volumes and around a hundred novellas. His pseudonyms included Sri Janoarchandra Sharma and Srimati Radhamoni. Maggie, a young adolescent British girl, resides with her army brother Frank and her mother Mrs. Clifford, who is widowed. Frank served as a soldier on the British Army's Indian frontier. Maggie and her mother had been worried and terrified about Frank for months because they had not heard anything about him. Mrs. Clifford wanted to meet an Indian who could allay her fears for her son's safety and disprove her preconceived notions about India. Maggie had the good fortune to meet Mr. Gupta, an Indian man, in a London restaurant. She begged him, and he agreed to follow her poor family to Lambeth. \uf0b7 After a lengthy conversation with Mr. Gupta, Mrs. Clifford felt relieved. He seemed like a yogi to her, so she instructed him to concentrate on the crystal on the ring Frank had given her as a present from India. The ring was rumored to possess magical powers and could be focused on to prophesy anything about anyone. Despite not believing in superstitions, Mr. Gupta was compelled by Maggie to examine the ring, despite his abject failure. 103","\uf0b7 Three months later, Mrs. Clifford's health started to rapidly decline. Maggie asked Mr. Gupta for help in a letter that she sent him. When Mr. Gupta arrived, Maggie urged him to concentrate once more on the ring. \uf0b7 Maggie asked Mr. Gupta for help in a letter that she sent him. Maggie advised that Mr. Gupta tell a fib regarding Frank's safety in order to protect her mother and requested him to concentrate on the ring once more when he arrived. After Mr. Gupta did the same, Mrs. Clifford rapidly made a full recovery. \uf0b7 Frank, on the other side, had already been killed at that point near the Indian border. Maggie visited Mr. Gupta the day before he left to say goodbye and to give him a shilling for setting flowers on her brother's grave. Mr. Gupta did not have the courage to go to Maggie's home to offer condolences and inform them of his departure when it came time for him to return to India. Mr. Gupta was hesitant to accept the money at first, but he quickly came to the conclusion that he couldn't take away Maggie's satisfaction from making such a significant and big sacrifice. 6.4 KEYWORDS \uf0b7 LOT: Life Orientation Test \uf0b7 Vitality: the state of being strong and active energy. \uf0b7 Susceptibility: the state or fact of being likely or liable to be influenced or harmed by a particular thing. \uf0b7 Pessimism: a tendency to see the worst aspect of things or believe that the worst will happen. \uf0b7 Diminished: made smaller or less. \uf0b7 Enormous: very large in size, quantity, or extent. \uf0b7 Troops: soldiers or armed forces. 6.5 LEARNING ACTIVITY 1. What was the girl's opinion of India? 2. Was Maggie satisfied with her work? If not, why not? 3. What do you mean by \u2018brain activity in the Number of Flowers? 4. Why did Maggie ask the narrator if she was a vegetarian? 5. Why did Mr Gupta go to Maggie's house? 104","6. How did Mr Gupta describe India to Mrs Clifford? 6.6 UNIT END QUESTIONS A. Decriptive Questions Short Questions 1. What do you understand about the living conditions of Maggie and her mother? 2. What was Mr Gupta's role in his life? 3. How did Mr Gupta describe India to Mrs Clifford? 4. What is the role of faith in the story? 5. What is your opinion of the girl in the number of flowers? 6. How did you know the girl wanted to know who the narrator was? 7. What do you understand about the girl's possible financial situation? Long Questions 1. Explain all the messages that we get from the story? 2. What is sacrifice? Explain in detail. 3. What is Empathy? Explain in detail. 4. What is Optimism? Explain in detail. 5. Explain Spirituality in detail and also in the story. 6. \u2018It\u2019s not the same everywhere and it\u2019s not the same all year round in India.\u2019 Why? 7. Explain the title of the story. B.Multiple Choice Questions 1. The price of flowers is written by a. Prabhat Kumar Mukhopadhyay. b. Praveen Kumar c. P. Varkey d. Prashant Mukhopadhyay 2. The story was initially written in a. Bengali b. English c. Marathi 105","d. Hindi 3. The story was set up in a. London b. Europe c. America d. India 4. The story was about a _______ a. A poor English Family b. A rich English family c. An Indian Family d. No family 5. The story is about a young but _____ a. poorBritishteenagegirl b. richBritishGirl c. Anoldlady d. A youngman Answers 1-a , 2- a , 3- a, 4- a, 5-a. 6.7 REFERENCES \uf0b7 Breckler, Steven J.; Olson, James; Wiggins, Elizabeth (2006). Social Psychology Alive. Belmont, CA: Thomson Learning. pp. 190. ISBN 0534578349. \uf0b7 Scheier, M. F.; Carver, C. S. (1987). \\\"Dispositional optimism and physical well-being: the influence of generalized outcome expectancies on health\\\". Journal of Personality. 55 (2): 169\u2013210. doi:10.1111\/j.1467-6494.1987.tb00434.x. PMID 3497256. \uf0b7 House, J.; Landis, K.; Umberson, D (1988-07-29). \\\"Social relationships and health\\\". Science. 241 (4865): 540\u2013 545. Bibcode:1988Sci...241..540H. doi:10.1126\/science.3399889. PMID 3399889. \uf0b7 Lorant, Vincent; Croux, Christophe; Weich, Scott; Deli\u00e8ge, Denise; Mackenbach, Johan; Ansseau, Marc \uf0b7 \\\"prabhat-kumar-mukhopadhyay\\\". readbengalibooks.com. Retrieved 5 March 2020. \uf0b7 Samsad Bangali Charitabhidhan (Biographical dictionary), Sengupta, Subodh and Bose, Anjali, 1976, Sahitya Samsad, Calcutta. 106","Website \uf0b7 https:\/\/theconversation.com\/understanding-others-feelings-what-is-empathy-and-why-do- we-need-it- 68494#:~:text=Empathy%20is%20important%20because%20it,leads%20to%20more%2 0helping%20behaviour. \uf0b7 https:\/\/www.rcpsych.ac.uk\/docs\/default-source\/members\/sigs\/spirituality-spsig\/what-is- spirituality-maya-spencer- x.pdf?sfvrsn=f28df052_2#:~:text=Spirituality%20involves%20the%20recognition%20of, cosmic%20or%20divine%20in%20nature. \uf0b7 https:\/\/smartenglishnotes.com\/2020\/08\/26\/the-price-of-flowers-by-prabhat-kumar- mukhopadhyay-summary-theme-characterization-title-and-questions\/ \uf0b7 https:\/\/openlibrary.org\/authors\/OL208809A\/Mukhopa%CC%84dhya%CC%84y%CC%8 7a_Prabha%CC%84takuma%CC%84ra 107","UNIT \u2013 7 HIROSHIMA (AJNEYA) STRUCTURE 7.0Learning Objectives 7.1 Introduction 7.2 Biography on Ajneya 7.3 Poems : Hiroshima ( Ajneya) 7.4 Summary 7.5 Keywords 7.6 Learning Activity 7.7 Unit End Questions 7.8 References 7.0 LEARNING OBJECTIVES After studying this unit, you will be able to: \uf0b7 Understand what is the poem all about \uf0b7 Life of the author \uf0b7 Ajneya\u2019s works and achivements \uf0b7 How the author analysed the poem \u201c Hiroshima\u201d \uf0b7 Also how the event mentioned in this poem is the Allied bombing of Hiroshima in Japan on August 6, 1945 \uf0b7 The education of the author and his contribution to literature 7.1 INTRODUCTION The exact event mentioned in this poem is the Allied bombing of Hiroshima in Japan on August 6, 1945, which served as a method of putting an end to the Second World War. The poet provides a poetic account of the bombing's real occurrences as well as their effects on the city and its residents. Agyeya excels in capturing the destabilizing effect of the bomb through description, both on the city and its inhabitants as well as how it obliterated stable differences and attributes: jumbling shadows and men, confusing the atom bomb and the sun, etc. The poem is almost factual in its recounting of what happened and how it happened. United States of America unleashed an atomic bomb on the Japanese city of Hiroshima on August 6, 1945. The atomic bomb that was detonated was known by the code name \\\"Little Boy.\\\" It was the first time a nuclear weapon had been used in combat, and within five minutes, 80,000 people would die from radiation, followed by 10,000 more. Due to its misuse, the development of science and technology will pose a threat to human civilization. If humans abuse science for 108","gain, it will likely have little good impact on the world and eventually eradicate human existence. According to the poet, Hiroshima would always inform the storyteller of the consequences of the abuse of power. 7.2 BIOGRAPHY ON AJNEYA Sachchidananda Hirananda Vatsyayan, better known by his pen name Agyeya (also transliterated as Ajneya, meaning \\\"the unknowable\\\"), was an Indian writer, poet, novelist, literary critic, journalist, translator, and revolutionary in the Hindi language. He was born in India on March 7, 1911, and died on April 4, 1987. In Hindi poetry, as well as in fiction, criticism, and journalism, he established contemporary trends. In contemporary Hindi writing, he is credited with founding the Prayogavaad (experimentalism) movement. Agyeya, the son of renowned archaeologist Hiranand Sastri, was born in the Uttar Pradesh town of Kasia, which is close to Kushinagar. He actively participated in the fight for Indian independence and served time in prison for his revolutionary actions against British colonial control. He was the editor of the Saptak series, which gave rise to the Nayi Kavita movement in Hindi poetry. He founded his own Hindi language weekly, Dinaman, which established new standards and trends in Hindi journalism, as well as editing other literary publications. Some of Agyeya's own writings as well as those of a few other Indian authors were translated into English. Additionally, he translated a few works of literature into Hindi. Agyeya received the Sahitya Akademi Award in 1964, the Jnanpith Award in 1978, and the prestigious Golden Wreath Award globally for poetry. Early life and education: On March 7, 1911, in an archaeological camp close to Kasia, Kushinagar district of Uttar Pradesh, where his father, an archaeologist named Hiranand Sastri, was set up for an excavation, Agyeya was born as Sachchidananda Vatsyayan to a Punjabi Brahmin family. His mother, Vyantidevi, who passed away in 1924, was not very educated. The fourth child born to Hiranand Sastri and Vyantidevi out of their ten children was Agyeya. Agyeya's early years were spent in Lucknow (1911\u20131915). He had to move because of his father's job assignments, which included Srinagar and Jammu (1915\u20131919), Patna (1920), Nalanda (1921), and the Ootacamund and Kotagiri (1921\u20131925). Because of her nomadic existence, Agyeya was exposed to several Indian languages and customs. His father, a Sanskrit scholar himself, encouraged him to study Hindi and gave him a foundational education in English. In Jammu, Pandit and Maulavi taught him Sanskrit and Persian. Agyeya attended Forman Christian College in 1930 to pursue a B.Sc. Agyeya came to Madras, enrolled in the Madras Christian College, and completed his Intermediate in Science in 1927 while studying mathematics, physics, and chemistry after graduating from the University of Punjab in 1925. He enrolled in the Forman Christian College 109","in Lahore the same year, where he studied math, physics, chemistry, and English. In 1929, he graduated first in his class with a Bachelor of Science. Later, he registered for an M.A. in English but withdrew. He then joined the revolutionary Hindustan Socialist Republican Army (x), fighting for Indian independence and taking part in uprisings against the British colonial administration. He was detained in November 1930 as a result of his participation in the effort to aid Bhagat Singh, a socialist revolutionary and the head of the HSRA, escape from prison in 1929. On the grounds of sedition against British rule in India, he was then given a term. He was imprisoned in Lahore, Delhi, and Amritsar for the ensuing four years. He began composing short stories, poems, and the first draft of his novel Shekhar: Ek Jivani during his time in prison. The All India Anti-Fascist Convention was organized by him in 1942 while he was a member of the Progressive Writers Association (PWA). He enlisted in the Indian army and was assigned to the Kohima Front as a fighting officer in 1942, during World War II. In 1946, he got out of the army. He spent some time in Meerut (Uttar Pradesh) and continued to participate in neighborhood literary organizations. He also released Prison Days and Other Poems, a collection of his own poems, during this time. He also produced several English translations of other authors' works. In 1940, Agyeya wed Santosh Malik. In 1945, they filed for divorce from one another. On July 7, 1956, he wed Kapila Vatsyayan (n\u00e9e Malik). The couple split up in 1969. He passed away in New Delhi on April 4, 1987, at the age of 76. His cremation took place at Nigambodh Ghat Career: Agyeya began working as a journalist in Calcutta after being released from prison in 1934. He then began working for All India Radio in 1939. Sainik (1936\u20131937) from Agra, Vishal Bharat (1937\u20131939) from Calcutta, Prateek (1947) from Allahabad, and Naya Prateek (1973) from New Delhi were all edited by Agyeya. He revised Vak in English (1951). He worked as an editor for Jayprakash Narayan's Everyman's Weekly (1973\u2013 1974) and the Times of India Group's Hindi daily Navbharat Times (1977\u20131980). He visited Japan in 1957\u20131958 and learned about Zen Buddhism there, which had an impact on his writing. He began working as a visiting lecturer in Indian Literature and Civilization at the University of California, Berkeley in 1961 and remained there until June 1964. He returned to India in 1965 and took on the role of founding editor of the Times of India Group newsweekly Dinaman. Agyeya through Dinmaan steadfastly supported the youthful literary group of Culcutta until they were exonerated when members of the Hungry Generation or Bhookhi Peerhi movement were jailed and prosecuted for their anti-establishment writings. His reports on the infamous famine in Bihar are regarded as turning points in pro-people reporting. 