ISSN 2322 – 0023
Research Article
IJAESS (2015) Vol.3, No.1, 16-22
International Journal of Advancement in Education and Social Sciences
INFLUENCE OF FAMILY, CULTURE, AND
SOCIETY ON TAGORE'S LITERATUREUNDERSTANDING OF MODERNISM AND
TRADITIONALISM
Paramita BiswasI, Joydeep BanerjeeII
I
Department of Humanities and Social Science (English), NSHM Knowledge Campus, Durgapur, India([email protected])
II
Humanities and Social Science, National Institute of Technology, Durgapur, India
-------------------------------------------------------------------------------------------------------------------------------------------------------------------------------i
ABSTRACT: Rabindranath Tagore, who is known primarily as a poet and the father of the Rabindra Sangeet was also a
novelist, dramatist and short story writer with strong progressive pluralistic mind. This article is an attempt to analyze the
family back ground of Rabindranath Tagore and study cultural influences that worked as a catalyst to shape the mind of
ii
young Rabindranath, who gifted us with bold and progressive characters like Mrinal, Sohini, Uma, Labanya. The article is a
modest attempt to explore the picture of the progressive Tagore clan including the womenfolk, who was the verve of energy,
the embodiment of tolerance, and the inspiration of Rabindranath Tagore’s creation of magnificent characters. This article
tried to focus on the family background and the women of the Tagore household, which worked as a major influence in his
life.
KEY WORDS: Progressive, Cross – Cultural, Influence, Culture, Family, Environment.
--------------------------------------------------------------------------------------------------------------------------------------------------------------------------------
1. INTRODUCTION: A man‟s development and evolution depends upon his sociopolitical, cultural, and economic
conditions as well as on the education system of the society. However, the distinctive identity of a man that builds his
character predominantly depends on the cultural and educational foundation of the family as well. The culture and
education not only reflects an individual‟ past but also paves the path for his future. A proper education system is not only
a preserver and custodian of a culture; but also helps in the correction and creation of a new culture and tradition.
Rabindranath Tagore, the first Asian Nobel Laureate who addressed issues like women‟s exploitation, their
subsequent education and empowerment and lastly their existential exigencies, helped the society to break the shackles of
mindless orthodoxy. Numerous writers have explored Tagore‟s works and life. They wanted to understand those
influences, which helped shape his progressive thoughts- multicultural, multidimensional perspectives, thus providing him
with the intellectual impetus to sketch bold women characters when conservatism was the call of the society.
Chidananda Dasgupta has wonderfully pointed out the reason behind Tagore‟s progressive spirit and crosscultural perspectives in his book The Cinema of Satyajit Ray “The formidable Tagore clan had a strong international
awareness…Despite the restrictions of foreign rule and the slowness of late nineteenth and early twentieth century
communications, the Tagores treated the world as their very own oyster. Little happened in international culture that they
were not aware of, and not in contact with. To this was added all- India awareness. Rabindranath attracted number of
painters, musicians and writers from various parts of the country; for his own songs, he freely borrowed melodies and
stylistic elements from Carnatic music. Jyotirindranath translated from Marathi as much as he did from French” (1).
Subrata Dasgupta also echoed the same idea in his book “The Bengal Renaissance Identity and Creativity from
Rammohan Roy to Rabindranath Tagore “BY BIRTH AND CIRCUMSTANCE, RABINDRANATH TAGORE could hardly
avoid a cross – cultural heritage. It came from being Tagore” (2).
Being a „Tagore‟ he was destined to be born and brought up amidst rare talents of Tagore household, where
women got the opportunity of education which was absolutely unimaginable at that time. It was his destiny to become the
grandson of Prince Dwarkanath Tagore and son of Maharshi Debendranath Tagore- the pathfinders of cross-cultural
heritage of Tagores‟.
