yìn dù gōng yuán  (1861niánwǔyuè7rì～1941niánbāyuè7rì)

 sǎnwén shī pastel： 《ài zhě zhī yí》 《zài cì jí》 shī gē wén jí poetry corpus： 《chén 'āi jí》 《suí gǎn jí》 xiǎo shuō xuǎn jí novel anthology： 《tài gē 'ěr xiǎo shuō xuǎn jí》 xiàn shí bǎi tài Realistic Fiction： 《chén chuán》 duǎn piān xiǎo shuō novella： 《jí lì bā lā》 《qì jué》 《shēn yè》 shīcí： 《jí tán jiā lì Gitanjali》   《fēi niǎo jí feiniaoji》   《dù kǒu ferry》   《ài zhě zhī yí》   《yè pán jí》   《yuán dīng jí The Gardener》   《xīn yuè jí》   《yóu sī jí》   《fēi niǎo jí（ yīng hàn duì zhào） Flier collection English antitheses》   《The Farthest Distance in the World》   gèngduōshīgē... yuèdòutài gē 'ěr Rabindranath Tagorezài小说之家dezuòpǐn!!! yuèdòutài gē 'ěr Rabindranath Tagorezài散文天地dezuòpǐn!!! yuèdòutài gē 'ěr Rabindranath Tagorezài诗海dezuòpǐn!!!

　　lā bīn dé lā nà tè · tài gē 'ěr [RabindranathTagore]（ 1861 nián 5 yuè 7 rì héng 1941 nián 8 yuè 7 rì） shì yī wèi yìn dù shī rén、 zhé xué jiā hé yìn dù mín zú zhù yì zhě， 1913 nián tā huò dé nuò bèi 'ěr wén xué jiǎng， shì dì yī wèi huò dé nuò bèi 'ěr wén xué jiǎng de yà zhōu rén。
　　 tài gē 'ěr chū shēng yú yìn dù jiā 'ěr gè dá yī gè shòu dào liáng hǎo jiào yù de fù yù jiā tíng， tā de fù qīn shì yī wèi dì fāng de yìn dù jiào zōng jiào lǐng xiù。 zài wài guó tài gē 'ěr yī bān bèi kàn zuò shì yī wèi shī rén， ér hěn shǎo bèi kàn zuò yī wèi zhé xué jiā， dàn zài yìn dù zhè liǎng zhě wǎng wǎng shì xiāng tóng de。 zài tā de shī zhōng hán yòu shēn kè de zōng jiào hé zhé xué de jiàn jiě。 duì tài gē 'ěr lái shuō， tā de shī shì tā fèng xiàn gěi shén de lǐ wù， ér tā běn rén shì shén de qiú hūn zhě。 tā de shī zài yìn dù xiǎng yòu shǐ shī de dì wèi。 tā běn rén bèi xǔ duō yìn dù jiào tú kàn zuò shì yī gè shèng rén。
　　 chú shī wài tài gē 'ěr hái xiě liǎo xiǎo shuō、 xiǎo pǐn wén、 yóu jì、 huà jù hé 2000 duō shǒu gēqǔ。 tā de shī gē zhù yào shì yòng mèng jiā lā yǔ xiě chéng de， zài mèng jiā lā yǔ dì qū， tā de shī gē fēi cháng pǔ jí。
　　 tā de sǎnwén nèi róng zhù yào shì shè huì、 zhèng zhì hé jiào yù， tā de shī gē， chú liǎo qí zhōng de zōng jiào nèi róng wài， zuì zhù yào de shì miáo xiě zì rán hé shēng mìng。 zài tài gē 'ěr de shī gē zhōng， shēng mìng běn shēn hé tā de duō yàng xìng jiù shì huān lè de yuán yīn。 tóng shí， tā suǒ biǎo dá de 'ài（ bāo kuò 'ài guó） yě shì tā de shī gē de nèi róng zhī yī。
　　 yìn dù hé mèng jiā lā guó de guó gē dōushì shǐ yòng tài gē 'ěr de shī gē。 wéi 'ěr fú dé · ōu wén hé wēi lián · bó tè lè · yè zhī bèi tā de shī shēn shēn gǎn dòng， zài yè zhī de gǔ lì xià， tài gē 'ěr qīn zì jiāng tā de《 jí tán jiā lì》（ yì jí “ xiàn shī ”） yì chéng yīng yǔ， 1913 nián， tā wèicǐ huò dé liǎo nuò bèi 'ěr wén xué jiǎng。 dàn hòu lái tā yǔ zhè gè yùn dòng shū yuǎn liǎo。 wèile kàng yì 1919 nián zhá lián wǎ lā yuán cǎn 'àn， tā jù jué liǎo yīng guó guó wáng shòu yú de qí shì tóu xián， tā shì dì yī gè jù jué yīng wáng shòu yú de róng yù de rén。
　　 tā fǎn duì yīng guó zài yìn dù jiàn lì qǐ lái de jiào yù zhì dù， fǎn duì zhè zhǒng“ rén wéi” de、 wán quán fú cóng de、 sǐ bèi shū、 bù yǔ dà zì rán jiē chù de xué xiào。 wèicǐ tā zài tā de gù xiāng jiàn lì liǎo yī gè 'àn tā de shè xiǎng shè jì de xué xiào， zhè shì wéi sī wǎ － bā lā dì dà xué de qián shēn。
　　 zài tā de shī gē zhōng， tài gē 'ěr yě biǎo dá chū liǎo tā duì zhàn zhēng de jué wàng hé bēi tòng， dàn tā de hé píng xī wàng méi yòu rèn hé zhèng zhì yīn sù， tā xī wàng suǒ yòu de rén kě yǐ shēng huó zài yī gè wán měi de hé píng de shì jiè zhōng。
　　 tài gē 'ěr zuò guò duō cì lǚ xíng， zhè shǐ tā liǎo jiě dào xǔ duō bù tóng de wén huà yǐ jí tā men zhī jiān de qū bié。 tā duì dōng fāng hé xī fāng wén huà de miáo xiě zhì jīn wéi zhǐ shì zhè lèi miáo shù zhōng zuì xì nì de zhī yī。
　　
　　 tài gē 'ěr shēng píng
　　
　　
　　 lā bīn dé lā nà tè · tài gē 'ěr yìn dù zhù míng shī rén、 zuò jiā、 yì shù jiā、 xiǎo shuō jiā、 sī xiǎng jiā hé shè huì huó dòng jiā。 shēng yú jiā 'ěr gè dá shì de yī gè fù yòu zhé xué hé wén xué yì shù xiū yǎng jiā tíng， 8 suì jiù xiě shī， bìng zhǎn lù chū fēi fán de tiān cái， 13 suì jí néng chuàng zuò cháng shī hé sòng gē tǐ shī jí。 1878 nián fù yīng guó liú xué， 1880 nián huí guó zhuān mén cóng shì wén xué huó dòng。 1884 zhì 1911 nián dān rèn fàn shè mì shū， 20 nián dài chuàng bàn guó jì dà xué。 1941 nián xiě zuò kòng sù yīng guó zhí mín tǒng zhì hé xiāng xìn zǔ guó bì jiāng huò dé dú lì jiě fàng de zhù míng yí yán《 wén míng de wēi jī》。 tài gē 'ěr shì jù yòu jù dà shì jiè yǐng xiǎng de zuò jiā。 tā gòng xiě liǎo 50 duō bù shī jí， bèi chēng wéi " shī shèng "。 xiě liǎo 12 bù zhōng cháng piān xiǎo shuō， 100 duō piān duǎn piān xiǎo shuō， 20 duō bù jù běn jí dà liàng wén xué、 zhé xué、 zhèng zhì lùn zhù， bìng chuàng zuò liǎo 1500 duō fú huà， zhū xiě liǎo nán yǐ tǒng jì de zhòng duō gēqǔ。 wén、 shǐ、 zhé、 yì、 zhèng、 jīng fàn chóu jīhū wú suǒ bù bāo， wú suǒ bù jīng。 tā de zuò pǐn fǎn yìng liǎo yìn dù rén mín zài dì guó zhù yì hé fēng jiàn zhǒng xìng zhì dù yā pò xià yào qiú gǎi biàn zì jǐ mìng yùn de qiáng liè yuàn wàng， miáo xiě liǎo tā men bù qū bù náo de fǎn kàng dǒu zhēng， chōng mǎn liǎo xiān míng de 'ài guó zhù yì hé mín zhù zhù yì jīng shén， tóng shí yòu fù yòu mín zú fēng gé hé mín zú tè sè， jù yòu hěn gāo yì shù jià zhí， shēn shòu rén mín qún zhòng xǐ 'ài。 qí zhòng yào shī zuò yòu shī jí《 gù shì shī jí》（ 1900）、《 jí tán jiā lì》（ 1910）、《 xīn yuè jí》（ 1913）、《 fēi niǎo jí》（ 1916）、《 biān yuán jí》（ 1938）、《 shēng chén jí》（ 1941）； zhòng yào xiǎo shuō yòu duǎn piān《 hái zhài》（ 1891）、《 qì jué》（ 1893）、《 sù bā》（ 1893）、《 rén shì huó zhe， hái shì sǐ liǎo？》（ 1892）、《 mó hē mó yé》（ 1892）、《 tài yáng yǔ wū yún》（ 1894）， zhōng piān《 sì gè rén》（ 1916）， cháng piān《 chén chuán》（ 1906）、《 gē lā》（ 1910）、《 jiā tíng yǔ shì jiè》（ 1916）、《 liǎng jiě mèi》（ 1932）； zhòng yào jù zuò yòu《 wán gù bǎo lěi》（ 1911）、《 mó kè duō tǎ lā》（ 1925）、《 rén hóng jiā zhú táo》（ 1926）； zhòng yào sǎnwén yòu《 sǐ wáng de mào yì》（ 1881）、《 zhōng guó de tán huà》（ 1924）、《 é luó sī shū jiǎn》（ 1931） děng。 tā de zuò pǐn zǎo zài 1915 nián shí jiè shào dào zhōng guó， xiàn yǐ chū bǎn liǎo 10 juàn běn de zhōng wén《 tài gē 'ěr zuò pǐn》。
　　1861 nián 5 yuè 7 rì， luó bīn dé lā nà tè · tài gē 'ěr chū shēng yú yìn dù jiā 'ěr gè dá yī gè fù yòu de guì zú jiā tíng。 tā de fù qīn dài bīn dé nà tè · tài gē 'ěr shì wén míng de zhé xué jiā hé shè huì huó dòng jiā。 gē gē、 jiě jiě yědōu shì shè huì míng liú。 tài gē 'ěr zài zhè yàng yī gè wén tán shì jiā huán jìng de xūn táo xià， 8 suì kāi shǐ xiě shī， 12 suì kāi shǐ xiě jù běn， 15 suì fā biǎo liǎo dì yī shǒu cháng shī《 yě huā》， 17 suì fā biǎo liǎo xù shì shī《 shī rén de gù shì》。 cái huá héng yì de tài gē 'ěr cóng xiǎo jiù zǒu shàng liǎo wén xué chuàng zuò de dào lù。 1886 nián， tā fā biǎo《 xīn yuè jí》， chéng wéi yìn dù dà zhōng xiǎo xué bì xuǎn de wén xué jiào cái。 zhè qī jiān， tā hái zhuàn xiě liǎo xǔ duō pēng jī měi guó zhí mín tǒng zhì zhèng lùn wén zhāng。
　　1901 nián， tài gē 'ěr zài shèng dì ní kè tǎn chuàng bàn liǎo yī suǒ cóng shì 'ér tóng jiào yù shí yàn de xué xiào。 zhè suǒ xué xiào zài 1912 nián fā zhǎn chéng wéi yà zhōu wén huà jiāo liú de guó jì dà xué。
　　1905 nián， tài gē 'ěr tóu shēn yú mín zú dú lì yùn dòng， chuàng zuò liǎo《 hóng shuǐ》 děng 'ài guó gēqǔ。《 rén mín de yì zhì》 bèi dìng wéi jīn rì yìn dù de guó gē。 1910 nián， tài gē 'ěr fā biǎo cháng piān xiǎo shuō《 gē lā》。 1916 nián， fā biǎo cháng piān xiǎo shuō《 jiā tíng hé shì jiè》， rè qíng gē sòng zhēng qǔ mín zú dú lì de 'ài guó zhù yì jīng shén。 1912 nián， tài gē 'ěr yǐ shū qíng shī jí《 jí tán jiā lì》 huò nuò bèi 'ěr wén xué jiǎng jīn。 1913 nián fā biǎo wéi rén men suǒ shú zhī de《 fēi niǎo jí》 hé《 yuán dīng jí》。 1924 nián céng lái guò zhōng guó， tài gē 'ěr huí guó hòu， zhuàn xiě liǎo xǔ duō wén zhāng， biǎo dá liǎo duì zhōng guó rén mín de yǒu hǎo qíng yì。
