Page 267 - DENG201_ENGLISH_II

Unit 19: Chitra by Rabindranath Tagore: Detailed Study

Critical Remarks Notes
There is a decline in Arjuna’s infatuation. He dreams of ‘home’. Chitra points out that such evanescent
love as theirs is not meant to be taken home. Perhaps she is too self-conscious or too distrustful of the
out-come of their love.
The sound of the prayer bells from the distant village-temple is a sort of a knell for Arjuna to wake
him from the shadowy-world to the world forever and he has to return to the dry realities. He realises
gradually that he is in the company of Chitra under the guise of borrowed beauty.
Arjuna remarks that Chitra is weaving the garland of flowers skilfully and this indicates that she is
weaving his days of exile into an immortal wreath. But Chitra contradicts his statement by saying
that the kind of love which he carries in his mind is not meant to be taken home. He can take home
only that which is everlasting and powerful. She adds that the wild flower (Chitra) will be left to her
fate at the very place of its (her) birth. It (she) will be left to die at the close of the day along with all
fading flowers and decaying leaves.
Chitra’s remark that “That which was meant for idle days should never outlive them” is highly
significant. She further states “Take it and keep it as long as it lasts. Let not the satiety (satisfaction) of
your evening claim more than the desire of your morning could earn”. Physical enjoyment brings
satisfaction after blissful partaking in it.
Scene V
Interlude
The enthusiasm of Vasanta (Youth and beauty) cannot keep pace with the demands of Madana (love).
As spring season comes to a close, it becomes obviously weak. Vasanta admits that he is unable to
keep his speed with Madana. He feels terribly tired. It is indeed a tough task for him to keep alive the
fire (The passion of bodily love) for long. He is overtaken by sleep and the fan drops from his hand.
The brightness of the fire (bodily love) is covered with ashes. But he wakes up from his deep sleep
and rescues the weary flame by making use of his full strength, but fact is that it cannot continue
forever.
Madana makes it clear that he is aware that Vasanta is as fickle (changing the mind often) as a child.
He also remarks to Vasanta that his play (part) is always restless both in heaven and on earth. All
those things which he had built with scrupulous care and endless details, are destroyed by him in a
short time without any feeling of regret or remorse, but their work (namely the granting of the boon
of beauty to Chitra) is coming to a close (an end) soon. The days which are filled with winged pleasure
are flying speedily. Moreover the year which is almost at its close, falls into a swoon (falls into a
sleep) in a bliss of joy and rapture.
Critical Remarks
Madana and Vasanta make their appearance for the third time. They form an integral part of the
play. They carry the action forward with a suggestion that the earthly happiness of Chitra and Arjuna,
having reached its apex (climax) is almost coming to a close.
Physical happiness like God Madana, is as fickle (ever-changing) as a child. It is restless. All that is
built up with great care and minute details is shattered to pieces in a short while. The language made
use of by the poet is full of lyrical excellence. The scene is embedded with poetic, romantic and
sensuous splendour.
Scene VI
Further Decline in Arjuna’s Infatuation
Arjuna who readily changed from asceticism to love, now longs for the old days when he hunted in
his brother’s company. Introspection puzzles him. He wonders who his beautiful companion is-and
where her home, and who her parents might be. He says “Give me something to clasp, something
that can last longer than pleasure, that can endure even through suffering”.
Arjuna, on waking in the morning, finds out that his dreams have distilled a gem. He has no box to
keep it safe (safeguard it). He has no crown to fix it upon. He has no chain from which to hang it.

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