2. METHODOLOGY: The research methods consist of interpreting and comparing/contrasting primary sources as well
as the secondary sources. To write this paper, I have gone through Letters and Biography as major primary sources. The
major secondary sources to do the research are familial history of the Tagores, his stories, novels and other various printed
Biswas & Banerjee/International Journal of Advancement in Education and Social Science, Vol.3, No.1
17
works. The documents have been analyzed keeping in mind both intellectual and situational context. While studying the
available documents and preparing the paper I have also carefully focused on the chronological developments of Tagore‟s
family members including female members and its contemporary surroundings. Significant numbers of stories, novels are
the important source to find out the influence of Tagore‟s background on the women characters sculpted by the author.
However, this paper depends mainly on secondary sources because the author is not contemporary of Rabindranath
Tagore. This paper is not an exhaustive survey of the entire Tagore family. Rather the paper has tried to assert on those
particular members, who have indelible mark on the Author‟s life as reflected later in his numerous writings. However, in
several writings scholars have drawn attention on the influences of Tagore family members on Tagore. Scholars have
focused mainly on Maharshi Debendranath Tagore‟s influence on Rabindranath. However, Prince Dwarkanath Tagore,
Rabindranath Tagore‟s grandfather, who was the major pillar to introduce western culture in the Tagore family and in
Bengal, Alokasundari Devi, mother of Dwarkanath Tagore and Digambari Debi, wife of Dwarkanath Tagore remained
obscured. By critically examining the secondary sources, this paper tried to find out the contribution of these people on
Tagore. However, due to constraint of time all the sources are not included in the reading, but that does not attribute any
doubts to the author‟s intention. Author has made an honest effort for possible interpretations of the available individual
texts.
3. THE LEGACY: The search for identity and greater freedom to achieve the highest, were the common thread in the
Tagores. However, in a different plane, genetically the search for greater identity flown to Dwarkanath Tagore to
Debendranath to Rabindranath Tagore, which had remained predominantly a major theme of Rabindranath‟s writings until
his last day. The tremendous zeal for creation and diversification were the characteristics of the all the three Tagores.
Prince Dwarkanath Tagore, Rabindranath‟s grandfather was a landowner and a successful businessperson. He
established the first joint holding bank – the Union Bank, with sharp acumen of a businessperson. He was the first Indian
to form a company along with British Partners – The Carr, Tagore & Co. Dwarkanath established the New Oriental Life
Assurance Company in 1834. He went to England at that time, fortunate enough to meet with Prime Minister and Queen
Victoria. Apart from his business interest, he was also a philanthropist and a lover of art and literature. He was also an
ardent supporter of Rammohan Roy‟s ideology of Brhammo Samaj iiiand supported Sati Daho iv(widow burning)
movement of Roy. The list of achievements of Dwarkanath Tagore were manifolds and endless. Probably he was the only
Indian among the ruling Britishers succeeded in establishing an Indian Identity, which his grandson Rabindranath Tagore
in his later years gave a new dimension.
Maharshi Debendranath Tagore, father of Rabindranath Tagore, son of Prince Dwarkanath Tagore was a major
figure of Brahmo Samaj, founded by Raja RamMohan Roy, which Prince Dwarkanath also supported. Unlike his father
Dwarkanath Tagore, who was fond of his material wealth and power, Debendranath Tagore turned his back upon all
pleasures in spite of his upbringing in the lap of luxury. Influenced by Raja Ram Mohan Roy and Upanishads he spent his
life in seeking spiritualism. In fact, because of his reluctance to business affairs of Dwarkanath Tagore, after the death of
his father the empire was shattered. He developed a kind of antipathy for commercial activities and indulged himself into
spiritualism. However, Debendranath showed a very balanced acumen for business by creating trust deeds of the left over
estates of Dwarkanath. By doing so, he saved the Tagore family from perennially debt – ridden after the business
collapsed for Dwarkanath‟s death.
