Rabisarani

Rabindranath is in Shilaidaha. Miss. Burdett – who has been appointed as Pratima Devi's teacher – also joins them there.

After Mrs. Burdett has been appointed as Pratima Devi's teacher, Rabindranath writes to Arunchandra Sen that teacher and her students are getting on very well together.

Arrives in Calcutta (now Kolkata).

The anniversary of Debendranath's death observed at Jorasanko. On this occasion Rabindranath again gives a public reading of Samanjasya -- the essay he read a few days ago at the Santiniketan Ashram.

12th volume of the collected lectures of Rabindranath published.

81st annual Brahma festival celebrated with usual flourish.

The poet reads the articles Karmayoga and Atmabodh in the morning and evening sessions respectively.

On 81st annual Brahma festival, eight of his songs are sung in the morning session.

• Praner pran jagichhe tomari

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• Ghor dukhe jaginu

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• Daya diye habey go mor 24th January,1884

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• Jagate ananda yagney amar

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• Viswasathe jogey jethay

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• Jibaney jata puja 24th January,1884

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• Jadi amay tumi banchao

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• Uriye dhwaja abhrabhedi rathey

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On 81st annual Brhama festival, another thirteen Rabindra songs are sung in the evening session

• Prathama adi taba sakti

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• Hey nikhilabharadharana viswabidhata

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• Dakey bar bar dakey

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• Jago nirmala netrey ratrir

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• Jatobar alo jwalatey chai

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• Timira bibhabari katey kamoney 24th January,1884

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• Hey mor devata

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• Prabhu amar, priya amar,

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• Seemar majhe aseem tumi

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• Tai tomar ananda amar

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• Devata jene durey roi

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• Jethai tomar loot hotechhe

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• Prabhu, aaji tomar dakshina hat

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In an interesting and significant sequel to the Maghotsav this year, responding to an invitation extended by it, the next day Rabindranath reads the essay Brahmasamajer Sarthakata at the temple of the Sadharan Brahmasamaj.

On the 81st annual Brahma festival, responding to an invitation extended by it, the next day, when Rabindranath reads the essay Brahmasamajer Sarthakata at the temple of Sadharan Brahmasamaj, a mammoth crowd turns up to hear the poet speak in the evening. Even the streets outside are clogged with people.

A mammoth crowd turn up to hear the poet’s speech on his essay ‘Brahmasamajer Sarthakata’ on the 81st annual Brahma festival, which testifies to his growing popularity among Brahma and Hindu youth and in the essay he emphasizes synthesis of different views and freedom from dogma, the need to reach out to the wider world.

In a letter written to Amal Hom, then a Brahma youth, he deprecates Brahma communal orthodoxy. All this adds up to an effort on his part to forge stronger bonds of cooperation and harmony between the three branches of Brahma religion.

William Rothenstein, a British artist and patron of the recently founded India Society (London), who is now visiting India, meets Rabindranath at the Jorasanko residence of Gaganendranath and Abanindranath. It is impossible to overestimate the significance of this meeting for the poet's career in the years ahead, particularly in the west.

The British artist and patron of the recently founded India Society (London), William Rothenstein now visiting India, makes the poet's acquaintance and at once feels a powerful attraction to find out more about him – "I was attracted, each time I went to Jorasanko, by their uncle, a strikingly handsome figure, dressed in a white dhoti and chadur, who sat silently listening as we talked. I felt an immediate attraction, and asked whether I might draw him, for I discerned an inner charm as well as great physical beauty, which I tried to set down with my pencil."

Poet's younger son-in-law Nagendranath Gangopadhaya, B.Sc. (Illinois), comes back from America as an agricultural expert.

The poet was waiting for Nagendranath's return and soon sends him to Shilaidaha to assist Rathindranath in agricultural work.

Writes to the poet from California, USA offering financial help for the school.

Though the next meeting between Rabindranath and Rothenstein will take place in England in 1912, Rothenstein isn't entirely unaware of Rabindranath's achievements. Abanindranath asks him to visit Santiniketan.

