TRISANGAM INTERNATIONAL REFEREED JOURNAL
Trisangam is an International Double-Blind Peer Reviewed (refereed) Research journal on Language, Literature and Culture. Four issues are published annually. To the serious readers the trisangam is highly adorned as a journal of research in the field of social, cultural, anthropological, literary, language’s and other’s aspects of Northern and North-East Region. The pointed attention is given by the journal to unfold to open up the rich resources of the West Bengal, North – East India and Neighbouring area to the great mass readers interact in the subjects.
Siliguri: Trisangam international refereed journal
আলোচ্য প্রবন্ধটিতে ঐতিহ্যের নানাদিক কীভাবে কবি বিষ্ণু দে অনায়াসে তার কাব্যের চারণভূমিতে উপাদান হিসাবে ব্যবহার করেছেন সেই দিকগুলিকে উন্মোচন করা এই প্রবন্ধের বিষয়। খুব স্পষ্ট দেখা যায় পাশ্চাত্য শিক্ষায় সুশিক্ষিত কবি শুধু যে নেয়াড বা আর্টেমিসদের তার কাব্যের প্রানভ্রমরা হিসাবে দেখিয়েছেন এমন নয়। উর্বশী, মেনকারাও তার নায়িকা। তাই কবির প্রাচ্য সাহিত্য-সংস্কৃতি ও ঐতিহ্যের প্রতি অগাধ পান্ডিত্যের প্রতি আমাদের মুগ্ধ হতে হয়। তিনি ঐতিহ্যের কেবলমাত্র লিখিত উপাদান নিয়ে কাব্যে ব্যবহার করেছেন এমন নয়। তার কাব্যে নিখুত ভাবে ঐতিহ্যের অলিখিত স্থাপত্য-ভাস্কর্য, লোককথা, ছড়া, প্রবাদ-প্রবচনকে মুন্সিয়ানার সঙ্গে প্রতিফলিত করেছেন তার কবিতার ছত্রে ছত্রে। বিশ্বযুদ্ধ সমকালীন ক্ষয়িষ্ণু সমাজে এই ঐতিহ্যগুলোকে সাহিত্যের অঙ্গনে পুনরায় জাগরিত করা একরকম অনিবার্য ছিল। কারণ সেই সময় মানুষের মধ্যবিত্ত শ্রেণি একধরনের অন্তঃসার শূন্য জীবন নির্বাহ করছিল। তাদের পুনরায় সঞ্জীবিত করার একমাত্র উপায় হল নিজ ঐতিহ্যকে স্মরণ করা। যে কাজটি কবি সুচারু রূপে সম্পাদনা করেছিলেন।
বিশ্লেষণের আলোকে জীবনানন্দের কবিতার মননধর্মী পর্যালোচনা
যে সকল শিল্পির সৃষ্ট মুকুরে আমরা আমাদের অন্তরাত্মার সঙ্গে বহিঃজগতের বা আমাদের মনের অন্ধকারময় দিক কিংবা সমাজের প্রতিচ্ছবি স্পষ্ট দেখতে পায় সেই সকল শিল্পীর শিল্পত্বের সাহচর্যে আমাদের মনের নানান দুয়ার খুলতে আরম্ভ করে, এবং সেই এক একটি দুয়ারে বিভিন্ন অনুভূতির চিঠি আসতে থাকে, সেই চিঠি পড়ে আমাদের বোধের জাগরণ ঘটে, ফলত আমরা ক্রমশ সৃষ্টির সকল দিককে সঠিক ভাবে পর্যবেক্ষণ করতে পারি। তেমনই একজন বিশিষ্ট কবি শিল্পী জীবনানন্দ। যার লেখায় আমরা আমাদের চোখে দেখা, ছুঁয়ে দেখা জগতের পরিচয় যেমন পায় তেমনি না দেখা জিনিসের অনুভূতি পায়। এক দিকে প্রকৃতি, অন্যদিকে সমাজ, সমাজের নানান অন্ধকারময় দিক। সব দিকেই তাঁর দৃষ্টি লক্ষ্য করতে পারি। জীবনের নানান অভিঘাতের কথা বলে তিনি যেমন আমাদের চক্ষুতে আলো সঞ্চার করেছেন তেমনি আধুনিক যুগযন্ত্রণার প্রতিচ্ছবি তাঁর লেখনিতে ফুটে উঠেছে। জীবনানন্দের কবিতায় মূলত রয়েছে এক গভীর বিস্ময়ের অনুভূতি, তাইতো তাঁর কবিতা পরে আমরা সেই বোধে আক্রান্ত হয়ে পরি, ভাবতে থাকি সকল মানুষের মাঝে থেকেও কেন একা হয়ে পড়ছি। মৃত্যুচেতনা, অন্ধকার, কালো রঙ, ধূসরতা তাঁর কবিতায় এক রহস্যের সৃষ্টি করেছে। একটু সচেতন হয়ে পরলেই আমরা বুঝতে পারি এ সকল তাঁর যুগযন্ত্রনা বা জীবনের নানান অভিঘাতে জর্জরিত অনুভূতির ফসল । 'শিকার' কবিতায় তিনি যে সমাজের পরিচয় দিয়েছেন তা যেন আমাদের বর্তমান সময়েরই প্রতিচ্ছবি মনে করায়। এছাড়াও প্রকৃতির রূপ তিনি যে ভাবে দেখেছেন বা প্রকৃতি নিয়ে ভেবেছেন তা দেখে রীতিমতো আমাদের আশ্চর্য হতে হয়, এত গভীর ভাবনা তাঁর লেখনিতে প্রকাশ পেয়েছে তা আর অন্য কোথায় আমরা পায় না। বর্তমান যুগে দাঁড়িয়ে জীবনানন্দ আমাদের কাছে শান্তির আশ্রয়ের মতন। দুদণ্ড শান্তির যে আশ্রয় কবি তাঁর বনলতা সেনের কাছে পেয়েছিলেন, এই অস্থির জীবনে তাঁর কবিতাও আমাদের দুদণ্ড শান্তির আশ্রয় দেয়। প্রকৃতির রূপ-রস-গন্ধ ধূলো মাটি: কাঁদা-জল সমস্ত কিছুকেই তিনি যেন গভীর ভাবে অনুভব করেছেন। উপমা, অলংকার ছন্দ চর্চায় ও তিনি বিশেষ প্রতিষ্ঠার সাক্ষর রেখেছেন। জীবনানন্দের কবিতায় রঙের ব্যবহার কবিতাগুলিতে এক সতেজতা এক বিশিষ্টতা বলা ভালো জীবন্ত অনুভূতি দান করেছে। জীবনানন্দের লেখনিতে যে সকল দিকগুলি উন্মোচিত হয়েছে কিংবা তাঁর লেখার সঙ্গে তাঁর মনন জগতের যে মেলবন্ধন যে অনুভূতি রয়েছে এবং সমাজের নানান দিক নিয়ে তিনি যে ভাবে ভেবেছেন, দেখছেন, সে সকল , যে কতটা বাস্তব বলে প্রমাণ অনুভূতির পাত ছিঁড়ে এসেছে এবং জীবনানন্দের লেখনী যে বর্তমান সময়ে কতোটা প্রাসঙ্গিক সে সকল দিক গুলিই মূল প্রবন্ধে আলোচনা করতে চেয়েছি।
রবীন্দ্র–কাব্যে শারদীয়া দুর্গোৎসব : মেঘ ও রৌদ্রের মিলনমেলা