However, the characters of both father and son stand poles apart but the great genetic trend “to search of a new
identity” (3) remain the same that was a constant driving force in both the personalities. Devendranath whole-heartedly
immersed himself in conceptualizing a new religious concept “Bramhaism” and the text he formed on the ideas of
Bramhaism is still regarded as the “Bible” of Bramho Society.
Debendranath started publishing Tattwaboddhini Patrikav, which became the principal organ of the Brahmo
Samaj for propagating its view. The Patrika (Magazine) wrote articles supporting female education, widow – remarriage,
denouncing polygamy also. He was essentially a Hindu in all his spiritual aims and aspirations and aimed to create a pure
Hindu Samaj and the highest form of Hinduism. He was one of the first men in Bengal to open the doors for female higher
education and indeed in his family also.
As his daughter, Saudamini noted in her Pitrismriti (Reminiscence of a Father) that Debendranath used to follow
so many rituals of Hindu society and never tried to eliminate the age-old family customs and traditions observed by
women. He believed that such rules and regulation were the essence of our culture and traditions, which hold a family, but
he was against those customs, which were anti tradition and had nothing to do with the prevailing customs. Realizing the
importance of women education, which was anti tradition, he was the first to appoint a private tutor for the progress of the
young women of the family. Similarly Debendranath got his daughter‟s marriage according to Brahmo rituals instead of
Biswas & Banerjee/International Journal of Advancement in Education and Social Science, Vol.3, No.1
18
Hindu Tradition which was the first Brahmo marriage took place on 26th July 1861.He even refused to perform his
father‟s shradhvi, a ceremony performed according to Hindu rites after the death of a family member. All the three sisters
of Debendranath, daughters of Dwarkanath Janhabi, Rasibilasi and Drobomoyee stood beside him showing tremendous
courage and convictions at that time. Probably the three daughters got their courage from their mother Digambari Devi
who equally showed courage and conviction, extraordinary spirit that was the rarest of rare considering the prevailing
social circumstance.
From the time of Dwarkanath Tagore, the Tagore family experienced the integration of Western Culture and
Indian Spiritualism. The members of the Tagore‟s‟ were inspired by the wave of the west as well as inspired by the
serenity of mighty Himalaya. If Prince Dwarkatha Tagore was the pioneer to bring in western culture into the
contemporary society then Maharshi Debendranath was the embodiment of spiritualism. As a result, we get to see the coexistence of Brahmo Maharshi Debendranath Tagore and his civilian son Satyendranath Tagore who took the courage to
take his wife Jnanadanandini at his workplace, which was a history in itself. In addition, Rabindranath Tagore was the
ultimate consequent of that synthesis of east and west. Endowed with the reasoning power, gifted the society with
numerous bold women characters. As a result, through his writings, we get to see the emergence of “New Women”
especially in this Indian sub – continent. Carving the characters with the equal reasoning power, Tagore succeeded into
sculpting the amalgamation of East and West, traditionalism and modernism in his fictional characters. Maharshi
Debendranath Tagore and Sarada Devi had fourteen offspring and Rabindranath was the youngest of all. His elder brother
Dwijendranath Tagore was a lover of Indian philosophy and mathematics. Rabindranath‟s second oldest brother
Satyendranath Tagore was the first to get civil service. He was the one who broke the social custom and took his wife
Jnananandini to England, creating a revolution. Later, with Satyendranath Rabindranath went to England. Among all the
siblings, the most gifted was Jyotirindranath. He was the mentor of young Rabindranath also. Almost all the Tagore‟s
siblings were prodigy, intellectually and creatively gifted. Among these rare talents, Tagore was born and brought up
which plays an important role in shaping the young mind of Rabindranath.
To dwell deep into the bold, confident, emancipated characters of Tagore‟s fiction, we have to know those women
of Tagore‟s household those who inspired the talented Rabindranath to create characters like Mrinal, Uma, Binodini,
Sohini.
