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Tagore was of the view that great literature, whatever the country of its origin may be, should appeal to its readers as he told literature is the reflection of a writer’s intuition which contains a spark of universality. Personality of an author, due to his Sadhana (spiritual practice or austerities) becomes a Universal. This is the reason why time tested literature has Universal appeal and it is considered beyond time and space. This view of Tagore on literature manifests a gamut of his literary, ethical and aesthetic thoughts which made an invaluable contribution to world literature. His views on nature, man and universe and various aspects of literature propounds that the realization of truth within the heart of man is the ultimate goal of human life. Truth to be not found in temples or scriptures but it has to be realized at the cost of lifelong sufferings. In the East, sages in the Vedic age, evoked that human beings were children of immortality- Amritasya Putra (Atharva Veda 11.8). Tagore’s thought reveals, the amalgamation of both the Western and Indian concepts. His creations explore not only the material but also the spiritual aspects of man's life. His love for humanity, his faith in the dignity of the human soul, his deep and heartfelt compassion for all forms of creation, his strong protest against injustice, oppression and tyranny proclaims his profound and resolute faith in the inborn dignity of man. Like the sages of the Upnishads and the devotional poets, Tagore believes that every human soul is potentially divine and through self-awareness and self-realization, can the dignity of man be rediscovered. Being deeply influenced by Buddhism, he believes that nonviolence, friendship, fraternity, love, and forgiveness are the only means of human welfare. His works radiate with the elements of sacrifice,forgiveness, forbearance, kindness, compassion, love, unity, equality and peace which are universal human values. Tagore believes in the equality of all human beings and dissents all distinctions of race, sex, caste, creed, religion and language. He strongly stood against the inhuman practice of untouchability. In hisdrama ‘Chandalika’ through the portrayal of Ananda, a disciple of Buddha, he disseminates the message of equality, love and forgiveness. Ananda accepts water from Chandalika (Prakriti), an untouchable and marginalized girl and conveys the message of equality and forgiveness of the holy Buddha who proclaimed the glory of each human soul. Having attained the preaching of Ananda, Prakriti’s consciousness is roused. Prakriti promulgates that true religion should illuminate, liberate and radiate the human mind and soul. Here, Tagore’s message of Buddhism through this drama suggests the idea that ultimate goal of human life is to realize the truth, truth i.e. the equality of all human beings.

Jessica Zu [1] points out that in this global era, we hear the reverberation of Buddhist spiritual message of equality. This paper discusses equality and freedom on Buddhist terms, creating a new standard of civilization, in thisnarrow social juncture of discrimination.  This paper suggests that how there is diverse formulations of universal religion of Buddhism in Indian democracy and Chinese socialism, as these are two different culture spheres.SushilGhirmire [2] in his paper suggests that Tagore through his dance- drama raises the voice of Dalit (marginal) and brings out the solution through Buddhist philosophy of love, equality and forgiveness. Tagore makes protest against exploitation, suppression,subjugation and humiliation of marginalized from the people of upper caste. This play underlines about the awakening of a Chandal girl of her identity as Anand preached her the truth of human existence. Writer also points out how the preaching of Ananda changed Chandal girl (Prakriti) entirely and caused the emergence of love towards Ananda. Chandalika, ultimately realized true love never shackles rather liberates.S Mohan Raj and V. Sunita [3] mentioned in their paper distinct conflicts such as spiritual, marginal and obstacles before the path of liberation. They tried to explore how a marginalised girl liberated her inner- self and yearned to challenge the social norms and ultimately raised her voice against discrimination in society. The study of this paper represents the socio-cultural impulses of the dramatist and the plight of a woman to break the social obstacles of marginality. This paper underlines the internal spiritual conflicts of liberation against the social hegemony in the play ‘Chandalika’.

Rabindranath Tagore wrote around forty dramas depicting five act plays on Elizabethan model. One act plays, pathetic and acrid tragedies, boisterous comedies, farces, satires, Dramatic verse, lyrical dramas, symbolical plays, problem plays and dance dramas. Tagore began writing dramas from the commencement of his literary career. Tagore’s creations are versatile. Tagore’s creative works promulgate the experimentation in continually changing modes. In Tagore’s dramas, we observe various kinds of resonance that touches the soul of a reader. Tagore’s literature manifests the notion ofits consciousness at the commencement of the Indian Renaissance. Tagore was influenced with long, flourished and ancient dramatic tradition of India. He was influenced by Sanskrit texts created by Kalidasa, Bhas and Bhavbhuti. He admired Shakespeare, Ibsen and other European literary figures. He had good command over them. He drew his plots from different Indian and Western classical texts such as Chitra, Gandhari’s Prayer, Karna etc. from the Mahabharata,The Genius of Valmiki, Kalmrigaya from the Ramayana, Malini,Upagupta and Chandalika from Buddhist legend. He assimilated unique techniques from them, as we consider he derived sources of mythical stories from them but he never imitated them. The story of ‘Chandalika’ that Tagore imbibed from one of the Buddhist legends, was presented by him  in the form of aplay.  It is a worldly acclaimed play depicting Buddhist message of love, forbearance and forgiveness. Buddhism is a unique religion which does not advocate the invocation or glorification of any God. Gautama Buddha promulgated the world through his own experience but not through themes, rituals and rites.  The path, practice and spiritual teachings of Buddha lay emphasis on purity of mind, self-restraint and attainment of all human qualities such as non violence, love, mercy, forbearance and forgiveness. Tagore was intensely influenced by Buddhism. So several worldly acclaimed works of Tagore are based on the Buddhist legend. Chandalika, adrama is one of them. The story of ‘Chandalika’ suggests as Ananda, redeemed the dignity and self-esteem of a deprived, marginal and untouchable chandal girl by accepting water from her hands.