110","He stayed in India until 1968 before traveling to Europe. He went back to Berkeley in 1969 as a Regents Professor and remained there through June 1970. He served as a visiting professor at Heidelberg University for eight months in 1976. Later, he accepted a position as professor and head of the department of comparative literature at the University of Jodhpur in Rajasthan. Literary works: Agyeya began writing short stories during her four years in jail, and she eventually had them published in Premchand's curated anthology Hans. He also began writing Shekhar: Ek Jivani, the autobiographical novel that would later go through a second and third drafts. Bhagnadutta, his debut book of poetry, was published in 1933. Vipathga, his first collection of short stories, was released in 1937 after his release from prison. The first book of Shekhar: Ek Jivani was published in 1941, and the second volume appeared in 1944. Despite being advertised, its third book was never released. He edited and released Tar Saptak, a collection of previously unpublished poems by seven young authors, in 1943. As the first collection of contemporary Hindi poetry and a significant work in the development of Hindi literature, Tar Saptak founded the Prayogvad (Experimentalism) in Hindi poetry and the Nayi Kavita movement (New Poetry). Poetry collections: \uf0b7 Bhagndoot (1933) \uf0b7 Chinta (1942) \uf0b7 Ityalam (1946) \uf0b7 Hari ghaas par kshan-bhar (1949) \uf0b7 Baawra aheri (1954) \uf0b7 Indradhanu raunde hue ye (1957) \uf0b7 Ari o karuna prabhamaya (1959) \uf0b7 Angan Ke Par Dwar (1961) \uf0b7 Poorva (1965) \uf0b7 Sunahale Shaivaal (1965) \uf0b7 Kitni naavon mein kitni baar (1967) \uf0b7 Kyonki main usei jaanta hoon (1969) \uf0b7 Saagar-mudra (1970) \uf0b7 Pahle main sannata bunta hoon (1973) \uf0b7 Mahavriksha ke neeche (1977) \uf0b7 Nadi ki baank par chhaya (1982) \uf0b7 Sadanira-1 (1986) \uf0b7 Sadanira-2 (1986) \uf0b7 Aisa koi ghar aapne dekha hai (1986) \uf0b7 Maruthal (1995) 111","\uf0b7 Sarjana ke kshan (Selection) \uf0b7 Thaur thikaane (Handwritten, circulated xeroxed) \uf0b7 Karaawas ke din (Trans. from English by Uday Shankar Shrivastava) \uf0b7 Kavishri ( Ed. Shiyaram Sharan Gupt) \uf0b7 Aaj ke lokpriy kavi (Ed. Vidya Niwas Mishra) \uf0b7 Kaavya-stabak ( Ed by Vidya Niwas Mishra & Ramesh Chandra Shah) \uf0b7 Sannate ka chhand (Ed by Ashok Vajpeyi) \uf0b7 Ajneya: Sanklit kavitayen (Ed by Namvar Singh) Novels: \uf0b7 Shekhar: Ek Jeevani I (1941) \uf0b7 Shekhar: Ek Jeevani II (1944) \uf0b7 Shekhar: Ek Jeevni III (Unpublished) \uf0b7 Nadi ke dweep (1952) \uf0b7 Apne-apne ajnabi (1961) \uf0b7 Barahkhambha (co-writer, 1987) \uf0b7 Chhaya mekhal (Incomplete, 2000) \uf0b7 Beenu bhagat (Incomplete, 2000) Stories anthologies: \uf0b7 Vipathga (1937) \uf0b7 Parmpara (1944) \uf0b7 Kothri ki baat (1945) \uf0b7 Sharnaarthi (1948) \uf0b7 Jaydol (1951) \uf0b7 Amarvallari tatha anya kahaniyan(1954) \uf0b7 Kadiayan tatha anya kahaniyan (1957) \uf0b7 Acchute phool tatha anya kahaniyan (1960) \uf0b7 Ye tere pratiroop (1961) \uf0b7 Jigyasa tatha anya kahaniyan (1965) \uf0b7 Meri priy kahaniyan (Selection,2004) \uf0b7 Chhorra hua rasta (Sampoorn kahanitan-1, 1975) \uf0b7 Lautti pagdandiyan (Sampoorn kahaniyan-2, 1975) \uf0b7 Sampoorn Kahaniyan (2005) \uf0b7 Adam Ki diary (Ed by Nand Kishore Acharya, 2002) Play: 112","\uf0b7 Uttar Priyadarshi Travelogue: \uf0b7 Are Yayavar Rahega Yaad (1953) \uf0b7 Kirnon ki khoj mein (Selection,1955) \uf0b7 Ek Boond Sahsa Uchhli (1960) Criticism: \uf0b7 Trishanku \uf0b7 Hindi sahitya: Ek adhunik paridrishya \uf0b7 Atmanepad \uf0b7 Aatmparak \uf0b7 Aalwaal \uf0b7 Likhi kagad kore \uf0b7 Jog likhi \uf0b7 Adyatan \uf0b7 Samvatsar \uf0b7 Smriti ke paridrishya \uf0b7 Srot aur setu \uf0b7 Vyakti aur vyavastha \uf0b7 Yug-sandhiyon par \uf0b7 Dhaar aur kinaare \uf0b7 Bhartiya kala drishti \uf0b7 Smritichhanda \uf0b7 Kendra aur paridhi Srijan: \uf0b7 kyon air kaise \uf0b7 Kavi-Nikash \uf0b7 Kavi-drishti (Prefaces) \uf0b7 Tadbhav (Selection by Ashok Vajpeyi) \uf0b7 Lekhak ka Dayittva (Ed by Nand Kishore Acharya) \uf0b7 Khule Mein Khada Ped (Ed by Nand Kishore Acharya) Light Essyas: \uf0b7 Sab rang 113","\uf0b7 Sab rang aur kuchh raag \uf0b7 Kahan hai dwaraka \uf0b7 Chhaya ka jangal Diary: \uf0b7 Bhavanti \uf0b7 Antara \uf0b7 Shaswati \uf0b7 Shesha \uf0b7 Kaviman (Ed by Ila Dalmia Koirala) Memoirs: \uf0b7 Smriti-lekha \uf0b7 Smriti ke galiyaron se \uf0b7 Main kyun likhta hoon Edited: \uf0b7 Tar Saptak \uf0b7 Doosra Saptak \uf0b7 Teesra Saptak \uf0b7 Chautha Saptak \uf0b7 Pushkarini \uf0b7 Naye ekanki \uf0b7 Nehru abhinandan granth (co-editor) \uf0b7 Roopambara (Sumitrnandan Pant abhinandan granth) \uf0b7 Homvati smarak granth \uf0b7 Sarjan aur sampreshan \uf0b7 Sahitya ka parivesh \uf0b7 Sahity aur samaj parivartan \uf0b7 Samajik yatharth aur katha-bhasha \uf0b7 Samkaleen kavita mein chhand \uf0b7 Bhavishya aur sahitya \uf0b7 Indian Poetic Tradition (With Vidya Niwas Mishra and Leonard Nathan) Introducing: 114","\uf0b7 Naye Sahitya Srishta-1 Raghuveer Sahay: Seedihiyon par dhoop mein \uf0b7 Naye Sahitya Srishta-2 Sarveshawar Dayal Saxena: Kaath ki ghantiyan \uf0b7 Naye Sahitya Srishta-3 Ajit Kumar: Ankit hone do \uf0b7 Naye Sahitya Srishta-4 Shanti Mehrotra Conversations: \uf0b7 Aparoksh, Ramesh Chandra Shah & others \uf0b7 Rachna: Kyon aur kinke beech, Sharad Kumar, Geeti Sen & Others \uf0b7 Agyeya Apne bare mein (AIR Archives), Raghuveer Sahay & Gopal Das \uf0b7 Kavi Nayak Ajneya, Ila Dalmia & Neelima Mathur In English: \uf0b7 Prison days and other poems (Poetry) \uf0b7 A sense of time (Essays) Selection (general): Sanchayita (Ed Nand Kishore Acharya) Translations: \uf0b7 Shrikant (Sharat Chandra, from Bengali, 1944) \uf0b7 Gora (Rabindranath Thakur, from Bengali) \uf0b7 Raja (Rabindranath Thakur, from Bengali) \uf0b7 Vivekanand (With Raghuvir Sahay, from Bengali) \uf0b7 The resignation (Jainendra Kumar, into English) \uf0b7 The seventh horse of the sun (Dharmveer Bharti, into English) \uf0b7 The Silent waters (Poems of Sarveshwar Dayal Saxena, in 'Thought') \uf0b7 Vazir ka Feela (Ivo Andric, from English) \uf0b7 Mahayatra (P\u00e4r Lagerkvist's trilogy, from English) Self-translated works: \uf0b7 Islands in the stream (Nadi ke dweep, into English) \uf0b7 To each his stranger (Apne apne ajnabi, into English) \uf0b7 The unmastered lute and other poems (Asadhya Veena and other poems into English, Ed by Pritish Nandy) \uf0b7 The revolving rock and other poems (Chakrant Shila and other poems into English, Ed Pritish Nandy) \uf0b7 First Person, Second Person (Poems, into English with Leonard Nathan) 115","\uf0b7 Signs and silences (Poems, into English with Leonard Nathan) \uf0b7 Nilambari (Poems, into English) \uf0b7 Truculent clay (Bhavanti, into English with Manas Mukul Das) \uf0b7 Preparing the ground (Antara, into English with Manas Mukul Das) Translations in other languages: (Indian languages list too long) \uf0b7 German: Sekh Ktoratien (By Lothar Lutze) \uf0b7 : Stand-orte (By Lothar Lutze) \uf0b7 Swedish : Den arket (By orten Al Bud) \uf0b7 Servo-Croatian: Catoetien \uf0b7 : prvo liche drugo liche \uf0b7 :Vsak ima svoyega tuicha (By Tregoslav Andrich) Films on Ajneya: \uf0b7 Sarswat Van Ka Bavra Aheri, Producer Durgavati Singh, Doordarshan, New Delhi \uf0b7 Sannate ka Chhand, Dir. Pramod & Neelima Mathur, Vatsal Nidhi, New Delhi \uf0b7 Deep Akela, Dir. Pramod Mathur, MGAHVV, Wardha \uf0b7 Kavi Bharti, Bharat Bhawan, Bhopal Reception: For his book of poems Angan Ke Par Dwar, Agyeya won the Sahitya Akademi Award in 1964. For Kitni Naavon Mein Kitni Baar, he won the Jnanpith Award in 1978. In 1983, he also received the Golden Wreath Award and the Bharatbharati Award for poetry. As the father of dhunikt (modernism) in Hindi literature, Agyeya is regarded as one of the most important writers of Hindi in the 20th century. Among Hindi writers active between the 1940s and the 1960s, he is regarded as \\\"the most westernized.\\\" He received a lot of flak for overusing individualism and intellect in his writings. Agyeya is described as a \\\"intellectual giant\\\" and a \\\"pundit of language\\\" (master of language) by the scholar Sushil Kumar Phull, who also connects him to the English poet Robert Browning for using esoteric and condensed vocabulary in his poems. Dramatic productions: The first performance of his verse play Uttar Priyadarshi, which tells the story of King Ashoka's redemption, was performed in front of the author in 1966 at Delhi's Triveni Open-Air Theatre. It 116","was later translated into Manipuri by theatre director Ratan Thiyam in 1996, and since then, his troupe has performed it all over the world. 7.3 \u201cHIROSHIMA\u201d BY AJNEYA The poem Hiroshima written by the author Ajneya is as follows: One day, out of the blue rose the sun not over the horizon, the square of the town: daylight not from the space, burst out of the soil. The human shadows directionless; that sun, all over the place rose it not from the ocean, fell out of the blue at the square of the town. Phaeton\u2019s broken chariot wheels, fragmented hundreds scattered all over the place. That momentary rise and fall! Only an enlightened moment\u2019s noon, engulfing the vision. Then? The human shadows elongated, unerased: humans vaporized! Shadows written over the scorched stones, 117","the stucco of the ruined roads. A staged sun engulfed the humans-vapor. This charred shadow engraved over the stone stands the witness. Agyeya\u2019s Hiroshima Analysis: The poem \\\"Hiroshima\\\" by S. H. Vatsyayan \\\"Agyeya\\\" is contemporary. It discusses the poet's humanistic and socialist views on the quantifiable misery of the innocent residents of Hiroshima, a Japanese city where the American atom bomb was dropped. Additionally, it demonstrates human brutality toward one another as well as the unwarranted destruction brought about by attractive and egotistical politicians. In terms of technique and style, the poem is full of harsh, concrete imagery that are reminiscent of war poets like T. S. Eliot, Ezra Pound, Hopkins, and Auden. One should research the history surrounding the Second World War bombings of Japan's two most significant cities, Hiroshima and Nagasaki, in order to comprehend the poem. These two cities have gained notoriety due to the indiscriminate use of weapons and ammunition or the naked dance of human death toward human. We know that in order to establish its supremacy over Japan and win the Second World War quickly, America launched atomic bombs on the country's two largest cities without first fully understanding the effects they would have. As a result, many people were converted to ashes, their homes were destroyed, their ambitions and goals were destroyed, and the entire city's activity was reduced to dust. The citizens of these two cities and the rest of the world have been plagued by this tragic event. The poem is quite intriguing in subject, method, sentiment, and shape based on this theme. The poem's opening line contains figurative language and connotations. It demonstrates sarcasm and contrast, which are two crucial elements of contemporary poetry. From the poet: \u201cOn this day, the sun Appeared-no, not slowly over the horizon But right in the city square.\u201d The poet uses the picture of a bright sun in this line, but it's not the real sun that rises in the sky every day to illuminate the entire planet and chase away the darkness. Here, the term \\\"sun\\\" refers to the artificial sun created by the detonation of atomic bombs. Atomic bombs produce dazzling beams, just like the sun, yet they lack the sun's beneficial rays that give both people and plants 118","health and energy. Here, the bombs' rays instantly murdered and pummeled the whole human race. The expression \\\"right in the city square\\\" depicts the bomb being dropped in the midst of the town, which is typically where people congregate for entertainment and to stroll, In the course of nature, the sun typically rises in the east and sets slowly as it approaches the horizon. But the situation here is completely the reverse. Here, the sun rises quite quickly and right in the heart of the city, never slowly. As a result, this comparison is both interesting and highly apt. According to the poet, the earth was turned raggedly open and produced a vast blow rather than the middle sky. The aftermath of the bombardment was very apocalyptic, leaving the population homeless and living conditions that were worse than those of animals. People and their belongings, along with their homes, were scattered and lost in all directions. The excellent poet has demonstrated this quantifiable and pitiful predicament of the general populace with some lovely words and diction, images, and symbols: \u201cHuman shadows, dazed and lost, pitched in every direction : this blaze Not risen from the east Smashed in the city\u2019s heart- An immense wheel of Death\u2019s swart suncar spinning down and apart in every direction.