4. EMANCIPATED WOMEN OF TAGORE’S HOUSEHOLD: As mentioned, earlier that Dwarkanath Tagore was
very close to British Empire due to his partnership with British. Because of his close association with English people, he
was responsible to introduce the western culture in the Tagore household without disturbing the traditional Bengali life.
They incorporate the best of western culture with their own tradition. Thus it was believed that probably from the time of
Dwarkanath Tagore a distinctive lifestyle had been developed, a modern Bengali lifestyle but traditional from its core.
The women of the Tagore‟s household did not remain obscure. Confidence, they got from the western culture, to
overcome the hurdles, cross the threshold and lay a firm foundation of a new era. Some of them contributed directly to the
society and some of them remained silent though created an unprecedented example of courage and conviction.
The list of talented women of Tagore‟s household would remain incomplete without mentioning the name of
Alokasundari and Digambari Devi. Probably they were the precursor of courage, conviction, strong will power that in the
later days showed by the number of women of Tagore household and reflected in Rabindranath Tagore‟s fictions too. The
first one was Dwarkanath Tagore‟s mother and the other one was his wife. The list of rarest talent goes on with
Swarnakumari Devi, Janananandini Devi, Kadambari Devi, Mrinalini Devi Protiva Devi and Indira Devi.
After the death of Dwarkanath‟s father Ramlochon Tagore, Alokasundari Devi Dwarkanath‟s mother, took the
charges of the entire household as well as had the decision-making authority as per Ramlochon Tagore‟s will. In the will,
he instructed his minor son that unless and until he was matured enough, all the decisions including signing authority
would be taken by his mother. Even after Dwarkanath‟s maturity, he had to keep all income from the landed property
jointly with his mother, which Ramlochon used to do with his mother. What is unique about Ramlochon‟s will was that it
gave along with household authority, financial freedom also to his wife Alokasundari that was rare at that time. After
husband‟s death, a widow was deprived of her husband‟s property in the Hindu family leaving her behind to live a life
without respect and dignity. However, Ramlochon‟s pragmatic decision not only gave Alokasundari to live a respectful
life at the same it shows Ramlochon‟s respect for a woman equally which flows genetically in the Tagore clan. The
instructions give an insight into two things – that she was literate enough and her administrative capabilities. The same
pragmatic approach can be noticed when Debendranath Tagore save the entire Tagore family from perennial debt incurred
by Dwarkanath Tagore. Even Alokasundori was resolute enough to refuse the traditional custom of Antarjali Jatra,
custom of placing a dying person on the banks of the Ganga, though she was very religious by nature.
Biswas & Banerjee/International Journal of Advancement in Education and Social Science, Vol.3, No.1
19
Therefore, female education was given priority even before Dwarkanath‟s time. Ramlochon‟s daughter,
Dwarkanath‟s elder sister Rasibilasi could read Hari Kusum Stabha. Dwarkanath‟s wife Digambari Devi had a forceful
personality. With Digambari the glorious history of women emancipation and empowerment probably had made the
journey. When Dwarkanath‟s business prospered, his association with the Britishers increased, entertaining them regularly
with wine and meat. He even built a garden House at number 5, Belgachia with ample facilities of entertainment. When
Digambari Devi heard that Dwarkanath was regularly throwing party and having wine with the English men and taking
food cooked my Muslim bawarchisvii, she crossed the threshold of the Andar Mahal viiiand entered the baithak khana (the
outer portion of the mansion, meant for the male members). She went to Belgachia garden house to confirm the truth
about his husband‟s changed behavior. She witnessed that her husband was enjoying food, cooked by Muslim bawarchis,
at the same table with the English people including women. After this incident, she was courageous enough to take the
opinion of Brahmin Pundits about her duties and responsibilities towards her husband who had deviated from the Hindu
religion. She asked the pundits whether to leave her husband or should abandon religion for her husband because
according to Hindu religion a devoted wife‟s duty is to follow her husband‟s footsteps. Though, Dwarkanath had not
formally forsaken religion but it was believed that who had shared meal at the same table with Mlechhasix certainly had
deviated from his own religion.