　　 tài gē 'ěr de yī shēng shì zài yìn dù chǔyú yīng guó zhí mín tǒng zhì de nián dài zhōng dù guò de。 zǔ guó de lún wáng、 mín zú de qū rǔ、 zhí mín dì rén mín de bēi cǎn shēng huó， dū shēn shēn dì lào yìn zài tài gē 'ěr de xīn líng shēn chù， ài guó zhù yì de sī xiǎng yī kāi shǐ jiù zài tā de zuò pǐn zhōng qiáng liè dì biǎo xiàn chū lái。 tā suī rán chū shēn yú fù guì jiā tíng、 shēng huó zài máo dùn cuò zōng fù zá de shè huì lǐ， dàn tā de 'ài zēng shì fēn míng de， chuàng zuò sī xiǎng shì míng què de， shǐ zhōng gēn shàng liǎo shí dài de bù fá。 tā céng zài mín zú dú lì yùn dòng gāo cháo shí， xiě xìn gěi yīng guó zǒng dū biǎo shì kàng yì zhí mín tǒng zhì， bìng gāo chàng zì jǐ xiě de 'ài guó shī gē lǐng dǎo shì wēi yóu xíng。 tā hái céng jiān jué pāo qì yīng guó zhèng fǔ suǒ shòu yú de jué wèi hé tè quán。 yìn dù rén mín zūn chóng tā、 rè 'ài tā， chēng tā wéi shī shèng、 yìn dù de liáng xīn hé yìn dù de líng hún。
　　 tài gē 'ěr bù shì gè xiá 'ài de 'ài guó zhù yì zhě。 tā duì yú chù zài dì guó zhù yì qīn lüè hé yā pò xià de gè guó rén mín yī guàn jì yú shēnqiè de tóng qíng， bìng gěi yú yòu lì de zhī chí。 20 shì jì 20 nián dài， tài gē 'ěr céng duō cì chū guó fǎng wèn， bìng yǔ shì jiè gè guó wén huà míng rén yī qǐ zǔ zhì fǎn zhàn de hé píng tuán tǐ。 30 nián dài， dāng dé、 yì、 rì fǎ xī sī fā dòng qīn lüè zhàn zhēng de shí hòu， tài gē 'ěr pāi 'àn 'ér qǐ， xiàng quán shì jiè dà shēng jí hū：“ zài wǒ lí qù zhī qián， wǒ xiàng měi yī gè jiā tíng hūyù héng héng zhǔn bèi zhàn dǒu bā， fǎn kàng nà pī zhe rén pí de yě shòu。” zhè wèi jǔ shì wén míng、 duō cái duō yì de zuò jiā， zài màn cháng de liù shí duō nián chuàng zuò shēng yá lǐ， gòng xiě liǎo wǔ shí duō bù shī jí， 12 bù zhōng cháng piān xiǎo shuō， yī bǎi yú piān duǎn piān xiǎo shuō， èr bǎi duō gè jù běn hé xǔ duō yòu guān wén xué、 zhé xué、 zhèng zhì de lùn wén yǐ jí huí yì lù、 yóu jì、 shū jiǎn děng。 qí zhōng 1921 nián wèn shì de zhù míng shī jí《 jí tán jiā lì》， shǐ tài gē 'ěr huò dé liǎo nuò bèi 'ěr wén xué jiǎng。《 gù shì shī》 hé《 liǎng mǔ dì》 shì yìn dù rén mín xǐ wén lè jiàn、 guǎng wéi chuán sòng de bù xiǔ shī piān。 kuài zhì rén kǒu de《 kā bù 'ěr rén》、《 sù bā》 hé《 mó hē mó yé》 jūn wéi shì jiè duǎn piān xiǎo shuō de jié zuò。《 shú zuì》、《 wán gù bǎo lěi》、《 hóng jiā zhú táo》 děngdōu shì zhēn duì dāng shí yìn dù shè huì xiàn shí yú yǐ wú qíng jiē lù hé biān chī de zhù míng xì jù jù běn。
　　 tài gē 'ěr bù jǐn shì yī wèi zào yì hěn shēn de zuò jiā、 shī rén， hái shì yī wèi pō yòu chéng jiù de zuòqǔ jiā hé huà jiā。 tā yī shēng gòng chuàng zuò liǎo 'èr qiān yú shǒu jī dòng rén xīn、 yōu měi dòng tīng de gēqǔ。 qí zhōng， tā zài yìn dù mín zú jiě fàng yùn dòng gāo zhǎng shí qī chuàng zuò de bù shǎo rè qíng yáng yì de 'ài guó gēqǔ， chéng liǎo gǔ wǔ yìn dù rén mín tóng zhí mín zhù yì tǒng zhì jìn xíng dǒu zhēng de yòu lì wǔ qì。《 rén mín de yì zhì》 zhè shǒu gē， yú 1950 nián bèi dìng wéi yìn dù guó gē。 tài gē 'ěr 70 gāo líng shí xué xí zuò huà， huì zhì de 1500 zhēn huà， céng zuò wéi yì shù zhēn pǐn zài shì jiè xǔ duō yòu míng de dì fāng zhǎn chū。
　　1941 nián， tài gē 'ěr yǔ shì cháng shì， xiǎng nián 81 suì。
　　 tài gē 'ěr（ 1861 ～ 1941）
　　Tagore， Rabindranath
　　 yìn dù shī rén， zuò jiā， yì shù jiā， shè huì huó dòng jiā。 shì xiàng xī fāng jiè shào yìn dù wén huà hé bǎ xī fāng wén huà jiè shào dào yìn dù de hěn yòu yǐng xiǎng de rén wù。 shēng píng 1861 nián 5 yuè 7 rì shēng yú xī mèng jiā lā bāng jiā 'ěr gè dá shì， 1941 nián 8 yuè 7 rì zú yú tóng dì。 jiā tíng shǔ yú shāng rén jiān dì zhù， pó luó mén zhǒng xìng。 zǔ fù dé wǎ 'ěr gé nà tè · tài gē 'ěr hé fù qīn dài běn dé lā nà tè · tài gē 'ěr dōushì shè huì huó dòng jiā， zhī chí shè huì gǎi gé。 tài gē 'ěr jìn guò dōng fāng xué yuàn、 shī fàn xué xiào hé mèng jiā lā xué yuàn， dàn méi yòu wán chéng zhèng guī xué xí。 tā de zhī shí dé zì fù xiōng hé jiā tíng jiào shī de 'ěr tí miàn mìng yǐ jí zì jǐ de nǔ lì zhě wéi duō。 tā cóng 13 suì kāi shǐ shī gē chuàng zuò， 14 suì fā biǎo 'ài guó shī piān《 xiàn gěi yìn dù jiào tú miào huì》。 1878 nián， tā zūn fù xiōng yì yuàn fù yīng guó liú xué， zuì chū xué xí fǎ lǜ， hòu zhuǎn rù lún dūn dà xué xué xí yīng guó wén xué， yán jiū xī fāng yīnyuè。 1880 nián huí guó， zhuān shì wén xué chuàng zuò。 1884 nián， lí kāi chéng shì dào xiāng cūn qù guǎn lǐ zǔ chuán tián chǎn。 1901 nián， zài mèng jiā lā bó 'ěr pǔ 'ěr fù jìn de shèng dì ní kè tǎn chuàng bàn xué xiào， zhè suǒ xué xiào yú 1921 nián fā zhǎn chéng wéi jiāo liú yà zhōu wén huà de guó jì dà xué。 1905 nián hòu mín zú jiě fàng yùn dòng jìn rù gāo cháo， mèng jiā lā hé quán yìn dù rén mín dū fǎn duì mèng jiā lā fēn gē de jué dìng， xíng chéng hōng hōng liè liè fǎn dì 'ài guó yùn dòng。 tài gē 'ěr qù jiā 'ěr gè dá tóu shēn yùn dòng， yì fèn tián yīng， xiě chū dà liàng 'ài guó shī piān。 dàn bù jiǔ tóng yùn dòng qí tā lǐng xiù fā shēng yì jiàn fēn qí， tā bù zàn chéng qún zhòng fén shāo yīng guó huò wù、 rǔ mà yīng guó rén de“ zhí jiē xíng dòng”， ér zhù zhāng duō zuò“ jiàn shè xìng” gōng zuò， rú dào nóng cūn qù fā zhǎn gōng yè、 xiāo miè pín kùn yú mèi děng。 tā yú 1907 nián tuì chū yùn dòng huí shèng dì ní kè tǎn， guò yǐn jū shēng huó， mái tóu chuàng zuò。 1913 nián， tā yīn yīng wén bǎn《 jí tán jiā lì》（ Gitanjaei， jí《 shēng zhī sòng》， 1911 nián chū bǎn） róng huò nuò bèi 'ěr wén xué jiǎng， cóng cǐ wén míng shì jiè wén tán。 jiā 'ěr gè dá dà xué shòu yú tā bó shì xué wèi。 yīng guó zhèng fǔ fēng tā wéi jué shì。 dì yī cì shì jiè dà zhàn bào fā hòu， tā xiān hòu 10 yú cì yuǎn shè chóngyáng， fǎng wèn jǐ shí gè guó jiā hé dì qū， chuán bō hé píng yǒu yì， cóng shì wén huà jiāo liú。 1919 nián， fā shēng 'ā mǔ lì zé cǎn 'àn， yīng guó jūn duì kāi qiāng dǎ sǐ 1000 duō yìn dù píng mín， tài gē 'ěr shēng míng fàng qì jué shì chēng hào， yǐ shì kàng yì。 1930 nián， tā fǎng wèn sū lián， xiě yòu《 é guó shū jiǎn》。 tā qiǎn zé yì dà lì fǎ xī sī qīn lüè 'ā bǐ xī ní yà（ āi sài 'é bǐ yà）。 zhī chí xī bān yá gòng hé guó zhèng fǔ fǎn duì fǎ xī sī tóu zǐ fó lǎng gē。 dì 'èr cì shì jiè dà zhàn bào fā hòu， tā xiě wén zhāng chì zé xī tè lè de bù yì xíng jìng。 tā shǐ zhōng guān xīn shì jiè zhèng zhì hé rén mín mìng yùn， zhī chí rén lèi de zhèng yì shì yè。
　　
　　 tài gē 'ěr de chuàng zuò
　　
　　
　　 yī . zhù yào zuò pǐn
　　 zài cháng dá jìn 70 nián de chuàng zuò huó dòng zhōng， tài gē 'ěr gòng xiě liǎo 50 duō bù shī jí， 12 bù zhōng cháng piān xiǎo shuō， 100 yú piān duǎn piān xiǎo shuō， 20 duō bù jù běn， dà liàng guān yú wén xué、 zhé xué、 zhèng zhì fāng miàn de lùn zhù， hái chuàng zuò liǎo 1500 yú fú huà hé 2000 yú shǒu gēqǔ， qí zhōng 1 shǒu wéi yìn dù guó gē。
　　13 suì yǐ hòu， tài gē 'ěr fā biǎo liǎo cháng shī《 yě huā》、《 shī rén de gù shì》 děng， 1881～ 1885 nián， chū bǎn shū qíng shī jí《 mù gē》、《 chén gē》、《 huà yǔ gē》， hái yòu xì jù hé cháng piān xiǎo shuō。 xì jù hé xiǎo shuō duō qǔ cái yú shǐ shī hé wǎng shì shū， shī gē fù yú làng màn zhù yì sè cǎi。 1886 nián， shī jí《 gāng yǔ róu》 chū bǎn， biāo zhì zhe tā zài chuàng zuò dào lù shàng jìn rù miàn xiàng rén shēng yǔ xiàn shí shēng huó de shí qī。 shī jí《 xīn zhōng de xiàng wǎng》 shì tā dì yī bù chéng shú de zuò pǐn， tā de dú tè fēng gé kāi shǐ xíng chéng。 zhè yī shí qī hái xiě liǎo jù běn《 guó wáng yǔ wáng hòu》 hé《 xī shēng》， fǎn duì huī fù pó luó mén jì sī de tè quán hé luò hòu xí sú。 19 shì jì 90 nián dài shì tài gē 'ěr chuàng zuò de wàng shèng shí qī。 cóng 1891 nián qǐ， zài tā zhù biān de《 sà tǎ nà》 zá zhì shàng， fā biǎo《 mó hē mó yé》 děng 60 duō piān duǎn piān xiǎo shuō， zhù yào shì fǎn duì fēng jiàn yā pò， jiē lù xiàn shí shēng huó zhōng bù hé lǐ xiàn xiàng。 tā fā biǎo liǎo《 jīn fān chuán》、《 bīn fēn jí》、《 shōu huò jí》、《 mèng huàn jí》、《 chà nà jí》 5 bù shū qíng shī jí， 1 bù zhé lǐ duǎn shī《 wēi sī jí》 hé 1 bù《 gù shì shī jí》。 shōu rù《 bīn fēn jí》 de xù shì shī《 liǎng mǔ dì》 shì zuò zhě mín zhù zhù yì sī xiǎng de zuì gāo biǎo xiàn。 cóng《 chà nà jí》 qǐ， tā kāi shǐ yòng mèng jiā lā kǒu yǔ xiě shī。 tā de dì 'èr bù yīng yì shī jí《 yuán dīng jí》 lǐ de shī dà duō xuǎn zì zhè yī shí qī zuò pǐn。
