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Swami Vivekananda Biography: Early Life, Education, Works, Teachings and Famous Quotes

National youth day 2024: it is celebrated on 12 january to commemorate the birth anniversary of swami vivekananda. he was a great thinker, a great orator, and a passionate patriot. on national youth day, read more about swami vivekananda's early life, education, works, teachings, philosophy books, etc.      .

National Youth Day 2024: It is celebrated on 12 January to honor the birth anniversary of Swami Vivekananda. Swami Vivekananda is a name that does not require any sort of introduction. He is an influential personality who is credited with enlightening the western world about Hinduism. He represented Hinduism in the Parliament of Religions in 1893 in Chicago and due to this an unknown monk of India suddenly leaped into fame. National Youth Day is observed on 12 January to commemorate the birth anniversary of Swami Vivekananda.

Swami Vivekananda founded Ramakrishna Mission on 1 May 1897 for one's own salvation and for the welfare of the world. Do you know his lectures, writings, letters, and poems are published as The Complete Works of Swami Vivekananda? He always focuses on teaching universal principles rather than personalities. He had tremendous intellect. His unique contributions always enlighten and awaken us. He was a spiritual leader and social reformer. 

"All the powers in the universe are already our. It is we who have put our hands before our eyes and cry that it is dark."- Swami Vivekananda

If anyone wants to study the origin of the Vedanta movement in America then study Swami Vivekananda travels across the US. He was a great thinker, great orator, and passionate patriot. It is not wrong to say that he was more than just a spiritual mind.

READ| National Youth Day 2024: Date, Theme, History, Significance, Celebrations on Rashtriya Yuva Diwas

Born: 12 January, 1863

Place of Birth: Kolkata, India

Childhood Name: Narendranath Dutta

Father: Vishwanath Dutta

Mother: Bhuvaneshwari Devi

Education: Calcutta Metropolitan School; Presidency College, Calcutta

Religion: Hinduism

Guru: Ramakrishna

Founder of : Ramakrishna Mission (1897), Ramakrishna Math, Vedanta Society of New York

Philosophy: Advaita Vedanta

Literary works: Raja Yoga (1896), Karma Yoga (1896), Bhakti Yoga (1896), Jnana Yoga, My Master (1901), Lectures from Colombo to Almora (1897)

Death: 4 July, 1902

Place of Death: Belur Math, Belur, Bengal

Memorial: Belur Math. Belur, West Bengal

Swami Vivekananda was born on 12 January 1863, in Kolkata (earlier Calcutta). He was a spiritual leader and social reformer. His lectures, writings, letters, poems, and ideas motivated not only the youth of India but also the whole world. He is the founder of Ramakrishna Mission and Belur Math in Calcutta, which are still working towards helping the needy. He was a man of wisdom and a very simple human being. 

"Arise, awake and stop not until the goal is achieved" - Swami Vivekananda

READ|  Top 51+ Swami Vivekananda Quotes for Inspiration and Motivation

Swami Vivekananda: Life History and Education

Source: www. medium.com

Vivekananda's childhood name was Narendranath Dutta, belonged to an affluent Bengali family in Calcutta. He was one of the eight children of Vishwanath Dutta and Bhuvneshwari Devi. On the occasion of Makar Sankranti, he was born on 12 January 1863 . His father was an attorney and an influential personality in society. Vivekananda's mother was a woman who has faith in God and has a great impact on his son.

At the age of eight in 1871, Vivekananda was enrolled at Ishwar Chandra Vidyasagar's Institution and later at the Presidency College in Calcutta. He was exposed to Western philosophy, Christianity, and science. He had an interest in music both instrumental as well as vocal. He was active in sports, gymnastics, wrestling, and bodybuilding. He was also fond of reading and by the time he had completed his graduation from college, he had acquired a vast knowledge of various subjects. Do you know on the one hand he read Hindu scriptures like Bhagavad Gita and the Upanishads and on the other hand western philosophies and spirituality by David Hume, Herbert Spencer, etc?

“Be an atheist if you want, but do not believe in anything unquestioningly.”- Swami Vivekananda

READ|  Why is Swami Vivekananda's birthday celebrated as National Youth Day?

Spiritual Crisis and met with Ramakrishna Paramhansa

Source: www. swamishivapadananda.typepad.com

He had grown up in a religious family but studied several religious books and his knowledge led him to question the existence of God and sometimes he believed in Agnosticism. But he could not completely deny the fact about the supremacy of God. In 1880 , he joined Keshab Chandra Sen's Nava Vidhan and also became a member of Sadharan Brahmo Samaj led by Keshab Chandra Sen and Debendranath Tagore.

Brahmo Samaj recognized one God, unlike idol worship. Several questions were running through the mind of Vivekananda and during his spiritual crisis, he first heard about Shri Ramakrishna from William Hastie, the Principal of the Scottish Church College. He finally met Shri Ramakrishna Paramhansa at Dakshineshwar Kali Temple and Vivekananda asked him a question, "Have you seen God?" which he had asked so many spiritual leaders but was not satisfied. But when he asked Ramakrishna, he gave such a simple answer that "Yes, I have. I see God as clearly as I see you, only in a much deeper sense". After this Vivekananda started visiting Dakshineshwar and got several answers to the questions that were in his mind.

When Vivekananda's father died, the whole family faced a financial crisis. He went to Ramakrishna and asked him to pray for his family but Ramakrishna refused and told Vivekananda to pray himself in front of Goddess Kali. He could not ask for wealth, or money but instead of it, he asked for conscience and reclusion. That day he was marked with a spiritual awakening and a way of ascetic life was started. This was the turning point in his life and accepted Ramakrishna as his Guru.

“Take risks in your life. If you win, you can lead, if you lose, you can guide.” Swami Vivekananda

In 1885 , Ramakrishna developed throat cancer and was transferred to Calcutta and then later to a garden house in Cossipore. Vivekananda and other disciples of Ramakrishna took care of him. On 16 August 1886 , Shri Ramakrishna gave up his mortal body. Narendra was taught that the service to men was the most effective worship of God. After the demise of Ramakrishna, fifteen of his disciples including Narendranath began to live together at Baranagar in North Calcutta, which was named Ramakrishna Math . In 1887 , all the disciples took vows of monkhood and Narendranath emerged as Vivekananda which is "the bliss of discerning wisdom." All of them performed yoga and meditation. Further, Vivekananda left the math and decided to tour the whole of India on foot which came to be known as 'Parivrajak'. He saw several social, cultural, and religious aspects of the people and also saw what common people faced in their daily life, their sufferings, etc.

Swami Vivekananda attended the World Parliament of Religions

When he came to know about the World Parliament that was organised in Chicago, America. He was keen to attend the meeting, to represent India and his Guru's philosophies. After various troubles, he attended the Religious meeting. On 11 September, 1893 , he came upon the stage and stunned everyone while saying "My brothers and sisters of America". For this, he received a standing ovation from the audience. He described the principles of Vedanta, their spiritual significance, etc. He stayed around two and a half years in America itself and founded the Vedanta Society of New York. He also travelled to the United Kingdom to preach the philosophies, spiritualism, and principles of Vedanta.

“Learn everything that is good from others but bring it in, and in your own way absorb it; do not become others.” Swami Vivekananda

READ|  Ramakrishna Mission and Vivekananda: Contribution to Social Reform

He founded Ramakrishna Mission

Around 1897 , he returned to India and reached Calcutta where he founded Ramakrishna Mission on 1 May 1897 at Belur Math. The goals of the mission were based on Karma Yoga and its main objective was to serve the poor and suffering or disturbed population of the country. Several social services are also performed under this mission like establishing schools, colleges, and hospitals. Teachings of Vedanta were also provided through conferences, seminars, and workshops, rehabilitation work across the country.

Let us tell you that Vivekananda's teachings were mostly based on Ramakrishna's spiritual teachings of Divine manifestations and his personal internalization of the Advaita Vedanta Philosophy. According to him, the ultimate goal of life is to achieve the freedom of the soul and that encompasses the entirety of one's religion.

He predicted that he will not live till the age of 40. Therefore, on 4 July 1902, he died while doing meditation. He is said to have attained 'Mahasamadhi' and was cremated on the Banks of the river Ganga.

“A man is not poor without a rupee but a man is really poor without a dream and ambition.” Swami Vivekananda

Key Works of Swami Vivekananda

- The Complete Works of Swami Vivekananda

- Swami Vivekananda’s Speeches at the Parliament of Religions, Chicago, 1893

- Letters of Swami Vivekananda

- Jnana Yoga: The Yoga of Knowledge

- Yoga: The Yoga of Love and Devotion

- Yoga: The Yoga of Action

- Raja Yoga: The Yoga of Meditation

Key Works on Swami Vivekananda

- Vivekananda A Biography, by Swami Nikhilananda

- Swami Vivekananda by Eastern and Western Disciples

- The Master As I Saw Him, by Sister Nivedita

- Reminiscences of Swami Vivekananda

- The Life of Vivekananda, by Romain Rolland

No doubt Swami Vivekananda's teachings not only motivated the youth but also the whole world. He laid the true foundations of India's unity as a nation. He taught us how to live together with so many diversities. He was successful in constructing a virtual bridge between the culture of the East and the West. He played a key role in isolating India's culture from the rest of the World.

“Take up one idea, make that one idea your life, think of it, dream of it, let the brain, muscles, nerves, every part of your body be full of that idea, and just leave every other idea alone. This is the way to success.” Swami Vivekananda

Get here current GK and GK quiz questions in English and Hindi for India , World, Sports and Competitive exam preparation. Download the Jagran Josh Current Affairs App .