After great deal of discussion, the Pundits had decided, “It is certainly the duty of a wife to revere her husband
and look after him but conjugal life with such a man was not permissible” (4). Digambari did the same thing as decided.
She with all devotion did her duties towards Dwarkanath but severed all relations with him. Digambari‟s incident showed
her courage to go against the established norms of Bengali society. She dared to cross the threshold only to confirm that
her husband had changed behavior, which was a rare step at that time. A husband was considered as God to a woman and
the wife did not have the authority to question the act of her husband. Going further, she even sought opinion from the
pundits what should be her duty towards her husband, which was undoubtedly revolutionary. A Hindu married woman
showing the courage to question her husband‟s deeds only showed Digambari as a woman of strong will power,
conviction, and courage. May be Digambari was the precursor of Mrinal of “The Wife‟s Letter” written by Rabindranath
Tagore. Both Digambari and Mrinal were emancipated women. They crossed the threshold and both of them lived their
own life in their own terms, creating their own identity.
The most prolific, blessed, and gifted was Swarnakumari, Rabindranath‟s elder sister apart from Rabindranath
himself. Her achievements were not simply confined as a writer. Rather she was versatile and courageous enough to
associate herself with social activities and politics also. Her first novel was Deep Nirbanx, followed by Basanta Utsab
xi
and Chinna Mukul. xii“Swarnakumari can claim to be the path breaker in the composition of musical plays similar to
opera in Bengali” (5) .Apart from novels she wrote satires, poetry, songs, humorous skits, travelogues, reminiscences,
school text. Nevertheless, her foray lies in two other areas. These were editing magazines and the most unusual was
writing articles on scientific topics. With her literary works, simultaneously she was also concerned about the social
conditions of the widows. Therefore for women welfare, Swarnakumari along with her few friends founded an
organisation named Sakhi Samitixiii. This organisation can well be termed as today‟s NGO. There are many NGOs working
for the development and betterment of hapless women, the same purpose as Sakhi Samiti focused on. The main purpose of
this organization was to educate young widows and young unmarried girls as teachers for women. Swarnakumari realized
that the demand of engaging governess was in demand to educate girls and usually missionaries were employed for this
work. Therefore, Swarnakumari‟s effort of employing widows and young unmarried girls as teachers undoubtedly opened
new horizon. Not only it educated the widows and young unmarried girls, and made them financially independent but
engaged in a profession of teaching certainly gave the idea that woman too can consider teaching as their full time
profession which is still consider as one of the virtuous and preferable profession for women. Under Swarnakumari‟s
brilliant guidance, Sakhi Samiti first time ever organized an exhibition on art and craft to bring forth the artistic excellence
of the various handicrafts by women. It reflects Swarnakumari‟s passion for art and craft, which had a very significant
place in Tagore‟s household and later on in Viswabharati, the university formed by Rabindranath Tagore. The novel,
Snehalataxiv reflects her concerned about widow. She always wanted Indian women to move forward like the western
women becoming self sufficient and independent. Along with her multidimensional literary works, she also attended the
Indian National Congress Session. She was highly moved with the spirit Indian nationalism. Her love, respect, and
concern for her motherland reflected in her last novel. Just almost like his younger brother Rabindranath, what she
believed she tried to practice in her personal life. Swarnakumari wanted her younger daughter Sarala to devote herself in
the service of the country instead of getting married. Calcutta University honoured her by conferring Jagattarini Gold
Medal. She was certainly unparallel, and the brightest star of the women of the Tagore‟s Household who win first as a
woman this honour.
