Death is not extinguishing the light; it is putting out the lamp because the dawn has come.
--Rabindranath Tagore, poet, philosopher, Nobel laureate (1861-1941)
(47:10.5) Seven times do those mortals who pass through the entire mansonia career experience the adjustment sleep and the resurrection awakening. But the last resurrection hall, the final awakening chamber, was left behind on the seventh mansion world. No more will a form-change necessitate the lapse of consciousness or a break in the continuity of personal memory.
(112:3.5) After death the material body returns to the elemental world from which it was derived, but two nonmaterial factors of surviving personality persist: The pre-existent Thought Adjuster, with the memory transcription of the mortal career, proceeds to Divinington; and there also remains, in the custody of the destiny guardian, the immortal morontia soul of the deceased human. These phases and forms of soul, these once kinetic but now static formulas of identity, are essential to repersonalization on the morontia worlds; and it is the reunion of the Adjuster and the soul that reassembles the surviving personality, that reconsciousizes you at the time of the morontia awakening.
(112:5.21) And when you thus awaken on the mansion worlds of Jerusem, you will be so changed, the spiritual transformation will be so great that, were it not for your Thought Adjuster and the destiny guardian, who so fully connect up your new life in the new worlds with your old life in the first world, you would at first have difficulty in connecting the new morontia consciousness with the reviving memory of your previous identity. Notwithstanding the continuity of personal selfhood, much of the mortal life would at first seem to be a vague and hazy dream. But time will clarify many mortal associations.
(113:7.1) It is indeed an epoch in the career of an ascending mortal, this first awakening on the shores of the mansion world; there, for the first time, actually to see your long-loved and ever-present angelic companions of earth days; there also to become truly conscious of the identity and presence of the divine Monitor who so long indwelt your mind on earth. Such an experience constitutes a glorious awakening, a real resurrection.
Rabindranath Tagore was a Bengali polymath who reshaped Bengali literature and music, as well as Indian art with Contextual Modernism in the late 19th and early 20th centuries. Author of Gitanjali and its "profoundly sensitive, fresh and beautiful verse", he became the first non-European to win the Nobel Prize in Literature in 1913. Tagore's poetic songs were viewed as spiritual and mercurial; however, his "elegant prose and magical poetry" remain largely unknown outside Bengal. He is sometimes referred to as "the Bard of Bengal".
A Pirali Brahmin from Calcutta with ancestral gentry roots in Jessore, Tagore wrote poetry as an eight-year-old. At the age of sixteen, he released his first substantial poems under the pseudonym Bhānusiṃha ("Sun Lion"), which were seized upon by literary authorities as long-lost classics. By 1877 he graduated to his first short stories and dramas, published under his real name. As a humanist, universalist internationalist, and ardent anti-nationalist, he denounced the British Raj and advocated independence from Britain. As an exponent of the Bengal Renaissance, he advanced a vast canon that comprised paintings, sketches and doodles, hundreds of texts, and some two thousand songs; his legacy also endures in the institution he founded, Visva-Bharati University.
Tagore modernised Bengali art by spurning rigid classical forms and resisting linguistic strictures. His novels, stories, songs, dance-dramas, and essays spoke to topics political and personal. Gitanjali (Song Offerings), Gora (Fair-Faced) and Ghare-Baire (The Home and the World) are his best-known works, and his verse, short stories, and novels were acclaimed—or panned—for their lyricism, colloquialism, naturalism, and unnatural contemplation. His compositions were chosen by two nations as national anthems: India's Jana Gana Mana and Bangladesh's Amar Shonar Bangla. The Sri Lankan national anthem was inspired by his work.
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