Tagore’s most widely staged play, The Post Office, theorizes passivity as resistance in its story about a dying boy. The experimental play has little plot and no action: This becomes especially interesting in light of the play’s performance history in succeeding decades. W.B. Yeats, André Gide, and Janusz Korczak would choose to translate and stage the play at moments of intense political unrest and great peril in Dublin in 1913, in France on the eve of Nazi occupation in 1940, and at an orphanage in the Warsaw Ghetto in 1942 as transports to death camps were taking place. I consider why, despite the charged political atmosphere in which Tagore wrote the play in 1912 and in which it was later staged, The Post Office counsels and even celebrates submission to forces outside one’s control as a mode of passive resistance.