What do you think?
Rate this book
丕賱亘賷鬲 賵丕賱毓丕賱賲
The English translation of Ghare-Baire (1919), The Home and the World, was first serialised in the Bengali magazine, Sabujputra, in 1915. It follows the story of a wealthy and educated gentleman, Nikhilesh, his young wife, Bimala and his fiery friend, Sandip, a headstrong Swadeshi fighter. Under Sandip's influence, Bimala abandons the traditional role she has hitherto occupied and begins to step out of her confined world. But she is also dazzled by Sandip's rhetoric, unimpressed by the moderate politics and quiet determination of her husband and her transformation into a modern woman carries with it a great price.
Translated by Surendranath Tagore, this controversial novel was condemned by many for being immoral and unpatriotic. But a few admired it deeply for the way it refused to sacrifice common-sense for fiery political rhetoric.
Translated by Surendranath Tagore, this controversial novel was condemned by many for being immoral and unpatriotic. But a few admired it deeply for the way it refused to sacrifice common-sense for fiery political rhetoric.
329 pages, Paperback
First published January 1, 1916
482 people are currently reading
10.3k people want to read
About the author
Rabindranath Tagore
2,712听books4,149听followersAwarded the Nobel Prize in Literature in 1913 "because of his profoundly sensitive, fresh and beautiful verse, by which, with consummate skill, he has made his poetic thought, expressed in his own English words, a part of the literature of the West."
Tagore modernised Bengali art by spurning rigid classical forms and resisting linguistic strictures. His novels, stories, songs, dance-dramas, and essays spoke to topics political and personal. Gitanjali (Song Offerings), Gora (Fair-Faced), and Ghare-Baire (The Home and the World) are his best-known works, and his verse, short stories, and novels were acclaimed鈥攐r panned鈥攆or their lyricism, colloquialism, naturalism, and unnatural contemplation. His compositions were chosen by two nations as national anthems: India's Jana Gana Mana and Bangladesh's Amar Shonar Bangla.
The complete works of Rabindranath Tagore (唳班Μ唰€唳ㄠ唳︵唳� 唳班唳ㄠ唳Σ唰€) in the original Bengali are now available at these third-party websites:
Tagore modernised Bengali art by spurning rigid classical forms and resisting linguistic strictures. His novels, stories, songs, dance-dramas, and essays spoke to topics political and personal. Gitanjali (Song Offerings), Gora (Fair-Faced), and Ghare-Baire (The Home and the World) are his best-known works, and his verse, short stories, and novels were acclaimed鈥攐r panned鈥攆or their lyricism, colloquialism, naturalism, and unnatural contemplation. His compositions were chosen by two nations as national anthems: India's Jana Gana Mana and Bangladesh's Amar Shonar Bangla.
The complete works of Rabindranath Tagore (唳班Μ唰€唳ㄠ唳︵唳� 唳班唳ㄠ唳Σ唰€) in the original Bengali are now available at these third-party websites:
Ratings & Reviews
Friends & Following
Create a free account to discover what your friends think of this book!
Community Reviews
Displaying 1 - 30 of 554 reviews
October 26, 2021
唳樴Π唰� 唳唳囙Π唰� = Gh么re Baire or Ghare Baire = The Home and the World, Rabindranath Tagore
The Home and the World is a 1916 novel by Rabindranath Tagore. The book illustrates the battle Tagore had with himself, between the ideas of Western culture and revolution against the Western culture.
These two ideas are portrayed in two of the main characters, Nikhil, who is rational and opposes violence, and Sandip, who will let nothing stand in his way from reaching his goals. These two opposing ideals are very important in understanding the history of the Bengal region, and its contemporary problems.
鬲丕乇蹖禺 賳禺爻鬲蹖賳 禺賵丕賳卮: 蹖丕夭丿賴賲 賲丕賴 賳賵丕賲亘乇 爻丕賱1989賲蹖賱丕丿蹖
毓賳賵丕賳: 禺丕賳賴 賵 噩賴丕賳貨 賳賵蹖爻賳丿賴: 乇丕亘蹖賳丿乇丕賳丕鬲 鬲丕诏賵乇貨 賲鬲乇噩賲: 夭賴乇蹖 禺丕賳賱乇蹖 (讴蹖丕)貨 鬲賴乇丕賳貙 鬲賵爻賳貙 爻丕賱1367貙 丿乇226氐貨 趩丕倬 丿賵賲貙 爻丕賱1386貙 卮丕亘讴9643153150貨 賲賵囟賵毓: 丿丕爻鬲丕賳賴丕蹖 賳賵蹖爻賳丿诏丕賳 賴賳丿 (賴賳丿賵爻鬲丕賳) - 爻丿賴 20賲
丿丕爻鬲丕賳 賳禺爻鬲蹖賳 亘丕乇 丿乇 爻丕賱1915賲蹖賱丕丿蹖 賲賳鬲卮乇 卮丿貙 讴賴 丿乇 爻乇夭賲蹖賳 芦亘賳诏丕賱賴禄 乇禺 賲蹖丿賴丿貨 丿丕爻鬲丕賳 鈥屫ж� 夭亘丕賳 爻賴 乇丕賵蹖 亘丕夭诏賵 賲蹖卮賵丿貙 讴賴 丿乇 亘乇丕亘乇 賷賰丿賷诏乇 賯乇丕乇 賲蹖诏蹖乇賳丿貙 賵 亘丕賴賲 亘诏賵賲诏賵 賲蹖讴賳賳丿貨 芦爻丕鬲蹖丕 噩蹖鬲 鈥屫必й屄� 讴丕乇诏乇丿丕賳 賲卮賴賵乇 芦賴賳丿蹖禄貙 賮蹖賱賲蹖 丕夭 丕蹖賳 丿丕爻鬲丕賳 爻丕禺鬲賴 丕爻鬲鈥屸€屫� 亘丕 爻丕賱卮賲丕乇 夭賳丿诏蹖 賵 丌孬丕乇 芦乇丕亘蹖賳丿乇丕賳丕鬲 鬲丕诏賵乇 - 卮丕毓乇 賵 賳賵蹖爻賳丿賴 賴賳丿蹖禄貨 丌睾丕夭貙 賵 丿乇 丿賵丕夭丿賴 賮氐賱貙 讴賴 賴賲賴 丨丕賱鬲 诏夭丕乇卮 賳賵蹖爻蹖 丿丕乇賳丿貙 丕丿丕賲賴 賲蹖蹖丕亘丿
鬲丕乇蹖禺 亘賴賳诏丕賲 乇爻丕賳蹖 01/09/1399賴噩乇蹖 禺賵乇卮蹖丿蹖貨 03/08/1400賴噩乇蹖 禺賵乇卮蹖丿蹖貨 丕. 卮乇亘蹖丕賳蹖
The Home and the World is a 1916 novel by Rabindranath Tagore. The book illustrates the battle Tagore had with himself, between the ideas of Western culture and revolution against the Western culture.
These two ideas are portrayed in two of the main characters, Nikhil, who is rational and opposes violence, and Sandip, who will let nothing stand in his way from reaching his goals. These two opposing ideals are very important in understanding the history of the Bengal region, and its contemporary problems.
鬲丕乇蹖禺 賳禺爻鬲蹖賳 禺賵丕賳卮: 蹖丕夭丿賴賲 賲丕賴 賳賵丕賲亘乇 爻丕賱1989賲蹖賱丕丿蹖
毓賳賵丕賳: 禺丕賳賴 賵 噩賴丕賳貨 賳賵蹖爻賳丿賴: 乇丕亘蹖賳丿乇丕賳丕鬲 鬲丕诏賵乇貨 賲鬲乇噩賲: 夭賴乇蹖 禺丕賳賱乇蹖 (讴蹖丕)貨 鬲賴乇丕賳貙 鬲賵爻賳貙 爻丕賱1367貙 丿乇226氐貨 趩丕倬 丿賵賲貙 爻丕賱1386貙 卮丕亘讴9643153150貨 賲賵囟賵毓: 丿丕爻鬲丕賳賴丕蹖 賳賵蹖爻賳丿诏丕賳 賴賳丿 (賴賳丿賵爻鬲丕賳) - 爻丿賴 20賲
丿丕爻鬲丕賳 賳禺爻鬲蹖賳 亘丕乇 丿乇 爻丕賱1915賲蹖賱丕丿蹖 賲賳鬲卮乇 卮丿貙 讴賴 丿乇 爻乇夭賲蹖賳 芦亘賳诏丕賱賴禄 乇禺 賲蹖丿賴丿貨 丿丕爻鬲丕賳 鈥屫ж� 夭亘丕賳 爻賴 乇丕賵蹖 亘丕夭诏賵 賲蹖卮賵丿貙 讴賴 丿乇 亘乇丕亘乇 賷賰丿賷诏乇 賯乇丕乇 賲蹖诏蹖乇賳丿貙 賵 亘丕賴賲 亘诏賵賲诏賵 賲蹖讴賳賳丿貨 芦爻丕鬲蹖丕 噩蹖鬲 鈥屫必й屄� 讴丕乇诏乇丿丕賳 賲卮賴賵乇 芦賴賳丿蹖禄貙 賮蹖賱賲蹖 丕夭 丕蹖賳 丿丕爻鬲丕賳 爻丕禺鬲賴 丕爻鬲鈥屸€屫� 亘丕 爻丕賱卮賲丕乇 夭賳丿诏蹖 賵 丌孬丕乇 芦乇丕亘蹖賳丿乇丕賳丕鬲 鬲丕诏賵乇 - 卮丕毓乇 賵 賳賵蹖爻賳丿賴 賴賳丿蹖禄貨 丌睾丕夭貙 賵 丿乇 丿賵丕夭丿賴 賮氐賱貙 讴賴 賴賲賴 丨丕賱鬲 诏夭丕乇卮 賳賵蹖爻蹖 丿丕乇賳丿貙 丕丿丕賲賴 賲蹖蹖丕亘丿
鬲丕乇蹖禺 亘賴賳诏丕賲 乇爻丕賳蹖 01/09/1399賴噩乇蹖 禺賵乇卮蹖丿蹖貨 03/08/1400賴噩乇蹖 禺賵乇卮蹖丿蹖貨 丕. 卮乇亘蹖丕賳蹖
February 3, 2018
A 1916 novel by Rabindranath Tagore, the first non-European to win the Nobel Prize in Literature in 1913. Written in Bengali and translated into English in 1919 by the author鈥檚 nephew. I think of poetry as almost impossible to translate well, but the beauty of his language does come across. I'm glad that read Tagore.
On one level, the story is a love triangle. It鈥檚 a shame that Bimala didn鈥檛 have a friend to talk her out of having anything to do with Sandip. She had that guy sized up before she ever met him.
But no, her only confidant was her husband. And, well鈥� There she is stealing from her loving husband because her boyfriend asked her to do so. It鈥檚 like a knife in her guilty heart when loyal household members bring their small treasures to protect from the thief. 鈥淚 got these at your wedding,鈥� said the milk-woman, while handing her a box with a Benares sari and some other valued things.
On another level, this is a morality play about the Swadeshi movement for Indian independence. Husband, Nikhil is an educated, aristocratic landlord. He is nonviolent and politically moderate. He is too practical for revolutionaries to burn foreign products He is willing to import Indian made yarn to sell in his market, but to practical to boycott foreign imports. He is also, aware that independence should not mean isolation. Boyfriend, Sandip is a charismatic pro-independence professional revolution. He lobbies for the boycott of British goods and burning of western products. His instigations generate an awfully lot of violence for a non-violent movement. And, I couldn鈥檛 help but notice that he skivvied off when things went horribly wrong. Bimala is the colonized home country that they compete for.
With that as a reference, Sandip thinks of Bimala as fruit to be taken.
While devoted and caring husband, Nikhil encourages her to learn and to experience the world within the protection of their marriage. Bimala chooses the corrupting thief. She repents her choice and crime, but retribution falls. I can see why he won a prize from colonial Europe.
There may be other levels, but those are the most obvious. There's a lot here for a slim little volume. I thought Kavita Daswani was exaggerating in For Matrimonial Purposes, but here it is again. Everyone considers Bimala ugly solely because she鈥檚 dark skinned.
On one level, the story is a love triangle. It鈥檚 a shame that Bimala didn鈥檛 have a friend to talk her out of having anything to do with Sandip. She had that guy sized up before she ever met him.
I had seen Sandip Badu鈥檚 photograph before. There was something in his features which I did not quite like. Not that he was bad-looking鈥攆ar from it鈥� he had a splendidly handsome face. Yet, I know not why, it seemed to me, in spite of all its brilliance, that too much of base alloy had gone into its making. The light in his eyes somehow did not shine true. That was why I did not like it when my husband unquestioningly gave in to all his demands. I could bear the waste of money; but it vexed me to think that he was imposing on my husband, taking advantage of friendship. His bearing was not that of an ascetic, nor even of a person of moderate means but foppish all over. Love of comfort seemed to鈥ny number of such reflections come back to me today, but let them be.
But no, her only confidant was her husband. And, well鈥� There she is stealing from her loving husband because her boyfriend asked her to do so. It鈥檚 like a knife in her guilty heart when loyal household members bring their small treasures to protect from the thief. 鈥淚 got these at your wedding,鈥� said the milk-woman, while handing her a box with a Benares sari and some other valued things.
On another level, this is a morality play about the Swadeshi movement for Indian independence. Husband, Nikhil is an educated, aristocratic landlord. He is nonviolent and politically moderate. He is too practical for revolutionaries to burn foreign products He is willing to import Indian made yarn to sell in his market, but to practical to boycott foreign imports. He is also, aware that independence should not mean isolation. Boyfriend, Sandip is a charismatic pro-independence professional revolution. He lobbies for the boycott of British goods and burning of western products. His instigations generate an awfully lot of violence for a non-violent movement. And, I couldn鈥檛 help but notice that he skivvied off when things went horribly wrong. Bimala is the colonized home country that they compete for.
With that as a reference, Sandip thinks of Bimala as fruit to be taken.
It is only too clear how she wants me, and so I look on her as quite legitimately mine. The fruit hangs on the branch by the stem, but that is no reason why the claim of the stem should be eternal. Ripe fruit cannot for ever swear by its slackening stem-hold. All its sweetness has been accumulated for me; to surrender itself to my hand is the reason of its existence, its very nature, its true morality. So I must pluck it, for it becomes me to make it futile.
While devoted and caring husband, Nikhil encourages her to learn and to experience the world within the protection of their marriage. Bimala chooses the corrupting thief. She repents her choice and crime, but retribution falls. I can see why he won a prize from colonial Europe.
There may be other levels, but those are the most obvious. There's a lot here for a slim little volume. I thought Kavita Daswani was exaggerating in For Matrimonial Purposes, but here it is again. Everyone considers Bimala ugly solely because she鈥檚 dark skinned.
March 18, 2025
It is a simple story in appearance that could cause many comments and digressions. Three main characters confront each other:
1. a Maharaja imbued with traditional wisdom but open to the world,
2. a woman whom he loves and to whom he offers freedom so that she can learn to know herself and discover the world,
3. and a political leader, embodying the rise, cynicism, and extremism of the present times.
The woman, rich in the freedom offered by one, will fall in love with the other. In her eyes, the woman embodies power and will, as opposed to her husband, who seems far too timid.
"The house and the world " perhaps represents an opposition between depth and cover, intimacy and public life, philosophy, and action. Along with confrontation with the world, it was living as a test revealing the "deep nature."
1. a Maharaja imbued with traditional wisdom but open to the world,
2. a woman whom he loves and to whom he offers freedom so that she can learn to know herself and discover the world,
3. and a political leader, embodying the rise, cynicism, and extremism of the present times.
The woman, rich in the freedom offered by one, will fall in love with the other. In her eyes, the woman embodies power and will, as opposed to her husband, who seems far too timid.
"The house and the world " perhaps represents an opposition between depth and cover, intimacy and public life, philosophy, and action. Along with confrontation with the world, it was living as a test revealing the "deep nature."
December 5, 2017
"I am willing to serve my country, but my worship I reserve for Right which is far greater than my country. To worship my country as a god is to bring a curse upon it.鈥�
"To tyrannize for the country is to tyrannize over the country鈥�
How much can present day ultra-nationalists learn from him!
The infatuation of a married woman for her husband's friend aside, this book tries to bring out the pros and cons of then prevailing tools used by freedom fighters. Were those tools, emotionally attractive as they were, really effective? Who really bore the price for those satyagrahas? And most importantly, can a moment that includes mostly young volunteers be long expected to stay non-violent? Aren't some of them motivated by personal greed and need for glory? Tagore was the one who gave the title of Mahatma to Gandhi (the later returned the favour by calling him 'Gurudev') but it seems he was critical of later opinions. While Gandhi's ideal was localisation of government to village level. Tagore believed that even nationalism wasn't the end but only a step towards to something bigger. In this book too, the victory belonged to one who acted rationally rather than blindly pursuing ideal of nationalism.
And such beautiful prose that you know it is a poet writing it:
鈥渢hat which is eternal within the moment only becomes shallow if spread out in time.鈥�
鈥淏ut when physical appearance evades the scrutiny of our senses and enters the sanctuary of our hearts, then it can forget itself. I know, from my childhood's experience, how devotion is beauty itself, in its inner aspect.鈥�
鈥淧urity, they imagined, was only becoming in those on whom fortune had not smiled. It is the moon which has room or stains, not the stars."
July 21, 2011
Sir Rabindranath Tagore won the Nobel Prize for Literature in 1913. He was the first non-European and so far, the only Indian to be awarded this most prestigious award any literary artist can dream of.
Bimala (means without mal or blemish in Hindu) is married to Nikhil or Nikhilesh (Lord of the Universe). Theirs is an arranged marriage that was planned even when Bimala was still a little girl. Bimala is neither good-looking, i.e., she comes from lower status and darker complexion, nor rich. Nikhil on the other hand, comes from a rich family, peace-loving and passive. Nikhil has a handsome, aggressive and charismatic friend, Sandip who is the leader of the Swadeshi movement. This movement was part of the many others, e.g., the non-violence movement of Mahatma Gandhi being the most famous, that comprised the India Independence Movement that strived to end the British rule in India in the early part of the 19th century. Bimala falls in love with Sandip for his zeal, ambition and sex appeal. Nikhil releases her but then she finds out Sandip鈥檚 true color.
