After his return from America and Europe, he wrote Kali the Mother in 1898 during his visit to Kashmir in the Dal Lake near Kshir Bhawani temple. Kali is the incarnation of ‘Shakti’ for the destruction of the wickedness of the world. Swami ji has presented both the sides of motherhood; one common image of mother, distressed at the lost of the child is common among the poets of the world. His poems like “The Blessing”, “Who Knows How Mother Plays” and “My Play Is Done” too present the delicacy of mother. In ‘To the Awakened India’, he remembers, “Himalaya’s daughter, gentle, pure/ The mother that resides in all as power” (24-25) who is responsible for the generation and operation of the world with the power of love; She opens the gate of truth i.e. oneness in all. He also presents the terrific picture of mother. Zinia Mitra connects the imagery of Kali to the vision of Blake and says that his ‘apocalyptic vision is a fearful revelation’. Further she says:

Vivekananda invokes mother to come “scattering plagues and sorrows/ dancing mad with joy”. Here the image conjured is not that of the protective mother but associates death. In the next stanza the association is strengthened and it is made explicit that she is not merely individual death, but ‘Time, the All-destroyer’ whose very name is Terror and whose very breath is ‘Death’. (96)

How beautifully he says-

For Terror is Thy name

Death is in Thy breath,

And every shaking step

Destroys a world for ever.

Thou ‘Time’, the All-destroyer!

Come, o Mother, come! (19-24)

After his return from America and Europe, he wrote Kali the Mother in 1898 during his visit to Kashmir in the Dal Lake near Kshir Bhawani temple. Kali is the incarnation of ‘Shakti’ for the destruction of the wickedness of the world. Swami ji has presented both the sides of motherhood; one common image of mother, distressed at the lost of the child is common among the poets of the world. His poems like “The Blessing”, “Who Knows How Mother Plays” and “My Play Is Done” too present the delicacy of mother. In ‘To the Awakened India’, he remembers, “Himalaya’s daughter, gentle, pure/ The mother that resides in all as power” (24-25) who is responsible for the generation and operation of the world with the power of love; She opens the gate of truth i.e. oneness in all. He also presents the terrific picture of mother. Zinia Mitra connects the imagery of Kali to the vision of Blake and says that his ‘apocalyptic vision is a fearful revelation’. Further she says:

Vivekananda invokes mother to come “scattering plagues and sorrows/ dancing mad with joy”. Here the image conjured is not that of the protective mother but associates death. In the next stanza the association is strengthened and it is made explicit that she is not merely individual death, but ‘Time, the All-destroyer’ whose very name is Terror and whose very breath is ‘Death’. (96)

How beautifully he says-

For Terror is Thy name

Death is in Thy breath,

And every shaking step

Destroys a world for ever.

Thou ‘Time’, the All-destroyer!

Come, o Mother, come! (19-24)

For Tagore, God is the greatest singer and as a singer he presents himself before Him; Swami Vivekananda images God as a poet and painter. He claims that God is the most ancient Great Poet whose poetry is the whole universe, written in perpetual bliss. Like the Divine Poet, the Divine Painter has painted the world with his ‘golden brush’ on the canvas of the earth with various colours ‘over the bosom of nature’. In ‘And Let Shyama Dance There’, he celebrates this Divine painting as:

The rising orb of day, the painter divine,

With his golden brush but lightly touches

The canvas earth and a wealth of colours

Floods at once over the bosom of nature,

-Truly a museum of lovely hues-

Waking up a whole sea of sentiments. (15-20)