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TAGORE’S SHORT
STORIES: SOME POINTS

TO PONDER
DSE III
INDIAN LITERATURE I
SEMESTER II 2020
In the words of Rabindranath Tagore, the great writer, about the origins of the short stories as
remembered in 1936:
It was when I was quite young that I began to write short stories. Being a landlord I had to go to
villages and thus I came in touch with the village people and their simple modes of life. I enjoyed the
surrounding scenery and the beauty of rural Bengal…My whole heart went to the simple village people
as I came in close contact with them. They seemed to belong to quite another world so very different
from that of Calcutta. My earlier stories have this background and they describe this contact of mine
with the village people. They have the freshness of youth. Before I had written these short stories there
was not anything of that type in Bengali literature. No doubt Bankimchandra had written some stories
but they were of a romantic type; mine were full of the temperament of the village people. There was
the rural atmosphere about them.
… My later stories have not got that freshness, though they have greater psychological value and
they deal with problems.
[From Galpaguchcha, Granthaparichoy]

Tagore’s pioneering role as a short story writer is undisputable. The springs of
his work may be described as follows:
• Personal: Tagore lost his sister-in-law Kadambari Devi and the pain
resulting from this terrible loss influenced his creativity. See Tapobrata
Ghosh’s Introduction in the Oxford Tagore Translations ed Sukanta
Chaudhuri
• Philosophical: Tagore had deeply imbibed teachings of the Upanishad—
‘Sarvam khalvidam Brahman’– the finitude of life against the backdrop of
the vast Infinite shaped his thoughts.
• Artistic: Although he found inspiration from observation of rural life, his
stories are not photographic realism but imaginative reshaping of the
experience. His artistic belief is aligned with the Romantic Expressive
theory of Art and the Rasa theory of Indian aesthetics.
This is how Tagore describes story telling in ‘Sonar Tari, Barshajapon’. I’m
giving a rough translation:
‘Simple lives, simple sorrows, small losses that are extremely easy to
grasp,
Of the hundreds of forgettings that float past everyday, [I’m
capturing] a few of those teardrops,
[There are] no colourful descriptions, no grand occurrences, no
theories and no advice—
In the end there is a sense of unfulfillment, even after close, the
echoes will linger on in the mind.’
Tagore’s short stories trace a curve through early, middle and mature
phases. They are noted for the following:
• Complexity of form and technique
• Representation of the inner lives of men and women, especially
championing women’s causes, focusing on their frustrations,
rebellions and aspirations
• Romantic appreciation of Nature
• Social consciousness
• Environmental consciousness—in which he was far ahead of his
time
If the question is whether lyricism or social realism is dominant in the
stories, it is difficult to decide.
Illustrative readings
1. The Ghat’s Story [1884]
• One of the earliest short stories featuring the ghat as the narrator.
[Remember school exercises like writing autobiography of a river, a coin etc?]
• Tragic tale of a young woman’s love which ends with her plunging into the
waters of the river. [Remember Kadambari Devi and that Tagore’s Muse ( his
mysterious Jivan-devata) found creative self expression by breaking the
confines of the self and merging with the Vast and Immense, through
separation and deep pain].
• In the early stories, women are at the centre, though passive, meek and
suffering. In later stories, most memorably in The Wife’s Letter, women are
depicted as questioning rigid social strictures and seeking liberation.
2. Hungry Stone [1895]
• Note the frame narration and nested structure—stories within stories.

• The inset story never gets told—the tale by Karim Khan of the Persian
slave girl but what is left to the imagination deepens the Gothic sense of
combined mystery, suspense and the supernatural.
• Again, woman at the centre, haunting the present with the unfulfilled desire
of the past
• Is it desire for the past? [ Remember that as a seventeen year old Tagore
had resided in the palace of Shahibag at Ahmedabad where his brother was
posted? If possible look at Gaganendranath Tagore’s painting.]
• Memory plays an important role and yet man is chained by illusions of the
past and present. [What does Meher Ali represent?]
• Ponder also how the frame story juxtaposes colonial present times
against a medieval past- [a past with haunting melodies –those
unheard are sweeter?]--New signs like the railways replacing old
signs in India like Mughal attire.
• Have you read Edgar Allan Poe’s The Fall of the House of Usher? It
talks of the sentience of all things and of the living dead and there is
again a woman at the centre. However the tale has a mysterious or
terrifying closure, in Tagore there is an ellipsis , we are not told how
the narrator escaped.
• What does Nature communicate in the short story?
• Have you watched the Bengali film based on the short story
directed by Tapan Sinha in 1960, Kshudhita Pashan ?
3. Balai [1928]
• An occasional story that has transcended time.

• The boy-mystic might be an autobiographical sketch of Tagore as a child.
• The tale casts a backward glance at the world’s primeval forests and its
beings-in-the-trees that the boy seems to discover are as old as Greek
myths down to Tolkien in western culture.
• Balai is ecological consciousness personified, in an unheeding age where all
forests were turning into timber.
He is like the ancient sages in his union with the plant forms, grass, trees.
• The motherless boy seeks refuge in Nature, his aunt being his only
friend till the silk-cotton tree springs up.
• The silk-cotton tree adds tension to a lyrical tale filled with nostalgia,
it is the counter-point to the utilitarian adult world that finds no use
for a tree springing up to block a path.
• When the tree is felled, all living trace of Balai disappears from the
house. Is it symbolic of the uprooting of the boy from his aunt’s care
to be sent off to cold Shimla and later, colder England?
• The beautiful red flowers of the silk-cotton tree will never bloom and
its pods will never disperse cotton—these things are unsaid but the
short story says a lot about the adult desecration of Nature by
leaving such details out.
Please read all the Tagore stories in your syllabus and more, if
time permits.
The text I have followed is Rabindranath Tagore: Selected Short
Stories in the Oxford Tagore Translations ed. Sukanta Chaudhuri.
The quotations are from Tagore’s Galpaguchcha [Visva-Bharati
edition].
My best wishes to all.
Rangana Banerji

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TAGORE’S SHORT

STORIES: SOME POINTS

[From Galpaguchcha, Granthaparichoy]

• Note the frame narration and nested structure—stories within stories.

• An occasional story that has transcended time.

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