The book is composed of several chapters, each of them is narrated by either one of the three major characters that reminded me of William Faulkner鈥檚 The Sound and the Fury (1929) minus Benjy, its retardate character. Rather, the 3 narrators perfectly give their views on what鈥檚 going on around them, from what goes on inside their homes, within community and even in the nation as a whole. Like Salman Rushdie鈥檚 masterpiece Midnight鈥檚 Children (1981) this book, The Home and the World shows a detailed presentation of India during its fight for independence from British colonizers. However, if Rushdie was able to present the macro as well as the micro views of this fight for independence through the events that lead to a nation in turmoil and how his characters react to them , Tagore chose to focus on his characters鈥� own turmoil in relation to the changing environment and the opposing forces present in it: the new and old, realism and idealism, the means and the end, good and evil within India and Southern Asia. The narration is lyrical and personal. The plot is thin and simple yet plausible and full of meaning. You will have to stop once in a while to savor his thought-provoking phrases.
My favorite aspect of the novel is the remarkable transformation of Bimala from a traditional woman to an awakened citizen who contributes to the movement. To give you examples of Tagore鈥檚 prose and to illustrate Bimala鈥檚 transformation, here are her descriptions of herself at the various points in the story:
BEGINNING: (as a dutiful traditional wife) 鈥淚 would cautiously and silently get up and take the dust of my husband鈥檚 feet without waking him, how at such moments I could feel the vermilion mark upon my forehead shining out like the morning star鈥�.
MIDDLE: (as a person supporting the movement) 鈥� I was no longer the lady of the Rajah鈥檚 house, but the sole representative of Bengal鈥檚 womanhood .鈥�
END: (after being fooled by her lover) "I could not think of my house as separate from my country: I had robbed my house, I had robbed my country. For this sin my house had ceased to be mine, my country also was estranged from me"
A couple of years ago, a smart GR friend commented that he hadn鈥檛 read an Indian novel, either set in India, written by Indian or Indian-American novelist, that did not have anything to do with poverty. Arundathi Roy鈥檚 The God of Small Things, Rohinton Mistry鈥檚 A Fine Balance or even Slumdog Millionaire by Vikas Swarup. They all revolve around the fact that there are problems because the protagonist(s) is poor. The Home and the World or GHARE BAIRE (when its movie adaptation was shown in Cannes 1988) centers on the ideological personal beliefs of the characters and poverty is not really the main or even the secondary issue.
I am glad that I have read a Tagore. It changed my perspective on Indian novels and showed me a firmer grasp on what it took for the Indian people to gain their independence.
Bimala (means without mal or blemish in Hindu) is married to Nikhil or Nikhilesh (Lord of the Universe). Theirs is an arranged marriage that was planned even when Bimala was still a little girl. Bimala is neither good-looking, i.e., she comes from lower status and darker complexion, nor rich. Nikhil on the other hand, comes from a rich family, peace-loving and passive. Nikhil has a handsome, aggressive and charismatic friend, Sandip who is the leader of the Swadeshi movement. This movement was part of the many others, e.g., the non-violence movement of Mahatma Gandhi being the most famous, that comprised the India Independence Movement that strived to end the British rule in India in the early part of the 19th century. Bimala falls in love with Sandip for his zeal, ambition and sex appeal. Nikhil releases her but then she finds out Sandip鈥檚 true color.
The book is composed of several chapters, each of them is narrated by either one of the three major characters that reminded me of William Faulkner鈥檚 The Sound and the Fury (1929) minus Benjy, its retardate character. Rather, the 3 narrators perfectly give their views on what鈥檚 going on around them, from what goes on inside their homes, within community and even in the nation as a whole. Like Salman Rushdie鈥檚 masterpiece Midnight鈥檚 Children (1981) this book, The Home and the World shows a detailed presentation of India during its fight for independence from British colonizers. However, if Rushdie was able to present the macro as well as the micro views of this fight for independence through the events that lead to a nation in turmoil and how his characters react to them , Tagore chose to focus on his characters鈥� own turmoil in relation to the changing environment and the opposing forces present in it: the new and old, realism and idealism, the means and the end, good and evil within India and Southern Asia. The narration is lyrical and personal. The plot is thin and simple yet plausible and full of meaning. You will have to stop once in a while to savor his thought-provoking phrases.
My favorite aspect of the novel is the remarkable transformation of Bimala from a traditional woman to an awakened citizen who contributes to the movement. To give you examples of Tagore鈥檚 prose and to illustrate Bimala鈥檚 transformation, here are her descriptions of herself at the various points in the story:
BEGINNING: (as a dutiful traditional wife) 鈥淚 would cautiously and silently get up and take the dust of my husband鈥檚 feet without waking him, how at such moments I could feel the vermilion mark upon my forehead shining out like the morning star鈥�.
MIDDLE: (as a person supporting the movement) 鈥� I was no longer the lady of the Rajah鈥檚 house, but the sole representative of Bengal鈥檚 womanhood .鈥�
END: (after being fooled by her lover) "I could not think of my house as separate from my country: I had robbed my house, I had robbed my country. For this sin my house had ceased to be mine, my country also was estranged from me"
A couple of years ago, a smart GR friend commented that he hadn鈥檛 read an Indian novel, either set in India, written by Indian or Indian-American novelist, that did not have anything to do with poverty. Arundathi Roy鈥檚 The God of Small Things, Rohinton Mistry鈥檚 A Fine Balance or even Slumdog Millionaire by Vikas Swarup. They all revolve around the fact that there are problems because the protagonist(s) is poor. The Home and the World or GHARE BAIRE (when its movie adaptation was shown in Cannes 1988) centers on the ideological personal beliefs of the characters and poverty is not really the main or even the secondary issue.
I am glad that I have read a Tagore. It changed my perspective on Indian novels and showed me a firmer grasp on what it took for the Indian people to gain their independence.
January 1, 2018
毓賳丿賲丕 賯乇兀鬲 丕賱毓賲賱 賴匕丕 賰賳鬲 兀乇噩賾丨 卮丕毓乇賷丞 胤丕睾賵乇 兀賰孬乇 毓賱賶 乇賵丕卅賷鬲賴 賵丕賱爻亘亘 賱賰孬乇丞 賲丕毓乇賮鬲賴 賲賳 賳鬲丕噩 卮禺氐賷 賱賴 賵賲丕毓乇賮 賰卮丕毓乇 賱賰賳 賴匕丕 丕賱毓賲賱 賷亘乇賴賳 毓賱賶 丨鬲賶 賳噩丕丨賴 丕賱乇賵丕卅賷 賵賰賰丕鬲亘 賲爻乇丨賷 賰匕賱賰. 丕賱乇賵丕賷丞 賱賷爻鬲 亘丕賱賲毓噩夭丞 賵賱丕 丕賱毓馗賷賲丞 賮賴賷 鬲賯賱賷丿賷鬲賴丕. 賱賰賳賴丕 賲卮亘毓丞 亘丕賱丨賰賲丞 賵丕賱賮賱爻賮丞 賰賲毓馗賲 乇賵賷丕鬲 丕賱賴賳丿 賵丕賱氐賷賳 賴匕丕 賮賵賯 賮賱爻賮丞 胤丕睾賵乇 丕賱爻丕丨乇丞 賵賴賵 賷氐賵乇 丕賱賲噩鬲賲毓 丕賱賴賳丿賷 亘乇丐賷丞 卮丕毓乇賷丞 丨鬲賶 賲賳 禺賱丕賱 丕賱丨賵丕乇 賱爻乇丿賴 毓賳 丕賱毓丕丿丕鬲 賵丕賱鬲賯丕賱賷丿 賮賷 丕賱賲噩鬲賲毓 丕賱賴賳丿賷. 賵鬲賲丕爻賰賴丕 乇賴賷亘 賲賳 賯亘賱 胤丕睾賵乇 丕賱卮丕毓乇. 賰丕賳 胤丕睾賵乇 賷氐亘 賰賱 賳鬲丕噩賴 毓賳 丕賱廿賳爻丕賳 賵丕賱賵胤賳 賵丕賱賲孬丕賱賷丕鬲 賵丕賱賲亘丕丿卅 賵丕賱丨乇亘 賵丕賱爻賱賲 賮賷 賴匕賴 丕賱乇賵丕賷丞 賵賰兀賳賴 賱賳 賷賰鬲亘 賳孬乇賸丕 亘毓丿 賴匕丕 丕賱毓賲賱.
丕賱賳氐 賲賳 禺賱丕賱 卮禺氐賷丕鬲 孬賱丕孬 鬲賯賵賲 兀丨丿丕孬 丕賱乇賵丕賷丞 丕賱鬲賷 兀亘丿毓 胤丕睾賵乇 賮賷 鬲爻噩賷賱 氐乇丕毓丕鬲 賴匕賴 丕賱卮禺氐賷丕鬲 丕賱廿賳爻丕賳賷丞. (賳賷賰賴賷賱貙 賵爻賳丿賷亘貙 賵 亘賷賲丕賱丕) 賵賷賰賵賳 丕賱賲賵賳賵賱賵噩 丕賱丿丕禺賱锟斤拷 乇賰賷夭丞 噩賲賷賱丞 賮賷 丕賱乇賵丕賷丞 賷賱毓亘 毓賱賷賴丕 胤丕睾賵乇 賱鬲氐賵賷乇 卮禺氐賷丕鬲賴貙 賵賳賯丿 賲噩鬲賲毓 丕賱賴賳丿.
丕賱賳氐 賲賳 禺賱丕賱 卮禺氐賷丕鬲 孬賱丕孬 鬲賯賵賲 兀丨丿丕孬 丕賱乇賵丕賷丞 丕賱鬲賷 兀亘丿毓 胤丕睾賵乇 賮賷 鬲爻噩賷賱 氐乇丕毓丕鬲 賴匕賴 丕賱卮禺氐賷丕鬲 丕賱廿賳爻丕賳賷丞. (賳賷賰賴賷賱貙 賵爻賳丿賷亘貙 賵 亘賷賲丕賱丕) 賵賷賰賵賳 丕賱賲賵賳賵賱賵噩 丕賱丿丕禺賱锟斤拷 乇賰賷夭丞 噩賲賷賱丞 賮賷 丕賱乇賵丕賷丞 賷賱毓亘 毓賱賷賴丕 胤丕睾賵乇 賱鬲氐賵賷乇 卮禺氐賷丕鬲賴貙 賵賳賯丿 賲噩鬲賲毓 丕賱賴賳丿.
August 3, 2018
Exceptionally remarkable! .brilliant, complex novel where the three characters take turns telling the story from their own point of view, beautiful political and moral parallel to the struggles and conflicts India underwent in the days of upheaval against the British Empire. Tagore is magnificent.
December 5, 2023
A really intriguing, complex novel. I'll be thinking about it for a while.
March 29, 2025
Set in the early 20th century, The Home and the World delves into the lives of Nikhilesh, his wife Bimala, and Sandip, amidst the political upheaval of colonial India.
Having been caught in the crosscurrents of the political turmoil prevailing at that time in India, amidst the vociferous vows of nationalism, their lives get caught due to the difference in their opinion. They ('Sandip and Nikhil' and 'Nikhil and Bimala') are in constant clashes with each other, the chasm of thoughts being driven by their contrasting views on:
a). Tradition vs modernism
b). love vs union
c). religion vs nationalism
d). the role of women in the Indian Independence Movement, and largely in the Indian society.
It is worth noticing that this book fundamentally reflects Tagore's internal struggle between embracing Western culture and opposing it 鈥� a conflict embodied in the characters of Nikhilesh and Sandip.
The very fact that the book was written by Tagore speaks volumes about its quality. However, to further justify my reading, I must say I was deeply impressed by the depth of thought and the effectiveness with which they are conveyed. Considering this is a translation, I can only imagine how enriching the original must have been!
4/5!
Having been caught in the crosscurrents of the political turmoil prevailing at that time in India, amidst the vociferous vows of nationalism, their lives get caught due to the difference in their opinion. They ('Sandip and Nikhil' and 'Nikhil and Bimala') are in constant clashes with each other, the chasm of thoughts being driven by their contrasting views on:
a). Tradition vs modernism
b). love vs union
c). religion vs nationalism
d). the role of women in the Indian Independence Movement, and largely in the Indian society.
It is worth noticing that this book fundamentally reflects Tagore's internal struggle between embracing Western culture and opposing it 鈥� a conflict embodied in the characters of Nikhilesh and Sandip.
The very fact that the book was written by Tagore speaks volumes about its quality. However, to further justify my reading, I must say I was deeply impressed by the depth of thought and the effectiveness with which they are conveyed. Considering this is a translation, I can only imagine how enriching the original must have been!
4/5!
May 6, 2016
Reading Tagore's work as a Westerner, I am always reminded of the importance of caution. That is, I must be careful to not be too attached to the certainties I usually attach to my criteria for evaluation. When the author invites me to paint a picture, under his guidance, out of the materials of my mind, and I feel a certain resistance to even get started before recoiling, judging such a picture to be quite categorically in 鈥渂ad form,鈥� I must be cautious, and willing to question myself. Caution invites self-criticism, as well as the openness to seeing one's standpoint with reserve, as if temporarily suspended from it. I feel the whole issue about Tagore's approach to characterization here is one such issue that has more to do with paradigm difference than with an intrinsic lack of genius. After all, our aesthetic orientation is born of our ontology, with its corollary phenomenology (or culturally standard mode of interpreting and giving shape to experience).
Allegory has been out of fashion here in the West for some time. Modern aesthetic dogma deems allegory 鈥渦nnatural鈥� - though we forget that standard pictures of nature do very much differ with culture and with the array of possible philosophical orientations each cultural system of representation allows. When pictures of nature change, so does the aesthetic sense of 鈥渘aturalness.鈥� The problem, as usual, is that we tend to turn our pictures of nature into dogmas, mistaking them for the only valid orientation vis-a-vis nature (hence why self-proclaimed naturalists and realists often seem more dogmatic than most intellectuals: nature must at all costs be trimmed to fit their picture of it). We forget that our naturalism isn't the only naturalism. I'd wager that, for Tagore, allegory may well seem a more wholesomely 鈥渘atural鈥� way of depicting character than that of the standard Western "naturalist" canon.
To begin to try to reconstruct in imagination and affect alike, as a Westerner, how this is possible would perhaps require an effort to remember 鈥� that is, to recall that the West, too, once portrayed individuals in relation to allegorical types. So what kind of view of nature does allegory reveal? IMO, you don't even need special insight into the particularity of Bengali culture to answer THAT basic question, which opens the door to Tagore's worldview, and hence, to his sensibility. Allegory, in its basic logic, connects the individual to a universal pattern, and sees the individual in terms of that universal: as an instatiation thereof. Allegory as an aesthetic device implies an ontology in which the essence of the individual IS its location in the ontic Logos (in Charles Taylor's words, or, to put it in more humanly understandable terms, in a meaningful cosmic order).
The key to understanding this approach to characterization is the realization that every one of Tagore's characters is both individual and archetype, and, he seems to insist, is an individual all the more so BECAUSE s/he is an archetype. So Nikhil is the voice of universalism, reason, and humanism (but also something much more fundamental than humanism, which relates the individual not merely to the human race, but also to the universe, as he describes in Sadhana). Sandip is the intransingent revolutionary principle of creation-by-destruction; he exists to give voice and embodiment to a materialism so voided out of all value, meaning and feeling as to slide into the demonic. And Bimala is the radically Other 鈥� Other even from herself (though I don't think Tagore's compassion for her extended so far as to realize her as such). She is Mother Nature, but a Nature without form; she is putty and canvas for the ideas of the two Subjects: Sandip and Nikhil. Her own feeling of herself is an echo of, and sometimes a comment on, their feeling of her. Each character is an individual BECAUSE they give voice to their correlative principle, which defines a way of being human in relation to the world (except for Bimala, who never entirely rises to full subjectivity).
Just as each individual is an archetype, so is the political moment depicted in archetypal terms. Thus, the book is more than a comment on the unique historical moment represented by the Swadeshi movement. BECAUSE Tagore is adopting the allegorical mode, he is using insight into his particular time in order to transcend to an insight into the invarying structure of the human condition itself: the particular becomes an instantiation of a universal principle. Thus, the conflict between Nikhil and Sandip over Bimala can never become "irrelevant," as much as we should wish to ward it off and shove it into a neat little box of untransportable historical curiosities. The fact that the inflamed, righteous Sandip - with his peerless knack for turning egotistical impulse into universal ethical principle - always wins in politics, but with devastating consequences, is a fact about human nature that is not likely to change wherever you go, and whatever "progress" occurs in our structuring of institutions.
Tagore's modernity, rationalism, universalism, and humanism make contemporary politics (and I am speaking about here in the West 鈥� I can't really speak for the rest of the world as global politics isn't my forte) seem medieval in comparison. 鈥淚 am willing to serve my country, but my worship I reserve for Right which is far greater than my country. To worship my country as a god is to bring a curse upon it.鈥� This statement speaks for itself as to why.
I would also suggest that perhaps we have something to learn from Tagore's more timeless, archetypally grounded picture of nature and character, which he was, for all his modern innovation, bravely keeping alive in spite of the obviously changing tide of the times. Consider the view such a passage reveals:
鈥淚f one had to fill in, little by little, the gap between day and night, it would take an eternity to do it. But the sun rises and the darkness is dispelled- a moment is sufficient to overcome an infinite distance.鈥�
To see the moment as a confluence of eternities... My mind being grafted on the Western tradition, this passage made me think of Whitehead's thought:
鈥淭he foundation of reverence is this perception, that the present holds within itself the complete sum of existence, backwards and forwards, that whole amplitude of time, which is eternity.鈥�
But this insight, too, is all in Tagore's Sadhana, which I think anybody should read before reading his fiction, as you can use the ideational scaffolding as a support when you wade into the sea of phenomena as he shows them to you in his fiction. It is this insight, this mode of description here, that to me, best exemplifies the uniqueness of Tagore's way of seeing, his worldview 鈥� or at least, the worldview as it gained expression in his unique genius.