　　20 shì jì chū tài gē 'ěr zāo yù dào gè rén shēng huó de bù xìng， sàng 'ǒu、 sàng nǚ、 sàng fù de bēi tòng yǔ shāng gǎn zài shī jí《 huí yì》、《 ér tóng》 hé《 dù chuán》 zhōng yòu zhēn shí jì lù。 tā lìng yòu liǎng bù cháng piān xiǎo shuō《 xiǎo shā zǐ》 hé《 chén chuán》。 1910 nián， cháng piān xiǎo shuō《 gē lā》 fā biǎo， tā fǎn yìng liǎo yìn dù shè huì shēng huó zhōng de fù zá xiàn xiàng， sù zào liǎo zhēng qǔ mín zú zì yóu jiě fàng de zhàn shì xíng xiàng； gē sòng liǎo xīn yìn dù jiào tú 'ài guó zhù yì rè qíng hé duì zǔ guó bì huò zì yóu de xìn xīn， tóng shí yě pī pàn tā men wéi hù jiù chuán tǒng de sī xiǎng； duì fàn shè mǒu xiē rén de jiào tiáo zhù yì、 chóng yáng mèi wài yě yú yǐ biān tà。 zhè qī jiān hái xiě liǎo xiàng zhēng jù《 guó wáng》 hé《 yóu jú》 jí fěng cì jù《 wán gù bǎo lěi》。 1910 nián， mèng jiā lā wén shī jí《 jí tán jiā lì》 chū bǎn， hòu tài gē 'ěr lǚ jū lún dūn shí bǎ《 jí tán jiā lì》、《 dù chuán》 hé《 fèng xiàn jí》 lǐ de bù fēn shī zuò yì chéng yīng wén ， 1913 nián《 jí tán jiā lì》 yīng yì běn chū bǎn， tài gē 'ěr chéng wéi yà zhōu dì yī gè huò nuò bèi 'ěr wén xué jiǎng de zuò jiā。 tā jìn rù lìng yī chuàng zuò gāo cháo， fā biǎo shī gē《 gē zhī huā huán》、《 sòng gē》、《 bái hè》、《 táo bì》， zhōng cháng piān xiǎo shuō《 sì gè rén》 yǔ《 jiā tíng yǔ shì jiè》。 20 shì jì 20 nián dài tài gē 'ěr réng jiān chí xiě zuò， fā biǎo jù běn《 mó kè duō tǎ lā》、《 hóng jiā zhú táo》， cháng piān xiǎo shuō《 jiū fēn》、《 zuì hòu de shī piān》 jí yī xiē shī zuò。 30 nián dài tā yòu lù xù chū bǎn cháng piān xiǎo shuō《 liǎng jiě mèi》、《 huā pǔ》、《 sì zhāng》； xì jù《 shí dài de chē lún》、《 zhǐ pái wáng guó》； shī jí《 zài yī cì》、《 biān yuán jí》 hé zhèng zhì shū qíng shī《 lǐ fó》 děng。 1941 nián 4 yuè， tā xiě xià zuì hòu yí yán、 yòu míng de《 wén míng de wēi jī》， duì yīng guó zhí mín tǒng zhì jìn xíng kòng sù， biǎo dá liǎo duì mín zú dú lì de jiān dìng xìn niàn。
　　
　　2. sī xiǎng fā zhǎn yǔ yì shù chéng jiù
　　 tài gē 'ěr shēng féng jí jù biàn gé de shí dài， shòu dào yìn dù chuán tǒng zhé xué sī xiǎng hé xī fāng zhé xué sī xiǎng de yǐng xiǎng。 dàn tā shì jiè guān zuì jī běn zuì hé xīn bù fēn hái shì yìn dù chuán tǒng de fàn shén lùn sī xiǎng， jí“ fàn wǒ hé yī”。 zài《 bīn fēn jí》 zhōng， tā dì yī cì tí chū“ shēng mìng zhī shén” guān niàn。 tā duì shén de qián chéng shì hé duì shēng huó、 guó jiā yǔ rén mín de 'ài róng hé zài yī qǐ de。 dàn zhè shǐ tā de shī gē yě méng shàng liǎo nóng hòu de shén mì zhù yì sè cǎi。 lìng wài， tā tí chàng dōng fāng de jīng shén wén míng， dàn yòu bù mǒ shā xī fāng de wù zhì wén míng。 zhè xiē dū shǐ tā de sī xiǎng zhōng chōng mǎn liǎo máo dùn 'ér biǎo xiàn zài chuàng zuò shàng。 zōng guān tài gē 'ěr yī shēng sī xiǎng hé chuàng zuò fā zhǎn， kě dà tǐ fēn 3 gè jiē duàn： ① yòu nián zhí zhì 1910 nián qián hòu， tā jī jí cān jiā fǎn yīng zhèng zhì huó dòng， gē sòng mín zú yīng xióng， xuān yáng 'ài guó zhù yì， tí chàng yìn dù mín zú dà tuán jié。 ② yǐn jū shēng huó zhí zhì 1919 nián zài cì jī jí cān jiā mín zú yùn dòng， ài guó zhù yì jī qíng shāo yòu xiāo tuì， zhèng zhì nèi róng qiáng de shī gē bèi dài yòu shén mì yì wèi de shī gē suǒ qǔ dài， yě shòu liǎo xī fāng xiàng zhēng zhù yì、 wéi měi zhù yì shī gē de yǐng xiǎng， xuān yáng de shì 'ài yǔ hé xié。 ③ cóng 1919 nián 'ā mǔ lì zé cǎn 'àn kāi shǐ zhí zhì shì shì， tā yòu kāi shǐ guān xīn zhèng zhì， jī jí tóu rù mín zú jiě fàng dǒu zhēng， zuò pǐn de nèi róng yòu chōng mǎn liǎo zhèng zhì jī qíng， shì yě yě kāi kuò liǎo， duì shì jiè hé rén lèi dū shí fēn guān xīn。 kě yǐ shuō， tài gē 'ěr yī shēng de chuàng zuò jì yòu“ pú sà cí méi”， yě yòu“ jīn gāng nù mù”。 tā de shī gē shòu yìn dù gǔ diǎn wén xué、 xī fāng shī gē hé mèng jiā lā mín jiān shū qíng shī gē de yǐng xiǎng， duō wéi bù yā yùn、 bù diāo zhuó de zì yóu shī hé sǎnwén shī； tā de xiǎo shuō shòu xī fāng xiǎo shuō de yǐng xiǎng， yòu yòu chuàng xīn， tè bié shì bǎ shī qíng huà yì róng rù qí zhōng， xíng chéng dú tè fēng gé。
　　 luó bīn dé lā nà tè tài gē 'ěr（ RabindranathTagore， 1861-1941） yìn dù mèng jiā lā yǔ shī rén、 zuò jiā、 yì shù jiā、 shè huì huó dòng jiā。 shēng yú jiā 'ěr gè dá shì yī gè jù yòu shēn hòu wén huà jiào yǎng de jiā tíng， fù qīn shì zhù míng de zōng jiào gǎi gé jiā hé shè huì huó dòng jiā， liù gè gē gē yě jūn xiàn shēn yú shè huì gǎi gé hé wén yì fù xīng yùn dòng。 tài gē 'ěr zì yòu yàn 'è zhèng guī xué xiào de jiào yù， kào jiā tíng jiào yù hé kè kǔ zì xué dù guò shàonián shí dài， 1878 nián qù yīng guó xué fǎ lǜ， hòu zhuǎn rù lún dūn dà xué gōng dú yīng guó wén xué， yán jiū xī fāng yīnyuè。
　　 tài gē 'ěr tóng nián shí dài jí zhǎn lù shī cái， tā de 'ài guó shī piān《 gěi yìn dù jiào tú miào huì》（ 1875） fā biǎo shí， nián jǐn 14 suì。 1880 nián， 19 suì de tài gē 'ěr biàn chéng wéi zhí yè zuò jiā。 1881 zhì 1885 nián， tā chū bǎn liǎo shū qíng shī jí《 mù gē》（ 1882）、《 chén gē》（ 1883）， hái yòu xì jù hé xiǎo shuō děng zuò pǐn。 zhè xiē zǎo qī shāng pǐn de tè diǎn shì mèng huàn duō yú xiàn shí， fù yú làng màn zhù yì sè cǎi。
　　90 nián dài shì tài gē 'ěr chuàng zuò de wàng shèng qī， shī jí《 xīn zhōng de xiàng wǎng》（ 1890） shì tā de dì yī bù chéng shú zuò pǐn， zhù míng shī piān《 liǎng mǔ dì》（ 1894） de fā biǎo， biāo zhì zhe tài gē 'ěr cóng zōng jiào shén mì zhù yì zǒu xiàng shēn kè de rén dào zhù yì。 zhè yī shí qī de shī zuò hái yòu《 jīn fān chuán》（ 1894）、《 bīn fēn jí》（ 1896） dì 5 bù shū qíng shī jí hé yī bù《 gù shì shī jí》（ 1900）。 cǐ wài， tā hái chuàng zuò liǎo 60 duō piān duǎn piān xiǎo shuō， qí zhōng de《 sù bā》（ 1893）、《 mó hē mó yé》（ 1892）、《 zuì hòu huó zhe， hái shì sǐ liǎo？》（ 1892） děng bèi liè rù shì jiè yōu xiù duǎn piān xiǎo shuō jié zuò zhī lín。
　　1901 nián， tài gē 'ěr wéi gǎi zào shè huì chuàng bàn liǎo yī suǒ xué xiào， cóng shì 'ér tóng jiào yù shí yàn。 1912 nián， zhè suǒ xué xiào chéng wéi yà zhōu wén huà jiāo liú de guó jì dà xué。 yóu yú yīng guó zài mèng jiā lā tuī xíng fēn liè zhèng cè， 1905 nián yìn dù xiān qǐ mín zú jiě fàng yùn dòng de dì yī gè gāo cháo， tài gē 'ěr jī jí tóu shēn yú yùn dòng bìng chuàng zuò liǎo xǔ duō 'ài guó shī piān。 zhè yī shí qī shì tā chuàng zuò de zuì huī huáng shí qī。 tā chū bǎn liǎo 8 bù mèng jiā lā wén shī jí hé 8 bù yīng wén shī jí， qí zhōng《 jí tán jiā lì》 wéi shī rén yíng dé shì jiè xìng shēng yù。 zhè yī shí qī zhòng yào de shī jí hái yòu《 yuán dīng jí》（ 1913）、《 xīn yuè jí》（ 1915）、《 fēi niǎo jí》（ 1916） děng。 1910 nián， tài gē 'ěr yòu fā biǎo liǎo shǐ shī xìng cháng piān xiǎo shuō《 gē lā》 hé xiàng zhēng jù《 guó wáng》 děng。
　　1919 nián， yìn dù xiān qǐ dì 'èr cì mín zú jiě fàng yùn dòng gāo cháo， wéi xún qiú mín zú jiě fàng dào lù， tā zǒu biàn wǔ dà zhōu， fā biǎo liǎo xǔ duō zhù míng yǎn jiǎng。 zhè shí qī tū chū chéng jiù shì zhèng zhì shū qíng shī， fēn bié shōu zài《 fēi zhōu jí》（ 1937）、《 biān yán jí》（ 1938）、《 shēng chén jí》（ 1941） děng zuò pǐn zhōng。
　　 tài gē 'ěr yī shēng gòng chuàng zuò liǎo 50 duō bù shī jí， 12 bù zhōng、 cháng piān xiǎo shuō， 100 yú piān duǎn piān xiǎo shuō， 20 yú zhǒng xì jù， hái yòu dà liàng yòu guān wén xué、 zhé xué、 zhèng zhì de lùn zhù hé yóu jì、 shū jiǎn děng。 cǐ wài， tā hái shì wèi zào yì pō shēn de yīnyuè jiā hé huà jiā， céng chuàng zuò 2000 yú shǒu gēqǔ hé 1500 yú zhēn huà， qí zhōng gēqǔ《 rén mín de yì zhì》 yǐ bèi dìng wéi yìn dù guó gē。
　　 zài 60 yú nián de yì shù shēng yá zhōng， tā jì chéng liǎo gǔ diǎn hé mín jiān wén xué de yōu xiù chuán tǒng， xī shōu liǎo 'ōu zhōu làng màn zhù yì yǔ xiàn shí zhù yì wén xué de fēng fù yíng yǎng， zài chuàng zuò shàng dá dào lú huǒ chún qīng de dì bù， qǔ dé liǎo huī huáng chéng jiù， chéng wéi yī dài wén huà jù rén。 1913 nián，“ yóu yú tā nà zhì wéi mǐn ruì、 qīng xīn yǔ yōu měi de shī； zhè shī chū zhī yǐ gāo chāo de jì qiǎo， bìng yóu tā zì jǐ yòng yīng wén biǎo dá chū lái， shǐ tā nà chōng mǎn shī yì de sī xiǎng yè yǐ wéi xī fāng wén xué de yī bù fēn”， huò nuò bèi 'ěr wén xué jiǎng。 yīng guó zhèng fǔ fēng tā wéi jué shì。