A.K. Kumaraswami writes to Rothenstein - "It is peculiarly attractive to know Rabindranath in his own world."

William Rothenstein may have read English translations of the poet's poems and short stories published in the Modern Review. For there's a hint of it in the letter he writes the poet before his departure for England--"…I shall be grateful for any translations of poems or stories which may appear at any time."

Able translators are now increasingly translating into English the poet's poems and stories. Ajitkumar Chakrabarty translates some of his poems into English. Towards the end of the year Pramathalal Sen writes the poet asking him to send these to him in England so that he can approach British journals and request them to publish the translations with the help of Rothenstein and Fox Strangways, who have by now become ardent Tagore enthusiasts.

Prof. Satyendranath Roy and Principal Lalit Mohan Chatterjee and Pramathalal himself try their hands at translating Rabindranath into English. A.K. Kumaraswami's translations will appear in his book Art and Swadeshi (1912).

Modern Review continues to publish English Translations of Tagore stories, essays and poems by various hands including Nivedita's The Cabuliwallah almost in each issue.

All the efforts of translating Rabindranath's literature into English by various hands, however small and scattered, go some way towards familiarising non-Bengalee readers both at home and abroad with the poet's works prior to his dramatic emergence on the international literary scene towards the end of 1912.

The poet has often been giving vent to his growing sprititual ideal of the synthesis and harmony of the orient and the occident in such major poems as Matri Abhishek and other writings. The founding of the India Society in Britain, Rothenstein's visit, Viceroy Hardinge's more lenient policies and similar developments perhaps exercise a mellowing effect on his anti-British stance. He's not inclined to lend his support to opposition to the government merely for the sake of opposition.

On the occasion of the birth anniversary of Sri Chaitanya Mahaprabhu, the poet talks about the significance of Vaishnavism in an address delivered in Santiniketan.

The play Raja written by Rabindranath, performed by the teachers and students of the ashram. Rabindranath plays the role of Thakurda. Guests including Ramananda Chatterjee and his daughter arrive from Kolkata to witness the performance. According to the glowing account written by Ramananda's daughter Shanta Devi --"…His hospitality, his decorum, his filial affection, the splendid melodiousness of his voice, his graceful appearance, his physical stamina, his graciousness -- everything seemed to be boundless."

Most probably meets Ashutosh Mukherjee, vice-chancellor, Calcutta University on 30th March 1911, to explore the possibilities of setting up a college in Santiniketan. However, paucity of funds deters him.

Satyendranath Tagore having laid down the office, the poet becomes editor of the Brahma organ Tattwabodhini Patrika from the Baisakh issue .

The poet introduces a new section in the journal called Ashram Sambad, designed to regularly supply news of the Brahmacharyashram.

Alarmed by their nephew Aurobindomohan's excessive emotional attachment to the ashram and devotion to Rabindranath's personality, Abala Basu writes that henceforth they will make Aurobindomohan always stay with them.

Being worried by their nephew Aurobindomohan's excessive emotional attachment to the Santiniketan ashram and Rabindranath, Abala Basu writes to Rabindranath that henceforth they will make Aurobindomohan always stay with them. The poet's reply inter alia contains a memorable statement of what the Santiniketan Ashram means to him --"…this school is the arena of the sadhana of my life, my Lord is here, my salvation is here, it is no mere school…"

Prayers are held in the temple in Santiniketan on the last day of the expiring Bengali Year (1317) (13th April, 1911) as well as the first day of the New Year (1318) (14th April, 1911).

A public appeal is made to the people inviting support and financial help in the shape of donations to celebrate Rabindranath's 50th birthday. The signatories include Hirendranath Dutta, Prafullachandra Roy, Ramendrasundar Trivedi, Manindrachandra Nandi and Jagadishchandra Basu -- all members of the preparatory committee.

The preparatory committee which is made to organise the celebration of Rabindranath's 50 the birthday, also writes to the Bangiya Sahitya Parishad requesting it to organise the celebration.