My advice is to use the philosophy to guide you in the art, and to try to be more curious and a bit more willing to see yourself as a reader from the outside-in, as much as you can. Otherwise, Tagore's world will remain for you a garden seen through a foggy window.
Allegory has been out of fashion here in the West for some time. Modern aesthetic dogma deems allegory 鈥渦nnatural鈥� - though we forget that standard pictures of nature do very much differ with culture and with the array of possible philosophical orientations each cultural system of representation allows. When pictures of nature change, so does the aesthetic sense of 鈥渘aturalness.鈥� The problem, as usual, is that we tend to turn our pictures of nature into dogmas, mistaking them for the only valid orientation vis-a-vis nature (hence why self-proclaimed naturalists and realists often seem more dogmatic than most intellectuals: nature must at all costs be trimmed to fit their picture of it). We forget that our naturalism isn't the only naturalism. I'd wager that, for Tagore, allegory may well seem a more wholesomely 鈥渘atural鈥� way of depicting character than that of the standard Western "naturalist" canon.
To begin to try to reconstruct in imagination and affect alike, as a Westerner, how this is possible would perhaps require an effort to remember 鈥� that is, to recall that the West, too, once portrayed individuals in relation to allegorical types. So what kind of view of nature does allegory reveal? IMO, you don't even need special insight into the particularity of Bengali culture to answer THAT basic question, which opens the door to Tagore's worldview, and hence, to his sensibility. Allegory, in its basic logic, connects the individual to a universal pattern, and sees the individual in terms of that universal: as an instatiation thereof. Allegory as an aesthetic device implies an ontology in which the essence of the individual IS its location in the ontic Logos (in Charles Taylor's words, or, to put it in more humanly understandable terms, in a meaningful cosmic order).
The key to understanding this approach to characterization is the realization that every one of Tagore's characters is both individual and archetype, and, he seems to insist, is an individual all the more so BECAUSE s/he is an archetype. So Nikhil is the voice of universalism, reason, and humanism (but also something much more fundamental than humanism, which relates the individual not merely to the human race, but also to the universe, as he describes in Sadhana). Sandip is the intransingent revolutionary principle of creation-by-destruction; he exists to give voice and embodiment to a materialism so voided out of all value, meaning and feeling as to slide into the demonic. And Bimala is the radically Other 鈥� Other even from herself (though I don't think Tagore's compassion for her extended so far as to realize her as such). She is Mother Nature, but a Nature without form; she is putty and canvas for the ideas of the two Subjects: Sandip and Nikhil. Her own feeling of herself is an echo of, and sometimes a comment on, their feeling of her. Each character is an individual BECAUSE they give voice to their correlative principle, which defines a way of being human in relation to the world (except for Bimala, who never entirely rises to full subjectivity).
Just as each individual is an archetype, so is the political moment depicted in archetypal terms. Thus, the book is more than a comment on the unique historical moment represented by the Swadeshi movement. BECAUSE Tagore is adopting the allegorical mode, he is using insight into his particular time in order to transcend to an insight into the invarying structure of the human condition itself: the particular becomes an instantiation of a universal principle. Thus, the conflict between Nikhil and Sandip over Bimala can never become "irrelevant," as much as we should wish to ward it off and shove it into a neat little box of untransportable historical curiosities. The fact that the inflamed, righteous Sandip - with his peerless knack for turning egotistical impulse into universal ethical principle - always wins in politics, but with devastating consequences, is a fact about human nature that is not likely to change wherever you go, and whatever "progress" occurs in our structuring of institutions.
Tagore's modernity, rationalism, universalism, and humanism make contemporary politics (and I am speaking about here in the West 鈥� I can't really speak for the rest of the world as global politics isn't my forte) seem medieval in comparison. 鈥淚 am willing to serve my country, but my worship I reserve for Right which is far greater than my country. To worship my country as a god is to bring a curse upon it.鈥� This statement speaks for itself as to why.
I would also suggest that perhaps we have something to learn from Tagore's more timeless, archetypally grounded picture of nature and character, which he was, for all his modern innovation, bravely keeping alive in spite of the obviously changing tide of the times. Consider the view such a passage reveals:
鈥淚f one had to fill in, little by little, the gap between day and night, it would take an eternity to do it. But the sun rises and the darkness is dispelled- a moment is sufficient to overcome an infinite distance.鈥�
To see the moment as a confluence of eternities... My mind being grafted on the Western tradition, this passage made me think of Whitehead's thought:
鈥淭he foundation of reverence is this perception, that the present holds within itself the complete sum of existence, backwards and forwards, that whole amplitude of time, which is eternity.鈥�
But this insight, too, is all in Tagore's Sadhana, which I think anybody should read before reading his fiction, as you can use the ideational scaffolding as a support when you wade into the sea of phenomena as he shows them to you in his fiction. It is this insight, this mode of description here, that to me, best exemplifies the uniqueness of Tagore's way of seeing, his worldview 鈥� or at least, the worldview as it gained expression in his unique genius.
My advice is to use the philosophy to guide you in the art, and to try to be more curious and a bit more willing to see yourself as a reader from the outside-in, as much as you can. Otherwise, Tagore's world will remain for you a garden seen through a foggy window.
August 27, 2020
唳溹Ξ唳苦Ζ唳距Π 唳ㄠ唳栢唳侧唳� 唳 唳唳Σ唳� 唳膏唳Ζ唰囙Χ唳� 唳ㄠ唳む 唳膏Θ唰嵿Ζ唰嵿Μ唰€唳唳� 唳唳班唳 唳Α唳监 唳溹唳ㄠ唳� 唳ㄠ唳栢唳� 唳曕唳涏唳� 唳Σ唰� 唳ㄠ啷� 唳膏 唳膏唳Ζ唰囙Χ唳� 唳嗋Θ唰嵿Ζ唰嬥Σ唳ㄠ唳� 唳ㄠ唳 唳溹Θ唳む唳曕 唳唳佮唳� 唳︵唳撪Ο唳监唳� 唳溹唳む唳唳む唳唳︵ 唳唳多唳唳膏 唳ㄠΟ唳监イ 唳班Μ唳苦Μ唳距Μ唰� 唳溹唳む唳唳む唳唳︵唰� 唳唳侧 唳氞唳栢 唳︵唳栢Δ唰囙Θ 唳ㄠ啷� 唳呧Ε唳� 唳嗋唳曕 唳む唳ㄠ唳� 唳唳權唳侧 唳溹唳む唳唳む唳唳︵唳� 唳呧Θ唰嵿Ο唳むΞ 唳唳｀唳∴ 唳灌唳膏唳 唳唳溹唳� 唳灌唰嵿唰囙Θ!
唳唳Σ唳�, 唳ㄠ唳栢唳侧唳� 唳� 唳膏Θ唰嵿Ζ唰嵿Μ唰€唳唳� 唳溹Μ唳距Θ唳苦Δ唰� 唳唳班 唳夃Κ唳ㄠ唳唳� 唳唳唳� 唳灌Ο唳监唳涏啷� 唳ㄠ唳栢唳侧唳多唳� 唳Δ唰� 唳︵唳⑧唳氞唳む 唳夃Ζ唳距Π唳氞唳ㄠ唳む唳� 唳氞Π唳苦Δ唰嵿Π唳曕 唳︵唳班唳樴Ζ唳苦Θ 唳Θ唰� 唳ム唳曕Μ唰囙イ
唳膏唳Ζ唰囙Χ唳� 唳嗋Θ唰嵿Ζ唰嬥Σ唳ㄠ 唳唳權唳侧 唳唳膏Σ唳唳ㄠ唳� 唳唳班 唳呧唳多唰嵿Π唳灌Γ 唳涏唳� 唳ㄠ - 唳忇唳� 唳愢Δ唳苦唳距Ω唳苦 唳膏Δ唰嵿Ο啷� 唳膏唳� 唳膏Δ唰嵿Ο唳曕 唳む唳侧 唳оΠ唳む 唳椸唳唰� 唳唳權唳侧 唳唳膏Σ唳唳ㄠ唰� 唳忇唳唳班唳距Π 唳ㄠ唳灌 唳嗋唰嵿Π唳Γ唳曕唳班 唳灌唳膏唳 唳氞唳む唳班唳� 唳曕Π唰囙唰囙Θ 唳班Μ唳苦Μ唳距Μ唰佮イ 唳む唳� 唳忇 唳Θ唰嬥Ν唳距Μ 唳唳侧 唳侧唳椸唳ㄠ啷� 唳む唳む唳� 唳唳� 唳む唳む 唳灌Ο唳监 唳夃唳涏唳侧イ
唳唳Σ唳�, 唳ㄠ唳栢唳侧唳� 唳� 唳膏Θ唰嵿Ζ唰嵿Μ唰€唳唳� 唳溹Μ唳距Θ唳苦Δ唰� 唳唳班 唳夃Κ唳ㄠ唳唳� 唳唳唳� 唳灌Ο唳监唳涏啷� 唳ㄠ唳栢唳侧唳多唳� 唳Δ唰� 唳︵唳⑧唳氞唳む 唳夃Ζ唳距Π唳氞唳ㄠ唳む唳� 唳氞Π唳苦Δ唰嵿Π唳曕 唳︵唳班唳樴Ζ唳苦Θ 唳Θ唰� 唳ム唳曕Μ唰囙イ
唳膏唳Ζ唰囙Χ唳� 唳嗋Θ唰嵿Ζ唰嬥Σ唳ㄠ 唳唳權唳侧 唳唳膏Σ唳唳ㄠ唳� 唳唳班 唳呧唳多唰嵿Π唳灌Γ 唳涏唳� 唳ㄠ - 唳忇唳� 唳愢Δ唳苦唳距Ω唳苦 唳膏Δ唰嵿Ο啷� 唳膏唳� 唳膏Δ唰嵿Ο唳曕 唳む唳侧 唳оΠ唳む 唳椸唳唰� 唳唳權唳侧 唳唳膏Σ唳唳ㄠ唰� 唳忇唳唳班唳距Π 唳ㄠ唳灌 唳嗋唰嵿Π唳Γ唳曕唳班 唳灌唳膏唳 唳氞唳む唳班唳� 唳曕Π唰囙唰囙Θ 唳班Μ唳苦Μ唳距Μ唰佮イ 唳む唳� 唳忇 唳Θ唰嬥Ν唳距Μ 唳唳侧 唳侧唳椸唳ㄠ啷� 唳む唳む唳� 唳唳� 唳む唳む 唳灌Ο唳监 唳夃唳涏唳侧イ
December 30, 2016
Description: A vivid, powerful and compelling story of love, power and political awakening. Tanika Gupta updates Rabindranath Tagore's classic novel to a contemporary British Muslim context.
Nusrat arrives in the UK from Pakistan to marry Nabeel, a wealthy, progressive and educated businessman. Fearful of the wider society, Nusrat locks herself away in the house reading newspaper articles that only serve to heighten her concerns. Nabeel encourages Nusrat to broaden her horizons and to enter the outer world as he believes that only then will they know if their love is true. When, at Nabeel's insistence, Nusrat attends a public meeting led by Nabeel's university friend Sultan, a charismatic leader of a charity that Nabeel funds, Nusrat's eyes are opened to the potential for action and change.
Both a romantic-triangle story and a philosophical take on violence in times of revolution 'The Home and the World' was originally set in British Colonial India in 1908 at the height of the Swadeshi movement, a boycott of British goods. Gupta reimagines the story transposing it to an unnamed Northern British town in 2016, where anger and resentment against Islamophobia is thriving. Young Muslim men and women search for a sense of belonging, a cause and a way to make their voices heard. The central philosophical questions of Tagore's novel resonate strongly with current events.
July 7, 2019
If "Timelessness" defines whether a book is a classic or not, then "Ghare Baire" or "The Home and The World" is in true sense a great Classic.
Before this book, 'Chokher Bali' was the only other novel that I had read of Tagore, and can't say I was too impressed with it. But, this book was just revelation to me what a radical thinker Tagore was.
It has been 100 years since the book was written, during the days of 'Swadesi Movement', Indian uprising against the British, transition of the traditional to the modern, Hindu-Muslim Rich-Poor conflicts. But the book is as relevant today as it was then.
The book tales the story of three contrasting characters, narrated all in first-person, about their convictions, confusions and realizations. A nationalist who holds "being might" above "being right", a rationalist who questions the common beliefs and a liberated woman who struggles between her lust for a spirited man, fighting the social prejudices and her admiration for her righteous husband.
The sections dealing with the debate between "rationalism" and "nationalism" are extremely relevant to today's world, especially now when there is a sudden emergence of overt fundamentalism in many places.
With the first-person narratives Tagore tries to avoid any kind of bias, but his inclination towards rationalism against the strong sense of patriotism could be easily sensed.
Pongalswamy said, "You 'Adarsh Liberals' believe in an utopian world which is not realistic at all."
I asked, "Doesn't pragmatism somehow hinder imagination?"
Before this book, 'Chokher Bali' was the only other novel that I had read of Tagore, and can't say I was too impressed with it. But, this book was just revelation to me what a radical thinker Tagore was.
It has been 100 years since the book was written, during the days of 'Swadesi Movement', Indian uprising against the British, transition of the traditional to the modern, Hindu-Muslim Rich-Poor conflicts. But the book is as relevant today as it was then.
The book tales the story of three contrasting characters, narrated all in first-person, about their convictions, confusions and realizations. A nationalist who holds "being might" above "being right", a rationalist who questions the common beliefs and a liberated woman who struggles between her lust for a spirited man, fighting the social prejudices and her admiration for her righteous husband.
The sections dealing with the debate between "rationalism" and "nationalism" are extremely relevant to today's world, especially now when there is a sudden emergence of overt fundamentalism in many places.
With the first-person narratives Tagore tries to avoid any kind of bias, but his inclination towards rationalism against the strong sense of patriotism could be easily sensed.
"What I really feel is this, that those who cannot find food for their enthusiasm in a knowledge of their country as it actually is, or those who cannot love men because they are men, 鈥� whose needs must shout and deify their country in order to keep up their excitement, 鈥� those love excitement more than their country.
To try to give our infatuation a higher place than Truth is a sign of inherent slavishness. Where our minds are free we find ourselves lost. Our moribund vitality must have for its rider either some fantasy, or someone in authority, or a sanction from the pundits, in order to make it move. So long as we are impervious to truth and have to be moved by some hypnotic stimulus, we must know that we lack the capacity for self- government. Whatever may be our condition, we shall either need some imaginary ghost or some actual medicine-man to terrorize over us."
Pongalswamy said, "You 'Adarsh Liberals' believe in an utopian world which is not realistic at all."
I asked, "Doesn't pragmatism somehow hinder imagination?"
April 6, 2015
In 1913, Tagore became the first non-Western writer--and to date the only Indian or Bengali--to with the Nobel Prize for Literature. Reading his work, it isn't very difficult to imagine why, since they possess a Chekhovian focus on the lives, thoughts, and struggles of small people in a large world, all laid against the changing politics of the time.
Yet the structure left something to be desired: Tagore writes in the first person, but switches characters every few chapters. this could have been interesting and effective, perhaps giving a Rashomon-type view that shows how different people view the same events differently--but that isn't what we get. Rather, between descriptions of the action, we are given these internal soliloquies that explain each character's thoughts, motivations, and desires.
A big part of what made Chekhov so impressive as an author was the way he showed the internal lives of his characters through their actions. Though it was rare for them to openly express what they felt or thought, you always understood from how they presented themselves, or what the didn't say, what was on their mind. Of course, that is a technique available only to master writers, but perhaps that is the sort of writer who should be receiving a Nobel Prize.
There are some quite lovely passages, and a number of effective metaphors and symbols throughout which demonstrated that Tagore is insightful and imaginative, but the blatant way ideas and characters were explained to the audience made the story much less intriguing, for me. It was something akin to being cornered at a party by a number of dull, selfish people and then listening to them explain their lives, thoughts, and relationships at length. It left me feeling that a naturalistic story deserves a more naturalistic approach.
Yet the structure left something to be desired: Tagore writes in the first person, but switches characters every few chapters. this could have been interesting and effective, perhaps giving a Rashomon-type view that shows how different people view the same events differently--but that isn't what we get. Rather, between descriptions of the action, we are given these internal soliloquies that explain each character's thoughts, motivations, and desires.
A big part of what made Chekhov so impressive as an author was the way he showed the internal lives of his characters through their actions. Though it was rare for them to openly express what they felt or thought, you always understood from how they presented themselves, or what the didn't say, what was on their mind. Of course, that is a technique available only to master writers, but perhaps that is the sort of writer who should be receiving a Nobel Prize.
There are some quite lovely passages, and a number of effective metaphors and symbols throughout which demonstrated that Tagore is insightful and imaginative, but the blatant way ideas and characters were explained to the audience made the story much less intriguing, for me. It was something akin to being cornered at a party by a number of dull, selfish people and then listening to them explain their lives, thoughts, and relationships at length. It left me feeling that a naturalistic story deserves a more naturalistic approach.