\u201d Some of the words and phrases in this poem are really intriguing. \\\"Human shadows\\\" is a really evocative phrase. It demonstrates multiple levels of significance. It initially makes reference to how city residents were transformed into death-like shadows. Second, it represents the shadowy side of humanity as a whole, despite claims to tremendous civilization and culture. It also alluded to egotistical politicians who rarely experience moral remorse when firing bombs on helpless civilians. This word also offers a contrast to the sun in its natural state. Typically, when the sun is in the sky over our heads, its light casts a shadow over our bodies. However, in this instance, the shadows of people are confused. So there were no shadows because there were no males. Death's swart suncar also has a lot of connotations. It implies that an atomic explosion causes violent death everywhere exactly like the sun's wheels do. The poem's next stanza has even more irony and challenging ideas. The poet claims that the sun rises and sets quickly during the dance of the dead in the midst of Hiroshima city. The result was the destruction of all human visions, dreams, and aspirations. 119","\u201cInstant of a Sun\u2019s rise and set. Vision annihilating flare one compressed noon.\u201d The bomb's awful blast appeared extremely rapidly and then quickly faded away, according to the intended meaning. Thus, the sun's rise and set were completed in a remarkably short amount of time. Although we are aware that the sun typically rises in the morning and sets in the evening, in Hiroshima, the entire cycle of the sun from morning to evening was limited to a few seconds at midday. The poet says \\\"one compacted noon\\\" because of this. This expression also demonstrates how terrible and inhumane it is for humans to try to alter the laws of nature. This brings to mind a line by the renowned Romantic poet William Wordsworth, who once said, \u201cTo her fare works did nature link the human soul that through me ran but much it grieved my heart to think what man has made of man.\u201d The descriptions provided by G. B. Shaw in Arms the Man and Hemingway in \\\"A Farewell to Arms\\\" are strikingly comparable to this cruel human behavior that lacks any sense of order or purpose. The poet uses the extended metaphor of the sun again in the following stanza when he claims that it was not human shadows that grew longer, paler, and perished. The only shadows left on these deserted streets are those cast by the flaming boulders and stones: \u201cAnd then ? It was not human shadows that lengthened, paled and died; It was men suddenly become as mist then gone. The shadows stay : Burned on rocks, stones of these vacant streets.\u201d This metaphorical and poetic account paints an incredibly accurate image of the circumstances brought on by the atomic bombs. According to the poet, every man in the city perished as 120","suddenly as the mist. The heat of the sun naturally dries the mist on grass blades during the day, but in this situation, a fearful and terrible bomb that was created by humans would quickly put an end to human existence. The shadows are the only thing that endures in this city. Again, there are various connotations for the word \\\"shadow\\\" in this context. It initially makes dark suggestions about that satirical human behavior. It also represents the scar and stain left by the cruel treatment of the helpless by the human race. The civilization has been haunted by these dark shadows, and they continue to haunt us today and will continue to haunt future generations. So the shadows are the only thing left today. The shadows in this scene also signify the shadow cast by the flames of the burning rocks and stones of the deserted streets because no one was in the city, according to the second scale of meaning. The final verse furthers the metaphor of the sun, light, and shadow through contrast and irony. Says the poet, \u201cA Sun conjured by men converted men to air, to nothing; White shadows singed on the black rock give back man\u2019s witness to himself.\u201d These poem's final lines deliver the poet's message to those men who were seduced by fame, power, and popularity. It also demonstrates how destroying another human being was a terrible mistake on the part of humans. Here, the word \\\"Sun\\\" does not refer to the sun that God created for the benefit of all of the flora and wildlife. If man continues to create such Suns for the eradication of humans, their indefinite fate is sure to be shattered in the future. This is illustrated by the use of the indefinite article \\\"A\\\" in place of the definite article. Therefore, the poet's message is that any kind of bomb or sun that humans conjure will just turn them into nothing more than air. In this context, the phrase \\\"White shadows\\\" is quite sarcastic. It alludes to the supposedly modern, materialistic advancement of science, for which men are constantly boasting about their accomplishments. But in all honesty, the present generation's white shadows are a little bit blazing on the dark man-made rock. Therefore, the modern man, who is exceedingly insensitive and cold to nature and to his own human brethren, is directly responsible for the immense destruction and sorrow done to innocent people. 7.4 SUMMARY \uf0b7 \\\"The well-known Hindi poet Agyeya is the author of the poem 'Hiroshima. The poet's real name is S.H. Vastayana. The bombing of Hiroshima by the Allied forces of the USA on August 6, 1945, during the Second World War, is the subject of this poem. 121","\uf0b7 The poet brilliantly captures what transpired on that sad day in this poem. He describes how the vibrant, beautiful city of Hiroshima was instantly transformed into a cemetery. The poem was introduced by S.H. Vastyayan with a symbolic drawing of the sun as it was on that terrible day. \uf0b7 The sun and the bomb are being contrasted by the poet. The poet utilizes the description of the Sun as it tears the horizon to contrast it with the bomb that tore upon the ground and blasted people with the blackness of death. \uf0b7 The bomb that the USA launched struck the city's center and exploded with huge clouds of smoke, creating a terrifying situation in the area. As though the city were on its deathbed. The poet expresses that men damaged their own self-creation throughout the entire poem. \uf0b7 Due to misuse, the development of science and technology will pose a threat to human civilisation. If humans abuse science for gain, it will probably have little impact on the world and eventually make humans extinct. Hiroshima, so the poet claimed, would always reveal to the story what the abuse of power had accomplished. 7.5 KEYWORDS \uf0b7 Humanism :Humanism stresses the importance of human values and dignity. It proposes that people can resolve problems through the use of science and reason. Rather than looking to religious traditions, humanism instead focuses on helping people live well, achieve personal growth, and make the world a better place. \uf0b7 Socialistic: Socialistic is an adjective used to describe things involving socialism, which is an ideology or system based on the collective, public ownership and control of the resources used to make and distribute goods or provide services \uf0b7 Carnage: the killing of a large number of people. \uf0b7 Brutality : savage physical violence; great cruelty \uf0b7 Butchery : the savage killing of large numbers of people. Also the work of slaughtering animals and preparing them for sale as meat. \uf0b7 Ammunition: a supply or quantity of bullets and shells. \uf0b7 Demolished: pull or knock down (a building). 7.6 LEARNING ACTIVITY 1. Who is the author of the poem \u201c Hiroshima\u201d? 2. The poem was written with respect to which event? 122","3. When did the event take place? 4. The atomic bomb that was detonated was known by the code name ____. 5. What is the complete name of Ajneya? 6. Agneya was the son of _______ 7. Where was Ajneya born? 7.7 UNIT END QUESTIONS A. Descriptive Questions Short Questions 1. When did the mother of the poet pass away? 2. What is HSRA? 3. From when did Ajneya work as a journalist in Calcutta? 4. When did Ajneya visit Japan? 5. When did Ajneya start writing stories? 6. When was Tar Saptak released? Long Questions 1. Write the complete poem \u201c Hiroshima\u201d 2. Explain the Stanza: One day, suddenly the sun came out, oh not on the horizon, but the sun rained on the city square , not from the space, but from the torn soil. 3. Explain the stanza : The shadows fell everywhere without the condition of the human being - that sun had not risen in the east, it rained suddenly in the middle of the city, as the wheels of the sun's chariot were broken and scattered in the ten directions. 4. Explain the stanza : That rise and set of a few moments. A visual soaking afternoon of just a blazing moment . Then? The shadows of human beings are not erased by being long; Human beings all evaporated. The shadows have just been written on the scorched stones on the streets of the ruined roads. 5. Explain the stanza The sun created by man absorbed the man by making him steam. This burnt shadow written on the stone is a human's sakhi. 6. Give a brief introduction on the poet. 7. Give the summary of the poem in your own words. 123","B.Multiple Choice Questions 1. Who is the poet of 'Hiroshima'? (a) Ramdhari Singh Dinkar (b) Kunwar Narayan (c) 'Agneya' (d) Jivanand Das 2. Whose surname is 'Ajneya'? (a) Satchidananda Vatsyayan (b) Ramdhani Singh (c) Badri Narayan Choudhary (d) Viren Dangwal 2. Where is 'Hiroshima'? (a) Japan (b) Myanmar (c) Korea (d) China 4.Who is given the name of the sun in the poem 'Hiroshima'? (a) Japan bomb (b) atomic bomb (c) hydrogen bomb (d) radar 5. \\\"Ajneya\\\" is the poet of which poetic stream? (a) Mysticism (b)Chhayavad (c) Nakanism (d) Experimentalism Answers 1-c, 2- a, 3-a, 4- b, 5- d 7.8 REFERENCES \uf0b7 Malinar, Angelika (2019). \\\"Chapter 34 : Sachchidanand Hiranand Vatsyayan [\\\"Ajneya\\\"\/\\\"Agyeya\\\" ('Unknowable')]\\\". In Wagner-Egelhaaf, Martina (ed.). Handbook 124","of Autobiography \/ Autofiction. De Gruyter Handbook. Berlin, Boston: De Gruyter. pp. 1762\u20131776. ISBN 978-3-11-038148-1. \uf0b7 Datta, Amaresh, ed. (1987). Encyclopaedia of Indian Literature: A-Devo. New Delhi: Sahitya Akademi. pp. 103\u2013104. ISBN 978-81-260-1803-1. \uf0b7 \\\"S. H. Vatsyayan: A Chronology\\\". Mahfil. Asian Studies Center, Michigan State University. 2 (1): 1\u20132. 1965. JSTOR 43644819. \uf0b7 Nair, Sheeba A (2000). \\\"Chapter 1: Agyeya : Life and Works\\\" (PDF). \uf0b7 Sonavane, Chandrabhanu Sitaram; Ra\u1e47asubhe, S\u016bryan\u0101r\u0101ya\u1e47a (1994). Kah\u0101nik\u0101ra Aj\u00f1eya : Sandarbha aura Prakr\u0325 ti [Critical study of the fictional works of Agyeya] (in Hindi). Vikasa Prakashan. p. 163. OCLC 31899798. Website \uf0b7 https:\/\/www.eng-literature.com\/2020\/05\/agyeya-hiroshima-critical-analysis.html \uf0b7 http:\/\/wangchukjourney.blogspot.com\/2012\/10\/hiroshimapoem-by-agyeya-it-is- poem.html \uf0b7 https:\/\/www.litcharts.com\/lit\/hiroshima\/themes \uf0b7 https:\/\/biharboardsolution-com.translate.goog\/bihar-board-class-10-hindi-solutions- padya-chapter-7\/?_x_tr_sl=hi&_x_tr_tl=en&_x_tr_hl=en&_x_tr_pto=sc 125","UNIT \u2013 8 THEME OF THE POEM (HIROSHIMA ) STRUCTURE 8.0Learning Objectives 8.1 Introduction 8.2 Theme of the poem \u201c Hiroshima\u201d 8.3 Summary 8.4 Keywords 8.5 Learning Activity 8.6 Unit End Questions 8.7 References 8.0 LEARNING OBJECTIVES After studying this unit, you will be able to: \uf0b7 The poem \u201cHiroshima\u201d \uf0b7 The theme of the poem \uf0b7 The meaning that the poet wants to convey to every individual \uf0b7 The life of the poet in brief \uf0b7 Also the things that matter the most according to the poem \uf0b7 What message do we get from the poem 8.1 INTRODUCTION It was written by a well-known Hindi novelist, poet, critic, and journalist. Her real name is S.H. Vastyayan and who works under the pen name Agyeya. This poem was composed in response to the tragic Hiroshima bombing that took place on August 6, 1945, by Allied troops of the USA in an effort to bring about the conclusion of World War II. The poet paints a clear picture of what transpired on that fatal day by using vivid description. How the entire city of Hiroshima, which radiated vitality, was transformed into a dismal, barren land In a fraction of a second. He starts off with a very symbolic illustration of the sun rising normally from the East on that tragic day, and he then draws a link between the sun and the bomb. The explosion tore open the Earth and greeted humanity with death, much like how the sun tears open the horizon and waves to them. 126","People who were going about their regular chores were stunned and scattered in all directions. The city was completely destroyed when the bomb struck in its heart. The massive cloud of smoke that followed the explosion swallowed everything in its path. As if the demise were traveling in a dark-colored vehicle, causing pandemonium, and engulfing every sign of life. The bomb left a massive trail of destruction. It was as though the sun had briefly shone and destroyed everything in its path. The poet's message is that everything that men have built has resulted in their demise in the final lines. The world will never undergo a tremendous and glorious shift as long as science and technology are misused as a deadly weapon. Instead, it will make no record of humans at all. He claims that Hiroshima's landscape will forever serve as a symbol of the power of human destruction. 