Volume II, Special Issue, February 2026
Volume-II, Special Issue, February, 2026 |
Received: 23.12.2025 | Accepted: 18.02.2026 | ||
Published Online: 28.02.2026 | Page No: | ||
DOI: 10.69655/atmadeep.vol.2.specialissue.W. | |||
রবীন্দ্রনাটকে সাধারণ জনতার বিবর্তনের রূপরেখা ড. গৌতম চন্দ্র বাড়ৈ, সহকারী অধ্যাপক ও বিভাগীয় প্রধান, বাংলা বিভাগ, বান্দোয়ান মহাবিদ্যালয়, পশ্চিমবঙ্গ, ভারত |
An Outline of the Evolution of the Common People in Rabindranath’s Plays Dr. Goutam Chandra Barai, Assistant Professor and Head of the Department, Department of Bengali, Bandwan College, West Bengal, India | ||
ABSTRACT | ||
In many of Rabindranath Tagore’s plays, the crowd (the masses) plays a distinctive role. Although the thematic concerns vary from play to play, the overall nature of the crowd remains more or less similar across different times and contexts. In his early plays, cowardice and superstition are used as elements of coarse, rustic humour. In the later plays, however, the crowd gradually becomes more organised. In Prakritir Pratisodh, the position of the common people, in contrast to ascetic life, remains confined to the trivialities of everyday existence. In Raja O Rani, although the crowd shows defiance against the king, in reality it remains leaderless and aimless. In Bisarjan, the collective traits of the crowd are marked by ignorance, cowardice, and religious fanaticism. In Malini, on the other hand, the crowd is not composed of uneducated villagers; rather, they are educated townspeople and Brahmins, yet they do not entirely shed their rustic mindset. In Prayashchitta and Achalayatan, the crowd is not leaderless, but it fails due to a lack of discipline. The diversity of the populace in Raja lends the play its distinctiveness. In plays such as Muktadhara, Raktakarabi, and Rather Rashi, the nature of the crowd transcends the inertia of the earlier plays and points towards the search for a new path. This very rise of the common people constitutes the subject of the present article. | ||
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