Gitanjali : A Study in Lyrical Gitanjali : A Study in Lyrical Patterns Patterns

(Syntax,Diction and Rhythm)(Syntax,Diction and Rhythm)

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• Gitanjali literally means a heap of Gitanjali literally means a heap of flowers offered in the cupped hands. flowers offered in the cupped hands. The flowers are not of one kind; they The flowers are not of one kind; they are different gardens. Some are from are different gardens. Some are from the garden of love, some from the the garden of love, some from the garden of light; others from the garden of light; others from the garden of time, yet still others from garden of time, yet still others from the garden of death.the garden of death.

Tagore’s Musical PatternsTagore’s Musical Patterns-Devotional Poetry/ Cosmic Rhythm-Devotional Poetry/ Cosmic Rhythm

Chaitanya -Bengali Devotional Chaitanya -Bengali Devotional MovementMovement

- Rasa, Dhvani, - Rasa, Dhvani, Vakrokti(appropriateness) Vakrokti(appropriateness)

(Lyricism and Prose Poetry)(Lyricism and Prose Poetry)

-Dialogue Form – Music and Rhythm

(Conversational Poetic modes)

Tradition and LyricismTradition and Lyricism

Meera/Kabir/Surdas/Jaidev-Bhakti Meera/Kabir/Surdas/Jaidev-Bhakti PoetryPoetry

• Gitanjali :Gitanjali :

- Essence of centuries of meditation - Essence of centuries of meditation and devotionand devotion

• Quest Motif:Quest Motif:

-Longing for the divine-Longing for the divine

-A devotional poet sings his way to -A devotional poet sings his way to GodGod

• One outstanding piece from One outstanding piece from GitanjaliGitanjali

-'On the Seashore' -'On the Seashore'

Yeats singled out this poem to conclude Yeats singled out this poem to conclude his his

laudatory introduction to laudatory introduction to GitanjaliGitanjali. .

- in broad terms, the poem is perfectly in broad terms, the poem is perfectly symmetrical in its thematic structure. symmetrical in its thematic structure.

- The center line of the third paragraph The center line of the third paragraph anchors the poem.anchors the poem.

• This sentence reads: This sentence reads:

• "Pearl fishers dive for pearls, "Pearl fishers dive for pearls, merchants sail in their ships, while merchants sail in their ships, while children gather pebbles and scatter children gather pebbles and scatter them again." them again."

-This sentence stands on its own in the -This sentence stands on its own in the poem. No other sentence mentions poem. No other sentence mentions the pearl fishers or merchants. the pearl fishers or merchants.

- However, every other sentence in the - However, every other sentence in the poem has a complementary sentence poem has a complementary sentence within its respective paragraph. within its respective paragraph.

• Continuing the example of the third Continuing the example of the third paragraphparagraph

starts with sentence: starts with sentence:

• "They know not how to swim, they know "They know not how to swim, they know not how to cast nets." not how to cast nets."

Compare this with the last sentence of the Compare this with the last sentence of the third paragraph: "They seek not for hidden third paragraph: "They seek not for hidden treasures, they know not how to cast treasures, they know not how to cast nets." nets."

The first half of each unit mimics the style The first half of each unit mimics the style of the other, while the second half of each of the other, while the second half of each phrase is identical: "they know not how to phrase is identical: "they know not how to cast nets."cast nets."

Moving from the center of the poem outward to Moving from the center of the poem outward to paragraphs two and four are also symmetrical. paragraphs two and four are also symmetrical.

Once again, the first and third sentences of each Once again, the first and third sentences of each paragraph mirror each other in some way. paragraph mirror each other in some way.

In the second paragraph, the idea of playing on In the second paragraph, the idea of playing on

the sand is repeated in both the first and third the sand is repeated in both the first and third sentence. sentence.

In the fourth paragraph, the phrase "pale gleams the smile In the fourth paragraph, the phrase "pale gleams the smile

of the sea beach" is repeated in the first and third of the sea beach" is repeated in the first and third sentences. So is the motion of the sea. In the first sentences. So is the motion of the sea. In the first sentence, the "sea surges." In the third sentence, the sentence, the "sea surges." In the third sentence, the "sea plays." This symmetrical pattern continues in "sea plays." This symmetrical pattern continues in paragraphs one and five. paragraphs one and five.

