yìn zuòzhělièbiǎo
tài 'ěr Rabindranath Tagore
tài 'ěr Rabindranath Tagore
yìn gōng yuán  (1861niánwǔyuè7rì1941niánbāyuè7rì)

sǎnwén shī pastelài zhě zhī
zài
shī wén poetry corpuschén 'āi
suí gǎn
xiǎo shuō xuǎn novel anthologytài 'ěr xiǎo shuō xuǎn
xiàn shí bǎi tài Realistic Fictionchén chuán
duǎn piān xiǎo shuō novella
jué
shēn
shīcí tán jiā Gitanjali》   fēi niǎo feiniaoji》    kǒu ferry》   ài zhě zhī    pán   yuán dīng The Gardener》   xīn yuè   yóu   fēi niǎo yīng hàn duì zhào) Flier collection English antitheses》   《The Farthest Distance in the World》   gèngduōshīgē...

yuèdòutài 'ěr Rabindranath Tagorezài小说之家dezuòpǐn!!!
yuèdòutài 'ěr Rabindranath Tagorezài散文天地dezuòpǐn!!!
yuèdòutài 'ěr Rabindranath Tagorezài诗海dezuòpǐn!!!
泰戈尔
   bīn · tài 'ěr [RabindranathTagore]( 1861 nián 5 yuè 7 héng 1941 nián 8 yuè 7 shì wèi yìn shī rénzhé xué jiā yìn mín zhù zhě, 1913 nián huò nuò bèi 'ěr wén xué jiǎngshì wèi huò nuò bèi 'ěr wén xué jiǎng de zhōu rén
   tài 'ěr chū shēng yìn jiā 'ěr shòu dào liáng hǎo jiào de jiā tíng de qīn shì wèi fāng de yìn jiào zōng jiào lǐng xiùzài wài guó tài 'ěr bān bèi kàn zuò shì wèi shī rénér hěn shǎo bèi kàn zuò wèi zhé xué jiādàn zài yìn zhè liǎng zhě wǎng wǎng shì xiāng tóng dezài de shī zhōng hán yòu shēn de zōng jiào zhé xué de jiàn jiěduì tài 'ěr lái shuō de shī shì fèng xiàn gěi shén de ér běn rén shì shén de qiú hūn zhě de shī zài yìn xiǎng yòu shǐ shī de wèi běn rén bèi duō yìn jiào kàn zuò shì shèng rén
   chú shī wài tài 'ěr hái xiě liǎo xiǎo shuōxiǎo pǐn wényóu huà 2000 duō shǒu gēqǔ de shī zhù yào shì yòng mèng jiā xiě chéng dezài mèng jiā de shī fēi cháng
   de sǎnwén nèi róng zhù yào shì shè huìzhèng zhì jiào de shī chú liǎo zhōng de zōng jiào nèi róng wàizuì zhù yào de shì miáo xiě rán shēng mìngzài tài 'ěr de shī zhōngshēng mìng běn shēn de duō yàng xìng jiù shì huān de yuán yīntóng shí suǒ biǎo de 'àibāo kuò 'ài guó shì de shī de nèi róng zhī
   yìn mèng jiā guó de guó dōushì shǐ yòng tài 'ěr de shī wéi 'ěr · ōu wén wēi lián · · zhī bèi de shī shēn shēn gǎn dòngzài zhī de xiàtài 'ěr qīn jiāng de tán jiā 》( xiàn shī chéng yīng , 1913 nián wèicǐ huò liǎo nuò bèi 'ěr wén xué jiǎngdàn hòu lái zhè yùn dòng shū yuǎn liǎowèile kàng 1919 nián zhá lián yuán cǎn 'àn jué liǎo yīng guó guó wáng shòu de shì tóu xián shì jué yīng wáng shòu de róng de rén
   fǎn duì yīng guó zài yìn jiàn lái de jiào zhì fǎn duì zhè zhǒngrén wéidewán quán cóng de bèi shū rán jiē chù de xué xiàowèicǐ zài de xiāng jiàn liǎo 'àn de shè xiǎng shè de xué xiàozhè shì wéi xué de qián shēn
   zài de shī zhōngtài 'ěr biǎo chū liǎo duì zhàn zhēng de jué wàng bēi tòngdàn de píng wàng méi yòu rèn zhèng zhì yīn wàng suǒ yòu de rén shēng huó zài wán měi de píng de shì jiè zhōng
   tài 'ěr zuò guò duō xíngzhè shǐ liǎo jiě dào duō tóng de wén huà men zhī jiān de bié duì dōng fāng fāng wén huà de miáo xiě zhì jīn wéi zhǐ shì zhè lèi miáo shù zhōng zuì de zhī
  
   tài 'ěr shēng píng
  
  
   bīn · tài 'ěr yìn zhù míng shī rénzuò jiā shù jiāxiǎo shuō jiā xiǎng jiā shè huì huó dòng jiāshēng jiā 'ěr shì de yòu zhé xué wén xué shù xiū yǎng jiā tíng, 8 suì jiù xiě shībìng zhǎn chū fēi fán de tiān cái, 13 suì néng chuàng zuò cháng shī sòng shī 。 1878 nián yīng guó liú xué, 1880 nián huí guó zhuān mén cóng shì wén xué huó dòng。 1884 zhì 1911 nián dān rèn fàn shè shū, 20 nián dài chuàng bàn guó xué。 1941 nián xiě zuò kòng yīng guó zhí mín tǒng zhì xiāng xìn guó jiāng huò jiě fàng de zhù míng yánwén míng de wēi 》。 tài 'ěr shì yòu shì jiè yǐng xiǎng de zuò jiā gòng xiě liǎo 50 duō shī bèi chēng wéi " shī shèng "。 xiě liǎo 12 zhōng cháng piān xiǎo shuō, 100 duō piān duǎn piān xiǎo shuō, 20 duō běn liàng wén xuézhé xuézhèng zhì lùn zhùbìng chuàng zuò liǎo 1500 duō huàzhū xiě liǎo nán tǒng de zhòng duō gēqǔwénshǐzhézhèngjīng fàn chóu jīhū suǒ bāo suǒ jīng de zuò pǐn fǎn yìng liǎo yìn rén mín zài guó zhù fēng jiàn zhǒng xìng zhì xià yào qiú gǎi biàn mìng yùn de qiáng liè yuàn wàngmiáo xiě liǎo men náo de fǎn kàng dǒu zhēngchōng mǎn liǎo xiān míng de 'ài guó zhù mín zhù zhù jīng shéntóng shí yòu yòu mín fēng mín yòu hěn gāo shù jià zhíshēn shòu rén mín qún zhòng 'ài zhòng yào shī zuò yòu shī shì shī 》( 1900)、《 tán jiā 》( 1910)、《 xīn yuè 》( 1913)、《 fēi niǎo 》( 1916)、《 biān yuán 》( 1938)、《 shēng chén 》( 1941); zhòng yào xiǎo shuō yòu duǎn piānhái zhài》( 1891)、《 jué》( 1893)、《 》( 1893)、《 rén shì huó zhehái shì liǎo?》( 1892)、《 》( 1892)、《 tài yáng yún》( 1894), zhōng piān rén》( 1916), cháng piānchén chuán》( 1906)、《 》( 1910)、《 jiā tíng shì jiè》( 1916)、《 liǎng jiě mèi》( 1932); zhòng yào zuò yòuwán bǎo lěi》( 1911)、《 duō 》( 1925)、《 rén hóng jiā zhú táo》( 1926); zhòng yào sǎnwén yòu wáng de mào 》( 1881)、《 zhōng guó de tán huà》( 1924)、《 é luó shū jiǎn》( 1931) děng de zuò pǐn zǎo zài 1915 nián shí jiè shào dào zhōng guóxiàn chū bǎn liǎo 10 juàn běn de zhōng wéntài 'ěr zuò pǐn》。
  1861 nián 5 yuè 7 luó bīn · tài 'ěr chū shēng yìn jiā 'ěr yòu de guì jiā tíng de qīn dài bīn · tài 'ěr shì wén míng de zhé xué jiā shè huì huó dòng jiā jiě jiě yědōu shì shè huì míng liútài 'ěr zài zhè yàng wén tán shì jiā huán jìng de xūn táo xià, 8 suì kāi shǐ xiě shī, 12 suì kāi shǐ xiě běn, 15 suì biǎo liǎo shǒu cháng shī huā》, 17 suì biǎo liǎo shì shīshī rén de shì》。 cái huá héng de tài 'ěr cóng xiǎo jiù zǒu shàng liǎo wén xué chuàng zuò de dào 。 1886 nián biǎoxīn yuè 》, chéng wéi yìn zhōng xiǎo xué xuǎn de wén xué jiào cáizhè jiān hái zhuàn xiě liǎo duō pēng měi guó zhí mín tǒng zhì zhèng lùn wén zhāng
  1901 niántài 'ěr zài shèng tǎn chuàng bàn liǎo suǒ cóng shì 'ér tóng jiào shí yàn de xué xiàozhè suǒ xué xiào zài 1912 nián zhǎn chéng wéi zhōu wén huà jiāo liú de guó xué
  1905 niántài 'ěr tóu shēn mín yùn dòngchuàng zuò liǎohóng shuǐděng 'ài guó gēqǔ。《 rén mín de zhìbèi dìng wéi jīn yìn de guó 。 1910 niántài 'ěr biǎo cháng piān xiǎo shuō 》。 1916 nián biǎo cháng piān xiǎo shuōjiā tíng shì jiè》, qíng sòng zhēng mín de 'ài guó zhù jīng shén。 1912 niántài 'ěr shū qíng shī tán jiā huò nuò bèi 'ěr wén xué jiǎng jīn。 1913 nián biǎo wéi rén men suǒ shú zhī defēi niǎo yuán dīng 》。 1924 nián céng lái guò zhōng guótài 'ěr huí guó hòuzhuàn xiě liǎo duō wén zhāngbiǎo liǎo duì zhōng guó rén mín de yǒu hǎo qíng
   tài 'ěr de shēng shì zài yìn chǔyú yīng guó zhí mín tǒng zhì de nián dài zhōng guò de guó de lún wángmín de zhí mín rén mín de bēi cǎn shēng huó shēn shēn lào yìn zài tài 'ěr de xīn líng shēn chùài guó zhù de xiǎng kāi shǐ jiù zài de zuò pǐn zhōng qiáng liè biǎo xiàn chū lái suī rán chū shēn guì jiā tíngshēng huó zài máo dùn cuò zōng de shè huì dàn de 'ài zēng shì fēn míng dechuàng zuò xiǎng shì míng què deshǐ zhōng gēn shàng liǎo shí dài de céng zài mín yùn dòng gāo cháo shíxiě xìn gěi yīng guó zǒng biǎo shì kàng zhí mín tǒng zhìbìng gāo chàng xiě de 'ài guó shī lǐng dǎo shì wēi yóu xíng hái céng jiān jué pāo yīng guó zhèng suǒ shòu de jué wèi quányìn rén mín zūn chóng 'ài chēng wéi shī shèngyìn de liáng xīn yìn de líng hún
   tài 'ěr shì xiá 'ài de 'ài guó zhù zhě duì chù zài guó zhù qīn lüè xià de guó rén mín guàn shēnqiè de tóng qíngbìng jǐyǔ yòu de zhī chí。 20 shì 20 nián dàitài 'ěr céng duō chū guó fǎng wènbìng shì jiè guó wén huà míng rén zhì fǎn zhàn de píng tuán 。 30 nián dàidāng dòng qīn lüè zhàn zhēng de shí hòutài 'ěr pāi 'àn 'ér xiàng quán shì jiè shēng :“ zài zhī qián xiàng měi jiā tíng hūyù héng héng zhǔn bèi zhàn dǒu fǎn kàng zhe rén de shòu。” zhè wèi shì wén míngduō cái duō de zuò jiāzài màn cháng de liù shí duō nián chuàng zuò shēng gòng xiě liǎo shí duō shī , 12 zhōng cháng piān xiǎo shuō bǎi piān duǎn piān xiǎo shuōèr bǎi duō běn duō yòu guān wén xuézhé xuézhèng zhì de lùn wén huí yóu shū jiǎn děng zhōng 1921 nián wèn shì de zhù míng shī tán jiā 》, shǐ tài 'ěr huò liǎo nuò bèi 'ěr wén xué jiǎng。《 shì shīliǎng shì yìn rén mín wén jiànguǎng wéi chuán sòng de xiǔ shī piānkuài zhì rén kǒu de 'ěr rén》、《 jūn wéi shì jiè duǎn piān xiǎo shuō de jié zuò。《 shú zuì》、《 wán bǎo lěi》、《 hóng jiā zhú táoděngdōu shì zhēn duì dāng shí yìn shè huì xiàn shí qíng jiē biān chī de zhù míng běn
   tài 'ěr jǐn shì wèi zào hěn shēn de zuò jiāshī rénhái shì wèi yòu chéng jiù de zuòqǔ jiā huà jiā shēng gòng chuàng zuò liǎo 'èr qiān shǒu dòng rén xīnyōu měi dòng tīng de gēqǔ zhōng zài yìn mín jiě fàng yùn dòng gāo zhǎng shí chuàng zuò de shǎo qíng yáng de 'ài guó gēqǔchéng liǎo yìn rén mín tóng zhí mín zhù tǒng zhì jìn xíng dǒu zhēng de yòu 。《 rén mín de zhìzhè shǒu 1950 nián bèi dìng wéi yìn guó tài 'ěr 70 gāo líng shí xué zuò huàhuì zhì de 1500 zhēn huàcéng zuò wéi shù zhēn pǐn zài shì jiè duō yòu míng de fāng zhǎn chū
  1941 niántài 'ěr shì cháng shìxiǎng nián 81 suì
   tài 'ěr( 1861 1941)
  Tagore, Rabindranath
   yìn shī rénzuò jiā shù jiāshè huì huó dòng jiāshì xiàng fāng jiè shào yìn wén huà fāng wén huà jiè shào dào yìn de hěn yòu yǐng xiǎng de rén shēng píng 1861 nián 5 yuè 7 shēng mèng jiā bāng jiā 'ěr shì, 1941 nián 8 yuè 7 tóng jiā tíng shǔ shāng rén jiān zhù luó mén zhǒng xìng 'ěr · tài 'ěr qīn dài běn · tài 'ěr dōushì shè huì huó dòng jiāzhī chí shè huì gǎi tài 'ěr jìn guò dōng fāng xué yuànshī fàn xué xiào mèng jiā xué yuàndàn méi yòu wán chéng zhèng guī xué de zhī shí xiōng jiā tíng jiào shī de 'ěr miàn mìng de zhě wéi duō cóng 13 suì kāi shǐ shī chuàng zuò, 14 suì biǎo 'ài guó shī piānxiàn gěi yìn jiào miào huì》。 1878 nián zūn xiōng yuàn yīng guó liú xuézuì chū xué hòu zhuǎn lún dūn xué xué yīng guó wén xuéyán jiū fāng yīnyuè。 1880 nián huí guózhuān shì wén xué chuàng zuò。 1884 nián kāi chéng shì dào xiāng cūn guǎn chuán tián chǎn。 1901 niánzài mèng jiā 'ěr 'ěr jìn de shèng tǎn chuàng bàn xué xiàozhè suǒ xué xiào 1921 nián zhǎn chéng wéi jiāo liú zhōu wén huà de guó xué。 1905 nián hòu mín jiě fàng yùn dòng jìn gāo cháomèng jiā quán yìn rén mín fǎn duì mèng jiā fēn de jué dìngxíng chéng hōng hōng liè liè fǎn 'ài guó yùn dòngtài 'ěr jiā 'ěr tóu shēn yùn dòng fèn tián yīngxiě chū liàng 'ài guó shī piāndàn jiǔ tóng yùn dòng lǐng xiù shēng jiàn fēn zàn chéng qún zhòng fén shāo yīng guó huò yīng guó rén dezhí jiē xíng dòng”, ér zhù zhāng duō zuòjiàn shè xìnggōng zuò dào nóng cūn zhǎn gōng xiāo miè pín kùn mèi děng 1907 nián tuì chū yùn dòng huí shèng tǎnguò yǐn shēng huómái tóu chuàng zuò。 1913 nián yīn yīng wén bǎn tán jiā 》( Gitanjaei, shēng zhī sòng》, 1911 nián chū bǎnróng huò nuò bèi 'ěr wén xué jiǎngcóng wén míng shì jiè wén tánjiā 'ěr xué shòu shì xué wèiyīng guó zhèng fēng wéi jué shì shì jiè zhàn bào hòu xiān hòu 10 yuǎn shè chóngyángfǎng wèn shí guó jiā chuán píng yǒu cóng shì wén huà jiāo liú。 1919 nián shēng 'ā cǎn 'ànyīng guó jūn duì kāi qiāng 1000 duō yìn píng míntài 'ěr shēng míng fàng jué shì chēng hào shì kàng 。 1930 nián fǎng wèn liánxiě yòué guó shū jiǎn》。 qiǎn qīn lüè 'ā āi sài 'é )。 zhī chí bān gòng guó zhèng fǎn duì tóu lǎng 'èr shì jiè zhàn bào hòu xiě wén zhāng chì de xíng jìng shǐ zhōng guān xīn shì jiè zhèng zhì rén mín mìng yùnzhī chí rén lèi de zhèng shì
  