　　1941 nián 4 yuè， zhè wèi kuàng shì qí cái， yìn dù jìn dài wén xué de diàn jī rén xiě xià zuì hòu de yí yán《 wén míng de wēi jī》。 tóng nián 8 yuè 7 rì， tài gē 'ěr yú jiā 'ěr gè dá zǔ zhái qù shì。
　　【 dài biǎo zuò】
　　 shī jí： shī jí《 mù gē》、《 chén gē》、《 xīn zhōng de xiàng wǎng》、《 liǎng mǔ dì》、《 jīn fān chuán》、《 bīn fēn jí》、《 gù shì shī jí》、《 sù bā》、《 mó hē mó yé》、《 zuì hòu huó zhe， hái shì sǐ liǎo？》 děng děng
　　20 shì jì chū qī de yìn dù， shì yīng guó de zhí mín dì。 zhèng zhì shàng zāo shòu yā pò， jīng jì shàng shòu dào bō xuē， shǐ zhè gè gǔ lǎo guó jiā de rén mín xiàn rù pín qióng、 yú mèi zhī zhōng。 wèile huàn xǐng zhè gè chén shuì de jù rén， liǎng wèi wěi rén yìng yùn 'ér shēng liǎo。 yī wèi shì mín zú jiě fàng yùn dòng de lǐng xiù“ shèng xióng” gān dì， lìng wài yī wèi jiù shì yìn dù jìn dài shǐ shàng zuì wěi dà de wén huà jù jiàng luó bīn dé lā nà tè tài gē 'ěr（ 1861-1941）。　　 tài gē 'ěr duō cái duō yì， cái huá chāo rén。 jì shì zuò pǐn hào fán de wén xué yì shù dà shī、 xué shí yuān bó de zhé rén、 chéng jiù zhuó zhù de shè huì huó dòng jiā， yě shì ruì yì gé xīn de jiào yù jiā。 tā yī shēng suǒ yòu de gòng xiàn， bù dàn zài yìn dù lì shǐ shàng jù yòu zhe huàshídài de yì yì， ér zài guó jì shàng yě chǎn shēng liǎo jù dà yǐng xiǎng。　　 tài gē 'ěr zài yìn dù wén huà de gè gè fāng miàn dū chǎn shēng liǎo guǎng fàn 'ér shēn yuǎn de yǐng xiǎng。 ér tā zuì tū chū de tiān cái de biǎo xiàn， kǒng pà jiù shì tā jīng rén de chuàng zuò liàng liǎo。 tā 12 suì kāi shǐ xiě shī， zài 60 yú nián de bǐ gēng shēng yá zhōng， chuàng zuò liǎo dà liàng zuò pǐn， qí zhōng yòu shī gē shàng qiān shǒu， gē cí 1200 yú shǒu， bìng wéi qí zhōng dà duō shù gē cí pǔ liǎo qū； zhōng cháng piān xiǎo shuō 12 bù， duǎn piān xiǎo shuō 200 duō piān， xì jù 38 bù， hái yòu xǔ duō yòu guān zhé xué、 wén xué、 zhèng zhì de lùn wén jí huí yì lù、 shū jiǎn、 yóu jì děng； cǐ wài hái chuàng zuò liǎo 2700 yú fú huà。 tā gěi yìn dù hé shì jiè liú xià liǎo yī bǐ yì cháng fēng fù de wén huà yí chǎn。
　　1913 nián，“ yóu yú tā nà zhì wéi mǐn ruì、 qīng xīn yǔ yōu měi de shī piān； zhè xiē shī bù dàn jù yòu gāo chāo de jì qiǎo， bìng qiě yóu tā zì jǐ yòng yīng wén biǎo dá chū lái， biàn shǐ tā nà chōng mǎn shī yì de sī xiǎng chéng wéi xī fāng wén xué de yī bù fēn”， tài gē 'ěr bèi ruì diǎn wén xué yuàn shòu yú gāi chù dù nuò bèi 'ěr wén xué jiǎng zhè yī zuì gāo róng yù， chéng wéi dì yī gè huò dé zhè xiàng shū róng de yà zhōu zuò jiā。 màn cháng de 55 nián hòu， rì běn de chuān duān kāng chéngzhǎng yòu yī cì duó qǔ zhè yī guì guān。 tài gē 'ěr yīn cǐ 'ér fěi shēng shì jiè。 tā de shī gē tǐ cái hé tí cái fēng fù duō cǎi， qīng xīn juàn yǒng； xiǎo shuō gé diào xīn yíng、 gǎn rǎn lì qiáng； xì jù zhǒng lèi fán duō， fù yú zhé lǐ yì wèi； gēqǔ huò 'āi wǎn chán mián、 huò wēi wǔ xióng zhuàng， bù jū yī gé。 zài rén men de yìn xiàng zhōng， tài gē 'ěr shì yǐ wěi dà de“ gē shǒu yǔ zhé rén” de shuāngchóng shēn fèn chū xiàn de。 ràng wǒ men bǎ mù guāng zhuànxiàng xī mèng jiā lā de jiā 'ěr gè dá， 1861 nián 5 yuè 7 rì， luó bīn dé lā nà tè dàn shēng zài nà lǐ。 tài gē 'ěr shì jiā hé lā bǐ de tóng nián tài gē 'ěr jiā tíng yuán xìng tǎ kè 'ěr（ mèng jiā lā rén de zūn chēng， yì wéi“ shèng”）， tài gē 'ěr shì tā de yīng wén biàn chēng。 luó bīn dé lā nà tè de zǔ fù dé wǎ kǎ nà tè“ wáng zǐ”。 tóng shí tā yě shì yī wèi sī xiǎng jiā hé wén huà míng liú， dāng shí xǔ duō jìn bù rén shì de gǎi gé yùn dòng dū dé dào tā yòu lì de zhī chí。　　 zhè wèi“ wáng zǐ” de jì chéng rén dé běn dé lā nà tè bù tóng yú fù qīn de rè zhōng shè jiāo， tā xìng gé nèixǐng shèn sī， qián xīn yú zhé xué hé zōng jiào zhù zuò de yán jiū。 tā jiān jù sān zhǒng bù tóng de qì zhì： duì zōng jiào de dǔ xìn， duì yì shù de mǐn gǎn， duì shí jì gōng zuò de jīng míng shàn duàn。 duì míng qì gèng dà de 'ér zǐ， tā de yǐng xiǎng wú yí shì shēn yuǎn de。 tā de wēn wén 'ěr yǎ、 zūn guì dà fāng， bó dé liǎo“ mǎ hā xī”（ yì wéi“ dà shèng rén”） de měi chēng。　　 dé běn dé lā nà tè yòu gè páng dà de jiā tíng。 tā yōng yòu 15 gè zǐ nǚ。 nǚ 'ér hūn hòu， nǚ xù yě cháng zhù yú tā jiā de。 cǐ wài， hái yòu yī xiē qīn qī hé zhòng duō pú cóng。 zǐ nǚ yún shì zài chōng fēn de zì yóu hé yán gé de jiā jiào、 duì zōng jiào de qián jìng yǔ duì měi miào shēng huó de xiǎng shòu jǐn mì jié hé de huán jìng zhōng chéngzhǎng qǐ lái de。 zhè gè jiā tíng jì chéng liǎo fù qīn suǒ rè 'ài de yìn dù wén huà chuán tǒng， yòu shēn shòu xī fāng wén huà yǐng xiǎng， cháng jǔ xíng zhé xué hé zōng jiào tǎo lùn huì、 shī gē lǎng sòng huì， jīng cháng yǎn xì， hái yòu bù shí 'ān pái de yīnyuè huì。 zhù míng shī rén、 yǎn yuán、 yīnyuè jiā hé xué zhě cháng cháng chéng wéi zuò shàng kè。“ mǎ hā xī” ràng zǐ nǚ men zì yóu fā zhǎn gè zì de tè cháng， chōng fēn fā biǎo gè zì de jiàn jiě 'ér bù jiā xiàn zhì， tài dù jí kāi míng。 luó bīn dé lā tè jiù jiàng shēng zài zhè yàng yī gè huán jìng zhōng， zài tā de xìng gé xíng chéng shí qī， cóng zhè gè huán jìng zhōng bǎo xī liǎo zhì huì hé měi de yǎng fèn，“ yìn dù wén yì fù xīng de jí liú cháo yǒng cóng tā de sì zhōu péng pài 'ér guò”。　　 yóu yú shì fù mǔ zuì xiǎo de 'ér zǐ， bèi dà jiā nì chēng wéi“ lā bǐ” de luó bīn dé lā nà tè chéng wéi měi gè jiā tíng chéng yuán zhōng 'ài de duì xiàng。 dàn tā bìng bù shòu hù nì 'ài， qià qià xiāng fǎn， zhè gè jiā tíng de shēng huó fāng shì shí fēn jiǎn pǔ。 xié zǐ hé wà zǐ yào zài 'ér nǚ men cháng dào 10 suì shí cái 'àn zōng jiào fǎ guī pī zhǔn chuān yòng。 lā bǐ zài zhōng 'ěr dá jìn guò 4 suǒ xué xiào， dàn tādōu bù xǐ huān。 tā yàn 'è nà zhǒng wú shì gè xìng de jiào yù zhì dù， yàn 'è yuǎn lí zì rán de、 láo lóng bān de jiào shì， duì jiào shī de dí yì tài dù hé yě mán tǐ fá gèng bù néng róng rěn。 tā xǐ huān de shì xiào wài de huā yuán、 chí táng、 chūn tiān hé bái yún。 hòu lái tā hái jìn guò dōng fāng xué yuàn、 shī fàn xué yuàn hé zài mèng jiā lā xué yuàn dú shū， dàn dōuméi yòu wán chéng xué yè。 tā hòu lái zhì lì yú jiào yù gé xīn， yǔ cǐ bù wú guān xì。　　 xiāng xíng zhī xià， tā de jiā tíng gěi tā de xūn táo shì jí míng xiǎn de。 lā bǐ fēng fù de lì shǐ、 wén xué hé kē xué zhī shí dū yuán zì yú fù xiōng。 tài gē 'ěr jiā zú duì yìn dù mín zú jiě fàng yùn dòng hé fù xīng mèng jiā dōng tiān wén yì jù yòu hěn dà gòng xiàn。 zhǎngshǐ dé wēi jīn dé lā nà tè cái huá chū zhòng， shì shī rén hé zhé xué jiā， céng xiàng yìn dù jiè shào xī fāng zhé xué。 lìng yī wèi shǐ cháng sà dí yán dé lā nà tè shì jìn rù yīng shǔ yìn dù xíng zhèng jī gòu de dì yī gè yìn dù rén， dǒng duō zhǒng yǔ yán， fān yì chū bǎn liǎo xǔ duō fàn wén hé mèng jiā lā wén gǔ diǎn zhù zuò。 jiě jiě sī wǎ nà kù mǎ lì shì dì yī wèi yòng mèng jiā lā wén xiě xiǎo shuō de nǚ zuò jiā。 wǔ gē qiáo dì lín dé lā nà tè chéng wéi yī wèi yīnyuè jiā、 xì jù jiā、 shī rén hé xīn wén jì zhě。 tā cháng lā bǐ 13 suì， duì lā bǐ de cáigàn shí fēn shǎng shí bìng yú yǐ gǔ lì， hái tōng guò chuàng bàn wén xué zá zhì《 pó luó dì yuè kān》 zhí jiē yǐn dǎo lā bǐ zǒu shàng wén tán。　　 lìng wài， qiáo dì lín dé lā nà tè de qī zǐ kǎ dān bā lì dài wēi， shì yī wèi fēng zī chuò yuē、 yōu yǎ kuān hòu de nǚ xìng。 tā zài lā bǐ shēn shàng qīng zhù liǎo shēn shēn de 'ài， gěi tā bù zhì chū yī gè jīng měi yōu yǎ de huán jìng。 tā jīhū chéng liǎo lā bǐ lǐ xiǎng zhōng de rén wù， liǎng rén zhī jiān yòu yī zhǒng luó màn dì kè de juàn liàn。 lā bǐ jiù zài zhè yàng de jiā tíng fēn wéi lǐ dù guò yī shēng zhōng zuì yú kuài 'ān shì de rì zǐ。