June 28, 2017
唳忇Π 唳嗋唰� "唳多唳粪唳� 唳曕Μ唳苦Δ唳�" 唳Α唳监 唳唳椸唳� 唳灌Ο唳监唳涏唳侧唳イ 唳膏唳� 唳唳椸唳оΔ唳� 唳嗋唳距Χ 唳Π唳苦Ξ唳距Γ 唳唳∴唳� "唳樴Π唰� 唳唳囙Π唰�" 唳Α唳监唳� 唳Π啷� 唳班Μ唰€唳ㄠ唳︵唳班Θ唳距Ε 唳班Μ唰€唳ㄠ唳︵唳班Θ唳距Ε唳囙イ 唳唳傕Σ唳� 唳嗋Π 唳唳權唳侧唳� 唳班Μ唰€唳ㄠ唳︵唳班Θ唳距Ε 唳唳ㄠ唳� 唳椸Δ唳� 唳ㄠ唳囙イ 唳曕唳� 唳ㄠ唳�, 唳膏唳熰 唳忇 唳夃Κ唳ㄠ唳唳膏唳� 唳Α唳监唳� 唳Π唰� 唳嗋Π唰囙唳唳� 唳呧Θ唰佮Ν唳� 唳曕Π唳侧唳イ
"唳樴Π唰� 唳唳囙Π唰�" 唳班Μ唰€唳ㄠ唳︵唳班Θ唳距Ε唰囙Π 唳班唳溹Θ唰堗Δ唳苦 唳夃Κ唳ㄠ唳唳� 唳灌唳膏唳唳� 唳Π唳苦唳苦Δ啷� 唳唳侧Δ 唳膏唳Ζ唰囙Χ唳� 唳嗋Θ唰嵿Ζ唰嬥Σ唳ㄠ唳� 唳唳班唳曕唳粪唳唰囙 唳侧唳栢 唳夃Κ唳ㄠ唳唳膏唳距イ 唳椸Σ唰嵿Κ唰囙Π 唳唳� 唳氞Π唳苦Δ唰嵿Π 唳む唳ㄠ唳�- 唳唳Σ唳�, 唳ㄠ唳栢唳侧唳� 唳嗋Π 唳膏Θ唰嵿Ζ唰嵿Μ唰€唳イ 唳唳唰囙Π 唳膏Μ唳熰唳曕 唳呧唳多 唳む唳ㄠ唳ㄠ唳� 唳曕唳班 唳ㄠ 唳曕唳班 唳溹Μ唳距Θ唳苦Δ唰� 唳唳班唳距Χ 唳唳唰囙唰囙イ 唳む唳ㄠ唳ㄠ唳� 唳嗋Δ唰嵿Ξ唳曕Ε唳距Ο唳� 唳む唳︵唳� 唳溹唳Θ唳唳� 唳嗋Π 唳班唳溹Θ唰堗Δ唳苦 唳唳� 唳唳班唳距Χ 唳唳唰囙唰� 唳唳班Μ唳侧Ν唳距Μ唰囙イ 唳嗋Ξ唳距Π 唳Θ唰� 唳灌Σ, 唳忇Π唳� 唳む唳ㄠ唳� 唳曕唳Σ 唳む唳ㄠ唳� 唳氞Π唳苦Δ唰嵿Π 唳ㄠΟ唳�, 唳膏唳膏Ξ唳唳曕唳� 唳唳傕Σ唳距Π 唳む唳� 唳оΠ唳ㄠ唳� 唳氞唳ㄠ唳む-唳唳多唳唳膏唳� 唳唳ㄠ唳粪イ 唳む唳︵唳� 唳氞唳ㄠ唳む 唳� 唳班唳溹Θ唰堗Δ唳苦 唳Δ唳距Ζ唳班唳多唳� 唳唳班唳ム唰嵿Ο 唳唳� 唳膏唳� 唳膏Ξ唳唰囙Π 唳唳傕Σ唳距唰囙 唳唳班唳距Χ 唳曕Π唳涏啷�
唳班唳溹Θ唰堗Δ唳苦 唳夃Κ唳ㄠ唳唳� 唳Π唳苦唳唰囙Π 唳唳囙Π唰� 唳唳唰嵿Δ唳苦唳むΝ唳距Μ唰� 唳嗋Ξ唳距Π 唳曕唳涏 唳 唳Π唳苦唳苦Ο唳监唳� 唳Α唳� 唳灌Ο唳监 唳夃唰囙唰� 唳膏唳熰 唳灌Σ 唳膏Ξ唰嵿Κ唳班唳曕唳� 唳嗋Π 唳Θ唳膏唳むΔ唰嵿Δ唰嵿Μ唰囙Π 唳夃Κ唳ㄠ唳唳膏唳班イ 唳む唳ㄠ唳ㄠ 唳氞唳� 唳 唳ㄠ 唳氞唳�, 唳唳ㄠ唳� 唳灌Ο唳监 唳溹Θ唰嵿Ξ唳距Θ唰嬥Π 唳︵唳唰� 唳忇唳熰 唳曕Π唰� 唳Θ 唳む唳︵唳� 唳呧Η唳苦唳距Π唰� 唳嗋唰囙イ 唳膏唳� 唳Θ 唳 唳唳椸Σ 唳Θ, 唳膏 唳 唳曕Δ 唳曕Ε唳� 唳Σ唰� 唳む唳� 唳曕 唳犩唳� 唳嗋唰�! 唳唳ㄠΩ唳苦 唳︵唳Θ唰嵿Ζ唰嵿Μ, 唳氞唳撪Ο唳监唳唳撪Ο唳监, 唳多唳ㄠ唳Δ唳距Μ唰嬥Η 唳嗋Π 唳熰唳ㄠ唳Α唳监唳� 唳ㄠ唳唰囙 唳唳侧Δ 唳忇唳苦Ο唳监唳涏 唳椸Σ唰嵿Κ啷�
唳忇 唳唳ㄠΩ唳苦 唳熰唳ㄠ唳Α唳监唳ㄠ唳� 唳唳侧 唳嗋Μ唳距Π 唳班Ο唳监唳涏 唳膏Ξ唰嵿Κ唳班唳曕唳� 唳熰唳ㄠ唳Α唳监唳ㄠイ 唳ㄠ唳栢唳� 唳嗋Π 唳唳Σ唳� 唳膏唳唳-唳膏唳む唳班啷� 唳忇 唳膏Ξ唳 唳む唳︵唳� 唳唳澿 唳唳班Μ唰囙Χ 唳曕Π唰� 唳膏Θ唰嵿Ζ唰嵿Μ唰€唳イ 唳ㄠ, 唳多唳︵唳оΜ唳距Ζ唰€ 唳嬥Ψ唳� 唳班Μ唰€唳ㄠ唳︵唳班Θ唳距Ε 唳忇唳距Θ唰囙 唳曕唳ㄠ 唳Π唳曕唳唳� 唳嗋Θ唰囙Θ唳ㄠ啷� 唳曕唳ㄠ唳む 唳膏Μ唳曕唳涏唳� 唳Π唰囙 唳唳ㄠ唳粪唳� 唳Θ 唳忇 唳班唳膏唳 唳樴唳班 唳Ω唰嵿Δ唰�, 唳む唳� 唳曕唳ㄠ 唳灌唳膏唳� 唳氞Σ唰� 唳ㄠ啷� 唳膏Θ唰嵿Ζ唰嵿Μ唰€唳唳� 唳唳唰嵿Δ唳苦Δ唰嵿Μ 唳多唳粪唳� 唳栢唳ㄠ唳曕唳� 唳呧唳� 唳唳︵ 唳唳班唳 唳唳班唳熰 唳夃Κ唳ㄠ唳唳� 唳溹唳∴唰囙 唳嗋唰嵿唳ㄠ唳� 唳曕Π唰� 唳班唳栢 唳唳Σ唳距唰囙イ 唳呧Θ唰嵿Ο唳︵唳曕 唳膏Θ唰嵿Ζ唰嵿Μ唰€唳 唳む唳� 唳唳Μ唳灌唳� 唳曕Π唳む 唳涏唳∴唰� 唳ㄠ啷� 唳嗋Π 唳ㄠ唳栢唳� 唳唳� 唳呧Θ唰嵿Ο唳溹唳む唳� 唳曕唳�, 唳 唳Θ唰佮Π 唳膏Θ唰嵿Δ唳距Θ 唳灌Ο唳监 唳溹Θ唰嵿Ξ唰� 唳唳� 唳曕Π唰� 唳唳侧唳涏, 唳︵唳唰佮Σ唰囙 唳む唳� 唳溹Θ唰嵿Ξ 唳ㄠ唳唳� 唳夃唳苦 唳涏唳侧イ
唳唳ㄠ唳� 唳む 唳氞唳班唳距Σ 唳唳ㄠ唳粪唳� 唳唳澿唳� 唳ム唳曕, 唳唳ㄠ唳� 唳む唳� 唳唳ㄠ唳粪唳� 唳曕唳涏 唳忇唳距Θ唰嵿Δ唳� 唳嗋唳唳∴唰� 唳溹唳ㄠ唳膏イ 唳む唳ㄠΜ唰囙Σ唳� 唳栢唳唳� 唳唳む唳� 唳氞唳唰� 唳 唳唳ㄠ唳粪唳� 唳唳班唳� 唳︵唳唳侧唳� 唳栢唳唳� 唳唳侧唳�-唳曕唳班唳 唳唳侧 唳侧唳椸, 唳む 唳む 唳唳ㄠ唳粪唳� 唳︵唳班唳Σ唳む啷� 唳唳ㄠ唳� 唳灌唳膏唳 唳膏 唳︵唳班唳Σ唳む 唳嗋Ξ唳距Π唳� 唳嗋唰� 唳唳曕啷� 唳嗋Π 唳む唳� 唳忇 唳溹唳む唳� 唳唳Σ唳� 唳 唳膏Θ唰嵿Ζ唰嵿Μ唰€唳唳� 唳氞唳唰� 唳呧Θ唰嵿Ο 唳溹唳む唳� 唳唳ㄠ唳� 唳ㄠ唳栢唳侧唳多唳� 唳唳班Δ唳� 唳忇唳班唳� 唳唰嵿Ψ唳唳� 唳曕唳� 唳曕Π唰� 唳嗋Ξ唳距Π啷� 唳膏Θ唰嵿Ζ唰嵿Μ唰€唳� 唳嗋唰囙Π 唳唳撪Ο唳监唳� 唳曕Ε唳� 唳Σ唳�, 唳ㄠ唳栢唳侧唳� 唳Σ唳� 唳膏唳� 唳唳撪Ο唳监唳� 唳Π唰囙Π 唳唳撪Ο唳监啷� 唳膏Θ唰嵿Ζ唰嵿Μ唰€唳唳� 唳嗋唰囙Π 唳唳撪Ο唳监 唳嗋Ξ唳班 唳唳唰� 唳椸唳涏, 唳曕唳ㄠ唳む 唳ㄠ唳栢唳侧唳多唳� 唳Π唰囙Π 唳唳撪Ο唳监唳熰唳曕 唳膏Ξ唰嵿Ν唳Δ 唳氞唳唰囙唳� 唳膏Μ唳氞唳唰� 唳唳多, 唳呧Θ唰嵿Δ唳む 唳忇唳� 唳氞唳囙唳苦イ 唳む唳� 唳ㄠ唳栢唳侧唳多唳� 唳唳班Δ唳苦 唳嗋Ξ唳距Π 唳唰嵿Ψ唳唳むイ 唳多唳о 唳嗋Ξ唳距Π 唳曕唳�, 唳嗋Ξ唳距Π 唳о唳班Γ唳� 唳班Μ唳苦唳距唰佮Π唳� 唳む唳� 唳唳班Δ唳� 唳唰嵿Ψ唳唳� 唳︵唳栢唳唰囙唰囙Θ啷�
唳膏Ξ唰嵿Κ唳班唳曕唳� 唳熰唳ㄠ唳Α唳监唳�, 唳夃Δ唰嵿Ε唳距Θ-唳Δ唳�, 唳唳ㄠΜ唳苦-唳唳ㄠΩ唳苦 唳︵唳Θ唰嵿Ζ唰嵿Μ 唳嗋Π 唳む唳� 唳唳澿 唳班唳溹Θ唰堗Δ唳苦 唳嗋Ζ唳班唳�-唳唳多唳唳� 唳ㄠ唳唰� 唳侧唳栢Δ唰� 唳侧唳栢Δ唰� 唳膏唳唳唳唳曕Ν唳距Μ唰囙 唳椸Σ唰嵿Κ 唳澿唳佮唰� 唳椸唳涏 唳忇唳︵唳曕啷� 唳嗋Π 唳膏Μ 唳嗋Θ唰嵿Ζ唰嬥Σ唳ㄠ唳� 唳Δ 唳膏唳Ζ唰囙Χ唳� 唳嗋Θ唰嵿Ζ唰嬥Σ唳ㄠ唳班 唳唳多唳苦唰� 唳ㄠ唳む唳唳氞 唳︵唳� 唳涏唳�, 唳膏唳椸唳侧 唳膏唳Ψ唰嵿唳唳唳� 唳︵唳栢 唳椸唳涏 唳夃Κ唳ㄠ唳唳膏啷� 唳忇 唳澿唳佮唰� 唳唳撪Ο唳监唳熰 唳曕 唳曕唳Σ 唳椸Σ唰嵿Κ唰囙Π唳� 唳曕唳ㄠ 唳忇 唳氞Π唳苦Δ唰嵿Π唰囙Π 唳澿唳佮唰� 唳唳撪Ο唳监, 唳ㄠ唳曕 唳唳唰嵿Δ唳� 唳班Μ唰€唳ㄠ唳︵唳班Θ唳距Ε唳� 唳膏唳︵唳曕 唳澿唳佮唰� 唳涏唳侧唳�, 唳む 唳溹唳ㄠ唳ㄠ啷� 唳溹唳ㄠ唳� 唳む唳Θ 唳嗋唰嵿Π唳灌 唳嗋Ξ唳距Π 唳ㄠ唳囙イ 唳嗋Ξ唳� 唳膏唳灌唳む唳唳� 唳班Μ唰€唳ㄠ唳︵唳班Θ唳距Ε唳曕 唳氞唳ㄠΔ唰� 唳唳班Σ唰囙 唳栢唳多, 唳唳唰嵿Δ唳苦唰� 唳曕唳� 唳 唳氞唳ㄠΔ唰� 唳唳班?