   tài 'ěr de chuàng zuò
  
  
   . zhù yào zuò pǐn
   zài cháng jìn 70 nián de chuàng zuò huó dòng zhōngtài 'ěr gòng xiě liǎo 50 duō shī , 12 zhōng cháng piān xiǎo shuō, 100 piān duǎn piān xiǎo shuō, 20 duō běn liàng guān wén xuézhé xuézhèng zhì fāng miàn de lùn zhùhái chuàng zuò liǎo 1500 huà 2000 shǒu gēqǔ zhōng 1 shǒu wéi yìn guó
  13 suì hòutài 'ěr biǎo liǎo cháng shī huā》、《 shī rén de shìděng, 1881~ 1885 niánchū bǎn shū qíng shī 》、《 chén 》、《 huà 》, hái yòu cháng piān xiǎo shuō xiǎo shuō duō cái shǐ shī wǎng shì shūshī làng màn zhù cǎi。 1886 niánshī gāng róuchū bǎnbiāo zhì zhe zài chuàng zuò dào shàng jìn miàn xiàng rén shēng xiàn shí shēng huó de shí shī xīn zhōng de xiàng wǎngshì chéng shú de zuò pǐn de fēng kāi shǐ xíng chéngzhè shí hái xiě liǎo běnguó wáng wáng hòu shēng》, fǎn duì huī luó mén de quán luò hòu 。 19 shì 90 nián dài shì tài 'ěr chuàng zuò de wàng shèng shí cóng 1891 nián zài zhù biān de zhì shàng biǎo děng 60 duō piān duǎn piān xiǎo shuōzhù yào shì fǎn duì fēng jiàn jiē xiàn shí shēng huó zhōng xiàn xiàng biǎo liǎojīn fān chuán》、《 bīn fēn 》、《 shōu huò 》、《 mèng huàn 》、《 chà 》 5 shū qíng shī , 1 zhé duǎn shīwēi 1 shì shī 》。 shōu bīn fēn de shì shīliǎng shì zuò zhě mín zhù zhù xiǎng de zuì gāo biǎo xiàncóngchà kāi shǐ yòng mèng jiā kǒu xiě shī de 'èr yīng shī yuán dīng de shī duō xuǎn zhè shí zuò pǐn
  20 shì chū tài 'ěr zāo dào rén shēng huó de xìngsàng 'ǒusàng sàng de bēi tòng shāng gǎn zài shī huí 》、《 ér tóng chuánzhōng yòu zhēn shí lìng yòu liǎng cháng piān xiǎo shuōxiǎo shā chén chuán》。 1910 niáncháng piān xiǎo shuō biǎo fǎn yìng liǎo yìn shè huì shēng huó zhōng de xiàn xiàng zào liǎo zhēng mín yóu jiě fàng de zhàn shì xíng xiàng sòng liǎo xīn yìn jiào 'ài guó zhù qíng duì guó huò yóu de xìn xīntóng shí pàn men wéi jiù chuán tǒng de xiǎngduì fàn shè mǒu xiē rén de jiào tiáo zhù chóng yáng mèi wài biān zhè jiān hái xiě liǎo xiàng zhēng guó wángyóu fěng wán bǎo lěi》。 1910 niánmèng jiā wén shī tán jiā chū bǎnhòu tài 'ěr lún dūn shí tán jiā 》、《 chuánfèng xiàn de fēn shī zuò chéng yīng wén, 1913 nián tán jiā yīng běn chū bǎntài 'ěr chéng wéi zhōu huò nuò bèi 'ěr wén xué jiǎng de zuò jiā jìn lìng chuàng zuò gāo cháo biǎo shī zhī huā huán》、《 sòng 》、《 bái 》、《 táo 》, zhōng cháng piān xiǎo shuō rénjiā tíng shì jiè》。 20 shì 20 nián dài tài 'ěr réng jiān chí xiě zuò biǎo běn duō 》、《 hóng jiā zhú táo》, cháng piān xiǎo shuōjiū fēn》、《 zuì hòu de shī piān xiē shī zuò。 30 nián dài yòu chū bǎn cháng piān xiǎo shuōliǎng jiě mèi》、《 huā 》、《 zhāng》; shí dài de chē lún》、《 zhǐ pái wáng guó》; shī zài 》、《 biān yuán zhèng zhì shū qíng shī děng。 1941 nián 4 yuè xiě xià zuì hòu yányòu míng dewén míng de wēi 》, duì yīng guó zhí mín tǒng zhì jìn xíng kòng biǎo liǎo duì mín de jiān dìng xìn niàn
  
