Rabindranath Tagore
Shelaidaha 1878-1901
Because Debendranath wanted his son to become a barrister, Tagore enrolled at a public school in Brighton, East Sussex, England in 1878. He stayed for several month at a house that the Tagore family owned near Brighton and Hove, in Medina Villas in 1877 his nephew and niece - suren and Indra Devi, the children of Tagore's brother Satyendranath were sent together with there mother Tagore's Sister-in-law, to live with him. He briefly read law at University College London, but again left school, opting instead for Independent study of Shakespare's plays Coriolanus, and Antony and, Cleopatra and the Religio Mediciof Thomas Browne. Lively english Irish and Scottish folk tune impressed Tagore, Whose own tradition of Nidhubabu-authored kirtans and tappas and Brahmo hymnody was subdued. In 1880 he returned to Bengal degree-less, resolving to reconcile European novelty with Brahmo traditions, taking the best form each. After returning to Bengal, Tagore regularly published poems,stories and novels. These had a proud found impact within Bengal itself but received little national attention. In 1883 he married 10-year Marinalini Devi, born Bhabatarani, 1873-1902. They had five children, two of whom died in childhood.
In 1890 Tagore began managing his vast ancestral estate in Shelaidaha he was joined there his wife and children in 1898. Tagore release his Manasi poems among his best known work. As Zamindar Babu, Tagore criss-crosses the Padma River and command of the Padma, The luxuries family barge. He collected mostly token rents and blessed villagers who in turned honoured him with banquets ocassionally of dried rice and sour milk. He meet Gagan Harkara, through whom to become familiar with Baul Lalon Shah, Whose folk song greatly influenced Tagore. Tagore worked to popularies Lalons songs. The period 1891-1995, Tagore Sadhana Periods, named after one of his mazagines, was his most productive, In these year he wrote more than half the stories of three-volume, 84-story, Galpaguchchha. Its ironic and grave tales examined the voluptuous poverty of an idealised rural Bengal.
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