ষড়ঋতুর ঋতুর দেশ ভারতবর্ষ। আশ্বিনের নির্মল আকাশ, শিশির ভেজা শিউলি ফুল, প্রভাতের রৌদ্র, ঈষৎ শীতের সঞ্চার, দুর্গোৎসবের আনন্দে দেহ-মন শিউরে ওঠে। রবীন্দ্রনাথের কাব্য, সাহিত্য, স্মৃতিকথায় দুর্গাপূজাকে চিত্রিত করলেও ঈশ্বরকে গতানুগতিকতায় অনুসন্ধান করতে চাননি। তাঁর সমগ্র ধ্যান-ধারণা ও কর্মসাধনায় অনন্তের চৈতন্যই গুরুত্ব পেয়েছে। রবীন্দ্রনাথ ভাবিয়েছেন, উচ্চ-অঙ্গের আনন্দমাত্রই পুতুল খেলা, তাতে কোন উদ্দেশ্য নেই, লাভও নেই, বাইরে থেকে দেখলে বৃথা সময় নষ্ট বলেই মনে হয়। কিন্তু দেশের সকলের মনের মধ্যে যদি ভাবের আন্দোলন হয়, একটা বড় উচ্ছ্বাস এনে দেয়, তা কখনো সামান্য হতে পারে না, নিষ্ফল হতে পারে না, নীরস বিষয়ীলোক, ধনী-দরিদ্র সকলের অন্তরেই এক আনন্দময় সৌন্দর্যকাব্য রচনা করে। এই ভাবের প্লাবনই মানবতার পথনির্দেশ করে।
কালের করাল গ্রাসে কল্লোলিনী স্রোতধারা : প্রেক্ষাপট মধ্যযুগের রাঢ় অঞ্চল
এক অধুনা বিস্মৃত নগরীমালার রহস্যময় সমাধিভূমি হল রাঢ়ের বিস্তীর্ণ অঞ্চল। ষোড়শ ও সপ্তদশ শতকে রচিত বৃন্দাবন দাসের চৈতন্য ভাগবত, বিপ্রদাসের মনসা বিজয়, মুকুন্দরামের চন্ডী মঙ্গল, কবি রায়গুণাকর ভারতচন্দ্রের অন্নদামঙ্গল ইত্যাদি কাব্যে এই অঞ্চলের জনপদ ও অর্থনৈতিক গতিশীলতা সম্পর্কে মূল্যবান তথ্য পাওয়া যায়। এছাড়া জ্যোয়াও দ্য ব্যারেস, ভ্যান ডান ব্যুক ও রেনেলের মানচিত্রে বিভিন্ন নদীর প্রবহমানতা ও নগর-বন্দর গুলির পরিচয় পাওয়া যায়। সমসাময়িক বাংলায় আগত সিজার ফ্রেডারিক,বারনিয়ার,ত্যাভারনিয়ার, র‌্যালফ ফিচ ও বারবোসা প্রমুখ বিদেশী ভ্রমণকারীদের বর্ণনায় জীবন্ত হয়ে উঠেছে উপকূলীয় অঞ্চলের অথনৈতিক প্রবহমানতা। ঐতিহাসিক কাল থেকেই এই অঞ্চলটি কখনও সমৃদ্ধ জনপদ, কখনও গভীর অরণ্য, অথবা অনাবাসযোগ্য রুক্ষভূমি, কখনও বা নদীগর্ভে বিলীন, আবার কখনও খাড়ি-খড়িকা অন্তৰ্হিত হয়ে নূতন স্থলভূমির সৃষ্টি করেছে। তাই রাঢ় অঞ্চলের নদী প্রবাহ এবং তার পরিবর্তনশীলতা এবং অর্থনৈতিক প্রবাহমানতা গবেষণার একটি চিত্তাকর্ষক বিষয়।
বাংলা ভাষা ও সাহিত্যের প্রতিষ্ঠায় মধ্যযুগীয় পর্ব : চণ্ডীমঙ্গলকাব্য এবং কবিকঙ্কণ মুকুন্দরাম চক্রবর্তীর স্বতন্ত্র কাব্যভাষা
বাংলা সাহিত্যের সূচনা প্রাচীনযুগে হলেও এর বিস্তার ঘটেছিল মধ্যযুগীয় পর্বে। যদিও তা খুব সহজে হয়নি। সংস্কৃত আরবি ফারসির পরিবর্তে মার্তৃভাষায় সাহিত্যচর্চা সেদিন অনেক প্রতিবন্ধকতার সম্মুখীন হয়েছিল। তবে মধ্যযুগের বাংলার মুসলমান শাসকদের আগ্রহ ও পৃষ্ঠপোষকতা এই পর্বে বাংলা ভাষা ও সাহিত্যের বিকাশে সদর্থক ভূমিকা নিয়েছিল। মধ্যযুগের বাংলা সাহিত্য বিভিন্নধারায় ও রূপে বাংলা সাহিত্যকে সমৃদ্ধ করেছে যার অন্যতম হল মঙ্গলকাব্য। যা পরবর্তী বেশ কয়েকটি শতকে একটি নির্দ্দিষ্ট প্যাটার্নকে অবলম্বন করে ভিন্ন ভিন্ন রূপে পল্লবিত ও বিকশিত হয়েছে। এই মঙ্গলকাব্য ধারার অন্যতম চণ্ডীমঙ্গলকাব্য। আমাদের আলোচনায় এসেছে মঙ্গলকাব্য রচনার ধর্মীয়-সামাজিক-রাজনৈতিক এবং সাধারণ কারণসমূহ। প্রসঙ্গত আলোচিত হয়েছে দেবী চণ্ডীর উৎস সন্ধান। বিস্তারিত ভাবে আলোচিত হয়েছে চণ্ডীমঙ্গল তথা মধ্যযুগের কাব্যের অন্যতম শ্রেষ্ঠ কবি মুকুন্দরাম চক্রবর্তীর কাব্যের স্বতন্ত্র কাব্যভাষা। মুকুন্দরাম তাঁর কাব্যের গ্রন্থোৎপত্তির কারণ অংশে সেদিনের সমাজ জীবনের বাস্তব নিষ্ঠ বর্ণনা দিয়েছেন। কিন্তু এটাই তাঁর কাব্যের বড় দিক নয়। পাঠান-মোগল সংঘর্ষের ভাঙা গড়ার এক বিশেষ পর্বে কবিকে অত্যাচারিত হয়ে গৃহ ত্যাগ করতে হয়েছিল। কবি লিখেছেন সেসব কথা কিন্তু কোথাও ব্যক্তিগত আক্রোশ প্রকাশ পায়নি। প্রকৃত সাহিত্যিকের মতো নিরপেক্ষ দৃষ্টিতে এঁকেছেন সবকিছু। অদ্ভুত এক মানব মমত্ববোধ লক্ষিত হয়েছে তাঁর লেখায়। যা হয়েছে কেবল তার বিবরণ দেননি যা হওয়া উচিত তাকেও দেখিয়েছেন। আক্ষেটি খণ্ডে কালকেতুর গুজরাট নগর নির্মাণ অংশে বহু ধর্ম জাতিতে বিভিক্ত ভারতবর্ষে কিভাবে সামাজিক সমন্বয় সম্ভব তার পথ দেখাতে চেয়েছেন। প্রসঙ্গত আলোচিত হয়েছে তাঁর লেখনীর বিভিন্ন দিক কবি প্রতিভার নিজস্বতা। আলোচনায় এসেছে তাঁর চরিত্র সৃষ্টির অসামান্য দক্ষতা। মানব জীবন ও সমাজ সম্পর্কে যে তাঁর গভীর অন্তর্দৃষ্টি ছিল তা বেশ বোঝা যায়। চরিত্র সৃষ্টির স্বকীয়তা,চরিত্র উপযোগী ভাষা নির্মাণ, নিজস্ব জীবনদর্শনকে অবলম্বন করে মধ্যযুগে দাঁড়িয়ে তিনি যে কাব্যভাষা নির্মাণ করলেন এই আধুনিক যুগেও তা খুব বেশি লক্ষিত হয়না। মুকুন্দরাম তাই একইসাথে সমকালীন ও চিরকালীন।
Women’s psychology in Ramapada Chowdhury’s Short Stories (রমাপদ চৌধুরীর ছোটোগল্পে নারী-মনস্তত্ত্ব)
The position of women in Society became clear in French philosopher and essayist Simone de Beauvoir’s famous Comment in ‘The Second Sex’ - ‘No one is born a woman, but becomes a woman.’ This woman is a wonderful Creation of God. Which has been viewed as an object for thousands of years Not as a person wheather tomorrow women have become known only object for as women—deprived of becoming human. To Rabindranath-women are ‘half human’ and half fantasy.’ Also, according to various scholars, - women are incapable of becoming self-sufficient human beings In fact, as a result of the eviction of matriarchal Civilization and the development of feudal civilization, Women Humiliation ensues Being in possession of power, men have tried to control women in various ways. As a result, women become the property of men in feudal civilization. The image of humiliation of women has been reflected in the pen of different writers at different times. It is true that the tragic suffering of women is women the best can understand, but the real sensitive man overcomes this obstacle by a long way as evidence, Rammohan's strong struggle against cohabitation or Vidyasagar's steadfast Stand for popularizing widow marriage and introducing Women's education can be mentioned. In addition to the humiliation of women, the different forms of women, the different forms of women’s minds and thoughts have been exposed again and again in the literature of different writers. Needless to say, the way girls appear in the works of female writers inevitably changes the way male writers are seen and shown. There are many literary works in different languages of different parts of the world Analytical visionary, empathetic ‘male’ writer’s scientific vision has uncovered the complexities of women's minds. At first Rabindranath Tagore in his literature emphasized the importance of female characters to establish dignity against the humiliation of feminity. After Rabindranth, it was Sarat chandra on woman’s Psychology, has thoroughly portrayed the eternal emotions of women. He was the first to dive into the jewels of the female mind and find the bottomless mystery, A part from this, women's Psychology can be found in the literature of Tarashankar Bondhapadhyay, Manik Bondapadhyay, Jagadish Gupta, Premendra Mitra, Subodh Ghosh, Narendranath Mitra, etc. Along with that, the female character has been Well analyzed in the light of Freudian psychology. Ramapada Chowdhury can be said to be a worthy inheritor of a glorious tradition of Bengali literature the emergence of which in the tumultuous Period of the 40s. In the post- independence period, the deth of countless hopes, economic disaster, the erosion of all Kinds of values have devastated our Society and individual life. All these have direct on indirect effect on him influenced the literature of People's happiness and sadness, laughter and tears, Weakness and protest, as well as walking freely in the alleys of the human mind, especially the female mind. Various unknown information of the conscious and unconscious level of women's mind has been caught in his searching eyes. He has simply recorded the feelings and Psychological tensions that flow like falgu dhara in the subconscious of the female mind. Here is this uniqueness, Every female character in his Story deserves prominence.
Barak Upotyakar Nirbacita chotogolper Bahuswarik Path (বরাক উপত্যকার নির্বাচিত ছোটগল্পের বহুস্বরিক পাঠ)
The history of Barak Valley is extensive in Bengali literature. Barak Valley is constituted by three districts namely Cachar (Silchar), Hailakandi and Karimganj. It is observed that the main stream Bengali literature are different from the literature of North-Eastern region or Barak Valley literature due to the Socio-economic, Political and Geographical differences. Looking back at the history, it seen that the literary practice of Barak Valley introduced in 1957 with the magazine 'Sambhar'. Later the magazine did not expand as much. After that, Barak's story was enriched in the world by sheltering magazines like 'Anish', 'Shatkratu', 'Sahityater Navaparjaya', 'Udark', 'Unmochan', 'Swapneel', etc. Barak's literature was not only published in newspapers, it also published in many little magazines such as 'Angikar', 'Sapath', 'Belabhoomi', 'Amader Somoykal', 'Khelaghar'. In this essay I have discussed the story namely 'Akti Mrityu and tarpor' by Shyamalendu Chakraborty, 'Manush' by Badruzzaman Choudhury and 'Ettarbanu and Mass Media' by Krishna Misra Bhattacharya. The story 'Akti Mrityu and tarpor' revolves around a dying person. Similarly, in the story 'Manush', the starving exploited people protest against the exploiting class and in the story 'Ettarbanu and Mass Media', the story of the rape of a raped girl was aired in the media, but no women's organization came to her rescue. Ettarbanu has represented us in the women's society. I have discussed this story in detail in the full paper.
