object:30.16 - Tagore the Unique
book class:Collected Works of Nolini Kanta Gupta - Vol 07
author class:Nolini Kanta Gupta
subject class:Integral Yoga
class:chapter
The Language of Rabindranath Rabindranath, Traveller of the Infinite
Other Authors Nolini Kanta Gupta On Art and LiteratureTagore the Unique
Tagore the Unique
IT is no hyperbole to say that Tagore is to Bengali literature what Shakespeare is to English, Goethe to German, Tolstoy to Russian, or Dante to Italian and, to go into the remoter past, what Virgil was to Latin and Homer to Greek or, in our country, what Kalidasa was to ancient Sanskrit. Each of these stars of the first magnitude is a king, a paramount ruler in his own language and literature, and that for two reasons. First, whatever formerly was immature, undeveloped, has become after them mature, whatever was provincial or plebian has become universal and refined; whatever was too personal has come to be universal. The first miracle performed by these great figures was to turn a
parochial language and a parochial literature into a world language and a world literature. The second was to unfold the inner strength and the deeper genius of the language to reveal and establish the nature and uniqueness of a nation's creative spirit as well as the basic principle of its evolution and culture. These two ways, one tending to expansion, the other to profundity, are in many cases mutually dependent and are often the result of a sudden or rapid outburst.
Ballad and folklore are the infant or immature form of a language and literature. Polished and powerful language and literature develop out of that and only subsequently attain their full blossoming. In this respect Dante's marvel is almost without parallel. The language he used in clothing his poetry was a popular dialect; one among various other popular dialects - this he turned into the language of Italy as a whole, the Italian language as it stood before the eyes of the world. A music and rhythm of a great and lofty consciousness infused itself into the elements that had lain neglected in the dust. The voice confined within the four corners of the household and the village underwent a miraculous change in the mouth of a magician; it became a voice of the universe. And, in a language and a literature that are not so immature but have already attained development and elegance, a creative vibhutihas brought about a second type of-transformation. Virgil, Shakespeare, Goethe and Kalidasa did a work of this category. It cannot be said that English was undeveloped or quite rustic before Shakespeare, although the image of the grandly real, something truly familiar and intimate that Shakespeare evokes in the heart of foreigners is not given by Spencer, Chaucer or even Marlowe. Shakespeare has revealed something of the universal in the very special style he created - here was a diversity, a plasticity, a suggestiveness, a magic all its own.
There is some difference between the history of French literature and that of any other. First, the French language and literature have grown and matured not through a sudden change or a revolutionary transmutation - their growth and development are the result of a slow and steady process of evolution. In English, on the other hand, the sense of growth seems to consist of a rapid change. In the political field, however, the English and the French have pursued quite reversed policies. The battle for liberty by the English continued from precedent to precedent - the French had always to win freedom through revolutions. But the other speciality of the French literary spirit is the fact that there was no single person who had a kind of all-in-all authority, - although in politics, in old France at least, it was often one man's rule, the tradition of the Roman Imperator, that prevailed. In the literary field among the instances cited we find that each nation had a single person of authority, a specially gifted one who moulded its language and literature by the magic touch of his own genius or made them fully mature and self-sufficient. The French are a very social race - they are proud to be called republican, so it is by the combined effort of many, the contribution of more than one genius, that their language and literature have been formed and enriched. Corneille, Racine, Molire, La Fontaine (or up the stream to Rabelais) - they are a goodly company; among these whom to exclude and whom to include? And yet here too, perhaps only one can be taken as France's representative spirit. He can be only Racine. Racine embodies in himself, as no other does so completely, the special characteristic of the French and reflects the heart of the French people. What is that characteristic? In one word, the culmination of elegance and sensitiveness. To be sure, this is not the only aspect of the French. Corneille has contributed to another aspect - severity, virility, high seriousness, austere self-control, strictness and bareness. But this may be considered a special quality of a branch line, as it were, of the French language and literature, as if it was an acquired capacity, the sign of a growth towards a greater possibility - but in regard to the other it may be said that what Racine is the French language and literature; their inherent quality is a spontaneous formation out of the inner soul of this great creator.
These thoughts about the genius of French occurred to me because it seemed to me that there was a marked analogy in this respect between French and Bengali. Certainly it would not be quite' correct to say that the evolution of the Bengali language was slow and steady like that of French. At least one upheaval, a revolution, has taken place on its coming into contact with Europe; under its influence our language and literature have taken a turn that is almost an about-turn. But this revolution was not caused by a single person. Dante and Homer are the creators, originators or the peerless presiding deities of Italian and Greek respectively. Properly speaking Tagore may not be classed with them. But just as Shakespeare may be said to have led the English language across the border or as Tolstoy made the Russian language join hands with the wide world or as Virgil and Goethe imparted a fresh life and bloom, a fuller awakening of the soul of poetry, to Latin and to German, so too is Tagore the paramount and versatile poetic genius of Bengal who made the Bengali language transcend its parochial character. I think that Tagore has in many ways the title and position of a Racine amongst us. There is a special quality, a music and rhythm, a fine sensibility of the inner soul of Bengal. Its uniqueness is in its heart; a sweet ecstasy, an intoxicating magic which Chandidas was the first to bring out in its poignant purity and which has been nourished by Bankim, has attained the full manifestation of maturity, variety, intensity and perfection in Rabindranath. Here too an aspect of supreme elegance is found. Bengali, like French, has a natural ease of flow. Madhusudan took up another line and sought to bring in an austere and masculine element - laCorneille. Some among the modern writers are endeavouring to revive that line and naturalise it; even then the soft elegance, the lyric grace so natural to the language has attained almost its acme in Tagore. To be sure, among us Tagore is the one without a second.
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The Language of Rabindranath Rabindranath, Traveller of the Infinite
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