Volume II, Special Issue, February 2026
Volume-II, Special Issue, February, 2026 |
Received: 24.12.2025 | Accepted: 03.01.2026 | ||
Published Online: 28.02.2026 | Page No: | ||
DOI: 10.69655/atmadeep.vol.2.specialissue.W. | |||
দার্শনিক মননে রবীন্দ্রনাট্য: এক প্রতিবাদী চেতনা ড. মহ. মহিদুর রহমান, সহকারী অধ্যাপক, চাঁচল কলেজ, মালদা, পশ্চিমবঙ্গ, ভারত |
Rabindranath’s Plays in Philosophical Thought: A Consciousness of Protest Dr. Md. Mahidur Rahaman, Assistant Professor, Chanchal College, Malda, West Bengal, India | ||
ABSTRACT | ||
Rabindranath Tagore’s philosophical outlook extends from incompleteness to completeness, from limitation to the radiant light of the infinite, and is permeated by a universal consciousness. With profound philosophical reflection, he articulated his own philosophical awareness in a distinctively oppositional and resistant tone. Among the various methods traditionally discussed in philosophical discourse, the dialectical method is particularly noteworthy. In dialectics, both reconciliation and opposition are acknowledged; thus, the search for a more comprehensive truth within opposing viewpoints constitutes the essence of the dialectical method. Rabindranath employed this dialectical approach in most of his plays. In the central or principal characters of the majority of his dramas, Rabindranath expressed his own resistant consciousness in the light of a deep life-ideal. At the same time, he also shaped the other characters within the framework of specific philosophical perspectives. Through characters such as Dhananjaya or Abhijit in Muktadhara, Nandini in Raktakarabi, Panchak in Achalayatan, Jaysingha in Bisarjan, Amal in Dak Ghar, and the King in Raja, Rabindranath made his own philosophy vividly manifest. The continuous, spontaneous, and ceaselessly dynamic movement of human life itself constitutes Muktadhara. Human beings are constantly carried along by the current of motion. Through various conditions across successive births, they move forward incessantly. This movement, this dynamism, is the true nature of life, and within this very motion lies the fulfillment of human existence. In philosophy, materialism refers to an emphasis on bodily pleasure or pleasurable sensations. The background of Rabindranath’s play Raktakarabi (1926) is rooted in materialism. In this drama, Rabindranath creates a favorable atmosphere for thesis, antithesis, and ultimately synthesis. | ||
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