• What are the key works of Swami Vivekananda? + Swami Vivekananda's key works are - The Complete Works of Swami Vivekananda, - Swami Vivekananda’s Speeches at the Parliament of Religions, Chicago, 1893 - Letters of Swami Vivekananda - Jnana Yoga: The Yoga of Knowledge - Yoga: The Yoga of Love and Devotion, etc.
• What is the childhood name of Swami Vivekananda? + Swami Vivekananda was an inspiring personality and was famous in the whole world. He was born on 12 January 1863, in Calcutta (now Kolkata). His childhood name was Narendranath Dutta, belonged to an affluent Bengali family in Calcutta (now Kolkata). He was one of the eight children of Vishwanath Dutta and Bhuvneshwari Devi.
• What is Swami Vivekananda known for? + Swami Vivekananda is best known for his groundbreaking speech to the 1893 World's Parliament of Religions in which he introduced Hinduism to America and called for religious tolerance.
• When is National Youth Day celebrated and why? + National Youth Day is celebrated on 12 January to honour the birth anniversary of Swami Vivekananda.
• Who founded the Ramakrishna Mission? + Ramakrishna Mission was founded by Swami Vivekananda in 1897 with two-fold purpose namely to spread the teachings of Vedanta as embodied in the life of the Hindu saint Ramakrishna and to improve the social conditions of the Indian people.
• When was Swami Vivekananda born? + Swami Vivekananda was born on 12 January 1863 in Kolkata, India.
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Ishwar Chandra Vidyasagar

Date of Birth: September 26, 1820

Place of Birth: Village Birshingha, District Medinipur, Bengal Presidency (now in West Bengal)

Parents: Hakurdas Bandyopadhyay (Father) and Bhagavati Devi (Mother)

Wife: Dinamani Devi

Children: Narayan Chandra Bandyopadhyay

Education: Sanskrit College Calcutta

Movement: Bengal Renaissance

Social Reforms: Widow Remarriage 

Religious Views: Hinduism

Publications: Betaal Panchabinsati (1847); Jeebancharit (1850); Bodhadoy (1851); BornoPorichoy (1854); Sitar Bonobash (1860);

Death: July 29, 1891

Place of death: Calcutta, Bengal Presidency (now Kolkata, West Bengal)

Ishwar Chandra Vidyasagar (1820-1891) was as one of the pillars of Bengal renaissance who managed to continue the social reforms movement that was started by Raja Rammohan Roy in the early 1800s. Vidyasagar was a well-known writer, intellectual and above all a staunch supporter of humanity. He had an imposing personality and was revered even by the British authorities of his time. He brought about a revolution in the Bengali education system and refined the way Bengali language was written and taught. His book, ‘Borno Porichoy’ (Introduction to the letter), is still used as the introductory text to learn Bengali alphabets. The title 'Vidyasagar' (ocean of knowledge) was given to him due to his vast knowledge in several subjects. Poet Michael Madhusudan Dutta while writing about Ishwar Chandra said: "The genius and wisdom of an ancient sage, the energy of an Englishman and the heart of a Bengali mother".

Early Life and Education

Ishwar Chandra Bandopadhyaya was born in Birsingha village of Midnapore district in Bengal on September 26, 1820. His father, Thakurdas Bandyopadhyay and mother Bhagavati Devi were very religious persons. The economic condition of the family was not well so Ishwar had to spend his childhood amidst scarcity of basic resources. Amidst all this, Ishwar Chandra was an obstinate boy with a brilliant mind and he focused his obstinacy in his studies. He learned basics of Sanskrit at the village pathshaala after which he set out for Calcutta with his father in 1826. There are several myths regarding his brilliance and dedication as a student. It is said that Ishwar Chandra Vidyasagar learned English numerals by following the mile-stones labels on his way to Calcutta. His father Thakurdas stayed at Burrabazar area in Calcutta along with his sons and money was scarce so Ishwar Chandra used to help in household chores after school hours, and at night he used to study under the gas lit street lamps to save oil for cooking the next day.

He breezed through his lessons and cleared all the necessary exams. He learned Vedanta, Vyakaran, Literature, Rhetoric’s, Smriti and Ethics in Sanskrit College during 1829 to 1841. He earned regular scholarships and later took up a teaching position in a school in Jorasanko to support his family’s financial condition. He took part in a competition testing knowledge in Sanskrit in 1839 and earned the title of ‘Vidyasagar’ meaning Ocean of Knowledge. The same year Ishwar Chandra Vidyasagar successfully cleared his Law examination.

Vidyasagar got married at the age of fourteen to Dinamani Devi and the couple had a son named Naraya Chandra.

In 1841, at the age of twenty one, Ishwar Chandra joined the Fort William College as the Head Pandit in the Sanskrit department. The brilliant mind that he was, he soon became proficient in English and Hindi. After five years, in 1946, Vidyasagar left Fort William College and joined the Sanskrit College as 'Assistant Secretary'. But just after a year he entered into serious altercation with the College Secretary, Rasomoy Dutta, over administrative changes he recommended. Since Vidyasagar was not someone who would bow down to power, he resigned from the post on being refused by the college authorities and resumed employment at Fort William College but as a head clerk. He came back to Sanskrit College as a Professor on the request of the college authorities but imposed a condition that he be allowed to redesign the system. He became Principal of Sanskrit College in 1851. In 1855, he assumed the responsibilities as a special inspector of schools with additional charges and travelled to remote villages in Bengal to oversee the quality of education.

Educational Reforms

Vidyasagar is credited with the role of thoroughly remodelling medieval scholastic system prevailing in Sanskrit College and bring about modern insights into the education system. The first change that Vidyasagar made when he came back to the Sanskrit College as a Professor was to include English and Bengali as the medium of learning, besides Sanskrit. He introduced courses of European History, Philosophy and Science alongside of Vedic scriptures. He encouraged students to pursue these subjects and take away the best from both worlds. He also changed the rules of admission for students in Sanskrit College allowing non-Brahmin students to enrol in the prestigious institution. He wrote two books ‘Upakramonika’ and ‘Byakaran Koumudi’, interpreting complex notions of Sanskrit grammar in easy legible Bengali language. He introduced the concepts of Admission fee and tuition fee for the first time in Calcutta. He set up the Normal School for training teachers enabling uniformity in teaching methods. Through his contacts at the deputy magistrate’s office he would help his students get jobs in government offices.

He was an ardent advocate of women education. He rightly viewed education as the primary way for women to achieve emancipation from all the societal oppression they had to face at that time. He exercised his power and lobbied hard for opening of school for girls and even outlined suitable curriculum that not only did educate them, but also enabled them to be self-reliant through vocations like needlework. He went door to door, requesting heads of families to allow their daughters to be enrolled in schools. He opened 35 schools for women throughout Bengal and was successful in enrolling 1300 students. He even initiated Nari Siksha Bhandar, a fund to lend support for the cause. He maintained his support to John Elliot Drinkwater Bethune to establish the first permanent girls’ school in India, the Bethune School, on May 7, 1849.

He disseminated his ideals through regular articles he wrote for periodicals and newspapers. He was associated with prestigious journalistic publications like ‘Tattwabodhini Patrika’, ‘Somprakash’, ‘Sarbashubhankari Patrika’ and ‘Hindu Patriot’. He wrote a number of books that hold primary importance in Bengali culture. His lasting legacy remains with ‘Borno Porichoy’, an elementary level book for learning Bengali alphabets, where he reconstructed Bengali alphabets and reformed it into typography of 12 vowels and 40 consonants. He established the Sanskrit Press with an aim to produce printed books at affordable prices so that common people could buy them.

Social Reforms

Vidyasagar was always vocal about the oppression that the society inflicted on women at that time. He was very close to his mother who was a woman of great character, who directed him once to do something to alleviate the pain and helplessness of Hindu widows, who were forced to live a life of abnegation. They were denied basic pleasures of life, marginalised in the society, often exploited unfairly and treated as a burden by their family. Vidyasagar’s compassionate heart could not take their plight and he made it his mission to improve the quality of life for these helpless women. He faced raging opposition from orthodox society which termed the concept as something heretic. He challenged the Brahminical authorities and proved that widow remarriage is sanctioned by Vedic scriptures. He took his arguments to the British Authorities and his pleas were heard when the Hindu Widows' Remarriage Act, 1856 or Act XV, 1856, was decreed on July 26, 1856. He did not just stop there. He initiated several matches for child or adolescent widows within respectable families and even married his son Narayan Chandra to an adolescent widow in 1870 to set an example.

Character and Altruism

Ishwar Chandra Vidyasagar was a man of contradicting characters. He was an obstinate man who defined his own path of action. He was never swayed by others insistence or arguments and took decisions based on his own judgement. He was a man with exceptional strength of character and did not tolerate jibes at his own self-respect. He held his own against high ranking British officials often making them see the errors of their discriminatory ways. He was not used to taking nonsense from anyone and implemented that obstinate quality in constructive ways to improve the Bengali society from within. Unshakable courage was the mettle of his success in introducing the Widow Remarriage Act in 1856.

On the other hand, he had a soft heart that melted into empathy for other’s plight. He was easily moved to tears when he saw someone in pain and was always the first person to offer his help to colleagues and friend in distress. He spent most of his salary to pay for the expenses of poor students. He felt the pain of the child and adolescent widows around him and dedicated his all to lessen their predicament. He helped revered Bengali poet Michael Madhusudan Dutt to relocate from France to England and study for the bar. He also facilitated his return to India and inspired him to write poetry in Bengali creating some of the most legendary literary works in the language. Michael Madhusudan gave him the epithet ‘Daya Sagar’ (ocean of generosity) for hi selfless altruism.

Ishwar Chandra Vidyasagar, the great scholar, academician and reformer passed away on 29 July, 1891 at the age of 70 years. After his death Rabindranath Tagore said, "One wonders how God, in the process of producing forty million Bengalis, produced a man!"

Rabindranath Tagore Biography: A Journey Through His Life and Legacy

Table of Contents

Rabindranath Tagore , also known as Gurudev, was a multifaceted Indian polymath renowned for his contributions to literature, music, art, and education. He was the first Asian to be awarded the Nobel Prize in Literature in 1913 for his collection of poems titled “ Gitanjali ” (Song Offerings). Tagore’s literary legacy extends far beyond poetry; he authored novels, essays, and plays, leaving an indelible mark on Indian and global literature.

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Rabindranath Tagore was Born in Calcutta (now Kolkata) in 1861, Tagore was not only a prolific writer but also a philosopher and educator who founded the prestigious Visva-Bharati University in Shantiniketan , emphasizing the value of holistic education. His works have been translated into numerous languages, including Hindi, making them accessible to a wide audience.

About Rabindranath Tagore

Rabindranath Tagore, also known as Gurudev , was a multifaceted genius whose contributions spanned literature, art, music, and social reform. Rabindranath Tagore Birthday is May 7, 1861, in Calcutta, British India (now Kolkata, India), he was the youngest of 13 children in the Tagore family. His impact on the world is immeasurable, and his legacy endures as an indelible part of India’s cultural heritage.

