Assessing the relevance of Bibor, Ghunpoka and Moulinath within the Framework of Existentialism and their significant contributions to the Genre/ অস্তিবাদী সাহিত্য আলোচনার ধারায় বিবর, ঘুণপোকা ও মৌলিনাথ-এর সার্থকতা বিচার

Abstract

The essence of Western existentialist philosophy is the deliberate pursuit of freedom in the context of a constrained human existence. Existentialists assert that this existence is fundamentally human and that it is grounded in a pre-existing condition referred to as freedom. In analyzing this philosophy, Albert Camus, in his book The Myth of Sisyphus, illustrates the ceaseless struggle of Sisyphus, who is condemned by the curse of the Greek gods. This Western philosophy has also permeated Bengali literature. The first significant manifestation of this philosophy in Bengali literature is Samaresh Bose's Bibor (1965). Subsequently, Shirshendu Mukhopadhyay's Ghunpoka (1967) and Buddhadev Bose's Moulinath (1952)—written prior to these two novels—are examined in the context of three existentialist ideologies. This article focuses on these discussions. Upon reading these three novels, it becomes apparent that the protagonists' belief in freedom has transformed their society into isolated, solitary entities. It appears as though they seek to embrace their freedom by transcending the constraints imposed by social bonds. In these novels, the protagonists are depicted as articulating profound truths. The love within their seemingly happy middle-class circles and the complexities arising from multiple relationships with women lead to significant confusion. The characters assert their independence by breaking free from these constraints. In the novel Bibor, the protagonist attempts to break free from societal constraints by confronting while engaging in a physical relationship with his ascetic partner. This act symbolizes his struggle for freedom, and as a result, the freedom he experiences compels him to vocally oppose the corrupt and decadent societal system. In this case, the hero's steadfast belief in the truth renders him a detached entity from society. Similarly, in his novel Ghunpoka (1967), Shirshendu Mukhopadhyay portrays the existential crisis of the central character, Shyam, through an existentialist lens. Chhoto saheb Shyam in ‘Saint and Miller’ resigns from his job due to his inability to tolerate his boss's audacity. Hari Mazumdar's derogatory remark towards Shyam makes him resemble the character of Mrityunjay in Manik Bandhapadhyay's ‘Ke Banchay Ke Banche’. This shift in Shyam's usual lifestyle leads to a growing sense of depression. Shyam's assertion of independence reveals his profound loneliness. Accustomed to the company of multiple women, Shyam engages in trivial behaviors to reject his beloved Itur's proposal, which plunges him into a state of depression. As he attempts to maintain his composure by endangering a motorcyclist with the sun's reflection in a mirror, his remorseful self-deprecation becomes evident in his relationship with Leela Bhattacharya. Shirshendu Mukhopadhyay explores the transition of consciousness through the hope of rebirth after death. Similarly, Buddhadev Bose, in his novel Moulinath (1952), portrays the stages of loneliness experienced by the central character, Professor Moulinath. A content, middle-class office worker, Moulinath simultaneously rejects the love of both Chitra and Geeta. He strives to preserve his identity as an individual who desires to exist solely as ‘I’. His heart is described as ‘dead’, and he appears to be a character adrift, as if authored by himself. These characters embody profound loneliness in their quest to transcend their middle-class selves.