गीतांजलि (Hindi Poetry): Geetanjali (Hindi poetry)

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'गीतांजलि' गुरुदेव रवीन्द्रनाथ टैगोर (1861-1941) की सर्वाधिक प्रशंसित और पठित पुस्तक है। इसी पर उन्हें 1910 में विश्व प्रसिद्ध नोबेल पुरस्कार भी मिला। इसके बाद अपने पूरे जीवनकाल में वे भारतीय साहित्याकाश पर छाए रहे। साहित्य की विभिन्न विधाओं, संगीत और चित्रकला में सतत सृजनरत रहते हुए उन्होंने अन्तिम साँस तक सरस्वती की साधना की और भारतवासियों के लिए 'गुरुदेव' के रूप में प्रतिष्ठित हुए।
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Additional Information

Publisher
Bhartiya Sahitya Inc.
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Published on
Jul 15, 2014
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Pages
151
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ISBN
9781613014547
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Language
Hindi
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Genres
Foreign Language Study / Hindi
Poetry / Subjects & Themes / Inspirational & Religious
Poetry / Subjects & Themes / Nature
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Content Protection
This content is DRM protected.
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Available on Android devices
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Eligible for Family Library

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Rabindranath Tagore
रवीन्द्रनाथ की कविता यात्रा हिन्दी में तो कम से कम पुर्नमूल्यांकन की दरकार रखती है । इतने वैविध्य विषयों पर एक साथ आम मनुष्य से जुड़ाव  की चिंता के साथ कविता को जोड़े रखना उन्हें वैश्विक समकालीन चेतना से सम्पृक्त करता है। उन्होंने एक हजार कविताएं और दो हजार गीत लिखे । जब वे पन्द्रह बरस के थे तब उनकी पहली कविता पुस्तक छप चुकी थी और अंतिम कविता मृत्यु के ठीक पहले की लिखी हुई है ।

वैसे रवीन्द्रनाथ सूफी रहस्यवाद और वैष्णव काव्य से  प्रभावित थे । फिर भी संवेदना  चित्रण में वे इन कवियों को अनुकृति नहीं लगते । जैसे मनुष्य के प्रति प्रेम अनजाने ही परमात्मा के प्रति प्रेम में तब्दील हो जाता  है । वे नहीं मानते कि भगवान किसी आदम बीज की तरह है । उनके लिए प्रेम है प्रारंभ और परमात्मा है अंत  जब पहले पहल गीतांजलि का अनुवाद आया अंग्रेजी में तब प्रेम और शांति का संदेश के लिए इसका पश्चिम ने जबर्दस्त स्वागत किया । वह दौर ही ऐसा था ।

महर्षि वेदव्यास
'श्रीमद्भगवद्गीता' आनन्दचिदघन, षडैश्वर्यपूर्ण, चराचरवन्दित, परमपुरुषोत्तम साक्षात् भगवान् श्रीकृष्ण की दिव्य वाणी है। यह अनन्त रहस्यों से पूर्ण है। परम दयामय भगवान् श्रीकृष्ण की कृपा से ही किसी अंश में इसका रहस्य समझ में आ सकता है। जो पुरुष परम श्रद्धा और प्रेममयी विशुद्ध भक्ति से अपने हृदय को भरकर भगवद्गीता का मनन करते हैं, वे ही भगवत्कृपा का प्रत्यक्ष अनुभव करके गीता के स्वरूप की किसी अंश में झाँकी कर सकते हैं। अतएव अपना कल्याण चाहनेवाले नर-नारियों को उचित है कि वे भक्तवर अर्जुन को आदर्श मानकर अपने में अर्जुन के-से दैवी गुणों का अर्जन करते हुए श्रद्धा-भक्तिपूर्वक गीता का श्रवण, मनन, अध्ययन करें एवं भगवान् के आज्ञानुसार यथायोग्य तत्परता के साथ साधन में लग जायँ। जो पुरुष इस प्रकार करते हैं, उनके अन्तःकरण में नित्य नये-नये परमानन्ददायक अनुपम और दिव्य भावों की स्फुरणाएँ होती रहती हैं तथा वे सर्वथा शुद्धान्तःकरण होकर भगवान् की अलौकिक कृपासुधा का रसास्वादन करते हुए शीघ्र ही भगवान् को प्राप्त हो जाते हैं।
Rabindranath Tagore
I know not who paints the pictures on memory's canvas; but whoever he may be, what he is painting are pictures; by which I mean that he is not there with his brush simply to make a faithful copy of all that is happening. He takes in and leaves out according to his taste. He makes many a big thing small and small thing big. He has no compunction in putting into the background that which was to the fore, or bringing to the front that which was behind. In short he is painting pictures, and not writing history.

