Volume II,Issue IV, March 2026
Volume-II, Issue-IV, March, 2026 |
Received: 28.03.2026 | Accepted: 29.03.2026 | ||
Published Online: 31.03.2026 | Page No: | ||
DOI: 10.69655/atmadeep.vol.2.issue.04W. | |||
রবীন্দ্র
কাব্যনাট্য ‘চিত্রাঙ্গদা’: একটি
বিশ্লেষণ
ড. শতাব্দী ভৌমিক, স্বাধীন গবেষক, পশ্চিমবঙ্গ, ভারত |
Rabindranath Tagore’s Dance-Drama Chitrangada: An Analysis Dr. Shatabdi Bhowmik, Independent Research Scholar, West Bengal, India | ||
ABSTRACT | ||
While engaged in the work of the Zamindari in Orissa, Rabindranath composed the poetic drama 'Chitrangada' while sitting in the hut of Pandua. However, it was published in the 'Sadhana' magazine in the month of Bhadra, a year after its composition. Rabindranath Tagore translated this poetic drama 'Chitrangada' into English again, naming it 'Chitra' (1913). Rabindranath Tagore used the story of Arjuna and Chitrangada in the Mahabharata in a different way. The connection between the original Mahabharata story and the poetic drama written by Rabindranath is very tenuous. The character of Chitrangada is a completely independent creation of Rabindranath. He has molded this character. Rabindranath wanted to express a special theory through the character of Chitrangada, which Rabindranath himself hints at at the beginning of the poetic drama: If a beautiful young woman feels that she has deceived her lover's heart with the illusion of her youth, he may reproach her for making her beauty the main part of his fortune. When Rabindranath tried to give this idea the form of a poetic drama, he was reminded of the story of Arjuna and Chitrangada from the Mahabharata. Incidentally, in this case, when Rabindranath Tagore is making some structural changes from a poetic drama to a drama 'Chitra', there are some differences due to translational changes. | ||
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