Labelling Tagore as an Anglo-Indian poet, this presentation speech, spills out that the Nobel prize was not given to him  just for his literary excellence.

It was because he was perceived to be a poet who was far removed  from traditional oriental philosophy, was a member of the  Brahmo Samaj (enlightened, because it was not a sect of ancient Hindu type!), who could be considered as a  product of the world-wide rejuvenating force of the Christian mission and a master of the poetic art that was a never-failing concomitant of the expansion of the British civilization.

Such colonial zealots!  Even the Bhakti movement was claimed to be influenced and ‘refined’  by Christianity!!


The Nobel Prize in Literature 1913: Presentation Speech


 Presentation Speech by Harald Hjärne, Chairman of the Nobel Committee of the Swedish Academy, on December 10, 1913


In awarding the Nobel Prize in Literature to the Anglo-Indian poet, Rabindranath Tagore, the Academy has found itself in the happy position of being able to accord this recognition to an author who, in conformity with the express wording of Alfred Nobel’s last will and testament, had during the current year, written the finest poems «of an idealistic tendency.» Moreover, after exhaustive and conscientious deliberation, having concluded that these poems of his most nearly approach the prescribed standard, the Academy thought that there was no reason to hesitate because the poet’s name was still comparatively unknown in Europe, due to the distant location of his home. There was even less reason since the founder of the Prize laid it down in set terms as his «express wish and desire that, in the awarding of the Prize, no consideration should be paid to the nationality to which any proposed candidate might belong.»

Tagore’s Gitanjali: Song Offerings (1912), a collection of religious poems, was the one of his works that especially arrested the attention of the selecting critics. Since last year the book, in a real and full sense, has belonged to English literature, for the author himself, who by education and practice is a poet in his native Indian tongue, has bestowed upon the poems a new dress, alike perfect in form and personally original in inspiration. This has made them accessible to all in England, America, and the entire Western world for whom noble literature is of interest and moment. Quite independently of any knowledge of his Bengali poetry, irrespective, too, of differences of religious faiths, literary schools, or party aims, Tagore has been hailed from various quarters as a new and admirable master of that poetic art which has been a never-failing concomitant of the expansion of British civilization ever since the days of Queen Elizabeth. The features of this poetry that won immediate and enthusiastic admiration are the perfection with which the poet’s own ideas and those he has borrowed have been harmonized into a complete whole; his rhythmically balanced style, that, to quote an English critic’s opinion, «combines at once the feminine grace of poetry with the virile power of prose»; his austere, by some termed classic, taste in the choice of words and his use of the other elements of expression in a borrowed tongue – those features, in short, that stamp an original work as such, but which at the same time render more difficult its reproduction in another language.

The same estimate is true of the second cycle of poems that came before us, The Gardener, Lyrics of Love and Life (1913). In this work, however, as the author himself points out, he has recast rather than interpreted his earlier inspirations. Here we see another phase of his personality, now subject to the alternately blissful and torturing experiences of youthful love, now prey to the feelings of longing and joy that the vicissitudes of life give rise to, the whole interspersed nevertheless with glimpses of a higher world.

English translations of Tagore’s prose stories have been published under the title Glimpses of Bengal Life (1913). Though the form of these tales does not bear his own stamp – the rendering being by another hand – their content gives evidence of his versatility and wide range of observation, of his heartfelt sympathy with the fates and experiences of differing types of men, and of his talent for plot construction and development.

Tagore has since published both a collection of poems, poetic pictures of childhood and home life, symbolically entitled The Crescent Moon (1913), and a number of lectures given before American and English university audiences, which in book form he calls Sâdhanâ: The Realisation of Life (1913). They embody his views of the ways in which man can arrive at a faith in the light of which it may be possible to live. This very seeking of his to discover the true relation between faith and thought makes Tagore stand out as a poet of rich endowment, characterized by his great profundity of thought, but most of all by his warmth of feeling and by the moving power of his figurative language. Seldom indeed in the realm of imaginative literature are attained so great a range and diversity of note and of colour, capable of expressing with equal harmony and grace the emotions of every mood from the longing of the soul after eternity to the joyous merriment prompted by the innocent child at play.