Biswas & Banerjee/International Journal of Advancement in Education and Social Science, Vol.3, No.1
20
The most progressive was Jnanadanandini, wife of Satyandranath Tagore. She was not by birth attached with
Tagore family but became member of the family due to her marriage with Maharshi‟s second son Satyendranath, the first
one to join Indian Civil Service. It was impossible to think of the women of the Tagore family without her. She embedded
her own thoughts, ideas into the tradition and culture of the Tagore family that are still much of curiosity. With
tremendous zeal for creation, determination, she contributed greatly to the women‟s advancement. Because of her easeful
nature, she was accessible and connected to each member. She was the first to step into the outer world, showed courage
and dare to go to England in the 19th century. Her crossing the threshold was almost like Digambari, but Jnanadanandini
stepped into a much vaster world. She paved the way of women emancipation and individualism amidst all restrictions
and oppositions. She was the one who went to Bombay with her husband and left the ancestral house and moved to a
separate residence with her husband, son and daughter giving birth to the concept of nuclear family. Chitra Deb in her
book „Women of the Tagore household‟ says that the modern way of draping the sari with the 'pallu' (end of the drape)
thrown around the left shoulder in neat pleats was the result of Jnanadanandini's efforts (5).
It was not easy for Jnanadanandini to take such tremendous daring step to go to England as well to move to a
separate house leaving behind the ancestral house of Jorasanako. Criticism, differences of opinion were of plenty to create
a number of obstacles. However, with the support of her husband Satyendranath, she succeeded in embarking as a
liberated woman. Satyendranath Tagore got the opportunity to see the freedom enjoyed by the women of England. He was
not only the First Indian Civil Service officer but also the pioneer of women liberation in Bengal too. He wanted his small
shy bride to become his ideal wife as well as an ideal Indian woman in every respect. Apart from presenting a modernized
dress to Bengali women, she “introduced two other hitherto unknown habits. They were: evening outings and celebrating
birthdays” (5). Her literary endeavor could be visible in her reminiscence Puratani, which is a helpful domestic document
of Thakurbarixv. Jnanada Devi brought out and edited a magazine, name Balak, collecting all the young children
Sudhindra, Sarala, Pratima, Indira and encouraged them to write.
She translated the daring escape of Dedagorio Magrievitch from Siberia, named it as Ascharya Palayan or the
Amazing Escape. For the children she wonderfully dramatized two fairy tales – Saat Bhai Champa and Tak Doomadoom,
which is still date, fascinates young toddlers. Her articles published in Bharati magazine were Kinder Garden and
Women‟s Education. She translated one Marathi story “Bhau Saheb Bakhar”(5) apart from her writings for children and
women‟s education. What is unique about women of the Tagore family was that they all confronted with the western
culture but they assimilated the same only that much necessary to their blossoming as an ideal woman. As because
Janadanandini was the wife of the first civil officer, went to England, obviously she was open to western culture and
anglicized Bengali society. However, she adopted that much western culture as was necessary for self-development.
Though influenced by the western culture, left Jorasanko and giving birth to the concept of nuclear family, but she was
never away from the endeavor of each and every family member. Be it Swarnakumari‟s effort or broadening
Jyotirindranath‟s conservative outlook, or encouraging him to translate Sanskrit plays, Jnanadanandini leaves her
footmarks in every front of life.
Another member of the Tagore family was Kadambari Devi, just like Jnanadanandini, was attached with this
family not by birth but by her marriage with Jyotirindranath Tagore Marahshi‟s another most gifted son. Kadambari,
popularly known as Rabindranaths‟ “Notun Bouthan”xvi was remembered for the great love for literature and her ability to
sing and act. Matangini, transformed into Kadambari practically transformed the house into a centre of literary activities.