唳唳唰嵿Δ唳苦唳むΝ唳距Μ唰� 唳嗋Ξ唳苦 唳膏唳Ζ唰囙Χ唳� 唳嗋Θ唰嵿Ζ唰嬥Σ唳ㄠ唳� 唳唰嵿Ψ唰� 唳ㄠ 唳膏唳唳啷� 唳多唳班唳む 唳嗋Ζ唳班唳� 唳犩唳� 唳涏唳� 唳曕唳ㄠ 唳溹唳ㄠ唳ㄠ, 唳むΜ唰� 唳Π唰� 唳 唳む 唳夃唰嵿Π唳む唳� 唳曕唳班唳膏唳ㄠ 唳唳∴唰� 唳唳 唳む 唳ㄠ唳多唳氞唳むイ 唳灌唳熰Σ唳距Π唰囙Π 唳多唳栢唳ㄠ 唳︵唳多Κ唰嵿Π唰囙Ξ 唳夃唰嵿Π唳む唳� 唳嗋唰佮Θ唰� 唳膏唳班 唳唳ム唳唳曕 唳唳∴唳苦Ο唳监唳涏啷� 唳 唳о唳佮Κ 唳忇Ξ唳ㄠ唳む 唳唳∴唳侧 唳膏唳椸Θ唰嵿Η 唳涏Α唳监唳, 唳曕唳班唳膏唳ㄠ唳� 唳嗋唰佮Θ唰� 唳唳∴唳侧 唳膏唳� 唳膏唳椸Θ唰嵿Η唳� 唳唳� 唳氞唳 唳Α唳监 唳唳啷� 唳膏 唳唳�, 唳膏唳Ζ唰囙Χ唳� 唳嗋Θ唰嵿Ζ唰嬥Σ唳ㄠ唳� 唳囙Δ唳苦唳距Ω 唳Δ唳熰 唳溹唳ㄠ, 唳む唳む 唳嗋Ξ唳距Π 唳Θ唰� 唳灌Ο唳监唳涏 唳唳班Δ唳唳膏唳� 唳 唳唳權唳侧唳� 唳膏唳唳班唳� 唳ㄠ, 唳曕Σ唳曕唳む唳唳膏 唳忇唳熰 唳椸唳粪唳犩唳� 唳膏唳唳班唳ム唳� 唳唳Μ唳灌唳� 唳灌Ο唳监唳涏 唳忇 唳嗋Θ唰嵿Ζ唰嬥Σ唳ㄠイ
唳むΜ唰� 唳嗋Ξ唳距Π 唳唳Θ唳距 唳多唳� 唳曕Ε唳� 唳ㄠ啷� 唳忇Π 唳唳囙Π唰囙 唳呧Θ唰囙唰� 唳唳唳ㄠイ 唳膏唳曕唳侧唳� 唳唳Δ唰囙Θ啷� 唳膏唳班唳� 唳呧Θ唰囙唰囙 唳班Μ唰€唳ㄠ唳︵唳班Θ唳距Ε唳曕 唳氞唳犩 唳侧唳栢 唳む唳︵唳� 唳嗋Κ唳む唳む唳� 唳曕Ε唳� 唳溹唳ㄠ唳唰囙唰囙Θ啷� 唳嗋Ξ唳� 唳唳多唳Ω唳距唳苦Δ唰嵿Ο 唳曕唳ㄠ唳︵唳班唳� 唳唳班唳距Χ唳苦Δ 唳膏唳膏唳曕Π唳� 唳Α唳监唳涏啷� 唳む唳む 唳夃Κ唳ㄠ唳唳膏唳� 唳多唳粪 唳唳ㄠ唳ㄠΞ唳むΚ唰嬥Ψ唳｀唳距Π唰€ 唳呧唰嵿唳距Δ唳ㄠ唳 唳忇Ξ唳ㄠ 唳忇 唳唰嵿唳班Ξ唳｀唳� 唳忇 唳氞唳犩唳� 唳溹Μ唳距Μ 唳︵唳唳� 唳嗋唰�, 唳 唳膏唳Ο唳监 唳班Μ唰€唳ㄠ唳︵唳班Θ唳距Ε 唳︵唳唰囙唳苦Σ唰囙Θ 唳膏Μ唰佮唳Δ唰嵿Π 唳Δ唰嵿Π唳苦唳距Ο唳监イ 唳膏唳� 唳溹Μ唳距Μ唰囙Π 唳唳粪唳む唳� 唳Σ唳�, 唳侧唳栢唰囙Π 唳椸Σ唰嵿Κ 唳侧唳栢唳� 唳夃Ζ唰嵿Ζ唰囙Χ唰嵿Ο 唳椸Σ唰嵿Κ 唳侧唳栢唳囙イ 唳椸Σ唰嵿Κ-唳氞唳む唳班唳侧 唳 唳呧Θ唰嵿Ο唳曕唳ㄠ 唳多唳侧唳Ξ唳距Η唰嵿Ο唳唳� 唳 唳呧Θ唰嵿Δ唳班Δ唳� 唳班Ω, 唳唳犩 唳Ζ唳� 唳ㄠ唳溹唳� 唳Σ唳 唳ム唳曕 唳唳班唳唰� 唳む 唳唳� 唳曕Π唳む 唳ㄠ 唳唳班唳�, 唳むΜ唰� 唳︵唳班唳Σ唳む 唳侧唳栢唰囙Π 唳ㄠ, 唳唳犩唰囙Π唳囙イ
"唳樴Π唰� 唳唳囙Π唰�" 唳班Μ唰€唳ㄠ唳︵唳班Θ唳距Ε唰囙Π 唳班唳溹Θ唰堗Δ唳苦 唳夃Κ唳ㄠ唳唳� 唳灌唳膏唳唳� 唳Π唳苦唳苦Δ啷� 唳唳侧Δ 唳膏唳Ζ唰囙Χ唳� 唳嗋Θ唰嵿Ζ唰嬥Σ唳ㄠ唳� 唳唳班唳曕唳粪唳唰囙 唳侧唳栢 唳夃Κ唳ㄠ唳唳膏唳距イ 唳椸Σ唰嵿Κ唰囙Π 唳唳� 唳氞Π唳苦Δ唰嵿Π 唳む唳ㄠ唳�- 唳唳Σ唳�, 唳ㄠ唳栢唳侧唳� 唳嗋Π 唳膏Θ唰嵿Ζ唰嵿Μ唰€唳イ 唳唳唰囙Π 唳膏Μ唳熰唳曕 唳呧唳多 唳む唳ㄠ唳ㄠ唳� 唳曕唳班 唳ㄠ 唳曕唳班 唳溹Μ唳距Θ唳苦Δ唰� 唳唳班唳距Χ 唳唳唰囙唰囙イ 唳む唳ㄠ唳ㄠ唳� 唳嗋Δ唰嵿Ξ唳曕Ε唳距Ο唳� 唳む唳︵唳� 唳溹唳Θ唳唳� 唳嗋Π 唳班唳溹Θ唰堗Δ唳苦 唳唳� 唳唳班唳距Χ 唳唳唰囙唰� 唳唳班Μ唳侧Ν唳距Μ唰囙イ 唳嗋Ξ唳距Π 唳Θ唰� 唳灌Σ, 唳忇Π唳� 唳む唳ㄠ唳� 唳曕唳Σ 唳む唳ㄠ唳� 唳氞Π唳苦Δ唰嵿Π 唳ㄠΟ唳�, 唳膏唳膏Ξ唳唳曕唳� 唳唳傕Σ唳距Π 唳む唳� 唳оΠ唳ㄠ唳� 唳氞唳ㄠ唳む-唳唳多唳唳膏唳� 唳唳ㄠ唳粪イ 唳む唳︵唳� 唳氞唳ㄠ唳む 唳� 唳班唳溹Θ唰堗Δ唳苦 唳Δ唳距Ζ唳班唳多唳� 唳唳班唳ム唰嵿Ο 唳唳� 唳膏唳� 唳膏Ξ唳唰囙Π 唳唳傕Σ唳距唰囙 唳唳班唳距Χ 唳曕Π唳涏啷�
唳班唳溹Θ唰堗Δ唳苦 唳夃Κ唳ㄠ唳唳� 唳Π唳苦唳唰囙Π 唳唳囙Π唰� 唳唳唰嵿Δ唳苦唳むΝ唳距Μ唰� 唳嗋Ξ唳距Π 唳曕唳涏 唳 唳Π唳苦唳苦Ο唳监唳� 唳Α唳� 唳灌Ο唳监 唳夃唰囙唰� 唳膏唳熰 唳灌Σ 唳膏Ξ唰嵿Κ唳班唳曕唳� 唳嗋Π 唳Θ唳膏唳むΔ唰嵿Δ唰嵿Μ唰囙Π 唳夃Κ唳ㄠ唳唳膏唳班イ 唳む唳ㄠ唳ㄠ 唳氞唳� 唳 唳ㄠ 唳氞唳�, 唳唳ㄠ唳� 唳灌Ο唳监 唳溹Θ唰嵿Ξ唳距Θ唰嬥Π 唳︵唳唰� 唳忇唳熰 唳曕Π唰� 唳Θ 唳む唳︵唳� 唳呧Η唳苦唳距Π唰� 唳嗋唰囙イ 唳膏唳� 唳Θ 唳 唳唳椸Σ 唳Θ, 唳膏 唳 唳曕Δ 唳曕Ε唳� 唳Σ唰� 唳む唳� 唳曕 唳犩唳� 唳嗋唰�! 唳唳ㄠΩ唳苦 唳︵唳Θ唰嵿Ζ唰嵿Μ, 唳氞唳撪Ο唳监唳唳撪Ο唳监, 唳多唳ㄠ唳Δ唳距Μ唰嬥Η 唳嗋Π 唳熰唳ㄠ唳Α唳监唳� 唳ㄠ唳唰囙 唳唳侧Δ 唳忇唳苦Ο唳监唳涏 唳椸Σ唰嵿Κ啷�
唳忇 唳唳ㄠΩ唳苦 唳熰唳ㄠ唳Α唳监唳ㄠ唳� 唳唳侧 唳嗋Μ唳距Π 唳班Ο唳监唳涏 唳膏Ξ唰嵿Κ唳班唳曕唳� 唳熰唳ㄠ唳Α唳监唳ㄠイ 唳ㄠ唳栢唳� 唳嗋Π 唳唳Σ唳� 唳膏唳唳-唳膏唳む唳班啷� 唳忇 唳膏Ξ唳 唳む唳︵唳� 唳唳澿 唳唳班Μ唰囙Χ 唳曕Π唰� 唳膏Θ唰嵿Ζ唰嵿Μ唰€唳イ 唳ㄠ, 唳多唳︵唳оΜ唳距Ζ唰€ 唳嬥Ψ唳� 唳班Μ唰€唳ㄠ唳︵唳班Θ唳距Ε 唳忇唳距Θ唰囙 唳曕唳ㄠ 唳Π唳曕唳唳� 唳嗋Θ唰囙Θ唳ㄠ啷� 唳曕唳ㄠ唳む 唳膏Μ唳曕唳涏唳� 唳Π唰囙 唳唳ㄠ唳粪唳� 唳Θ 唳忇 唳班唳膏唳 唳樴唳班 唳Ω唰嵿Δ唰�, 唳む唳� 唳曕唳ㄠ 唳灌唳膏唳� 唳氞Σ唰� 唳ㄠ啷� 唳膏Θ唰嵿Ζ唰嵿Μ唰€唳唳� 唳唳唰嵿Δ唳苦Δ唰嵿Μ 唳多唳粪唳� 唳栢唳ㄠ唳曕唳� 唳呧唳� 唳唳︵ 唳唳班唳 唳唳班唳熰 唳夃Κ唳ㄠ唳唳� 唳溹唳∴唰囙 唳嗋唰嵿唳ㄠ唳� 唳曕Π唰� 唳班唳栢 唳唳Σ唳距唰囙イ 唳呧Θ唰嵿Ο唳︵唳曕 唳膏Θ唰嵿Ζ唰嵿Μ唰€唳 唳む唳� 唳唳Μ唳灌唳� 唳曕Π唳む 唳涏唳∴唰� 唳ㄠ啷� 唳嗋Π 唳ㄠ唳栢唳� 唳唳� 唳呧Θ唰嵿Ο唳溹唳む唳� 唳曕唳�, 唳 唳Θ唰佮Π 唳膏Θ唰嵿Δ唳距Θ 唳灌Ο唳监 唳溹Θ唰嵿Ξ唰� 唳唳� 唳曕Π唰� 唳唳侧唳涏, 唳︵唳唰佮Σ唰囙 唳む唳� 唳溹Θ唰嵿Ξ 唳ㄠ唳唳� 唳夃唳苦 唳涏唳侧イ
唳唳ㄠ唳� 唳む 唳氞唳班唳距Σ 唳唳ㄠ唳粪唳� 唳唳澿唳� 唳ム唳曕, 唳唳ㄠ唳� 唳む唳� 唳唳ㄠ唳粪唳� 唳曕唳涏 唳忇唳距Θ唰嵿Δ唳� 唳嗋唳唳∴唰� 唳溹唳ㄠ唳膏イ 唳む唳ㄠΜ唰囙Σ唳� 唳栢唳唳� 唳唳む唳� 唳氞唳唰� 唳 唳唳ㄠ唳粪唳� 唳唳班唳� 唳︵唳唳侧唳� 唳栢唳唳� 唳唳侧唳�-唳曕唳班唳 唳唳侧 唳侧唳椸, 唳む 唳む 唳唳ㄠ唳粪唳� 唳︵唳班唳Σ唳む啷� 唳唳ㄠ唳� 唳灌唳膏唳 唳膏 唳︵唳班唳Σ唳む 唳嗋Ξ唳距Π唳� 唳嗋唰� 唳唳曕啷� 唳嗋Π 唳む唳� 唳忇 唳溹唳む唳� 唳唳Σ唳� 唳 唳膏Θ唰嵿Ζ唰嵿Μ唰€唳唳� 唳氞唳唰� 唳呧Θ唰嵿Ο 唳溹唳む唳� 唳唳ㄠ唳� 唳ㄠ唳栢唳侧唳多唳� 唳唳班Δ唳� 唳忇唳班唳� 唳唰嵿Ψ唳唳� 唳曕唳� 唳曕Π唰� 唳嗋Ξ唳距Π啷� 唳膏Θ唰嵿Ζ唰嵿Μ唰€唳� 唳嗋唰囙Π 唳唳撪Ο唳监唳� 唳曕Ε唳� 唳Σ唳�, 唳ㄠ唳栢唳侧唳� 唳Σ唳� 唳膏唳� 唳唳撪Ο唳监唳� 唳Π唰囙Π 唳唳撪Ο唳监啷� 唳膏Θ唰嵿Ζ唰嵿Μ唰€唳唳� 唳嗋唰囙Π 唳唳撪Ο唳监 唳嗋Ξ唳班 唳唳唰� 唳椸唳涏, 唳曕唳ㄠ唳む 唳ㄠ唳栢唳侧唳多唳� 唳Π唰囙Π 唳唳撪Ο唳监唳熰唳曕 唳膏Ξ唰嵿Ν唳Δ 唳氞唳唰囙唳� 唳膏Μ唳氞唳唰� 唳唳多, 唳呧Θ唰嵿Δ唳む 唳忇唳� 唳氞唳囙唳苦イ 唳む唳� 唳ㄠ唳栢唳侧唳多唳� 唳唳班Δ唳苦 唳嗋Ξ唳距Π 唳唰嵿Ψ唳唳むイ 唳多唳о 唳嗋Ξ唳距Π 唳曕唳�, 唳嗋Ξ唳距Π 唳о唳班Γ唳� 唳班Μ唳苦唳距唰佮Π唳� 唳む唳� 唳唳班Δ唳� 唳唰嵿Ψ唳唳� 唳︵唳栢唳唰囙唰囙Θ啷�
唳膏Ξ唰嵿Κ唳班唳曕唳� 唳熰唳ㄠ唳Α唳监唳�, 唳夃Δ唰嵿Ε唳距Θ-唳Δ唳�, 唳唳ㄠΜ唳苦-唳唳ㄠΩ唳苦 唳︵唳Θ唰嵿Ζ唰嵿Μ 唳嗋Π 唳む唳� 唳唳澿 唳班唳溹Θ唰堗Δ唳苦 唳嗋Ζ唳班唳�-唳唳多唳唳� 唳ㄠ唳唰� 唳侧唳栢Δ唰� 唳侧唳栢Δ唰� 唳膏唳唳唳唳曕Ν唳距Μ唰囙 唳椸Σ唰嵿Κ 唳澿唳佮唰� 唳椸唳涏 唳忇唳︵唳曕啷� 唳嗋Π 唳膏Μ 唳嗋Θ唰嵿Ζ唰嬥Σ唳ㄠ唳� 唳Δ 唳膏唳Ζ唰囙Χ唳� 唳嗋Θ唰嵿Ζ唰嬥Σ唳ㄠ唳班 唳唳多唳苦唰� 唳ㄠ唳む唳唳氞 唳︵唳� 唳涏唳�, 唳膏唳椸唳侧 唳膏唳Ψ唰嵿唳唳唳� 唳︵唳栢 唳椸唳涏 唳夃Κ唳ㄠ唳唳膏啷� 唳忇 唳澿唳佮唰� 唳唳撪Ο唳监唳熰 唳曕 唳曕唳Σ 唳椸Σ唰嵿Κ唰囙Π唳� 唳曕唳ㄠ 唳忇 唳氞Π唳苦Δ唰嵿Π唰囙Π 唳澿唳佮唰� 唳唳撪Ο唳监, 唳ㄠ唳曕 唳唳唰嵿Δ唳� 唳班Μ唰€唳ㄠ唳︵唳班Θ唳距Ε唳� 唳膏唳︵唳曕 唳澿唳佮唰� 唳涏唳侧唳�, 唳む 唳溹唳ㄠ唳ㄠ啷� 唳溹唳ㄠ唳� 唳む唳Θ 唳嗋唰嵿Π唳灌 唳嗋Ξ唳距Π 唳ㄠ唳囙イ 唳嗋Ξ唳� 唳膏唳灌唳む唳唳� 唳班Μ唰€唳ㄠ唳︵唳班Θ唳距Ε唳曕 唳氞唳ㄠΔ唰� 唳唳班Σ唰囙 唳栢唳多, 唳唳唰嵿Δ唳苦唰� 唳曕唳� 唳 唳氞唳ㄠΔ唰� 唳唳班?
唳唳唰嵿Δ唳苦唳むΝ唳距Μ唰� 唳嗋Ξ唳苦 唳膏唳Ζ唰囙Χ唳� 唳嗋Θ唰嵿Ζ唰嬥Σ唳ㄠ唳� 唳唰嵿Ψ唰� 唳ㄠ 唳膏唳唳啷� 唳多唳班唳む 唳嗋Ζ唳班唳� 唳犩唳� 唳涏唳� 唳曕唳ㄠ 唳溹唳ㄠ唳ㄠ, 唳むΜ唰� 唳Π唰� 唳 唳む 唳夃唰嵿Π唳む唳� 唳曕唳班唳膏唳ㄠ 唳唳∴唰� 唳唳 唳む 唳ㄠ唳多唳氞唳むイ 唳灌唳熰Σ唳距Π唰囙Π 唳多唳栢唳ㄠ 唳︵唳多Κ唰嵿Π唰囙Ξ 唳夃唰嵿Π唳む唳� 唳嗋唰佮Θ唰� 唳膏唳班 唳唳ム唳唳曕 唳唳∴唳苦Ο唳监唳涏啷� 唳 唳о唳佮Κ 唳忇Ξ唳ㄠ唳む 唳唳∴唳侧 唳膏唳椸Θ唰嵿Η 唳涏Α唳监唳, 唳曕唳班唳膏唳ㄠ唳� 唳嗋唰佮Θ唰� 唳唳∴唳侧 唳膏唳� 唳膏唳椸Θ唰嵿Η唳� 唳唳� 唳氞唳 唳Α唳监 唳唳啷� 唳膏 唳唳�, 唳膏唳Ζ唰囙Χ唳� 唳嗋Θ唰嵿Ζ唰嬥Σ唳ㄠ唳� 唳囙Δ唳苦唳距Ω 唳Δ唳熰 唳溹唳ㄠ, 唳む唳む 唳嗋Ξ唳距Π 唳Θ唰� 唳灌Ο唳监唳涏 唳唳班Δ唳唳膏唳� 唳 唳唳權唳侧唳� 唳膏唳唳班唳� 唳ㄠ, 唳曕Σ唳曕唳む唳唳膏 唳忇唳熰 唳椸唳粪唳犩唳� 唳膏唳唳班唳ム唳� 唳唳Μ唳灌唳� 唳灌Ο唳监唳涏 唳忇 唳嗋Θ唰嵿Ζ唰嬥Σ唳ㄠイ
唳むΜ唰� 唳嗋Ξ唳距Π 唳唳Θ唳距 唳多唳� 唳曕Ε唳� 唳ㄠ啷� 唳忇Π 唳唳囙Π唰囙 唳呧Θ唰囙唰� 唳唳唳ㄠイ 唳膏唳曕唳侧唳� 唳唳Δ唰囙Θ啷� 唳膏唳班唳� 唳呧Θ唰囙唰囙 唳班Μ唰€唳ㄠ唳︵唳班Θ唳距Ε唳曕 唳氞唳犩 唳侧唳栢 唳む唳︵唳� 唳嗋Κ唳む唳む唳� 唳曕Ε唳� 唳溹唳ㄠ唳唰囙唰囙Θ啷� 唳嗋Ξ唳� 唳唳多唳Ω唳距唳苦Δ唰嵿Ο 唳曕唳ㄠ唳︵唳班唳� 唳唳班唳距Χ唳苦Δ 唳膏唳膏唳曕Π唳� 唳Α唳监唳涏啷� 唳む唳む 唳夃Κ唳ㄠ唳唳膏唳� 唳多唳粪 唳唳ㄠ唳ㄠΞ唳むΚ唰嬥Ψ唳｀唳距Π唰€ 唳呧唰嵿唳距Δ唳ㄠ唳 唳忇Ξ唳ㄠ 唳忇 唳唰嵿唳班Ξ唳｀唳� 唳忇 唳氞唳犩唳� 唳溹Μ唳距Μ 唳︵唳唳� 唳嗋唰�, 唳 唳膏唳Ο唳监 唳班Μ唰€唳ㄠ唳︵唳班Θ唳距Ε 唳︵唳唰囙唳苦Σ唰囙Θ 唳膏Μ唰佮唳Δ唰嵿Π 唳Δ唰嵿Π唳苦唳距Ο唳监イ 唳膏唳� 唳溹Μ唳距Μ唰囙Π 唳唳粪唳む唳� 唳Σ唳�, 唳侧唳栢唰囙Π 唳椸Σ唰嵿Κ 唳侧唳栢唳� 唳夃Ζ唰嵿Ζ唰囙Χ唰嵿Ο 唳椸Σ唰嵿Κ 唳侧唳栢唳囙イ 唳椸Σ唰嵿Κ-唳氞唳む唳班唳侧 唳 唳呧Θ唰嵿Ο唳曕唳ㄠ 唳多唳侧唳Ξ唳距Η唰嵿Ο唳唳� 唳 唳呧Θ唰嵿Δ唳班Δ唳� 唳班Ω, 唳唳犩 唳Ζ唳� 唳ㄠ唳溹唳� 唳Σ唳 唳ム唳曕 唳唳班唳唰� 唳む 唳唳� 唳曕Π唳む 唳ㄠ 唳唳班唳�, 唳むΜ唰� 唳︵唳班唳Σ唳む 唳侧唳栢唰囙Π 唳ㄠ, 唳唳犩唰囙Π唳囙イ
July 27, 2018
"脡 Agosto e o c茅u explode em chuva apaixonada;
Mas, ai de mim, est谩 vazia a minha casa."