  2. xiǎng zhǎn shù chéng jiù
   tài 'ěr shēng féng biàn de shí dàishòu dào yìn chuán tǒng zhé xué xiǎng fāng zhé xué xiǎng de yǐng xiǎngdàn shì jiè guān zuì běn zuì xīn fēn hái shì yìn chuán tǒng de fàn shén lùn xiǎngfàn ”。 zàibīn fēn zhōng chūshēng mìng zhī shénguān niàn duì shén de qián chéng shì duì shēng huóguó jiā rén mín de 'ài róng zài dedàn zhè shǐ de shī méng shàng liǎo nóng hòu de shén zhù cǎilìng wài chàng dōng fāng de jīng shén wén míngdàn yòu shā fāng de zhì wén míngzhè xiē shǐ de xiǎng zhōng chōng mǎn liǎo máo dùn 'ér biǎo xiàn zài chuàng zuò shàngzōng guān tài 'ěr shēng xiǎng chuàng zuò zhǎn fēn 3 jiē duàn yòu nián zhí zhì 1910 nián qián hòu cān jiā fǎn yīng zhèng zhì huó dòng sòng mín yīng xióngxuān yáng 'ài guó zhù chàng yìn mín tuán jié yǐn shēng huó zhí zhì 1919 nián zài cān jiā mín yùn dòngài guó zhù qíng shāo yòu xiāo tuìzhèng zhì nèi róng qiáng de shī bèi dài yòu shén wèi de shī suǒ dài shòu liǎo fāng xiàng zhēng zhù wéi měi zhù shī de yǐng xiǎngxuān yáng de shì 'ài xié cóng 1919 nián 'ā cǎn 'àn kāi shǐ zhí zhì shì shì yòu kāi shǐ guān xīn zhèng zhì tóu mín jiě fàng dǒu zhēngzuò pǐn de nèi róng yòu chōng mǎn liǎo zhèng zhì qíngshì kāi kuò liǎoduì shì jiè rén lèi shí fēn guān xīn shuōtài 'ěr shēng de chuàng zuò yòu méi”, yòujīn gāng ”。 de shī shòu yìn diǎn wén xué fāng shī mèng jiā mín jiān shū qíng shī de yǐng xiǎngduō wéi yùn diāo zhuó de yóu shī sǎnwén shī de xiǎo shuō shòu fāng xiǎo shuō de yǐng xiǎngyòu yòu chuàng xīn bié shì shī qíng huà róng zhōngxíng chéng fēng
   luó bīn tài 'ěr( RabindranathTagore, 1861-1941) yìn mèng jiā shī rénzuò jiā shù jiāshè huì huó dòng jiāshēng jiā 'ěr shì yòu shēn hòu wén huà jiào yǎng de jiā tíng qīn shì zhù míng de zōng jiào gǎi jiā shè huì huó dòng jiāliù jūn xiàn shēn shè huì gǎi wén xīng yùn dòngtài 'ěr yòu yàn 'è zhèng guī xué xiào de jiào kào jiā tíng jiào xué guò shàonián shí dài, 1878 nián yīng guó xué hòu zhuǎn lún dūn xué gōng yīng guó wén xuéyán jiū fāng yīnyuè
   tài 'ěr tóng nián shí dài zhǎn shī cái de 'ài guó shī piāngěi yìn jiào miào huì》( 1875) biǎo shínián jǐn 14 suì。 1880 nián, 19 suì de tài 'ěr biàn chéng wéi zhí zuò jiā。 1881 zhì 1885 nián chū bǎn liǎo shū qíng shī 》( 1882)、《 chén 》( 1883), hái yòu xiǎo shuō děng zuò pǐnzhè xiē zǎo shāng pǐn de diǎn shì mèng huàn duō xiàn shí làng màn zhù cǎi
  90 nián dài shì tài 'ěr chuàng zuò de wàng shèng shī xīn zhōng de xiàng wǎng》( 1890) shì de chéng shú zuò pǐnzhù míng shī piānliǎng 》( 1894) de biǎobiāo zhì zhe tài 'ěr cóng zōng jiào shén zhù zǒu xiàng shēn de rén dào zhù zhè shí de shī zuò hái yòujīn fān chuán》( 1894)、《 bīn fēn 》( 1896) 5 shū qíng shī shì shī 》( 1900)。 wài hái chuàng zuò liǎo 60 duō piān duǎn piān xiǎo shuō zhōng de 》( 1893)、《 》( 1892)、《 zuì hòu huó zhehái shì liǎo?》( 1892) děng bèi liè shì jiè yōu xiù duǎn piān xiǎo shuō jié zuò zhī lín
  1901 niántài 'ěr wéi gǎi zào shè huì chuàng bàn liǎo suǒ xué xiàocóng shì 'ér tóng jiào shí yàn。 1912 niánzhè suǒ xué xiào chéng wéi zhōu wén huà jiāo liú de guó xuéyóu yīng guó zài mèng jiā tuī xíng fēn liè zhèng , 1905 nián yìn xiān mín jiě fàng yùn dòng de gāo cháotài 'ěr tóu shēn yùn dòng bìng chuàng zuò liǎo duō 'ài guó shī piānzhè shí shì chuàng zuò de zuì huī huáng shí chū bǎn liǎo 8 mèng jiā wén shī 8 yīng wén shī zhōng tán jiā wéi shī rén yíng shì jiè xìng shēng zhè shí zhòng yào de shī hái yòuyuán dīng 》( 1913)、《 xīn yuè 》( 1915)、《 fēi niǎo 》( 1916) děng。 1910 niántài 'ěr yòu biǎo liǎo shǐ shī xìng cháng piān xiǎo shuō xiàng zhēng guó wángděng
  1919 niányìn xiān 'èr mín jiě fàng yùn dòng gāo cháowéi xún qiú mín jiě fàng dào zǒu biàn zhōu biǎo liǎo duō zhù míng yǎn jiǎngzhè shí chū chéng jiù shì zhèng zhì shū qíng shīfēn bié shōu zàifēi zhōu 》( 1937)、《 biān yán 》( 1938)、《 shēng chén 》( 1941) děng zuò pǐn zhōng
   tài 'ěr shēng gòng chuàng zuò liǎo 50 duō shī , 12 zhōngcháng piān xiǎo shuō, 100 piān duǎn piān xiǎo shuō, 20 zhǒng hái yòu liàng yòu guān wén xuézhé xuézhèng zhì de lùn zhù yóu shū jiǎn děng wài hái shì wèi zào shēn de yīnyuè jiā huà jiācéng chuàng zuò 2000 shǒu gēqǔ 1500 zhēn huà zhōng gēqǔrén mín de zhì bèi dìng wéi yìn guó
   zài 60 nián de shù shēng zhōng chéng liǎo diǎn mín jiān wén xué de yōu xiù chuán tǒng shōu liǎo 'ōu zhōu làng màn zhù xiàn shí zhù wén xué de fēng yíng yǎngzài chuàng zuò shàng dào huǒ chún qīng de liǎo huī huáng chéng jiùchéng wéi dài wén huà rén。 1913 nián,“ yóu zhì wéi mǐn ruìqīng xīn yōu měi de shīzhè shī chū zhī gāo chāo de qiǎobìng yóu yòng yīng wén biǎo chū láishǐ chōng mǎn shī de xiǎng wéi fāng wén xué de fēn”, huò nuò bèi 'ěr wén xué jiǎngyīng guó zhèng fēng wéi jué shì
  1941 nián 4 yuèzhè wèi kuàng shì cáiyìn jìn dài wén xué de diàn rén xiě xià zuì hòu de yánwén míng de wēi 》。 tóng nián 8 yuè 7 tài 'ěr jiā 'ěr zhái shì
  【 dài biǎo zuò
   shī shī 》、《 chén 》、《 xīn zhōng de xiàng wǎng》、《 liǎng 》、《 jīn fān chuán》、《 bīn fēn 》、《 shì shī 》、《 》、《 》、《 zuì hòu huó zhehái shì liǎo?》 děng děng
  20 shì chū de yìn shì yīng guó de zhí mín zhèng zhì shàng zāo shòu jīng shàng shòu dào xuēshǐ zhè lǎo guó jiā de rén mín xiàn pín qióng mèi zhī zhōngwèile huàn xǐng zhè chén shuì de rénliǎng wèi wěi rén yìng yùn 'ér shēng liǎo wèi shì mín jiě fàng yùn dòng de lǐng xiùshèng xiónggān lìng wài wèi jiù shì yìn jìn dài shǐ shàng zuì wěi de wén huà jiàng luó bīn tài 'ěr( 1861-1941)。   tài 'ěr duō cái duō cái huá chāo rén shì zuò pǐn hào fán de wén xué shù shīxué shí yuān de zhé rénchéng jiù zhuó zhù de shè huì huó dòng jiā shì ruì xīn de jiào jiā shēng suǒ yòu de gòng xiàn dàn zài yìn shǐ shàng yòu zhe huàshídài de ér zài guó shàng chǎn shēng liǎo yǐng xiǎng。   tài 'ěr zài yìn wén huà de fāng miàn chǎn shēng liǎo guǎng fàn 'ér shēn yuǎn de yǐng xiǎngér zuì chū de tiān cái de biǎo xiànkǒng jiù shì jīng rén de chuàng zuò liàng liǎo 12 suì kāi shǐ xiě shīzài 60 nián de gēng shēng zhōngchuàng zuò liǎo liàng zuò pǐn zhōng yòu shī shàng qiān shǒu 1200 shǒubìng wéi zhōng duō shù liǎo zhōng cháng piān xiǎo shuō 12 duǎn piān xiǎo shuō 200 duō piān 38 hái yòu duō yòu guān zhé xuéwén xuézhèng zhì de lùn wén huí shū jiǎnyóu děng wài hái chuàng zuò liǎo 2700 huà gěi yìn shì jiè liú xià liǎo cháng fēng de wén huà chǎn
  1913 nián,“ yóu zhì wéi mǐn ruìqīng xīn yōu měi de shī piānzhè xiē shī dàn yòu gāo chāo de qiǎobìng qiě yóu yòng yīng wén biǎo chū láibiàn shǐ chōng mǎn shī de xiǎng chéng wéi fāng wén xué de fēn”, tài 'ěr bèi ruì diǎn wén xué yuàn shòu gāi chù nuò bèi 'ěr wén xué jiǎng zhè zuì gāo róng chéng wéi huò zhè xiàng shū róng de zhōu zuò jiāmàn cháng de 55 nián hòu běn de chuān duān kāng chéngzhǎng yòu duó zhè guì guāntài 'ěr yīn 'ér fěi shēng shì jiè de shī cái cái fēng duō cǎiqīng xīn juàn yǒngxiǎo shuō diào xīn yínggǎn rǎn qiáng zhǒng lèi fán duō zhé wèigēqǔ huò 'āi wǎn chán miánhuò wēi xióng zhuàng zài rén men de yìn xiàng zhōngtài 'ěr shì wěi de shǒu zhé rénde shuāngchóng shēn fèn chū xiàn deràng men guāng zhuànxiàng mèng jiā de jiā 'ěr , 1861 nián 5 yuè 7 luó bīn dàn shēng zài tài 'ěr shì jiā de tóng nián tài 'ěr jiā tíng yuán xìng 'ěrmèng jiā rén de zūn chēng wéishèng”), tài 'ěr shì de yīng wén biàn chēngluó bīn de wáng ”。 tóng shí shì wèi xiǎng jiā wén huà míng liúdāng shí duō jìn rén shì de gǎi yùn dòng dào yòu de zhī chí。   zhè wèiwáng de chéng rén běn tóng qīn de zhōng shè jiāo xìng nèixǐng shèn qián xīn zhé xué zōng jiào zhù zuò de yán jiū jiān sān zhǒng tóng de zhìduì zōng jiào de xìnduì shù de mǐn gǎnduì shí gōng zuò de jīng míng shàn duànduì míng gèng de 'ér de yǐng xiǎng shì shēn yuǎn de de wēn wén 'ěr zūn guì fāng liǎo ”( wéi shèng rén”) de měi chēng。   běn yòu páng de jiā tíng yōng yòu 15 'ér hūn hòu cháng zhù jiā de wàihái yòu xiē qīn zhòng duō cóng yún shì zài chōng fēn de yóu yán de jiā jiàoduì zōng jiào de qián jìng duì měi miào shēng huó de xiǎng shòu jǐn jié de huán jìng zhōng chéngzhǎng lái dezhè jiā tíng chéng liǎo qīn suǒ 'ài de yìn wén huà chuán tǒngyòu shēn shòu fāng wén huà yǐng xiǎngcháng xíng zhé xué zōng jiào tǎo lùn huìshī lǎng sòng huìjīng cháng yǎn hái yòu shí 'ān pái de yīnyuè huìzhù míng shī rényǎn yuányīnyuè jiā xué zhě cháng cháng chéng wéi zuò shàng 。“ ràng men yóu zhǎn de chángchōng fēn biǎo de jiàn jiě 'ér jiā xiàn zhìtài kāi míngluó bīn jiù jiàng shēng zài zhè yàng huán jìng zhōngzài de xìng xíng chéng shí cóng zhè huán jìng zhōng bǎo liǎo zhì huì měi de yǎng fèn,“ yìn wén xīng de liú cháo yǒng cóng de zhōu péng pài 'ér guò”。   yóu shì zuì xiǎo de 'ér bèi jiā chēng wéi de luó bīn chéng wéi měi jiā tíng chéng yuán zhōng 'ài de duì xiàngdàn bìng shòu 'àiqià qià xiāng fǎnzhè jiā tíng de shēng huó fāng shì shí fēn jiǎn xié yào zài 'ér men cháng dào 10 suì shí cái 'àn zōng jiào guī zhǔn chuān yòng zài zhōng 'ěr jìn guò 4 suǒ xué xiàodàn tādōu huān yàn 'è zhǒng shì xìng de jiào zhì yàn 'è yuǎn rán deláo lóng bān de jiào shìduì jiào shī de tài mán gèng néng róng rěn huān de shì xiào wài de huā yuánchí tángchūn tiān bái yúnhòu lái hái jìn guò dōng fāng xué yuànshī fàn xué yuàn zài mèng jiā xué yuàn shūdàn dōuméi yòu wán chéng xué hòu lái zhì jiào xīn guān 。   xiāng xíng zhī xià de jiā tíng gěi de xūn táo shì míng xiǎn de fēng de shǐwén xué xué zhī shí yuán xiōngtài 'ěr jiā duì yìn mín jiě fàng yùn dòng xīng mèng jiā dōng tiān wén yòu hěn gòng xiànzhǎngshǐ wēi jīn cái huá chū zhòngshì shī rén zhé xué jiācéng xiàng yìn jiè shào fāng zhé xuélìng wèi shǐ cháng yán shì jìn yīng shǔ yìn xíng zhèng gòu de yìn réndǒng duō zhǒng yánfān chū bǎn liǎo duō fàn wén mèng jiā wén diǎn zhù zuòjiě jiě shì wèi yòng mèng jiā wén xiě xiǎo shuō de zuò jiā qiáo lín chéng wéi wèi yīnyuè jiā jiāshī rén xīn wén zhě cháng 13 suìduì de cáigàn shí fēn shǎng shí bìng hái tōng guò chuàng bàn wén xué zhì luó yuè kānzhí jiē yǐn dǎo zǒu shàng wén tán。   lìng wàiqiáo lín de dān dài wēishì wèi fēng chuò yuēyōu kuān hòu de xìng zài shēn shàng qīng zhù liǎo shēn shēn de 'àigěi zhì chū jīng měi yōu de huán jìng jīhū chéng liǎo xiǎng zhōng de rén liǎng rén zhī jiān yòu zhǒng luó màn de juàn liàn jiù zài zhè yàng de jiā tíng fēn wéi guò shēng zhōng zuì kuài 'ān shì de
   yìn zhù míng shī rénzuò jiā shù jiā shè huì huó dòng jiāshēng jiā 'ěr shì de yòu zhé xué wén xué shù xiū yǎng jiā tíng, 13 suì néng chuàng zuò cháng shī sòng shī céng yīng guó xué wén xué yīnyuèshí zhōu yóu liè guó luó màn luó lánài yīn tǎn děng shì jiè míng rén duō yòu jiāo wǎng shēng zhì dōng wén míng de jiāo liú xié diàotài 'ěr shī rén zhù chēngchuàng zuò liǎo tán jiā děng 50 duō shī bèi chēng wéishī shèng”。 yòu shì zhù míng de xiǎo shuō jiā zuò jiāzuòqǔ jiā huà jiāxiān hòu wán chéng 12 zhōng cháng piān xiǎo shuō, 100 duō piān duǎn piān xiǎo shuō, 20 duō běn, 1500 duō huà 2000 duō shǒu gēqǔtiān cái de tài 'ěr hái shì wèi zhé xué jiājiào jiā shè huì huó dòng jiā。 1913 niántài 'ěr shī tán jiā róng huò nuò bèi 'ěr wén xué jiǎng
   tài 'ěr shì yìn jìn dài xiàn dài zuì wěi de zuò jiā , shī rén , xiǎo shuō jiā , jiā , měi shù jiā , yīnyuè jiā .1913 nián yīng wén sǎnwén shī tán jiā huò nuò bèi 'ěr wén xué jiǎng cháng cháng xiǎngtài 'ěr jiù xiàng tiān de míng xīng。“ zài xīn shì wèi detóu tái de gāo 'ángzài zhì shí shì yóu dezài huà shì cóng zhēn de shēn chù shuō chū;…… zài xīn líng shì shòu de zhǐ yǐnzǒu xiàng duàn fàng kuān de xiǎng xíng wéi”( tán jiā zhè jiù shì tài 'ěrxiàng míng xīng dài yǐn men zǒu xiàng míng
  
   tài 'ěr de jiā shì
  
  
   :【 jiā
   tài 'ěr
     'ěr shēng jiǔ nián língyǒng gǎnxiāo yòu tiān cái shāng wáng ”, shē chǐ háo huá
     qīndài wēn zài shè huì shàng bèi chēng wéi xiān”, yóu jiǎn chún jiéshēng niánzhé xué jiāshè huì gǎi
   zhě
     qīnxià dài wéi yòu rěn nài děng yōu xiù pǐn zhì shàn cháng cāo chí jiā de rénshǐ bié rén chéng wéi wěi rén 'ér zhǐ liú xià bàn yìn
     wéi qióng xué zhěshī rényīnyuè jiāzhé xué jiā shù xué jiācháng shīmèng yóunéng bīn sài dexiān hòu měibèi chēng wéi mèng jiā de xiǔ zhù zuòchuàng zào liǎo mèng jiā zuì zǎo gāng qín yǐn mèng jiā yīnyuè shī chuàng zuò de 'ér yǒng gǎn de shí yànzài luó bīn tài 'ěr xīn líng zhǎn shàng lào xià liǎo shēn de yìn hén
     èr yīn fàn wén xué jiāzuì zǎo qián chéng shī jiè shào gěi mèng jiā zhězài luó bīn zhǎn shàng suǒ lào xià de yǐng xiǎng shì shēn zhì yǒng de de shì yìn chuán tǒng shēng huó fāng shì de rén 'ér yīng dài wéi shì luó bīn tài 'ěr yīnyuè chuàng zuò de quán wēi píng lùn jiā
     sān hǎi míng zǎo shìshì jiào luó bīn yòng guó yán de rén
     léng zǎo shìmèng jiā wén tán shàng yíng liǎo miè wèi de zuò jiā
     qiáo léng shí dài zuì yòu tiān cái de rén wèi yòu qíng de yīnyuè jiāshī rén zuò jiā shù jiāzài luó bīn de zhì hèshī cái shàngliú xià liǎo yǐng xiǎng
     jiě luó bīn de yǎng rén
     jiě 'ěr yòu cáigàn de yīnyuè jiā zuò jiāmèng jiā wèi cháng piān xiǎo shuō jiā
     jiě jiě léng dài wéi zuò wéi shè huì zhě 'ér wén míng shì
          dài wéi zuò jiāyīnyuè jiāmín yùn dòng de cān jiā zhě
  
   tài 'ěr míng
   tài 'ěr shēng de chuàng zuò shī shòu yìn diǎn wén xué fāng shī mèng jiā mín jiān shū qíng shī de yǐng xiǎngduō wéi yùn diāo zhuó de yóu shī sǎnwén shī de xiǎo shuō shòu fāng xiǎo shuō de yǐng xiǎngyòu yòu chuàng xīn bié shì shī qíng huà róng zhōngxíng chéng fēng
   míng
   yòu men mèng jiàn jiādōu shì xiāng shí de men xǐng liǎoquè zhī dào men yuán shì xiāng qīn xiāng 'ài de
  Oncewedreamtthatwewerestrangers.Wewakeuptofindthatweweredeartoeachother.
  
   de xīn shì kuàng de niǎozài de yǎn jīng zhǎo dào liǎo tiān kōng
  Myheart,thebirdofthewilderness,hasfounditsskyinyoureyes.
  
   shì de lèi diǎnshǐ de wēi xiào bǎo chí zhe qīng chūn xiè
  Itisthetearsoftheearththatkeephersmilesinbloom.
  
   guǒ yīn shī liǎo tài yáng 'ér liú lèi me jiāng shī qún xīng liǎo
  Ifyoushedtearswhenyoumissthesun,youalsomissthestars.
  
   kàn jiàn suǒ kàn jiàn de zhǐ shì de yǐng
  Whatyouareyoudonotsee,whatyouseeisyourshadow.
  
   chàng dào: " dào yóu shí biàn yòu liǎo shēng liǎo。 "
  Thewaterfallsing,"Ifindmysong,whenIfindmyfreedom."
  
   wēi wēi xiào zhe tóng shuō shénme huàér jué wèile zhè děng dài jiǔ liǎo
  YousmiledandtalkedtomeofnothingandIfeltthatforthisIhadbeenwaitinglong.
  
   rén néng zài de shǐ zhōng biǎo xiàn chū zài shǐ zhōng fèn dǒu zhe chū tóu jiǎo
  Mandoesnotrevealhimselfinhishistory,hestrugglesupthroughit.
  
   men hǎi 'ōu zhī tāo xiāng jiàn liǎozǒu jìn liǎohǎi 'ōu fēi tāo gǔn gǔn liú kāi men fēn bié liǎo
  Likethemeetingoftheseagullsandthewaveswemeetandcomenear.Theseagullsflyoff,thewavesrollawayandwedepart.
  
   dāng men shì wéi qiān bēi de shí hòubiàn shì men zuì jiē jìn wěi de shí hòu
  Wecomenearesttothegreatwhenwearegreatinhumility.
  
   jué yào hài chà -- yǒng héng zhī shēng zhè yàng chàng zhe
  Neverbeafraidofthemoments--thussingsthevoiceoftheeverlasting.
  
  " wán quán " wèile duì " quán " de 'ài zhuāng shì měi
  TheperfectdecksitselfinbeautyfortheloveoftheImperfect.
  
   cuò jīng shī bàidàn shì zhēn què shī bài
  WrongcannotafforddefeatbutRightcan.
  
   zhè guǎ de huáng hūn zhe zài de xīn de gǎn jué dào de tàn
  InmysolitudeofheartIfeelthesighofthiswidowedeveningveiledwithmistandrain.
  
   men shì jiè kàn cuò liǎofǎn shuō piàn men
  Wereadtheworldwrongandsaythatitdeceivesus.
  
   rén duì jiàn zhù fáng lái
  Manbarricadesagainsthimself.
  
   shǐ shēng xià huā zhī xuàn làn qiū zhī jìng měi
  Letlifebebeautifullikesummerflowersanddeathlikeautumnleaves.
  
   xiǎng liǎo fàn zài shēng 'ài de chuān liú shàng de duō bié de shí dài zhè xiē shí dài zhī bèi wàng biàn gǎn jué dào kāi chén shì de yóu liǎo
  Ithinkofotheragesthatfloateduponthestreamoflifeandloveanddeathandareforgotten,andIfeelthefreedomofpassingaway.
  
   zhǐ guǎn zǒu guò dòu liú zhe cǎi liǎo huā duǒ lái bǎo cúnyīn wéi shàng huā duǒ huì kāi fàng de
  Donotlingertogatherflowerstokeepthem,butwalkon,forflowerswillkeepthemselvesbloomingallyourway.
  
   xiǎng lüè guò de xīn shàng qún fēi guò tiān kōng tīng jiàn men zhī shēng liǎo
  Thoughtspassinmymindlikeflocksoflucksinthesky.Ihearthevoiceoftheirwings.
  