8.2 THEME OF THE POEM\u201c HIROSHIMA\u201d The fundamental, frequently universal ideas that are examined in a literary work are called themes. The Atomic Age, Politics, and Morality: The author of Hiroshima captures the shock and confusion caused by the bombing of Hiroshima on August 6, 1945, in the book's opening words. People in Hiroshima were going about their daily lives in the early morning hours completely unconscious that the American military, which was battling Japan in World War Two, was about to drop an atomic bomb on their city. A second bomb was launched on Nagasaki the following day by American forces, totaling more than 200,000 fatalities. The only nation in history to use atomic bombs on an enemy population is the United States because nuclear missiles haven't been employed in a conflict since 1945. This classification is debatable. Some people think it was okay for the United States to slaughter hundreds of thousands of civilians, including children, in order to pressure Japan's government into giving up immediately. They contend that if President Harry Truman had not made the decision to launch an atomic bomb on Hiroshima, World War Two would have dragged on for months or possibly years, killing many more people. On the other hand, some have argued that bombing Hiroshima constituted a violation of human rights; historians have also contended that the Truman administration chose to bomb Hiroshima in order to show its new superpower status rather than just to end the war. The most powerful nations in the world have accumulated nuclear arsenals since 1945, while other nations have undertaken nuclear projects. The fact that the author's book spends so little time on the political or ethical ramifications of Harry Truman's decision to bomb Japan is startling given how crucial it is to comprehend the legacy and historical context of the 127","Hiroshima bombing. Instead of focusing on politics or morality, Hiroshima centers on the lives of the six survivors of the explosion. Readers are still debating whether Hiroshima's decision to withhold specific political or moral information about the bombing constitutes a political or moral stance in and of itself, as well as what it eventually says about the morality of the attack. One can contend that the book gives the impression that the bombing was wholly unjustified. The suffering wrought by the explosion is highlighted by author\u2019s frightening depictions of melted concrete and vaporized human bodies\u2014 so much suffering that there could be no reason for it. By this reasoning, Hiroshima implies that President Harry Truman committed a terrible crime when he ordered the bombing of the Japanese city. Author could never have stated this directly when he was writing for The New Yorker at a time when the majority of Americans thought the bombing was morally acceptable. However, one can contend that his emphasis on the horrific human cost of the bombing implies that it was an unjustified act. Others, however, contend that author indirectly supports America's moral justification for destroying Japan by omitting any discussion of the choice to bomb Hiroshima. Characters express their indignation with the Japanese government (rather than the American administration) for failing to provide for them after the bombing of Hiroshima, especially in the second half of the book. Other characters liken the bombing to a natural disaster\u2014a terrible occurrence that was inescapably unavoidable. In other words, the protagonists in Hiroshima express their rage toward the government of Japan or even the universe as a whole, but rarely toward America, the nation that literally carried out the bombs. (If author had made any harsh comments of the United States, it's likely that his editor, William Shawn, would have taken them out to prevent trouble.) Therefore, one could say that Hiroshima supports the common, mainstream account of the bombing in 1940s America: that it was a terrible catastrophe that the Japanese had brought upon themselves but was inescapable and justified. Overall, both interpretations of Hiroshima's perspective on nuclear war have strong arguments to support them. Perhaps Author left his work open-ended so that readers could form their own opinions about a subject that is too broad and complex for simple solutions, rather than just to avoid censorship or controversy. Survival and Cooperation: Author's novel Hiroshima centers on six major people who were residing in Hiroshima on August 6, 1945, but were sufficiently removed from the city center to avoid being hit by the bomb. These characters had to make difficult choices about how to survive and who to help in the immediate aftermath of the Hiroshima bombing, when the city was in flames, food was in short supply, and many people must have believed that the world was ending. Hiroshima doesn't imply that its characters must compromise their moral values in order to survive, in contrast to many other stories depicting life-or-death circumstances. In fact, a lot of the characters go above and above to help others; some dedicate the remainder of their life to aiding other hibakusha (survivors of the nuclear explosion). 128","The characters in Hiroshima behave selflessly both immediately following the nuclear bomb and for many years to come, putting their own health and safety at risk to care for the injured and the kids who lost their family in the catastrophe. Father Wilhelm Kleinsorge and Reverend Kiyoshi Tanimoto risk their own safety to aid the injured right away after the explosion. Tanimoto purposefully goes toward the nuclear detonation to save his wife and the members of his church, while Kleinsorge runs into a burning building to save people trapped under rubble. Hatsuyo Nakamura instinctively defends her three children, and Dr. Terfumi Sasaki devotes her whole attention to treating the injured at the Red Cross Hospital in Hiroshima. Tanimoto will continue to advocate for nuclear disarmament and the creation of a peace center in Hiroshima for many years to come. Characters in Hiroshima rarely steal food, argue over supplies, or even agree; in other words, the self-centeredness and petty behavior that can appear during a crisis don't seem to exist there. It's instructive that author's description of Dr. Sasaki's most self-centered action is his snatching a pair of glasses from a nurse so he can see clearly and assist his patients. Even when they do so, the characters in Hiroshima forsake their values for the benefit of the story. In this way, the book implies that Hiroshima's survivorship was a \\\"team effort\\\" during which time everyone joined in and assisted one another. The fact that Hiroshima portrays the bombing's aftermath as a mostly planned, civil, and cooperative recovery effort is in part due to author\u2019s desire to present the Japanese people in the best possible light by highlighting their morals and dignity. Author was well recognized for disliking the racial stereotypes about the Japanese that many other American journalists had during his stint as a war correspondent. He selected the Hiroshimans who, in his opinion, would have felt a strong urge to help others when writing about Hiroshima to be doctors, priests, and mothers (and whom U.S. readers might have been most likely to respect). Author countered some of the persistent prejudices against the Japanese in American media by concentrating on these characters. Although there is good evidence to suggest that many Hiroshimans were in fact helpful and genuinely committed to helping one another survive in the aftermath of the attack, the characters in Hiroshima aren't particularly cooperative merely because author hand-picked them. The survivors of the explosion had a strong awareness of their own mortality, as the book shows. They believed they had been given the gift of survival, and they intended to pass that gift on to others. It is fully to author's credit that he emphasized his subjects' generosity, friendliness, and nobility of spirit at a period when many representations of Japanese people in American media and magazines were unpleasant and degrading. Religion: One of Hiroshima's most obvious topics is religion. Two of the six main characters in the book are priests (one Jesuit and one Methodist), and one subsequently transforms into a nun. The majority of the people in the book also resort to religion for solace when they are in need; when faced with the mind-boggling carnage caused by the bombing, they use their faith to find significant significance in the day's devastation. It's crucial to note right away that Hiroshima spends a lot more time on Christianity\u2014a Japanese transplant from the West\u2014than it does 129","Buddhism or Shinto, the two main religions of the nation. Perhaps Author or William Shawn, who served as his editor, thought that Christian characters would resonate more with author's American readers than Shinto or Buddhist followers. Alternatively, it's possible that Author found it simpler to communicate with Christians in Japan since they might be more likely to understand English and have connections to the United States. However, even while Hiroshima's perspective on religion has a clear Western, Christian bent, it offers broad, unrestricted religious questions that cut across all religions: What is the role of religion in reducing suffering? Can a catastrophe as horrifically terrible as the bombing of Hiroshima be \\\"explained\\\" by religion? Hiroshima demonstrates that people are motivated by their religious beliefs to provide the security and comfort of others on a literal and practical level. The priests step up to the plate after the bombing on August 6, 1945. Father Wilhelm Kleinsorge and his colleagues rescue people from their destroyed homes, gather food and water for those who are too weak to find it on their own, and soothe the wounded. In times of disaster, religious leaders play a crucial role as organizers and leaders. Because they have spent their whole adult lives learning how to prioritize the needs of others, they can mobilize rapidly to assist those in need. Of course, religion serves a greater purpose than simply meeting people's practical, material requirements; it primarily serves to meet their spiritual needs. Priests must in particular allay people's doubts regarding the nature of the universe and their anxieties regarding suffering and death. Here, Hiroshima offers a murkier analysis of the influence of religion. Toshiko Sasaki, who was seriously hurt in the bombing, asks Father Wilhelm Kleinsorge, a priest, in the hospital, \\\"If your God is so loving and kind, how can he let people suffer like this?\\\" Kleinsorge responds to Sasaki by outlining \\\"all the reasons for everything\\\" as Author paints the scene. Author doesn't repeat what Kleinsorge tells Sasaki; he instead leaves it up to the reader's interpretation, making it impossible to understand Kleinsorge's response. It may be argued that Author is implying that no religion is able to adequately respond to Sasaki's query and that, in the face of unfathomable destruction, religion is unable to alleviate human suffering. Sasaki does, however, live a long, fulfilling life thanks to Kleinsorge's comfort and encouragement; she converts to Catholicism and becomes a well-respected nun. Even still, Sasaki finds it difficult to comprehend the horror of Hiroshima even later in life. As a result, even if religion is unable to offer conclusive solutions to some of life's most important problems, it may nonetheless motivate people to lead happier lives in which helping others takes the place of being bogged down by unanswerable concerns. Overall, Hiroshima makes the case that religion can be a powerful force for good\u2014not because it offers simple solutions to moral and spiritual issues, but rather because it motivates individuals to devote their lives to pursuing these goals. Trauma and Memory: The August 6, 1945 nuclear explosion over Hiroshima is over in a matter of seconds. Nevertheless, many Hiroshima citizens who survived the explosion have lifelong, strong memories of it. Author analyzes how Hiroshimans live with the disaster\u2014an event so huge and 130","catastrophic that it's likely beyond human comprehension\u2014for the most of the book, but especially in the book's final, lengthy chapter (which was written forty years after the explosion). Author makes it clear more than once that a character is attempting to forget what they saw on August 6, 1945. The Hiroshimans who survive the explosion are said to be traumatized psychologically because they underwent a rapid disturbance in how their minds receive information, which in turn affected how they view what is \\\"normal.