Prakriti, who was condemned and despised by her birth, was enlightened and awakened to a consciousness of her fundamental rights as a human being by the benevolence of Ananda. Prakriti, being a chandal girl was considered unholy, untouchable and discarded by the society. Evenher shadow was supposed to be inauspicious and the touch of her hand impure. One day in summer when Ananda was returning after begging alms, Prakriti was drawing water from the well which was considered unholy as untouchables would fetch water from that well. The thirsty Ananda asked Prakriti to give water to drink. She humbly replied:

“I am a Chandalini and the well water is unclean.” (Chandalika p.148) [4]

 In reply Ananda said:

“as I am a human being, so also are you, and all water is clean and holy that cools our heart and satisfies our thirst....If the black clouds of Shravana are dubbed chandal, what of it? It doesn't change their nature, nor destroy the virtue of their water, Do not humiliate yourself. Self- humiliation is a sin worse than murder.” (Chandalika p.148) [4]

These words of Ananda gave Prakriti a new life and generated a realization of Truth. There was an emergence of self-confidence and indomitable courage to voice against the traditional superstitions, orthodox, rites, rituals and dogmatism which have given her only insults and humiliation. When her mother tried to convince as she was born slave and it was her destiny which could not be undone, then Prakriti expressed her dissent and stated about her realization as a human being and its dignity. She told her mother:

“......don't delude yourself with this self-humiliation... it is false and sin. Plenty of slaves are born in royal blood, but I am no slave. Plenty of chandals are born of Brahmin families but I am no chandal.”(Chandalika p.152). [5]

These statements of Chandalika reveal the impact of the Buddhist message of self-realization and truth. Anand conveyed the message of the holy Buddha, promulgating the dignity of each human soul and Prakriti’srevelation can be seen in her behaviour. She elaborates:

“marvelous... he taught me this truth, that even my service will count with the God who guides the world.” (Chandalika p.150). [6]

In intense ecstasy of her new realization, she sings a song:

“Blessed am I, says the flower

 Who belongs to the Earth,

 For I serve you, my God, in this my lowly home.

 Make me forget that I am born dust.

......offer its worship thought me” (Chandalika p. 150) [7]

Prakriti, here proclaims that true religion should liberate, illuminate and radiate human personality. Thus, in this play, Tagore focusses on the equality of all human beings. Prakriti through several trials and turmoils realizes the true human dignity which becomes the culmination of her spiritual awakening and enlightenment.

1. Zu, Jessica. Three plays and a shared socio-spiritual horizon in the modern Buddhist revivals in India and China. International Journal of Asian Studies 19.2 (2022): 215-238. 2. Ghimire, Sushil. Identity in Spirituality: A Review of the Play Chandalika by Tagore. Journal of Balkumari College 8 (2019): 46-50. 3. Raj, S. Mohan, and V. Sunitha. Rabindranath Tagore’s Chandalika: An Amalgamation of Spiritual Conflict, Liberation and Rebel against Marginality. Journal of English 7.3 (2019): 16-20. 4. Tagore, Rabindranath. Three Plays. Truly. Lal, Anand. New Delhi: O. U. P., 2004(Chandalika, p148) 5. Ibid.152 6. Ibid. 150 7. Ibid. 150 8. Tagore, Rabindranath. The Religion of Man. London:Allen and unwin, 1961. 9. Tagore, Rabindranath. Nationalism, Reprint 2020, DariyaGanj, New Delhi. 10. Singh, K.H. Kunjo. Nationalism and Humanism in Tagore’s Novels, New Delhi: Atlantic, 2002. 11. Ghosh, Sisir Kumar. Tagore for You. Calcutta: VisvaBharati, 1966. 12. Gambhiranand, Swami (ed). Thus Spoke The Vedas. Kolkata: Advaita Ashram Publication, 1989. 13. The Dhammapad, English Translation, New Delhi, O. U.P., 1950. 14. Ranganathananda, Swami (ed). Eight Upanishads, Kolkata: Advaita Ashram publications, 2009. 15. https:// doi.org/10.3 12 6/jbkc.v-8i0, 29306.2020.