  " shuí mìng yùn shìde cuī zhe xiàng qián zǒu ? "" shì zài shēn bèi hòu kuà zǒu zhe。 "
  Whodrivesmeforwardlikefate? TheMyselfstridingonmyback.
  
   men de wàng cǎi hóng de yán jiè gěi zhǐ guò shì yún de rén shēng
  Ourdesirelendsthecoloursoftherainbowtothemeremistsandvapoursoflife.
  
  Straybirdsofsummercometomywindowtosingandflyaway.  Andyellowleavesofautumn,whichhavenosongs,flutterandfalltherewithasigh.
   xià tiān de fēi niǎofēi dào chuāng qián chàng yòu fēi liǎoqiū tiān de huáng men méi yòu shí chàng dezhǐ shì tàn shēngfēi luò zài
  
  Itisthetearsoftheearththatkeephersmilesinbloom.
   shǐ bǎo chí zhù qīng chūn xiè deshì de lèi
  
  Themightydesertisburningfortheloveofabladeofgrasswhoshakesherheadandlaughsandfliesaway.
   wěi de shā wèile de 'ài 'ér rán shāoér yáo yáo tóuxiào zhùfēi zǒu liǎo
  
  Thesandsinyouwaybegforyoursongandyourmovement,dancing  water.Willyoucarrytheburdenoftheirlameness?
   tiào zhù de liú shuǐ 'ādāng zhōng de shā wéi de shēng liú dòng 'āi qiú shí yuàn dān men de zhòng dān
  
  Sorrowishushedintopeaceinmyheartliketheeveningamongthesilenttrees.
   yōu chóu zài xīn zhōng shěn píng jìngzhèng huáng hūn zài jìng de lín zhōng
  
  Icannotchoosethebest.Thebestchoosesme.
   néng xuǎn zuì hǎo deshì zuì hǎo de xuǎn liǎo
  
  Theythrowtheirshadowsbeforethemwhocarrytheirlanternontheirback.
   dēng lóng bèi zài bèi shàng de rényòu hēi yǐng zhē zhù qián
  
  Restbelongstotheworkastheeyelidstotheeyes.
   xiū shǔ gōng zuòzhèng yǎn jiǎn shǔ yǎn jīng
  
  Thewaterfallsings,''Ifindmysong,whenIfindmyfreedom.''
   dào dāng dào yóu shíbiàn yòu liǎo shēng
  
  thestarsarenotafraidtoappearlikefireflies.
   qún xīng huì yīn wéi xiàng yíng huǒ chóng 'ér qiè chū xiàn
  
  Wecomenearesttothegreatwhenwearegreatinhumility.
   dāng men qiān bēi shí jìn wěi
  
  Thesparrowissorryforthepeacockattheburdenofitstail.
   què yīn kǒng què duǒ zhù líng wěi 'ér dān yōu
  
  ThePerfectdecksitselfinbeautyfortheloveoftheImperfect.
  「 wán quánwèile 'ài wán quán」, zhuāng shì gèng měi
  
  “ Igivemywholewaterinjoy,“ singsthewaterfall,''thoughlittleofitisenoughforthethirsty.''
   chàng zhù:「 suī rán zhě zhǐ shǎo shuǐ biàn gòu què jǐyǔ de quán
  
  Thewoodcutter'saxebeggedforitshandlefromtree,thetreegaveit.
   qiáo de tóu xiàng shù yào bǐngshù biàn gěi liǎo
  
  Wereadtheworldwrongandsaythatitdeceivesus.
   men kàn cuò liǎo shì jièquè shuō shì jiè piàn liǎo men
  
  Hewhowantstodogoodknocksatthegate;hewholovesfindsthegateopen.
   xiǎng yào xíng shàn de rén zài mén wài qiāo zhù ménài rén dekàn jiàn mén shì chǎng kāi de
  
  Thescabbardiscontenttobedullwhenitprotectsthekeennessoftheword.
   jiàn qiào bǎo jiàn de fēng què mǎn de chí dùn
  
  Thecloudstoodhumblyinacornerofthesky,Themorningcrowneditwithsplendour.
   bái yún qiān bēi zhàn zài tiān biānchén guāng gěi shàng zhuàng de guāng cǎi
  
  Thedustreceivesinsultandinreturnoffersherflowers.
   chén chéng shòu què xiān huā lái huí bào
  
  Godisashamedwhentheprosperousboastsofhisspecialfavour.
   dāng guì de rén kuā shuō dào shàng de 'ēn huì shíshàng què xiū liǎo
  
  Nothammer-strokes,butdanceofthewatersingsthepebblesintoperfection.
   shì chuí de qiāo nǎi shì shuǐ de zài zài shǐ 'é luǎn shí zhēn wán měi
  
  God'sgreatpowerisinthegentlebreeze,notinthestorm.
   shàng de néng zài róu de wēi fēng zhōng zài kuáng fēng bào zhōng
  
  Bypluckingherpetalsyoudonotgatherthebeautyoftheflower.
   cǎi xié huā bàn zhù huā de měi
  
  Thegreatwalkswiththesmallwithoutfear.Themiddlingkeepsaloof.
   de xiǎo de tóng yóu zhōng de què yuǎn zhī
  
  ''Thelearnedsaythatyourlightswillonedaybenomore.''saidthefireflytothestars.Thestarsmadenoanswer.
   yíng huǒ chóng duì qún xīng shuō:「 xué zhě shuō de guāng yòu tiān huì miè。」 qún xīng huí
  
  Thepetdogsuspectstheuniverseforschemingtotakeitsplace.
   xiǎo gǒu huái zhòu yīn móu cuàn duó de wèi zhì
  
  Godlovesman'slamp-lightsbetterthanhisowngreatstars.
   shàng 'ài rén jiān de dēng guāng shèn de xīng
  
  Praiseshamesme,forIsecretlybegforit.
   róng xiū zhù yīn wéi 'àn zhuī qiú zhù
  
  Lifehasbecomericherbythelovethathasbeenlost.
   shēng mìng yīn wéi shī 'ài qíng 'ér gèng fēng shèng
  
  Darkcloudsbecomesheaven'sflowerswhenkissedbylight.
   hēi yún shòu dào guāng de jiē wěn shíjiù biàn chéng liǎo tiān shàng de huā duǒ
  
  Thelittleflowerliesinthedust.Itsoughtthepathofthebutterfly.
   xiǎo huā shuì zài chén xún qiú dié zǒu de
  
  Letthisbemylastword,thatItrustinthylove.
   xiāng xìn de 'àiràng zhè huà zuò wéi zuì hòu de huà
  
  Iloveyounotbecauseofwhoyouare,butbecauseofwhoIamwhenIamwithyou.
   'ài shì yīn wéi shì zěn yàng de rénér shì yīn wéi huān zài shí de gǎn jué
  
  Nomanorwomanisworthyourtears,andtheonewhois,won tmakeyoucry.
   méi yòu rén zhí liú lèizhí ràng zhè me zuò de rén huì ràng
  
  Theworstwaytomisssomeoneistobesittingrightbesidethemknowingyoucan‘ thavethem.
   shī mǒu rénzuì zāo gāo de guò jìn zài shēn bàngquè yóu yuǎn zài tiān biān
  
  Neverfrown,evenwhenyouaresad,becauseyouneverknowwhoisfallinginlovewithyoursmile.
   zòng rán shāng xīn yào chóu méi zhǎnyīn wéi zhī shì shuí huì 'ài shàng de xiào róng
  
  Totheworldyoumaybeoneperson,buttoonepersonyoumaybetheworld.
   duì shì jiè 'ér yán shì réndàn shì duì mǒu rén shì de zhěng shì jiè
  
  Don‘ twasteyourtimeonaman/woman,whoisn‘ twillingtowastetheirtimeonyou.
   yào wéi xiē yuàn zài shēn shàng huā fèi shí jiān de rén 'ér làng fèi de shí jiān
  
  Justbecausesomeonedoesn‘ tloveyouthewayyouwantthemto,doesn‘ tmeantheydon‘ tloveyouwithalltheyhave.
   ài de rén guǒ méi yòu 'àn suǒ wàng de fāng shì lái 'ài bìng dài biǎo men méi yòu quán xīn quán 'ài
  
  Don‘ ttrysohard,thebestthingscomewhenyouleastexpectthemto.
   yào zháojízuì hǎo de zǒng huì zài zuì jīng de shí hòu chū xiàn
  
  MaybeGodwantsustomeetafewwrongpeoplebeforemeetingtherightone,sothatwhenwefinallymeettheperson,wewillknowhowtobegrateful.
   zài dào mèng zhōng rén zhī qiánshàng tiān huì 'ān pái men xiān dào bié de rénzài men zhōng jiàn xīn de rén shíbiàn yīngdāng xīn cún gǎn
  
  Don‘ tcrybecauseitisover,smilebecauseithappened.
   yào yīn wéi jié shù 'ér wēi xiào wéi de céng jīng yōng yòu
  
   shàng duì rén shuō dào:“ zhì suǒ yào shāng hài 'ài suǒ yào chéng 。”
  
   tiān kōng zhōng méi yòu chì bǎng de hén dàn fēi guò
  
   dāng suǒ yòu de cuò guān zài mén wàizhēn jiù bèi jué liǎo
  
   cuò jīng shī bàidàn shì zhēn què shī bài
  
   men zuì jìn de fāng chéng què zuì yáo yuǎn men zuì qiān bēi shícái zuì jiē jìn wěi
  
   ài jiù shì chōng shí liǎo de shēng mìngzhèng shèng mǎn liǎo jiǔ de jiǔ bēi
  
   yuè 'ér de guāng míng biàn zhào zài tiān shàngquè liú zhe de hēi bān gěi
  
   shēng mìng yīn wéi chū liǎo 'àiér gèng wéi
  
  . guǒ shí de shì shì zūn zhòng dehuā de shì shì tián měi dedàn shì ràng zuò de shì shì qiān xùn zhuān xīn chuí zhe yìn de
  
   mái zài xià de shù gēn shǐ shù zhī chǎn shēng guǒ shíquè bìng yào qiú shí yāo bào chóu
  
   xiè xiè huǒ yàn gěi guāng míngdàn shì yào wàng liǎo zhí dēng de rén shì jiān rěn zhàn zài hēi 'àn dāng zhōng
  
   zài qún xīng zhī zhōngyòu xīng shì zhǐ dǎo zhe de shēng mìng tōng guò zhī de hēi 'àn de
  
   men shì jiè kàn cuò liǎofǎn shuō shì jiè piàn men
  
   xiǎo cǎo de suī xiǎodàn shì yōng yòu xià de
  
   zhǐ guǎn zǒu guò dòu liú zhe cǎi liǎo huā duǒ lái bǎo cúnyīn wéi shànghuā duǒ huì kāi fàng de
  
   āměi zài 'ài zhōng zhǎo yào dào jìng de chǎn zhōng zhǎo
   guǒ suǒ yòu de cuò guān zài mén wài zhēn yào bèi guān zài mén wài liǎo
   shī sǎnwén
   tán jiā fēi niǎo xīn yuè
   suí xiǎng yuán dīng cǎi guǒ
   hēi niú zài pán
   yóu zuì hòu de xīng 'ài zhě zhī
   jué chén 'āi shū qíng shī
   kǒu shēn
   xiǎo shuō
   shí dài huà juàn wén yuàn guī bǎo gài biān tái jiē de shuō
   liè jiāo cái chǎn xiǎo
   huó zhe hái shì liǎo shèng bài
   'ěr rén
   bào biān ji pàn jué
   lǎo de xiǎo shì yuán lái běn
   fēi nèi yún tài yáng shú zuì
   guān jiě jiě diào 'ào
   guò shī bài táng xiāng jiàn nán miǎn de zāi huò
   lín xíng nuò yán 'ěr 'ěr jiā
   hǎi méng yǐn shì rén de xìn
   jué bié zhī shēng rén xīn láng xīn niàn
   piān jiàn shù jiā tōu lái de cái bǎo
   zuì hòu de jiǎng shǎng lín de shì chén chuán
   xiāng guān wén zhāng
   tài 'ěr de wén xué shèng diàn lùn tài 'ěr de sǎnwén shītài 'ěr de shī
  
   tài 'ěr nián biǎo
  
  
  1861 nián 5 yuè 7 chū shēng
  
  1878 nián yīng guó liú xué
  
  1880 niánhuí guó zhuān mén cóng shì wén xué huó dòng
  
  1901 niánzài shèng tǎn chuàng bàn 'ér tóng jiào shí yàn xué xiào
  
  1884~ 1911 niándān rèn fàn shè shū
  
  1924 niánfǎng wèn zhōng guó
  
  1941 niánxiě zuò yánwén míng de wēi 》。
  
  1941 nián 8 yuè 7 shì shì
  
   tài 'ěr zhōng guó
  
  
   tài 'ěr zhōng guó tài 'ěr guàn qiáng diào yìn zhōng liǎng guó rén mín tuán jié yǒu hǎo zuò de yào xìng。 1881 nián xiě liǎo wáng de mào wénqiǎn yīng guó xiàng zhōng guó qīng xiāo piàn hài zhōng guó rén mín de zuì xíng。 1916 nián zài běn biǎo tán huàpēng běn jūn guó zhù qīn lüè zhōng guó de xíng dòng。 1924 nián fǎng wèn zhōng guóhuí guó biǎo liǎozài zhōng guó de tán huà》。 1937 nián běn guó zhù dòng qīn huá zhàn zhēng hòu biǎo gōng kāi xìntán huà hèshī piānchì běn guó zhù tóng qíng zhī chí zhōng guó rén mín de zhèng dǒu zhēngzhōng guó zuò jiā guō ruòzhèng zhèn duóbīng xīn zhì děng rén zǎo de chuàng zuò duō shòu guò de yǐng xiǎng de zuò pǐn zǎo zài 1915 nián jiù jiè shào dào zhōng guó shí nián lái chū bǎn de de zuò pǐn de zhōng běn píng jiè zhù zuò wéi shù hěn duō。 1961 nián wéi niàn de bǎi suì dàn chénrén mín wén xué chū bǎn shè chū bǎn liǎo 10 juàn běntài 'ěr zuò pǐn 》。
  1915 niánchén xiù zàiqīng nián zhì》(《 xīn qīng nián》) 2 shàng biǎo dezàn 》 4 shǒuzuò pǐn zhōngxìn 'àitóng xīn 'àide xiǎng rén de xiōng huái mèi de rén yíng liǎo shù zhōng guó zhě de jìng yǎng
   tài 'ěr shì yòu shì jiè yǐng xiǎng de zuò jiā。 1924 niántài 'ěr yìng sūn zhōng shān xiān shēng zhī yāo fǎng huá,“ tài 'ěr jìn gāo cháo zài zhì jiā xiāng shí,“ guān zhě xiào xué shēng shù bǎi míng zòu qún xiàng xíng shí zhī shèng。” huì jiàn liǎo liáng chāoshěn jūn méi lán fāngliáng shù míng bái shí děng jiè míng liú。 1956 niánzhōu 'ēn lái zǒng huí shí shuō:“ tài 'ěr shì duì shì jiè wén xué zuò chū zhuó yuè gòng xiàn de tiān cái shī rén……” xūn táo liǎo zhōng guó zuì yòu cái huá de shī rén zuò jiā zhōng guō ruòbīng xīn shòu dào de yǐng xiǎng zuì shēnguō ruò shì zhōng guó xīn shī rénchēng wén xué shēng de jiē duàn shì tài 'ěr shì de”。 bīng xīn shì zhōng guó xīn wén xué xìng zuò jiā rén zǎo de chuàng zuò shòu dào liǎo tài 'ěr de míng xiǎn yǐng xiǎng bié shì shī fán xīngchūn shuǐ》。 shuō:“ xiěfán xīngchūn shuǐde shí hòubìng shì zài xiě shīzhǐ shì shòu liǎo tài 'ěr defēi niǎo de yǐng xiǎng duōlíng suì de xiǎng shōu zài 'ér 。” guō ruòbīng xīn děng rén yòu men de zuò pǐnyǐng xiǎng liǎo dài yòu dài zhōng guó zhě
   tài 'ěr shì zhōng guó zhě xīn zhōng zuì wèi de wài guó zuò jiā zhī néng de gài zhǐ yòu suō shì rénxiàn chū bǎn liǎo 10 juàn běn de zhōng wéntài 'ěr zuò pǐn 》。
  