鈥� Vidyapati
A ac莽茫o de A Casa e o Mundo decorre em Bengala, no in铆cio do s茅culo XX, tendo como pano de fundo as convuls玫es sociais originadas pelo Movimento Swadeshi(*).
Narrado na primeira pessoa, pelas tr锚s personagens principais, este romance 茅 um retrato da 脥ndia em conflito com o desejo de modernidade e os valores ancestrais, simbolizado pela personagem feminina, Bimala.
Nikhil 茅 um maraj谩 que, preservando os valores morais e espirituais, est谩 aberto 脿 evolu莽茫o. 脡 um homem bom e justo e n茫o aceita que a mulher, Bimala, viva reclusa e sem educa莽茫o, conforme os costumes; quer, e age, para mostrar a Bimala o mundo fora da casa. Esta, inicialmente, repudia a mudan莽a mas quando conhece Sandip, um amigo do marido, acaba a envolver-se na sua causa pol铆tica.
Sandip 茅 um jovem de ideias radicais, que despreza as tradi莽玫es, e coloca acima de tudo a revolu莽茫o, e o poder, usando de todos os meios ao seu alcance: a crueldade e a manipula莽茫o dos sentimentos dos amigos.
"Quando, como um rio, n贸s, mulheres, nos mantemos dentro das nossas margens, damos alimento com tudo quanto possu铆mos; quando as galgamos, destru铆mos com tudo o que somos."
"Os que s茫o capazes de seguir a sua vida com energia t锚m for莽osamente de vencer no fim. Mas os deuses n茫o querem que tal jornada seja f谩cil, por isso encarregaram uma sereia chamada compaix茫o de distrair o viandante, de lhe obscurecer a vis茫o com a sua neblina de l谩grimas."
"Os que querem dominar n茫o temem as falsidades; as grilhetas da verdade est茫o reservadas 脿queles que ca铆rem sob a sua influ锚ncia. N茫o estudaste hist贸ria? N茫o sabes que nos imensos caldeir玫es onde fervilham os vastos progressos pol铆ticos, as mentiras s茫o os principais ingredientes?"
"aqueles que outra coisa n茫o fazem que enganar acabam por se enganar a si pr贸prios, sempre que Sandip cria uma nova fal谩cia, convence-se de que descobriu a verdade, por mais contradit贸rias que as suas inven莽玫es possam ser, comparadas umas com as outras."
(*)
Mas, ai de mim, est谩 vazia a minha casa."
鈥� Vidyapati
A ac莽茫o de A Casa e o Mundo decorre em Bengala, no in铆cio do s茅culo XX, tendo como pano de fundo as convuls玫es sociais originadas pelo Movimento Swadeshi(*).
Narrado na primeira pessoa, pelas tr锚s personagens principais, este romance 茅 um retrato da 脥ndia em conflito com o desejo de modernidade e os valores ancestrais, simbolizado pela personagem feminina, Bimala.
Nikhil 茅 um maraj谩 que, preservando os valores morais e espirituais, est谩 aberto 脿 evolu莽茫o. 脡 um homem bom e justo e n茫o aceita que a mulher, Bimala, viva reclusa e sem educa莽茫o, conforme os costumes; quer, e age, para mostrar a Bimala o mundo fora da casa. Esta, inicialmente, repudia a mudan莽a mas quando conhece Sandip, um amigo do marido, acaba a envolver-se na sua causa pol铆tica.
Sandip 茅 um jovem de ideias radicais, que despreza as tradi莽玫es, e coloca acima de tudo a revolu莽茫o, e o poder, usando de todos os meios ao seu alcance: a crueldade e a manipula莽茫o dos sentimentos dos amigos.
"Quando, como um rio, n贸s, mulheres, nos mantemos dentro das nossas margens, damos alimento com tudo quanto possu铆mos; quando as galgamos, destru铆mos com tudo o que somos."
"Os que s茫o capazes de seguir a sua vida com energia t锚m for莽osamente de vencer no fim. Mas os deuses n茫o querem que tal jornada seja f谩cil, por isso encarregaram uma sereia chamada compaix茫o de distrair o viandante, de lhe obscurecer a vis茫o com a sua neblina de l谩grimas."
"Os que querem dominar n茫o temem as falsidades; as grilhetas da verdade est茫o reservadas 脿queles que ca铆rem sob a sua influ锚ncia. N茫o estudaste hist贸ria? N茫o sabes que nos imensos caldeir玫es onde fervilham os vastos progressos pol铆ticos, as mentiras s茫o os principais ingredientes?"
"aqueles que outra coisa n茫o fazem que enganar acabam por se enganar a si pr贸prios, sempre que Sandip cria uma nova fal谩cia, convence-se de que descobriu a verdade, por mais contradit贸rias que as suas inven莽玫es possam ser, comparadas umas com as outras."
(*)
March 18, 2021
My best exposure to non-Western literature comes courtesy of Egypt's authors. In comparison to them I was rather disappointed by Midnight's Children, about India. But when I read this short novel by Tagore I encountered a Bengali author capable of matching Naguib Mahfouz, although writing about completely different subjects.
If this sounds too esoteric to readers in search of good writing who haven't yet ventured into non-Western literature, it's my way of saying simply to read this book. You'll be glad you did.
If this sounds too esoteric to readers in search of good writing who haven't yet ventured into non-Western literature, it's my way of saying simply to read this book. You'll be glad you did.
July 25, 2021
Tagore鈥檚 poetic love triangle is a metaphor for the forces of nationalism that overtook India and eventually brought about its Independence from Britain. Set in the palace of a maharajah in 1909, in a divided Bengal, itself a proxy for the subsequent partitioning of British India forty years later, the domestic conflicts within mirror those at large in the country.
Nikhil is the idealistic Maharajah who believes in a self-reliant India, in freedom and education for the population, including women, and in trade with the outside world. His wife is Bimala, a representation of Mother India, childless despite being married for nine years; in fact, there are no children even in the widowed sister-in law鈥檚 family, and I wondered whether Tagore was sending us a message about the barrenness of royalty in India, a social hierarchy heading towards extinction post-Independence. The villain of the peace is Sandip, the greedy and opportunistic Nationalist, who is openly seducing Bimala while enjoying the largesse of her husband. Amul is the loyal acolyte of Sandip, who also bears allegiance to Bimala, and is caught up in the nationalism conflict like the average Indian on the street.
The respective philosophies of the principal characters are interesting. These extracts should say it best:
Nikhil: 鈥渢he soul transcends success.鈥�
Bimala: 鈥淚 am only human. I am covetous. I would have good things for my country. If I am obliged, I would snatch them and filch them. I have anger. I would be angry for my country鈥檚 sake.鈥�
Sandip: 鈥淢an鈥檚 chief business is the accumulation of outside material. Those who are masters in the art, advertise the biggest lies in their business, enter false accounts in their political ledgers with their broadest-pointed pens, launch their newspapers daily laden with untruths, and send preachers abroad to disseminate falsehood like flies carrying pestilential germs. I am a humble follower of these great ones.鈥� 鈥� shades of the fake news phenomenon that modern politicians engage in, perhaps?
Amul: 鈥淒o you know, we always insist on Sandip Babu travelling First Class? The greatest weapon of those who rule the world, Sandip Babu has told us, is the hypnotism of their display. To take the vow of poverty would be for them not merely a penance 鈥� it would mean suicide.鈥�
One wonders why Nikhil continues to prop up Sandip. Is he practicing the philosophy of assuming good intent in everyone, or is he trying to keep his enemies close? Nikhil鈥檚 passiveness drives Bimala into the more passionate Sandip who uses flattery to extract favours from her, including influencing her to steal her husband鈥檚 money to fuel his cause. When the pangs of conscience interfere, Bimala tries to right the wrong she has committed, and this leads to a series of contrived events that made me wondered whether Tagore, the master of mellifluous prose, got lost in his plotting. Finally, I decided to abandon the threadbare and silly plot and focus on the moral of the story instead.
And Tagore鈥檚 moral is strong: idealism dies, misguided passion loses, and the tenacious ones live to fight another day.
I found the painting of life in a Maharajah鈥檚 palace very interesting: men and women eat separately, including husbands and wives; widows are cared for by the in-laws and given status within the family; there are many rooms for the few inhabitants; royalty lead isolated and self-absorbed lives. A good read to gain an understanding of the last days of colonial power in India, as experienced from the local perspective, for there are no British characters in this story at all.
Nikhil is the idealistic Maharajah who believes in a self-reliant India, in freedom and education for the population, including women, and in trade with the outside world. His wife is Bimala, a representation of Mother India, childless despite being married for nine years; in fact, there are no children even in the widowed sister-in law鈥檚 family, and I wondered whether Tagore was sending us a message about the barrenness of royalty in India, a social hierarchy heading towards extinction post-Independence. The villain of the peace is Sandip, the greedy and opportunistic Nationalist, who is openly seducing Bimala while enjoying the largesse of her husband. Amul is the loyal acolyte of Sandip, who also bears allegiance to Bimala, and is caught up in the nationalism conflict like the average Indian on the street.
The respective philosophies of the principal characters are interesting. These extracts should say it best:
Nikhil: 鈥渢he soul transcends success.鈥�
Bimala: 鈥淚 am only human. I am covetous. I would have good things for my country. If I am obliged, I would snatch them and filch them. I have anger. I would be angry for my country鈥檚 sake.鈥�
Sandip: 鈥淢an鈥檚 chief business is the accumulation of outside material. Those who are masters in the art, advertise the biggest lies in their business, enter false accounts in their political ledgers with their broadest-pointed pens, launch their newspapers daily laden with untruths, and send preachers abroad to disseminate falsehood like flies carrying pestilential germs. I am a humble follower of these great ones.鈥� 鈥� shades of the fake news phenomenon that modern politicians engage in, perhaps?
Amul: 鈥淒o you know, we always insist on Sandip Babu travelling First Class? The greatest weapon of those who rule the world, Sandip Babu has told us, is the hypnotism of their display. To take the vow of poverty would be for them not merely a penance 鈥� it would mean suicide.鈥�
One wonders why Nikhil continues to prop up Sandip. Is he practicing the philosophy of assuming good intent in everyone, or is he trying to keep his enemies close? Nikhil鈥檚 passiveness drives Bimala into the more passionate Sandip who uses flattery to extract favours from her, including influencing her to steal her husband鈥檚 money to fuel his cause. When the pangs of conscience interfere, Bimala tries to right the wrong she has committed, and this leads to a series of contrived events that made me wondered whether Tagore, the master of mellifluous prose, got lost in his plotting. Finally, I decided to abandon the threadbare and silly plot and focus on the moral of the story instead.
And Tagore鈥檚 moral is strong: idealism dies, misguided passion loses, and the tenacious ones live to fight another day.
I found the painting of life in a Maharajah鈥檚 palace very interesting: men and women eat separately, including husbands and wives; widows are cared for by the in-laws and given status within the family; there are many rooms for the few inhabitants; royalty lead isolated and self-absorbed lives. A good read to gain an understanding of the last days of colonial power in India, as experienced from the local perspective, for there are no British characters in this story at all.
March 6, 2018
My sole familiarity with Tagore's works were singing the national anthem and reading some down-scaled translated version of 'Kabuliwalah', both during school days. But watching '' interpreted by Anurag Basu in an unique manner, on Netflix, aroused my curiosity. The man did contribute a chunk to India's literary heritage, after all!
So, the story is about three people: Bimala, her husband, Nikhil, and her lover, Sandip. But it's not really. The backdrop is the Swadeshi movement in India that was aimed at boycotting British goods and reviving Indian industry. The story is basically a treatise against nationalism and fanaticism, something that India can relate to deeply even today. Issues about caste discrimination arise even during the nationalist movement. Relate to it yet? And there is cow vigilantism! It is as if nothing has changed since the last hundred years in this country. This slim novel should resonate soundly with people even today since some of the issues discussed in it are still relevant to our society.
But the story itself I found rather dragging and Tagore certainly employed purple prose to full effect. The characters were uninteresting and I was unable to merely see them as vehicles for the underlying message. The monologues and dialogues became tiresome after a while. It was as if Tagore was unable to shake off his poet's garb when writing this novel.
Despite relating deeply to what the author has to say, I actually found reading this book rather boring. I am rating for the story, not the message, as usual.
So, the story is about three people: Bimala, her husband, Nikhil, and her lover, Sandip. But it's not really. The backdrop is the Swadeshi movement in India that was aimed at boycotting British goods and reviving Indian industry. The story is basically a treatise against nationalism and fanaticism, something that India can relate to deeply even today. Issues about caste discrimination arise even during the nationalist movement. Relate to it yet? And there is cow vigilantism! It is as if nothing has changed since the last hundred years in this country. This slim novel should resonate soundly with people even today since some of the issues discussed in it are still relevant to our society.
But the story itself I found rather dragging and Tagore certainly employed purple prose to full effect. The characters were uninteresting and I was unable to merely see them as vehicles for the underlying message. The monologues and dialogues became tiresome after a while. It was as if Tagore was unable to shake off his poet's garb when writing this novel.
Despite relating deeply to what the author has to say, I actually found reading this book rather boring. I am rating for the story, not the message, as usual.
November 15, 2021
A story about the three protagonists - a good hearted Zamindar (South Asian landlord) who cares for his subjects, his wife who is drawn to the freedom struggle unlike her husband and an unscrupulous freedom fighter who sways the general populace with his fiery seductive speeches.
The novel gives an insight into the Swadeshi movement during the British rule over India, with focus on Bengal, which encouraged the ban and burning of foreign goods and promotion of indigenous ones. But this affected the poor who were forced by the rich and powerful to buy the more expensive indigenous products. They were also forced to burn all the foreign goods at home, were not given any compensation and thus they were reduced to penury and untold miseries.
There isn't much to the story, no elaborate plots and twists. It's more about the beautiful prose that draws you into reading the book. The debates between the various characters also stood out.
The novel gives an insight into the Swadeshi movement during the British rule over India, with focus on Bengal, which encouraged the ban and burning of foreign goods and promotion of indigenous ones. But this affected the poor who were forced by the rich and powerful to buy the more expensive indigenous products. They were also forced to burn all the foreign goods at home, were not given any compensation and thus they were reduced to penury and untold miseries.
There isn't much to the story, no elaborate plots and twists. It's more about the beautiful prose that draws you into reading the book. The debates between the various characters also stood out.
January 5, 2022
Home and the World is a thought provoking and beautiful novel鈥攁mong my all-time favorites鈥攂ut the 鈥渃lassic鈥� 1919 translation by Surendranath Tagore is a serious impediment to enjoying it. Surendranath, the author鈥檚 nephew, cut out whole passages of prose and poetry and collapsed two secondary characters. More importantly, he turned the prose of a man who won the Nobel for his poetry into something awkward and unremarkable. Having read both the 1919 translation and a modern translation by Sreejata Guha, I strongly recommend that you hunt down the latter if you want to fully appreciate the nuance and poetry of this masterwork.
October 22, 2024
Ser谩 que Tolstoi, Flaubert e Tagore, conseguiram perceber bem o 芒mago feminino? Podem ser, Anna Karenina, Emma Bovary e Bimala, representantes fi茅is da sensibilidade de uma mulher, ainda que ideada por um homem?
March 19, 2024
Titulo: La Casa y el Mundo
Autor: Rabindranath Tagore
Motivo de lectura: #MarzoAsiatico2024
Lectura / Relectura: Lectura
Mi edicion: Electronico
Puntuacion: 3.5/5
Como primer punto me gustaria destacar que Rabindranath Tagore fue el primer escritor no europeo en recibir el premio nobel de literatura en el a帽o 1913.
Esta novela esta narrada desde tres puntos de vista. Nikhil y Bimala (que son marido y mujer) y Sandip (amigo revolucionario de Nikhil). La historia esta ambientada durante el movimiento Swadeshi (el cual hacia incapie en una India nacionalista e independiente, y abogaba por el uso de elementos nacionales y no importados).
El autor nos presenta dos hombre totalmente distintos, que a pesar de sus enormes diferencias son amigos, el personaje femenino se vera atrapada entre la dinamica de ambos y sera ella quien intentara decidir cual es su posicion en esa dinamica. El autor sin dudas hace un gran trabajo en la metamorfosis femenina, despues de todo, esta es una novela que nada es lo que parece.
La pluma de Rabindranath Tagore es bellisima, y en varios pasajes se nota el background del autor (era poeta).
Pero uno de los problemas que le encuentro a esta novela es un final realmente acelerado y abrupto. Es un libro que me gusto, pero lamentablemente no pude amarlo.
Autor: Rabindranath Tagore
Motivo de lectura: #MarzoAsiatico2024
Lectura / Relectura: Lectura
Mi edicion: Electronico
Puntuacion: 3.5/5
Como primer punto me gustaria destacar que Rabindranath Tagore fue el primer escritor no europeo en recibir el premio nobel de literatura en el a帽o 1913.
