Travails of Tagore

Tagore’s eternal muse (and sister-in-law) Kadambari and devoted wife, Mrinalini, are both dead.
Rabindranath Tagore (centre) with (left to right) daughter Mira,  son Rathindranath, daughter-in-law Pratima, daughter Bela
Rabindranath Tagore (centre) with (left to right) daughter Mira, son Rathindranath, daughter-in-law Pratima, daughter Bela

Jorasanko Thakurbari, Rabindranath Tagore’s ancestral house, continues to be the first stop for any literature lover visiting Kolkata. While the book Jorasanko explored the labyrinthine lives of its residents, author Aruna Chakravarti now moves a step forward in the sequel, Daughters of Jorasanko.

The story moves onwards from 1902. Tagore’s eternal muse (and sister-in-law) Kadambari and devoted wife, Mrinalini, are both dead. The Hindu branch of the family now resides in No. 5 Dwarkanath Lane, popularly called the Baithak Khana Bari, while the Brahmo branch lives in the more spartan No. 6. The author begins by creating a delightful scene with the womenfolk cutting vegetables on the courtyard, the fish vendor traipsing in and getting into a good-natured slanging match with the cook. There is much paan-chomping and chatter even as Protima, the 10-year-old widow in her austere attire, watches. Swirling around political and historical milestones and drawing in prominent figures of the pre-Independence era, the book traces Tagore’s last years.

The women who wafted/stomped through Tagore’s life possessing various degrees of attachment and importance included his elder sister-in-law, the formidable Jnanadanandini (who famously threw off her ghumta and introduced the chemise and jacket to be worn with a sari), daughters Beli, Rani and Meera, daughter-in-law Protima, granddaughters, nieces and his latter-day muses, Ranu Adhikari and Victoria Ocampo. Swami Vivekananda flits through the life of the impressionable Sarala (an imperious daughter of the Tagore family) in a brief appearance; the lives and artistic awakenings of Tagore’s nephews Abanindranath and Gaganendranath are touched upon fleetingly. Ranu makes for a sprightly presence against the backdrop of political turbulence and of particular interest are the parts involving the poet’s hopeless fascination for his beautiful 12-year-old admirer. In direct contrast to Ranu is the mature Argentinian writer, Victoria Ocampo, who leaves Tagore indebted by her tender care of the poet. The relationship illustrates the global sensibilities of Tagore and the various fulfilling relationships he nurtured with foreigners.

The dichotomy of the poet’s life is what strikes the reader in this beautifully penned book. Even as Tagore was gathering fame for his writing, his personal life was crumbling apart. Death (of loved ones), deceit, avarice, forbidden lust, monetary problems and failing health (his own) seemed to rip apart his domestic life. The Jallianwala Bagh massacre that led to the poet renouncing his knighthood in protest is explored minutely. The origins of Tagore’s much loved poems/songs pop up charmingly at intervals and as one character puts it, with Tagore, there is a song for every occasion. The cultural evolution and the influence of Cambodia, Java and Burma on his dance dramas are well portrayed.

The book title is slightly misleading for it is Tagore who, like a great banyan tree, is at the core of this semi-fictional work, the female characters entwining around him like delicate creepers. A refreshing aspect is that the author is not remotely intimidated by the stature of her subject and portrays the poet with all his human failings. His flawed gauging of character (as in the case of his dodgy son-in-law), his lack of assertiveness in domestic dilemmas, his naivety in trying to woo the west for funds (to build his beloved Santiniketan) are brought out with subtlety. We see the poet not only as a man of lofty thoughts but also as a harried householder suffering from bleeding piles and grieving over fractured relationships. His romantic fascination for the young Ranu and deep emotional connect with his brother’s wife depicts the poet’s uninhibited departure from socially accepted norms.

The poet’s later avatar as an artist makes for fascinating information, the poet (of luminous words) and artist (of darkly bizarre art) being alter-egos of each other. Towards the end, as the poet’s health fails rapidly and the family coffers stand empty, the penultimate section reads intensely poignant with Abanindranath sauntering around the decaying family mansion reliving the days of past glory. A comprehensive list of characters at the beginning assists the reader in grasping the intricate mesh of relationships in a book that, with astonishing vividness, encapsulates the very essence of the Tagore family. Aruna Chakravarti’s prose is simple and lucid, drawing the reader into her narrative effortlessly. It is a riveting, rewarding and well-researched book tracing the lives of the lesser known members of the poet’s family.

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