Concerning our understanding of this poetry, by no means exotic but truly universally human in character, the future will probably add to what we know now. We do know, however, that the poet’s motivation extends to the effort of reconciling two spheres of civilization widely separated, which above all is the characteristic mark of our present epoch and constitutes its most important task and problem. The true inwardness of this work is most clearly and purely revealed in the efforts exerted in the Christian mission-field throughout the world. In times to come, historical inquirers will know better how to appraise its importance and influence, even in what is at present hidden from our gaze and where no or only grudging recognition is accorded. They will undoubtedly form a higher estimate of it than the one now deemed fitting in many quarters. Thanks to this movement, fresh, bubbling springs of living water have been tapped, from which poetry in particular may draw inspiration, even though those springs are perhaps intermingled with alien streams, and whether or not they be traced to their right source or their origin be attributed to the depths of the dreamworld. More especially, the preaching of the Christian religion has provided in many places the first definite impulse toward a revival and regeneration of the vernacular language, i.e., its liberation from the bondage of an artificial tradition, and consequently also toward a development of its capacity for nurturing and sustaining a vein of living and natural poetry.

The Christian mission has exercised its influence as a rejuvenating force in India, too, where in conjunction with religious revivals many of the vernaculars were early put to literary use, thereby acquiring status and stability. However, with only too regular frequency, they fossilized again under pressure from the new tradition that gradually established itself. But the influence of the Christian mission has extended far beyond the range of the actually registered proselytizing work. The struggle that the last century witnessed between the living vernaculars and the sacred language of ancient times for control over the new literatures springing into life would have had a very different course and outcome, had not the former found able support in the fostering care bestowed upon them by the self-sacrificing missionaries.

It was in Bengal, the oldest Anglo-Indian province and the scene many years before of the indefatigable labours of that missionary pioneer, Carey, to promote the Christian religion and to improve the vernacular language, that Rabindranath Tagore was born in 1861. He was a scion of a respected family that had already given evidence of intellectual ability in many areas. The surroundings in which the boy and young man grew up were in no sense primitive or calculated to hem in his conceptions of the world and of life. On the contrary, in his home there prevailed, along with a highly cultivated appreciation of art, a profound reverence for the inquiring spirit and wisdom of the forefathers of the race, whose texts were used for family devotional worship. Around him, too, there was then coming into being a new literary spirit that consciously sought to reach forth to the people and to make itself acquainted with their life needs. This new spirit gained in force as reforms ere firmly effected by the Government, after the quelling of the widespread, confused Indian Mutiny.

Rabindranath’s father was one of the leading and most zealous members of a religious community to which his son still belongs. That body, known by the name of «Brahmo Samaj», did not arise as a sect of the ancient Hindu type, with the purpose of spreading the worship of some particular godhead as superior to all others. Rather, it was founded in the early part of the nineteenth century by an enlightened and influential man who had been much impressed by the doctrines of Christianity, which he had studied also in England. He endeavoured to give to the native Hindu traditions, handed down from the past, an interpretation in agreement with what he conceived to be the spirit and import of the Christian faith. Doctrinal controversy has since been rife regarding the interpretation of truth that he and his successors were thus led to give, whereby the community has been subdivided into a number of independent sects. The character, too, of the community, appealing essentially to highly trained intellectual minds, has from its inception always precluded any large growth of the numbers of its avowed adherents. Nevertheless, the indirect influence exercised by the body, even upon the development of popular education and literature, is held to be very considerable indeed. Among those community members who have grown up in recent years, Rabindranath Tagore has laboured to a pre-eminent degree. To them he has stood as a revered master and prophet. That intimate interplay of teacher and pupil so earnestly sought after has attained a deep, hearty, and simple manifestation, both in religious life and in literary training.

To carry out his life’s work Tagore equipped himself with a many-sided culture, European as well as Indian, extended and matured by travels abroad and by advanced study in London. In his youth he travelled widely in his own land, accompanying his father as far as the Himalayas. He was still quite young when he began to write in Bengali, and he has tried his hand in prose and poetry, lyrics and dramas. In addition to his descriptions of the life of he common people of his own country, he has dealt in separate works with questions in literary criticism, philosophy, and sociology. At one period, some time ago, there occurred a break in the busy round of his activities, for he then felt obliged, in accord with immemorial practice among his race, to pursue for a time a contemplative hermit life in a boat floating on the waters of a tributary of the sacred Ganges River. After he returned to ordinary life, his reputation among his own people as a man of refined wisdom and chastened piety grew greater from day to day. The open-air school which he established in western Bengal, beneath the sheltering branches of the mango tree, has brought up numbers of youths who as devoted disciples have spread his teaching throughout the land. To this place he has now retired, after spending nearly a year as an honoured guest in the literary circles of England and America and attending the Religious History Congress held in Paris last summer (1913).