Esta novela esta narrada desde tres puntos de vista. Nikhil y Bimala (que son marido y mujer) y Sandip (amigo revolucionario de Nikhil). La historia esta ambientada durante el movimiento Swadeshi (el cual hacia incapie en una India nacionalista e independiente, y abogaba por el uso de elementos nacionales y no importados).
El autor nos presenta dos hombre totalmente distintos, que a pesar de sus enormes diferencias son amigos, el personaje femenino se vera atrapada entre la dinamica de ambos y sera ella quien intentara decidir cual es su posicion en esa dinamica. El autor sin dudas hace un gran trabajo en la metamorfosis femenina, despues de todo, esta es una novela que nada es lo que parece.
La pluma de Rabindranath Tagore es bellisima, y en varios pasajes se nota el background del autor (era poeta).
Pero uno de los problemas que le encuentro a esta novela es un final realmente acelerado y abrupto. Es un libro que me gusto, pero lamentablemente no pude amarlo.
June 8, 2011
The Home and the World is a literary masterpiece by Rabindranath Tagore. Set as a love triangle in the backdrop of Swadesi movement in the then Bengal, it is essentially an exploration of the noosphere surrounding the revolution, encapsulating Tagore's personal critique on the movement's ideology.
All the three central characters of the novel are distressed, while treading their paths for greatness. Bimala is a young wife who seeks greatness (which every "woman is entitled to") through utmost devotion and surrender, and she finds the cause in the passionate desires of her husband's friend and in the nationalist movement. Nikhil, a rich businessman and Bimala's husband, is a noble soul who seeks to be just by abiding to his spiritual principles while he is being denounced as a traitor by the countrymen. Sandip is Nikhil's childhood friend and local leader of the nationalist movement who falls in love with Bimala. He seeks glory through power and material success, and considers restraint as a sign of weakness.
Each of the three characters narrate their trials and tribulations in first person in long monologues ('tell, not show'). While this style takes some time getting used to, by the time one finishes the book it becomes clear that Tagore could not have invented a more suitable technique for narration. There is but only a minimal tangible action and the central drama of the story unfolds within the characters, slowly and turbulently... and giving three distinct perspectives for the readers to brood on.
With fluency and lyric Tagore turns the characters inside out... something inconceivable for me as a writer just yet.
The crux of the novel lies in the philosophical debates (illusion v/s truth, pragmatism/materialism v/s spiritual idealism, passion v/s virtues) it is rich with. They are relevant and enthralling, and raise important questions that are applicable for all such expeditions.
Having been raised to sing Bande Mataram with supreme pride (and seeing the recent political dramas in the country), I find the book unique and extremely important for this generation, and the next.
Can't wait to watch Satyajit Ray's cinematic adaptation!
All the three central characters of the novel are distressed, while treading their paths for greatness. Bimala is a young wife who seeks greatness (which every "woman is entitled to") through utmost devotion and surrender, and she finds the cause in the passionate desires of her husband's friend and in the nationalist movement. Nikhil, a rich businessman and Bimala's husband, is a noble soul who seeks to be just by abiding to his spiritual principles while he is being denounced as a traitor by the countrymen. Sandip is Nikhil's childhood friend and local leader of the nationalist movement who falls in love with Bimala. He seeks glory through power and material success, and considers restraint as a sign of weakness.
Each of the three characters narrate their trials and tribulations in first person in long monologues ('tell, not show'). While this style takes some time getting used to, by the time one finishes the book it becomes clear that Tagore could not have invented a more suitable technique for narration. There is but only a minimal tangible action and the central drama of the story unfolds within the characters, slowly and turbulently... and giving three distinct perspectives for the readers to brood on.
With fluency and lyric Tagore turns the characters inside out... something inconceivable for me as a writer just yet.
The crux of the novel lies in the philosophical debates (illusion v/s truth, pragmatism/materialism v/s spiritual idealism, passion v/s virtues) it is rich with. They are relevant and enthralling, and raise important questions that are applicable for all such expeditions.
Having been raised to sing Bande Mataram with supreme pride (and seeing the recent political dramas in the country), I find the book unique and extremely important for this generation, and the next.
Can't wait to watch Satyajit Ray's cinematic adaptation!
March 28, 2015
唳班Μ唳苦唳距唰佮Π 唳曕唳� 唳班Μ唳苦唳距唰佮Π 唳む唳� 唳嗋Π唰囙唳熰 唳ㄠ唳︵Π唰嵿Χ唳� 唳忇 唳椸唳班Θ唰嵿Ε唳熰 (唳曕唳ㄠ唳� 唳ㄠΟ唳� 唳膏唳熰 唳忇唳熰 唳唳班Χ唰嵿Θ!)啷� 唳曕唳ㄠ 唳唳Σ唳�, 唳曕唳ㄠ 唳ㄠ唳栢唳侧唳� 唳 唳曕唳ㄠ 唳膏Θ唰嵿Ζ唰€唳唳� 唳嗋Δ唰嵿Ξ唳曕Ε唳� 唳ㄠ唳唰� 唳忇 唳夃Κ唳ㄠ唳唳膏唳� 唳忇唳苦Ο唳监 唳氞Σ唰囙唰囙イ 唳Α唳监Δ唰� 唳Θ唰� 唳灌Ο唳� 唳嗋Ξ唳� 唳撪Ζ唰囙Π 唳呧Θ唰囙 唳曕唳涏唳� 唳Θ唰嵿Η唰� 唳む唳� 唳唳ㄠ唳粪唰佮Σ唰� 唳嗋Ξ唳距Π 唳曕唳涏 唳樴唰� 唳唳撪Ο唳监 唳樴唳ㄠ, 唳樴唳ㄠ唳曕 唳樴唳班 唳唳Θ唳�, 唳唳ㄠ唳粪唰� 唳樴唳班 唳唳Θ唳� 唳� 唳膏Μ唳曕唳涏 唳Σ唰� 唳唳氞唳涏啷� 唳曕唳ㄠ 唳曕Κ唳熰Δ唳� 唳嗋Ξ唳距Π 唳忇Μ唳� 唳氞Π唳苦Δ唰嵿Π唳椸唳侧唳� 唳唳澿 唳ㄠ唳囙イ 唳嗋Ξ唳� 唳唳唳 唳嗋Ξ唳距Π 唳Θ唰嵿Η唰佮Ζ唰囙Π 唳氞唳ㄠ唳む唳� 唳溹唳唳椸唳熰 唳膏唳Π唰嵿Χ 唳曕Π唳む 唳唳班, 唳犩唳� 唳膏唳唳 唳氞Π唳苦Δ唰嵿Π唳椸唳侧唳� 唳氞唳ㄠ唳む唳� 唳膏唳Π唰嵿Χ唳� 唳唳膏唳むΜ啷� 唳嗋Ξ唳� 唳撪Ζ唰囙Π 唳唳澿Δ唰� 唳唳班啷� 唳唳澿Δ唰� 唳唳班 唳唳班Ω唰嵿Κ唳班唳� 唳膏Ξ唰嵿Κ唳班唳� 唳忇Μ唳� 唳︵唳Θ唰嵿Ζ唰嵿Μ唳曕啷� 唳ㄠ唳溹唳� 唳膏唳ム 唳氞Σ唳� 唳︵唳Θ唰嵿Ζ唰嵿Μ唳椸唳侧唳� 唳唳� 唳唳 唳ㄠ啷� 唳灌Ο唳监Δ唰� 唳撪Ζ唰囙Π 唳唳Θ唳距Π 唳栢唳ㄠ锟斤拷锟洁唳� 唳оΠ唳む 唳唳班唳� 唳ㄠ啷� 唳忇Ν唳距Μ唰囙 唳栢唳ㄠ唳曕唳� 唳оΠ唳�-唳呧Η唳班唳 唳撪Ζ唰囙Π 唳Θ唰囙Π 唳樴Π唳曕 唳︵唳栢 唳忇Μ唳� 唳溹唳ㄠΔ唰� 唳唳� 唳唳囙Π唰囙Π 唳唳ㄠ唳粪唳距唰囙啷�
唳夃Κ唳ㄠ唳唳膏唳苦唰� 唳呧Θ唰囙唰囙 唳班唳溹Θ唰堗Δ唳苦 唳夃Κ唳ㄠ唳唳� 唳Σ唰囙唰囙Θ, 唳膏唳Ζ唰囙Χ唰€ 唳嗋Θ唰嵿Ζ唰嬥Σ唳ㄠ唳� 唳膏Ξ唳唳熰 唳唳唳曕唰嵿Π唳距唳ㄠ唳∴ 唳ム唳曕唳� 唳唳� 唳唳班唳� 唳灌Ο唳监 唳夃唰囙唰� 唳唳ㄠ唳粪唰佮Σ唰嬥Π 唳嗋唳班Γ唰�, 唳曕唳ㄠ唳む 唳忇唰佮唰� 唳班唳溹Θ唰€唳む 唳曕 唳忇唰� 唳班唳溹Θ唰堗Δ唳苦 唳夃Κ唳ㄠ唳唳� 唳Σ唳距Π 唳溹Θ唰嵿Ο 唳Ε唰囙Ψ唰嵿? 唳曕 唳溹唳ㄠ!
唳膏 唳唳�, 唳Θ唰嵿Η唰佮Ζ唰囙Π 唳膏Μ唳距唳曕 唳む 唳嗋Π 唳膏Ξ唳距Θ 唳唳侧Μ唳距Ω唳� 唳唳 唳ㄠ, 唳嗋Μ唳距Π 唳膏Ξ唳距Θ 唳多唳班Ζ唰嵿Η唳� 唳曕Π唳距 唳氞Σ唰囙 唳ㄠ啷� 唳膏Μ唳距Π 唳氞唳ㄠ唳む唳� 唳膏唳ム 唳忇唳Δ 唳� 唳灌唳唳� 唳唳 唳ㄠ啷� 唳忇唳距Θ唰囙 唳嗋Ξ唳距Π 唳唳唰嵿Δ唳苦唳� 唳唳班唳 唳班Ο唳监唳涏啷� 唳膏 唳ㄠ唳栢唳侧唳多イ 唳嗋Ξ唳� 唳Θ唰囙唳 唳ㄠ唳栢唳侧唳多唰� 唳ㄠ唳唰� 唳忇唳� 唳Α唳监Ω唳∴ 唳班唳ㄠ 唳唳佮Ζ唰� 唳Ω唳む 唳唳班Μ唰嬥イ 唳むΜ唰� 唳む 唳ㄠ唳粪唳唳班Ο唳监唳溹Θ啷� 唳班Μ唳苦唳距唰佮Π 唳 唳Σ唰囙唰囙Θ 唳ㄠ唳栢唳侧唳多唰� 唳唳澿Δ唰� 唳灌Σ唰� 唳忇Π 唳唳多 唳曕唳涏 唳︵Π唳曕唳� 唳ㄠ唳囙イ 唳栢唳唳栢 唳嗋Ξ唳距Π 唳曕唳粪唳︵唳� 唳Ω唰嵿Δ唳苦Ψ唰嵿唳曕 唳曕Ψ唰嵿 唳嗋Π 唳ㄠ 唳︵唳囙イ 唳嗋Ξ唳� 唳多唳о 唳溹唳ㄠ 唳溹唳Θ唰� 唳氞Σ唳距Π 唳Ε唰� 唳ㄠ唳栢唳侧唳多唳� 唳Δ 唳曕唳夃唰� 唳唳侧 唳ㄠ唳溹唳曕 唳膏唳唳椸唳Μ唳距Θ 唳Θ唰� 唳曕Π唳啷� 唳む唳� 唳Σ唰� 唳曕唳� 唳嗋Μ唳距Π 唳唳 唳Ω唳唳� 唳ㄠ 唳唳� 唳嗋Ξ唳� 唳唳Σ唳� 唳灌Δ唰� 唳氞唳囙イ 唳唳Σ唳距Π 唳膏唳ム 唳嗋Ξ唳距Π 唳唳膏唳むΠ 唳唳班唳ム唰嵿Ο啷� 唳唳班唳ム唰嵿Ο, 唳む 唳膏 唳膏Μ唳距Π 唳膏唳ム唳�, 唳ㄠ唳栢唳侧唳�, 唳唳Σ唳� 唳曕唳傕Μ唳� 唳膏Θ唰嵿Ζ唰€唳イ 唳嗋Ξ唳� 唳撪Ζ唰囙Π 唳曕唳� 唳ㄠ啷� 唳嗋Ξ唳� 唳ㄠ唳栢唳侧唰� 唳唳侧Μ唳距Ω唳�, 唳む唳� 唳氞唳ㄠ唳む唳曕 唳膏Ξ唳班唳ムΘ 唳曕Π唳� 唳曕唳ㄠ唳む 唳ㄠ唳栢唳侧唳� 唳夃Θ唰嵿Ξ唰佮唰嵿Δ唳む, 唳斷Ζ唳距Π唰嵿Ο 唳忇Μ唳� 唳氞唳ㄠ唳む唳� 唳膏唳唰嵿唳む 唳唳班唳唳班 唳嗋Ξ唳距Π 唳唳澿 唳ㄠ唳囙イ 唳嗋Μ唳距Π 唳嗋Ξ唳� 唳唳Σ唳距Π 唳Δ唳� 唳膏唳溹 唳唳班Ν唳距Μ唳苦Δ 唳灌Δ唰� 唳唳班唳ㄠ, 唳ㄠ唳班唳む唳唳� 唳氞唳唰� 唳Θ唰佮Ψ唰嵿Ο唳む唳� 唳ㄠ唳唰囙 唳嗋Ξ唳距Π 唳椸Π唰嵿Μ 唳唳多, 唳曕唳ㄠ唳む 唳ㄠ唳溹唳曕 唳涏唳∴唳苦Ο唳监 唳唳唳� 唳囙唰嵿唳� 唳 唳嗋Ξ唳距Π 唳唳澿 唳ㄠ唳� 唳む唳� 唳嗋Μ唳距Π 唳Σ唳む 唳唳班 唳ㄠ啷� 唳膏Θ唰嵿Ζ唰€唳唳� 唳嗋唳距唰嵿唰嵿Ψ唳距Π 唳唳� 唳膏唳班唳� 唳唳Θ 唳ㄠ唳む唳唳氞, 唳嗋Ξ唳距Π唳熰 唳唳班唳熰Ν唳距Μ唰� 唳囙Δ唳苦Μ唳距唳� 唳曕唳ㄠ唳む 唳曕唳ㄠ 唳曕唳ㄠ 唳膏Θ唰嵿Ζ唰€唳唳� 唳囙唰嵿唳距Π 唳む唳唳班Δ唳距唰�, 唳囙唰嵿唳距Ο唳� 唳呧Θ唰嵿Η 唳灌Ο唳监 唳唳唳� 唳唳班Μ唳｀Δ唳距唰� 唳ㄠ唳溹唳� 唳ム唳曕 唳嗋Σ唳距Ζ唳� 唳曕Π唳む 唳唳班 唳ㄠ啷� 唳撪Ζ唰囙Π 唳忇Ω唳� 唳氞唳ㄠ唳む唳椸唳侧 唳嗋Ξ唳距Π 唳膏唳ム 唳唰佮Ζ唳苦Θ 唳ム唳曕Μ唰� 唳Σ唰囙 唳Θ唰� 唳灌唰嵿唰囙イ
唳夃Κ唳ㄠ唳唳膏唳苦唰� 唳呧Θ唰囙唰囙 唳班唳溹Θ唰堗Δ唳苦 唳夃Κ唳ㄠ唳唳� 唳Σ唰囙唰囙Θ, 唳膏唳Ζ唰囙Χ唰€ 唳嗋Θ唰嵿Ζ唰嬥Σ唳ㄠ唳� 唳膏Ξ唳唳熰 唳唳唳曕唰嵿Π唳距唳ㄠ唳∴ 唳ム唳曕唳� 唳唳� 唳唳班唳� 唳灌Ο唳监 唳夃唰囙唰� 唳唳ㄠ唳粪唰佮Σ唰嬥Π 唳嗋唳班Γ唰�, 唳曕唳ㄠ唳む 唳忇唰佮唰� 唳班唳溹Θ唰€唳む 唳曕 唳忇唰� 唳班唳溹Θ唰堗Δ唳苦 唳夃Κ唳ㄠ唳唳� 唳Σ唳距Π 唳溹Θ唰嵿Ο 唳Ε唰囙Ψ唰嵿? 唳曕 唳溹唳ㄠ!