　　 yìn dù zhù míng shī rén、 zuò jiā、 yì shù jiā hé shè huì huó dòng jiā， shēng yú jiā 'ěr gè dá shì de yī gè fù yòu zhé xué hé wén xué yì shù xiū yǎng jiā tíng， 13 suì jí néng chuàng zuò cháng shī hé sòng gē tǐ shī jí。 céng fù yīng guó xué xí wén xué hé yīnyuè， shí yú cì zhōu yóu liè guó， yǔ luó màn luó lán、 ài yīn sī tǎn děng dà pī shì jiè míng rén duō yòu jiāo wǎng， bì shēng zhì lì yú dōng xī wén míng de jiāo liú hé xié diào。 tài gē 'ěr yǐ shī rén zhù chēng， chuàng zuò liǎo《 jí tán jiā lì》 děng 50 duō bù shī jí， bèi chēng wéi“ shī shèng”。 tā yòu shì zhù míng de xiǎo shuō jiā、 jù zuò jiā、 zuòqǔ jiā hé huà jiā， xiān hòu wán chéng 12 bù zhōng cháng piān xiǎo shuō， 100 duō piān duǎn piān xiǎo shuō， 20 duō bù jù běn， 1500 duō fú huà hé 2000 duō shǒu gēqǔ。 tiān cái de tài gē 'ěr hái shì yī wèi zhé xué jiā、 jiào yù jiā hé shè huì huó dòng jiā。 1913 nián， tài gē 'ěr yǐ shī gē jí《 jí tán jiā lì》 róng huò nuò bèi 'ěr wén xué jiǎng。
　　 tài gē 'ěr shì yìn dù jìn dài hé xiàn dài zuì wěi dà de zuò jiā , shī rén , xiǎo shuō jiā , xì jù jiā , měi shù jiā , yīnyuè jiā .1913 nián yǐ yīng wén sǎnwén shī jí《 jí tán jiā lì》 huò nuò bèi 'ěr wén xué jiǎng。 wǒ cháng cháng xiǎng， tài gē 'ěr jiù xiàng nà tiān jì de míng xīng。“ zài nà lǐ， xīn shì wú wèi de， tóu yě tái de gāo 'áng； zài nà lǐ， zhì shí shì zì yóu de； …… zài nà lǐ， huà shì cóng zhēn lǐ de shēn chù shuō chū；…… zài nà lǐ， xīn líng shì shòu nǐ de zhǐ yǐn， zǒu xiàng nà bù duàn fàng kuān de sī xiǎng yǔ xíng wéi”（ jí tán jiā lì） zhè jiù shì tài gē 'ěr， xiàng nà qǐ míng xīng dài yǐn wǒ men zǒu xiàng lí míng。
　　
　　 tài gē 'ěr de jiā shì
　　
　　
　　 fù :【 jiā zú】
　　 tài gē 'ěr
　　　　 zǔ fù： dé wǎ 'ěr gā nà tǎ， shēng yú yī qī jiǔ sì nián。 jī líng、 yǒng gǎn、 xiāo sǎ、 fù yòu tiān cái， yī gè shāng yè“ wáng zǐ”， shē chǐ háo huá。
　　　　 fù qīn： dài wēn dé lā nà tè， zài shè huì shàng bèi chēng wéi“ dà xiān”， yóu yú jiǎn pǔ chún jié。 shēng yú yī bā yī qī nián， zhé xué jiā， shè huì gǎi gé
　　 zhě。
　　　　 mǔ qīn： xià lè dá dài wéi， jù yòu rěn nài děng yōu xiù pǐn zhì hé shàn cháng cāo chí jiā wù de rén， shǐ bié rén chéng wéi wěi dà rén wù 'ér zì jǐ zhǐ liú xià bàn sī yìn jì。
　　　　 dà gē： dé wéi qióng dé lā nà tè， dà xué zhě、 shī rén、 yīnyuè jiā、 zhé xué jiā hé shù xué jiā， cháng shī《 mèng yóu》 néng yǔ sī bīn sài de《 xiān hòu》 bǐ měi， bèi chēng wéi mèng jiā lā de bù xiǔ zhù zuò。 chuàng zào liǎo mèng jiā lā sù jì tǐ， zuì zǎo bǎ gāng qín yǐn rù mèng jiā lā yīnyuè。 tā shī gē chuàng zuò lǐ de dú tè 'ér yǒng gǎn de shí yàn， zài luó bīn dé lā nà tè tài gē 'ěr xīn líng fā zhǎn shàng lào xià liǎo shēn kè de yìn hén。
　　　　 èr gē： sà tè yīn dé lā nà tè， fàn wén xué jiā， zuì zǎo bǎ mǎ lā tí qián chéng shī jiè shào gěi mèng jiā lā dú zhě， zài luó bīn dé lā nà tè fā zhǎn shàng suǒ lào xià de yǐng xiǎng shì shēn kè、 xì zhì hé yǒng de。 tā de qī zǐ shì dì yī gè dǎ pò yìn dù fù nǚ chuán tǒng shēng huó fāng shì de rén， nǚ 'ér yīng dí lā dài wéi shì luó bīn dé lā nà tè tài gē 'ěr yīnyuè chuàng zuò de quán wēi píng lùn jiā。
　　　　 sān gē： hǎi míng dé lā nà tè， zǎo shì， shì jiào yù luó bīn dé lā nà tè yòng zǔ guó yǔ yán de rén。
　　　　 sì gē： bā léng dé lā nà tè， zǎo shì， mèng jiā lā wén tán shàng yíng dé liǎo bù kě mó miè dì wèi de zuò jiā。
　　　　 wǔ gē： qiáo dí léng dé lā nà tè， nà gè shí dài zuì yòu tiān cái de rén， yī wèi fù yòu jī qíng de yīnyuè jiā、 shī rén、 jù zuò jiā hé yì shù jiā， zài luó bīn dé lā nà tè de lǐ zhì hèshī cái shàng， liú xià liǎo yǐng xiǎng。
　　　　 dà jiě： sū dá mǐ nī， luó bīn dé lā nà tè de fǔ yǎng rén。
　　　　 wǔ jiě： sī wǎ 'ěr nà kù mǎ lì， fù yòu cáigàn de yīnyuè jiā hé nǚ zuò jiā， mèng jiā lā dì yī wèi nǚ cháng piān xiǎo shuō jiā。
　　　　 qí tā jiě jiě： xī léng mò yǐ dài wéi zuò wéi shè huì fú wù zhě 'ér wén míng yú shì。
　　　　　　　　　 sà lè lā dài wéi nǚ zuò jiā、 yīnyuè jiā、 mín zú dú lì yùn dòng de jī jí cān jiā zhě。
　　
　　 tài gē 'ěr míng jù
　　 tài gē 'ěr yī shēng de chuàng zuò shī gē shòu yìn dù gǔ diǎn wén xué、 xī fāng shī gē hé mèng jiā lā mín jiān shū qíng shī gē de yǐng xiǎng， duō wéi bù yā yùn、 bù diāo zhuó de zì yóu shī hé sǎnwén shī； tā de xiǎo shuō shòu xī fāng xiǎo shuō de yǐng xiǎng， yòu yòu chuàng xīn， tè bié shì bǎ shī qíng huà yì róng rù qí zhōng， xíng chéng dú tè fēng gé。
　　 míng jù：
　　 yòu yī cì， wǒ men mèng jiàn dà jiādōu shì bù xiāng shí de。 wǒ men xǐng liǎo， què zhī dào wǒ men yuán shì xiāng qīn xiāng 'ài de。
　　Oncewedreamtthatwewerestrangers.Wewakeuptofindthatweweredeartoeachother.
　　
　　 wǒ de xīn shì kuàng yě de niǎo， zài nǐ de yǎn jīng lǐ zhǎo dào liǎo tiān kōng。
　　Myheart,thebirdofthewilderness,hasfounditsskyinyoureyes.
　　
　　 shì dà dì de lèi diǎn， shǐ tā de wēi xiào bǎo chí zhe qīng chūn bù xiè。
　　Itisthetearsoftheearththatkeephersmilesinbloom.
　　
　　 rú guǒ nǐ yīn shī qù liǎo tài yáng 'ér liú lèi， nà me nǐ yě jiāng shī qù qún xīng liǎo。
　　Ifyoushedtearswhenyoumissthesun,youalsomissthestars.
　　
　　 nǐ kàn bù jiàn nǐ zì jǐ， nǐ suǒ kàn jiàn de zhǐ shì nǐ de yǐng zǐ。
　　Whatyouareyoudonotsee,whatyouseeisyourshadow.
　　
　　 pù bù gē chàng dào： " wǒ dé dào zì yóu shí biàn yòu liǎo gē shēng liǎo。 "
　　Thewaterfallsing,"Ifindmysong,whenIfindmyfreedom."
　　
　　 nǐ wēi wēi dì xiào zhe， bù tóng wǒ shuō shénme huà。 ér wǒ jué dé， wèile zhè gè， wǒ yǐ děng dài dé jiǔ liǎo。
　　YousmiledandtalkedtomeofnothingandIfeltthatforthisIhadbeenwaitinglong.
　　
　　 rén bù néng zài tā de lì shǐ zhōng biǎo xiàn chū tā zì jǐ， tā zài lì shǐ zhōng fèn dǒu zhe lù chū tóu jiǎo。
　　Mandoesnotrevealhimselfinhishistory,hestrugglesupthroughit.
　　
　　 wǒ men rú hǎi 'ōu zhī yǔ bō tāo xiāng yù sì dì， yù jiàn liǎo， zǒu jìn liǎo。 hǎi 'ōu fēi qù， bō tāo gǔn gǔn dì liú kāi， wǒ men yě fēn bié liǎo。
　　Likethemeetingoftheseagullsandthewaveswemeetandcomenear.Theseagullsflyoff,thewavesrollawayandwedepart.
　　
　　 dāng wǒ men shì dà wéi qiān bēi de shí hòu， biàn shì wǒ men zuì jiē jìn wěi dà de shí hòu。
　　Wecomenearesttothegreatwhenwearegreatinhumility.
　　
　　 jué bù yào hài pà chà nà－－ yǒng héng zhī shēng zhè yàng chàng zhe。
　　Neverbeafraidofthemoments--thussingsthevoiceoftheeverlasting.
　　
　　" wán quán " wèile duì " bù quán " de 'ài， bǎ zì jǐ zhuāng shì dé měi lì。
　　TheperfectdecksitselfinbeautyfortheloveoftheImperfect.
　　
　　 cuò wù jīng bù qǐ shī bài， dàn shì zhēn lǐ què bù pà shī bài。
　　WrongcannotafforddefeatbutRightcan.
　　
　　 zhè guǎ dú de huáng hūn， mù zhe wù yǔ yǔ， wǒ zài wǒ de xīn de gū jì lǐ， gǎn jué dào tā de tàn xī。
　　InmysolitudeofheartIfeelthesighofthiswidowedeveningveiledwithmistandrain.
　　
　　 wǒ men bǎ shì jiè kàn cuò liǎo， fǎn shuō tā qī piàn wǒ men。
　　Wereadtheworldwrongandsaythatitdeceivesus.
　　
　　 rén duì tā zì jǐ jiàn zhù qǐ dī fáng lái。
　　Manbarricadesagainsthimself.
　　
　　 shǐ shēng rú xià huā zhī xuàn làn， sǐ rú qiū yè zhī jìng měi。
　　Letlifebebeautifullikesummerflowersanddeathlikeautumnleaves.
　　
　　 wǒ xiǎng qǐ liǎo fú fàn zài shēng yǔ 'ài yǔ sǐ de chuān liú shàng de xǔ duō bié de shí dài， yǐ jí zhè xiē shí dài zhī bèi yí wàng， wǒ biàn gǎn jué dào lí kāi chén shì de zì yóu liǎo。
　　Ithinkofotheragesthatfloateduponthestreamoflifeandloveanddeathandareforgotten,andIfeelthefreedomofpassingaway.
　　
　　 zhǐ guǎn zǒu guò qù， bù bì dòu liú zhe cǎi liǎo huā duǒ lái bǎo cún， yīn wéi yī lù shàng huā duǒ zì huì jì xù kāi fàng de。
　　Donotlingertogatherflowerstokeepthem,butwalkon,forflowerswillkeepthemselvesbloomingallyourway.
　　
　　 sī xiǎng lüè guò wǒ de xīn shàng， rú yī qún yě yā fēi guò tiān kōng。 wǒ tīng jiàn tā men gǔ yì zhī shēng liǎo。
　　Thoughtspassinmymindlikeflocksoflucksinthesky.Ihearthevoiceoftheirwings.
　　
　　" shuí rú mìng yùn shìde cuī zhe wǒ xiàng qián zǒu ní？ "" nà shì wǒ zì jǐ， zài shēn bèi hòu dà kuà bù zǒu zhe。 "
　　Whodrivesmeforwardlikefate？ TheMyselfstridingonmyback.
　　
　　 wǒ men de yù wàng bǎ cǎi hóng de yán sè jiè gěi nà zhǐ bù guò shì yún wù de rén shēng。
　　Ourdesirelendsthecoloursoftherainbowtothemeremistsandvapoursoflife.