\\\" It seems perfect sense that the Hiroshima survivors desire to forget the horrifying sight of an entire city being destroyed and get back to their regular lives. Author advises the characters to employ a variety of tactics in order to restore an everyday life and let the past go. Dr. Sasaki plunges headfirst into his medical career while Dr. Fujii turns to alcohol and sex. Although Fujii and Sasaki react to Hiroshima in very opposed ways, they both aim to achieve the same goal: to forget the horrors of the past by focusing on the present. Hiroshima demonstrates that there is something tragic, if not downright deadly, about the act of forgetting calamity, even if the urge to do so is rational. People need to remember Hiroshima, or else they are \\\"doomed to repeat it,\\\" to paraphrase a famous historical adage. In fact, the book implies that, despite their best efforts, the people of Hiroshima are unable to move on from the past; their recollections of the bombing still cause them great sorrow and concern after 40 years. For instance, Dr. Fujii appears to have killed himself in part as a result of his distressing memories of Hiroshima. In addition, the book makes the case that radiation exposure could leave a genetic imprint of the attack (in more recent years, scientists have confirmed this disturbing possibility). It would seem that the Hiroshima bombing's atrocities will never truly be forgotten since they cannot be because the bomb's legacy is ingrained in the DNA of survivors and their offspring. The characters' inability to completely erase the memory of August 6, 1945 causes many of them to suffer. The message that we get from the poem:In this poem, the poet very skillfully describes what happened on that unfortunate day. He depicts how the beautiful city of Hiroshima which was blooming with life was turned into a graveyard within seconds S.H.Vastyayan initiated the poem with a symbolic depiction of the sun as usual in that dreadful day. 8.3 SUMMARY \uf0b7 The exact event mentioned in this poem is the Allied bombing of Hiroshima in Japan on August 6, 1945, which served as a method of putting an end to the Second World War. The poet provides a poetic account of the bombing's real occurrences as well as their 131","effects on the city and its residents. Agyeya excels in capturing the destabilizing effect of the bomb through the description, both on the city and its inhabitants as well as how it obliterated stable differences and attributes: jumbling shadows and men, confusing the atom bomb and the sun, etc. \uf0b7 Even though the poem is almost factual in its recounting of what happened and how it happened, \uf0b7 United States of America unleashed an atomic bomb on the Japanese city of Hiroshima on August 6, 1945. The atomic bomb that was detonated was known by the code name \\\"Little Boy.\\\" It was the first time a nuclear weapon had been used in combat, and within five minutes, 80,000 people would die from radiation, followed by 10,000 more. Due to its misuse, the development of science and technology will pose a threat to human civilization. \uf0b7 If humans abuse science for gain, it will likely have little good impact on the world and eventually eradicate human existence. \uf0b7 According to the poet, Hiroshima will always inform the narrator of the consequences of the abuse of power \\\"Famous Hindi poet Agyeya is the author of the poem \\\"Hiroshima.\\\" The poet's real name is S.H. Vastayana. The bombing of Hiroshima by the Allied forces of the USA on August 6, 1945, during the Second World War, is the subject of this poem. \uf0b7 The poet brilliantly captures what transpired on that sad day in this poem. He describes how the vibrant, beautiful city of Hiroshima was instantly transformed into a graveyard. The poem was introduced by S.H. Vastyayan with a symbolic representation of the sun shining as normal on that terrible day. \uf0b7 The sun and the bomb are being contrasted by the poet. The poet compares this description of the Sun, which is rising and tearing the horizon, to the bomb, which tore upon the ground and blasted mankind with the blackness of death. The bomb that the United States launched struck the city's center and exploded, creating a terrifying scene in the city. As though the city were on its deathbed. The poet expresses that men ruined their own self-creation throughout the entirety of the poem. Due to misuse, the development of science and technology will pose a threat to human civilisation. 132","\uf0b7 If humans abuse science for gain and it eventually eliminates human existence from the planet, there won't be many beneficial developments. The poet claimed that Hiroshima will always reveal to the story the consequences of power abuse.\\\" It was written by a well-known Hindi novelist, poet, critic, and journalist. Her real name is S.H. Vastyayan and who works under the pen name Agyeya. 8.4 KEYWORDS \uf0b7 Ingrained: (of a habit, belief, or attitude) firmly fixed or established; difficult to change. \uf0b7 Entirety: the whole of something. \uf0b7 Legacy: an amount of money or property left to someone in a will. \uf0b7 Constitutes: be (a part) of a whole. \uf0b7 Comprehension: the ability to understand something. \uf0b7 Reveal: make (previously unknown or secret information) known to others. \uf0b7 Contrasted: compare in such a way as to emphasize differences. 8.5 LEARNING ACTIVITY 1. In addition to the agnostic poet, storyteller, playwright, Sudhi was also a_______. 2. The poem 'Hiroshima' was written in the ___________ of the atomic bomb blast. 3. When the atomic bomb exploded, all human beings became _______ . 4. Which literary award was awarded to 'Ajneya'? 5. By editing which weekly paper 'Agyeya' raised the Himalaya of Hindi journalism? 6. In which verse is the poem \\\"Hiroshima\\\" written? 7. What is the full name of the author? 8.6 UNIT END QUESTIONS A. Descriptive Questions Short Questions 1. What do we understand from the poem \u201c Hiroshima\u201d? 2. What is the sun rising in the first paragraph of the poem? How does he get out? 3. Why do shadows fall directionless everywhere? Clarify. 4. What is the meaning of the poet by the noon of the lit moment? 5. Where and why are the shadows of man lying? 6. What is in Hiroshima in the form of a human eye? 133","Long Questions 1. Explain the theme of the poem. 2. Explain the theme \u201c Religion\u201d In detail. 3. Explain Trauma and Memory. 4. Explain Survival and Cooperation. 5. Explain The Atomic Age, Politics, and Morality: 6. Explain in brief the poem \u201c Hiroshima\u201d. 7. What is the message from the poem? B.Multiple Choice Questions 1. At what time does the atomic bomb flash above Hiroshima? a. 9:00 A.M. b. 6:00 A.M. c. 11:15 A.M. d. 8:15 A.M. 2. On what day is the atomic bomb dropped on Hiroshima? a. August 6, 1945. b. August 16, 1945. c. August 26, 1945. d. August 1, 1945. 3. The characters in Hiroshima behave______ a. Selflessly b. Selfishly c. Immediately d. Openly 4. United States of America unleashed an ______ a. Atomic bomb on Japan b. Nuclear bomb on America c. Chemical bomb on Japan d. None of them 5. The poet expresses that men ruined their _________throughout the entirety of the poem. a. own self-creation b. Own self c. Others Self Creation d. One self 134","Answers: 1-d , 2- a , 3- a, 4- a, 5-a. 8.7 REFERENCES \uf0b7 Malinar, Angelika (2019). \\\"Chapter 34 : Sachchidanand Hiranand Vatsyayan [\\\"Ajneya\\\"\/\\\"Agyeya\\\" ('Unknowable')]\\\". In Wagner-Egelhaaf, Martina (ed.). Handbook of Autobiography \/ Autofiction. De Gruyter Handbook. Berlin, Boston: De Gruyter. pp. 1762\u20131776. ISBN 978-3-11-038148-1. \uf0b7 Datta, Amaresh, ed. (1987). Encyclopaedia of Indian Literature: A-Devo. New Delhi: Sahitya Akademi. pp. 103\u2013104. ISBN 978-81-260-1803-1. \uf0b7 \\\"S. H. Vatsyayan: A Chronology\\\". Mahfil. Asian Studies Center, Michigan State University. 2 (1): 1\u20132. 1965. JSTOR 43644819. \uf0b7 Nair, Sheeba A (2000). \\\"Chapter 1: Agyeya : Life and Works\\\" (PDF). \uf0b7 Sonavane, Chandrabhanu Sitaram; Ra\u1e47asubhe, S\u016bryan\u0101r\u0101ya\u1e47a (1994). Kah\u0101nik\u0101ra Aj\u00f1eya : Sandarbha aura Prakr\u0325 ti [Critical study of the fictional works of Agyeya] (in Hindi). Vikasa Prakashan. p. 163. OCLC 31899798. Website \uf0b7 https:\/\/www.eng-literature.com\/2020\/05\/agyeya-hiroshima-critical-analysis.html \uf0b7 http:\/\/wangchukjourney.blogspot.com\/2012\/10\/hiroshimapoem-by-agyeya-it-is- poem.html \uf0b7 https:\/\/www.litcharts.com\/lit\/hiroshima\/themes \uf0b7 https:\/\/biharboardsolution-com.translate.goog\/bihar-board-class-10-hindi-solutions- padya-chapter-7\/?_x_tr_sl=hi&_x_tr_tl=en&_x_tr_hl=en&_x_tr_pto=sc 135","UNIT \u2013 9 THE SONG THAT I HAVE TO SING (TAGORE) STRUCTURE 9.0Learning Objectives 9.1 Introduction 9.2 The song that I have to sing( Tagore) 9.3 Summary 9.4 Keywords 9.5 Learning Activity 9.6 Unit End Questions 9.7 References 9.0 LEARNING OBJECTIVE In this chapter we will learn about \uf0b7 The biography of Rabindranath Tagore \uf0b7 His works and achievments \uf0b7 Tagore\u2019s contribution in Poetry, Drama. \uf0b7 The poem \u201c The Song I came to Sing\u201d \uf0b7 The division of the poem by the poet \uf0b7 A few keywords with their meaning 9.1 INTRODUCTION In this poem, the poet describes his desire to sing and, through singing, to discover God. He claims that although the song has not yet been written, he was born to sing it. In preparation for the song, he has been adjusting and untuning his musical instrument. He is just feeling the anguish of longing in his heart since the timing is not appropriate and the lyrics are not well- written. Only the wind has been moving, and the music hasn't developed, flowered, or bloomed. The poet continues by claiming that while he has neither seen nor heard God, he has heard His soft footfall on the road in front of his house. The poet has spent the day laying out a mat for his visitor, but he is unable to welcome Him inside since he hasn't been able to light the lamps. The poet ends by stating that his only motivation for continuing to live is the remote possibility of one day encountering God. 136","9.2 THE SONG I CAME TO SING ( TAGORE) Biography of the poet: South Asian Bengali polymath Rabindranath Tagore (born 7 May 1861; died 7 August 1941) was a painter, writer, playwright, musician, philosopher, and social reformer. In the late 19th and early 20th centuries, he used contextual modernism to transform Indian art, Bengali literature, and music. Gitanjali, whose poetry has been described as \\\"profoundly sensitive, fresh, and lovely,\\\" was the first non-European and lyricist to win the Nobel Prize in Literature in 1913. Tagore's \\\"beautiful prose and mystical poetry\\\" are largely unknown outside of Bengal, despite the fact that his poetic songs were considered to be spiritual and mercurial. He was a Royal Asiatic Society fellow. Tagore was referred to as \\\"the Bard of Bengal\\\" and went by the nicknames Gurudev, Kobiguru, and Biswakobi. Tagore, a Bengali Brahmin from Calcutta with gentry ancestry in Jessore and the Burdwan area, began writing poems when he was eight years old. His first serious poetry, published at the age of sixteen under the pen name Bhnusiha (\\\"Sun Lion\\\"), were hailed as forgotten gems by the literary establishment. He advanced to writing his first short stories and plays by 1877, which were released under his own name. He strongly opposed nationalism, condemned the British Raj, and called for independence from Britain as a humanist, universalist, internationalist, and internationalist. He created a massive canon as a representative of the Bengal Renaissance, which included paintings, sketches and doodles, hundreds of books, and over 2,000 songs. He also established Visva-Bharati University, which continues to carry on his legacy. By rejecting rigorous classical forms and defying language conventions, Tagore modernized Bengali art. His books, short tales, songs, dance plays, and essays covered both political and private subjects. His most well-known compositions include Gitanjali (Song Offerings), Gora (Fair-Faced), and Ghare-Baire (The Home and the World). His verse, short stories, and novels have received praise or criticism for their lyricism, colloquialism, realism, and unnatural introspection. Two countries have adopted his works as their national anthems: Bangladesh's \\\"Amar Shonar Bangla\\\" and India's \\\"Jana Gana Mana.