Facts about Rabindranath Tagore

• Literary Prodigy: Rabindranath Tagore was a prolific writer and poet. He wrote poetry, short stories, novels, essays, and plays. His most famous work, “Gitanjali” (Song Offerings), earned him the Nobel Prize in Literature in 1913, making him the first non-European to receive this prestigious award.
• National Anthem: Tagore composed the national anthems of two countries – India’s “ Jana Gana Mana ” and Bangladesh’s “ Amar Shonar Bangla .”
• Educational Visionary: He founded Visva-Bharati University in Shantiniketan, emphasizing a holistic and progressive education system that celebrates creativity and individuality.
• Artistic Versatility: Tagore was not just a literary giant but also a painter and composer. His paintings and songs are celebrated for their aesthetic and emotional depth.
• Social Reformer: He was deeply involved in social and political issues, advocating for Indian independence and promoting harmony between different communities.

Few Lines about Rabindranath Tagore

Rabindranath Tagore, an iconic figure in Indian history, was a poet, philosopher, musician, and freedom fighter. His timeless literary works continue to inspire generations, transcending borders and languages. Tagore’s artistic creativity knew no bounds, and his contributions to literature and education remain unmatched. His legacy lives on through his words, music, and the enduring impact of his ideas.

About Rabindranath Tagore in Bengali (প্রবন্ধ রবীন্দ্রনাথ ঠাকুর)

রবীন্দ্রনাথ ঠাকুর, জানা গুড়েব, একজন বহুদিশের জন্ম সদস্য ছিলেন যার যোগদান সাহিত্য, শিল্প, সংগীত এবং সামাজিক সুধার বিভিন্ন ক্ষেত্রে ছড়িয়ে গিয়েছে। তিনি ১৮৬১ সালে, ব্রিটিশ ইণ্ডিয়ার কলকাতা (বর্তমান কলকাতা, ভারত) জন্মগ্রহণ করেন এবং তিনি ছিলেন তাগোর পরিবারের ১৩টি সন্তানের সবচেয়ে ছোট সদস্য।

তাগোরের জগতে অসীম প্রভাব ছিল, এবং তার প্রতি ভারতের সাংস্কৃতিক ঐতিহ্য হোক তা অমূল্য দান করেছে।

Rabindranath Tagore’s life and work continue to inspire people worldwide, and he is rightfully celebrated as one of the most remarkable individuals in modern Indian history. His literary masterpieces and artistic endeavors have left an indelible mark on the world, ensuring that his legacy remains alive for generations to come.

Rabindranath Tagore Jana Gana Mana

“ Jana Gana Mana ” is the national anthem of India, and it was composed by the renowned poet, philosopher, and polymath Rabindranath Tagore. This iconic composition holds a special place in the hearts of every Indian and serves as a symbol of unity and patriotism.

The story behind “Jana Gana Mana” is as poetic as the anthem itself. Rabindranath Tagore wrote the song in Bengali in 1911 during a period of great political and social change in India. It was first published in “ Tatwabodhini Patrika ” on December 11, 1911. The song was later set to music by Tagore himself.

Rabindranath Tagore Jana Gana Mana Lyrics

The lyrics of “Jana Gana Mana” are a reflection of the diversity and unity of India. It encompasses verses in Sanskritized Bengali and acknowledges the nation’s geographical and cultural diversity. The song pays tribute to the “Dispenser of India’s destiny” and prays for the well-being and prosperity of the nation and its people.

Rabindranath Tagore Jana Gana Mana Song

“Jana Gana Mana” was first sung on December 27, 1911, at the Calcutta Session of the Indian National Congress . It quickly gained popularity and was adopted as India’s national anthem on January 24, 1950, when the country became a republic.

The song transcends linguistic, cultural, and regional boundaries, serving as a unifying force for the diverse people of India. Its rich and profound lyrics, composed by Rabindranath Tagore, have a timeless appeal that continues to evoke feelings of patriotism and reverence for the nation.

In conclusion, “Jana Gana Mana” by Rabindranath Tagore is more than just a national anthem; it is a poetic masterpiece that encapsulates the essence of India’s unity in diversity and is a source of pride for every Indian.

Rabindranath Tagore Poems

Rabindranath Tagore , the renowned Indian poet, philosopher, and Nobel laureate, is celebrated for his profound and evocative poems that have left an indelible mark on world literature. Tagore composed his poems primarily in Bengali, but many have been translated into various languages, including English and Hindi. His poetry encompasses a wide range of themes, from nature and love to spirituality and the human condition.

• “Gitanjali” (Song Offerings): This collection of poems earned Tagore the Nobel Prize in Literature in 1913. It includes verses that reflect his spiritual quest, devotion, and deep connection to the divine.
• “Kabuliwala” (The Fruitseller from Kabul): This poignant poem explores the bond between a fruit seller from Kabul and a young girl, emphasizing the universality of human emotions.
• “ Where the Mind is Without Fear”: A patriotic and inspirational poem, it envisions an ideal world free from fear, prejudice, and narrow-mindedness.
• “The Gardener”: A collection of lyrical and romantic poems, “The Gardener” celebrates love, longing, and the beauty of nature.
• “Bhagavad Gita Anudharan” (The Song of God): Tagore’s poetic rendition of the Bhagavad Gita, a sacred Hindu scripture, captures the essence of Lord Krishna’s teachings to Arjuna.

Rabindranath Tagore Poems in Different Languages

• Rabindranath Tagore Poems in Bengali: Tagore’s original poems in Bengali are celebrated for their lyrical beauty and cultural significance. They are an integral part of Bengali literature.
• Rabindranath Tagore Poems in English: Tagore’s poems have been widely translated into English, allowing readers worldwide to appreciate his poetic genius. “Gitanjali” is one of the most famous collections available in English.
• Rabindranath Tagore Poems in Hindi: Many of Tagore’s poems have been translated into Hindi, making them accessible to Hindi-speaking audiences. His universal themes resonate deeply with readers in Hindi as well.

Rabindranath Tagore Famous Poems

Tagore’s famous poems, such as “Where the Mind is Without Fear” and “Gitanjali,” continue to inspire and uplift readers with their timeless messages of hope, love, and spirituality. His contributions to literature and poetry have earned him a permanent place in the literary pantheon, and his works remain cherished by people of diverse backgrounds around the world.

Rabindranath Tagore Quotes

Rabindranath Tagore, a renowned Indian polymath and Nobel laureate, is celebrated not only for his literary contributions but also for his profound philosophical insights and inspirational quotes. His wisdom transcends language barriers, as his quotes have been translated into various languages, including Bengali, English, and Hindi. Let’s delve into some of his most iconic quotes:

Rabindranath Tagore Quotes in English

• “Don’t limit a child to your own learning, for they were born in another time.”
• “The butterfly counts not months but moments and has time enough.”

Rabindranath Tagore’s quotes in English often revolve around the themes of education, time, and the value of individuality. They encourage us to broaden our perspectives and appreciate the unique qualities of every individual.

Rabindranath Tagore Quotes in Bengali

• “তোমাদের আমার আরেকটি চরণে যেতে হবে, সেটি দিয়ে আমি সুরক্ষিত আছি।”
• “একটি চুরাশি তাকে নিজের দেখা মুখে ফেলে দেয় না।”

Rabindranath Tagore’s quotes in Bengali often carry deep emotional and spiritual meanings. The first quote translates to “You must leave another footprint to reach me,” symbolizing the ever-evolving nature of the self. The second quote suggests the importance of humility.

Rabindranath Tagore Quotes in Hindi

• “अपने आप को जीने का तरीका एक ऐसी खोज है, जिसमें हमें खुद का पारिश्रमिक निष्कर्षण बनाना होता है।”
• “यह जीवन नहीं, सिर्फ एक विचार है, जिसे हमें जीते जाने की आजादी है।”

In Hindi, Rabindranath Tagore’s quotes emphasize self-discovery and the freedom to live life with purpose and introspection. His words resonate with readers across the world, irrespective of their native languages.

Rabindranath Tagore’s quotes continue to inspire generations, offering profound insights into life, love, education, and spirituality. They serve as timeless reminders of the wisdom of this literary giant and his enduring impact on literature and philosophy.

Rabindranath Tagore Jayanti

Rabindranath Tagore Jayanti is an annual celebration in India that commemorates the birth anniversary of Rabindranath Tagore, one of the nation’s most iconic figures. Born on May 7, 1861, Tagore was a prolific poet, philosopher, musician, playwright, and artist. His contributions to literature, art, and social reform left an indelible mark on Indian and global culture.

Rabindranath Tagore Jayanti 2021

In 2021, Rabindranath Tagore Jayanti marked the 160th birth anniversary of the Nobel laureate. Celebrations typically include special events at educational institutions, cultural programs, and discussions about his works and philosophy. Tagore’s timeless poems and songs, including the national anthems of both India and Bangladesh, continue to resonate with people of all generations.

Rabindranath Tagore Jayanti 2022

The following year, in 2022, the celebration continued, with various cultural organizations and educational institutions paying homage to Tagore’s multifaceted genius. His works, such as “Gitanjali” (Song Offerings), “Kabuliwala,” and “The Home and the World,” are studied and appreciated globally.

Rabindranath Tagore Jayanti 2023

Rabindranath Tagore Jayanti 2023 will mark the 162nd birth anniversary of this literary luminary. The celebrations will undoubtedly be grand, as Tagore’s influence remains as relevant today as it was during his lifetime. His thoughts on education, nationalism, and spirituality continue to inspire scholars and artists alike.

During Tagore Jayanti, it’s common to see performances of his songs and recitations of his poems. Schools and universities often organize competitions, seminars, and exhibitions to honor his legacy. People across India and beyond take this occasion to reflect on his profound contributions to literature, music, and philosophy.

Exploring the Visual Artistry of Rabindranath Tagore

Rabindranath Tagore’s multifaceted talents weren’t confined to just his literary prowess. He was also a skilled artist, and his creative expressions took various forms, including sketches, drawings, paintings, and photographs.

• Rabindranath Tagore Sketches: Tagore’s sketches and drawings capture his unique perspective and artistic vision. They provide a glimpse into his creativity beyond the realm of words.
• Rabindranath Tagore Paintings : Tagore’s paintings are revered for their beauty and symbolism. His art often reflected his philosophical and emotional depth, making his paintings an integral part of his artistic legacy.
• Rabindranath Tagore Photo: Photographs of Rabindranath Tagore offer a visual record of his life and times. These images provide a glimpse into his personal and public life, allowing us to connect with the man behind the words and brushstrokes.

Exploring Rabindranath Tagore’s artistic side through sketches, drawings, paintings, and images enriches our understanding of this iconic figure and the diverse ways in which he expressed his creativity.

