Rabindranath Tagore (1861-1941) is India's greatest modern poet and the most brilliant creative genius produced by the Indian Renaissance. As well as poetry, he wrote songs, stories and novels, plays, essays, memoirs and travelogues. He was both a...
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Rabindranath Tagore (1861-1941) is India's greatest modern poet and the most brilliant creative genius produced by the Indian Renaissance. As well as poetry, he wrote songs, stories and novels, plays, essays, memoirs and travelogues. He was both a restless innovator and a superb craftsman, and the Bengali language attained great beauty and power in his hands. He created his own genre of dance drama and is one of the most important visual artists of modern India. He won the Nobel Prize in Literature in 1913. Tagore's poetry has an impressive wholeness: a magnificent loving warmth, compassionate
Cover; Description; Title Page; Dedication; Table of Contents; Preface to the Second Edition; Acknowledgements; List of Illustrations; Introduction to the First Edition; FROM Sandhyasangit (1882); The Suicide of a Star; Invocation to Sorrow; FROM Prabhatsangit (1883); Endless Death; FROM Kadi o Komal (1886); Breasts No.2; The Kiss; FROM Manasi (1890); Desire; Death-dream; The Amatory Conversation of a Young Bengali Couple; FROM Sonar Tari (1894); I Won't Let You Go; Earth; On the Doctrine of Maya; Play; On Her Powerlessness; FROM Chitra (1896); Farewell to Heaven; The Victorious Woman
The Year 1400FROM Chaitali (1896); Renunciation; An Ordinary Person; The Ferry; The Worker; Big Sister; The Mediatrix; On the Nature of Love; Putu; The Companion; A Scene of Affection; Against Meditative Knowledge; True Meditation; Drought; Hope Against Hope; FROM Kanika (1899); Give Us Deeds, Not Words; Relationship of Convenience; Kinship Analysed; Too Good; Positive Proof; FROM Katha (1900); The Repayment; The Realisation of Value; FROM Kahini (1900); Dialogue between Karna and Kunti; FROM Kalpana (1900); A Stressful Time; Dream; FROM Kshanika (1900); What the Scriptures Say
StraightforwardFROM Naibedya (1901); No. 88; No. 89; No. 90; FROM Smaran (1903); No. 5; No. 14; FROM Shishu (1903); Empathy; An Offer of Help; Hide-and-Seek; FROM Utsarga (1903-4, 1914); No. 7; FROM Kheya (1906); The Auspicious Moment; The Renunciation; FROM Gitanjali (1910); No. 106; No. 107; No. 108; FROM Balaka (1916); No. 6; No. 36; No. 39; FROM Palataka (1918); Getting Lost; The Last Establishment; FROM Lipika (1922); The Old House; One Day; Grief's Ingratitude; The Question; FROM Shishu Bholanath (1922); Sunday; Remembering; FROM Purabi (1925); Gratitude; The Apprehension; The Skeleton
The ExchangeFROM Mahua (1929); The Identity; Disappearance; FROM Punashcha (1932); Kopai; By the Pond; Dwelling; Memory; The Boy; The Last Letter; Camellia; A Person; Writing a Letter; FROM Shesh Saptak (1935); No. 1; No. 2; No. 3; No. 9; No. 11; No. 13; No. 22; No. 27; No. 29; No. 31; No. 46; FROM Bithika (1935); The Indifferent One; FROM Patraput (1936); No. 5; No. 7; No. 8; No. 11; FROM Shyamali (1936); Dream; The Lost Mind; Tamarind Flower; The Nap; The Uncoupling; A Sudden Encounter; FROM Prantik (1938); No. 5; No. 14; No. 18; FROM Akashpradip (1939); The Dark Girl; Green Mangoes