Mahasweta Debir Kathasahittye Adibasi Jibon (মহাশ্বেতা দেবীর কথাসাহিত্যে আদিবাসী জীবন)
বাংলা উপন্যাসের যাত্রা শুরুর প্রথম লগ্ন থেকেই পুরুষ লেখকদের একাধিপত্য বজায় ছিল। কিন্তু বিংশ শতাব্দীর দুই বা তিন এর দশকে অনেক নারী ঔপন্যাসিক আবির্ভূত হন সদর্পে। যদিও ঊনবিংশ শতকের শেষভাগে রবীন্দ্রনাথের জেষ্ঠা ভগিনী স্বর্ণকুমারী দেবী সাহিত্যের বিভিন্ন ধারাকে বিকশিত করেছিলেন ও বিশেষ শ্রদ্ধা প্রীতি আকর্ষণ করেছিলেন।বিংশ শতকে এসে আমরা অনেক নারী ঔপন্যাসিক পেলাম, যারা বাংলা সাহিত্যের ভান্ডারকে সমৃদ্ধ করেছেন কিন্তু তাদের লেখনীতে উঠে এসেছে বাঙালি পরিবারের অন্দরমহলের মর্মকথা। এই প্রথার প্রথম বৈচিত্র্য আনলেন আশাপূর্ণা দেবী। তাঁর হাত ধরেই নারীরা প্রথম অন্দরমহলের গণ্ডি অতিক্রম করলেন। পারিবারিক ও সামাজিক জীবনের বাইরে প্রথম বৈচিত্র্য আনলেন মহাশ্বেতা দেবী। তিনি দেখালেন সমকালীন সমাজসঙ্কট ও যুগপ্রভাব একজন সচেতন লেখক কখনোই এড়িয়ে যেতে পারেনা। ঔপন্যাসিক মহাশ্বেতা বললেই আমাদের মনে এক সংগ্রামী কথাকারের মুখ ভেসে ওঠে। একজন সমাজতত্তিকের দৃষ্টিতে সমাজকে দেখেছেন মহাশ্বেতা দেবী। সমাজের কোনদিক তাঁর লেখনীর বাইরে যায়নি।
Maniker Chotogolpe Protispordhi Konthoswarer Utthan, Bektisyatantrabad Protistha: Prosongo ‘Silpi’ O ‘Duhshasoniyo’ (মানিকের ছোটগল্পে প্রতিস্পর্ধী কণ্ঠস্বরের উত্থান, ব্যক্তিস্বাতন্ত্র্যবাদ প্রতিষ্ঠা : প্রসঙ্গ ‘শিল্পী’ ও ‘দুঃশাসনীয়’)
দ্বিতীয় বিশ্বযুদ্ধের পরবর্তী সময় দুর্ভিক্ষ, বস্ত্রসংকট ও কালোবাজারীর মধ্যে দিয়ে ধনতন্ত্রের যেই নিকৃষ্ট দিকটি মানিক বন্দ্যোপাধ্যায়ের চোখে ধরা পড়েছিল, তা থেকেই জন্ম নিয়েছিল ‘শিল্পী’ ও ‘দুঃশাসনীয়’-র মতো প্রতিস্পর্ধী গল্পগুলো। মানিক বন্দ্যোপাধ্যায়ের বহু গল্পে অন্যায় ও অত্যাচারের বিরুদ্ধে বারংবার আমরা একত্রিত হতে দেখেছি শোষিত ও নিপীড়িত মানুষদের। মূলত মার্কসবাদে দীক্ষিত কমিউনিস্ট মানিক বন্দ্যোপাধ্যায় ফ্রয়েডীয় মনস্তত্ত্বের বাইরে গিয়েও লিখেছেন খেটে-খাওয়া শ্রেণি তথা শ্রমজীবী মানুষদের নিয়ে। তিনি তাঁর লেখার মাধ্যমে নতুন করে ভাবতে শিখিয়েছেন। আমরা একদিকে যেমন পাই ‘শিল্পী’ গল্পে মদন তাঁতির নিজের কাজের প্রতি অব্যক্ত নিষ্ঠার ছাপ এবং শত দরিদ্রতা সত্বেও প্রদীপের শিখার মতো জ্বলন্ত তার ব্যক্তিস্বাতন্ত্র্য, তেমনি আবার আমরা পাই ‘দুঃশাসনীয়’ গল্পে অভিমানী রাবেয়ার নিজের আত্মসম্মান বাঁচানোর তাগিদে পুকুরে আত্মাহুতি। ‘শিল্পী’ গল্পে বারংবার ধ্বনিত হয় একজোট হয়ে তাঁতিপাড়ার সকলের শোষকের বিরুদ্ধে প্রতিরোধ গঠন। ‘দুঃশাসনীয়’ গল্পে অসহায় নগ্নছায়ামুর্তিদের হাতিপুর গ্রামে নিজের আত্মসম্মান রক্ষার্থে দুঃসাহসী রাবেয়ায় শেষ পরিণতি হচ্ছে আত্মহত্যা। এখান থেকেই মুখোশধারী সমাজের ব্যর্থতাকেই খুঁজে পাই। নারায়ণ গঙ্গোপাধ্যায়ের ‘দুঃশাসন’ গল্পটির কথা যদি ভাবি, তবে সেখানেও বস্ত্র সংকটের কাহিনী রয়েছে, সেখানেও নগ্ন ছায়া মূর্তিদের কথা রয়েছে; কিন্তু যেই বিষয়টি নেই তা হল প্রতিস্পর্ধী কণ্ঠস্বরের উত্থান এবং ব্যক্তিস্বাতন্ত্র্যের ছোঁয়া; অথচ মানিক বন্দ্যোপাধ্যায়ের ‘দুঃশাসনীয়’ -তে আমরা খুঁজে পাই স্পর্ধা, একত্র শ্রেণিজাগরণ ও চরম লাঞ্ছনার বিরুদ্ধে রাবেয়ার শেষ প্রতিবাদ। ধনতান্ত্রিক সমাজ ব্যবস্থার উৎক্ষেপণ ছাড়া কোনও ভাবেই সমাজে সাম্যতা প্রতিষ্ঠা করা সম্ভব নয় এবং তার ফল স্বরূপ মানিক বন্দ্যোপাধ্যায় মার্কসবাদের পথ বেছে নিয়েছিলেন। এমনকি তিনি আনুষ্ঠানিক ভাবে ‘ফ্যাসিস্ট বিরোধী লেখক ও শিল্পী সঙ্ঘ’-এ যোগ দিয়েছিলেন আনুমানিক ১৯৪৭ সালের গোড়ায়। তাই তাঁর বহু ছোটগল্পে রাজনীতি-সচেতন দৃষ্টিভঙ্গি নানান আঙ্গিকে স্পষ্ট হয়ে উঠেছে। মানিক বন্দ্যোপাধ্যায়ের গল্পের চরিত্ররা নিজেরাই লড়াই করেছে নিজেদের কাঙ্ক্ষিত অধিকারকে ছিনিয়ে নেওয়ার উদ্দেশ্যে, কারণ তাদের চেতনায় মিশে আছে প্রতিবাদের ভাষা। এটা খুবই সুস্পষ্ট ছিল যে মানিক বন্দ্যোপাধ্যায়ের লড়াই ছিল ধনতান্ত্রিক সাম্রাজ্যবাদের বিরুদ্ধে। মানিক বন্দ্যোপাধ্যায় বিরচিত ‘শিল্পী’ এবং ‘দুঃশাসনীয়’-তে একত্র শ্রেণিশক্তি জাগরণের মধ্যে দিয়েই প্রতিস্পর্ধী চরিত্রগুলোকে খুঁজে পাই; যেই চরিত্রগুলো কখনোই নিজের আত্মসম্মানকে বিক্রি করতে রাজি নয়, চরিত্রগুলো নিজের স্বতন্ত্র ইচ্ছে গুলোর জন্য লড়াই করতে জানে। ক্রমেই সেই প্রতিস্পর্ধী চরিত্রগুলোর মধ্যে অবলীলায় প্রতিষ্ঠা পাচ্ছে ব্যক্তিস্বাতন্ত্র্য।
In the Tarashankar’s Stories the Lower Class people of Rarha region (তারাশঙ্করের গল্পে রাঢ় অঞ্চলের অন্ত্যজ শ্রেণীর মানুষ)