Rabindranath Tagore Death

Rabindranath Tagore death date was August 7, 1941, marking a profound loss for the world of literature, art, and culture. Rabindranath Tagore death anniversary is observed annually as a day of remembrance and reflection on his incredible contributions to the world.

Tagore’s passing occurred at his family estate, Jorasanko Thakur Bari, in Kolkata, India, where he had spent most of his life. He was 80 years old at the time of his death.

Rabindranath Tagore is celebrated not only for his literary prowess but also for his multifaceted talents and his role in shaping the cultural and intellectual landscape of India and beyond. He was a prolific writer, penning poems, short stories, novels, and plays that explored themes of love, humanism, and the beauty of nature. His most famous work, “Gitanjali” (Song Offerings), earned him the Nobel Prize in Literature in 1913, making him the first non-European to receive this prestigious honor.

Tagore was not only a literary giant but also a prominent thinker and educational reformer. He founded the Visva-Bharati University in Shantiniketan , which aimed to foster a holistic and culturally rich educational environment. His belief in the interconnectedness of arts, culture, and education continues to inspire generations.

Every year on the anniversary of his death, Rabindranath Tagore’s admirers and followers pay tribute to his enduring legacy through various cultural events, readings of his works, and discussions on his philosophy. His influence transcends borders, and his words continue to resonate with people worldwide, reminding us of the profound impact of his life and work.

FAQs on Rabindranath Tagore Biography

What was rabindranath tagore famous for.

Rabindranath Tagore was famous for his multifaceted talents, including being a poet, philosopher, composer, and playwright. He was also the first Asian to win a Nobel Prize for Literature in 1913 for his book of poems, 'Gitanjali' (Song Offerings)

Who was the love of Rabindranath Tagore?

Rabindranath Tagore's wife, Mrinalini Devi, was the love of his life. He had a deep and loving relationship with her.

What Rabindranath Tagore wrote?

Rabindranath Tagore wrote a vast body of work, including poetry, short stories, novels, essays, plays, and songs. His literary masterpiece is 'Gitanjali,' a collection of poems.

Why is Tagore the greatest?

Tagore is considered one of the greatest literary figures due to his profound contributions to literature, his artistic versatility, and his philosophical insights that continue to resonate with people around the world.

Who is the national poet of India?

Rabindranath Tagore is often referred to as the national poet of India.

What is the history of Rabindranath Tagore in English?

The history of Rabindranath Tagore in English includes his translation of many of his works into English, helping to introduce his literature to a global audience.

What was the early life of Rabindranath Tagore?

Rabindranath Tagore was born into a prominent Bengali family on May 7, 1861, in Calcutta (now Kolkata), India.

who is rabindranath tagore?

Rabindranath Tagore was a multifaceted Indian polymath who is best known for his literary and artistic contributions.

when was rabindranath tagore born?

Rabindranath Tagore was born on May 7, 1861.

where the mind is without fear by rabindranath tagore?

'Where the mind is without fear' is a famous poem by Rabindranath Tagore that reflects his vision for a free and enlightened India.

where was rabindranath tagore born?

Rabindranath Tagore was born in Calcutta (Kolkata), India

when did rabindranath tagore died?

Rabindranath Tagore passed away on August 7, 1941.

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Subhas Chandra Bose

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What is Subhas Chandra Bose known for?

Subhas Chandra Bose (also called Netaji) is known for his role in India’s independence movement. A participant of the noncooperation movement and a leader of the Indian National Congress , he was part of the more militant wing and known for his advocacy of socialist policies.

Subhas Chandra Bose studied in Calcutta ( Kolkata ) at the Presidency College and the Scottish Churches College. His parents then sent him to the University of Cambridge in England to prepare for the Indian Civil Service. He passed the civil service examination but resigned his candidacy and returned to India after hearing of nationalist turmoils there.

Subhas Chandra Bose (known also as Netaji) reflected a more militant and socialist approach to India ’s independence movement as compared with Mohandas (Mahatma) Gandhi ’s less confrontational stance and more conservative economics. While in exile in the 1940s, Bose raised a liberation army in East Asia with Japanese aid and influence.

How did Subhas Chandra Bose die?

Subhas Chandra Bose reportedly died in a Japanese hospital in Taiwan from burn injuries on August 18, 1945, as a result of a plane crash while fleeing Southeast Asia , days after World War II ended with the surrender of Japan (which had been supporting Bose and his liberation army).

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Subhas Chandra Bose (born c. January 23, 1897, Cuttack , Orissa [now Odisha], India—died August 18, 1945, Taipei , Taiwan?) was an Indian revolutionary prominent in the Indian Independence Movement against British rule. He also led an Indian national force from abroad against the Western powers during World War II . He was a contemporary of Mohandas K. Gandhi , at times an ally and at other times an adversary. Bose was known in particular for his militant approach to independence and for his push for socialist policies.

The son of a wealthy and prominent Bengali lawyer, Bose studied at Presidency College, Calcutta ( Kolkata ), from which he was expelled in 1916 for nationalist activities, and the Scottish Churches College (graduating in 1919). He then was sent by his parents to the University of Cambridge in England to prepare for the Indian Civil Service. In 1920 he passed the civil service examination, but in April 1921, after hearing of the nationalist turmoils in India, he resigned his candidacy and hurried back to India. Throughout his career, especially in its early stages, he was supported financially and emotionally by an elder brother, Sarat Chandra Bose (1889–1950), a wealthy Calcutta lawyer and Indian National Congress (also known as the Congress Party) politician.

Bose joined the noncooperation movement started by Mohandas K. Gandhi , who had made the Indian National Congress a powerful nonviolent organization. Bose was advised by Gandhi to work under Chitta Ranjan Das , a politician in Bengal . There Bose became a youth educator, journalist, and commandant of the Bengal Congress volunteers. His activities led to his imprisonment in December 1921. In 1924 he was appointed chief executive officer of the Calcutta Municipal Corporation , with Das as mayor . Bose was soon after deported to Burma ( Myanmar ) because he was suspected of connections with secret revolutionary movements. Released in 1927, he returned to find Bengal Congress affairs in disarray after the death of Das, and Bose was elected president of the Bengal Congress. Shortly thereafter he and Jawaharlal Nehru became the two general secretaries of the Indian National Congress. Together they represented the more militant, left-wing faction of the party against the more compromising, right-wing Gandhian faction.

Vocal support for Gandhi increased within the Indian National Congress, meanwhile, and, in light of this, Gandhi resumed a more commanding role in the party. When the civil disobedience movement was started in 1930, Bose was already in detention for his associations with an underground revolutionary group, the Bengal Volunteers. Nevertheless, he was elected mayor of Calcutta while in prison. Released and then rearrested several times for his suspected role in violent acts, Bose was finally allowed to proceed to Europe after he contracted tuberculosis and was released for ill health. In enforced exile and still ill, he wrote The Indian Struggle, 1920–1934 and pleaded India’s cause with European leaders. He returned from Europe in 1936, was again taken into custody, and was released after a year.

Meanwhile, Bose became increasingly critical of Gandhi’s more conservative economics as well as his less confrontational approach toward independence. In 1938 he was elected president of the Indian National Congress and formed a national planning committee, which formulated a policy of broad industrialization. However, this did not harmonize with Gandhian economic thought, which clung to the notion of cottage industries and benefiting from the use of the country’s own resources. Bose’s vindication came in 1939, when he defeated a Gandhian rival for reelection. Nonetheless, the “rebel president” felt bound to resign because of the lack of Gandhi’s support. He founded the Forward Bloc , hoping to rally radical elements, but was again incarcerated in July 1940. His refusal to remain in prison at this critical period of India’s history was expressed in a determination to fast to death, which frightened the British government into releasing him. On January 26, 1941, though closely watched, he escaped from his Calcutta residence in disguise and, traveling via Kabul and Moscow , eventually reached Germany in April.

In Nazi Germany Bose came under the tutelage of a newly created Special Bureau for India, guided by Adam von Trott zu Solz. He and other Indians who had gathered in Berlin made regular broadcasts from the German-sponsored Azad Hind Radio beginning in January 1942, speaking in English , Hindi , Bengali , Tamil , Telugu , Gujarati , and Pashto .

A little more than a year after the Japanese invasion of Southeast Asia , Bose left Germany, traveling by German and Japanese submarines and by plane , and arrived in May 1943 in Tokyo . On July 4 he assumed leadership of the Indian Independence Movement in East Asia and proceeded, with Japanese aid and influence, to form a trained army of about 40,000 troops in Japanese-occupied Southeast Asia. On October 21, 1943, Bose proclaimed the establishment of a provisional independent Indian government, and his so-called Indian National Army (Azad Hind Fauj), alongside Japanese troops, advanced to Rangoon ( Yangon ) and thence overland into India , reaching Indian soil on March 18, 1944, and moving into Kohima and the plains of Imphal . In a stubborn battle, the mixed Indian and Japanese forces, lacking Japanese air support, were defeated and forced to retreat; the Indian National Army nevertheless for some time succeeded in maintaining its identity as a liberation army, based in Burma and then Indochina . With the defeat of Japan, however, Bose’s fortunes ended.

A few days after Japan’s announced surrender in August 1945, Bose, fleeing Southeast Asia, reportedly died in a Japanese hospital in Taiwan as a result of burn injuries from a plane crash.

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(1910-1997)

Who Was Mother Teresa?

Nun and missionary Mother Teresa, known in the Catholic church as Saint Teresa of Calcutta, devoted her life to caring for the sick and poor. Born in Macedonia to parents of Albanian-descent and having taught in India for 17 years, Mother Teresa experienced her "call within a call" in 1946. Her order established a hospice; centers for the blind, aged and disabled; and a leper colony.

Mother Teresa’s Family and Young Life

Mother Teresa was born on August 26, 1910, in Skopje, the current capital of the Republic of Macedonia. The following day, she was baptized as Agnes Gonxha Bojaxhiu.

Mother Teresa’s parents, Nikola and Dranafile Bojaxhiu, were of Albanian descent; her father was an entrepreneur who worked as a construction contractor and a trader of medicines and other goods. The Bojaxhius were a devoutly Catholic family, and Nikola was deeply involved in the local church as well as in city politics as a vocal proponent of Albanian independence.

In 1919, when Mother Teresa — then Agnes — was only eight years old, her father suddenly fell ill and died. While the cause of his death remains unknown, many have speculated that political enemies poisoned him.

