Rabindranath Tagore is one of the owing fictitious facts of all stints. His sway to Bengali literature is distinctive and consummate. He is a well- acknowledged rhymester, scriptwriter, thespian, creator, performer, portraitist, crusader, logician, novelist and petite tier playwright. In this concern, he is a malleable sage. His prolificacy of inscription was incredible. In steep magnitude of work few playwrights can identical him. His poetries include more than one thousand limericks and over two thousand ditties in accumulation to a large number of diminutive tiers, narratives, melodramatic works and essays on creed, tutelage, legislation and literature. Tagore was also a pioneer in the field of edification. His renowned Santiniketan School to edify the progenies. Though outside India Tagore espoused and inferred the Indian viewpoint of life in his own realm he was the starkest knocker of its social associations and devout applies which reinvigorated delusion and disparity and endured discrimination. On the one shaft, Tagore spectacles women characters’ collusion with patriarchal ethics. On the other hand, Tagore renders women inscriptions as stirring protagonists. This contemporaneous study is an exploratory bradawl on the diminutive tiers of the Indian playwright Rabindranath Tagore in the light of Third World emancipation thereby exploring the ambivalence of Tagore towards woman. It is an endeavour to spectacle the specific snags of Third World women which are massively diverse from those of the First World women due to discrete socio-pecuniary, partisan, as well as bygone location. Altogether with this, this investigation spectacles how Tagore’s incongruity prevails in the depiction of women appeals in his petite tiers.
Research Scholar, Department of Languages and Humanities, Mansarover University, Bhopal