Wherever Tagore has encountered minds open to receive his high teaching, the reception accorded him has been that suited to a bearer of good tidings which are delivered, in language intelligible to all, from that treasure house of the East whose existence had long been conjectured. His own attitude, moreover, is that he is but the intermediary, giving freely of that to which by birth he has access. He is not at all anxious to shine before men as a genius or as an inventor of some new thing. In contrast to the cult of work, which is the product of life in the fenced-in cities of the Western world, with its fostering of a restless, contentious spirit; in contrast to its struggle to conquer nature for the love of gain and profit, «as if we are living», Tagore says, «in a hostile world where we have to wrest everything we want from an unwilling and alien arrangement of things» (Sâdhanâ, p. 5); in contrast to all that enervating hurry and scurry, he places before us the culture that in the vast, peaceful, and enshrining forests of India attains its perfection, a culture that seeks primarily the quiet peace of the soul in ever-increasing harmony with the life of nature herself It is a poetical, not a historical, picture that Tagore here reveals to us to confirm his promise that a peace awaits us, too. By virtue of the right associated with the gift of prophecy, he freely depicts the scenes that have loomed before his creative vision at a period contemporary with the beginning of time.

He is, however, as far removed as anyone in our midst from all that we are accustomed to hear dispensed and purveyed in the market places as Oriental philosophy, from painful dreams about the transmigration of souls and the impersonal karma, from the pantheistic, and in reality abstract, belief that is usually regarded as peculiarly characteristic of the higher civilization in India. Tagore himself is not even prepared to admit that a belief of that description can claim any authority from the profoundest utterances of the wise men of the past. He peruses his Vedic hymns, his Upanishads, and indeed the theses of Buddha himself, in such a manner that he discovers in them, what is for him an irrefutable truth. If he seeks the divinity in nature, he finds there a living personality with the features of omnipotence, the all-embracing lord of nature, whose preternatural spiritual power nevertheless likewise reveals its presence in all temporal life, small as well as great, but especially in the soul of man predestined for eternity. Praise, prayer, and fervent devotion pervade the song offerings that he lays at the feet of this nameless divinity of his. Ascetic and even ethic austerity would appear to be alien to his type of divinity worship, which may be characterized as a species of aesthetic theism. Piety of that description is in full concord with the whole of his poetry, and it has bestowed peace upon him. He proclaims the coming of that peace for weary and careworn souls even within the bounds of Christendom.

This is mysticism, if we like to call it so, but not a mysticism that, relinquishing personality, seeks to become absorbed in an All that approaches a Nothingness, but one that, with all the talents and faculties of the soul trained to their highest pitch, eagerly sets forth to meet the living Father of the whole creation. This more strenuous type of mysticism was not wholly unknown even in India before the days of Tagore, hardly indeed among the ascetics and philosophers of ancient times but rather in the many forms of bhakti, a piety whose very essence is the profound love of and reliance upon God. Ever since the Middle Ages, influenced in some measure by the Christian and other foreign religions, bhakti has sought the ideals of its faith in the different phases of Hinduism, varied in character but each to all intents monotheistic in conception. All those higher forms of faith have disappeared or have been depraved past recognition, choked by the superabundant growth of that mixture of cults that has attracted to its banner all those Indian peoples who lacked an adequate power of resistance to its blandishments. Even though Tagore may have borrowed one or another note from the orchestral symphonies of his native predecessors, yet he treads upon firmer ground in this age that draws the peoples of the earth closer together along paths of peace, and of strife too, to joint and collective responsibilities, and that spends its own energies in dispatching greetings and good wishes far over land and sea. Tagore, though, in thought-impelling pictures, has shown us how all things temporal are swallowed up in the eternal:

Time is endless in thy hands, my lord.
There is none to count thy minutes.
Days and nights pass and ages bloom and fade like flowers. Thou knowest how to wait.
Thy centuries follow each other perfecting a small wild flower.
We have no time to lose, and having no time, we must scramble for our chances. We are too poor to be late.
And thus it is that time goes try, while I give it to every querulous man who claims it, and thine altar is empty of all offerings to the last.
At the end of the day I hasten in fear lest thy gate be shut; but if I find that yet there is time.

(Gitanjali, 82.)

From Nobel Lectures, Literature 1901-1967, Editor Horst Frenz, Elsevier Publishing Company, Amsterdam, 1969


Also read:

The History of Bharatavarsha: Tagore