In the aftermath of her father's death, Agnes became extraordinarily close to her mother, a pious and compassionate woman who instilled in her daughter a deep commitment to charity. Although by no means wealthy, Drana Bojaxhiu extended an open invitation to the city's destitute to dine with her family. "My child, never eat a single mouthful unless you are sharing it with others," she counseled her daughter. When Agnes asked who the people eating with them were, her mother uniformly responded, "Some of them are our relations, but all of them are our people."

Education and Nunhood

Agnes attended a convent-run primary school and then a state-run secondary school. As a girl, she sang in the local Sacred Heart choir and was often asked to sing solos. The congregation made an annual pilgrimage to the Church of the Black Madonna in Letnice, and it was on one such trip at the age of 12 that she first felt a calling to religious life. Six years later, in 1928, an 18-year-old Agnes Bojaxhiu decided to become a nun and set off for Ireland to join the Sisters of Loreto in Dublin. It was there that she took the name Sister Mary Teresa after Saint Thérèse of Lisieux.

A year later, Sister Mary Teresa traveled on to Darjeeling, India, for the novitiate period; in May 1931, she made her First Profession of Vows. Afterward, she was sent to Calcutta, where she was assigned to teach at Saint Mary's High School for Girls, a school run by the Loreto Sisters and dedicated to teaching girls from the city's poorest Bengali families. Sister Teresa learned to speak both Bengali and Hindi fluently as she taught geography and history and dedicated herself to alleviating the girls' poverty through education.

On May 24, 1937, she took her Final Profession of Vows to a life of poverty, chastity and obedience. As was the custom for Loreto nuns, she took on the title of "Mother" upon making her final vows and thus became known as Mother Teresa. Mother Teresa continued to teach at Saint Mary's, and in 1944 she became the school's principal. Through her kindness, generosity and unfailing commitment to her students' education, she sought to lead them to a life of devotion to Christ. "Give me the strength to be ever the light of their lives, so that I may lead them at last to you," she wrote in prayer.

'Call Within a Call'

On September 10, 1946, Mother Teresa experienced a second calling, the "call within a call" that would forever transform her life. She was riding in a train from Calcutta to the Himalayan foothills for a retreat when she said Christ spoke to her and told her to abandon teaching to work in the slums of Calcutta aiding the city's poorest and sickest people.

Since Mother Teresa had taken a vow of obedience, she could not leave her convent without official permission. After nearly a year and a half of lobbying, in January 1948 she finally received approval to pursue this new calling. That August, donning the blue-and-white sari that she would wear in public for the rest of her life, she left the Loreto convent and wandered out into the city. After six months of basic medical training, she voyaged for the first time into Calcutta's slums with no more specific a goal than to aid "the unwanted, the unloved, the uncared for."

Missionaries of Charity

Mother Teresa quickly translated her calling into concrete actions to help the city's poor. She began an open-air school and established a home for the dying destitute in a dilapidated building she convinced the city government to donate to her cause. In October 1950, she won canonical recognition for a new congregation, the Missionaries of Charity, which she founded with only a handful of members—most of them former teachers or pupils from St. Mary's School.

As the ranks of her congregation swelled and donations poured in from around India and across the globe, the scope of Mother Teresa's charitable activities expanded exponentially. Over the course of the 1950s and 1960s, she established a leper colony, an orphanage, a nursing home, a family clinic and a string of mobile health clinics.

In 1971, Mother Teresa traveled to New York City to open her first American-based house of charity, and in the summer of 1982, she secretly went to Beirut, Lebanon, where she crossed between Christian East Beirut and Muslim West Beirut to aid children of both faiths. In 1985, Mother Teresa returned to New York and spoke at the 40th anniversary of the United Nations General Assembly. While there, she also opened Gift of Love, a home to care for those infected with HIV/AIDS.

Mother Teresa’s Awards and Recognition

In February 1965, Pope Paul VI bestowed the Decree of Praise upon the Missionaries of Charity, which prompted Mother Teresa to begin expanding internationally. By the time of her death in 1997, the Missionaries of Charity numbered more than 4,000 — in addition to thousands more lay volunteers — with 610 foundations in 123 countries around the world.

The Decree of Praise was just the beginning, as Mother Teresa received various honors for her tireless and effective charity. She was awarded the Jewel of India, the highest honor bestowed on Indian civilians, as well as the now-defunct Soviet Union's Gold Medal of the Soviet Peace Committee. In 1979, Mother Teresa was awarded the Nobel Peace Prize in recognition of her work "in bringing help to suffering humanity."

Criticism of Mother Teresa

Despite this widespread praise, Mother Teresa's life and work have not gone without its controversies. In particular, she has drawn criticism for her vocal endorsement of some of the Catholic Church's more controversial doctrines, such as opposition to contraception and abortion. "I feel the greatest destroyer of peace today is abortion," Mother Teresa said in her 1979 Nobel lecture.

In 1995, she publicly advocated a "no" vote in the Irish referendum to end the country's constitutional ban on divorce and remarriage. The most scathing criticism of Mother Teresa can be found in Christopher Hitchens' book The Missionary Position: Mother Teresa in Theory and Practice , in which Hitchens argued that Mother Teresa glorified poverty for her own ends and provided a justification for the preservation of institutions and beliefs that sustained widespread poverty.

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When and How Mother Teresa Died

After several years of deteriorating health, including heart, lung and kidney problems, Mother Teresa died on September 5, 1997, at the age of 87.

Mother Teresa’s Letters

In 2003, the publication of Mother Teresa’s private correspondence caused a wholesale re-evaluation of her life by revealing the crisis of faith she suffered for most of the last 50 years of her life.

In one despairing letter to a confidant, she wrote, "Where is my Faith—even deep down right in there is nothing, but emptiness & darkness—My God—how painful is this unknown pain—I have no Faith—I dare not utter the words & thoughts that crowd in my heart—& make me suffer untold agony." While such revelations are shocking considering her public image, they have also made Mother Teresa a more relatable and human figure to all those who experience doubt in their beliefs.

Mother Teresa’s Miracles and Canonization

In 2002, the Vatican recognized a miracle involving an Indian woman named Monica Besra, who said she was cured of an abdominal tumor through Mother Teresa's intercession on the one-year anniversary of her death in 1998. She was beatified (declared in heaven) as "Blessed Teresa of Calcutta" on October 19, 2003, by Pope John Paul II .

On December 17, 2015, Pope Francis issued a decree that recognized a second miracle attributed to Mother Teresa, clearing the way for her to be canonized as a saint of the Roman Catholic Church. The second miracle involved the healing of Marcilio Andrino, a Brazilian man who was diagnosed with a viral brain infection and lapsed into a coma. His wife, family and friends prayed to Mother Teresa, and when the man was brought to the operating room for emergency surgery, he woke up without pain and was cured of his symptoms, according to a statement from the Missionaries of Charity Father.

Mother Teresa was canonized as a saint on September 4, 2016, a day before the 19th anniversary of her death. Pope Francis led the canonization mass, which was held in St. Peter's Square in Vatican City. Tens of thousands of Catholics and pilgrims from around the world attended the canonization to celebrate the woman who had been called “the saint of the gutters” during her lifetime because of her charitable work with the poor.

“After due deliberation and frequent prayer for divine assistance, and having sought the counsel of many of our brother bishops, we declare and define Blessed Teresa of Calcutta to be a saint, and we enroll her among the saints, decreeing that she is to be venerated as such by the whole church,” Pope Francis said in Latin.

The Pope spoke about Mother Teresa’s life of service in the homily. ”Mother Teresa, in all aspects of her life, was a generous dispenser of divine mercy, making herself available for everyone through her welcome and defense of human life, those unborn and those abandoned and discarded," he said. "She bowed down before those who were spent, left to die on the side of the road, seeing in them their God-given dignity. She made her voice heard before the powers of this world, so that they might recognize their guilt for the crime of poverty they created."

He also told the faithful to follow her example and practice compassion. “Mercy was the salt which gave flavor to her work, it was the light which shone in the darkness of the many who no longer had tears to shed for their poverty and suffering,” he said, adding. "May she be your model of holiness."

Since her death, Mother Teresa has remained in the public spotlight. For her unwavering commitment to aiding those most in need, Mother Teresa stands out as one of the greatest humanitarians of the 20th century. She combined profound empathy and a fervent commitment to her cause with incredible organizational and managerial skills that allowed her to develop a vast and effective international organization of missionaries to help impoverished citizens all across the globe.

Despite the enormous scale of her charitable activities and the millions of lives she touched, to her dying day, she held only the most humble conception of her own achievements. Summing up her life in characteristically self-effacing fashion, Mother Teresa said, "By blood, I am Albanian. By citizenship, an Indian. By faith, I am a Catholic nun. As to my calling, I belong to the world. As to my heart, I belong entirely to the Heart of Jesus."

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QUICK FACTS

• Name: Teresa
• Birth Year: 1910
• Birth date: August 26, 1910
• Birth City: Skopje
• Birth Country: Macedonia
• Gender: Female
• Best Known For: Mother Teresa was the founder of the Order of the Missionaries of Charity, a Roman Catholic congregation of women dedicated to helping the poor. Considered one of the 20th Century's greatest humanitarians, she was canonized as Saint Teresa of Calcutta in 2016.
• Christianity
• Astrological Sign: Virgo
• Institute of the Blessed Virgin Mary
• Nacionalities
• Macedonian (Macedonia)
• Albanian (Albania)
• Interesting Facts
• On religious pilgrimage at the age of 12, Mother Teresa experienced her calling to devote her life to Christ.
• Through her own letters, Mother Teresa expressed doubt and wrestled with her faith.
• Mother Teresa was canonized after the Vatican verified two people's claims of having experienced miracles through her.
• Death Year: 1997
• Death date: September 5, 1997
• Death City: Calcutta
• Death Country: India

We strive for accuracy and fairness.If you see something that doesn't look right, contact us !

CITATION INFORMATION

• Article Title: Mother Teresa Biography
• Author: Biography.com Editors
• Website Name: The Biography.com website
• Url: https://www.biography.com/religious-figures/mother-teresa
• Access Date:
• Publisher: A&E; Television Networks
• Last Updated: February 24, 2020
• Original Published Date: April 2, 2014
• Do not wait for leaders; do it alone, person to person.
• God doesn't require us to succeed; he only requires that you try.
• Keep the joy of loving God in your heart and share this joy with all you meet, especially your family.
• Before you speak, it is necessary for you to listen, for God speaks in the silence of the heart.
• Little things are indeed little, but to be faithful in little things is a great thing.
• If we really want to love, we must learn how to forgive.
• Give yourself fully to God. He will use you to accomplish great things on the condition that you believe much more in His love than in your own weakness.
• Speak tenderly to them. Let there be kindness in your face, in your eyes, in your smile, in the warmth of your greeting. Don't only give your care, but give your heart as well.
• Everybody today seems to be in such a terrible rush, anxious for greater developments and greater riches and so on, so that children have very little time for their parents. Parents have very little time for each other and in the home begins the disruption of peace in the world.
• There is a terrible hunger for love. We all experience that in our lives-the pain the loneliness. We must have the courage to recognize it. The poor you may have right in your own family. Find them. Love them.
• Like Jesus, we belong to the world not living for ourselves but for others. The joy of the Lord is our strength.