The story Muktir Upaya written by Rabindranath, is turned into a comedy by Saurindramohan Mukherjee called Dasachakra and performed several times in 1911-- on 16th and 23rd April, for example.

Summer vacation puts off till 8th May to celebrate poet's birthday.

While Rabindranath won't stand in the way of the teachers and students of the ashram celebrating his birthday, he wants to distance himself from the celebrations being organised by his admirers in Kolkata. Writes to this effect to Jadunath Sarkar.

Guests from Calcutta (now Kolkata) start arriving to celebrate Rabindranath's 50th birthday.

For the celebration of Rabindranath's 50th birthday, ashram students take part in sports.

On the occasion of Rabindranath's 50th birthday, Ajitkumar Chakrabarty reads his essay Rabindranath in the morning as a kind of prelude to the celebration proper.

During the celebration of Rabindranath's 50th birthday, the play Raja written by Rabindranath, performed again in the evening at Natyaghar by a cast of students and teachers.

During the celebration of Rabindranath's 50th birthday, the play Raja is performed. As usual, Rabindranath plays Thakurdada.

Rabindranath's 50th birthday is celebrated in the Amrakunja in the morning.

Summer vacation commences. Poet leads students' prayers in the temple in the morning.

Completes writing Jibansmriti.

Ramananda eager to serialise it in Prabasi . Rabindranath agrees. It will appear in serial installments in the Prabashi from its Bhadra issue onward.

Starts writing the play Achalayatan.

The play Achalayatan gets completed on 29th June and like its predecessors in this genre, it is rich in magnificent songs which often transcend the immediate dramatic context and achieve the kind of universality so characteristic of imaginative art of the highest order.

• Tumi daak diechho

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• Durey kothai durey durey

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• E path gechhe kon khaney go

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• Amra tarei jani tarei jani

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• Amra chash kori anandey

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• Kathtin loha kathtin ghumey

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• Sob kajey hath lagai mora

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• Gharete bhramar elo

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• Amra kato dal go kato dal

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• Ei ekla moder hajar manush

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• Ja hobar ta hobey

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• Ami karey daki go

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• Bujhi elo, bujhi elo, orey pran

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• Aaj jeman korey gaichhe akash

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• Harey re re re re

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• Bajerey bajey re

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• Orey orey orey amar mon

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• Ei moumachhider gharchhara ke korechhe re

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• O akuler kool, o agatir gati

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• Sakala janam bharey

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• Utal dhara badal jharey

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• Alo, amar alo, ogo

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• Jini sakal kajer kaji

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• Kabe tumi ashbe boley

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• Ami je sab nitey chai, sab nitey dhai re

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• Aar nahey, aar noi

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Writes to Charuchandra expressing satisfaction with the progress he's making.

Writes again to say he has finished the play Achalayatan.

Back in Calcutta (now Kolkata), Rabindranath gives a public reading of the new play Achalayatan to a selected audience at Prasantachandra Mahalanabish's residence.

The poet is back in Santiniketan.

The poet stays in Santiniketan till mid-August.

At last writes to Charuchandra from Santiniketan that finally he's made the play Achalayatan to his liking after extensive revision, expansion and condensation.

For this latest play Achalayatan he again draws on his favourite source -- Rajendralal Mitra's The Sanskrit Buddhist Literature of Nepal.

In the play Achalayatan, as is his wont, however, he adapts only certain external elements of the 'Story of Panchaka' such as the names Panchaka and Mahapanchaka.a.

The play Achalayatan is a powerful imaginative critique of all kinds of degrading soul-destroying coercive ritualism and indeed ideological totalitarianism. It is in harmony with his essays like Samanjasya, Karmayoga, Brahmasamajer Sarthakata and poems like Naivedya 52.

The play Achalayatan is printed in the Ashwin issue of the Prabasi and dedicated to Jadunath Sarkar.