   tài 'ěr de běi jīng zhī ( zhāng bǎo shēn )
  
     tài 'ěr (1861- 1941) shì yìn wěi de shī rénzuò jiā zhé xué jiā shēng chuàng zuò liǎo shí duō shī shí 'èr zhōngcháng piān xiǎo shuō bǎi duō piān duǎn piān xiǎo shuōèr shí duō zuòhái huà liǎo qiān bǎi duō huàzuò liǎo bǎi shǒu gēqǔzhuàn xiě liǎo liàng de lùn wén。 1913 nián de shī tán jiā róng huò liǎo nuò bèi 'ěr wén xué jiǎngshì wèi huò nuò bèi 'ěr wén xué jiǎng de zhōu réntài 'ěr de shī xīn yuè 》、《 yuán dīng 》、《 fēi niǎo 》、《 liú yíng děng bèi liàng jiè shào dào zhōng guócéng yǐng xiǎng liǎo guó dài zhě。 1924 nián 4 yuè 12 zhì 5 yuè 30 tài 'ěr yìng liáng chāocài yuán péi běi jīng jiǎng xué shè de míng yāo qǐnghuái zhe duì zhōng guó rén mín de shēn hòu gǎn qíng lái huá fǎng wènshí jiān cháng 50 duō tiānzài tài 'ěr lái huá zhī qiándāng shí zài guǎng zhōu rèn fēi cháng zǒng tǒng de sūn zhōng shān xiān shēng xiàng chū qíng yáng de yāo qǐng xìn :“…… xiān shēng lái huá qīn xiāng yíngdāng yǐn wéi xìng…… zhuān tài yāo néng qián lái guǎng zhōu wéi xìng”。 shàng zhōng guó de lǐng zhè wèi shī rén jiù qíng jìn shuō :“ péng yǒu men zhī dào shénme yuán dào zhōng guó biàn xiàng huí dào xiāng yàng shǐ zhōng gǎn juéyìn shì zhōng guó qīn jìn de qīn shǔzhōng guó yìn shì lǎo 'ér yòu qīn 'ài de xiōng 。”
     1924 nián 4 yuè 23 tài 'ěr chéng huǒ chē běi jīng qián mén chē zhànliáng chāocài yuán péi shìliáng shù míng hóng míng děng qián wǎng chē zhàn yíng jiēzài shí jiān cháng yuè de běi jīng zhī zhōng dào lǎo de yuán shǎng dīng xiāngcān jiā shī huìliú lǎn liǎo gōnghuì jiàn liǎo dài huáng zài běi qīng huáběi shī děng gāo děng xué biǎo liǎozhōng guó shì jiè wén míng》、《 wén míng jìn 》、《 zhēn děng duō piān yǎn shuōhuì jiàn jiè zhī míng rén shì…… 5 yuè 8 shì féng tài 'ěr 63 suì shòu chénběi jīng wén huà jiè rén shì gǎn pái liǎo de míng zuò huà 》, dāng tiān zài dōng dān xié táng yǎn chū wèitā zhù shòu shì zhù chí huìliáng chāo dài biǎo jīng chéng jiè rén shì zhì liè de zhù shòu huì de yāzhòuxìshì guān kàn yòng yīng yǎn chū de 》。 zhōnglín huī yīn shì zhùjué gōng zhù zhì shì 'ài shén lín cháng mín shì chūn shén sēn liáng chéng dān rèn tái jǐng shè táng gāo péng mǎn zuòshèng kuàng kōng qiántài 'ěr méi lán fāng zuò zài xīng fèn shuō :“ zài zhōng guó néng kàn dào xiě de tài gāo xīng liǎo shì gèng wàng néng guān shǎng dào yǎn chū de 。” méi lán fāng dāng dāyìng qǐng kàn gāng pái de xīn luò shén》。
     5 yuè 12 tài 'ěr zài péng yǒu men de péi tóng xiàxīng zhì lái dào chāng píng xiǎo tānɡ shān wēn quántānɡ quán shān chūn gěi shī rén liú xià liǎo měi hǎo de yìn xiàng shuō :“ zhè wēn nuǎn de quán shuǐ jìng liǎo shēn shàng de chén gòuzài chén guāng de wēi zhōngkàn dào yàn de zhāoxiáwèi lán de tiān wàng zhe shàng de cǎoxiǎo fēng qīng qīng yáo hàn zhe xǐng guò lái de biān liǔjǐng shì shǐ rén liú liàn de。”
     5 yuè 19 zài gāng gāng luò chéng kāi de zhū shì kǒu kāi míng yuànméi lán fāng zhuān mén yǎn chū liǎo xīn pái de shén huà jīng luò shénzhāo dài tài 'ěrtài 'ěr lái chǎng kàn yǎn chū chuān shàng liǎo chuàng bàn de yìn guó xué de hóng méi lán fāng hěn qīng chǔ :“ tiān cóng tái shàng kàn guò zhǐ jiàn shī rén duān zuò zài bāo xiāng zhèng zhōngdài jiàng màozhe hóng cháng páoyín báifàwàng zhī shén xiān zhōng rén。” 5 yuè 20 tài 'ěr jiāng tài yuándāng zhōng liáng chāo shí céngméi lán fāng shān féng xiáng jiāng jūn de dài biǎo míng zhōng děngzài fēng yuán fàn zhuāng wèitā jiàn xíngtài 'ěr xīng zhì tán liǎo běi jīng zhī de duō gǎn shòu jīng guò rèn zhēn de kǎoduì méi lán fāng deluò shén chū liǎo hěn duō jiàn shè xìng de jiàn rèn wéizài biǎo yǎn jǐng shàngyìng zài làng màn xiē tái cǎi gèng fēng xiē chū shén huà de shī …… méi lán fāng xīn jiē shòu liǎo de jiàn zài jǐng biǎo yǎn fāng miàn zuò liǎo gǎi dòng liǎo de tái xiào guǒdāng chǎngtài 'ěr yòng mèng jiā wén xiě liǎo shǒu xiǎo shī zài wán shàn shàng sòng gěi méi lán fāng :“ qīn 'ài de yòng dǒng de yán de miàn shāzhē gài zhe de róng yánzhèng xiàng yáo wàng tóng mài piāomiǎo de yún xiábèi shuǐ lǒngzhào zhe de fēng luán。”
     37 nián hòu de 1961 niánméi lán fāng xiě liǎozhuī yìn shī rén tài 'ěrde shǒu shī biǎo zài 5 yuè 13 deguāng míng bàoshànghuái niàn zhè wèi yìn yǒu rénzài yán zhōngméi lán fāng xiě dào :“ 1924 nián chūntài 'ěr xiān shēng lái yóu zhōng guólùn jiāo běi jīngtán shèn huān wéi zhī yǎnluò shén tài wēng guān hòu shī xiāng zèng zhōng guó shū zhī wán shàn yuè sān shí yúzǎi zhí shī rén dàn chén bǎi nián niànhuí tài wēng 'ài zhōng huáwǎng wǎng qíng jiàn wén cǎi cháng cúnshī zhī。” zhè xiàng zhēng zhōng yìn yǒu de shī shànxiàn bǎo cún zài méi lán fāng niàn guǎn
     tài 'ěr de fǎng huázài zhōng yìn wén huà jiāo liú shǐ shàngliú xià liǎo guāng huī de wén xué jiā zhèng zhèn duó zài dāng shí biǎo dehuān yíng tài 'ěr wén zhōng xiě dào :“ men suǒ huān yíng de nǎi shì gěi 'ài guāng 'ān wèi xìng men de rénnǎi shì men qīn 'ài de xiōng men de zhī shí shàng líng hún shàng de tóng de bàn de wěi shì suǒ zài de!” zuò jiā xiè bīng xīn huái zhe chóng jìng zhī qíng xiě dào :“ tài 'ěr shì qīng nián shí dài zuì 'ài de wài guó shī rén shì 'ài guó zhězhé rén hèshī rén de shī zhōng pēn zhe duì guó de liànduì de tóng qíng duì 'ér tóng de 'àiyòu liǎo qiáng liè de 'ài jiù huì yòu qiáng liè de zēngdāng men 'ài de qiē shòu dào qīn fàn de shí hòu jiù huì chū qiáng liè de hǒu de 'ài hèn hǎi yàngdàng yàng kāi biàn quán rén lèi!” duì zhōng guó rén mín de qíngtài 'ěr yòng qīnqiè 'ér zhēn zhì de yán shuō :“ shòu dào men de liè de huān yíng jiā suǒ huān yíng gài yīn wéi dài biǎo yìn rényòu péng yǒu sòng zhāngshàng tài 'ěr sān duì shì hěn gǎn dòng…… zhè zhāng shàng zhe zhōng guó míng tóu biàn shì tài shān de tài jué hòu fǎng jiù yòu quán dào zhōng guó rén de xīn liǎo jiě de shēng mìngyīn wéi de shēng mìng fēi zhōng guó rén de shēng mìng lián zài liǎo……”
     tài 'ěr zài fǎng wèn zhōng guó shícéng jīng gāo zhān yuǎn zhǔ shuō :“ xiāng xìn men yòu wěi de jiāng lái xiāng xìndāng men guó jiā zhàn lái de jīng shén biǎo chū lái de shí hòu zhōu jiāng yòu wěi de jiāng lái。”
     1956 niánzài tài 'ěr fǎng huá 32 nián zhī hòuzhōu 'ēn lái zǒng fǎng wèn yìn zài tài 'ěr qīn shǒu chuàng bàn de jiā 'ěr guó xué jiē shòu míng shì xué wèi shí fēi cháng dòng qíng shuō :“ lái dào zhè xué shù zhōng xīn néng lìng rén xiǎng zhè xué de chuàng bàn rényìn de wěi 'ài guó shī rén tài 'ěrtài 'ěr jǐn shì duì shì jiè wén huà zuò chū liǎo zhuó yuè gòng xiàn de tiān cái shī rénhái shì zēng hèn hēi 'ànzhēng guāng míng de wěi yìn rén mín de jié chū dài biǎozhōng guó rén mín duì tài 'ěr bào zhe shēn hòu de gǎn qíngzhōng guó rén mín yǒng yuǎn néng wàng tài 'ěr duì men de 'àizhōng guó rén mín néng wàng tài 'ěr duì men de jiān de mín dǒu zhēng suǒ jǐyǔ de zhī chízhì jīnzhōng guó rén mín hái huái niàn de xīn qíng huí zhe 1924 nián tài 'ěr duì zhōng guó de fǎng wèn。”
  
   tài 'ěr
   duō píng jiā shuōshī rén shìrén lèi de 'ér tóng”。 yīn wéi mendōu shì tiān zhēn deshàn liángzài xiàn dài de duō shī rén zhōngtài 'ěr( RabindranathTagore) gèng shì hái de tiān shǐ”。 de shī zhèng zhè tiān zhēn
   làn màn de tiān shǐ de liǎnkàn zhe jiùnéng zhī dào qièshì de ”, jiù gǎn pínggǎn 'ān wèibìng qiě zhī dào zhēn xiāng 'àizhùtài 'ěr zhé xué” S.Radhakrishnan shuōtài 'ěr zhù zuò zhī liú xíngzhī néng yǐn quán shì
   jiè rén men de xīng bàn zài xiǎng zhōng gāo chāo de xiǎng zhù bàn zài zuò pǐn zhōng de wén xué de zhuāng yán měi tài 'ěr shì yìn mèng jiā (Bengal) fāng de rényìn shì shī de guó”。 shī jiù shì yìn rén shì cháng
   shēng huó de fēnzài zhè shī zhī guóchǎn shēng liǎo zhè wěi de shī rén tài 'ěr rán shì méi yòu shénme guài detài 'ěr de wén xué huó dòngkāi shǐ de zǎo zài shí suì de shí hòu kāi shǐ xiě běn liǎo de zhù zuò
   zuì chū dōushì yòng mèng jiā wén xiě defán shì shuō mèng jiā wén de fāngméi yòu rén sòng de shī hòu lái de péng yǒu liǎo duō zhǒng chéng yīng wénshī yòuyuán dīng ”、“ xīn yuè ”、“ cǎi guǒ ”“ fēi niǎo ”、“ tán jiā ”、“ ài zhě zhī ”、 dào”; běn yòu:“ shēng ”、“ yóu ”、“ àn shì zhī wáng”、“ chūn zhī xún huán”; lùn wén yòu:“ shēng zhī shí xiàn”、“ rén ”、 zhù yòu de huí ”、“ è shí ”、“ jiā tíng shì jièděngzài mèng jiā wén yìn rén shuō de shī jiào yīng wén xiě de yóu wéi měi de shì shì men shèng rén zhōng de rén jué shēng mìngér néng shuō chū shēng mìng zhī běn shēn dezhè jiù shì men suǒ 'ài
   de yuán yīn liǎo。” yòu zhe


