The subject of the discourse on difference and non-difference: Divya Vadanamala and Chandalika/ ভেদ-অভেদের কথাবস্তু : দিব্যবদানমালা এবং চণ্ডালিকা

Abstract

While possessing world-class talent, Rabindranath Tagore was primarily a poet. His roles as an essayist, novelist, short story writer, and playwright were secondary to his versatile talent. Tagore's free-flowing style enriched every branch of literature he touched. His brilliant talent illuminated any subject, making his originality and uniqueness captivating and exciting.His philosophical and ideological thinking was profoundly influenced by Buddhist thought, which re-emerged in the 19th century. Figures like Maharishi Debendranath Tagore, Keshav Chandra Sen, and Satyendranath Tagore expanded the reach of Buddhist philosophy. While others, such as Rahul Sankrityayan, also wrote about Buddha (e.g., 'Mahamanav Buddha'), Tagore's unique engagement with Buddhist thought and its creative application opened new horizons in Bengali literature. His literary collection gained distinction through both his direct studies of Buddha and his incorporation of Buddhist ideas into new works.Tagore's creative talent was unparalleled—lofty as a mountain, vast as the sky, and serene as the wind. His ability to assimilate and transform ideas set a precedent in both Bengali and world literature. The play 'Chandalika' (1933) and its dance-drama version (1939) are prime examples. The story is based on the 'Shardulkarnavadan' episode from the 'Divyavadanmala'. It is uncertain how familiar Tagore was with the Buddhist narrative collection 'Divyavadanmala'. The discussion will explore the extent to which Tagore followed the original story and where he introduced his own originality.