She was such a member of the Tagore‟s household who never came in the forefront but remained behind, encouraging all
the members. The most unmatched, indelible influence was on Rabindranath – the most talented one, who himself never
disregarded this influence. Her creation of Nandan Kanan (Garden of Eden) only bears the testimony that she had a great
taste in interior decoration and romantic beauty. Her acting and singing talent were recorded when she acted in
Swanakumari‟s Basanta Utsab and Maanmoyee.xvii She had captivated Jyotirindranath, Rabindranath and other members
with her talents, thus inspiring the spirited cultural lamp of the andar mahal to keep alive, which her premature death
outshined. As Chitra Dev mentioned “To Sarat Kumari she was the ribbon that held the bouquet of flowers together.”(5)
What Jnanadanandini and Kadambari Devi gifted the women of the contemporary society was courage to assert owns
individuality in spite of the fact that they both were an ordinary woman elevating them to an extraordinary woman with
their own desire.
Maharsi‟s other two daughters – in - law Kadambari Devi and Mrinalini Devi were unlike Jnanadanandini the
most progressive one, remained behind, silently contributing to uphold the flagship of women emancipation. The mother
of five, she fulfilled Tagore‟s life with love and care. However, she was not progressive like Jnanadanandini but her
transformation from Bhabatarini to Mrinalini was apt. Just like the other daughter - in - laws, she also went to Loretto to
learn English. She was well versed in Sanskrit and had her lessons in Piano and music. Particularly Mrinalini‟s role in the
Biswas & Banerjee/International Journal of Advancement in Education and Social Science, Vol.3, No.1
21
Tagore‟s household was of a perfect homemaker. However, far from being a perfect homemaker, she emerged as an ideal
life partner, Saho Dharminixviii, stood beside him to fulfill Tagore‟s dream. She handed over him all her jewels to set up
Ashram and was very active in the daily life of the Ashram.
Among Maharshi‟s granddaughters, Protiva and Indira left their marks behind. Protiva was the eldest child of
Maharshi‟s third son Hemendranath. Protiva‟s father spared no pains to raise her as per the standard of Thakurbari. She
was an accomplished singer, trained both in Indian and Occidental music. Her greatest achievement lies in opening the
door of music and drama for Bengali women. She was the first Bengali woman to appear before the public, breaking the
tradition and sang Brahmo Sangeet xixwith her brothers on Maghotsoavxx. Devising a simple way of writing notations was
her greatest contributions in the world of music and prior to her, no woman had ventured into the field of preparing
musical notations.
Just like her Aunt Swarnakumari, another brightest star was Indira Devi, the only daughter of Satyendranath and
progressive Jnanadanandini, was the first woman graduate of Tagore family (5). She was not only beautiful, but also
accomplished. All remember her for her achievements and her unique lifestyle blended with modernism and Indian
tradition. She was affectionately called BibiDidixxi by Rabindranath whom Tagore wrote so many letters known as Chinna
Patrabali.xxii Indira contributed in literature, translation, music, and reminiscence. She wrote numerous articles in
Rabindra Sangeet. She was a leader of women‟s liberation taking care of women‟s education, liberty. Her mother and
aunt paved a path and Indira walking on it broke the age-old restrictions further but she was also not in favor of blind
modernism giving away our traditions. Just like her uncle Rabindranath, she also chose a middle path, discarding all sorts
of extremism. In her own opinion that a woman must have the courage, conviction, intelligence along with the grace,
tenderness and gentleness as expected to become a true woman.
5. CONCLUSION: The women of the Tagore‟s household were all emancipated women in their own way. Some women
were members by birth or some became member by their marriage, but they all appeared to be ideal women. Some of
them remained behind; some came in the forefront as an active member of the movement of women liberation, creating a
new era of women. As the wave of emancipation knocked, many other women surpassed the women of the Tagore family
in terms of education and modernism, but the womenfolk of the Tagore family strike a balance between traditionalism and
modernism, spiritually and morally uplifted, giving a new dimension to the word „emancipation‟, a new meaning to the
“New Woman”.
REFERENCES:
1.
2.
3.
4.