Rabindranath Tagore (help·info)α[›] (Bengali: রবীন্দ্রনাথ ঠাকুর,β[›] IPA: [ɾobin̪d̪ɾonat̪ʰ ʈʰakuɾ] (help·info)) (7 May 1861–7 August 1941),γ[›] also known by the sobriquet Gurudev,δ[›] was a Bengali poet, Brahmo religionist, visual artist, playwright, novelist, and composer whose works reshaped Bengali literature and music in the late 19th and early 20th centuries. He became Asia's first Nobel laureate when he won the 1913 Nobel Prize in Literature. A Pirali Brahmin (a ".. supposed stigma", ".. formed a party for degrading them", ".. orthodox kind relying on hearsay for their facts") from Calcutta, Bengal, Tagore first wrote poems at the age of eight. At the age of sixteen, he published his first substantial poetry under the pseudonym Bhanushingho ("Sun Lion") and wrote his first short stories and dramas in 1877. In later life Tagore protested strongly against the British Raj and gave his support to the Indian Independence Movement. Tagore's life work endures, in the form of his poetry and the institution he founded, Visva-Bharati University. Tagore wrote novels, short stories, songs, dance-dramas, and essays on political and personal topics. Gitanjali (Song Offerings), Gora (Fair-Faced), and Ghare-Baire (The Home and the World) are among his best-known works. His verse, short stories, and novels, which often exhibited rhythmic lyricism, colloquial language, meditative naturalism, and philosophical contemplation, received worldwide acclaim. Tagore was also a cultural reformer and polymath who modernised Bengali art by rejecting strictures binding it to classical Indian forms. Two songs from his canon are now the national anthems of Bangladesh and India: the Amar Shonar Bangla and the Jana Gana Mana respectively. Tagore (nicknamed "Rabi") was born the youngest of thirteen surviving children in the Jorasanko mansion in Calcutta (now Kolkata, India) of parents Debendranath Tagore and Sarada Devi.ε[›] The Tagore family were the Brahmo founding fathers of the Adi Dharm faith. After undergoing his upanayan at age eleven, Tagore and his father left Calcutta on 14 February 1873 to tour India for several months, visiting his father's Santiniketan estate and Amritsar before reaching the Himalayan hill station of Dalhousie. There, Tagore read biographies, studied history, astronomy, modern science, and Sanskrit, and examined the classical poetry of Kālidāsa. In 1877, he rose to notability when he composed several works, including a long poem set in the Maithili style pioneered by Vidyapati. As a joke, he maintained that these were the lost works of Bhānusiṃha, a newly discovered 17th-century Vaiṣṇava poet. He also wrote "Bhikharini" (1877; "The Beggar Woman"—the Bengali language's first short story) and Sandhya Sangit (1882) —including the famous poem "Nirjharer Swapnabhanga" ("The Rousing of the Waterfall"). Tagore and his wife Mrinalini Devi in 1883.Seeking to become a barrister, Tagore enrolled at a public school in Brighton, England in 1878. He studied law at University College London, but returned to Bengal in 1880 without a degree. On 9 December 1883 he married Mrinalini Devi (born Bhabatarini, 1873–1900); they had five children, two of whom later died before reaching adulthood. In 1890, Tagore began managing his family's estates in Shilaidaha, a region now in Bangladesh; he was joined by his wife and children in 1898. Known as "Zamindar Babu", Tagore traveled across the vast estate while living out of the family's luxurious barge, the Padma, to collect (mostly token) rents and bless villagers; in return, appreciative villagers held feasts in his honour. These years, which composed Tagore's Sadhana period (1891–1895; named for one of Tagore’s magazines), were among his most fecund. During this period, more than half the stories of the three-volume and eighty-four-story Galpaguchchha were written. With irony and emotional weight, they depicted a wide range of Bengali lifestyles, particularly village life. Shantiniketan (1901–1932) Main article: Life of Rabindranath Tagore (1901–1932) Tagore, photographed in Hampstead, England in 1912 by John Rothenstein.In 1901, Tagore left Shilaidaha and moved to Santiniketan (West Bengal) to found an ashram, which would grow to include a marble-floored prayer hall ("The Mandir"), an experimental school, groves of trees, gardens, and a library. There, Tagore's wife and two of his children died. His father died on 19 January 1905, and he began receiving monthly payments as part of his inheritance. He received additional income from the Maharaja of Tripura, sales of his family's jewellery, his seaside bungalow in Puri, and mediocre royalties (Rs. 2,000) from his works. By now, his work was gaining him a large following among Bengali and foreign readers alike, and he published such works as Naivedya (1901) and Kheya (1906) while translating his poems into free verse. On 14 November 1913, Tagore learned that he had won the 1913 Nobel Prize in Literature. According to the Swedish Academy, it was given due to the idealistic and—for Western readers—accessible nature of a small body of his translated material, including the 1912 Gitanjali: Song Offerings. In 1915, Tagore received the knighthood from the British Crown. But as a mark of rebuke to the rulers, post the Jallianwala Bagh massacre in 1919, he renounced the title. In 1921, Tagore and agricultural economist Leonard Elmhirst set up the Institute for Rural Reconstruction (which Tagore later renamed Shriniketan—"Abode of Wealth") in Surul, a village near the ashram at Santiniketan. Through it, Tagore sought to provide an alternative to Gandhi's symbol- and protest-based Swaraj movement, which he denounced. He recruited scholars, donors, and officials from many countries to help the Institute use schooling to "free village[s] from the shackles of helplessness and ignorance" by "vitaliz[ing] knowledge". In the early 1930s, he also grew more concerned about India's "abnormal caste consciousness" and untouchability, lecturing on its evils, writing poems and dramas with untouchable protagonists, and appealing to authorities at the Guruvayoor Temple to admit Dalits. Twilight years (1932–1941) Main article: Life of Rabindranath Tagore (1932–1941) Tagore (left) meets with Mahatma Gandhi at Santiniketan in 1940.In his last decade, Tagore remained in the public limelight, publicly upbraiding Gandhi for stating that a massive 15 January 1934 earthquake in Bihar constituted divine retribution for the subjugation of Dalits. He also mourned the incipient socioeconomic decline of Bengal and the endemic poverty of Calcutta; he detailed the latter in an unrhymed hundred-line poem whose technique of searing double-vision would foreshadow Satyajit Ray's film Apur Sansar. Tagore also compiled fifteen volumes of writings, including the prose-poems works Punashcha (1932), Shes Saptak (1935), and Patraput (1936). He continued his experimentations by developing prose-songs and dance-dramas, including Chitrangada (1914), Shyama (1939), and Chandalika (1938), and wrote the novels Dui Bon (1933), Malancha (1934), and Char Adhyay (1934). Tagore took an interest in science in his last years, writing Visva-Parichay (a collection of essays) in 1937. His exploration of biology, physics, and astronomy impacted his poetry, which often contained extensive naturalism that underscored his respect for scientific laws. He also wove the process of science (including narratives of scientists) into many stories contained in such volumes as Se (1937), Tin Sangi (1940), and Galpasalpa (1941). Tagore's last four years were marked by chronic pain and two long periods of illness. These began when Tagore lost consciousness in late 1937; he remained comatose and near death for an extended period. This was followed three years later in late 1940 by a similar spell, from which he never recovered. The poetry Tagore wrote in these years is among his finest, and is distinctive for its preoccupation with death. After extended suffering, Tagore died on 7 August 1941 (22 Shravan 1348) in an upstairs room of the Jorasanko mansion in which he was raised; his death anniversary is still mourned in public functions held across the Bengali-speaking world. Travels Tagore (center, at right) visits Chinese academics at Tsinghua University in 1924.Owing to his notable wanderlust, between 1878 and 1932, Tagore visited more than thirty countries on five continents; many of these trips were crucial in familiarising non-Indian audiences to his works and spreading his political ideas. In 1912, he took a sheaf of his translated works to England, where they impressed missionary and Gandhi protégé Charles F. Andrews, Anglo-Irish poet William Butler Yeats, Ezra Pound, Robert Bridges, Ernest Rhys, Thomas Sturge Moore, and others. Indeed, Yeats wrote the preface to the English translation of Gitanjali, while Andrews joined Tagore at Santiniketan. On 10 November 1912, Tagore toured the United States and the United Kingdom, staying in Butterton, Staffordshire with Andrews’ clergymen friends. From 3 May 1916 until April 1917, Tagore went on lecturing circuits in Japan and the United States, during which he denounced nationalism—particularly that of the Japanese and Americans. He also wrote the essay "Nationalism in India", attracting both derision and praise (the latter from pacifists, including Romain Rolland). Shortly after returning to India, the 63-year-old Tagore visited Peru at the invitation of the Peruvian government, and took the opportunity to visit Mexico as well. Both governments pledged donations of $100,000 to the school at Shantiniketan (Visva-Bharati) in commemoration of his visits. A week after his November 6, 1924 arrival in Buenos Aires, Argentina, an ill Tagore moved into the Villa Miralrío at the behest of Victoria Ocampo. He left for India in January 1925. On 30 May 1926, Tagore reached Naples, Italy; he met fascist dictator Benito Mussolini in Rome the next day. Their initially warm rapport lasted until Tagore spoke out against Mussolini on 20 July 1926. Tagore (first row, third figure from right) meets members of the Iranian Majlis (Tehran, April-May 1932). Tagore visited Shiraz in the same year, .On 14 July 1927, Tagore and two companions began a four-month tour of Southeast Asia, visiting Bali, Java, Kuala Lumpur, Malacca, Penang, Siam, and Singapore. Tagore's travelogues from the tour were collected into the work "Jatri". In early 1930 he left Bengal for a nearly year-long tour of Europe and the United States. Once he returned to the UK, while his paintings were being exhibited in Paris and London, he stayed at a Friends settlement in Birmingham. There, he wrote his Hibbert Lectures for the University of Oxford (which dealt with the "idea of the humanity of our God, or the divinity of Man the Eternal") and spoke at London's annual Quaker gathering. There (addressing relations between the British and Indians, a topic he would grapple with over the next two years), Tagore spoke of a "dark chasm of aloofness". He later visited Aga Khan III, stayed at Dartington Hall, then toured Denmark, Switzerland, and Germany from June to mid-September 1930, then the Soviet Union. Lastly, in April 1932, Tagore—who was acquainted with the legends and works of the Persian mystic Hafez—was invited as a personal guest of Shah Reza Shah Pahlavi of Iran. Such extensive travels allowed Tagore to interact with many notable contemporaries, including Henri Bergson, Albert Einstein, Robert Frost, Thomas Mann, George Bernard Shaw, H.G. Wells and Romain Rolland. Tagore's last travels abroad, including visits to Persia and Iraq (in 1932) and Ceylon in 1933, only sharpened his opinions regarding human divisions and nationalism. Works Main article: Works of Rabindranath Tagore Tagore's Bengali-language initials are worked into this "Ra-Tha" wooden seal, which bears close stylistic similarity to designs used in traditional Haida carvings. Tagore often embellished his manuscripts with such art. (Dyson 2001)Tagore's literary reputation is disproportionately influenced by regard for his poetry; however, he also wrote novels, essays, short stories, travelogues, dramas, and thousands of songs. Of Tagore's prose, his short stories are perhaps most highly regarded; indeed, he is credited with originating the Bengali-language version of the genre. His works are frequently noted for their rhythmic, optimistic, and lyrical nature. Such stories mostly borrow from deceptively simple subject matter: the lives of ordinary people. Novels and non-fiction Tagore wrote eight novels and four novellas, including Chaturanga, Shesher Kobita, Char Odhay, and Noukadubi. Ghare Baire (The Home and the World)—through the lens of the idealistic zamindar protagonist Nikhil—excoriates rising Indian nationalism, terrorism, and religious zeal in the Swadeshi movement; a frank expression of Tagore's conflicted sentiments, it emerged out of a 1914 bout of depression. Indeed, the novel bleakly ends with Hindu-Muslim sectarian violence and Nikhil's being (probably mortally) wounded. In some sense, Gora shares the same theme, raising controversial questions regarding the Indian identity. As with Ghore Baire, matters of self-identity (jāti), personal freedom, and religion are developed in the context of a family story and love triangle. Another powerful story is Jogajog (Relationships), where the heroine Kumudini—bound by the ideals of Shiva-Sati, exemplified by Dākshāyani—is torn between her pity for the sinking fortunes of her progressive and compassionate elder brother and his foil: her exploitative, rakish, and patriarchical husband. In it, Tagore demonstrates his feminist leanings, using pathos to depict the plight and ultimate demise of Bengali women trapped by pregnancy, duty, and family honour; simultaneously, he treats the decline of Bengal's landed oligarchy. Other novels were more uplifting: Shesher Kobita (translated twice—Last Poem and Farewell Song) is his most lyrical novel, with poems and rhythmic passages written by the main character (a poet). It also contains elements of satire and postmodernism; stock characters gleefully attack the reputation of an old, outmoded, oppressively renowned poet who, incidentally, goes by the name of Rabindranath Tagore. Though his novels remain among the least-appreciated of his works, they have been given renewed attention via film adaptations by such directors as Satyajit Ray; these include Chokher Bali and Ghare Baire; many have soundtracks featuring selections from Tagore's own [[Rabindra sangeet. Tagore wrote many non-fiction books, writing on topics ranging from Indian history to linguistics. Aside from autobiographical works, his travelogues, essays, and lectures were compiled into several volumes, including Iurop Jatrir Patro (Letters from Europe) and Manusher Dhormo (The Religion of Man). Music and artwork "Dancing Girl", an undated ink-on-paper piece by Tagore.Tagore was a prolific musician and painter, writing around 2,230 songs. They comprise rabindrasangit (Bengali: রবীন্দ্র সংগীত—"Tagore Song"), now an integral part of Bengali culture. Tagore's music is inseparable from his literature, most of which—poems or parts of novels, stories, or plays alike—became lyrics for his songs. Primarily influenced by the thumri style of Hindustani classical music, they ran the entire gamut of human emotion, ranging from his early dirge-like Brahmo