Confluence Nationalistic Fervor and Lyrical Romanticism

In his essay ‘Portrait of a Man’, Satyajit Ray eloquently condensed in a small, vignette-like frame the greatness and grandeur Tagore embodied: “It was a heritage of words and music and poetry, of ideas and ideals, and it has the power to move us today and in the days to come.

We, who owe him so much, salute his memory.” (5) The immense significance of his legacy holds true even to this date. His works combine to the greatest degree emotive lyricism, patriotic zeal and vibrant imagery. Bowled over by tides of revolution, his mastery was not sullied but shaped by the turbulence that washed over him. Jodi Tor Dak Shune Keu Na Ase Tobe Ekla Cholo Re (literal translation to “If nobody responds to your call, walk your way alone”) bears testimony to his genius. Set with the Swadeshi movement as its backdrop, Ekla Cholo Re, first appeared in the September 1905 edition of Bhandar, and incorporated in the Swadesh section of his anthology Gitabitan. It is characteristic of Rabindrasangeet in terms of its intense affiliation with the movement and the ideals they stood for.

Colonial Bengal witnessed a “distinctive movement in literary and other art forms” which “did not want to remain the mere aesthetic exercise of a handful of middle-class people”. (Roy 71). While Lord Curzon the Governor General of Bengal had ordered the Partition on grounds on the pretext of it being too large and unwieldy to govern effectively, the actual agenda was to divide the state on sectarian grounds whereby West Bengal would consist predominantly of Hindus, and the East of Muslims. The anti-partition agitation or Bango Bhango Aandolan was led by intellectuals such as Surendranath Bannerjea, Bipin Chandra Pal, Sister Nivedita, Annie Besant and Rabindranath Tagore to name a few.

(Biswas 38). The implementation of the Partition took place on 16 th October, 1905, following an announcement made on 20 th July, 1905. The agitiations included peaceful prot…

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