　　
　　Straybirdsofsummercometomywindowtosingandflyaway.　 Andyellowleavesofautumn,whichhavenosongs,flutterandfalltherewithasigh.
　　 xià tiān de fēi niǎo， fēi dào wǒ chuāng qián chàng gē， yòu fēi qù liǎo。 qiū tiān de huáng yè， tā men méi yòu shí mó kě chàng de， zhǐ shì tàn xī yī shēng， fēi luò zài nà lǐ。
　　
　　Itisthetearsoftheearththatkeephersmilesinbloom.
　　 shǐ dà dì bǎo chí zhù qīng chūn bù xiè de， shì dà dì de rè lèi。
　　
　　Themightydesertisburningfortheloveofabladeofgrasswhoshakesherheadandlaughsandfliesaway.
　　 wěi dà de shā mò wèile lǜ yè de 'ài 'ér rán shāo， ér tā yáo yáo tóu、 xiào zhù、 fēi zǒu liǎo。
　　
　　Thesandsinyouwaybegforyoursongandyourmovement,dancing　 water.Willyoucarrytheburdenoftheirlameness?
　　 tiào zhù wǔ de liú shuǐ 'ā！ dāng nǐ tú zhōng de ní shā wéi nǐ de gē shēng hé liú dòng 'āi qiú shí， nǐ kě yuàn yì dān qǐ tā men bǒ zú de zhòng dān？
　　
　　Sorrowishushedintopeaceinmyheartliketheeveningamongthesilenttrees.
　　 yōu chóu zài wǒ xīn zhōng shěn jì píng jìng， zhèng rú huáng hūn zài jì jìng de lín zhōng。
　　
　　Icannotchoosethebest.Thebestchoosesme.
　　 wǒ bù néng xuǎn zé nà zuì hǎo de， shì nà zuì hǎo de xuǎn zé liǎo wǒ。
　　
　　Theythrowtheirshadowsbeforethemwhocarrytheirlanternontheirback.
　　 bǎ dēng lóng bèi zài bèi shàng de rén， yòu hēi yǐng zhē zhù qián lù。
　　
　　Restbelongstotheworkastheeyelidstotheeyes.
　　 xiū xī lì shǔ yú gōng zuò， zhèng rú yǎn jiǎn lì shǔ yú yǎn jīng。
　　
　　Thewaterfallsings,''Ifindmysong,whenIfindmyfreedom.''
　　 pù bù gē dào： 「 dāng wǒ dé dào zì yóu shí， biàn yòu liǎo gē shēng。 」
　　
　　thestarsarenotafraidtoappearlikefireflies.
　　 qún xīng bù huì yīn wéi xiàng yíng huǒ chóng 'ér qiè yú chū xiàn。
　　
　　Wecomenearesttothegreatwhenwearegreatinhumility.
　　 dāng wǒ men jí qiān bēi shí， zé jǐ jìn yú wěi dà。
　　
　　Thesparrowissorryforthepeacockattheburdenofitstail.
　　 má què yīn kǒng què duǒ zhù líng wěi 'ér tì tā dān yōu。
　　
　　ThePerfectdecksitselfinbeautyfortheloveoftheImperfect.
　　「 wán quán」 wèile 'ài「 bù wán quán」， bǎ zì jǐ zhuāng shì dé gèng měi。
　　
　　“ Igivemywholewaterinjoy,“ singsthewaterfall,''thoughlittleofitisenoughforthethirsty.''
　　 pù bù gē chàng zhù：「 suī rán kě zhě zhǐ xū shǎo xǔ shuǐ biàn zú gòu， wǒ què lè yì jǐyǔ wǒ de quán bù」
　　
　　Thewoodcutter'saxebeggedforitshandlefromtree,thetreegaveit.
　　 qiáo fū de fǔ tóu xiàng shù yào bǐng， shù biàn gěi liǎo tā。
　　
　　Wereadtheworldwrongandsaythatitdeceivesus.
　　 wǒ men kàn cuò liǎo shì jiè， què shuō shì jiè qī piàn liǎo wǒ men。
　　
　　Hewhowantstodogoodknocksatthegate;hewholovesfindsthegateopen.
　　 xiǎng yào xíng shàn de rén zài mén wài qiāo zhù mén； ài rén de， kàn jiàn mén shì chǎng kāi de。
　　
　　Thescabbardiscontenttobedullwhenitprotectsthekeennessoftheword.
　　 jiàn qiào bǎo hù jiàn de fēng lì， zì jǐ què mǎn zú yú tā zì jǐ de chí dùn。
　　
　　Thecloudstoodhumblyinacornerofthesky,Themorningcrowneditwithsplendour.
　　 bái yún qiān bēi dì zhàn zài tiān biān， chén guāng gěi tā pī shàng zhuàng lì de guāng cǎi。
　　
　　Thedustreceivesinsultandinreturnoffersherflowers.
　　 chén tǔ chéng shòu qū rǔ， què yǐ xiān huā lái huí bào。
　　
　　Godisashamedwhentheprosperousboastsofhisspecialfavour.
　　 dāng fù guì lì dá de rén kuā shuō tā dé dào shàng dì de 'ēn huì shí， shàng dì què xiū liǎo。
　　
　　Nothammer-strokes,butdanceofthewatersingsthepebblesintoperfection.
　　 bù shì chuí de qiāo dǎ， nǎi shì shuǐ de zài gē zài wǔ， shǐ 'é luǎn shí zhēn yú wán měi。
　　
　　God'sgreatpowerisinthegentlebreeze,notinthestorm.
　　 shàng dì de dà néng zài róu hé de wēi fēng zhōng， bù zài kuáng fēng bào yǔ zhōng。
　　
　　Bypluckingherpetalsyoudonotgatherthebeautyoftheflower.
　　 cǎi xié huā bàn dé bù zhù huā de měi lì。
　　
　　Thegreatwalkswiththesmallwithoutfear.Themiddlingkeepsaloof.
　　 dà de bù pà yǔ xiǎo de tóng yóu， jū zhōng de què yuǎn bì zhī。
　　
　　''Thelearnedsaythatyourlightswillonedaybenomore.''saidthefireflytothestars.Thestarsmadenoanswer.
　　 yíng huǒ chóng duì qún xīng shuō：「 xué zhě shuō nǐ de guāng yòu yī tiān huì xī miè。」 qún xīng bù huí dá tā。
　　
　　Thepetdogsuspectstheuniverseforschemingtotakeitsplace.
　　 xiǎo gǒu huái yí dà yǔ zhòu yīn móu cuàn duó tā de wèi zhì。
　　
　　Godlovesman'slamp-lightsbetterthanhisowngreatstars.
　　 shàng dì xǐ 'ài rén jiān de dēng guāng shèn yú tā zì jǐ de dà xīng。
　　
　　Praiseshamesme,forIsecretlybegforit.
　　 róng yù xiū zhù wǒ， yīn wéi wǒ 'àn dì lǐ zhuī qiú zhù tā。
　　
　　Lifehasbecomericherbythelovethathasbeenlost.
　　 shēng mìng yīn wéi shī qù 'ài qíng 'ér gèng fēng shèng。
　　
　　Darkcloudsbecomesheaven'sflowerswhenkissedbylight.
　　 hēi yún shòu dào guāng de jiē wěn shí， jiù biàn chéng liǎo tiān shàng de huā duǒ。
　　
　　Thelittleflowerliesinthedust.Itsoughtthepathofthebutterfly.
　　 xiǎo huā shuì zài chén tǔ lǐ， tā xún qiú hú dié zǒu de lù。
　　
　　Letthisbemylastword,thatItrustinthylove.
　　 wǒ xiāng xìn nǐ de 'ài」 ràng zhè jù huà zuò wéi wǒ zuì hòu de huà。
　　
　　Iloveyounotbecauseofwhoyouare,butbecauseofwhoIamwhenIamwithyou.
　　 wǒ 'ài nǐ， bù shì yīn wéi nǐ shì yī gè zěn yàng de rén， ér shì yīn wéi wǒ xǐ huān yǔ nǐ zài yī qǐ shí de gǎn jué。
　　
　　Nomanorwomanisworthyourtears,andtheonewhois,won ‘ tmakeyoucry.
　　 méi yòu rén zhí dé nǐ liú lèi， zhí dé ràng nǐ zhè me zuò de rén bù huì ràng nǐ kū qì。
　　
　　Theworstwaytomisssomeoneistobesittingrightbesidethemknowingyoucan‘ thavethem.
　　 shī qù mǒu rén， zuì zāo gāo de mò guò yú， tā jìn zài shēn bàng， què yóu rú yuǎn zài tiān biān。
　　
　　Neverfrown,evenwhenyouaresad,becauseyouneverknowwhoisfallinginlovewithyoursmile.
　　 zòng rán shāng xīn， yě bù yào chóu méi bù zhǎn， yīn wéi nǐ bù zhī shì shuí huì 'ài shàng nǐ de xiào róng。
　　
　　Totheworldyoumaybeoneperson,buttoonepersonyoumaybetheworld.
　　 duì yú shì jiè 'ér yán， nǐ shì yī gè rén； dàn shì duì yú mǒu gè rén， nǐ shì tā de zhěng gè shì jiè。
　　
　　Don‘ twasteyourtimeonaman/woman,whoisn‘ twillingtowastetheirtimeonyou.
　　 bù yào wéi nà xiē bù yuàn zài nǐ shēn shàng huā fèi shí jiān de rén 'ér làng fèi nǐ de shí jiān。
　　
　　Justbecausesomeonedoesn‘ tloveyouthewayyouwantthemto,doesn‘ tmeantheydon‘ tloveyouwithalltheyhave.
　　 ài nǐ de rén rú guǒ méi yòu 'àn nǐ suǒ xī wàng de fāng shì lái 'ài nǐ， nà bìng bù dài biǎo tā men méi yòu quán xīn quán yì dì 'ài nǐ。
　　
　　Don‘ ttrysohard,thebestthingscomewhenyouleastexpectthemto.
　　 bù yào zháojí， zuì hǎo de zǒng huì zài zuì bù jīng yì de shí hòu chū xiàn。
　　
　　MaybeGodwantsustomeetafewwrongpeoplebeforemeetingtherightone,sothatwhenwefinallymeettheperson,wewillknowhowtobegrateful.
　　 zài yù dào mèng zhōng rén zhī qián， shàng tiān yě xǔ huì 'ān pái wǒ men xiān yù dào bié de rén； zài wǒ men zhōng yú yù jiàn xīn yí de rén shí， biàn yīngdāng xīn cún gǎn jī。
　　
　　Don‘ tcrybecauseitisover,smilebecauseithappened.
