Abstract
In the course of a Hibbert Lecture, delivered at Oxford in 1930, Rabindranath Tagore remarked on the psychoanalytic explanation of art and aesthetic work in the following manner in a section titled “The Music Maker”:
Men of our own times have analysed the human mind, its dreams, its aspirations — most often caught unawares in the shattered state of madness, disease and desultory dream — and they have found to their satisfaction that these are composed of elemental animalities tangled into various knots. This may be an important discovery; but what is still more important to realize is the fact that by some miracle of creation man infinitely transcends the component parts of his own character.1
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Notes
Rabindranath Tagore, “The Music Maker”, The Religion of Man, Ch. VIII (London: Unwin Books, 1931; 2nd impression, 1963), pp. 77–78.
Ernest Jones, The Life and Work of Sigmund Freud, ed. Lionel Trilling (London: Hogarth Press, 1961), pp. 461–462. See also Nirmal Kumari Mahalanabish, Kabir Sange Yurope (In Europe with the Poet) (Calcutta: Mitra & Ghosh, B. S. 1376), pp. 93–95.
Rabindranath Tagore, “Naba Yuger Kabya” (Poetry of the New Age) in Chithi patra (Collected Letters), eleventh part (Santiniketan: Visva-Bharati University, 1974), pp. 361–363.
Sigmund Freud, “Introductory Lecturers on Psychoanalysis.” The relevant portion has been compiled by Melvin Rader in his A Modern Book of Esthetics: An Anthology (New York: Holt, Rinehart and Winston, 3rd ed., 1962), pp. 127–129.
Charles Darwin, The Expression of Emotion in Man and Animals (London: Watts & Co., 1934) (The Thinker’s Library, No. 47).
Herbert Spencer, “The Origin and Function of Music”, in Essays: Scientific, Political and Speculative, Vol. I (London: Williams and Norgate), pp. 210–238. The essay was originally published in Fraser’s Magazine, October, 1857.
Sigmund Freud, “The Relation of the Poet to Day-Dreaming”, trans. I. F. Grant Duff, Collected Papers, Vol. IV (London: Hogarth Press, 1956), pp. 173–183.
The most relevant portion of Freud’s Civilization and its Discontents appears under the title “Sublimation” in Morris Weitz (ed.), Problems in Aesthetics (New York: Macmillan, 1959), pp. 625–627.
Sigmund Freud, “Mental Functioning”, Collected Papers, Vol. IV, p. 19.
Rabindra Rachanabali (Tagore’s Collected Works, henceforth abbreviated as R. R.), Vol. III (Centenary edition, Govt, of West Bengal), p. 641.
R.R. III, pp. 216–217.
W. J. Turner, Orpheus or The Music of the Future (London: Kegan Paul, 1926), Ch. 1,p. 19.
Antony and Cleopatra, ii, 5, 1.
Benedetto Croce, Aesthetic, trans. Douglas Ainslie (London: Vision Press, 1959), p. 261.
George Santayana, The Sense of Beauty (New York: Dover Publications, 1955), pp. 38–40.
Rabindranath Tagore, Creative Unity (Macmillan, Indian edition, 1959), p. 157.
Rabindranath Tagore, “What is Art”, in Personality (Macmillan, Indian edition, 1948), p. 19.
R. R. IX, p. 797.
R. R. IV, p. 281.
Translated from Pramathanath Bishi’s piece, Sharadiya Yugantar, B. S. 1372, pp. 41–42.
“Manasi,” in Sanai, R. R. 3, p. 778.
Appearing under the title “Sublimation”, in Morris Witz (ed.), Problems in Aesthetics, Macmillan, New York, 1959, p. 626.
Published under the title Bageshwari Shilpa Prabandhabali (Calcutta: Rupa), B. S. 1369.
Geetabitan, R. R. IV, p. 281.
Geetabitan, R. R. IV, p. 360.
Geetabitan, R. R. IV, p. 424.
Geetabitan, R. R. IV, p. 424.
Rabindranath Tagore, Patraput, R. R., III, p. 371.
Geetabitan, R. R. IV, p. 372.
Geetabitan, R. R. IV, p. 372.
Frieda Fordham, An Introduction to Jung’s Psychology, Penguin Psychology Series (London: 1956), p. 23. For discussion in detail, see Ch. 3, pp. 47–68.
From a relevant extract from Jung’s works in Melvin Rader, A Modern Book of Esthetics: An Anthology (New York: Holt, Rinehart and Winston, 1962), p. 153.
Edmund Husserl, Ideas: General Introduction to Pure Phenomenology trans W. R. Boyce Gibson (London: George Allen and Unwin; New York: Humanities Press, 5th impression 1969), pp. 21–22. The German original Ideen zu einer reinen Phenomenologie und phänmenologische Philosophie was published in 1913.
See Edward Bullough, “Psychical Distance as a Factor in Art and Esthetic Principle,” in Melvin Rader, A Modern Book of Esthetics: An Anthology (New York: Holt, Rinehart and Winston, 1962), pp. 391–411.
Rabindranath Tagore, Gitabitan (A Collection of Songs) (Santiniketan: Visva-Bharati University, B. S. 1338, B. S. 1370 edition), p. 370.
Rabindranath Tagore, Gitabitan (A Collection of Songs) (Santiniketan: Visva-Bharati University, B. S. 1338, B. S. 1370 edition), p. 270.
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Ray, S. (1996). Tagore, Freud and Jung on Artistic Creativity: A Psycho-Phenomenological Study. In: Tymieniecka, AT. (eds) Life in the Glory of Its Radiating Manifestations. Analecta Husserliana, vol 48. Springer, Dordrecht. https://doi.org/10.1007/978-94-009-1602-9_23
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