Aparajita Devir ‘Buker Bina’ : Banciter Byathar Gan (অপরাজিতা দেবীর ‘বুকের বীণা’ : বঞ্চিতের ব্যাথার গান)
Keywords:
- Radharani,
- Aparajita,
- Boarding,
- Barshay Bandhabir Chiti,
- Sesh Ratri
Abstract
When Radharani Devi was an established name in the Bengali literary world, Aparajita Devi appeared in the Bengali literary world and became widely acclaimed as a poet. At that time, various kinds of debates started in the Bengali literary world about the appearance of Aparajita Devi. Aparajita Devi was considered by many to be Saratchandra’s pseudonym. Some also considered Aparajita Devi as a pseudonym of the five poets, meaning a-pa-ra-ji-ta. Under the name of Aparajita Devi, Radharani Devi wrote a total of four poems ‘Buker Veena’ (1337), 'Anginar Phul' (1340), ‘Purabasini’ (1342) and ‘Vichitrarupini’ (1343). In total Fifty three poems in her poems, he has mentioned society and family life through sharp observation, family life and practicality. To say that these poems of Radharani Devi represent the real life of women from women perspective. By looking at men and women in their social and family roles, he was able to clearly relive the reformation and different values of ordinary middle-class life. Her second book of poetry 'Buker Veena' was published in 1930 AD, a year before Radharani Devi's marriage. Booker Veena, a collection of thirteen poems, was her first book of poetry published under the pseudonym ‘Aparajita Devi’. Analyzing the total thirteen poems of ‘Bukker Veena’ Kavya from the point of view of content, two clear categories can be seen in these poems. One is the wonderful juxtaposition of the couple's mutual respect and tears over the child. The other is a picture of the changing color of the universe in terms of family life. In the poem ‘birthday’, not only the soul story of a young girl named ‘Ila’, but also the poet's own indomitable aspirations are presented here. The subject matter of the poem ‘Day’s Beginning’ on the one hand is about conjugal relations, on the other hand, the intense love affair of a newly married couple is described in the voice of a newlywed woman. Aparajita Devi's six-stanza poem ‘Nishith Kalah’ captures the grievances, passions, and pride of the middle-class housewife in its main theme. The subject of the poem ‘Badalbilas’ is a picture of a wife living on a rainy day. In the poem "Letter from girlfriend in rainy season" a picture of a Middle class house comes up while replying to Ranudi's letter. In the subject of the poem ‘Madhyastha’ and ‘Shesherratri’, sometimes pride, sometimes emotional tone for waiting has been sounded. The last poem of the 'Booker Veena' poem is ‘Kaifiyat’. In the content of ther poem, through the character of ‘Runu’, poet Radharani Devi's personal life tension has come up. In many poems of her poetry such as ‘Nishith Kalah’, ‘Sandhir Sutra’, ‘Madhyastha’, ‘Sesh Ratri’, ‘Varsha Bandhavi’s Letter', ‘Kaifiyat’ etc, he has introduced realism through the use of irony and humor instead of tears. In all the poems of Aparajita Devi we find middle class civic consciousness.
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References
১. দেবসেন, নবনীতা, ‘রাধারাণী দেবীর শ্রেষ্ঠ কবিতা’, ভূমিকা– জগদীশ ভট্টাচার্য, ভাবরি, প্রথম প্রকাশ, পৌষ ১৪০৮, ‘তোমারে বাসিয়া ভালো যত অপমান’ পৃ. ৬
২. সেন, অভিজিৎ (সংকলন), ‘রাধারাণী দেবী রচনা সংকলন– ১’, ভূমিকা– নবনীতা দেবসেন, দে’জ পাবলিশিং, প্রথম সংস্করণ, নভেম্বর, ১৯৯৯, পৃ. ৭
৩. বাগচী, আনন্দ, সাহিত্যের নানারকম, লৌকিক উদ্যান, মানবী সংখ্যা, প্রথম সংস্করণ, ১৯৮৭, পৃ. ৫৫-৫৬
৪. দেবসেন, নবনীতা, ‘রাধারাণী দেবীর শ্রেষ্ঠ কবিতা’, ভূমিকা-জগদীশ ভট্টাচার্য, ভাবরি, প্রথম প্রকাশ, পৌষ ১৪০৮, ‘তোমারে বাসিয়া ভালো যত অপমান’ পৃ. ১৭
৫. দেবসেন, নবনীতা (সম্পাদনা), ‘অপরাজিতা রচনাবলী’ দে’জ পাবলিশিং, প্রথম দে’জ সংস্করণ, এপ্রিল ২০১২, ‘বুকের বীনা’, ‘কলেজ বোডিং’ পৃ. ৪০
৬. ঐ ‘জন্মদিনে’ পৃ. ৩৭
৭. ঐ ‘কলেজ বোডিং’ পৃ. ৩৭-৩৮
৮. ঐ ‘কলেজ বোডিং’ পৃ. ৩৯
৯. ঐ ‘নিশিথ কলহ’ পৃ. ৪৬
১০. ঐ ‘দিনের শুরু’ পৃ. ৪১-৪২
১১. ঐ ‘বাদল বিলাস’ পৃ. ৪৭
১২. ঐ ‘সখী-সংগম’ পৃ. ৫১
১৩. ঐ ‘বর্ষায় বান্ধবীর চিঠি’ পৃ. ৫৩
১৪. ঐ ‘আঁধারে আলো’ পৃ. ৫৭-৫৮
১৫. ঐ ‘দম্পতির দ্বন্দ্ব’ পৃ. ৬৩
১৬. ঐ ‘মধ্যস্থ’ পৃ. ৬৫
১৭. ঐ ‘শেষ রাত্রি’ পৃ. ৬৬-৬৭
১৮. ঐ ‘শেষ রাত্রি’ পৃ. ৬৮
১৯. ঐ ‘কৈফিয়ৎ’ পৃ. ৭০

