Read more of Rabindranath Tagore's essays, poems, plays and novels (click here for information and purchase)
When you select any Amazon item to buy from the Voices Education Project web site, and then check out at Amazon.com, a portion of your purchase price will be paid to Voices to support our work.
Rabindranath Tagore (1861-1941) was the youngest son of Debendranath Tagore, a leader of the Brahmo Samaj, which was a new religious sect in nineteenth-century Bengal and which attempted a revival of the ultimate monistic basis of Hinduism as laid down in the Upanishads. He was educated at home; and although at seventeen he was sent to England for formal schooling, he did not finish his studies there. In his mature years, in addition to his many-sided literary activities, he managed the family estates, a project which brought him into close touch with common humanity and increased his interest in social reforms. He also started an experimental school at Shantiniketan where he tried his Upanishadic ideals of education. From time to time he participated in the Indian nationalist movement, though in his own non-sentimental and visionary way; and Gandhi, the political father of modern India, was his devoted friend. Tagore was knighted by the ruling British Government in 1915, but within a few years he resigned the honour as a protest against British policies in India.
Tagore had early success as a writer in his native Bengal. With his translations of some of his poems he became rapidly known in the West. In fact his fame attained a luminous height, taking him across continents on lecture tours and tours of friendship. For the world he became the voice of India's spiritual heritage; and for India, especially for Bengal, he became a great living institution.
Although Tagore wrote successfully in all literary genres, he was first of all a poet. Among his fifty and odd volumes of poetry are Manasi (1890) [The Ideal One], Sonar Tari (1894) [The Golden Boat], Gitanjali (1910) [Song Offerings], Gitimalya (1914) [Wreath of Songs], and Balaka(1916) [The Flight of Cranes]. The English renderings of his poetry, which include The Gardener (1913), Fruit-Gathering (1916), and The Fugitive (1921), do not generally correspond to particular volumes in the original Bengali; and in spite of its title, Gitanjali: Song Offerings(1912), the most acclaimed of them, contains poems from other works besides its namesake. Tagore's major plays are Raja (1910) [The King of the Dark Chamber], Dakghar (1912) [The Post Office], Achalayatan (1912) [The Immovable], Muktadhara (1922) [The Waterfall], andRaktakaravi (1926) [Red Oleanders]. He is the author of several volumes of short stories and a number of novels, among them Gora (1910), Ghare-Baire (1916) [The Home and the World], and Yogayog (1929) [Crosscurrents]. Besides these, he wrote musical dramas, dance dramas, essays of all types, travel diaries, and two autobiographies, one in his middle years and the other shortly before his death in 1941. Tagore also left numerous drawings and paintings, and songs for which he wrote the music himself.
From Nobel Lectures, Literature 1901-1967, Editor Horst Frenz, Elsevier Publishing Company, Amsterdam, 1969
Pain and Joy
The most important lesson that man can learn from his life is not that there is pain in this world, but that it depends upon him to turn it into good account, that it is possible for him to transmute it into joy. That lesson has not been lost altogether to us, and there is no man living who would willingly be deprived of his right to suffer pain, for that is his right to be a man....
Man's freedom is never in being saved troubles, but it is the freedom to take trouble for his own good, to make the trouble an element in his joy. It can be made so only when we realize that our individual self is not the highest meaning of our being, that in us we have the world-man who is immortal, who is not afraid of death or sufferings, and who looks upon pain as only the other side of joy.
He who has realized this knows that it is pain which is our true wealth as imperfect beings, and has made us great and worthy to take our seat with the perfect. He knows that we are not beggars; that it is the hard coin which must be paid for everything valuable in this life, for our power, our wisdom, our love; that in pain is symbolized the infinite possibility of perfection, the eternal unfolding of joy; and the man who loses all pleasure in accepting pain sinks down and down to the lowest depth of penury and degradation. It is only when we invoke the aid of pain for our self-gratification that she becomes evil and takes her vengeance for the insult done to her by hurling us into misery. For she is the vestal virgin consecrated to the service of the immortal perfection, and when she takes her true place before the altar of the infinite she casts off her dark veil and bares her face to the beholder as a revelation of supreme joy.