Rabindranath Tagore like? *
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RABINDRANATH TAGORE AS A PLAYWRIGHT THE POET-DRAMATIST T AGORE IS PRIMARILY a mystic lyrist in the tradition of a number of well known medieval poet-saints of India, whose influence has permeated the very core of Indian life during the last several centuries. Consequently, it may be observed that these basic qualities of Tagore's poetry have colored all the other types of modern literature assayed by hinl. But before attempting any survey of his dramatic work it appears to be relevant to consider two important aspects of his work as a playwright: first, his links with the modern European drama; second, the relation between the plays and the stage for which he presumably wrote. The Stage Though in essence the main features of Tagore's dramas carry forward the traditions of the old Indian (Jataka) plays, there is no doubt that he was also influenced largely by certain trends in the modern drama of the West. It is well to remember that although Tagore claimed himself to be merely a writer in Bengali and though he is in spirit Indian to the core, his message was to humanity as a whole; and till the end of his days he was fully alive to the latest ideas and emotions that stirred the hearts and minds of men and women in the various parts of the globe. It will thus be seen that most of his plays have close affinities with the poetic or symbolist European drama of the present century typified in the works of such writers as Maurice Maeterlinck. His technique and style are, in effect, very close to those of the Irish mystics Yeats and Synge; and it is not without significance that he was introduced to the cultural circles of the West by these protagonists of the Celtic Revival and the nationalist nlovement of Eire; and that the English renderings of his plays were first staged at the Abbey Theatre in Dublin. Considered in this international setting, it may not be out of place to mention here that the dramatic output of Tagore is closely in line with certain definite trends in the dramatic nlOvements of modern times. This also accounts for the unique popularity enjoyed by some of Tagore's plays in the literary circles of the West. First in Dublin, then in London, and later in France, Italy, Czechoslovakia, and Germany, his plays were staged with success. But of all the countries of Europe, Tagore attained the greatest popularity in the pre-Munich Czechoslovakia, leading to the 83 , 84 MODERN DRAMA May establishment of a Professorship in Bengali language and literature at the University of Prague. Open Air Dramas In any treatment of European drama we usually try to relate the critical study of a particular dramatic literature to the stage for which it was originally produced. In this respect, a study of Tagore or of any other modern Indian playwright presents a different picture. In India, apart from some amateur dramatic societies and crude professionals now nearly driven out of existence by the cinematographic industry, there is not in any part of the country a regular, wellestablished theater that could cater for the needs of cultured or even popular audiences. The popular stage traditions of India do not go beyond the attempts of the old (Jataka) plays and the performances of well known Puranic (mythological) stories by wandering companies of players. Such plays do not require much of a stage setting and can be acted in a temple courtyard or even in the open air. This state of affairs poses certain problems for a would-be playwright in the present times, while at the same time he enjoys a certain liberty of action not possible for a writer of plays in Europe or America. In spite of these limitations, however, great drama has been produced in India; and even Kaidasa's Shakuntala belongs to this tradition. In this context, it may be of interest to draw attention to the following note prefacing the English translation of Tagore's play Chitra: The dramatic poem Chitra has been performed in India without scenery-the actors being surounded by the audience. Proposals for its production here...