devotional hymns to quasi-erotic compositions. They emulated the tonal color of classical ragas to varying extents. Though at times his songs mimicked a given raga's melody and rhythm faithfully, he also blended elements of different ragas to create innovative works. For Bengalis, their appeal, stemming from the combination of emotive strength and beauty described as surpassing even Tagore's poetry, was such that the Modern Review observed that "[t]here is in Bengal no cultured home where Rabindranath's songs are not sung or at least attempted to be sung... Even illiterate villagers sing his songs". Music critic Arthur Strangways of The Observer first introduced non-Bengalis to rabindrasangeet with his book The Music of Hindostan, which described it as a "vehicle of a personality... [that] go behind this or that system of music to that beauty of sound which all systems put out their hands to seize." Among them are Bangladesh's national anthem Amar Shonar Bangla (Bengali: আমার সোনার বাঙলা) and India's national anthem Jana Gana Mana (Bengali: জন গণ মন); Tagore thus became the only person ever to have written the national anthems of two nations. In turn, rabindrasangeet influenced the styles of such musicians as sitar maestro Vilayat Khan, and the sarodiyas Buddhadev Dasgupta and Amjad Ali Khan. Much of Tagore's artwork dabbled in primitivism, including this pastel-coloured rendition of a Malanggan mask from northern New Ireland.At age sixty, Tagore took up drawing and painting; successful exhibitions of his many works—which made a debut appearance in Paris upon encouragement by artists he met in the south of France—were held throughout Europe. Tagore—who likely exhibited protanopia ("color blindness"), or partial lack of (red-green, in Tagore's case) colour discernment—painted in a style characterised by peculiarities in aesthetics and colouring schemes. Nevertheless, Tagore took to emulating numerous styles, including that of craftwork by the Malanggan people of northern New Ireland, Haida carvings from the west coast of Canada (British Columbia), and woodcuts by Max Pechstein. Tagore also had an artist's eye for his own handwriting, embellishing the scribbles, cross-outs, and word layouts in his manuscripts with simple artistic leitmotifs, including simple rhythmic designs. Theatrical pieces Tagore's experience in theatre began at age sixteen, when he played the lead role in his brother Jyotirindranath's adaptation of Molière's Le Bourgeois Gentilhomme. At age twenty, he wrote his first drama-opera—Valmiki Pratibha (The Genius of Valmiki)—which describes how the bandit Valmiki reforms his ethos, is blessed by Saraswati, and composes the Rāmāyana. Through it, Tagore vigorously explores a wide range of dramatic styles and emotions, including usage of revamped kirtans and adaptation of traditional English and Irish folk melodies as drinking songs. Another notable play, Dak Ghar (The Post Office), describes how a child—striving to escape his stuffy confines—ultimately "fall[s] asleep" (which suggests his physical death). A story with worldwide appeal (it received rave reviews in Europe), Dak Ghar dealt with death as, in Tagore's words, "spiritual freedom" from "the world of hoarded wealth and certified creeds". His other works—emphasizing fusion of lyrical flow and emotional rhythm tightly focused on a core idea—were unlike previous Bengali dramas. His works sought to articulate, in Tagore's words, "the play of feeling and not of action". In 1890 he wrote Visarjan (Sacrifice), regarded as his finest drama. The Bengali-language originals included intricate subplots and extended monologues. Later, his dramas probed more philosophical and allegorical themes; these included Dak Ghar. Another is Tagore's Chandalika (Untouchable Girl), which was modeled on an ancient Buddhist legend describing how Ananda—the Gautama Buddha's disciple—asks water of an Adivasi ("untouchable") girl. Lastly, among his most famous dramas is Raktakaravi (Red Oleanders), which tells of a kleptocratic king who enriches himself by forcing his subjects to mine. The heroine, Nandini, eventually rallies the common people to destroy these symbols of subjugation. Tagore's other plays include Chitrangada, Raja, and Mayar Khela. Dance dramas based on Tagore's plays are commonly referred to as rabindra nritya natyas. Short stories A drawing by Nandalall Bose illustrating Tagore's short story "The Hero", an English-language translation of which appeared in the 1913 Macmillan publication of Tagore's The Crescent Moon.Tagore’s "Sadhana" period, comprising the four years from 1891 to 1895, was named for one of Tagore’s magazines. This period was among Tagore 's most fecund, yielding more than half the stories contained in the three-volume Galpaguchchha, which itself is a collection of eighty-four stories. Such stories usually showcase Tagore’s reflections upon his surroundings, on modern and fashionable ideas, and on interesting mind puzzles (which Tagore was fond of testing his intellect with). Tagore typically associated his earliest stories (such as those of the "Sadhana" period) with an exuberance of vitality and spontaneity; these characteristics were intimately connected with Tagore’s life in the common villages of, among others, Patisar, Shajadpur, and Shilaida while managing the Tagore family’s vast landholdings. There, he beheld the lives of India’s poor and common people; Tagore thereby took to examining their lives with a penetrative depth and feeling that was singular in Indian literature up to that point. In "The Fruitseller from Kabul", Tagore speaks in first person as town-dweller and novelist who chances upon the Afghani seller. He attempts to distil the sense of longing felt by those long trapped in the mundane and hardscrabble confines of Indian urban life, giving play to dreams of a different existence in the distant and wild mountains: "There were autumn mornings, the time of year when kings of old went forth to conquest; and I, never stirring from my little corner in Calcutta, would let my mind wander over the whole world. At the very name of another country, my heart would go out to it... I would fall to weaving a network of dreams: the mountains, the glens, the forest.... ". Many of the other Galpaguchchha stories were written in Tagore’s Sabuj Patra period (1914–1917; also named for one of Tagore's magazines). A 1913 illustration by Asit Kumar Haldar accompanying "The Beginning", a prose-poem appearing in Tagore's The Crescent Moon.Tagore's Golpoguchchho (Bunch of Stories) remains among Bengali literature's most popular fictional works, providing subject matter for many successful films and theatrical plays. Satyajit Ray's film Charulata was based upon Tagore's controversial novella, Nastanirh (The Broken Nest). In Atithi (also made into a film), the young Brahmin boy Tarapada shares a boat ride with a village zamindar. The boy reveals that he has run away from home, only to wander around ever since. Taking pity, the zamindar adopts him and ultimately arranges his marriage to the zamindar's own daughter. However, the night before the wedding, Tarapada runs off—again. Strir Patra (The Letter from the Wife) is among Bengali literature's earliest depictions of the bold emancipation of women. The heroine Mrinal, the wife of a typical patriarchical Bengali middle class man, writes a letter while she is traveling (which constitutes the whole story). It details the pettiness of her life and struggles; she finally declares that she will not return to her husband's home with the statement Amio bachbo. Ei bachlum ("And I shall live. Here, I live"). In Haimanti, Tagore takes on the institution of Hindu marriage, describing the dismal lifelessness of married Bengali women, hypocrisies plaguing the Indian middle classes, and how Haimanti, a sensitive young woman, must—due to her sensitiveness and free spirit—sacrifice her life. In the last passage, Tagore directly attacks the Hindu custom of glorifying Sita's attempted self-immolation as a means of appeasing her husband Rama's doubts. Tagore also examines Hindu-Muslim tensions in Musalmani Didi, which in many ways embodies the essence of Tagore's humanism. On the other hand, Darpaharan exhibits Tagore's self-consciousness, describing a young man harboring literary ambitions. Though he loves his wife, he wishes to stifle her own literary career, deeming it unfeminine. Tagore himself, in his youth, seems to have harbored similar ideas about women. Darpaharan depicts the final humbling of the man via his acceptance of his wife's talents. As many other Tagore stories, Jibito o Mrito provides the Bengalis with one of their more widely used epigrams: Kadombini moriya proman korilo she more nai ("Kadombini died, thereby proved that she hadn't"). Poetry Bāul folk singers in Santiniketan during the annual Holi festival.Tagore's poetry—which varied in style from classical formalism to the comic, visionary, and ecstatic—proceeds out a lineage established by 15th- and 16th-century Vaiṣṇava poets. Tagore was also influenced by the mysticism of the rishi-authors who—including Vyasa—wrote the Upanishads, the Bhakta-Sufi mystic Kabir, and Ramprasad. Yet Tagore's poetry became most innovative and mature after his exposure to rural Bengal's folk music, which included ballads sung by Bāul folk singers—especially the bard Lālan Śāh. These—which were rediscovered and popularised by Tagore—resemble 19th-century Kartābhajā hymns that emphasize inward divinity and rebellion against religious and social orthodoxy. During his Shilaidaha years, his poems took on a lyrical quality, speaking via the maner manus (the Bāuls' "man within the heart") or meditating upon the jivan devata ("living God within"). This figure thus sought connection with divinity through appeal to nature and the emotional interplay of human drama. Tagore used such techniques in his Bhānusiṃha poems (which chronicle the romance between Radha and Krishna), which he repeatedly revised over the course of seventy years. Later, Tagore responded to the (mostly) crude emergence of modernism and realism in Bengali literature by writing experimental works in the 1930s. Examples works include Africa and Camalia, which are among the better known of his latter poems. He also occasionally wrote poems using Shadhu Bhasha (a Sanskritised dialect of Bengali); later, he began using Cholti Bhasha (a more popular dialect). Other notable works include Manasi, Sonar Tori (Golden Boat), Balaka (Wild Geese—the title being a metaphor for migrating souls), and Purobi. Sonar Tori's most famous poem—dealing with the ephemeral nature of life and achievement—goes by the same name; it ends with the haunting phrase "শূন্য নদীর তীরে রহিনু পড়ি / যাহা ছিল লয়ে গেল সোনার তরী" ("Shunno nodir tire rohinu poŗi / Jaha chhilo loe gêlo shonar tori"—"all I had achieved was carried off on the golden boat—only I was left behind."). Internationally, Gitanjali (Bengali: গীতাঞ্জলি) is Tagore's best-known collection, winning him his Nobel Prize. Song VII (গীতাঞ্জলি 127) of Gitanjali: Title page of the 1913 Macmillan edition of Tagore's Gitanjali.আমার এ গান ছেড়েছে তার সকল অলংকার, তোমার কাছে রাখে নি আর সাজের অহংকার। অলংকার যে মাঝে পড়ে মিলনেতে আড়াল করে, তোমার কথা ঢাকে যে তার মুখর ঝংকার। তোমার কাছে খাটে না মোর কবির গর্ব করা, মহাকবি তোমার পায়ে দিতে যে চাই ধরা। জীবন লয়ে যতন করি যদি সরল বাঁশি গড়ি, আপন সুরে দিবে ভরি সকল ছিদ্র তার। Amar e gan chheŗechhe tar shôkol ôlongkar Tomar kachhe rakhe ni ar shajer ôhongkar Ôlongkar je majhe pôŗe milônete aŗal kôre, Tomar kôtha đhake je tar mukhôro jhôngkar. Tomar kachhe khaţe na mor kobir gôrbo kôra, Môhakobi, tomar paee dite chai je dhôra. Jibon loe jôton kori jodi shôrol bãshi goŗi, Apon shure dibe bhori sôkol chhidro tar. Free-verse translation by Tagore (Gitanjali, verse VII): "My song has put off her adornments. She has no pride of dress and decoration. Ornaments would mar our union; they would come between thee and me; their jingling would drown thy whispers." "My poet's vanity dies in shame before thy sight. O master poet, I have sat down at thy feet. Only let me make my life simple and straight, like a flute of reed for thee to fill with music." "Klanti" (Bengali: ক্লান্তি; "Fatigue"), the sixth poem in Gitali, reads: ক্লান্তি আমার ক্ষমা করো,প্রভু, পথে যদি পিছিয়ে পড়ি কভু। এই যে হিয়া থর থর কাঁপে আজি এমনতরো, এই বেদনা ক্ষমা করো,ক্ষমা করো প্রভু।। এই দীনতা ক্ষমা করো,প্রভু, পিছন-পানে তাকাই যদি কভু। দিনের তাপে রৌদ্রজ্বালায় শুকায় মালা পূজার থালায়, সেই ম্লানতা ক্ষমা করো, ক্ষমা করো প্রভু।। Klanti amar khôma kôro, probhu Pôthe jodi pichhie poŗi kobhu Ei je hia thôro thôro kãpe aji êmontôro, Ei bedona khôma kôro, khôma kôro probhu. Ei dinota khôma kôro, probhu, Pichhon-pane takai jodi kobhu. Diner tape roudrojalae shukae mala pujar thalae, Shei mlanota khôma kôro, khôma kôro, probhu. Tagore's poetry has been set to music by various composers, among them classical composer Arthur Shepherd's triptych for soprano and string quartet, as well as composer Garry Schyman's "Praan," an adaptation of Tagore's poem "Stream of Life" from Gitanjali. The latter was composed and recorded with vocals by Palbasha Siddique to accompany Internet celebrity Matt Harding's 2008 viral video . Political views Main article: Political views of Rabindranath Tagore Tagore (at right, on the dais) hosts Mahatma Gandhi and wife Kasturba at Santiniketan in 1940.Marked complexities characterise Tagore's political views. He criticised European imperialism and supported Indian nationalists and, although he himself vehemently denied it at the time, the evidence produced during the Hindu-German Conspiracy trial, as well as some later accounts, he was aware of the conspiracy and even interviewed the then Japanese premier Count Terauchi and former premier Count Okuma on behalf of the conspirators to try and enlist Japanese support. However, he also lampooned the Swadeshi movement, denouncing it in "The Cult of the Charka", an acrid 1925 essay. Instead, he emphasized self-help and intellectual uplift of the masses, stating that British imperialism was not a primary evil, but instead a "political symptom of our social disease", urging Indians to accept that "there can be no question of blind revolution, but of steady and purposeful education". Such views inevitably enraged many, placing his life in danger: during his stay in a San Francisco hotel in late 1916, Tagore narrowly escaped assassination by Indian expatriates. The plot failed only because the would-be assassins fell into argument. Yet Tagore wrote songs lionizing the Indian independence movement and renounced his knighthood in protest against the 1919 Jallianwala Bagh Massacre. Two of Tagore's more politically charged compositions, "Chitto Jetha Bhayshunyo" ("Where the Mind is Without Fear") and "Ekla Chalo Re" ("If They Answer Not to Thy Call, Walk Alone"), gained mass appeal, with the latter favoured by Gandhi. Despite his tumultuous relations with Gandhi, Tagore was key in resolving a Gandhi-Ambedkar dispute involving separate electorates for untouchables, ending Gandhi's fast "unto death". Tagore also criticised orthodox (rote-oriented) education, lampooning it in the short story "The Parrot's Training", where a bird—which ultimately dies—is caged by tutors and force-fed pages torn from books. These views led Tagore—while visiting Santa Barbara, California on 11 October 