Krishnokoli islam biography of mahatma
Like clouds float, words waft through currents of ideas and take shapes and forms. We celebrate poetry across the world, across space and time, with the greatest and the new… our homage in words to the past, present and future…
A paean to the skies, the Earth and empathy with nature sets the tone for this poetic treat. I offer you a translation/transcreation of a Tagore song, from the original lyrics penned by the maestro in Bengali…
Poetry connects with eternal human emotions over space and time with snippets from old and verses from new.
Poets continue to draw from nature to express and emote. In empathy with the forces that swirl around us are poems written by moderns, like Jared Carter.
What is that calling on the wind that never seems a moment still? That moves in darkness like a hand of many fingers taken chill? (Excerpted from Visitant by Jared Carter)Click here to read Jared Carter’s Visitant and more poems.
Tagore wrote Bengali poet, writer and musician (1899–1976) "Nazrul" and "Nazrul Islam" redirect here. For other persons with the same name, see Nazrul Islam (disambiguation).For other uses, see Kazi Nazrul Islam (disambiguation). Kazi Nazrul Islam (Bengali: কাজী নজরুল ইসলাম, pronounced[kad͡ʒiˈnod͡ʒɾulislam]; 24 May 1899 – 29 August 1976) was a Bengali poet, short story writer, journalist, lyricist and musician. He is the national poet of Bangladesh. Nazrul produced a large body of poetry, music, messages, novels, and stories with themes, that included equality, justice, anti-imperialism, humanity, rebellion against oppression and religious devotion. Nazrul Islam's activism for political and social justice as well as writing a poem titled as "Bidrohī", meaning "the rebel" in Bengali, earned him the title of "Bidrohī Kôbi" (Rebel Poet). His compositions form the avant-garde music genre of Nazrul Gīti (Music of Nazrul). Born into a Bengali MuslimKazi family from Churulia in Burdwan district in Bengal Presidency (now in West Bengal, India), Nazrul Islam received religious education and as a young man worked as a muezzin at a local mosque. He learned about poetry, drama, and literature while working with the rural theatrical group Leṭor Dôl, Leṭo being a folk song genre of West Bengal usually performed by the people from Muslim community of the region. He joined the British Indian Army in 1917 and was posted in Karachi. Nazrul Islam established himself as a journalist in Calcutta after the war ended. He criticised the British Raj and called for revolution through his famous poetic works, such as "Bidrohī" ('The Rebel') and "Bhangar Gan" ('The Song of Destruction'), as well as in his publication Dhūmketu ('The Comet'). His nationalist activism in Indian independence movement led to his frequent imprisonment by the co Raja O Praja, an essay by Tagore, has been translated from Bengali as The King and His Subjects by Professor Himadri Lahiri. It formed the lead essay in his book of the same name published in 1908. Translator’s Introduction: Rabindranath Tagore’s essay “Raja O Proja” was first published in the well-known Bengali periodical Sadhana (Sravana, 1301/1894). It is anthologised in Rabindra Rachanabali (Sulabh Sanskaran) 5th volume (Visva-Bharati, Pous 1394): pp. 727-31. Tagore unravels the nature of the relationship between the colonial masters and the subjugated subject people. Much before Edward Said, Tagore examined how the colonial masters resorted to the practice of stereotyping, a strategy that denies human qualities to the colonised and renders them inferior and uncivilised. Set against the contemporary political background, the essay provides an incisive analysis of the behaviour patterns of both the British colonial government and the subjugated Indian population. It should be considered a significant contribution to the study of colonialism. When the British civilian, Radice Sahib, insulted and persecuted a certain zamindar in Orissa by violating laws, Lieutenant-Governor MacDonnellsubjected the offender to a one-year-punishment. If we reflect on this incident, it should not have surprised us. In reality, however, this act of justice was incredibly startling to the general public. This explains why some naive individuals expressed their unusual delight. Shortly afterwards, when MacDonnell Sahib was duly replaced by Elliott Sahib, the latter freed Radice from the punishment by illegally reversing his predecessor’s order and even promoted him to a higher post. Now the same naive people have started expressing their profound sorrows. The task is accomplished by the will of the master. Only the master knows why he [i.e. Elliott] violated the rule; we are left desperately groping Graham M Schweig Encyclopedia of Hinduism The word rasa within the Hindu context, specifically for certain devotional bhakti traditions, has come to refer to the ultimate experience of a tran-scendent and perfect love. This love engages pure emotions in any one of several eternal relationships with divinity, of greater or lesser levels of intensity of blissful intimacy that occur within the divine realm of → līlā within which the acts or play of god take place. The complexity of the word can be accounted for by viewing its meanings that have traversed a wide spectrum of applications. The word's meanings have been associated with a botanical substance, a sensory experience, an ontological significance, an aesthetic delight, a transcending otherworldly experience, and ultimately a theological vision within → bhakti. The religious meaning and significance of rasa and the development of a theory of an ultimate aesthetic principle called rasa, from the earliest usage in secular dramaturgy beginning around the 4th century CE up to its culmination in the bhakti tradition, especially of the → Caitanya school of → Gauḍ īya Vaiṣ ṇ avism in the 16th century CE, is reviewed here. The Sanskrit word rasa first appears in the hymns of the → Vedas. Its original meaning has to do with the botanical arena, its denotative meaning as simply the "sap" or "juice" from a plant, and by way of extension, the way in which sap or juice conduces to "taste, " a strong connotative sense of the word. These original meanings are usually associated with objects of this world. In the famed → Bhagavagītā, we find the word occurring in five instances, carrying this meaning of human "taste" (2.59 [2x]; 7.8; 15.13; 17.10). However, there is one instance among these in which the divinity of → Kṛ ṣ ṇ a identifies himself as rasa: "I am the taste (rasa) in water, " (
Kazi Nazrul Islam
Prose
The King and his Subjects
Rasasvada: A Comparative Approach to Emotion and Self
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