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RG Kar Hospital staff hides Kolkata doctor's death, misleads parents in audio call | EXCLUSIVE

Kolkata's rg kar hospital management is under fire since the brutal rape and murder of the trainee doctor took place inside the hospital on august 9. bharatiya janata party and a section of students are demanding west bengal chief minister mamata banerjee's resignation over the horrific crime..

In the audio clip, the hospital staff can be heard hiding the real incident. Upon enquiring what exactly happened to her, the staffer did not answer and tried to evade the question, but when the mother pressed what happened to her daughter and, whether was she suffering from fever, the staffer said her daughter had committed suicide and asked her to come to hospital as soon as possible. 

The victim died till the call was made to her parents but the staffer just said that she was not well and they should come to the hospital.

The trainee doctor died between 3 and 4 am while the first call to the parents was made at 10:53 am on August 9. In the first call it was told that your daughter is unwell. In the first call, the girl's mother and father were told a lie about the condition of their daughter. A second call was made after a while. The call in which the doctor told the daughter's parents that their daughter had committed suicide.

Meanwhile, the case is being investigated by the Central Bureau of Investigation (CBI).

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Binodini: A Woman Artist in 19th Century Bengali Theatre

Shrinjita Biswas

Shrinjita completed her graduation in History from Jadavpur University. She completed her Masters majoring in History from CHS and second in Arts and Aesthetics from SAA, both from JNU, New Delhi. Her interest lies in research, pertaining to gender, politics, and technology in theatre and in cinema. She is engaged in scriptwriting and photography. Shrinjita is currently the Editorial Coordinator at the TAKE on art magazine

Introduction

The year was 1884 in colonial Calcutta, the theatre goers were astounded by the performance of a young actor and so were the critics. The play was Chaitanya Lila and the performer was Binodini. The actress played the role of young Chaitanya and it happened to be her most phenomenal performance, as well as of any actress in the history of nineteenth-century popular Bengal theatre. The last statement might seem assertive, but the reasons behind it aren’t scanty. The entire staging of the Chaitanya Lila , in retrospect, can be observed as a phenomenon—a fallen woman,  playing the role of Chaitanya, the latter being the Vaishnava cult figure; Ramkrishna, one of the renowned proponents of Vaishnavism, himself was present during the staging of the play and blessed the actress. It is a matter of happy chance (and thus establishes itself as a fact, later) that when Binodini left the stage she was of the same age—twenty-three or twenty four—as Chaitanya when he renounced sansar (Bhattacharya 1995–96). 

By the end of the nineteenth century, Calcutta was torn between the colonial culture and a heavily middle-class generated nationalist culture, as a counter to the former. This newly emerging nationalist current was a largely masculine construct, based on the Hindu scriptures. This rising ideology was inscribed around the figure of the middle class or middle/upper caste women. If one looks back at the repertoire texts produced and performed in Bengal during the time discussed, especially by the end of the nineteenth century, focussing on Girish Chandra Ghosh, one of the celebrated theatre personalities of the time and in history, Hindu mythological and religious texts became the norm for mainstream plays. Theatre thus became a means for Hindu revivalism. As author Rimli Bhattacharya has observed, Chaitanya Lila was produced in an existing backdrop of Hindu religiosity which had already been tapped by what has subsequently come to be termed as ‘religious plays’ ( dharmiya natak ) in Girish’s repertoire. Girish Chandra himself has dwelt at length on his own concern with an audience who needed explaining to and the consequent advantage of a religious play with a Puranic theme, which takes as a starting point an intimate familiarity with the plot. Though a number of historical plays failed to gain popular appreciation, for example, Ananda Raho (1881), Puran - based plays, such as the seven plays based on Ram— Ravan Badh , Laxsman Barjan, Sitar Bibha , Sitaharan , Ramer Banabas —produced between 1881 and 1882 had been a great success (Bhattacharya 1995–96). 

The early English actresses and the emergence of the native women artists

The appearance of the native actresses on stage became the practice only from the latter half of the eighteenth century; earlier men would enact the female characters. However, the presence of actresses was not unknown to the native crowd, especially to the newly emerging educated middle class, i.e. the bhadralok community in Calcutta. Though a steep contrast between the social life of the Europeans and the Indians valorised post the Revolt of 1857, the theatre space, however became one of the major grounds where these two strands—the coloniser and the colonised— would come together. The vital aim of these theatrical performances was to entertain these men during their evening rendezvous and leisure pursuits. In Historicizing Actresses Stories: English Actresses in India (1789-1842) , author Bishnupriya Dutt describes Lord Byron’s poetry to give a vivid imagery of the ‘idealistic colonial society’—meekly structured at the playhouses,—the brainchild of the rigid and oppressive male colonial community:

Byron’s poetry presented as a picturesque tableaux, enacting fragments of an Orientalist tale. The venue is an English style palatial house of colonial Calcutta. The magnificent interiors done up in regency and Bourbon style; the ideal backdrop. The languorous odalisque in the centre of the picture remains static and complaint, in the short episode enacted through poetry recitation and song. Company officers, in full military regalia, enter the picture as guests or a marginal performer, wooing the actress, claiming the companion for the evening. A representative picture of British colonial imagery, a life devoted to the pursuit of pleasure within a real though in reality an imaginative Orientalist environment. (Singh 2009:313)

The playhouses became the site of fabricated reality where the actresses who existed without any kin or background occupied the centre-stage of the constructed colonial narrative The socially and economically marginalized actresses would become the protagonists of the colonial fantasy, staged at these playhouses. This fantasy narrative provided an ironic reflection on the structural oppression meted out to them by the colonial male community.

Nineteenth-century Bengali theatre, starting in 1871, modelled itself on the English performances. It was fashioned around the Madame Vetris’ genre of the popular musical traditions, specially the burlesque . One of the major ‘spectacles’ or point of attraction, apart from the onstage mise-en-scene grandeur, was the actress. In line with the English actresses, the Indian actress became a ‘consumerist product’ for the male gaze in the colonial theatre space. The actress became thecentrifugal force of the ‘commercial-professional system’ prevailing in commercial Bengali theatre. In the Calcutta public theatre scene, the coming of the actresses was sorted out right at the time of its inception. If the inspiration for theatre performance came from the English theatre in the adjoining white neighbourhood, then the predominance of actresses was the starting point and not an alien concept (Singh 2009:49). In the earlier days the ideal roles that these actresses would portray was that of the ‘seductive victim protagonists of the scandalous plays’ (Singh 2009:51). Most of the (Indian) actresses were recruited from the red-light district of the city, and being the only visible women in public entertainment spaces, were regarded as ‘public women’. These actresses, however, negotiated their place in theatre through their ‘performance, persona, stability, popularity’ (Singh 2009:51), thus constructing a ‘new social identity’.

The coming of actresses on the native stage: Realism and Bengali theatre

In the pages of Bengal’s professional theatre history, the emergence of ‘actresses’  had been the most debatable, discussed and one of the pivotal points in the structuring of modern theatre on the native stage. The coming of the actresses on the native stage happened simultaneously with the coming of Realism in Bengali Theatre. These goals were attempted by configuring theatre-making as the chief practice of middle class cultural production, by bringing in remarkable changes in the theatre economy. Until the late eighteenth century and into the early nineteenth century, impersonation of female characters by male actors was the norm. With the rise of the ‘bhadralok’ community, this impersonation of female characters by the male actors gave rise to a steep binary between effeminacy and masculinity, the latter being the driving force of the newly emerging spirit of nationalism.

This happened because the bhadralok’s imagination of nationalism was a derivative discourse, borrowing heavily from the patriarchal nationalism practiced by the colonizers. Thus, in the quest for building a new nation, theatre being a crucial site for the same, the inclusion of female actors became the need of the hour. Firstly, to establish theatre as an ‘art’ and, secondly, to keep alive the ticketed staging of theatre for mass consumption. By the 1870s the practice of the boy-artist enacting the female roles faced discontinuity on the native Bengali theatre stage. Historical records reveal that actresses acquired a presence on the modern Bengali stage through Lebedeff’s production in 1795 and, professionally, with the staging of Michael Madhusudan Dutt’s Sharmishtha in 1873 by the Bengal theatre (Singh 2009:197). These actresses, who frequented the Bengali native stage as artists, by the end of the nineteenth century, were majorly from the ‘ill-reputed’ strata of society—from the unspoken world of fallen women, present in the newly formed and educated Bengali middle class society.

The theatre that developed in the late nineteenth century India, especially in Bengal (and Maharashtra), catered to an audience that was much wider than the new educated middle-class males who introduced the European stage form in Kolkata, (Mumbai and Pune) (Chatterjee 2016:202). The new  theatre also absorbed the merchant community, thus turning theatre into a site of private capital parallel to being a field of cultural production. The newly educated Bengali middle class men, the babus , formed the major chunks of the audience, apart from their White Town friends in Calcutta.

In the course of time, the leisure ground for these men turned to be one of the most influencing factors for the birth of the new proscenium form of theatre. Recalling the history of spaces, the proscenium is often the marker of the colonial theatre space. The discourse of spaces, worked out in isolation at certain historical junctures, finds it imperative to include the star actresses as the occupant of the space (Dutt and Sarkar 2010:53). As Tracy Davis opines, ‘it is significant that the theatre did not function as a back drop, but was a very particular milieu wherein illusion enhanced attractiveness and provided a readymade imaginative context for erotic fantasy...Sexual adventure was significant and crucial to enjoyment’ (Dutt and Sarkar 2010).  The bhadraloks countered this western fantasy of eroticism with the portrayal of the ideal woman on the native stage.

Binodini belonged to the second wave of native actresses performing on the new form of proscenium theatre in Bengal. The first wave of native actresses acquainted through Binodini’s autobiography were Elokeshi, Ganga Baiji, Golapshundari, Khetramoni, Lakkhimoni and Rajkumari.