\\\" His work served as the basis for the national song of Sri Lanka. Family history: The transcription of Thakur into English is Tagore. The Tagores' original last name was Kushari. They were Pirali Brahmins (the term \\\"Pirali\\\" has historically been stigmatized and associated with derogatory terms), and they were originally from the village of Kush in the West Bengali district of Burdwan. The first volume of Prabhat Kumar Mukhopadhyaya's biography of Rabindranath Tagore, Rabindrajibani O Rabindra Sahitya Prabeshak, states that. 137","The Kusharis were the offspring of Bhatta Narayana's son Deen Kushari, who was given control of the village of Kush (in Burdwan zilla) by Maharaja Kshitisura and afterwards assumed the name Kushari. Life and events: Early life: 1861\u20131878 Tagore (also known as \\\"Rabi\\\") was born on May 7, 1861, at the Jorasanko house in Calcutta, the youngest of the 13 living children. He was the son of Debendranath Tagore (1817\u20131905) and Sarada Devi (1830\u20131875). A man and lady in formal attire are depicted in a black-and-white snapshot. The man, wearing Bengali attire, stands with his hand on his hip and his elbow turned outward while grinning. The woman is seated in front of him and is wearing an ornate dress and shawl. She is leaning on a carved table that is holding a vase with flowing leaves. Mrinalini Devi and Tagore in 1883 Since his mother had passed away when he was a little child and his father had a busy schedule, Tagore was primarily raised by servants. The Bengal Renaissance was spearheaded by the Tagore family. In addition to hosting literary magazine publications, they frequently presented theater performances and recitals of Bengali and Western classical music. The father of Tagore asked numerous renowned Dhrupad musicians to stay at the home and instruct the kids in Indian classical music. Dwijendranath, Tagore's elder brother, was a poet and philosopher. The first Indian to be recruited to the prestigious, once exclusively European Indian Civil Service was another brother named Satyendranath. Jyotirindranath, yet another brother, was a writer, composer, and musician. His sister Swarnakumari went on to publish novels. Kadambari Devi, who was Jyotirindranath's wife and a little older than Tagore, was a close friend and a significant force. He was deeply distressed for years when she committed suicide suddenly in 1884, just after they had married. Tagore mostly shunned formal education in favor of exploring the property or the adjacent towns of Bolpur and Panihati, which the family frequented. Hemendranath, his brother, instructed him and kept him in shape by having him swim in the Ganges, go up hills, practice judo, and wrestle. Drawing, anatomy, geography, history, literature, math, Sanskrit, and English\u2014his least favorite subject\u2014were all subjects he studied. Tagore detested conventional education; his academic struggles at the nearby Presidency College took up just one day. Years later, he maintained that good instruction stokes interest rather than explaining things: 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, researched Sanskrit, history, astronomy, current science, and Klidsa's classical poetry. During his 1-month stay at Amritsar in 1873 he was greatly influenced by melodious 138","gurbani and nanak bani being sung at Golden Temple for which both father and son were regular visitors. In his book My Reminiscences, he makes reference to this (1912) The golden temple of Amritsar comes back to me like a dream. Many a morning have I accompanied my father to this Gurudarbar of the Sikhs in the middle of the lake. There the sacred chanting resounds continually. My father, seated amidst the throng of worshippers, would sometimes add his voice to the hymn of praise, and finding a stranger joining in their devotions they would wax enthusiastically cordial, and we would return loaded with the sanctified offerings of sugar crystals and other sweets. He wrote 6 poems relating to Sikhism and a number of articles in Bengali children's magazine about Sikhism. 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 newly discovered 17th-century Vai\u1e63\u1e47ava poet Bh\u0101nusi\u1e43ha. Regional experts accepted them as the lost works of the fictitious poet. He debuted in the short-story genre in Bengali with \\\"Bhikharini\\\" (\\\"The Beggar Woman\\\"). Published in the same year, Sandhya Sangit (1882) includes the poem \\\"Nirjharer Swapnabhanga\\\" (\\\"The Rousing of the Waterfall\\\"). Shelaidaha: 1878\u20131901 In Brighton, East Sussex, England, Tagore enrolled in a public school in 1878 because Debendranath intended his son to become a barrister. He spent a few months at a home in Medina Villas that belonged to the Tagore family; in 1877, Suren and Indira Devi, the niece and nephew of Tagore's brother Satyendranath, were sent to live with him together with their mother, Tagore's sister-in-law. He briefly studied law at University College London before dropping out once more and choosing to pursue independent research into Thomas Browne's Religio Medici, Coriolanus, and Antony and Cleopatra by Shakespeare. Tagore was fascinated by the lively English, Irish, and Scottish folk songs whereas his own tradition of Nidhubabu-written kirtans, tappas, and Brahmo hymnody was more quiet. Without a degree, he returned to Bengal in 1880 and vowed to combine the best elements of Brahmo traditions and European innovation. Tagore continued to publish poems, short stories, and novels after moving back to Bengal. Although they garnered little national notice, these had a significant influence on Bengal alone. He wed 10-year-old Mrinalini Devi, also known as Bhabatarini, in 1883. (this was a common practice at the time). Two of their five children, who were born, died as infants. The \\\"Padma,\\\" the family boat (bajra or budgerow) of Tagore. Tagore started overseeing his huge ancestral properties in Shelaidaha (now a province of Bangladesh) in 1890; his wife and children joined him there in 1898. One of Tagore's best- known works, the Manasi poems, were published in 1890. In charge of the Padma, the opulent family barge, Zamindar Babu Tagore navigated the Padma River in a crisscrossing motion (also known as \\\"budgerow\\\"). He usually received symbolic rentals from the peasants, who then honored him with dinners, occasionally made of dried rice and sour milk, as well as their blessings. He met Gagan Harkara, who introduced him to Baul Lalon Shah, a folk singer whose 139","songs had a significant impact on Tagore. Lalon's songs were popularized by Tagore. His most creative years were 1891 to 1895, sometimes known as Tagore's Sadhana period after one of his magazines; during this time, he produced more than half of the stories for the three-volume, 84- story Galpaguchchha. Its dark, sarcastic tales explored the voluble poverty of a rosy Bengali countryside. Santiniketan: 1901\u20131932 Tagore relocated to Santiniketan in 1901 to establish an ashram including a prayer hall with a marble floor called The Mandir, an experimental school, tree groves, gardens, and a library. There his wife and two of his children died. He lost his father in 1905. He received regular remittances from the Maharaja of Tripura, revenue from the sale of his family's jewelry, a coastal home in Puri, and a pitiful 2,000 rupees per month in book royalties as part of his inheritance and income. He published Naivedya (1901) and Kheya (1906) and translated works into free verse, gaining both Bengali and foreign readers. Gitanjali, a 1910 composition by Tagore, was translated into English in 1912. He shared these poems with fans when visiting London, including William Butler Yeats and Ezra Pound. A sample from Gitanjali was published in the American magazine Poetry, and the piece was released in a limited edition by London's India Society. The Swedish Academy praised the idealistic\u2014and for Westerners\u2014accessible quality of a tiny body of Tagore's translated works centered on the 1912 Gitanjali: Song Offerings, and Tagore learnt he had received the Nobel Prize in Literature in November 1913. King George V knighted him in the 1915 Birthday Honours, but following the 1919 Jallianwala Bagh massacre, Tagore repudiated the honor. In a letter to Lord Chelmsford, the then-British Viceroy of India, Tagore renounced the knighthood \\\"We are convinced that the disproportionate severity of the punishments meted out to the unfortunate people and the methods used to carry them out have never been matched in the history of civilized governments. The day has arrived when badges of honor draw attention to our shame in their absurd context of humiliation, and I personally want to stand beside my countrymen without any unique distinctions.\\\" He received an invitation to travel to Sylhet in 1919 from Syed Abdul Majid, the organization's president and chairman. 5000+ persons attended the event. In Surul, a village next to the ashram, Tagore and agricultural economist Leonard Elmhirst founded the \\\"Institute for Rural Reconstruction,\\\" afterwards dubbed Shriniketan or \\\"Abode of Welfare.\\\" With it, Tagore aimed to temper Gandhi's Swaraj demonstrations, which he periodically attributed to British India's alleged mental deterioration and, eventually, to the colonial system. He appealed for support from funders, authorities, and academics all around the world in order to \\\"vitalise knowledge\\\" and \\\"release village[s] from the shackles of impotence and ignorance.\\\" He targeted \\\"abnormal caste consciousness\\\" and untouchability in the early 1930s. 140","He delivered speeches against them, created Dalit protagonists for his plays and poems, and successfully campaigned to allow Dalits access to the Guruvayoor Temple. Twilight years: 1932\u20131941 This time in Tagore's life is characterized by Dutta and Robinson as one of a \\\"peripatetic litterateur.\\\" It confirmed his belief that dividing lines between people are flimsy. A tribal chief in the Iraqi desert told him on a visit there in May 1932 that \\\"Our Prophet has taught that a true Muslim is he by whose words and deeds not the least of his brother-men may ever come to any harm\\\" \\\"I was stunned into realizing in his remarks the voice of core humanity,\\\" wrote Tagore in his diary. At last, Tagore examined conventional wisdom, and in 1934, he made a breakthrough. The Bihar earthquake that year claimed hundreds of lives. Gandhi praised it as seismic karma and described it as heavenly vengeance exacting revenge on the Dalit oppressors. He received a reprimand from Tagore for his apparent demeaning implications. He articulated these newly plebeian aesthetics in an unrhymed hundred-line poem whose method of searing double-vision predicted Satyajit Ray's picture Apur Sansar. He lamented the enduring poverty of Calcutta and the socioeconomic collapse of Bengal. Punashcha (1932), Shes Saptak (1935), and Patraput, prose-poem works, were among the fifteen new volumes that were published (1936). In his books Dui Bon (1933), Malancha (1934), and Char Adhyay, as well as his prose-songs and dance-dramas Chitra (1914), Shyama (1939), and Chandalika (1938), he continued to experiment (1934). In his later years, as suggested in Visva-Parichay, a 1937 collection of essays, Tagore's focus widened to include science. His poetry, which demonstrated great realism and verisimilitude, was influenced by his respect for scientific laws and his investigation of biology, physics, and astronomy. He incorporated scientific methodology and scientists' accounts into the tales for Se (1937), Tin Sangi (1940), and Galpasalpa (1941). His last five years have been characterized by two protracted illnesses and severe discomfort. These started when Tagore went unconscious in late 1937; he was briefly comatose and on the verge of death. Late in 1940, a similar spell followed it, from which he never fully recovered. His best poetry comes from these valetudinarian years. The long period of suffering came to an end when Tagore, who was 80, passed away on August 7, 1941. He was in an upstairs room of the mansion where he was raised, Jorasanko. The anniversary is still mourned. On July 30, 1941, the day before a scheduled operation, Tagore dictated his final poem to A. K. Sen, the brother of the first chief election commissioner. In the midst of my birthday, I'm bewildered. I want my pals to feel the final love on earth through their touch. I'll accept life's ultimate gift and humanity's final favor. My bag is empty today. Everything I had to give has been completely given. If I get anything in return\u2014love or forgiveness, for example\u2014I'll take it with me when I board the boat that will transport me to the festival of the wordless end. Travels: 141","Tagore traveled to more than thirty nations on five continents between 1878 and 1932. He brought a stack of his translated works to England in 1912, where they attracted the attention of people like Thomas Sturge Moore, Ezra Pound, Robert Bridges, Ernest Rhys, Irish poet William Butler Yeats, and missionary and Gandhi protege Charles F. Andrews. Yeats authored the introduction to the Gitanjali translation in English, and Andrews went to Santiniketan with Tagore. Tagore started his trip of the US and the UK in November 1912 while residing in Butterton, Staffordshire with Andrews's clergyman friends. He delivered lectures in Japan and the United States from May 1916 to April 1917. His criticism of nationalism. His essay \\\"Nationalism in India\\\" received both criticism and admiration; Romain Rolland and other pacifists thought highly of it. The 63-year-old Tagore accepted an invitation from the Peruvian administration soon after arriving home. He took a trip to Mexico. To honor the visits, each government promised to donate $100,000 to the student's school. A week after his arrival in Buenos Aires on November 6, 1924, a sick Tagore was moved to the Villa Miralro at Victoria Ocampo's request. In January 1925, he returned home. Tagore arrived in Naples in May 1926; the following day, he visited Mussolini in Rome. Their friendly relationship came to an end when Tagore criticized Il Duce's fascist policies. Without a shadow of a doubt, he is a wonderful personality, he had earlier exclaimed. That head has such much vigor that it resembles Michael Angelo's chisel. The \\\"immortal spirit of Italy\\\" was to be attracted by a \\\"fire-bath\\\" of fascism, \\\"clothed in quenchless brilliance.