There are 103 * * poems in Chittaglia, most of which are dedicated to the gods. The god in Tagore's mind is an invisible, omnipresent and all-encompassing spiritual noumenon, which is not only a supernatural power that dominates all things in the universe, but also an invisible majesty, and a concrete image that exists in all things in the universe as countless "doppelgangers". Therefore, the gods described by Tagore are not the gods in traditional religious concepts, but more social and vivid colors.
First of all, in terms of ideological content, although Chittaglia is a poem praising God, Tagore rarely talks about the word "God", and he replaces God with titles such as "You", "He", "Our Lord" and "Heavenly Father".
When we savor these poems praising the gods, people can hardly feel the eerie and solemn temple spirit and the heavy and dignified religious spirit far away from the world. On the contrary, these poems give people a fresh and harmonious feeling close to pastoral poetry, with obvious democratic tendencies.
Such as "Gitanjali"No. 10:
"This is your footprint, and you rest in peace among the poorest, meanest and most lost people."
"I bow to you, and my salute cannot reach the depths of your rest-the most despicable and lost people.
"You are wearing rags and walking among the meanest and most lost people. Pride can never be near this place. "
"You keep company with those who have no friends among the meanest and most lost people, and my heart will never find that place."
In this poem, the poet repeatedly emphasized four times that the God in his mind is among the "most humble and lost people", where he not only rests, but also wears "rags" and "is the companion of those who have no friends among the humble and lost people". This clearly points out that the "God" in the poet's mind reflects the ideals and aspirations of the lower class to some extent. The poet wrote the distance between himself and God three times step by step. "You can't reach the depths of your resting place", "You will never get close to this place" or even "You will never find that place" The poet repeatedly lamented the sad gap between himself and "God". On the one hand, he blames himself for never being in the "poorest, meanest and most lost crowd", and more importantly, he shows his infinite admiration for God who can be in the "poorest, meanest and most lost crowd". This emotion of the poet is the direct expression of his advanced democratic thought.
In Gitanjali, a considerable number of poems are about people's emotions, showing a psychological process. This kind of emotional and psychological process is unique to a specific group of people in a specific historical environment. Tagore described the longing and yearning of intellectuals in a colonial dependent country in the process of pursuing their ideals, as well as their anguish and hesitation after their ideals were shattered. In this sense, Chittaglia is the inner anatomy of a generation of intellectuals. Tagore actively sang his ideals, showing his confidence and hope for things and the continuous development of the future. He firmly believes that "the dawn will come, the darkness will disappear, and your voice will be forced out of the sky to bet from Jin Quan". (issue 19) and what is the future of "breaking the sky"? The poet enthusiastically told us in the 35th poem:
"There, fearless, head high;
"there, the world is not divided into pieces by the walls of small homes;
"There. Words come from the depths of truth;
There, the spring of reason did not sink into the desert of snow.
Here, the poet painted a wonderful picture of the ideal world with high momentum and sonorous rhythm. It is a free, unified, harmonious and perfect future, and a country full of knowledge and truth. However, the reality of colonial rule made the poet feel painfully that the premise of realizing this future is the awakening of the country and the independence of the nation. The poet's last call, soaked with blood and tears, contains great and unspeakable passion. In Gitanjali, the poet eulogized his determination and action to pursue his ideal.
The poet "wants to keep my body pure forever", "wants my mind to get rid of hypocrisy forever" and "wants my mind to drive away all ugliness". In order to realize his ideal, the poet has gone through hardships and spared no effort. This determination and perseverance in pursuing ideals is touching.
Secondly, in terms of artistic expression, the biggest feature of Gitanjali is its strong symbolism.
Poets express complex and subtle feelings with symbolic images or artistic conception, and record their keen impressions or feelings about society, life or natural phenomena. The poet did not directly describe real life, nor did he directly express his thoughts. He mostly expresses his subjective feelings and inner emotional fluctuations, and embeds this unique feeling and impression into a symbolic image. It can be said that the image in the poem is not only the thing itself, but also the thing itself, which constitutes the fuzziness of the image connotation in Gitanjaly. For example, Article 88 reads:
"God in the ruined temple, the broken strings of the lyre no longer play your poems. The bell at night no longer announces the time to worship you, and the air around you is silent.
"Wandering spring breeze came to your desolate residence. It brings the news of fragrant flowers-fragrant flowers that once supported you, but now no one has come to offer them.
"For you, many festivals come in silence. Many worship nights of the ruined temple god were also spent without fire and lights.
"Exquisite artists have created many new gods. When their last days came, they were thrown into the sacred river of hope.
"Only the god in the ruined temple died in the indifference of no one to worship."
This is a song with strong symbolic significance. On the surface, the poet wrote about the gods in the ruined temple, the silence of the air in the ruined temple, and the desperate wanderers resting in the ruined temple. Through these images, the poet renders a lonely, desolate, dilapidated and desolate artistic conception, and expresses his subtle and complicated inner feelings, namely, the loneliness of retiring from the countryside and the sense of confusion about the future. This is what the poet wants to express. Tagore embedded this unique feeling into a concrete and sensible image. The gods and ruined temples in the poem are not only gods and ruined temples themselves, but also gods and ruined temples themselves. It has become an externalized inner feeling and a visualized emotion.
Thirdly, in Gitanjali, Tagore often relies on the hints of artistic images to express the poet's feelings and the emotional appeal of his works.
He often hints at the object to be depicted bit by bit through factors such as sound, light, color or blurred images. This implied symbolism shows a clear understanding in vague and hazy images, which increases the charm of this poem. In the sixty-first poem, the poet described the very common detail of the baby sleeping, but he broke through the conventional realistic technique and expressed it with bizarre and almost incredible images. He said that the baby slept in the "fairy tale village where fireflies are hazy in the trees, where two sweet and charming stamens hung, and it came from there and kissed the baby's eyes". He said that the smile in a baby's sleep was "the twilight of a new moon touched the edge of the dissipated autumn cloud, and a smile was born for the first time in the morning dream washed by morning fog". He said that the baby was angry about "is it a mother or a girl?" The poet created an unusual artistic realm in a hazy and mythical tone, which enveloped the sleeping baby in a peaceful, sweet and charming atmosphere and filled with rich feelings. It is through this confused, hazy and almost mysterious hint that the poet expresses a quiet, gentle, harmonious and generous state of mind.
Finally, Tagore adopted the energetic collocation of words and the dynamic writing of still life in Gitanjali, giving concrete life to abstract things and making the picture lively.
Tagore's technique is different from the traditional personification rhetoric and more exaggerated. It broke through the disharmony of images and reached a higher coordination of thoughts. On the surface, the pictures described in these poems do not seem to be consistent. Tagore used this technique to create a higher reality in illusion. In the eightieth poem, the poet compares himself to a "remnant cloud in autumn", expressing his helplessness, confusion and emptiness when he can't find the road to the ideal realm. Poets can endow abstract emotions with concrete colors and images, and endow them with various dynamic expressions. Poets concretize, visualize and animate abstract things. At first glance, it's incredible. If you think about it carefully, you will find it more expressive than the traditional method. This uncoordinated collocation expands the connotation of vocabulary itself, arouses readers' full association and adds deeper charm to poetry.
In a word, Tagore's Gitanjali has always been one of the important topics for many scholars to appreciate and study, both in ideological content and artistic expression.