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  • পরবাস | Rabindranath Tagore | Book-Review
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  • Classes under a Canopy of Trees : Susan Chacko

    Amader Shantiniketan; by Shivani; Trans. into English from Hindi by Ira Pande; Vintage, India, 2021; ISBN: 978-0670095247

    Shivani’s Amader Shantiniketan is one of those books where the foreword is almost as interesting as the book itself. This is not surprising, since the foreword is written by her daughter Ira Pande, a writer in her own right who also translated this memoir from Hindi.

    Gaura Pant, who later chose the pen name Shivani, was born in Kumaon in 1923. Her father happened to visit Shantiniketan and was so taken by the ashram and its teaching philosophy that he sent his three children there soon after. At age 12, Shivani was the youngest of the three, and this memoir, written almost 50 years ago, lovingly recounts stories of the people and routine of her 9 years at Shantiniketan.

    Rabindranath Tagore, of course, looms large over the ashram in both Shivani’s and Buddhadeva Bose’s memoirs. He is a godlike figure to both adults and children, and both authors commented on his eyes:

    His eyes seemed lit up with an inner light [p4]

    Shivani is awed, as are the others:

    [When in his presence] Never once do I remember anyone trying to jostle someone or giggle or push. [p4]

    There is a deep respect for Tagore throughout the book, but at the same time, he is very accessible; Shivani grows familiar enough with him to ask him for help with her homework.

    The next day, I confidently submitted my assignment, secure in the knowledge that a Nobel laureate had written it.” [p7]

    Tagore laughs when she gets a bad grade!

    Designed in reaction to Tagore’s own depressing experiences in a traditional Indian classroom, the Shantiniketan style of teaching was the epitome of a liberal arts education.

    No student was ever punished. […] There was no corporal punishment although occasionally the teachers did transgress this rule.[..] Every student was free to study (or not study) any subject […] Our textbooks were imaginatively compiled […] Our classes were held in the sprawling field [..] under a cluster of shady trees […] You could walk into a Hindi class conducted by Acharya Hajari Prasad Dwivedi. Or if you wished, you could stroll over to any one of the neighbouring classes where you could either listen to the German professor Dr Alex Aronson’s lectures on Shakespeare’s plays or hear Marjorie Sykes’s lectures on English literature, or to Professor Adhikari as he conducted classes on Hindu philosophy or yoga. [..] If our fingers ached after writing, we were free to put down our pens and stroll away to hear the Santhal tribals singing. [p18-19]

    I wondered how the teachers structured their lectures if the students wandered in and out at will. Was each lecture self-contained? How were the teachers able to build on a topic over multiple classes if the students were not likely to be present throughout the series? The education included plenty of music and dance and literature, but no subjects were skipped: there was algebra and geometry, history including the dates of battles and the details of Lord Bentinck’s administrative reforms. There were exams as well, and the students nervously strove to do well in them. Shivani says that the freedom bred in them “a sense of self-control”.

    The schooldays were structured, with the students rising before sunrise, making their beds, bathing, and attending assembly before classes. There is space for the teachers to explore more than their main subject. Panditji taught Hindi, but might arbitrarily invite the students to an impromptu astronomy lesson at his house in the late evening. Prabhat-da could wander from history into hours of theatrical anecdotes. ‘Daktar Babu’ ostensibly taught science, but was easily distracted into singing (“What a voice God had blessed him with!” [p35]).

    Despite all the freedom, the teachers could be surprisingly strict. Daktar Babu cuffed Shivani’s ear when she asked a smart-alec question. Panditji became ‘a tyrant’ when he taught grammar, and Tanmoy-da was particularly sensitive to students yawning – the student would have to leave the class until they felt able to concentrate again.

    Set in a rural area far from major Indian cities, Shantiniketan’s cosmopolitan reality is evident at many places in this memoir. There are two foreign teachers (“who were more Indian than most of us”). During Shivani’s time there were students from all parts of India, several from royal houses. There was a student from Japan, one from Burma, some from Lanka and Java. There were Buddhist students with shaven heads and ochre robes mingled with Hindus who wore wooden clogs and long pigtails.

    Shivani wrote about the people around her, but her anecdotes also reveal plenty about herself. She was obviously a bright child, self-motivated and hardworking, adventurous, with wide-ranging interests. She was also fearless – the kid who would boldly ask the questions that everyone else was whispering about. She could be mischievous, a major participant in student pranks. She describes the foibles of the teachers and students with a calm matter-of-factness, overlaid with a deep affection for every person.

    She has the gift of capturing appearances and personalities in a few lightly sketched sentences.

    His amiable blue eyes could become cold when his temper was roused.

    A slight frame with a shining face and domed forehead, he sported a long white beard.

    Her tiny round frame contained immense patience.

    Aficionados of music and poetry will find much to enjoy in this chronicle, with plenty of poetry, song and literature. Those looking for celebrity anecdotes will also find many famous names sprinkled throughout.

    Her little son, whom we all called Babloo, is now the renowned economist Amartya Sen. [p71]

    The memoir covers the pre-Independence period of the late 1930s, and as one might expect, the freedom struggle also affects the peaceful life at Shantiniketan.

    Each time Gandhiji went on a hunger strike, the Ashram was plunged into gloom and worry. [p78]

    The first part of the memoir ends with Tagore’s death, “a dark cloud descends on the ashram”, and Part II has a different, sadder tone. Each chapter is devoted to a particular person: some famous like Satyajit Ray, some less well-known like Bhagwati Dwivedi. These chapters reflect Shivani’s own maturity at the time of writing, and her sorrow at the passing of each of these beloved people.

    A fascinating memoir for anyone with the least interest in education, Tagore, or Shantiniketan.



    অলংকরণ (Artwork) : Amrakunja ('Mango grove'), woodcut by Nandalal Basu; taken from Sudhiranjan Das's Amader Shantiniketan.
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