\\\" Tagore came in Hungary on November 1 and spent some time in the city of Balatonf\u00fcred, on the shore of Lake Balaton, getting better from heart issues at a sanitarium. He planted a tree, a bust statue (a gift from the Indian government and the creation of Rasithan Kashar) was erected there in 1956, and the lakeside promenade has carried his name since 1957. Tagore and two companions set out on a four-month journey to Southeast Asia on July 14, 1927. They traveled to Singapore, Kuala Lumpur, Malacca, Penang, Bali, Java, Siam, and Malacca. The resulting trip essays make up Jatri (1929). He departed Bengal in the early months of 1930 for a roughly 12-month tour of Europe and the US. Upon his return to Britain, he stayed at a Birmingham Quaker community while his paintings were on display in Paris and London. He spoke at the yearly London Quaker meeting in addition to writing the Oxford Hibbert Lectures. There, Tagore spoke of a \\\"black abyss of aloofness\\\" in the relationship between the British and the Indians\u2014a subject he would broach often over the following two years. From June to mid- September 1930, he traveled via Denmark, Switzerland, and Germany, saw Aga Khan III, stayed at Dartington Hall, and then continued into the Soviet Union. Reza Shah Pahlavi welcomed Tagore in April 1932 because he was fascinated by the Persian mystic Hafez. Tagore met Henri Bergson, Albert Einstein, Robert Frost, Thomas Mann, George Bernard Shaw, H.G. Wells, and Romain Rolland while on his other journeys. Tagore's final overseas trip included trips to Sri 142","Lanka in 1933, Persia in 1932, and Iraq in 1932, at which time his distaste for nationalism and communalism only grew. Rabindranath Tagore predicted the cultural rapprochement of communities, societies, and countries long before it became the liberal standard of behavior, according to Vice President of India M. Hamid Ansari. A man ahead of his time, Tagore. While on a trip to Iran in 1932, he noted that \\\"each country in Asia will address its own historical difficulties in accordance with its power, nature, and necessities; nonetheless, the torch they will each carry on their journey to progress will converge to shine the common ray of wisdom. Works: Although Tagore is best known for his poetry, he also produced countless songs, travelogues, travel articles, short stories, and dramas. In terms of prose, Tagore is most known for his short stories; in fact, he is credited with creating the form in Bengali. His writings are typically praised for their lyrical, upbeat, and rhythmic qualities. These tales frequently take material from the lives of everyday people. In his nonfiction, Tagore discussed language, spirituality, and history. His autobiographies were written. His travel writings, lectures, and travelogues were collected into various books, such as Manusher Dhormo and Europe Jatrir Patro (Letters from Europe) (The Religion of Man). Note on the Nature of Reality, his quick conversation with Einstein, is annexed to the latter. An anthology of all of Tagore's writings, titled Kalanukromik Rabindra Rachanabali, is now being published in Bengali to celebrate his 150th birthday. This fills around eighty volumes and contains all variations of each work. The Essential Tagore, which was compiled by Fakrul Alam and Radha Chakravarthy and released in 2011 to commemorate Tagore's 150th birthday, was the largest anthology of his works to be made available in English by Harvard University Press and Visva-Bharati University. Drama: When Tagore was sixteen, he first got involved in play alongside his brother Jyotirindranath. When he was twenty, he created Valmiki Pratibha, his first original dramatic work, which was performed at the Tagore mansion. According to Tagore, his writings aimed to express \\\"the play of sensation and not of action.\\\" He wrote Visarjan in 1890, which is regarded as his best drama and is a version of his novella Rajarshi. Such masterpieces had elaborate subplots and long monologues in the Bengali original. Later works by Tagore used more philosophic and allegoric themes. The child Amal is depicted in the 1912 play Dak Ghar (The Post Office) rejecting his stuffy and childish constraints by eventually \\\"fall[ing] asleep,\\\" hinting at his bodily demise. Dak Ghar, a tale with universal appeal that received glowing reviews in Europe, addressed death as \\\"spiritual release\\\" from \\\"the world of hoarded wealth and certified creeds,\\\" in Tagore's words. Another is Tagore's Chandalika (Untouchable Girl), which was based on a legend about Ananda, the disciple of the Gautama Buddha, asking a tribal girl for water in an old Buddhist tale. In Raktakarabi (\\\"Red\\\" or \\\"Blood Oleanders\\\"), an allegorical conflict occurs between Yaksha Puri's citizens and a kleptocrat ruler. 143","Short stories: When he was just sixteen years old, Tagore published his first short story, \\\"Bhikharini,\\\" in 1877. (\\\"The Beggar Woman\\\"). [108] With this, Tagore essentially created the short narrative form in Bengali. The \\\"Sadhana\\\" period, so named after one of Tagore's periodicals, spans the four years between 1891 and 1895. More than half of the stories in the three-volume Galpaguchchha, a collection of eighty-four stories, were produced during this time, which was one of Tagore's most prolific. These tales frequently reflect Tagore's observations of his environment, of contemporary concepts, and of intriguing mental difficulties (which Tagore was fond of testing his intellect with). These qualities were closely related to Tagore's life in the common villages of, among others, Patisar, Shajadpur, and Shilaida while managing the Tagore family's vast landholdings. Tagore frequently associated his earliest stories (such as those of the \\\"Sadhana\\\" period) with an exuberance of vitality and spontaneity. There, he saw the lives of India's impoverished and common people, and Tagore began to examine their lives with a piercing depth and intensity that had never before been seen in Indian writing. This analytical attention on the oppressed was particularly evident in stories like \\\"Kabuliwala\\\" (\\\"The Fruitseller from Kabul,\\\" published in 1892), \\\"Kshudita Pashan\\\" (\\\"The Hungry Stones\\\") (August 1895), and \\\"Atithi\\\" (\\\"The Runaway,\\\" 1895). From 1914 to 1917, during Tagore's Sabuj Patra phase (also named for one of the journals he edited and heavily contributed to), many of the additional Galpaguchchha tales were written. Novels: Eight novels and four novellas were written by Tagore, including Chaturanga, Shesher Kobita, Char Odhay, and Noukadubi. Through the eyes of the idealistic zamindar protagonist Nikhil, Ghare Baire (The Home and the World), which emerged from a slump in 1914, examines the rise of Indian nationalism, terrorism, and religious fervor in the Swadeshi movement. The book closes with Hindu-Muslim riots and Nikhil's wounded, which is probably fatal. Gora brings up contentious issues surrounding Indian identity. Similar to Ghare Baire, issues of religious freedom, personal autonomy, and self-identity (jti) are developed within the framework of a family saga. In it, Hindus raise an Irish boy who was abandoned during the Sepoy Mutiny as the gora\u2014or \\\"whitey\\\"\u2014in the title. He chastises Hindu religious backsliders out of love for the native Indians and sympathy with them against his hegemon-compatriots, unaware of his foreign origins. His frightened foster father is forced to divulge his mysterious past and let go of his nativist fervor as he falls in love with a Brahmo girl. It addresses the colonial conundrum by \\\"portray[ing] the value of all positions within a particular frame, not only syncretism, not only liberal orthodoxy, but the extremest reactionary traditionalism he defends by an appeal to what humans share\\\" as a \\\"true dialectic\\\" advancing \\\"arguments for and against strict traditionalism.\\\" Tagore stresses \\\"identity conceived as dharma\\\" as one of these. 144","In Jogajog (Relationships), the protagonist Kumudini is torn between her sympathy for her progressive and compassionate older brother's declining circumstances and his antagonist: her roue of a husband. Kumudini is bound by the ideals of iva-Sati, as represented by Dkshyani. While also toying with Bengal's putrid landed nobility, Tagore displays his feminist sympathies and uses empathy to illustrate the struggle and final demise of women who are shackled by pregnancy, duty, and family honor. The tale centres around the underlying rivalry between two families: the Ghosals (Madhusudan), who represent new wealth and new arrogance, and the Chatterjees (Biprodas), who are aristocrats now on the decline. The sister of Biprodas, Kumudini, is wed off to Madhusudan and is torn between the two. She and all of her female relatives had grown up in a traditional, attentive household. Some were encouraging: His most lyrical book, Shesher Kobita, also known as Last Poem and Farewell Song, features poems and rhythmic passages penned by the protagonist, a poet. It features stock characters who joyously trash the reputation of an old, out-of-date, oppressively renowned poet who, incidentally, goes by the name \\\"Rabindranath Tagore.\\\" It also incorporates elements of satire and postmodernism. Despite the fact that his novels are still among the least well-liked of all of his works, Ray and others have made cinematic adaptations of them; two good examples are Chokher Bali and Ghare Baire. In the first, Tagore depicts Bengali society through the heroine, a disobedient widow who would prefer to live by herself. He criticizes the practice of widows being forced to live in solitude and loneliness and to observe a state of permanent sorrow. \\\"I have always disliked the conclusion,\\\" wrote Tagore of it. Poetry: The poetry collection Gitanjali, for which Tagore received the Nobel Prize in Literature in 1913, is his most well-known work on a global scale. Tagore was the second non-European to win a Nobel Prize after Theodore Roosevelt and the first non-European to win a Nobel Prize in Literature. Other significant works outside Gitanjali include Manasi, Sonar Tori (Golden Boat), and Balaka (Wild Geese, whose name is a metaphor for emigrating spirits). The poetry style of Tagore, who comes from a line of Vaishnava poets who flourished in the 15th and 16th centuries, veers from classical formalism to the humorous, visionary, and ecstatic. He was influenced by the Bhakti-Sufi mystic Kabir, Ramprasad Sen, and the atavistic mysticism of Vyasa and other Upanishad rishi-authors. His exposure to Bengali rural folk music, which included mystic Baul ballads like those of the bard Lalon, is reflected in Tagore's most avant- garde and mature poetry. Similar to 19th-century Kartbhaj lyrics that emphasize interior divinity and rebellion against bourgeois bhadralok religious and social orthodoxy, these were rediscovered and made popular by Tagore. The moner manush, the \\\"man within the heart,\\\" the \\\"vital force of his deep recesses,\\\" or contemplating the jeevan devata\u2014the demiurge or the \\\"living God within\\\"\u2014took on a lyrical voice in Tagore's poetry during his Shelaidaha years. 