India got Independence in 1947 Even after gaining Independence long Subjugation, upper caste lower caste rich and poor did not disappear from the society. Untouchability has not been erased. The oppression of the upper class against the lower class in Continuous. And these Lower class people have come up in various story novels after Independence. By the Lower class we mean the neglected, oppressed lower class of the Society. All most every Post Independence writer has a penchant for writing about the lower classes. Novendranath Mitra, Kamal Kumar Majumdar, Samaresh Basu, Sunil Gangopadhyay all have more or less marginalized peoples in their stories, Tarashankar Banerjee, a well known Humanitaria writer of Bengali Literature is one of them. He is basically a fiction writer of Rarha. He was born in a remote village of rarh bonga, and that's why his soul is connected with the people there, Tarashankar lived for 74 years, all these years of his life he had experienced various experiences. Itis revealed in many of his stories. In his Short Stories he has beautifully portrayed of the lower caste people of rarha banga who are passed away as untouchables. We find in his story the life Struggle of the people of various caste like Dom, kahar, Bagdi, Bauri, Santal etc. Living at the lower level of the Society Tarashankar Story revolues around marriage life, Living with ancient Superstitions and adopting strange rural habits. The Poor and helpless people of Birbhums rarha region are the characters of Tarashankar's Story and these are the ones that makes the Authors writing real and rich.
The biographical history of bediya tribal people: in context of Tarashankar Bandhopadhyay’s short stories (বেদিয়া জনজাতির জীবনচর্যার ইতিবৃত্ত: প্রসঙ্গ তারাশঙ্কর বন্দ্যোপাধ্যায়ের ছোটগল্প)
The present article named ‘The biographical history of bediya tribal people : in context of Tarashankar Bandopadhyay’s short stories’ revolves around one of India’s primitive tribal communities called Bediya as depicted in the short stories by Tarashankar Bandopadhyay. Their history and their social life are observed and people document a historical account or a complete profile of the socio- economic as well as cultural life of the bediya people, which possesses vast literary, historical, archaeological, anthropological and social value.
Jibanananda Dasher Chotagalpo : Narir Jibon Jatilatar Swarup (জীবনানন্দ দাশের ছোটগল্প : নারীর জীবন-জটিলতার স্বরূপ)
Jibanananda Das holds great significance in the realm of contemporary Bengali literature. Although he is well-known among readers as a poet, but his contribution to the field of fiction is undeniable. He has vast collection of short stories, which feature a variety of female characters. One notable thematic element observed in Jibanananda 's short stories pertains to the depiction of women's experiences from various societal, familial, and individual perspectives. The author's stories also incorporate artistic representations of adverse occurrences in his personal life. He himself never found women to be a symbol of tenderness. Persistent doubt, cynicism, and avoidance perpetually afflicted his personal existence. However, he possessed a profound inclination for the beauty and empathy exhibited by women. Hence, the writer's profound longing to attain the affection of women is reflected in his narratives. Jibanananda presents a distinct portrayal of women in his short stories, deviating from the conventional perception of women in Indian society. Therefore, the hardness and lovelessness of their hearts are more visible in the short stories than their natural tenderness. This article explores the impact of the challenges, disruptions, and hardships experienced by women on the psychological well-being of their husbands within the framework of marital relationships. The characterization of female characters in his narratives was also influenced by the socio-economic context of that time. Due to unemployment, the educated, sensitive male characters in his stories must live a life of extreme humiliation. And naturally, his heat has come on the female character associated with the hero. Furthermore, Jibanananda Das's short stories depict a situation where the daughter-in-law's life is put at risk because of the mother-in-law's negative behaviors. The female characters in his short-stories have encountered numerous obstacles because of the anguish associated with shattered dreams related to marriage, the subjugation of women within patriarchal systems, and society's limited perception of women. The female character in Jibanananda's short story experiences a sense of misery and solitude because of the prevailing feelings of despair and melancholy in contemporary society. Consequently, the female characters within his narratives have a tendency towards self-absorption, disregarding societal norms and expectations. The objective of this essay is to examine the contextual factors and inherent intricacy of the lives of the female characters portrayed in the author's narratives.