The early theatre life of Binodini

Binodini Dasi, born in Calcutta in 1862, lived her life as an actress on the colonial public stage of Calcutta from 1874 to 1886. She joined theatre at the age of twelve and prior to that received her training in music from Ganga Baiji, a tenant of her family home and also a performer in the theatres. In her autobiography, titled   Amar Katha (1913),  Binodini shares a vivid account of her childhood and her life before she started dominating the popular theatrical scene with her artistic presence. She spent her childhood at house No. 145, Cornwallis Street, Calcutta, with her grandmother, mother and a younger brother. This house, which the artist inherited from her maternal kin, remained in her possession till her last days. Binodini lived in utmost poverty and trauma (especially after the death of her brother) throughout her growing up years. Their house was given out on rent to several tenants and the money incurred from the same sustained her family. In her autobiography Binodini describes these tenants in so many words:  

I was a bit distant, because since childhood I had quite despised the behaviour of our tenants, the ones who lived in the thatched rooms. They were not husband and wife, but lived together as a couple. They lived off their daily earnings and from time to time fought so fiercely that it seemed that they would never again exchange a single word. But then I would find that the very next moment they would be eating together, laughing and joking all the while. (Bhattacharya 1998:64)

When Binodini was nine, she was encouraged by her mother to learn music from Ganga Baiji, a famous singer and a professional theatre artist who was staying with them at that time. Gangamoni, as Binodini would call her, would take  young Binodini along to her practice sessions and rehearsals. During her days spent observing Ganga and her theatre companions, Binodini was exposed to theatrical forms like geetinatya (opera) and plays like Sitar Bonobas (The Exile of Sita). Binodini recalls the existence of two major theatres in Calcutta during the early 1870s—Sri Bhubanmohan Neogi’s Great National Theatre and Saratchandra Ghosh’s Bengal Theatre. Binodini’s first appearance on stage was a small role of a sakhi (handmaid) in a play titled Beni Sanhar (The Binding of the Braid) by  the National Theatre. However, Binodini’s first ever important role was as Hemlata in a play of the same name by Haralal Ray. In her autobiography, Binodini has spoken at length about play rehearsals, as well as dress rehearsals, which would be held at natya mandir .

A critical turn in the  theatre history of India: The staging of Neel Darpan

Since one of the aims of this module is to trace the history of nineteenth-century popular theatre in Calcutta with reference to the lives of actresses, especially Binodini, at this juncture a little focus on the Dramatic Performances Act of 1876 , which was a turning point in the pages  of modern  theatre in India, is necessary. Thus, the discussion on Neel Darpan becomes unavoidable.

One of the major experiences of Binodini’s life was the performance of Neel Darpan (The Indigo Mirror) . Binodini with her National Theatre group performed the play at Chhatramandi, Lucknow, in 1875. Bhattacharya writes:

Almost all the sahebs of Lucknow city came that evening to see our play. At the point where Rogue Saheb attempts to assault Khetramoni, Torap beats him with a door he has broken down and then Nabimadhab takes Khetramoni away. The play was being performed quite brilliantly; in addition, Babu Motilal Sur played Torap and Abinash Kar saheb played Rogue Saheb with unusual competence. The Sahebs were extremely upset at this particular scene. A commotion arose and one of the sahebs actually climbed up the stage intending to beat up Torap. We were in tears, our instructors were frightened and our manager, Dharamdas Sur all a tremble. We stopped the performance and somehow putting together our costumes and the sets, fled the scene. Only after we left Lucknow, early the following day, could we breathe normally. (Bhattacharya 1998:69)

The play which Binodini and her theatre co-workers went to perform at Lucknow became one of the most controversial plays in Indian theatre history.

Neel Darpan (The Indigo Mirror) — written in the year 1859 by under Dinabandhu Mitra, an inspecter of the Post Office department under British colonial rule — was published under a pseudonym from Dhaka in 1860 and was in circulation thereafter. A vehemently critical account of the indigo trade, Neel Darpan has become one of the foremost plays which reflects on the  inclusion of realism in form and content in the theatre history of India.

In the nineteenth century, almost 20 million sq. km land was engaged in indigo cultivation, a large portion of which was in India. Like most plantation crops, the farming of indigo was a history of brutality, forced cultivation and violation of farmer’s rights (Gupta 2015). Revolts against indigo trade oppression and injustice started taking place from the late 1850s and took violent turns by 1559, originating in the Nadia district of Bengal, around the same time when Neel Darpan was first published. The play, once published, travelled through the intellectual circle of Bengal and galvanised the farmers’ revolt on to the proscenium stage. The play was translated in English by Michael Madhusudan Dutt, titled The Indigo Planting Mirror , published by Rev. James Long, and printed by C.H. Manuel at the Calcutta Printing and Publishing Press. The National Theatre’s first commercial production was Neel Darpan , staged in the year 1872. The reaction to this play was extreme (as it has been believed) from both sections—the colonisers and the colonised—of theatre-going masses. The play particularly had a huge impact on the middle class, given the period saw a considerable rise in nationalistic sentiments of the newly educated bhadralok community. The effect of staging the play, which was a critical commentary on the real events of the time, on the native stage lingered throughout the suceeding years as a momentous occasion, in turn leading to one of the major historical turns in theatre history—the Dramatic Performances Act of 1876.

It was only after the staging of Neel Darpan (Binodini’s performance with the National Theatre) in Lucknow that the British passed the Dramatic Performances Act in March 1876, banning the staging of anti-British seditious plays, scandalous plays or plays desiminating social values. At this point, with the restriction of their expression, these middle class men overcome with the spirit of nationalism turned towards Hindu mythological texts in order to generate and establish a new value system. The mythological theme was already prevalent in the Jatra , a domimant form of performance or mass entertainment prevailing in the contours of rural Bengal. With the aid of transportation and development of new locomotive means, especially the train, a heavy migration pattern could be observed in the nineteenth-century cityscape of Calcutta. As a result of this rural to urban migration, a cultural transportation of traditional forms started taking place during this period. As a result, the theatre of the nineteenth century, especially after the imposition of the Dramatic Act, started relying on the Hindu texts. Not only mythological texts, but a rich literature around that time also encompassed the themes of social and family values, of the domestic ideal. While the bhadralok community was constructing an image of themselves as the progressive and the modern under the light of Western education, the burden of representing the traditional fell on the ‘ bhadramohila ’ of the andarmahal (interior).  In the hands of male playwrights, directors and actor-trainers, theatre became one of the major sites of reproducing the values of the ‘ideal woman’.

The newly built nation and the actresses

In the process, the popular traditional theatre forms in the metropolises and their immediate areas of influence gave way to the evolution of actor-managerial tradition as an institution. The ‘new theatre’ that came up in the last decades of the nineteenth century and in the early twentieth century absorbed local idioms of ‘musical and spectacle’ to create its popular base. What this new form constituted, apart from songs and spectacles, was a touch of magic, a loose structure of narrative and the major turn was its newly found dependence on mythology, saint-lore (Bandopadhyay 1998:417) and historical narratives.

While  the traditional Victorian-modelled actress was nothing but a spectacle, site of consumption and the convincingly infamous seductress, the nationalists attempted to upturn the dualism that was in play among the prostitute-turned-actresses—‘it was unspeakably dangerous to allow the home breaker prostitute actress whose social role was to entertain the babus and lure them out of their homes, to portray the homemakers on stage (Dutt and Sarkar 2010:52)’. The nationalists turned towards the ‘conjugality project’, where these fallen women, from their role in domestic social drama, shifted towards role of conjugality and that of mythological characters. The mythical and historical narratives got domesticated to re-enhance the domestic conjugality project and the ideal patriarchal imagination (Dutt and Sarkar 2010:52).

Melodramatic in form, exaggerated in action, these plays were far off from reality and so were the roles assigned to the actresses. Partha Chatterjee claims that the colonial middle class started accepting the actress in the role of ‘romantic Goddesses’ as it was far away from reality (Dutt and Sarkar 2010:52-53). Within the tropes of melodramatic sacrifices, self-immolations or portraying the ideal wife, these women were giving voice to the apotheosis of ‘Indian woman’, constructed in the crux of nationalism. The public woman, the actress, set the role model for the same through character portrayals  of Sita (Ram’s wife in Valmiki’s epic poem Ramayanaor Kapalkundala, the sacrificing and ever-submissive wife of Bankim Chandra’s novel of the same name). Nationalism was spreading from two directions—Bankim’s classic female roles and Girish Chandra Ghosh’s mythological and historical women. These actresses belonging mostly to the courtesan culture were designated second-grade citizen status. Thus, until the 1940s, till the coming of the new wave of IPTA actresses, these women, in spite of their star status quo, were  perceived as entertainers.

Binodini’s form of acting :

The contribution of Binodini to the professional theatre of Bengal cannot be undermined in discussing (as well as critiquing) the dominance of the male members of the theatre family. Starting her professional career as an actor from a very early age, Binodini mastered the art of enactment through informal trainings and self-taught methods, but her rigorous training phase in acting happened only under Girish Chandra Ghosh during her years at the National Theatre. The acting methodology that evolved, especially in the late nineteenth century, was nurtured under the light of both traditional and Western forms of acting—a milieu of the art of acting prevailing in the Black Town—as well as in the White Town of Calcutta. The traditional methods of acting followed the norms of the rasa theory as explained in the Natyashastra . The Western method of acting was loosely based on Stanislavskyian methods of acting, as one could have observed from the performances by the English and French actors. Thus, combining the gestural and the real (semi) the actors of the era adopted a combination of bhava-anubhava and naturalistic style of acting. As Binodini has described in her autobiography, the English actresses were considered the role model for the newly evolving native actresses. Other than acting, costume and make-up became integral parts of the new theatre. Binodini introduced her own style of both make-up and costume, which have been claimed as one of the important contributions made by the actress.

  Actors as labourers: Binodini and Star Theatre

In her autobiography, Binodini reflects on the fact that actors are treated as labourers. She is known to have denied performance without remuneration. The actresses of this time were mostly salaried in the permanent theatre houses. As Tracy Davis has identified Victorian actresses as working women, one can claim the same for the native ones. For Binodini, it was not only her professional acting career, but also her contributions in founding the Star Theatre that should be looked into while  speaking of the actress, the theatre and of the theatre capital. . The Star Theatre was established in 1883 at 68, Beadon Street, Calcutta. Girish Chandra Ghosh after a dispute at Minerva, decided to form his own theatre company and Binodini also wanted an unconditional space for her artistic expansion and exposure. To  incur funds for the theatre, Binodini became mistress to Gurmukh Ray, a businessman, who agreed to sponsor the making of the Star Theatre. In her autobiography, Binodini has described her excitement during the building days of the Star. She was also promised by her co-workers, who ventured with her to form the new theatre space, that the theatre would be named after her— B Theatre . But it was ultimately named Star Theatre, an act screeching of hypocrisy and politics practiced by the middle class; after all, how could a theatre be named after a public woman.

