Dramatist Bratya Basu’s Mirjafar Natya : A Conspiracy Hidden in a Magnificent efflux of time (নাট্যকার ব্রাত্য বসুর মীরজাফর নাটক : জমকালো কালপ্রবাহে লুক্কায়িত ষড়যন্ত্র)

Abstract

Bratya Basu a renowned Indian actor, stage director, playwright, film director, professor and politician who has been the Education Minister of West Bengal, achieves the greatness in the history of Bengali theatre-literature. At the very end of the year, there is good news in the culture and theater world of Bengali. A man of letter like him is a pride for our National literary sphere. In December 2021, dramatist Bratya Basu received the "SAHITYA ACADEMY" award for his book 'MIRJAFAR O ANANYA NATAK'. Besides, the young poet Gaurav Chakraborty has received the 'Yuva Sahitya Academy' award this time. For his poetry book 'Sriman Sonnet'. Bratya Basu's award is a great achievement of Bengali theatre literature. The jury board of this year's Sahitya Academy Award included eminent poet Ranjit Dash, essayist Tapodhir Bhattacharya and fiction writer Tridib Chattopadhyay. They chose playwright Bratya Basu. Out of the twenty languages in which the Sahitya Academy Awards have been announced, one more drama book has been awarded apart from Bratya Basu's book. It is for the play 'Samrat Ashoka' written in Hindi by renowned playwright Dayprakash Sinha. Before Bratya Basu, the popular dramatist Buddhadev Basu received the 'Sahitya Academy' award in 1967. For the play 'Tapasvi O Tarangini' based on his mythological story. No doubt a matter of pride. Bratya Basu wrote the famous new play "Mirjafar" in India with the help of history. Under his direction and Kalindi Bratyajan's new production on Sunday, September 23, G. D. First performance at 6:30 PM at Birla Auditorium. The subject of this play is from 1757 to 1764, I,e. an unlit history of seven years after the Battle of Palashi (1757) has been revealed in this play. Not only to shed light on history, but it is as if the simultaneous deconstruction and reconstruction of this history of about two hundred and sixty years ago has taken place in the pen of dramatist Bratya Basu. This play reflects the human instincts- jealousy, hatred, greed, lust, anger and the traits of homosexuality, national consciousness, self-esteem and self-identity are transmitted in the hearts of the people centred on the glory of the motherland. The play 'Mirjafar' created a stir immediately by his brilliant direction. Traitors Mirjafar Khuda-Iar Lutf Khan and Roy Durlabhra secretly conspired to join hands with Robert Clive for individual interest sacrificing the national honour and Nawab Shirajuddaullah was finally forced to declare a truce I,e. admit defeat. Mirjafar must be called a 'traitor'. But I also want to know if he is the only traitor or not. Who was behind Mirjafar? The playwright wanted to weave these colorful threads in 'Mirjafar'. An agreement was made before Mirjafar with the British but Nawab Mirjafar was unable to supply the huge amount of money demanded by the British. When I saw that Bhande Ma Bhabani, starting from the Nawab's royal servants and sepoys, did not have three months of mine, when Durlavram said that seven hundred chests loaded with gold and silver seals were sent to Calcutta by barge, then Mirjafar regained his senses. Even if Mirjafar got the Nawabi, he did not have the power to exercise real power and ability to establish his dominance. The imperialist powers exploited the rule in this country and smuggled billions of rupees of wealth to England. Due to Mirjafar's policies, the British colonists gradually reduced their dependence on him. The British put Mirjafar powerless on the throne of Bengal. As a result, he became a puppet in the hand of the British. Baiji's dance song in this play clearly indicates the asanglipsa. Homosexuality is here. The main character in this drama is the relationship and conflict between father and son (Mirjafar and Meeran). We are not used to thinking of Mirjafar as he begs for Lutfannisa's love, the widow of Shirajuddaulla, Just as Robert Clive is an important character in this play, Siraj's widow Begum Lutfannisa is an equally important character. Mirjafar and Meeran simultaneously courted Lutfannisa. His image changes when Siraj-Priya thwarts Mirjafar and Meeran's proposal to be Begum. The British successively defeated the Dutch and deposed Mirjafar and placed his son-in-law Mir Kashim on the throne of Bengal. He was the Nawab of Bengal from 1760 to 1763. In 1760, the British installed MirJafar's son-in-law Mir Kashim on the Throne of Bengal within a short period of time due to the conditional, arrears, distrust of the British. He also gained power by giving various conditions to the British. But the son-in-law Mir Kashim was not a man of incompetent and inferior character like Mirjafar. He was an efficient ruler and visionary politician. His independent nature as well as his awareness of public welfare are worth mentioning. In this case, he tried to protect the interests of Bengal in an honorable way with the British and failed. Mir Kashim was always a protester against British exploitation. Mirjafar's debt to the company also fell upon him. After gaining power, he tried to run the administration independently. Mirjafar was disciplined by various realities and intrigues. National consciousness, self-esteem and self-respect are transmitted. He wanted to inculcate a sense of nationalism among the Bengali youth by highlighting the central character of the historical dramas as national heroes. It is really important to recognize the real 'Mirjafar' of the present, whether through history or drama. While the dead Mirjafar is relevant, the living Mirzafar hidden in the current timeline is far more terrifying.