![]() ![]() The poet admits that his soul is not absolutely pure. Thus, the passage gives an account of the mystic bliss, that illuminates his being as he sings in praise of God. his soul is one with the divine and he feels that he is face to face with God. his heart is overflowed with joy and he feels a sort of pride on being inspired by God It is because of the immense joy that tears flow down his eyes. Rabindranath Tagore says that he sings only when God commands him to do so whenever he gets inspiration from God. ![]() The first group (1-7) deals with the vastness and immensity of God’s love and His gifts and intimate relationship of love, existing between God and the poet. From the point of view of the theme, the poems are divided into several groups. Introduction: There are a hundred and three poems in Tagore’s poetic collection entitled the Gitanjali. My song, thy feet which I could never aspire to reach.ĭrunk with the joy of singing I forget myself and I touch by the edge of the far-spreading wing of That only as a singer I come before thy presence. I know thou takest pleasure in my singing. Wings like a glad bird on its flight across the sea. Into one sweet harmony-and my adoration spreads When thou commandest me to sing it seems that myĪll that is harsh and dissonant in my life melts God has been bestowing His gifts upon His slaves for ages and still, His blessings are not exhausted. again human soul is compared to a little child, whose hands are too small to hold the gifts which his parents offer to him. But the human soul is too little to enjoy in full abundance and profusion of divine bliss. His gifts are numerous and He has scattered them everywhere for ages. He loses his identity in his union of man and God, the eternal soul gets absorbed in Infinite. whenever He inspires him, he sings with immense joy, forgetting his own physical limitations. Whenever God touches his soul with His immortal hand I.e. As God is everywhere and in every object of Nature, he gets His inspiration everywhere and sings over hills and dales. Tagore believes it is under divine inspiration that he is always able to sing fresh and new songs. God is the musician and He plays upon it everywhere, over the hill, as well as, in valleys. He compares his body to a flute, made of reeds. this shows Tagore’s faith in the Hindu doctrine of transmigration. In this way, human life is constantly renewed. Man dies and takes birth in another shape. The human body is like a frail of a vessel which God empties again and again and then fills it ever with fresh life. Rabindranath Tagore believes that God pervades the whole of the human existence and man is nothing but an instrument in the hands of God, a servant whose duty it is to carry out the commands of his master. Ages pass, and still thou pourest, and still, there is room to fill. Thy infinite gifts come to me only on these very small hands of mine. This little flute of a reed thou hast carried over hills and dales, and hast breathed through it melodies eternally new.Īt the immortal touch of thy hands, my little heart loses its limits in joy and gives birth to utterance ineffable. Thou hast made me endless, such is thy pleasure, this frail vessel thou emptiest again and again, and fillest it ever with fresh life. It is the first poem from the collection of poems “Gitanjali” by Rabindranath Tagore. Gitanjali is a collection of hundred and odd poems and songs from his Bengali work mainly ‘Gitanjali’, ‘Naivedya’, ‘Kheya’ and ‘Gitimalya’ transcreated by the poet himself that thrilled the whole world and won him the coveted Noble prize.īest Poems Of Rabindranath Tagore From Gitanjali In India, the Sanskrit word ‘Kavi’ is generally accepted as denoting a poet, but the word, correctly interpreted, does not mean a person who, having been endowed with high powers of imagination and expression, is purely and simply a writer in verse, it means a seer, an enlightened and wise person, And Rabindra Nath Tagore was much more than a mere versifier having high powers of imagination and expression he was a ‘Kavi’ in the strictest sense of the term. ![]()
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