The first play staged at the Star in 1883 was Daksha Yagna , with both Binodini and Girish Chandra in leading roles. The following year,  Chaitanya Lila was performed. Soon after, Binodini once and for all quit the professional stage at the age of twenty-three. In the course of time, in her autobiography Amar Katha , published in 1913, Binodini reveals her feelings about the betrayal that she faced from her mentor and co-workers. She is one (or perhaps the only one) of the native actresses in nineteenth-century Bengal who created a body of literature in the form of an autobiography and poems, thus giving  her readers an insight into an alternative history of colonial Calcutta. Her work has been a gateway to the unknown terrains of life prevailing in middle-class Bengali community and the conditions of a marginalised section of the society—the women artists.

Chaitanya Lila - Girishchandra’s Chaitanya Lila is based on Brindavan Das’s Chaitanya Bhagavat , which depicts the early life of Chaitanya (Nimai) ending with his renunciation of home. Binodini’s performance as Bengal’s most charismatic saint was to determine subsequent readings of her life. The 1884 production at the Star Theatre was a great success and set the trend for the ‘biographical devotional’ on the public stage.

Elokeshi, the actress is considered to be amongst the first four actresses of the public theatre in Calcutta, beginning her career as Debjani in the Bengal Theatre in Madhusudan Dutta’s Shormistha .  

Gangabaiji, the singer-actress, referred to as Gangamoni in Binodini’s autobiography, was one of the foremost theatre personality to influence and encourage little Binodini’s skills in theatre. Gangamoni worked at the National Theatre at the Beadon Street from 1881-1882. From 1883-87, she acted as Murala in Girish Ghosh’s Kalapahar (1896) where she excelled in dhrupad singing and Pagilini (the mad woman) in Bilwamangal (1886).

Golapshundori, also known as Sukumari Dutta was among the founder members of the Hindoo Female Theatre. In 1875, she wrote the play Apurba Sati . Among the famous roles played by the actress are Bimala in Durgeshnandini (1873, Motibibi in Kapalkundala , Girijaya in Mrinalini (1877), Sarojini in Sarojini (1875), Shanti in Anadamath (1898).   

Khetramoni, affectionately referred to as Khetu didi (elder sister) by Binodini, is considered to be one of the most outstanding, but highly ignored talents of the first phase of Calcutta public theatre. She was one of the first five women performers at the Great National Theatre. She worked for over two decades in theatre, starting her career as Brinda in Sati ki Kalankini at the Great National Theatre (1874), then played Moh in Chaitanya Lila at the Star Theatre (1884) and continued working at the Minerva Theatre till 1896. She died in the year 1903.

Lakkhimoni , also referred to as Lakhi, was one of the earliest actresses performing for the Great National Theatre. She has played the roles of Khetramoni in Neeldarpan (Indigo Mirror) and Lakshmibai in Hirak Churno Natak , among others in 1875 .  

Rajkumari , also known as Raja, was amongst the first five actresses to be employed by the Great National Theatre for the play Sati ki Kalankini , in 1874. One of the best parts enacted by the actress is considered to be that of Kobita in Ansnso Kanon .

IPTA - The Indian People’s Theatres Association was founded in 1942,as the cultural wing of the Communist Party of India.

Indigo trade - The colonial rulers set up the commercial production of Indigo (an important source of natural blue-dye on fibres) in India by 1777. Bengal was the prime site of plantation of this crop. The ‘blue gold’ became one of the major demands in Europe, during the textile industry boom due to Industrial Revolution.

Bandhopadhyay, Samik. 1998. ‘Theatre: From Metropolis to Wasteland.’ In Independent India: The First Fifty Years , edited by Hiranmay Karlekar, 417–28. New Delhi: Oxford University Press.

Bhattacharya, Rimli, ed. and trans. 1998. Binodini Dasi: My Story and My Life as an Actress . New Delhi. Kali for Women.

Bhattacharya, Rimli. 1995–96. ‘Benediction in Performance: Reverberations in Chaitanya Lila from the 1880s.’ Jadavpur Journal of Comparative Literature 3.

Dutt, Bishnupriya, and Urmimala Sarkar Munsi, eds. 2010. Engendering Performance: Indian Women Performers in Search of an Identity . New Delhi: Sage Publication.

Dutt, Bishnupriya. 2009. ‘Historicizing Actresses Stories: English Actresses in India (1789-1842)’. In Playhouse of Power: Theatre in Colonial India , edited by Lata Singh, 313–39. New Delhi: Oxford University Press.

Gupta, Abhijit. 2015. ‘The heat of indigo.’ Online at https://www.livemint.com/Leisure/kIprYdow50f1BQeMDMZBjL/The-heat-of-indigo.html (viewed on March 6, 2018).

Singh, Lata, ed. 2009. Playhouse of Power: Theatre in Colonial India . New Delhi: Oxford University Press.

English Compositions

Autobiography of a Bridge (Howrah Bridge) [2000 Words]

A bridge is a structure made over a river, rail track, road, or something else so that vehicles and peoples cross over those obstacles without much effort. There is a popular bridge in Kolkata which is over the Hoogly river, today we are going to see the Autobiography of that bridge.

Hello! I am a Howrah Bridge. My official name is Rabindra Setu, which was given on 14 th  June 1965 in the memory of Nobel Laureate Rabindra Nath Tagore. I am also called Glasgow. I am a bridge who is widespread above the waterbody of the Hoogly river. This river is 71 feet wide.

I am being located in Howrah, West Bengal whose state is Kolkata. I am a bridge, whose height is 82 m or 269 ft. and length is 705 meters. I am the third largest bridge in the world in the year 1943 when the commission was passed for my construction and then again in the year 2013, I was given the position of the sixth largest bridge in the world.

The government of Kolkata wished to make a bridge over the Hoogly river and asked George Turnbull who was the chief engineer of the East Indian Railway Company in the year 1862 to look into it. He was the first being to study the depth and measured the Hoogly river and reported about it after some time, probably by 19 th  March 1862.

He got an idea of giving a proposal to build me, Howrah Bridge over the river. Before naming me, in 1800s Pontoon Bridge was constructed but it was not able to carry the heavyweight and bulk load of all the vehicles and pedestrians so when they proposed to reconstruct it, then I was made without any support but of 26,500 tons steel only.

The tons of steel used in my construction is from the Tata Steel company. It is a company that had played its major role in the history and heritage of our country too during the industrial revolution. It is the forefront of our country, India. This company had provided so much steel in the name of the project titled as my name.

My construction was done by The Braithewaite Burn and Jessop Construction Limited Company. All three persons namely, Tritton, Rendel, and Palmer were the designers for my construction. My construction was started in the year 1935 and ended in the year of 1942.

Between 1912 and 1917, my half of the construction was already done but due to the conditions of World War I, in between the planning of my construction was ceased. A planning group was being made for my construction.

In the year 1922, a commission was proposed for my new formation and later after four years, in 1926 the New Howrah Bridge Act was released for starting my construction again that was stopped in between. I am totally made from steel material and there are no pillars attached to my body by the builders.

I am a balanced bridge spread within the middle of the major pillars are 460 m / 1,500 feet each. Those major two towers have a height of 280 feet / 85 m up from the strings and 76 feet/ 23 m distance from above. My both anchor arms are 99m/325 feet. A total of 8 lanes for roads, vehicles, and pedestrians are made.

Also, both cantilever arms are 143m. My deck pulls a ship from hangers in 39 pairs. They are fixed from the pins and string girders are installed. I move left and right, I make a slight movement but it is also supported by joints that are connected and fixed properly so that I am safe and keep other people safe who are walking over me. There are no joints or bolts and it stands proudly.

Every year so many people come to look for me. They feel happy by having beautiful views by standing on top of me. They take ferry during the night and travel from Kolkata to Howrah to capture the serene pictures of the city.

They do not get afraid when they are above me and walk for so many hours over me. Many people drive their transport over me also and they do not ever need to feel worried about the weight of their transport because I can hold that very easily. I am a bridge who never opens from middle and no one could also lift me from between. This is because I protected the city from Japanese planes.

I am a bridge who is an entry gateway to welcome you to Kolkata. I am connected with the main Howrah Station that is the fourth intercity station providing the trains to travel between Howrah and Kolkata. I am a strong bridge who has so much ability to hold the weight of so many people and transport too.

On a daily basis, more than 1.5 lakh pedestrians walk over me and 1 lakh vehicles come and go above me. When my construction was ended in 1946, in the same year, it was reported that around 27,000 transport vehicles, 1.21 lakh, and 3000 cattle had traveled above me. Much bulky transport is taken over me and I am still standing for many years.

Slowly, trams emerged until 1993 and they were going above me. These trams were a basic source for the people of Kolkata to reach High Court Rajabazar, Dalhousie, Sealdah, Shyambazar, Park Circus and Square Park. But, it happened that their movement stopped because they were being burdened on me and it was becoming so hard for me to hold their bulky weight.

Even after many years, I am still able to hold and carry a lot of weighing goods too. I know I am just a bridge but many people who are from Kolkata and outside from this place have shared a lot of memories by standing over me. They had shared their happiness and sadness too.

I have seen many children in a group who were going to school, many teenagers who went to college together, small children roaming above me and happily climbing on my arms to look in the Hooghly river, which is their holy river sort of.

I am Howrah Bridge and Kolkata Trust Port is the main authority who keeps me protected from any kind of damage. Many times so much heavy transportation and fast driving harm my body and my beauty gets dull from the atmosphere and natural calamities. This authority cleans me daily so to remain my beauty always the same.

My 75 th  Birthday was on February 3, 2020. I am still known by the name of Howrah Bridge.

In this city, I am important and significant for many people. I remain over the Hoogly river as the major monumental of Kolkata. This grand city is royal and glorious with my presence. I am happy that my presence adds an impressive and splendidness to this city. Many directors and producers have selected me as their best location for their film-making too.

How was this autobiography on Howrah Bridge? Feel free to share your thoughts in the comment section!