唳膏 唳唳�, 唳Θ唰嵿Η唰佮Ζ唰囙Π 唳膏Μ唳距唳曕 唳む 唳嗋Π 唳膏Ξ唳距Θ 唳唳侧Μ唳距Ω唳� 唳唳 唳ㄠ, 唳嗋Μ唳距Π 唳膏Ξ唳距Θ 唳多唳班Ζ唰嵿Η唳� 唳曕Π唳距 唳氞Σ唰囙 唳ㄠ啷� 唳膏Μ唳距Π 唳氞唳ㄠ唳む唳� 唳膏唳ム 唳忇唳Δ 唳� 唳灌唳唳� 唳唳 唳ㄠ啷� 唳忇唳距Θ唰囙 唳嗋Ξ唳距Π 唳唳唰嵿Δ唳苦唳� 唳唳班唳 唳班Ο唳监唳涏啷� 唳膏 唳ㄠ唳栢唳侧唳多イ 唳嗋Ξ唳� 唳Θ唰囙唳 唳ㄠ唳栢唳侧唳多唰� 唳ㄠ唳唰� 唳忇唳� 唳Α唳监Ω唳∴ 唳班唳ㄠ 唳唳佮Ζ唰� 唳Ω唳む 唳唳班Μ唰嬥イ 唳むΜ唰� 唳む 唳ㄠ唳粪唳唳班Ο唳监唳溹Θ啷� 唳班Μ唳苦唳距唰佮Π 唳 唳Σ唰囙唰囙Θ 唳ㄠ唳栢唳侧唳多唰� 唳唳澿Δ唰� 唳灌Σ唰� 唳忇Π 唳唳多 唳曕唳涏 唳︵Π唳曕唳� 唳ㄠ唳囙イ 唳栢唳唳栢 唳嗋Ξ唳距Π 唳曕唳粪唳︵唳� 唳Ω唰嵿Δ唳苦Ψ唰嵿唳曕 唳曕Ψ唰嵿 唳嗋Π 唳ㄠ 唳︵唳囙イ 唳嗋Ξ唳� 唳多唳о 唳溹唳ㄠ 唳溹唳Θ唰� 唳氞Σ唳距Π 唳Ε唰� 唳ㄠ唳栢唳侧唳多唳� 唳Δ 唳曕唳夃唰� 唳唳侧 唳ㄠ唳溹唳曕 唳膏唳唳椸唳Μ唳距Θ 唳Θ唰� 唳曕Π唳啷� 唳む唳� 唳Σ唰� 唳曕唳� 唳嗋Μ唳距Π 唳唳 唳Ω唳唳� 唳ㄠ 唳唳� 唳嗋Ξ唳� 唳唳Σ唳� 唳灌Δ唰� 唳氞唳囙イ 唳唳Σ唳距Π 唳膏唳ム 唳嗋Ξ唳距Π 唳唳膏唳むΠ 唳唳班唳ム唰嵿Ο啷� 唳唳班唳ム唰嵿Ο, 唳む 唳膏 唳膏Μ唳距Π 唳膏唳ム唳�, 唳ㄠ唳栢唳侧唳�, 唳唳Σ唳� 唳曕唳傕Μ唳� 唳膏Θ唰嵿Ζ唰€唳イ 唳嗋Ξ唳� 唳撪Ζ唰囙Π 唳曕唳� 唳ㄠ啷� 唳嗋Ξ唳� 唳ㄠ唳栢唳侧唰� 唳唳侧Μ唳距Ω唳�, 唳む唳� 唳氞唳ㄠ唳む唳曕 唳膏Ξ唳班唳ムΘ 唳曕Π唳� 唳曕唳ㄠ唳む 唳ㄠ唳栢唳侧唳� 唳夃Θ唰嵿Ξ唰佮唰嵿Δ唳む, 唳斷Ζ唳距Π唰嵿Ο 唳忇Μ唳� 唳氞唳ㄠ唳む唳� 唳膏唳唰嵿唳む 唳唳班唳唳班 唳嗋Ξ唳距Π 唳唳澿 唳ㄠ唳囙イ 唳嗋Μ唳距Π 唳嗋Ξ唳� 唳唳Σ唳距Π 唳Δ唳� 唳膏唳溹 唳唳班Ν唳距Μ唳苦Δ 唳灌Δ唰� 唳唳班唳ㄠ, 唳ㄠ唳班唳む唳唳� 唳氞唳唰� 唳Θ唰佮Ψ唰嵿Ο唳む唳� 唳ㄠ唳唰囙 唳嗋Ξ唳距Π 唳椸Π唰嵿Μ 唳唳多, 唳曕唳ㄠ唳む 唳ㄠ唳溹唳曕 唳涏唳∴唳苦Ο唳监 唳唳唳� 唳囙唰嵿唳� 唳 唳嗋Ξ唳距Π 唳唳澿 唳ㄠ唳� 唳む唳� 唳嗋Μ唳距Π 唳Σ唳む 唳唳班 唳ㄠ啷� 唳膏Θ唰嵿Ζ唰€唳唳� 唳嗋唳距唰嵿唰嵿Ψ唳距Π 唳唳� 唳膏唳班唳� 唳唳Θ 唳ㄠ唳む唳唳氞, 唳嗋Ξ唳距Π唳熰 唳唳班唳熰Ν唳距Μ唰� 唳囙Δ唳苦Μ唳距唳� 唳曕唳ㄠ唳む 唳曕唳ㄠ 唳曕唳ㄠ 唳膏Θ唰嵿Ζ唰€唳唳� 唳囙唰嵿唳距Π 唳む唳唳班Δ唳距唰�, 唳囙唰嵿唳距Ο唳� 唳呧Θ唰嵿Η 唳灌Ο唳监 唳唳唳� 唳唳班Μ唳｀Δ唳距唰� 唳ㄠ唳溹唳� 唳ム唳曕 唳嗋Σ唳距Ζ唳� 唳曕Π唳む 唳唳班 唳ㄠ啷� 唳撪Ζ唰囙Π 唳忇Ω唳� 唳氞唳ㄠ唳む唳椸唳侧 唳嗋Ξ唳距Π 唳膏唳ム 唳唰佮Ζ唳苦Θ 唳ム唳曕Μ唰� 唳Σ唰囙 唳Θ唰� 唳灌唰嵿唰囙イ
August 18, 2016
兀賵賱 鬲噩乇亘丞 賱賷 賲毓 兀丿賷亘 丕賱賴賳丿 丕賱兀亘乇夭 賵 兀毓馗賲 賯丕賲丕鬲賴 毓賱賶 丕賱丕胤賱丕賯 , 賵賰丕賳鬲 鬲噩乇亘丞 賲賮賷丿丞 賱賱睾丕賷丞 .
乇賵丕賷丞 鬲賯賱賷丿賷丞 毓賳 丕賱賲噩鬲賲毓 丕賱賴賳丿賷 , 亘乇毓 賮賷賴丕 丕賱賰丕鬲亘 賮賷 鬲賵氐賷賮 賲卮丕毓乇 卮禺氐賷丕鬲賴 , 賵鬲賯丿賷賲 丕賱毓丕丿丕鬲 賵丕賱鬲賯丕賱賷丿 丕賱賲噩鬲賲毓賷丞 賮賷 氐賷睾丞 賲賲鬲毓丞 賵卮丕賲賱丞 賮賷 賳賮爻 丕賱賵賯鬲 , 鬲賳賵毓 亘賷賳 丕賱毓賲賯 丕賱賳賮爻賷 賵 馗丕賴乇 丕賱廿賳爻丕賳 賱賷賯丿賲 賱賰 賰丕賮丞 丕賱鬲賮丕氐賷賱 丕賱賲賮賷丿丞 賱禺丿賲丞 乇賵丕賷鬲賴 .
乇賵丕賷丞 賲鬲賲賰賳丞 丕丨鬲乇丕賮賷丞 , 賮賷賴丕 鬲乇丕亘胤 亘賷賳 鬲爻賱爻賱 丕賱兀丨丿丕孬 賵 鬲胤賵乇丕鬲 丕賱卮禺氐賷丞 , 賵 賳賴丕賷鬲賴丕 鬲賯賱賷丿賷丞 賱賱睾丕賷丞 賲賲丕 兀孬乇 毓賱賶 丕賱卮賰賱 丕賱毓丕賲 賱賱乇賵丕賷丞 (賵賱賰賳 賷賲賰賳 兀賳 賳睾賮乇 匕賱賰 賱夭賲賳 丕賱賰鬲丕亘丞 賳賮爻賴 1961) .
丕賱乇賵丕賷丞 鬲鬲賲乇賰夭 丨賵賱 3 卮禺氐賷丕鬲 兀爻丕爻賷丞 , 乇噩賱 賴賳丿賷 (毓氐乇賷 賵胤賳賷 賷丨亘 賵胤賳賴) 賵亘賷賳 夭賵噩鬲賴 (廿賲乇兀丞 賴賳丿賷丞 賲胤賷毓丞) 賵 亘賷賳 毓丕卮賯 賱賱爻賱胤丞 賲丿賲賳 賱賴丕 賲賳 禺賱丕賱 丕丿毓丕亍賴 丕賱賲孬丕賱賷丞 賵 丕賱賲亘丕丿卅 丕賱賯賷賾賲丞 , 賵亘賷賳 賰賱 賴丐賱丕亍 鬲鬲賳賵毓 丕賱卮禺氐賷丕鬲 丕賱孬丕賳賵賷丞 丕賱鬲賷 鬲禺丿賲 爻賷丕賯 丕賱毓賲賱 .
丕賱毓賲賱 噩賷丿 賮賷 鬲賯丿賷賲 夭賲丕賳 賵 賲賰丕賳 賵卮禺氐賷丕鬲賴賲丕 , 賮賮賷賴 亘乇毓 丕賱賰丕鬲亘 賮賷 賳賯賱賰 賱毓丕賱賲賴 賵 丕賱丕爻鬲賲鬲丕毓 賲毓賴 ,
鬲乇噩賲丞 卮賰乇賷 毓賷丕丿 賰丕賳鬲 賲賵賮賯丞 賱賱睾丕賷丞 , 賵賴賵丕賲卮 丕賱毓賲賱 賲賮賷丿丞 噩丿丕.
賮賷 丕賱賲噩賲賱 : 鬲噩乇亘丞 噩丿賷丿丞 賲賵賮賯丞 賲毓 胤丕睾賵乇 .
April 15, 2025
Rabindranath, the first non-westerner to win a Nobel Prize for Literature, was an Indian polymath-- a profound intellectual who was adept at so many phases of creativity, including novels, plays, social-philosophical commentary & painting; but first & foremost he was a perennial poet. Tagore's century-old novel, The Home & the World seemed in many ways both prescient & universal.
The book is focused on a triangle of well-educated Calcutta-based Indians, with the world views of two men drastically different and a woman who was caught in the crosshairs between the two. Nikhil is the sensitive owner of a large estate who sees himself as a modernist, while Sandip, his friend & former schoolmate, is a passionate local leader of the Swadeshi movement aimed at the overthrow of British rule, beginning with the boycotting of British goods.
While both Nikhil & Sandip are patriotic Indians, the former favors self-reliance, the peaceful resolution of problems & allowing those who work for him to render their own decisions, while the latter wishes to instill a revolutionary, even messianic fervor, employing the rousing battle cry Bande Mataram, "Hail to the Motherland!". Amidst Sandip's proclamations to his fervent followers, is the belief that violence is often necessary to achieve social & political change, or a "new nationalism".
Nikhil's wife, Bimala, has seldom left her own home & has been treated as a caged bird by her husband, who now wishes to offer her the gift of freedom to make her own decisions, even if it means that his beloved wife will eventually fly free from him. Obviously, this would have been considered an exceedingly radical stance in early 20th century Bengal or elsewhere in India.
Upon meeting the firebrand Sandip, Bimala becomes intoxicated with the force of his rhetoric, in contrast to her loving but placid husband. In time, the newly independent Bimala will be forced to decide between her calm but steady mate and the radical oratory & demagoguery of Sandip, between the logic & harmonic views of an Apollo and the ecstatic emotionalism of a Dionysian figure. Nikhil believes in the equality of the sexes and also in keeping a balance between mind & senses but now fears losing Bimala.
Sandip feels that if one desires something & it fails to come naturally, it must be gained by force. He says that "ignorant men worship gods. Sandip shall create them. My supreme legacy is to unite the nation." Meanwhile, Nikhil declares that he must "fight against the attempt to enslave the minds to tyranny by those who torture the truth."
An interesting aspect of Tagore's The Home & the World is that all 3 primary characters at one point in the novel question their own beliefs. Another is that both Nikhil & Sandip tell Bimala that she is free, Nikhil early on & Sandip when his corrosive presence in her life begins to wear thin & she is forced to confront his demands. Feminists have taken differing views on Bimala.
Much of the novel is about the battle between truth, (Satya in Sanskrit) & illusion, with Nikhil an advocate for truth at all times, while Sandip believes in the power of illusions to incite the people he courts with his radical rhetoric.
Tagore met with Gandhi, who preached non-violence and Satyagraha, or truth-force. He traveled widely, including to America on several occasions & also interacted with Albert Einstein in Berlin in 1930, sharing thoughts on science and religion.
Some years ago, while in Calcutta (Kolkata), I visited Rabindranath Tagore's estate, touring his personal library and walking in rooms of paintings the Nobel laureate had created later in life. This novel may fall short of Tagore's poetry for some readers but I found it rather entrancing.
By way of a caution, this is not an easy book to assimilate, as there are many foreign terms and references to literary & sacred books that play an important in the lives of most Hindus. Yet, for the reader willing to patiently embrace the novel's context & to devote some attention to the history of India, The Home & the World will pay a substantial reward.
*There is also an excellent film version of The Home & the World, directed by the great Bengali film director, Satyajit Ray, who was himself a former student at Tagore's school at Santiniketan, India. **My version of the novel includes an introduction by Anita Desai & a new preface by William Radice, both excellent.
***Within my review are two photo images of Tagore, one with Albert Einstein); a photo of Tagore's home in Calcutta; and lastly, a painting by Tagore of himself with Mahatma Gandhi and British official Charles Andrews.
The book is focused on a triangle of well-educated Calcutta-based Indians, with the world views of two men drastically different and a woman who was caught in the crosshairs between the two. Nikhil is the sensitive owner of a large estate who sees himself as a modernist, while Sandip, his friend & former schoolmate, is a passionate local leader of the Swadeshi movement aimed at the overthrow of British rule, beginning with the boycotting of British goods.
While both Nikhil & Sandip are patriotic Indians, the former favors self-reliance, the peaceful resolution of problems & allowing those who work for him to render their own decisions, while the latter wishes to instill a revolutionary, even messianic fervor, employing the rousing battle cry Bande Mataram, "Hail to the Motherland!". Amidst Sandip's proclamations to his fervent followers, is the belief that violence is often necessary to achieve social & political change, or a "new nationalism".
Nikhil's wife, Bimala, has seldom left her own home & has been treated as a caged bird by her husband, who now wishes to offer her the gift of freedom to make her own decisions, even if it means that his beloved wife will eventually fly free from him. Obviously, this would have been considered an exceedingly radical stance in early 20th century Bengal or elsewhere in India.
Upon meeting the firebrand Sandip, Bimala becomes intoxicated with the force of his rhetoric, in contrast to her loving but placid husband. In time, the newly independent Bimala will be forced to decide between her calm but steady mate and the radical oratory & demagoguery of Sandip, between the logic & harmonic views of an Apollo and the ecstatic emotionalism of a Dionysian figure. Nikhil believes in the equality of the sexes and also in keeping a balance between mind & senses but now fears losing Bimala.
The bloom has gone from the face of the sky. What has happened? I longed to see Bimala blossoming fully in all her truth & power. I had hoped to free Bimala in the outer world from her infatuation with tyranny. To give our marriage a higher place than truth is a sign of inherent slavishness.In response to being called indifferent to the fate of India, Nikhil declares:
I must not lose my faith: I shall wait. The passage from the narrow to the larger world is stormy. When she is familiar with this freedom, then I shall know what my place is. If I find that I no longer fit in, I shall not quarrel with my fate but silently take my leave. Use force? For what? Can force prevail against Truth?
I am willing to serve my country but I reserve for Right that which is far greater than my country. To worship my country as a god is to bring a curse upon it.
Sandip feels that if one desires something & it fails to come naturally, it must be gained by force. He says that "ignorant men worship gods. Sandip shall create them. My supreme legacy is to unite the nation." Meanwhile, Nikhil declares that he must "fight against the attempt to enslave the minds to tyranny by those who torture the truth."
An interesting aspect of Tagore's The Home & the World is that all 3 primary characters at one point in the novel question their own beliefs. Another is that both Nikhil & Sandip tell Bimala that she is free, Nikhil early on & Sandip when his corrosive presence in her life begins to wear thin & she is forced to confront his demands. Feminists have taken differing views on Bimala.
Much of the novel is about the battle between truth, (Satya in Sanskrit) & illusion, with Nikhil an advocate for truth at all times, while Sandip believes in the power of illusions to incite the people he courts with his radical rhetoric.
Tagore met with Gandhi, who preached non-violence and Satyagraha, or truth-force. He traveled widely, including to America on several occasions & also interacted with Albert Einstein in Berlin in 1930, sharing thoughts on science and religion.
Some years ago, while in Calcutta (Kolkata), I visited Rabindranath Tagore's estate, touring his personal library and walking in rooms of paintings the Nobel laureate had created later in life. This novel may fall short of Tagore's poetry for some readers but I found it rather entrancing.
By way of a caution, this is not an easy book to assimilate, as there are many foreign terms and references to literary & sacred books that play an important in the lives of most Hindus. Yet, for the reader willing to patiently embrace the novel's context & to devote some attention to the history of India, The Home & the World will pay a substantial reward.
*There is also an excellent film version of The Home & the World, directed by the great Bengali film director, Satyajit Ray, who was himself a former student at Tagore's school at Santiniketan, India. **My version of the novel includes an introduction by Anita Desai & a new preface by William Radice, both excellent.
***Within my review are two photo images of Tagore, one with Albert Einstein); a photo of Tagore's home in Calcutta; and lastly, a painting by Tagore of himself with Mahatma Gandhi and British official Charles Andrews.
August 22, 2008
an amazing view of swadeshi in the early 1900麓s India. The three sotries being told seem to reflect the higher consciousness (Nikihl), the concious (Bimala) and the lower conciousness (Sandip). True Bimala loses her way to sensationalism, terror and nationalism but at some point you must to your higher self and reflect at some point, Bimala of course does. I loved that Tagore tells the story from three points of view and is able to captuer the voice of Bimala so clearly. This should be required reading in times of extreme patriotism so we can learn a lesson, albeit fictional, from history.
August 21, 2020
Tagore, while undoubtedly a master of literature, never really worked for me as a novelist. His short stories take his capacities and gifts of insight and brings them into all of the three dimensions. Likewise, his poetry (albeit awkwardly translated from the Bengali) sears with passion and power and prowess. His novels? Well, they tend to be somewhat clunky, overly plotted, and far too influenced by the social realism of writers like Gorky and Premchand. The Home and the World tries to say a lot, but imparts very little feeling or atmosphere. I would have preferred it as an essay, or as a shorter work, maybe of 50-60 pages.
November 4, 2016
乇賵丕賷丞 賴賳丿賷丞 毓賲賷賯丞 鬲氐賵乇 丕賱氐乇丕毓 亘賷賳 丕賱禺賷乇 賵丕賱卮乇 賵丕賱毓賱丕賯丕鬲 丕賱丕噩鬲賲丕毓賷丞 賵毓賱丕賯丞 丕賱賲乇亍 亘兀乇囟賴 賵賵胤賳賴
Displaying 1 - 30 of 554 reviews
Can't find what you're looking for?
Get help and learn more about the design.