5.
i
Dasgupta, C., 2001, The Cinema of Satyajit Ray. New Delhi: National Book Trust, p12
Dasgupta, S., 2010, The Bengal Renaissance Identity and Creativity from Rammohan Roy to Rabindranath Tagore, Ranikhet:
Permanent Black, 201.Print ,p201
Mitra, S.,, 2015, The Tagore clan: a history of wealth, http://muktodhara.org/?=1658 ,accessed 16.1.2015 3.30pm
Roy S. & Chowdhury, S., 2010, Women Of The Tagore Household, Penguin Books. India,Print,16
Roy S. & Chowdhury, S., 2010, Women Of The Tagore Household, Penguin Books, India, Print
,pp(54),(40),(41),(43),(87),(134)]
Rabindra Sangeet also known as Tagore Songs, are songs written and composed by Rabindranath Tagore.
Heroines of Rabindranath Tagore‟s novel.
iii
Brahmo Samaj is the societal component of Brahmoism, a monotheistic reformist and renaissance movement of Hindu religion.
iv
The burning of the widow. Sati is described as a Hindu custom in India in which the widow was burnt to ashes on her dead husband's pyre
v
This monthly periodical was an organ of the Brahmo Samaj and most of the social reform activities, like women's education, religious reformation,
science education, were strongly supported in this journal.
vi
The performance of Shraddha by a son is regarded as compulsory by Hindus, to ensure that the soul of the dead goes to heaven.Actual meaning is
"anything done with sincerity and faith”.
vii
A specialized cook, mainly belong to Muslim.
viii
Inner portion of the mansion, meant only for the women.
ix
Mleccha, meaning "non-Vedic" or "non-Aryan", "barbarian", "foreigners", also spelt Mlechchha or Mlechha, referred to people of foreign
extraction in ancient India. Mleccha was used by the ancient Indians much as the ancient Greeks used barbaros, originally to indicate the uncouth
and incomprehensible speech of foreigners and then extended to their unfamiliar behaviour
x
Name of the novel written by Swarnakumari Devi,Rabindranath tagore‟s elder sister
ii
Biswas & Banerjee/International Journal of Advancement in Education and Social Science, Vol.3, No.1
xi
22
Spring Festival, another novel of Swarnakumari
Novel of Swarnakumari
xiii
Organisation formed by Swarnakumari for the development of the uneducated young girls and widow.The name was given by Rabindranath
Tagore. Sakhi means Friends specially refer to women and samiti means organization. Therefore the meaning can women‟s organization also.
xiv
Another novel of Swarnakumari
xv
The house of the Tagores Jorasanko, situated at Kolkata popularly known as Thakurbari.
xvi
New Sister- in law.Kadambari Devi,wife of Jyotirindranath tagore,elder brother of Rabindranath tagore,whom Tagore affectionately called as
Notun Bouthan.
xvii
Another novel of Swarnakumari
xviii
Saho Dharmini”, meaning one who is along with the man.A wife is called saho Dharmini. This term implies that the wife and the husband are to
go along in life together, performing their deeds together, towards leading a righteous life
xix
Brahma Sangit devotional songs of the brahma samaj, originally composed by Raja Rammohun Roy.Sangeet means Song.
xx
A festival celebrated in the month of Magh (Bengali Month) that is in the month of December.
xxi
Indira Devi, niece of rabindranath Tagore and daughter of Satyendranath Tagore and Jnananandini Devi. Tagore affectionately used to call Indira
Devi as BibiDidi. In Bengali the word Bibi means a girl with polished behavior like English people. As because Indira Devi send her childhood, she
lifestyle was obviously influenced by the british culture. Didi means elder sister, though in Bengal people affectionately called small girl child as
Didi. Even grand daughters are also called as Didi.
xxii
Collection of Letters written by Rabindranath Tagore to his niece Indira Devi. A selection of these letters was published in 1912 as
Chinnapatra (an English translation of which appeared under the title Glimpses of Bengal in 1920), revised and edited by Rabindranath
himself.
xii