Dwijendralal Roy’s Historical Dramas : Representation of Women
DOI:
https://doi.org/10.5281/Keywords:
- Historical Drama,
- Gender,
- Nationalism,
- Tradition,
- Awareness,
- Popularity,
- Female songs
Abstract
Dwijendralal Roy (1863–1913) emerged in Bengali dramatic literature during the period of Girish Chandra Ghosh’s dramatic activity. From the late nineteenth century, educated women in India began to participate in political activities, and this development was also reflected in the Bengali literature of the period. In his nationalist historical dramas written in the first half of the twentieth century, Dwijendralal Roy therefore incorporated the transformation of women within the political context of India. While highlighting a sense of patriotism in his female characters, he also represented traditional gender roles and the development of female identity. This essay discusses how Dwijendral Roy attempted to portray female characters in his historical plays as active, independent, and strong.
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References
1. Ray, Rathindranath. Dwijendralal Kabi O Natokar. First edition (Kolkata: Suprakash Private Limited, January 1960), p. 17–18
2. Ghosh, Ajit Kumar. Bangla Natoker Itihas. Sixth edition (Kolkata: Dey’s Publishing, September 2018), p. 38
3. Sen, Sukumar. Bangala Sahityer Itihas, Vol. III. Eleventh printing (Kolkata: Ananda Publishers, 1423 [Bengali calendar]), p. 286
4. Ditto, p. 227
5. Baromashya refers, in the Mangalkavya tradition, to the depiction of the joys and sorrows experienced by the central female character (the heroine) across the twelve months.
6. Biswas, Suniti. Shata Bacharer Bangla Natake Narir Avasthan. First edition (Kolkata: Bishwajnan, 2000), p. 93
7. Ditto, p. 129
8. Ditto, p. 175
9. Dasgupta, Paramashree. ‘Dwijendralaler Swadesh Bhavana O Nari Charitra.’ Pratidhwani: The Echo Journal, Vol. 6 (April 2018), p. 173
10. Ditto, p. 174–175
11. Ditto, p. 175
12. Ditto, p. 175
13. Ghosh, Jagannath, ed. Dwijendralaler Nurjahan. Third edition (Kolkata: Sumita Printers, 2011), p. 112.
14. Ghosh, Ajit Kumar. Bangla Natoker Itihas. Sixth edition (Kolkata: Dey’s Publishing, September 2018), p. 221
15. Roy, Dwijendralal. Nurjahan (Kolkata: Mukhosh, 2003), p. 53
16. Ditto, p. 53
17. Dasgupta, Paramashree. ‘Dwijendralaler Swadesh Bhavana O Nari Charitra.’ Pratidhwani: The Echo Journal, Vol. 6 (April 2018), p. 177
18. In the preface to Mewar Patan, the dramatist stated: ‘.........In this play I have taken up a great principle, and that principle is universal love. Kalyani, Satyabati, and Manasi have been conceived respectively as embodiments of conjugal love, national love, and universal love....... Therefore, this is my first purpose-oriented play
19. Dasgupta, Paramashree. ‘Dwijendralaler Swadesh Bhavana O Nari Charitra.’ Pratidhwani: The Echo Journal, Vol. 6 (April 2018), p. 178
20. Edited by Rathindranath Ray. Dwijendra Rachanabali, Vol. I. First edition (Kolkata: Sahitya Samsad, January 1964), p. 262
21. Goswami, Karunamoy. Bangla Ganer Bibartan. First edition, first reprint (Dhaka: Bangla Academy, February 2011), p. 5
22. Mukhopadhyay, Durgashankar. Dwijendralaler Sahitya O Shilpimanas. First revised edition (Kolkata: Karuna Prakashani, 2008), p. 194
23. Ray, Rathindranath. Dwijendralal Kabi O Natokar. First edition (Kolkata: Suprakash Private Limited, January 1960), p. 390
24. Goswami, Karunamoy. Bangla Ganer Bibartan. First edition, first reprint (Dhaka: Bangla Academy, February 2011), p. 222
25. Mukhopadhyay, Durgashankar. Dwijendralaler Sahitya O Shilpimanas. First revised edition (Kolkata: Karuna Prakashani, 2008), p. 231
26. Chakraborty, Biplab. Dwijendralal Roy’s Nurjahan. Second printing (Kolkata: Shilalipi Publishers, August 2000), p. 13
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