An admirer of the poet - Jadunath Sarkar, the noted historian is associated with the poet and his work in many ways, he regularly translates into English his stories and essays for non-Bengali readers, stands up for him when a controversy arises and offers very useful help and advice in all matters pertaining to the school at Santiniketan. Again, as is his wont, six years later poet will transform Achalayatan into another play called Guru.

Like its predecessors, the play Achalayatan does not escape misconceived criticism.

The poet thoroughly revises the manuscript of his writing - Jibansmriti based on his childhood memories.

Life is less hectic now, more leisurely what with some school work, occasional writing and a bit of correspondence.

Writes the essay Romeo Bahudevabader Parinati.

In the essay - Romeo Bahudevabader Parinati, Rabindranath uses the Roman analogy to analyse the current religious scene in the country.

In the essay - Romeo Bahudevabader Parinati, Rabindranath writes -- "In present-day India an almost similar relationship exists between Brahmadharma and resurgent Hinduism. That is what brought Keshabchandra and Ramakrishna Paramhansa into mutual contact and brought about a harmony between Vijaykrishna Goswami's views in the last years of his life and those of Hindu society. That Vivekananda was a keen Brahma once did not prove to be a major impediment to the later alteration of his views." This and other similar utterances strewn elsewhere in his writings show that he is in fact engaged in a quest of the fundamental inner unity underlying the varied religious doctrines of both India and the world at large.

The poet is back in town to deliver a lecture at the Bhadrotsav organised by the Sadharan Brahmasamaj.

Soudamini Devi, mother of Gaganendranath and Abanindranath passes away.

Reads the essay Dharmer Artha in the Sadharan Brahmasamaj temple.

As the poet reads the essay Dharmer Artha in the Sadharan Brahmasamaj temple, as usual he draws a huge crowd.

Poet is back in Santiniketan; intends to stay for the time being.

Modern Review, in its September issue carries a metrical English translation, 'My Father's House', by Maud MacCarthy L.of G of poet's song Tomari gehe palichha snehe. This Irish translator is experienced in and familiar with Indian music. Extracts of the translation is like:

• In Thy house (Little Child)

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• Dearest, I am growing;

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• Life of mine,

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• Gift of Thine -

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• Holy and All – knowing!

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Finishes the story Rashmanir Chhele in a day, to be printed in the Ashwin issue of the magazine Bharati.

Writes a letter to Manilal Gangopadhyay about publishing of Rashmanir Chhele in Bharati.

Rabindranath is contemplating a long tour abroad, either in the Far East or Europe later that year to recover physical health and mental vigour.

Brajendranath Seal returns to Calcutta (now Kolkata) after a couple of months spent in England where he, along with Pramathalal Sen, successfully aroused in Rothenstein, Fox Strangways, etc. a keen enthusiasm for Rabindranath's writings.

Yet retains enough imaginative prowess to quickly produce the universally acclaimed play Dakghar in a matter of days.

Writes to Manilal Gangopadhaya -- "I've written a small play…It is called 'Dakghar'." Among his major plays, Dakghar is perhaps the only one which will retain its original shape without attracting any revision in later years. Later in 20th December, 1915, Tagore explains Dakghar in deep to the ashramites.

The play Sarodotsav is performed a couple of days before the Puja vacation commences in the ashram vidyalaya.

Guests from Calcutta (now Kolkata) including Jadunath Sarkar, Satyendranath Dutta, Ramananda Chatterjee who were invited almost a month ago, watch the performance of the play Sarodotsav.

Rabindranath plays the Sannyasi (in the play Sarodotsav) while the other roles are performed by the teachers and students of the vidyalaya.

The poet reads the latest play Dakghar before the selected Calcutta (now Kolkata) audience, who came to watch the performance of the play Sarodotsav.

The poet returns to Calcutta (now Kolkata) and will stay here about a month to make preparations for the journey to England.

Gourhari Sen calls on the poet at the Jorasanko residence and discusses with him the Primary Education Bill brought by Gokhale.

Pramathalal Sen writes to Rabindranath, requesting him to send him the English translations of his poems and songs.

The poet's tour plans for England are shelved for the time being.