145","Through references to nature and the emotional interplay of human drama, this person made a connection with divine. These techniques were applied in his Bhnusiha poetry, which chronicled the Radha-Krishna romance and underwent numerous revisions over the span of seventy years. Later, as new poetic theories emerged in Bengal, many of them coming from young poets looking to depart from Tagore's style, Tagore absorbed these theories and was able to further forge his own identity. Africa and Camalia, two of his later poems that are better recognized, are examples of this. Songs (Rabindra Sangeet): Tagore was a prolific songwriter who is credited with creating about 2,230 songs. His songs, referred to as rabindrasangit (\\\"Tagore Song\\\"), are seamlessly integrated into his works of literature, the majority of which were lyricized poetry or fragments of novels, stories, or dramas. They covered the full spectrum of human emotion, from his early dirge-like Brahmo religious hymns to nearly sexual songs, and were influenced by the thumri form of Hindustani music. They varied in how closely they resembled the tonal color of traditional ragas. Some songs accurately reproduced the melody and rhythm of a certain raga, while others creatively combined parts from other ragas. However, only around 90% of his compositions were bhanga gaan, the collection of songs that Tagore reworked with \\\"new value\\\" from particular Western, Hindustani, Bengali folk, and other regional styles \\\"external\\\" to his own ancestral culture. Reading Jana Gana Mana by Rabindranath Tagore Amar Shonar Bangla was adopted as Bangladesh's national anthem in 1971. Ironically, it was written to protest the 1905 Partition of Bengal along racial lines: severing the Hindu-dominated West Bengal from the Muslim-majority East Bengal was to prevent a regional slaughter. Tagore sought to reignite Bengali unity and crush communalism because he considered the split as a crafty attempt to put an end to the independence movement. The first of five stanzas in Tagore's composition for the Brahmo hymn Bharot Bhagyo Bidhata is titled Jana Gana Mana and was written in shadhu-bhasha, a Sanskritized version of Bengali. It was initially sung in 1911 during a meeting of the Indian National Congress in Calcutta[129] and was chosen as the national anthem of the Republic of India by its Constituent Assembly in 1950. His work served as the basis for Sri Lanka's National Anthem. There isn't a cultured home in Bengal where Rabindranath's songs aren't sung or at least attempted to be sung; even illiterate villagers sing his songs, according to the Modern Review, which noted that the songs' appeal for Bengalis stemmed from the combination of emotive power and beauty described as surpassing even Tagore's poetry. Vilayat Khan, a master of the sitar, and Sarodiyas Buddhadev Dasgupta and Amjad Ali Khan were all influenced by Tagore. 146","Art works: After being encouraged by painters he met in the south of France, Tagore began sketching and painting at the age of sixty. Successful exhibitions of his numerous works, which made their debut in Paris, were presented all across Europe. He was probably red-green color blind, which led to odd color combinations and unconventional aesthetics in his works. Numerous artistic movements, such as the Malanggan scrimshaw of northern New Ireland, Papua New Guinea, Haida carvings from the Pacific Northwest of North America, and the German Max Pechstein's woodcuts, had an impact on Tagore. The straightforward artistic and rhythmic leitmotifs adorning the scribbles, cross-outs, and word arrangements of his manuscripts demonstrated his artist's eye for handwriting. Synesthetically speaking, several of Tagore's songs matched up with specific artworks. Rabindranath has always aspired to paint and was surrounded by artists. Like several other members of his family, writing, music, playwriting, and acting came to him effortlessly and nearly without training. But he was unable to paint. Nevertheless, he made numerous attempts to perfect the skill, and his early letters and memoir make several mentions of this. For instance, in 1900, when he was almost forty and a well-known author, he wrote to Jagadishchandra Bose, \\\"You'll be startled to learn that I'm painting in a sketchbook while I'm sitting here. It goes without saying that the photos are not intended for any Parisian salon, and I have no reason to believe that the national galleries of any nation will decide to hike fees to buy them at a moment's notice. But just as a mother shows the greatest love to her ugly offspring, I secretly feel drawn to the very skill that comes the least naturally to me.\\\" Additionally, he saw that he was using the eraser more often than the pencil. Unhappy with the results, he eventually decided painting was not for him. Politics: In Manast, which he wrote primarily in his twenties, Tagore first expressed his opposition to imperialism and support for Indian nationalists. He was aware of the Ghadarites, according to evidence shown at the Hindu-German Conspiracy Trial and later stories, and he reportedly asked former Japanese Premier Kuma Shigenobu and Prime Minister Terauchi Masatake for their help. However, he mocked the Swadeshi movement and criticized it in the bitter 1925 essay The Cult of the Charkha. Amartya Sen claims that Tagore opposed overtly nationalist elements of the independence movement and sought to uphold India's right to independence without downplaying the value of what the country could learn from other countries. He advised the populace to steer clear of victimhood and seek self-help and education instead, and he viewed the existence of British government as a \\\"political manifestation of our social disease.\\\" Even for those living in great poverty, he claimed, \\\"there can be no question of blind revolution\\\"; instead, what was desirable was a \\\"steady and intentional education.\\\" Many people were outraged by these opinions. During his stay in a hotel in San Francisco in the latter part of 1916, he nearly avoided being assassinated by Indian expatriates; the scheme failed when his would-be assassins got into a fight. Songs by Tagore extolled the Indian freedom fight. \\\"Chitto Jetha Bhayshunyo\\\" 147","(\\\"Where the Mind is Without Fear\\\") and \\\"Ekla Chalo Re\\\" (\\\"If They Answer Not to Thy Call, Walk Alone\\\"), two of Tagore's more politically charged songs, were quite popular, with Gandhi favoring the latter. Despite being somewhat critical of Gandhi's activity, Tagore played a crucial role in settling a dispute between Gandhi and Ambedkar over separate electorates for untouchables, thereby putting an end to at least one of Gandhi's \\\"until death\\\" fasts. Santiniketan and Visva-Bharati: In \\\"The Parrot's Training,\\\" a bird is confined and forced-fed textbook pages until it dies, illustrating Tagore's dislike of rote classroom instruction. Tagore had the idea for a new kind of university while in Santa Barbara in 1917. He wanted to \\\"create Santiniketan the connecting thread between India and the world [and] a world center for the study of mankind somewhere beyond the bounds of nation and territory.\\\" The school's foundation stone was placed on December 24, 1918, and Visva-Bharati[d] was officially opened exactly three years later. In Tagore's brahmacharya system, gurus provided students with one-on-one emotional, intellectual, and spiritual counseling. Many times, classes were held in trees. He hired employees, gave the school money from his Nobel Prize, and was kept occupied by his steward-mentor responsibilities at Santiniketan. He taught lessons in the mornings and prepared the textbooks for the students in the afternoons and evenings. Between 1919 and 1921, he conducted extensive fundraising for the institution in both Europe and the United States. Stealing the Nobel Prize Tagore's Nobel Prize and a number of his other possessions were taken from the Visva-Bharati University's security vault on March 25, 2004. The Swedish Academy made the decision to give Visva-Bharati University two copies of Tagore's Nobel Prize, one made of gold and the other of bronze, on December 7, 2004. The fictional movie Nobel Chor was influenced by it. Pradip Bauri, a baul singer accused of providing cover for the robbers, was apprehended and the reward was returned in 2016. Impact and legacy: Numerous occasions commemorate Tagore each year, including the annual Tagore Festival in Urbana, Illinois (USA), Rabindra Path Parikrama walking pilgrimages from Kolkata to Santiniketan, and poetry readings on significant anniversaries. Kabipranam, the anniversary of Tagore's birth, is observed by groups around the world. This legacy is pervasive in Bengali culture, permeating everything from language and art to history and politics. Tagore was hailed by Amartya Sen as a \\\"towering figure\\\" and a \\\"deeply relevant and multifaceted modern thinker.\\\" The 1939 Rabindra Rachanval, a Bengali original by Tagore, is revered as one of his country's greatest cultural treasures, and he was given the relatively humble title of \\\"the best poet India has created.\\\" 148","At 3 Villas on the Heath, Vale of Health, Hampstead, London NW3 1BA, London Borough of Camden, a blue plaque honoring Tagore was placed in 1961 by the London County Council. Most of Europe, North America, and East Asia knew Tagore well. He helped establish the modern, coeducational Dartington Hall School, and in Japan, he had an impact on people like Yasunari Kawabata, the recipient of the Nobel Prize. Tagore served as a mentor for the restless spirit of radical author and publicist Nguyen.An Ninh in colonial Vietnam. By numerous individuals, including French Nobel laureate Andr\u00e9 Gide, Russian poet Anna Akhmatova, former Turkish Prime Minister B\u00fclent Ecevit, and Czech indologist Vincenc Lesn, Tagore's works have been widely translated into English, Dutch, German, Spanish, and other European languages. Tagore's lecture tours in the United States, especially those that took place in 1916\u20131917, attracted a large audience and received a great deal of praise. After the late 1920s, other Tagore- related problems, some of which may have been made up, destroyed his reputation and book sales in Japan and North America, leading to his \\\"near complete eclipse\\\" outside Bengal. Salman Rushdie, who was shocked, made the discovery of a hidden reverence for Tagore when traveling to Nicaragua. By way of translations, Tagore had an impact on writers like as Octavio Paz from Mexico, Pablo Neruda and Gabriela Mistral from Chile, Jos\u00e9 Ortega y Gasset, Zenobia Camprub, and Juan Ram\u00f3n Jim\u00e9nez from Spain. The Jim\u00e9nez-Camprub team translated twenty-two of Tagore's English works into Spanish between 1914 and 1922; they significantly updated The Crescent Moon and other important works. Jim\u00e9nez developed \\\"naked poetry\\\" around this time. Ortega y Gasset stated in \\\"Tagore's widespread popularity is due to the way he discusses the aspirations for perfection we all share. Tagore arouses a dormant sensation of childlike wonder in the reader, who pays little heed to the deeper significance of Oriental mysticism. He also fills the air with a variety of enticing promises \\\". Around 1920, Tagore's works, along with those of Plato, Dante, Cervantes, Goethe, and Tolstoy, were available in free copies. Some people believed Tagore to be overrated. \\\"Anyone besides Mr. Yeats can still take his poems very seriously,\\\" Graham Greene questioned. Pound and, to a lesser extent, even Yeats, two major Western admirers, criticized Tagore's writing. Yeats railed against that since he was dissatisfied with his English translations \\\"Stupid Tagore Sturge Moore and I published three excellent books, but Sturge Moore afterwards ruined his name by publishing sentimental dreck because he believed that seeing and understanding English was more essential than being a great poet. No Indian, including Tagore, is fluent in English.\\\" When \\\"English[ing]\\\" his poetry, William Radice pondered: \\\"What is their place in world literature?\\\" The collapsed romantic uncertainty and turmoil of the 20th century, in his opinion, would be resolved by his \\\"new sort of classicism,\\\" which he perceived as being \\\"kind of counter-cultur[al].\\\" Tagore's English translations were \\\"nearly incoherent,\\\" and his international popularity was diminished. Anyone who is familiar with Tagore's poetry in their original Bengali will find that none of the translations\u2014whether done with or without Yeats' assistance\u2014are satisfactory. Even his written works suffer from distortion to some extent in translation. The attractions of The Home and the 149","World, according to E.M. Forster, have \\\"vanished in translation\\\" or perhaps \\\"in an experiment that has not quite come off,\\\" despite the fact that the concept is \\\"so exquisite.\\\" List of works: Original poetry in Bengali Bengali title Transliterated title Translated title Year \u09ad\u09ad\u09ad\u09ad\u09ad\u09ad\u09ad\u09ad\u09ad\u09ad\u09ad\u09ad\u09ad\u09ad\u09ad\u09ad\u09ad\u09ad\u09ad\u09ad\u09ad Bh\u0101nusi\u1e43ha Songs of Bh\u0101nusi\u1e43ha 1884 \u1e6ch\u0101kurer Pa\u1e0d\u0101val\u012b \u1e6ch\u0101kur \u09ad\u09ad\u09ad\u09ad\u09ad Manasi The Ideal One 1890 \u09ad\u09ad\u09ad\u09ad\u09ad\u09ad\u09ad\u09ad Sonar Tari The Golden Boat 1894 \u09ad\u09ad\u09ad\u09ad\u09ad\u09ad\u09ad\u09ad\u09ad Gitanjali Song Offerings 1910 \u09ad\u09ad\u09ad\u09ad\u09ad\u09ad\u09ad\u09ad\u09ad Gitimalya Wreath of Songs 1914 \u09ad\u09ad\u09ad\u09ad\u09ad Balaka The Flight of Cranes 1916 Table No 9.1Original Poetry In Bengali Original dramas in Bengali Bengali title Transliterated title Translated title Year \u09ad\u09ad\u09ad\u09ad\u09ad\u09ad\u09ad\u09ad\u09ad\u09ad\u09ad\u09ad\u09ad\u09ad\u09ad Valmiki-Pratibha The Genius of Valmiki 1881 \u09ad\u09ad\u09ad\u09ad\u09ad\u09ad\u09ad\u09ad\u09ad Kal-Mrigaya The Fatal Hunt 1882 \u09ad\u09ad\u09ad\u09ad\u09ad\u09ad\u09ad\u09ad\u09ad\u09ad Mayar Khela \u09ad\u09ad\u09ad\u09ad\u09ad\u09ad\u09ad Visarjan The Play of Illusions 1888 \u09ad\u09ad\u09ad\u09ad\u09ad\u09ad\u09ad\u09ad\u09ad\u09ad\u09ad Chitrangada \u09ad\u09ad\u09ad\u09ad Raja The Sacrifice 1890 \u09ad\u09ad\u09ad\u09ad\u09ad Dak Ghar Chitrangada 1892 \u09ad\u09ad\u09ad\u09ad\u09ad\u09ad\u09ad\u09ad Achalayatan \u09ad\u09ad\u09ad\u09ad\u09ad\u09ad\u09ad\u09ad\u09ad Muktadhara The King of the Dark 1910 Chamber The Post Office 1912 The Immovable 1912 The Waterfall 1922 150"]