Page 274 - DENG201_ENGLISH_II

English - II Digvijay Pandya, Lovely Professional University

Notes Unit 20: ‘Chitra’ by Rabindranath Tagore: Characterisation

CONTENTS
Objectives
Introduction
20.1 Character of Arjuna
20.2 Character of Madana and Vasanta
20.3 Chitra’s Character
20.4 Symbolism in Chitra
20.5 Variations in Tagore’s Chitra
20.6 Summary
20.7 Key-Words
20.8 Review Questions
20.9 Further Readings

Objectives

After reading this unit students will be able to:
• Understand Chitra Character
• Discuss the symbolism in Chitra
• Explain characterisation
• Know the variations in Tagore’s Chitra

Introduction

Characterisation is really the fundamental and lasting element in the greatness of any dramatic work.
Chitra has only four dramatis personae, for the villagers are lay figures; and of these four, two are
immortals and the other two are mortals. The two gods come into view at usual intervals and are
directly responsible for the physical union of Chitra and Arjuna. There is a gradual development of
the character of Chitra; the gods also appear at regular intervals; there is a subtle inter-play of mood
within mood and that although Chitra and Arjuna both experience the joys of sensuous love and
both tire of it, their reactions to this experience are widely divergent. As the play opens, two meetings
between Chitra and Arjuna take place. In the first meeting she meets him in the disguise of a man and
in the second, as a beautiful woman. Chitra captivates Arjuna. Her dream is fulfilled and she grasps
what may be called absolute joy, but she suddenly discovers that the dream is not as sweet as expected.
She feels that she has degraded Arjuna by ensnaring him in the toils of mere physical beauty. She
becomes painfully conscious that the rapturous embrace for which she hungered has been withdrawn
by the disguise upon her. She herself begged it as a boon from the gods, but at that time she could not
foresee what reaction the fulfilment of her dream would awaken in her own soul. Thus, the gods help
in the development of the drama as well as in the growth of the two human characters. Edward
Thompson states that “these divine actors are as adequately present as Shakespeare’s elves in his
enchanted woodland; they mingle in human affairs with friendly half-amused grace.”
Chitra gradually realizes that what is easily won may be even more easily lost. She is fully aware that
there is the longer surer way—the way of devotion, tapasya, but she chooses the quicker way of borrowed
beauty to make the assault on Arjuna’s senses, rather than achieve conquest of the whole man. Arjuna
too is likewise ready, (although he knows nothing about her except that she is physically alluring),
to give up his vow and surrender to the moment. No wonder she is discontented and he also is

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