The language used by the poet is the The language used by the poet is the

language of emotion, language of emotion, rhythmrhythm, lyrical , lyrical intensity charged with instinctive intensity charged with instinctive movement.movement.

“ “LIFE of my life, I shall ever try toLIFE of my life, I shall ever try to

keep my body pure, knowing that thykeep my body pure, knowing that thy

living touch is upon all my limbsliving touch is upon all my limbs

Poet is deeply aware of the Poet is deeply aware of the importance of liquid consonants importance of liquid consonants /L/M/N/L/M/N

• MYMY Desires are Desires are manymany and and mymy cry is cry is

PitifulPitiful, but ever didst thou save , but ever didst thou save meme by by

hard hard refusalsrefusals; ; andand this this strongstrong mercymercy

has been wrought has been wrought into my lifeinto my life through through

andand through. through.

(Gitanjali,1957;page12)(Gitanjali,1957;page12)

Syntax Syntax DictionDiction• organization of organization of

words in words in sentences: sentences: the the ordering of and ordering of and relationship between relationship between the words and other the words and other structural elements in structural elements in phrases and phrases and sentences. The syntax sentences. The syntax may be of a whole may be of a whole language, a single language, a single phrase or sentence, or phrase or sentence, or of an individual of an individual speaker.speaker.

• Choice of words to Choice of words to fit their Contextfit their Context

Diction,Rhythm, Pitch and Diction,Rhythm, Pitch and ToneTone

LIGHTLIGHT, my light, the world filling light,, my light, the world filling light,

the eye kissing light, heart sweeteningthe eye kissing light, heart sweetening

light!light!

Ah, the light dances, my darling, atAh, the light dances, my darling, at

the centre of my life ; the light strikes,the centre of my life ; the light strikes,

my darling, the chords of my love; themy darling, the chords of my love; the

sky opens, the wind runs wild, laughtersky opens, the wind runs wild, laughter

passes over the earth. ( song 57)passes over the earth. ( song 57)

Diction,Rhythm, Syntax and Diction,Rhythm, Syntax and ToneTonePLUCKPLUCK this little flower and take it, this little flower and take it, delay not! I fear lest it droop an delay not! I fear lest it droop an Drop into the dust.Drop into the dust. It may not find a place in thy gar-lIt may not find a place in thy gar-land, but honour it with a touch of and, but honour it with a touch of pain from thy hand and pluck it. I pain from thy hand and pluck it. I fear lest the day end before I am fear lest the day end before I am aware, and the time of offering go by.aware, and the time of offering go by.Though its colour be not deep and Though its colour be not deep and Its smell be faint, use this flower inIts smell be faint, use this flower inThy service and pluck it while thereThy service and pluck it while there is time. ( song 6)is time. ( song 6)

The poet describes in a rhythmic rush The poet describes in a rhythmic rush the quick passage of time seasons the quick passage of time seasons change, all things rush on, no power change, all things rush on, no power can hold. Life goes on:can hold. Life goes on:

All things rush on, they stop not, they All things rush on, they stop not, they look not behind, no power can hold look not behind, no power can hold them back, they rush on.them back, they rush on.

conclusionconclusion

• To move towards the conclusion, Tagore is To move towards the conclusion, Tagore is simply magnificent .The link he tries to raise simply magnificent .The link he tries to raise with the divine through his impenetrable but with the divine through his impenetrable but at the same time fathomable artistic at the same time fathomable artistic creation, is fabulous. The internal involuntary creation, is fabulous. The internal involuntary willingness to glue the supremely enormous willingness to glue the supremely enormous in the pages of his immortal creation, with in the pages of his immortal creation, with fastidious stress on language, diction and fastidious stress on language, diction and rhythm, has captivated many a hearts and rhythm, has captivated many a hearts and bowled over many minds.bowled over many minds.