The reason for the poet's tour plans are shelved for the time being is revealed in a letter he writes to Brajendrakishore Devvarma. The Bangiya Sahitya Parishat which is planning a grand felicitation for him, presses him hard to postpone his departure till November end. So he will not be able to go before February/March 1912.

Gokhale's Primary Education Bill and Pandit Madanmohan Malavya's proposed Benaras Hindu University as well as the proposed Aligarh Muslim University generate controversy, debate and sectarian passions. He deeply ponders the issues at stake, is aware that his views might provoke hostility and decides to speak loud and clear.

The poet's deep thinking on various educational issues like – Gokhale's Primary Education Bill and Pandit Madanmohan Malavya's proposed Benaras Hindu University as well as the proposed Aligarh Muslim University generate controversy, is expressed in his famous essay – Hindu-Viswavidyalaya.

The essay - Hindu-Viswavidyalaya written by Rabindranath, is read at a special meeting of the Chaitanya library held at Rippon College. Its message can be summed up in his own words -- "Only when those who are individually different come up and stand mutually side by side, do their excesses evaporate and their truth is properly revealed....If the world is accommodated in the Hindu or Musalman University and their individual difference is accommodated too, no possibility of danger will arise. And in this way the real worth of individual difference will be determined."

He gets away to Shilaidaha and writes to Priyambada Devi -- "…the pure form of the self will be glimpsed in the midst of solitary nature -- this is exactly what I hope...”

Though a bitter-sweet relationship existed between Nivedita and Rabindranath, he is acutely aware of the tremendous role played by her in contemporary India and urged by Jagadish Chandra, writes a great commemorative essay titled Nivedita.

In the essay Nivedita which remains a landmark in our literature, Rabindranath bestows the supreme epithet of Lokmata on her and achieves a dispassionate appraisal of the great soul. It is printed in the Nov-Dec issue of the Prabashi.

Writes the short story Panraksha.

Around this time Rabindranath also sets in motion the process of publishing his letters. Later Ramendrasundar Trivedi will be entrusted with the responsibility of editing the letters. The anthology of letters will be published as Chhinnapatra in July, 1912.

Rabindranath writes letter to Lalitkumar Bandopadhyay regarding Lalitkumar's criticism on the play Achalayatan.

Atti Galpa (eight stories) – a collection of 8 Tagore stories particularly suitable for school-going-boys is published.

The Poet manages to ruffle many dovecotes of conservatism and dogmatic orthodoxy. In this connection poet writes to Amal Home -- "The message of Achalayatan is to liberate our customs, our habits, our reason from the vast prison we've erected around ourselves in the name of dharma, society and rituals..."

Myron H. Phelps, an American lawyer and India enthusiast camping in Hardwar, writes to the poet expressing his keenness to visit east India soon.

Meera Devi's son and the poet's grandson Neetindranath is born.

Rabindranath is in town to look after the newly born son of Meera Devi and Rabindranath's grandson -- Neetindranath.

Rabindranath writes back to Mr. Phelps elaborating on his views of east-west synthesis and the ways to achieve it.

Now that Rabindranath is contemplating a long journey abroad, he decides to write his will. But it is not registered. In its concluding part he adds that he has repeatedly urged his son, Rathindra, to devote the income derived from the zamindari estates to the welfare of the tenants. Naturally it is in harmony with his philosophy.

26th annual session of the National Congress held in Calcutta (now Kolkata) from 26th to 28th December, 1911. Pandit Bishan Narayan Dhar presides.

The second day's proceedings commence with the singing of Jana Gano Mano Adhinayaka – a patriotic song composed by the poet for the occasion.

26th All India Theistic Conference held at City College, Mirzapur Street, Calcutta (now Kolkata) from 26th to 29th December, 1911.

Rabindranath reads the essay Dharmasiksha at the 26th annual conference of National Congress held at Calcutta (now Kolkata).

Sarojini Naidu also addresses at the 26th annual conference of National Congress, makes the poet's acquaintance on this occasion.