Jibanananda Das’s Short Story : Conjugal Love & Women Nature (জীবনানন্দ দাশের ছোটগল্প : দাম্পত্য প্রেম ও নারী প্রকৃতি)
Jibananada’s short stories were written in the 1930s between 1931 to 1936. The social impact of 30s permeated in his short stories but had no direct political impact. The social conditions of that time are reflected in his writings. In these stories the story teller has revealed the unemployment, depression, disappointment etc. created by the global recession market. He steers his story stories in a way that examines the lives of human beings. He created the characters of his stories as eternal characters in the perspective of an artist’s eye on life. He has constantly experimented with the subject and style of the short story. He has chosen old values re-emerged for new times as the subject of his short stories. He has brought the rediscovered old spirit into art and life by making short story. In his short stories he brings out— the clash of the individual mind with urban-centred mechanized civilization, fatigue in civic life and character, despondence, indulgence and loneliness, Freudian psychology influences, skepticism of social family values and uncertainty, conflict between Marxist thought and traditional consciousness heartache and introversion cause by the desire of body and lust, atheism and death consciousness. Individuality can also be observed in terms of style as per the subject of the short story. The use of language in short stories— is a mixture of prose style and poetic style, stream of consciousness thinking and self-dialogue, natural consonants and philosophical symbolic construction, proverb, colloquial word, ‘tatsama’ and ‘tatvaba’ word, foreign word, simile, imagination etc. are used appropriately. He wants to break the old mould of the story to build it into new mould. In his short stories, he did not give much importance to the plots. He gave importance to the narrative of the story and the emotional conflicts of the characters. The theory of love dominates in Jibananada Das’s stories. Apart from this, there are presentation on the usefulness and implications of that theory in personal and family life. Marriage life gets important in the stories. The external and internal problems of the characters, surprise, disappointment, loneliness, sexuality, selifishness etc. are observed in the stories. In the most of the stories of Jibananda, hero is the main character. In the protagonists of the stories narrated by the first person or third person, the shadow of the individual Jibananda becomes evident. The protagonists of the stories are unemployed, helpless, introvert, wife’s love deprived husband etc. It is almost as if the protagonists of a stories have no importance in their family. Wounded in the battle of life, these heroes seek shelter in nature. The elements of nature also become the friend of these character’s futile love. The misunderstanding of conjugal becomes the main theme in Jibananda’s stories, which shakes the existence of their love as well as the existence of survival. The conflicts from the love become the basic idea in the stories. Which sometimes leads the hero or heroine to commit suicide or sometimes leads to extramarital affairs. Thus most of Jibananda stories have become melancholy hymns of daily life and thus in the world of Bengali prose literature, the genre of Bengali short stories has become an unique addition.
Nature of Romance in Short Stories by Rabindranath Tagore selected (রবীন্দ্র নির্বাচিত ছোটগল্পে প্রেমের গতিপ্রকৃতি)
Rabindranath Tagore, the first worthwhile short story writer in Bengali Literature. Every branch of literature had been an easy walk for him. Though bound by the organized and orderly environment in Jorasanko Tagore Family during childhood, he with all his soul had been intensely attracted towards the infinity. Tagore has explained nature and love through his acquired philosophical visions. Like all his other literary works, we get enlightened by the deep reality of life through his short stories. The explanation of love through his short stories is eternal. He didn’t keep romance just bound by fusion. Melody of fullness has become prominent also in separation. He didn’t feel the presence of both lovers to be the necessary condition for fullness of romance. Thus most of his short stories end with failed relationship. In the ongoing essay, love has been explained by four of his short stories, ‘Ekratri’, ‘Nisheekhe’, ‘Durasha’ and ‘Postmaster’. ‘Ekratri’ makes reader feel the deepest truths of love. The narrator is restless when he can’t get close to his childhood companion, Surabala whom the narrator once could have achieved even without any desire. At the horizons of his life, the narrator feels the absence of Surabala’s love. At a time the way the author has portrayed the encounter of the narrator and Surabala at the bank of a small lake on a rainy night, is eternal. In ‘Durasha’ Tagore has portrayed one sided love through General Kesharlal and the daughter of the Nawab of Badrayun, Gulam Kader Khan. In the story the daughter of the Nawab was Muslim, and General Kesharlal was Brahmin. The Brahmin General could in no way accept the craving of the Muslim woman for him. But at the last moments of his life, the Brahmin general did marry and live together with a Bhutanese woman from a distinct religion. In the story ‘Nisheekhe’ the memories of an unfulfilled love didn’t let Dakshinaranjan Babu to live with peace at any moment of his life. Dakshinaranjan Babu was unable to move out of the unconditional love of his former wife even after her death. That’s why past memories floated in his mind whenever he tried to present his love towards his later wife. The last story to be discussed is ‘Postmaster’, where the incomplete love between the postmaster and girl kid, Ratan has been portrayed. The heartbreaking pain in the immature heart of Ratan has been portrayed through the story.
Enlightened women in Rabindranath’s life and short story (রবীন্দ্র-গল্প ও জীবনে আলোকিত নারী)
Chapter: 1 Introduction: In Tagore's short stories, Rabindranath identified the direction of the light of the woman who was close to Rabindranath or the touch of the enlightened woman in Rabindranath's family at an early age. He clarified the role of women directly in the source of some story. Keeping this in mind, the research paper was divided into several parts. Chapter: 2 In his family the elder brother's wofe or wife of Rabridra, Mrinalini comes and gets educated at home or school. He also saw Saraladevi going to work for the first time in Rabindranath's family. Later, the female teacher is seen... Leela Majumdar is one of them. Educated women : Some aspects of this stage : A. little educated women in Rabindranath's stories are seen in the Postmaster, Ekratri, Samapti, Haimanti, Payala Nombor. B. Highly Educated Women – The highly educated women in Rabindranath's story attend college. Some of them have achieved great results. These stories are: Adhyapak, Patra o Patri, Namanju Golpo. C. The Educational Job – Three stories discussed in this episode: Aparichita, Progotisanhar, Ses Purosksr. Chapter: 3 Politics and Women - Women have participated in political activities in various ways in subjugated India. Niece Sarala Devi directly stepped into the arena of politics. Again Santiniketan former Mamata Dasgupta sheltered the anarchist. They have influenced the story. Breakdown of this episode- A. Supporter of a single protesting hero-in the story 'Megh O Raudra'. B. Women on behalf of Swadeshi – Women in the story of 'Rajtika'. C. The story of 'Badnam' sheltered the revolutionaries. D. Amiya in 'Namanjur Golpo' is directly related to politics. Chapter: 4 In Rabindr's family female writer, editor was born. As Swarnakumari or Mejbouthakurani Gnanda got companionship, On the other hand, women writers have appeared in his stories in different ways. For example- A. Collectors of writing-'Khata' s Uma has collected songs of Vaishnavi. B. Essay writing and women editor- In 'Nastanir' Charu is also sitting in the role of editor. C. Poet and Storyteller - Nirjharini of 'Darpaharana'. D. Mrinal's also a poet in 'Stir Patra'. But her creativity did not known in her husband's house. Chapter: 5 Rabindranath saw the love of insects of Bela and Mira loved gardening. They are Rabindra's daughter. Again, the Hindu and Muslim problem worried him. The stories of this episode can therefore be called a light example of humanity. The three stories are- A. In the life-saving of the pig Jayakali of 'Unrighteous entry' is active. B. Prakriti Associates - Aunti of 'Balai'. C. Kamala in 'Musalmanir Golpo'' saves life by marrying and converting Own and cousin's daughter. Chapter: 6 Bengali Women in Science Contributors - Featured in Rabindranath's three stories. Jagdish Chandra Bose's wife Abala Bose was Rabindranath's idol. Rabindra's Biographer Prabhatkumar's niece Katyayani's husband was a chemical engineer and also a foundation of Jadavpur. Let's look at the discounts of this life. A. Scientist becomes grandfather's co-worker, 'Seskatha''s Achira. B. Abhik's engineering studies takes money from Biva in 'Ravibar' story. C. The science laboratory keeper Sohini save the 'laboratory'. Chapter: 7 Conclusion: Enlightenment women's in Rabindra's family is imprinted in his story, life is illuminated in also by his story.