Thus, over Life's outward aspect passes the series of events, and within is being painted a set of pictures. The two correspond but are not one.


We do not get the leisure to view thoroughly this studio within us. Portions of it now and then catch our eye, but the greater part remains out of sight in the darkness. Why the ever-busy painter is painting; when he will have done; for what gallery his pictures are destined—who can tell?


Some years ago, on being questioned as to the events of my past life, I had occasion to pry into this picture-chamber. I had thought to be content with selecting some few materials for my Life's story. I then discovered, as I opened the door, that Life's memories are not Life's history, but the original work of an unseen Artist. The variegated colours scattered about are not reflections of outside lights, but belong to the painter himself, and come passion-tinged from his heart; thereby unfitting the record on the canvas for use as evidence in a court of law.


But though the attempt to gather precise history from memory's storehouse may be fruitless, there is a fascination in looking over the pictures, a fascination which cast its spell on me.


The road over which we journey, the wayside shelter in which we pause, are not pictures while yet we travel—they are too necessary, too obvious. When, however, before turning into the evening resthouse, we look back upon the cities, fields, rivers and hills which we have been through in Life's morning, then, in the light of the passing day, are they pictures indeed. Thus, when my opportunity came, did I look back, and was engrossed.

Rabindranath Tagore
THE GARDENER

1


SERVANT. Have mercy upon your servant, my queen!


QUEEN. The assembly is over and my servants are all gone. Why do you come at this late hour?


SERVANT. When you have finished with others, that is my time. I come to ask what remains for your last servant to do.


QUEEN. What can you expect when it is too late?


SERVANT. Make me the gardener of your flower garden.


QUEEN. What folly is this?


SERVANT. I will give up my other work.


I will throw my swords and lances down in the dust. Do not send me to distant courts; do not bid me undertake new conquests.


But make me the gardener of your flower garden.


QUEEN. What will your duties be?


SERVANT. The service of your idle days.


I will keep fresh the grassy path where you walk in the morning, where your feet will be greeted with praise at every step by the flowers eager for death.


I will swing you in a swing among the branches of the saptaparna, where the early evening moon will struggle to kiss your skirt through the leaves.


I will replenish with scented oil the lamp that burns by your bedside, and decorate your footstool with sandal and saffron paste in wondrous designs.


QUEEN. What will you have for your reward?


SERVANT. To be allowed to hold your little fists like tender lotus-buds and slip flower chains over your wrists; to tinge the soles of your feet with the red juice of ashoka petals and kiss away the speck of dust that may chance to linger there.


QUEEN. Your prayers are granted, my servant, you will be the gardener of my flower garden.

Rabindranath Tagore
 The divine principle of unity has ever been that of an inner inter-relationship. This is revealed in some of its earliest stages in the evolution of multicellular life on this planet. The most perfect inward expression has been attained by man in his own body. But what is most important of all is the fact that man has also attained its realization in a jnore subtle body outside his physical system. He misses himself when isolated; he finds his own larger and truer self in his wide human relationship, His multicellular body is born and it dies; his multi-personal humanity is immortal. In this ideal of unity he realizes the eternal in his life and the boundless in his love. The unity becomes not a mere subjective idea, but an energizing truth. Whatever name may be given to it, and whatever form it symbolizes, the consciousness of this unity is spiritual, and our effort to be true to it is our religion. It ever waits to be revealed in our history in a more and more perfect illumination. 
We have our eyes, which relate to us the vision of the physical universe. We have also an inner faculty of our own which helps us to find our relationship with the supreme self of man, the universe of personality. This faculty is our luminous imagination, which in its higher stage is special to man. It offers us that vision of wholeness which for the biological necessity of physical survival is superfluous; its purpose is to arouse in us the sense of perfection which is our true sense of immortality. For perfection dwells ideally in Man the Eternal, inspiring love for this ideal in the individual, urging him more and more to realize it. 

This classic is organized as follows: 

I. Man’s Universe 
II. The Creative Spirit 
III. The Surplus in Man 
IV. Spiritual Union 
V. The Prophet 
VI. The Vision 
VII. The Man of My Heart 
VIII. The Music Maker 
IX. The Artist 
X. Man’s Nature 
XII. The Teacher 
XIII. Spiritual Freedom 
XIV. The Four Stages of Life 
XV. Conclusion
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