　　 bù yào yīn wéi jié shù 'ér kū qì， wēi xiào bā， wéi nǐ de céng jīng yōng yòu。
　　
　　 shàng dì duì rén shuō dào：“ wǒ yī zhì nǐ， suǒ yǐ yào shāng hài nǐ； wǒ 'ài nǐ， suǒ yǐ yào chéng fá nǐ。”
　　
　　 tiān kōng zhōng méi yòu chì bǎng de hén jì， dàn wǒ yǐ fēi guò。
　　
　　 dāng nǐ bǎ suǒ yòu de cuò wù dū guān zài mén wài， zhēn lǐ yě jiù bèi jù jué liǎo。
　　
　　 cuò wù jīng bù qǐ shī bài， dàn shì zhēn lǐ què bù pà shī bài。
　　
　　 lí wǒ men zuì jìn de dì fāng， lù chéng què zuì yáo yuǎn。 wǒ men zuì qiān bēi shí， cái zuì jiē jìn wěi dà。
　　
　　 ài jiù shì chōng shí liǎo de shēng mìng， zhèng rú shèng mǎn liǎo jiǔ de jiǔ bēi。
　　
　　 yuè 'ér bǎ tā de guāng míng biàn zhào zài tiān shàng， què liú zhe tā de hēi bān gěi tā zì jǐ。
　　
　　 shēng mìng yīn wéi fù chū liǎo 'ài， ér gèng wéi fù zú。
　　
　　. guǒ shí de shì yè shì zūn zhòng de， huā de shì yè shì tián měi de， dàn shì ràng wǒ zuò yè de shì yè bà， yè shì qiān xùn dì zhuān xīn dì chuí zhe lǜ yìn de。
　　
　　 mái zài dì xià de shù gēn shǐ shù zhī chǎn shēng guǒ shí， què bìng bù yào qiú shí yāo bào chóu。
　　
　　 xiè xiè huǒ yàn gěi nǐ guāng míng， dàn shì bù yào wàng liǎo nà zhí dēng de rén， tā shì jiān rěn dì zhàn zài hēi 'àn dāng zhōng ní。
　　
　　 zài qún xīng zhī zhōng， yòu yī kē xīng shì zhǐ dǎo zhe wǒ de shēng mìng tōng guò bù kě zhī de hēi 'àn de。
　　
　　 wǒ men bǎ shì jiè kàn cuò liǎo， fǎn shuō shì jiè qī piàn wǒ men。
　　
　　 xiǎo cǎo yā， nǐ de zú bù suī xiǎo， dàn shì nǐ yōng yòu nǐ zú xià de tǔ dì。
　　
　　 zhǐ guǎn zǒu guò qù， bù bì dòu liú zhe qù cǎi liǎo huā duǒ lái bǎo cún， yīn wéi yī lù shàng， huā duǒ zì huì jì xù kāi fàng de。
　　
　　 ā， měi yā， zài 'ài zhōng zhǎo nǐ zì jǐ bā， bù yào dào nǐ jìng zǐ de chǎn yú zhōng qù zhǎo yā。
　　 rú guǒ nǐ bǎ suǒ yòu de cuò wù dū guān zài mén wài， nà zhēn lǐ yě yào bèi guān zài mén wài liǎo
　　 shī gē sǎnwén
　　 jí tán jiā lì fēi niǎo jí xīn yuè jí
　　 suí xiǎng jí yuán dīng jí cǎi guǒ jí
　　 hēi niú jí zài cì jí yè pán jí
　　 yóu sī jí zuì hòu de xīng qī jí 'ài zhě zhī yí
　　 qì jué chén 'āi jí shū qíng shī
　　 dù kǒu jí lì bā lā shēn yè
　　 xiǎo shuō
　　 shí dài huà juàn wén yuàn guī bǎo nǚ qǐ gài hé biān tái jiē de sù shuō
　　 pò liè yí jiāo cái chǎn xiǎo xí fù
　　 yī yè huó zhe hái shì sǐ liǎo shèng yǔ bài
　　 kā bù 'ěr rén sù bā mò hā mǎ yà
　　 bào dá biān ji pàn jué
　　 yī gè gǔ lǎo de xiǎo gù shì yuán lái rú cǐ bǐ jì běn
　　 fēi fǎ rù nèi wū yún hé tài yáng shú zuì
　　 fǎ guān jiě jiě dǎ diào 'ào qì
　　 guò shī bài táng xiāng jiàn nán yǐ bì miǎn de zāi huò
　　 nǚ lín jū lǚ xíng nuò yán hā 'ěr dá 'ěr yī jiā
　　 hǎi méng dì nǚ yǐn shì yī gè nǚ rén de xìn
　　 jué bié zhī yè mò shēng nǚ rén xīn láng yǔ xīn niàn
　　 piān jiàn yì shù jiā tōu lái de cái bǎo
　　 zuì hòu de jiǎng shǎng mù sī lín de gù shì chén chuán
　　 xiāng guān wén zhāng
　　 tài gē 'ěr de wén xué shèng diàn lùn tài gē 'ěr de sǎnwén shī① tài gē 'ěr de shī
　　
　　 tài gē 'ěr nián biǎo
　　
　　
　　1861 nián 5 yuè 7 rì， chū shēng。
　　
　　1878 nián， fù yīng guó liú xué，
　　
　　1880 nián， huí guó zhuān mén cóng shì wén xué huó dòng。
　　
　　1901 nián， zài shèng dì ní kè tǎn chuàng bàn 'ér tóng jiào yù shí yàn xué xiào。
　　
　　1884～ 1911 nián， dān rèn fàn shè mì shū。
　　
　　1924 nián， fǎng wèn zhōng guó。
　　
　　1941 nián， xiě zuò yí yán《 wén míng de wēi jī》。
　　
　　1941 nián 8 yuè 7 rì， shì shì。
　　
　　 tài gē 'ěr yǔ zhōng guó
　　
　　
　　 tài gē 'ěr yǔ zhōng guó tài gē 'ěr yī guàn qiáng diào yìn zhōng liǎng guó rén mín tuán jié yǒu hǎo hé zuò de bì yào xìng。 1881 nián， tā xiě liǎo《 sǐ wáng de mào yì》 yī wén， qiǎn zé yīng guó xiàng zhōng guó qīng xiāo yā piàn、 dú hài zhōng guó rén mín de zuì xíng。 1916 nián， tā zài rì běn fā biǎo tán huà， pēng jī rì běn jūn guó zhù yì qīn lüè zhōng guó de xíng dòng。 1924 nián， tā fǎng wèn zhōng guó， huí guó fā biǎo liǎo《 zài zhōng guó de tán huà》。 1937 nián， rì běn dì guó zhù yì fā dòng qīn huá zhàn zhēng yǐ hòu， tā lǚ cì fā biǎo gōng kāi xìn、 tán huà hèshī piān， chì zé rì běn dì guó zhù yì， tóng qíng hé zhī chí zhōng guó rén mín de zhèng yì dǒu zhēng。 zhōng guó zuò jiā guō mò ruò、 zhèng zhèn duó、 bīng xīn、 xú zhì mó děng rén zǎo qī de chuàng zuò， dà duō shòu guò tā de yǐng xiǎng。 tā de zuò pǐn zǎo zài 1915 nián jiù yǐ jiè shào dào zhōng guó。 jǐ shí nián lái chū bǎn de tā de zuò pǐn de zhōng yì běn hé píng jiè zhù zuò wéi shù hěn duō。 1961 nián wéi jì niàn tā de bǎi suì dàn chén， rén mín wén xué chū bǎn shè chū bǎn liǎo 10 juàn běn《 tài gē 'ěr zuò pǐn jí》。
　　1915 nián， chén dú xiù zài《 qīng nián zá zhì》（《 xīn qīng nián》） dì 2 qī shàng fā biǎo tā yì de《 zàn gē》 4 shǒu。 zuò pǐn zhōng“ xìn 'ài、 tóng xīn、 mǔ 'ài” de sī xiǎng， bó dà rén cí de xiōng huái， dú jù mèi lì de rén gé， yíng dé liǎo wú shù zhōng guó dú zhě de jìng yǎng。
　　 tài gē 'ěr shì jù yòu jù dà shì jiè yǐng xiǎng de zuò jiā。 1924 nián， tài gē 'ěr yìng sūn zhōng shān xiān shēng zhī yāo fǎng huá，“ tài gē 'ěr rè” jìn rù gāo cháo。 tā zài xú zhì mó jiā xiāng shí，“ guān zhě rú dǔ， gè xiào xué shēng shù bǎi míng qí zòu gē lè， qún xiàng xíng lǐ， pō jí yī shí zhī shèng。” tā huì jiàn liǎo liáng qǐ chāo、 shěn jūn rú、 méi lán fāng、 liáng shù míng、 qí bái shí、 pǔ yí děng gè jiè míng liú。 1956 nián， zhōu 'ēn lái zǒng lǐ huí yì shí shuō：“ tài gē 'ěr shì duì shì jiè wén xué zuò chū zhuó yuè gòng xiàn de tiān cái shī rén……” tā xūn táo liǎo yī pī zhōng guó zuì yòu cái huá de shī rén hé zuò jiā， qí zhōng guō mò ruò、 bīng xīn shòu dào de yǐng xiǎng zuì shēn。 guō mò ruò shì zhōng guó xīn shī dì yī rén， chēng zì jǐ wén xué shēng yá de“ dì yī jiē duàn shì tài gē 'ěr shì de”。 bīng xīn shì zhōng guó xīn wén xué nǚ xìng zuò jiā dì yī rén， tā zǎo qī de chuàng zuò shòu dào liǎo tài gē 'ěr de míng xiǎn yǐng xiǎng， tè bié shì shī jí《 fán xīng》 hé《 chūn shuǐ》。 tā shuō：“ wǒ zì jǐ xiě《 fán xīng》 hé《 chūn shuǐ》 de shí hòu， bìng bù shì zài xiě shī， zhǐ shì shòu liǎo tài gē 'ěr de《 fēi niǎo jí》 de yǐng xiǎng， bǎ xǔ duō‘ líng suì de sī xiǎng ’， shōu jí zài yī gè jí zǐ lǐ 'ér yǐ。” guō mò ruò、 bīng xīn děng rén yòu yǐ tā men de zuò pǐn， yǐng xiǎng liǎo yī dài yòu yī dài zhōng guó dú zhě。
　　 tài gē 'ěr shì zhōng guó dú zhě xīn mù zhōng zuì jù dì wèi de wài guó zuò jiā zhī yī， néng yǔ qí pǐ dí de dà gài zhǐ yòu suō shì bǐ yà yī rén。 xiàn yǐ chū bǎn liǎo 10 juàn běn de zhōng wén《 tài gē 'ěr zuò pǐn jí》。
　　
　　 tài gē 'ěr de běi jīng zhī lǚ ( zhāng bǎo shēn )
　　
　　　　 tài gē 'ěr (1861－ 1941) shì yìn dù wěi dà de shī rén、 zuò jiā hé zhé xué jiā， tā yī shēng chuàng zuò liǎo wǔ shí duō bù shī jí， shí 'èr bù zhōng、 cháng piān xiǎo shuō， yī bǎi duō piān duǎn piān xiǎo shuō， èr shí duō bù jù zuò， hái huà liǎo yī qiān wǔ bǎi duō fú huà， zuò liǎo jǐ bǎi shǒu gēqǔ， zhuàn xiě liǎo dà liàng de lùn wén。 1913 nián， tā de shī jí《 jí tán jiā lì》 róng huò liǎo nuò bèi 'ěr wén xué jiǎng， shì dì yī wèi huò dé nuò bèi 'ěr wén xué jiǎng de yà zhōu rén。 tài gē 'ěr de shī jí《 xīn yuè jí》、《 yuán dīng jí》、《 fēi niǎo jí》、《 liú yíng jí》 děng bèi dà liàng jiè shào dào zhōng guó， céng yǐng xiǎng liǎo wǒ guó jǐ dài dú zhě。 1924 nián 4 yuè 12 rì zhì 5 yuè 30 rì， tài gē 'ěr yìng liáng qǐ chāo、 cài yuán péi yǐ běi jīng jiǎng xué shè de míng yì yāo qǐng， huái zhe duì zhōng guó rén mín de shēn hòu gǎn qíng lái huá fǎng wèn， shí jiān cháng dá 50 duō tiān。 zài tài gē 'ěr lái huá zhī qián， dāng shí zài guǎng zhōu rèn fēi cháng dà zǒng tǒng de sūn zhōng shān xiān shēng， yě xiàng tā fā chū rè qíng yáng yì de yāo qǐng xìn :“…… xiān shēng lái huá， rú dé qīn zì xiāng yíng， dāng yǐn wéi dà xìng…… zhuān cǐ tài yāo， xī jí néng qián lái guǎng zhōu wéi xìng”。 yī tà shàng zhōng guó de lǐng tǔ， zhè wèi shī rén jiù qíng bù zì jìn dì shuō :“ péng yǒu men， wǒ bù zhī dào shénme yuán gù， dào zhōng guó biàn xiàng huí dào gù xiāng yī yàng， wǒ shǐ zhōng gǎn jué， yìn dù shì zhōng guó jí qí qīn jìn de qīn shǔ， zhōng guó hé yìn dù shì jí lǎo 'ér yòu jí qīn 'ài de xiōng dì。”