Analytical Discussion of Partition in Short Stories in Bengali Literature (বাংলা ছোটগল্পে দেশভাগের বিশ্লেষণাত্মক আলোচনা)
The Partition of Bengal in 1947, part of the Partition of India, divided the British Indian Bengal Province along the Radcliffe Line between the Dominion of India and the Dominion of Pakistan. The Bengali Hindu-majority West Bengal became a state of India, and the Bengali Muslim-majority East Bengal (now Bangladesh) became a province of Pakistan. On 20 June 1947, the Bengal Legislative Assembly met to decide the future of the Bengal Province, as between being a United Bengal within India or Pakistan or divided into East Bengal and West Bengal as the home lands for the Bengali Muslims and the Bengali Hindus respectively. At the preliminary joint session, the assembly decided by 120-90 that it should remain united if it joined the new Constituent Assembly of Pakistan. Later, a separate meeting of legislators from West Bengal decided by 58-21 that the province should be partitioned and that West Bengal should join the existing Constituent Assembly of India. In another separate meeting of legislators from East Bengal, it was decided by 106-35 that the province should not be partitioned and by 107-34 that East Bengal should join Pakistan in the event of Partition. The Partition of Bengal in 1947 divided Bengal into the two separate entities of West Bengal belonging to India, and East Bengal belonging to Pakistan. This was part of the Partition of India into the two states, of India and Pakistan which officially took place during August 14-August 15, 1947. East Bengal was renamed East Pakistan, and later became the independent nation of Bangladesh after the Bangladesh Liberation War of 1971. The government of Bengal supported a unified, independent Bengal as a separate third state, rather than joining either India or Pakistan. However, the British vetoed this option since it would lead to other provinces also wanting independence, resulting in too many non-viable states. As Britain was determined to grant independence and to do so as soon as possible after the end of World War II, the government began to see partition as the quickest, most pragmatic solution. The majority of Muslims did opt to join Pakistan but wanted to take the whole province of Bengal with them. They did not choose partition. In 1971, they asserted their cultural difference from West Pakistan to become Bangladesh. Turning the two communities against each other and lighting up the fiery grudge among the society and also giving it an institutional image, by converting a united land in to different nations, was a part of this partition. It was a brutal attack on mutual companionship. I will try to review some of the selected stories in that research paper.
Narir Lekhani, Narittya Abong Bangladesher Galpo (নারীর লেখনী, নারীত্ব এবং বাংলাদেশের গল্প)
From an anthropological perspective, feminism never disenfranchises men. Rather, how the 'Oppressed' women, 'Abla' women are becoming equal to men is the relevant issue. Traversbing a long time from Begum Rokeya, some traces of the power that the women writers of Bangladesh have achieved today have been discussed in this article. On International Women's Day on March 8, 1992, a bold slogan was seen on the streets of Dhaka in numerous festoons—'My body is mine, other have nothing to say.' The shocking slogan is actually of strong confidence, self-assurance and that women have their own rights of both mind and body. It is a big shock to the male dominated society. Rokeya showed the duplicity of patriarchy. Jahanara Imam shows how women can use their bodies to take revenge against Pakistani Razakars. Neelima Ibrahim's ‘Ramana Parke’ story shows male hypocritical love. Both Laila Samad's ‘Amurta Akanksha’ and Razia Mahbub's ‘Nirruttar’ stories capture the distorted form of female youthful desire. Motijan's girls with Selina Hossain have stormed Bengali literature. Taslima's ‘Matrittwa’ story also satirizes the male-imposed solution of denying women their own needs. Razia Khan's ‘Joy Jayanti’ highlights the difference between women captive in their homes and working women. ‘Ekti Idur O Koyekti Swarnamudra’ tells the story of a simple woman turning violent in her quest to survive. ‘Sarojinir Chobi’ is actually a slap against the social norms imposed by patriarchy. The shame is not Sarojini’s in this story. It is the society’s. Specifically, feminism is not seen in the stories as such. But women wanted to express their stand for their own issues, standing up against the authority of men.
Aparajita Devir ‘Buker Bina’ : Banciter Byathar Gan (অপরাজিতা দেবীর ‘বুকের বীণা’ : বঞ্চিতের ব্যাথার গান)
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.
Harivangshrai Bachchan and his Madhushala (হরিবংশরায় বচ্চন ও তাঁর মধুশালা)
Harivangshrai Bachchan (Professor of English literature at Allahabad University), one of the famous literary icon of Indian Literature, who was regarded as a highly respected poet in Hindi literature. At the beginning of 20th century, a literary revolution (Chhayavad movement) was started in Hindi literary world which was marked by use of romantic and sensible themes such as love, nature, individualism, humanitarianism and Harivangshrai Bachchan, was the pioneer of it. His extraordinary literary works added a new dimension in Hindi literature. Throughout his life, he wrote about 30 volumes of prose and poetry in Hindi, but he is mostly remembered for his famous Hindi poetry book ‘Madhushala’. ‘Madhushala’ drives inspiration from Khayyam’s Rubaiyat. At very young age, after reading Edward Fitz Gerald’s English translation of Khayyam’s Rubaiyat, he was highly influenced by Khayyam’s philosophy. Twice in his life, he reflected the philosophical thought and ideology of Khayyam in such an extraordinary way (Madhushala and Khayyam ki Madhushala, a Hindi translation of Khayyam’s Rubaiyat), that the sweetness and charm of which is eternal even after the passage of almost ninety years. His poetry is distinguished by a sense of life and playfulness that can be felt deeply by those who read it. This article is an attempt to know this famous renowned poet of modern Hindi Literature through his iconic work ‘Madhushala’.