1917—to conceive of a new type of university, desiring to "make [his ashram at] Santiniketan the connecting thread between India and the world... [and] a world center for the study of humanity... somewhere beyond the limits of nation and geography." The school—which he named Visva-Bharatiζ[›]—had its foundation stone laid on 22 December 1918; it was later inaugurated on 22 December 1921. Here, Tagore implemented a brahmacharya pedagogical structure employing gurus to provide individualised guidance for pupils. Tagore worked hard to fundraise for and staff the school, even contributing all of his Nobel Prize monies. Tagore’s duties as steward and mentor at Santiniketan kept him busy; he taught classes in mornings and wrote the students' textbooks in afternoons and evenings. Tagore also fundraised extensively for the school in Europe and the U.S. between 1919 and 1921. Impact and legacy A bust of Tagore in the Sardar Vallabhbhai Patel National Memorial's Tagore Memorial Room (Ahmedabad, India).Tagore's post-death impact can be felt through the many festivals held worldwide in his honour—examples include the annual Bengali festival/celebration of Kabipranam (Tagore's birthday anniversary), the annual Tagore Festival held in Urbana, Illinois in the United States, the Rabindra Path Parikrama walking pilgrimages leading from Calcutta to Shantiniketan, and ceremonial recitals of Tagore's poetry held on important anniversaries. This legacy is most palpable in Bengali culture, ranging from language and arts to history and politics; indeed, Nobel laureate Amartya Sen noted that even for modern Bengalis, Tagore was a "towering figure", being a "deeply relevant and many-sided contemporary thinker". Tagore's collected Bengali-language writings—the 1939 Rabīndra Racanāvalī—is also canonized as one of Bengal's greatest cultural treasures, while Tagore himself has been proclaimed "the greatest poet India has produced". Tagore was famed throughout much of Europe, North America, and East Asia. He was key in founding Dartington Hall School, a progressive coeducational institution; in Japan, he influenced such figures as Nobel laureate Yasunari Kawabata. Tagore's works were widely translated into English, Dutch, German, Spanish, and other European languages by Czech indologist Vincenc Lesný, French Nobel laureate André Gide, Russian poet Anna Akhmatova, former Turkish Prime Minister Bülent Ecevit and others. In the United States, Tagore's popular lecturing circuits (especially those between 1916–1917) were widely attended and acclaimed. Nevertheless, several controversiesη[›] involving Tagore resulted in a decline in his popularity in Japan and North America after the late 1920s, contributing to his "near total eclipse" outside of Bengal. A statue of Tagore in Valladolid.Tagore, through Spanish translations of his works, also influenced leading figures of Spanish literature, including Chileans Pablo Neruda and Gabriela Mistral, Mexican writer Octavio Paz, and Spaniards José Ortega y Gasset, Zenobia Camprubí, and Juan Ramón Jiménez. Between 1914 and 1922, the Jiménez-Camprubí spouses translated no less than twenty-two of Tagore's books from English into Spanish. Jiménez, as part of this work, also extensively revised and adapted such works as Tagore's The Crescent Moon. Indeed, during this time, Jiménez developed the now-heralded innovation of "naked poetry" (Spanish: «poesia desnuda»). Ortega y Gasset wrote that "Tagore's wide appeal [may stem from the fact that] he speaks of longings for perfection that we all have... Tagore awakens a dormant sense of childish wonder, and he saturates the air with all kinds of enchanting promises for the reader, who... pays little attention to the deeper import of Oriental mysticism". Tagore's works were published in free editions around 1920 alongside works by Dante Alighieri, Miguel de Cervantes, Johann Wolfgang von Goethe, Plato, and Leo Tolstoy. Tagore's talents came to be regarded as overrated by several westerners. Graham Greene doubted that "anyone but Mr. Yeats can still take his poems very seriously." Modern remnants of a once widespread Latin American reverence of Tagore were discovered, for example, by an astonished Salman Rushdie during a trip to Nicaragua. Bibliography (partial) —Bengali originals — Poetry * মানসী Manasi 1890 (The Ideal One) * সোনার তরী Sonar Tari 1894 (The Golden Boat) * গীতাঞ্জলি Gitanjali 1910 (Song Offerings) * গীতিমালা Gitimalya 1914 (Wreath of Songs) * বলাকা Balaka 1916 (The Flight of Cranes) Dramas * বালমিকি প্রতিভা Valmiki Pratibha 1881 (The Genius of Valmiki) * বিসর্জন Visarjan 1890 (The Sacrifice) * রাজা Raja 1910 (The King of the Dark Chamber) * ডাক ঘর Dak Ghar 1912 (The Post Office) * অচলায়তন Achalayatan 1912 (The Immovable) * মুক্তধারা Muktadhara 1922 (The Waterfall) * রক্তকরবি Raktakaravi 1926 (Red Oleanders) Literary fiction * নষ্টনীঢ় Nastanirh 1901 (The Broken Nest) * গোরা Gora 1910 (Fair-Faced) * ঘরে বাইরে Ghare Baire 1916 (The Home and the World) * যোগাযোগ Yogayog 1929 (Crosscurrents) Autobiographies * জীবনস্মৃতি Jivansmriti 1912 (My Reminiscences) * ছেলেবেলা Chhelebela 1940 (My Boyhood Days) —English translations — * Chitra (1914) * Creative Unity (1922) * Fruit-Gathering (1916) * Gitanjali: Song Offerings (1912) * Glimpses of Bengal (1991) * I Won't Let you Go: Selected Poems (1991) * My Boyhood Days (1943) * My Reminiscences (1991) * Nationalism (1991) * The Crescent Moon (1913) * The Fugitive (1921) * The Gardener (1913) * The Home and the World (1985) * The Hungry Stones and other stories (1916) * The Post Office (1996) * Sadhana: The Realisation of Life (1913) * Selected Letters (1997) * Selected Poems (1994) * Selected Short Stories (1991) * Songs of Kabir (1915) * Stray Birds (1916) Works in English * Thought Relics (1921) See also [show]v • d • eRabindranath Tagore Life Periods Early life (1861–1901) · Santiniketan (1901–1932) · Twilight years (1932–1941) Aspects Political views Works Novels Chokher Bali · Ghare Baire · Nastanirh · Jogajog · Shesher Kobita Stories Kabuliwala Poetry Gitanjali Songs "Amar Shonar Bangla" · "Chitto Jetha Bhayshunyo" · "Ekla Chalo Re" · "Jana Gana Mana" · Adaptations Charulata · Ghare Baire · Rabindranath Tagore Places Jorasanko Thakur Bari · Santiniketan · Shilaidaha · Rabindra Bharati University · Visva-Bharati University Tagore family Debendranath · Dwarkanath · Ramanath Notes This article contains Indic text. Without rendering support, you may see question marks, boxes or other symbols instead of Indic characters; or irregular vowel positioning and a lack of conjuncts. ^ α: Indian English pronunciation: IPA: [ɾəbin̪d̪ɾənat̪ʰ ʈæˈgoɾ]. ^ β: Romanized transliteration from Tagore's name in Bengali script: Robindronath Ţhakur. ^ γ: In the Bengali calendar: 25 Baishakh, 1268–22 Srabon, 1348. ^ δ: Gurudev translates as "divine mentor". ^ ε: Tagore was born at No. 6 Dwarkanath Tagore Lane, Jorasanko—the address of the main mansion (the Jorasanko Thakurbari) inhabited by the Jorasanko branch of the Tagore clan, which had earlier suffered an acrimonious split. Jorasanko was located in the Bengali section of Calcutta, near Chitpur Road. ^ ζ: Etymology of "Visva-Bharati": from the Sanskrit term for "world" or "universe" and the name of a Rigveda goddess ("Bharati") associated with Saraswati, the Hindu patron goddess of learning. "Visva-Bharati" also translates as "India in the World". ^ η: Tagore was mired in several notable controversies, including his dealings with Indian nationalists Subhas Chandra Bose and Rash Behari Bose, his expressions of admiration for Soviet-style Communism, and papers confiscated from Indian nationalists in New York allegedly implicating Tagore in a plot to use German funds to overthrow the British Raj. The latter allegation caused Tagore's book sales and popularity among the U.S. public to plummet. Lastly, his relations with and ambivalent opinion of Italian dictator Benito Mussolini revolted many, causing Romain Rolland (a close friend of Tagore's) to state that "[h]e is abdicating his role as moral guide of the independent spirits of Europe and India". Citations ^ Rabindranath Tagore Winner of the 1913 Nobel Prize in Literature ^ Datta, Pradip Kumar (2003). "Introduction", Rabindranath Tagore's The Home and the World: A Critical Companion. Orient Longman, 2. ISBN 8178240467. ^ Kripalani, Krishna (1971). "Ancestry.", Tagore, A Life. Orient Longman, 2-3. ^ p.6, p.8 "Dwarkanath Tagore" Krishna Kripalani 1980 1st edn. reprint 2002 ISBN:81-237-3488-3 ^ Dutta & Robinson 1995, p. 37. ^ Dutta & Robinson 1995, pp. 55–56. ^ Stewart & Twichell 2003, p. 91. ^ Stewart & Twichell 2003, p. 3. ^ a b c d e Chakravarty 1961, p. 45. ^ Dutta & Robinson 1997, p. 265. ^ Dutta & Robinson 1995, p. 373. ^ Dutta & Robinson 1995, pp. 109–111. ^ Dutta & Robinson 1995, p. 109. ^ Dutta & Robinson 1995, p. 133. ^ Dutta & Robinson 1995, pp. 139–140. ^ Hjärne 1913. ^ Dutta & Robinson 1995, pp. 239–240. ^ Dutta & Robinson 1995, p. 242. ^ Dutta & Robinson 1995, pp. 308–309. ^ Dutta & Robinson 1995, p. 303. ^ Dutta & Robinson 1995, p. 309. ^ Dutta & Robinson 1995, pp. 312–313. ^ Dutta & Robinson 1995, pp. 335–338. ^ Dutta & Robinson 1995, p. 342. ^ a b "Chitra at Project Gutenberg" ^ Asiatic Society of Bangladesh 2006. ^ Dutta & Robinson 1995, p. 338. ^ Indo-Asian News Service 2005. ^ Dutta & Robinson 1995, p. 367. ^ Dutta & Robinson 1995, p. 363. ^ Dutta & Robinson 1995, pp. 374–376. ^ Dutta & Robinson 1995, pp. 178–179. ^ a b Tagore Festival Committee 2006. ^ Chakravarty 1961, pp. 1–2. ^ Dutta & Robinson 1995, p. 206. ^ Chakravarty 1961, p. 182. ^ Dutta & Robinson 1995, p. 253. ^ Dutta & Robinson 1995, p. 256. ^ Dutta & Robinson 1995, p. 267. ^ Dutta & Robinson 1995, pp. 270–271. ^ Chakravarty 1961, p. 1. ^ Dutta & Robinson 1995, pp. 289–292. ^ Dutta & Robinson 1995, pp. 303–304. ^ Dutta & Robinson 1995, pp. 292–293. ^ Chakravarty 1961, p. 2. ^ Dutta & Robinson 1995, p. 315. ^ Chakravarty 1961, p. 99. ^ Chakravarty 1961, pp. 100–103. ^ Dutta & Robinson 1995, p. 317. ^ Dutta & Robinson 1995, pp. 192–194. ^ Dutta & Robinson 1995, pp. 154–155. ^ Mukherjee 2004. ^ Dutta & Robinson 1995, p. 94. ^ a b Dasgupta 2001. ^ Dutta & Robinson 1995, p. 359. ^ Dutta & Robinson 1997, p. 222. ^ Dyson 2001. ^ a b Chakravarty 1961, p. 123. ^ Dutta & Robinson 1995, pp. 79–80. ^ Dutta & Robinson 1997, pp. 21–23. ^ Chakravarty 1961, pp. 123–124. ^ Chakravarty 1961, p. 124. ^ Chakravarty 1961, pp. 45–46. ^ Chakravarty 1961, pp. 48–49. ^ Roy 1977, p. 201. ^ Stewart & Twichell 2003, p. 94. ^ Urban 2001, p. 18. ^ Urban 2001, pp. 6–7. ^ Urban 2001, p. 16. ^ Stewart & Twichell 2003, p. 95. ^ Stewart & Twichell 2003, p. 7. ^ Dutta & Robinson 1995, p. 281. ^ Dutta & Robinson 1995, p. 192. ^ Stewart & Twichell 2003, pp. 95–96. ^ Tagore 1977, p. 5 ^ Garry Schyman's Myspace weblog ^ Dutta & Robinson 1997, p. 127. ^ Dutta & Robinson 1997, p. 210. ^ Dutta & Robinson 1995, p. 304. ^ Brown 1948, p. 306 ^ Dutta & Robinson 1995, p. 261. ^ Dutta & Robinson 1997, pp. 239–240. ^ Chakravarty 1961, p. 181. ^ Dutta & Robinson 1995, p. 204. ^ Dutta & Robinson 1995, pp. 215–216. ^ Dutta & Robinson 1995, pp. 306–307. ^ Dutta & Robinson 1995, p. 339. ^ Dutta & Robinson 1997, p. 267. ^ Tagore & Pal 1918. ^ Dutta & Robinson 1995, p. 204. ^ Dutta & Robinson 1995, p. 220. ^ Roy 1977, p. 175. ^ Chakravarty 1961, p. 27. ^ Dutta & Robinson 1995, p. 221. ^ Chakrabarti 2001. ^ a b Hatcher 2001. ^ Kämpchen 2003. ^ Dutta & Robinson 1995, p. 202. ^ Cameron 2006 ^ a b c Sen 1997. ^ Dutta & Robinson 1995, pp. 254–255. ^ Dutta & Robinson 1995, p. 255. ^ "The Crescent Moon" ^ "The Hungry Stones" ^ "Songs of Kabir" ^ "Stray Birds" ^ "Thought Relics" ^ Sil 2005. ^ Dutta & Robinson 1995, p. 34. ^ Dutta & Robinson 1995, p. 220. ^ a b Dutta & Robinson 1995, p. 214. ^ Dutta & Robinson 1995, p. 297. ^ Dutta & Robinson 1995, pp. 214–215. ^ Dutta & Robinson 1995, p. 212. ^ Dutta & Robinson 1995, p. 273. Timeline Timeline of Rabindranath Tagore's life (1861–1941)[hide] References Asiatic Society of Bangladesh (2006), "Tagore, Rabindranath", Banglapedia, . Retrieved on April 5, 2006. Cameron, R (2006), "Exhibition of Bengali film posters opens in Prague", Radio Prague, . Retrieved on April 5, 2006. Chakrabarti, I (2001), "A People's Poet or a Literary Deity", Parabaas, . Retrieved on April 5, 2006. Chakravarty, A (1961), A Tagore Reader, Beacon Press, ISBN 0-8070-5971-4. Dasgupta, A (2001), "Rabindra-Sangeet As A Resource For Indian Classical Bandishes", Parabaas, . Retrieved on April 5, 2006. Dutta, K & A Robinson (1995), Rabindranath Tagore: The Myriad-Minded Man, St. Martin's Press, ISBN 0-312-14030-4. Dutta, K (editor) & A (editor) Robinson (1997), Rabindranath Tagore: An Anthology, St. Martin's Press, ISBN 0-312-16973-6. Dyson, KK (2001), "Rabindranath Tagore and his World of Colours", Parabaas, . Retrieved on April 5, 2006. Frenz, H (editor) (1969), "Rabindranath Tagore—Biography", Nobel Foundation, . Retrieved on April 5, 2006. Hatcher, BA (2001), "Aji Hote Satabarsha Pare: What Tagore Says To Us A Century Later", Parabaas, . Retrieved on April 5, 2006. Hjärne, H (1913), "The Nobel Prize in Literature 1913", Nobel Foundation, . Retrieved on April 5, 2006. Indo-Asian News Service (2005), "Recitation of Tagore's poetry of death", Hindustan Times. Kämpchen, M (2003), "Rabindranath Tagore In Germany", Parabaas, . Retrieved on April 5, 2006. Meyer, L (2004), "Tagore in The Netherlands", Parabaas, . Retrieved on April 5, 2006. Mukherjee, M (2004), "Yogayog (Nexus) by Rabindranath Tagore: A Book Review", Parabaas, . Retrieved on April 5, 2006. Radice, W (2003), "Tagore's Poetic Greatness", Parabaas, . Retrieved on April 5, 2006. Robinson, A (1997), "Tagore, Rabindranath", Encyclopædia Britannica, . Retrieved on April 5, 2006. Roy, BK (1977), Rabindranath Tagore: The Man and His Poetry, Folcroft Library Editions, ISBN 0-8414-7330-7. Sen, A (1997), "Tagore and His India", New York Review of Books, . Retrieved on April 5, 2006. Sil, NP (2005), "Devotio Humana: Rabindranath's Love Poems Revisited", Parabaas, . Retrieved on April 5, 2006. Tagore, R & PB (translator) Pal (1918), "The Parrot's Tale", Parabaas, . Retrieved on April 5, 2006. Tagore, R (1977), Collected Poems and Plays of Rabindranath Tagore, Macmillan Publishing, ISBN 0-02-615920-1. Stewart, T (editor, translator) & Chase (editor, translator) Twichell (2003), Rabindranath Tagore: Lover of God, Copper Canyon Press, ISBN 1-55659-196-9. Tagore Festival Committee (2006), "History of the Tagore Festival", College of Business, University of Illinois at Urbana-Champaign, . Retrieved on April 5, 2006. Urban, HB (2001), Songs of Ecstasy: Tantric and Devotional Songs from Colonial Bengal, Oxford University Press, ISBN 0-19-513901-1. Brown, Giles (1948), The Hindu Conspiracy, 1914-1917.The Pacific Historical Review, Vol. 17, No. 3. (Aug., 1948), pp. 299-310, University of California Press, ISSN 0030-8684. Further reading Chaudhuri, A (2004), The Vintage Book of Modern Indian Literature, Vintage, ISBN 0-375-71300-X. Deutsch, A & A Robinson (1989), The Art of Rabindranath Tagore, Monthly Review Press, ISBN 0-233-98359-7. Deutsch, A (editor) & A (editor) Robinson (1997), Selected Letters of Rabindranath Tagore, Cambridge University Press, ISBN 0-521-59018-3. Tagore, R (2000), Gitanjali, Macmillan India Ltd, ISBN 0-333-93575-6.
    

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