　　　　 1924 nián 4 yuè 23 rì， tài gē 'ěr chéng huǒ chē dǐ dá běi jīng qián mén chē zhàn。 liáng qǐ chāo、 cài yuán péi、 hú shì、 liáng shù míng、 gū hóng míng děng qián wǎng chē zhàn yíng jiē。 zài tā shí jiān cháng dá yī gè yuè de běi jīng zhī lǚ zhōng， tā dào gǔ lǎo de fǎ yuán sì qù shǎng dīng xiāng， cān jiā shī huì； liú lǎn liǎo gù gōng， huì jiàn liǎo mò dài huáng dì pǔ yí； zài běi dà、 qīng huá、 běi shī dà děng gāo děng xué fǔ fā biǎo liǎo《 zhōng guó yǔ shì jiè wén míng》、《 wén míng yǔ jìn bù》、《 zhēn lǐ》 děng duō piān yǎn shuō； huì jiàn gè jiè zhī míng rén shì…… 5 yuè 8 rì， shì féng tài gē 'ěr 63 suì shòu chén， běi jīng wén huà jiè rén shì gǎn pái liǎo tā de míng zuò huà jù《 qí dé lā》， dāng tiān zài dōng dān xié hé lǐ táng lǐ yǎn chū， yǐ cǐ wèitā zhù shòu。 hú shì zhù chí dà huì。 liáng qǐ chāo dài biǎo jīng chéng gè jiè rén shì zhì yǐ rè liè de hè cí。 zhù shòu huì de yāzhòuxì， shì guān kàn yòng yīng yǔ yǎn chū de《 qí dé lā》。 jù zhōng， lín huī yīn shì zhùjué gōng zhù qí dé lā、 xú zhì mó shì 'ài shén mǎ dá nà、 lín cháng mín shì chūn shén fá sēn tǎ。 liáng sī chéng dān rèn wǔ tái bù jǐng shè jì。 lǐ táng lǐ gāo péng mǎn zuò， shèng kuàng kōng qián。 tài gē 'ěr hé méi lán fāng zuò zài yī qǐ， tā xīng fèn dì shuō :“ zài zhōng guó néng kàn dào zì jǐ xiě de xì， wǒ tài gāo xīng liǎo。 kě shì， wǒ gèng xī wàng néng guān shǎng dào nǐ yǎn chū de xì。” méi lán fāng dāng jí dāyìng qǐng tā kàn zì jǐ gāng pái de xīn xì《 luò shén》。
　　　　 5 yuè 12 rì， tài gē 'ěr zài péng yǒu men de péi tóng xià， xīng zhì bó bó dì lái dào chāng píng xiǎo tānɡ shān wēn quán。 tānɡ quán mù yù， shān yě chūn sè， gěi shī rén liú xià liǎo měi hǎo de yìn xiàng。 tā shuō :“ zhè lǐ wēn nuǎn de quán shuǐ dí jìng liǎo wǒ shēn shàng de chén gòu。 zài chén guāng de xī wēi zhōng， kàn dào yàn lì de zhāoxiá， wèi lán de tiān， mò mò dì wàng zhe dì shàng de lǜ cǎo， xiǎo fēng qīng qīng yáo hàn zhe xǐng guò lái de xī biān gǔ liǔ， jǐng sè shì shǐ rén liú liàn de。”
　　　　 5 yuè 19 rì， zài gāng gāng luò chéng kāi mù de zhū shì kǒu kāi míng xì yuàn， méi lán fāng zhuān mén yǎn chū liǎo xīn pái de shén huà jīng jù《 luò shén》 zhāo dài tài gē 'ěr。 tài gē 'ěr lái jù chǎng kàn yǎn chū， tè yì chuān shàng liǎo tā chuàng bàn de yìn dù guó jì dà xué de hóng sè dà lǐ fú。 méi lán fāng jì dé hěn qīng chǔ :“ nà tiān， wǒ cóng tái shàng kàn guò qù， zhǐ jiàn shī rén duān zuò zài bāo xiāng lǐ zhèng zhōng， dài jiàng sè mào， zhe hóng sè cháng páo， yín xū báifà， wàng zhī rú shén xiān zhōng rén。” 5 yuè 20 rì， tài gē 'ěr jiāng fù tài yuán。 dāng rì zhōng wǔ， liáng qǐ chāo、 lǐ shí céng、 méi lán fāng、 qí rú shān hé féng yù xiáng jiāng jūn de dài biǎo lǐ míng zhōng děng， zài fēng zé yuán fàn zhuāng wèitā jiàn xíng。 tài gē 'ěr xīng zhì bó bó dì tán liǎo tā cǐ cì běi jīng zhī lǚ de xǔ duō gǎn shòu。 tā jīng guò rèn zhēn de sī kǎo， duì méi lán fāng de《 luò shén》 tí chū liǎo hěn duō jiàn shè xìng de yì jiàn。 tā rèn wéi， zài biǎo yǎn hé bù jǐng shàng， yìng zài làng màn yī xiē， wǔ tái sè cǎi gèng fēng fù yī xiē， tū chū shén huà jù de shī yì…… méi lán fāng xū xīn jiē shòu liǎo tā de jiàn yì， zài bù jǐng hé biǎo yǎn fāng miàn zuò liǎo gǎi dòng， qǔ dé liǎo kě xǐ de wǔ tái xiào guǒ。 dāng chǎng， tài gē 'ěr yòng mèng jiā lā wén xiě liǎo yī shǒu xiǎo shī tí zài wán shàn shàng sòng gěi méi lán fāng :“ qīn 'ài de， nǐ yòng wǒ bù dǒng de yǔ yán de miàn shā， zhē gài zhe nǐ de róng yán； zhèng xiàng nà yáo wàng rú tóng yī mài piāomiǎo de yún xiá， bèi shuǐ wù lǒngzhào zhe de fēng luán。”
　　　　 37 nián hòu de 1961 nián， méi lán fāng xiě liǎo《 zhuī yì yìn dù shī rén tài gē 'ěr》 de yī shǒu shī， fā biǎo zài 5 yuè 13 rì de《 guāng míng rì bào》 shàng， huái niàn zhè wèi yìn dù yǒu rén。 zài xù yán zhōng， méi lán fāng xiě dào :“ 1924 nián chūn， tài gē 'ěr xiān shēng lái yóu zhōng guó， lùn jiāo yú běi jīng， tán yì shèn huān。 yú wéi zhī yǎn《 luò shén》 yī jù， tài wēng guān hòu， fù shī xiāng zèng， fù yǐ zhōng guó bǐ mò shū zhī wán shàn。 rì yuè bù jū， hū hū sān shí yúzǎi yǐ。 cí zhí shī rén dàn chén bǎi nián jì niàn， huí yì tài wēng rè 'ài zhōng huá， wǎng wǎng qíng jiàn yú cí， wén cǎi cháng cún， shī yǐ jì zhī。” zhè yī xiàng zhēng zhōng yìn yǒu yì de shī shàn， xiàn bǎo cún zài méi lán fāng gù jū jì niàn guǎn lǐ。
　　　　 tài gē 'ěr de fǎng huá， zài zhōng yìn wén huà jiāo liú shǐ shàng， liú xià liǎo guāng huī de yī yè。 wén xué jiā zhèng zhèn duó zài dāng shí fā biǎo de《 huān yíng tài gē 'ěr》 yī wén zhōng xiě dào :“ wǒ men suǒ huān yíng de nǎi shì gěi 'ài yǔ guāng yǔ 'ān wèi yǔ xìng fú yú wǒ men de rén， nǎi shì wǒ men qīn 'ài de xiōng dì， wǒ men de zhī shí shàng yǔ líng hún shàng de tóng lù de lǚ bàn。 tā de wěi dà shì wú suǒ bù zài de！” zuò jiā xiè bīng xīn yě huái zhe chóng jìng zhī qíng xiě dào :“ tài gē 'ěr shì wǒ qīng nián shí dài zuì 'ài mù de wài guó shī rén， tā shì yī gè 'ài guó zhě、 zhé rén hèshī rén。 tā de shī zhōng pēn yì zhe tā duì yú zǔ guó de rè liàn， duì yú fù nǚ de tóng qíng hé duì yú 'ér tóng de xǐ 'ài。 yòu liǎo qiáng liè de 'ài jiù huì yòu qiáng liè de zēng， dāng tā men 'ài de yī qiē shòu dào qīn fàn de shí hòu， tā jiù huì fā chū qiáng liè de nù hǒu！ tā de 'ài hé hèn hé hǎi bō yī yàng， dàng yàng kāi qù， biàn jí quán rén lèi！” duì yú zhōng guó rén mín de rè qíng， tài gē 'ěr yòng qīnqiè 'ér zhēn zhì de yǔ yán shuō :“ wǒ shòu dào nǐ men de rè liè de huān yíng， dà jiā suǒ yǐ huān yíng wǒ， dà gài yīn wéi wǒ dài biǎo yìn dù rén。 yòu péng yǒu sòng yī kē tú zhāng， shàng kè tài gē 'ěr sān gè zì， wǒ duì cǐ shì hěn gǎn dòng…… wǒ zhè kē tú zhāng shàng kè zhe zhōng guó míng zì， tóu yī gè biàn shì tài shān de tài zì， wǒ jué dé cǐ hòu fǎng fó jiù yòu quán lì kě yǐ dào zhōng guó rén de xīn lǐ qù liǎo jiě tā de shēng mìng， yīn wéi wǒ de shēng mìng fēi yǔ zhōng guó rén de shēng mìng lián zài yī qǐ bù kě liǎo……”
　　　　 tài gē 'ěr zài fǎng wèn zhōng guó shí， céng jīng gāo zhān yuǎn zhǔ dì shuō :“ wǒ xiāng xìn， nǐ men yòu yī gè wěi dà de jiāng lái。 wǒ xiāng xìn， dāng nǐ men guó jiā zhàn qǐ lái， bǎ zì jǐ de jīng shén biǎo dá chū lái de shí hòu， yà zhōu yě jiāng yòu yī gè wěi dà de jiāng lái。”
　　　　 1956 nián， zài tài gē 'ěr fǎng huá 32 nián zhī hòu， zhōu 'ēn lái zǒng lǐ fǎng wèn yìn dù。 zài tài gē 'ěr qīn shǒu chuàng bàn de jiā 'ěr gè dá guó jì dà xué jiē shòu míng yù bó shì xué wèi shí， tā fēi cháng dòng qíng dì shuō :“ lái dào zhè gè xué shù zhōng xīn， bù néng bù lìng rén xiǎng qǐ zhè gè dà xué de chuàng bàn rén， yìn dù de wěi dà 'ài guó shī rén tài gē 'ěr。 tài gē 'ěr bù jǐn shì duì shì jiè wén huà zuò chū liǎo zhuó yuè gòng xiàn de tiān cái shī rén， hái shì zēng hèn hēi 'àn， zhēng qǔ guāng míng de wěi dà yìn dù rén mín de jié chū dài biǎo。 zhōng guó rén mín duì tài gē 'ěr bào zhe shēn hòu de gǎn qíng。 zhōng guó rén mín yǒng yuǎn bù néng wàng jì tài gē 'ěr duì tā men de rè 'ài。 zhōng guó rén mín yě bù néng wàng jì tài gē 'ěr duì tā men de jiān kǔ de mín zú dú lì dǒu zhēng suǒ gěi yú de zhī chí。 zhì jīn， zhōng guó rén mín hái yǐ huái niàn de xīn qíng huí yì zhe 1924 nián tài gē 'ěr duì zhōng guó de fǎng wèn。”
　　
　　 tài gē 'ěr
　　 xǔ duō pī píng jiā shuō， shī rén shì“ rén lèi de 'ér tóng”。 yīn wéi tā mendōu shì tiān zhēn de， shàn liáng。 zài xiàn dài de xǔ duō shī rén zhōng， tài gē 'ěr（ RabindranathTagore) gèng shì yī gè“ hái zǐ de tiān shǐ”。 tā de shī zhèng rú zhè gè tiān zhēn
　　 làn màn de tiān shǐ de liǎn； kàn zhe tā， jiù“ néng zhī dào yī qièshì wù de yì yì”， jiù gǎn dé hé píng， gǎn dé 'ān wèi， bìng qiě zhī dào zhēn xiāng 'ài。 zhù“ tài gē 'ěr zhé xué” S.Radhakrishnan shuō： tài gē 'ěr zhù zuò zhī liú xíng， zhī néng yǐn qǐ quán shì
　　 jiè rén men de xīng qù， yī bàn zài yú tā sī xiǎng zhōng gāo chāo de lǐ xiǎng zhù yì， yī bàn zài yú tā zuò pǐn zhōng de wén xué de zhuāng yán yǔ měi lì。 tài gē 'ěr shì yìn dù mèng jiā lā (Bengal) dì fāng de rén。 yìn dù shì yī gè“ shī de guó”。 shī jiù shì yìn dù rén shì cháng
　　 shēng huó de yī bù fēn， zài zhè gè“ shī zhī guó” lǐ， chǎn shēng liǎo zhè gè wěi dà de shī rén tài gē 'ěr zì rán shì méi yòu shénme qí guài de。 tài gē 'ěr de wén xué huó dòng， kāi shǐ de jí zǎo。 tā zài shí sì suì de shí hòu， jí kāi shǐ xiě jù běn liǎo， tā de zhù zuò，
　　 zuì chū dōushì yòng mèng jiā lā wén xiě de； fán shì shuō mèng jiā lā wén de dì fāng， méi yòu rén bù rì rì gē sòng tā de shī gē。 hòu lái tā zì jǐ hé tā de péng yǒu lù xù yì liǎo xǔ duō zhǒng chéng yīng wén ， shī jí yòu“ yuán dīng jí”、“ xīn yuè jí”、“ cǎi guǒ j픓 fēi niǎo jí”、“ jí tán jiā lì”、“ ài zhě zhī lǐ wù”、 yǔ“ qí dào”； jù běn yòu：“ xī shēng jí qí tā”、“ yóu jú”、“ àn shì zhī wáng”、“ chūn zhī xún huán”； lùn wén jí yòu：“ shēng zhī shí xiàn”、“ rén gé”、 zá zhù yòu： wǒ de huí yì”、“ è shí jí qí tā”、“ jiā tíng yǔ shì jiè” děng。 zài mèng jiā lā wén lǐ， jù yìn dù rén shuō： tā de shī jiào yīng wén xiě de yóu wéi měi lì de shì tā shì wǒ men shèng rén zhōng de dì yī rén： bù jù jué shēng mìng， ér néng shuō chū shēng mìng zhī běn shēn de， zhè jiù shì wǒ men suǒ yǐ 'ài
　　 tā de yuán yīn liǎo。” tā yòu zhe dà hú zǐ

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.