PDF | On Nov 9, , Anjana Basu and others published Chitrangada. explores how Rabindranath Tagore's adaptation of The Mahabharata's Chitrangada in. Arjuna came to Manipur. There he saw Chitrangada, the beautiful daughter of Chitravahana, the king of the country. Smitten with her charms, he asked the king . Menu. Tagore's Ebook. Chitrangada (চিত্রাঙ্গদা). By Rabindranath Tagore. Picture. To read this Dance Drama click here . Anwar. Version: Mobile | Web.
|Language:||English, Spanish, French|
|Genre:||Politics & Laws|
|ePub File Size:||21.35 MB|
|PDF File Size:||14.14 MB|
|Distribution:||Free* [*Register to download]|
Title Chitrangada () Author1 Tagore, Rabindranath Author2 NULL Subject LANGUAGE. LINGUISTICS. LITERATURE Language bengali. Barcode - Title - Swarabitan vol ( Chitrangada). Subject - THE ARTS. Author - Tagore, Rabindranath. Language - bengali. File - Swarabitan vol (Chitrangada), Tagore, Rabindranath, p, THE ARTS, bengali ().pdf (file redirect).
Lyric and background history of song chitrangada rajkumari Song of Rabindranath Tagore Advertisement This page contains lyric of Tagore song chitrangada rajkumari and its transliteration in English with background history. Background of the song includes the place and date of the song written by Rabindranath, name of the newspaper or magazine the song was first published in and the name of the person who had prepared the notation or swaralipi. This page also contains the musical composition of song like parjaay, taal, raag and ango. The other related elements of this song like translation in English and Hindi, notation in Bengali swaralipi , staff notation western which are available in other pages, please find the related links below. We have also provided the pdf's of lyric, notation and staff notation with midi with downloadable links so that people may find it easier to get the song and notations in printed format. Advertisement Musical composition and background history of the song: Parjaay: Chitrangada Scene 4.
A sakhi female accomplice of Chitrangada confronted him, mistaking him as an impediment to their hunting spree.
Arjun: Hail! How impertinent of you to show disrespect to Arjun! Where will you find shelter after such a disastrous deed? Chitrangada: Arjun!! Are you Arjun, the warrior prince?
Arjun Glancing at the army of girls, dressed up as boys, looks down upon them with a sense of amusement, and laughs out loud Ha ha ha ha!! Ha ha, what a comic relief!! Let me feel the glory of inevitable death in your hands, My brave heart prince— Arjun, was it you, Arjun? Lamenting again Ah, you poor soul Chitrangada, what a stupendous loss!
Was this how your welcoming of the great warrior, The hero you had worshipped, destined to be? Look how he went away, deceiving you…. Arjun, was it you, Arjun? Pic: Chitrangada in the film Dadar Kirti The Sakhis female friends and accomplices of Chitrangada : It is getting late; the daylights will fade soon.
Princess, please tell us, which forest should we venture to, for hunting?
The dark, dense clouds engulf the sky, Look how the deer runs towards a cluster of bamboos, his shaded canopy, shivering in the moist breeze! Chitrangada: Let it be, why this vain pursuit, Why this frolicking, at all? Ah, accursed soul, how I detest this life of mine!
Come to the branches of my parched leaves, Break open in spurts of rain at the onset of the lush monsoon. Let the teardrops of the ultimate night of fury usurp it all.
Let me make a lavish seat, in the abode of my empty heart. Let me adorn my moist bosom with new drapes. Look, there is a tide in the river, its banks are overflowing. As the heady aroma of jasmine runs towards the unknown, My heart is reawakened, as I resurrect, from the pangs of death. The Sakhis: Hail thee, sakhi Chitrangada, what was that strange encounter Like it had never existed before? Pic: Dadar Kirti Altering you thus? Just a momentary glance, A transient onslaught, and you shed your own precious identity, Like it had never existed before?
Oh dear, what is that splendor that just touched my eyes? The one-act play begins with Chitrangada appearing before Madana and Vasanta and describing her encounter with Arjuna. When she first meets him, she is dressed as a huntsman and Arjuna fails to recognize her as a woman. Later, she casts aside her manly garb and approaches him; but he rejects her claiming he is a brahmachari and needs to practice abstinence.
This section of the verse play is largely a monologue by Chitrangada with occasional replies from Madana, and lesser still from Vasanta.
Chitrangada tells Madana that she has long been enamoured by Arjuna. She further expresses her desire to be near Arjuna— as a charioteer in the battlefield, as a companion on a hunting expedition, as a watchman keeping vigil at night by his bedside, as a devotee worshipping him, as a slave serving him, as his sakha who would be his perpetual companion and soul-mate in meting out the self-effacing duties of a Kshatriya in that particular order 3.
Masculinity and femininity, for Chitrangada, seem to be external qualifiers, not internalized notions.
At the textual level, these qualifiers are gestured towards by the use of various adjectives. The adjectives can be acquired, and are not present as an ontological pre-requisite. It may be an interesting and worthwhile digression here to refer to the English edition of the text, entitled Chitra, and translated by Tagore himself from the verse-play. In the English edition, many of the finer nuances of the Bengali text are lost, owing, as we shall see, primarily to the limitations imposed by the English language.
Even in the dance-drama, which, as mentioned earlier, was composed by Tagore at the age of seventy-five, the idea of masculinity and femininity as merely external qualifiers seem to be explored further through the song-texts. At the level of the text, this is gestured towards by a set of adjective signifiers.
It is small co-incidence therefore, that in the dance-drama Chitrangada, written only five years earlier, Chitrangada begins to somewhat pre-empt this epiphany. The first, more obvious, shift occurs in the move from textuality to identity.
The suggestion seems to be that here Ghosh is literally acting out the role of the engineer-auteur who effectuates the sexual transfiguration, and is simultaneously the object of it. While staging the first scene of the play-within-the-film, Rudra is shown to be visibly angry with Kastury Raima Sen who is enacting the role of kurupa Chitrangada.
That is how she is brought up! It also simultaneously seems to rely on a set of external markers and mannerisms. The first instance is a metaphoric staging of the sex- reassignment surgery.
The second instance comes a while later. Where the film falters, besides its obviously problematic political implications, is when Ghosh begins to place an excessive onus on this self subjectivity.