Banganubade Meghdut : Bicchurita Punapath (বঙ্গানুবাদে মেঘদূত : বিচ্ছুরিত পুনঃপাঠ)
In the 4th century AD, the great poet Kalidasa composed 'Meghadutam' in Sanskrit, in Mandakranta rhythm. In this text, a Yaksha, exiled to the Ramgiri mountain for dereliction of duty, sent a cloud as a messenger to his solitary lover at Alkapuri on the arrival of monsoons. The famous poet Rabindranath Tagore observed the suffering of seperation of all people in the midst of the Yaksha's wretchedness. Even in 21st century, this poetry has great effects on the reader's mind in various ways. The ‘Meghadutam’ has been written and studied in Bengali language in two ways mainly. The initial practice is a direct translation of the Sanskrit poem. On the other hand, modern poets have adopted Meghadutam's style and have taken a vow to write ‘Uttar-Meghadutam’ in their own way. In the present research article, we discussed about the various Bengali translations of ‘Meghadutam’. Translation is no longer treated as a mere imitation of the original text or the translator a mere copyist. According to modern translation studies, translation becomes a new creation when the translator interprets the topic, mood, and symbols of the source text and transforms it into the language and culture of the target text. The translated text itself becomes a new text or reproduction of the original work. It’s no longer called as a reflection of the original text, rather it can be called as refraction. André Lefevere developed the idea of translation as a form of rewriting. In 1850, Meghdoot's Bengali translation was started by Anandachandra Shiromani. From then till now, more than thirty-six Bengali translations have been found. The translation of any ancient literature makes that a part of contemporary living literature. Translation is not only as a form of communication but also as continuity. For the purpose of detailed discussion two translated texts in poetry form, have been selected from the vast collection of Bengali ‘Meghdoot’. The first text is 'Meghdoot' translated by Dwijendranath Tagore [publication year: 1859], the other is 'Meghdoot' by Buddhadeva Bose [publication year: 1957]. Translations do not only represent the original text; but also show the era of the translator and the personality of the reproducer. Through a comparative discussion of two works translated almost a hundred years apart, we will try to understand how the two translators managed to create distinct new texts while following the original.
Sahid Kadrir Kobitay Chitrakalpa : Prakaranik Prativase Kabbya Japoner Vinnyaswar (শহীদ কাদরীর কবিতার চিত্রকল্প : প্রাকরণিক প্রতিভাসে কাব্যযাপনের ভিন্নস্বর)
Shaheed Qadri (1942 - 2016) is a different generation of representative poetic practice of six decades of Bangladesh. His self-absorbed lifestyle in poetry; Makes him particularly familiar with novelty of subject and style. By composing only four poems, he marked his own position in Bengali poetry. He associated himself directly with the representational poetry movement of the sixties. Sad generation, Shakkhor, Konthoshhor, Shamakal, Kavikantha etc. He is one of the leaders of the Little Magazine Movement. In the tumultuous political struggle environment of the 1960s, he has left the signature of originality in his own poetic spirit by acquiring different knowledge of poetic style from Euro-American poets. Urban sufferings, conflicts, civil loneliness are expressed in different degrees in his poems. He wanted to see the whole society, state, country or the whole world from a distance outside the world from the position of the isolation that the prevailing colonial economic conflicts made him look for the exile of the historical event of independence, the partition of India, the cry of subjugation of the people of East Bengal after the creation of Pakistan. He wanted to isolate himself from civil society for a scumbag situation. So, from Shahid Qadri's first poem Utaaradhikar (1963), Tomake Abhibadan Priyatma (1974), Kothao Koo Krandan Nei (1978), and Amar Chumbongulo pouchay dao (2009), his life has been full of devotion to art in all his poems Wrote the saga. In the discussion article, Shahid Qadri's poetry will be discussed about how the literary format in the style of imagery has created his unique poetic world and how it has added a new poetic dimension to Bengali poetry.
Boishnabiyo Vabnay Acharjya Dinesh Chandra Sen (বৈষ্ণবীয় ভাবনায় আচার্য দীনেশচন্দ্র সেন)
Dinesh Ch. Sen was a great scholar of Bengali language & literature. He was an eminent researcher and a intellectual essayist. We all know that Vaishnab Literature had a great role in Medieval Bengali Literature. After appearance of great Mahaprabhu, Vaishnab literature has changed significantly and the scenario of the whole Bengali Literature has changed. So in the path of vaishnab philosophy and literature there are a long list of researcher and scholars. Acharya Dinesh Ch Sen was one of them. He is not only a Researcher, with his devotion and passion he reached the Vaishnab literature in a height. He wrote many books in English language regarding Vaishnab literature and great chaitanyadev. His two books “The Vaishnava Literature of Medieval Bengal” (1917) and “Chaitanya and his Companions” (1917) are the greatest work in English language. Thus he sprayed vaisnab culture and Bengali literature to the abroad.
Manasaar Manabik Sattyar UnmOcone Neta-Manasaar Samparka (মনসার মানবিক সত্তার উন্মোচনে নেতা-মনসার সম্পর্ক)
Manasa mangal Kavya is exceptional among Mangal Kavyas. In Vijay Gupta's Manasa mangal kavya; Manasa is presented in a different way beyond all gods and goddesses. Manasa is the snake goddess.The fear of snakes was strong in India and Bangladesh at that time. From fear comes devotion. Like other goddesses, Manasa was not worshiped out of the love but worshiped out of fear. Manasa is imaginary born goddess of Anarya; people are not able to accept as goddess. So Manasa performed the puja with severe punishment by force and intimidation. The dispute between Manasa and Chand Saudagar is the dispute between Anarya Devi and high merchant community. Manasa has repeated failed and disputes. Failure brings success to people, requiring more hard work and better planing, Manasa is an exception. Manasa is a low class goddess, so can't do modern thinking, tricks. Repeatedly failing and giving up in the corner of the house, starving, crying tears of sadness. Rajok kumari Neta originated from shiva's tears. Rajok kumari Neta advises shiva's daughter Manasa on what to do next. Selfishness, envy, jealousy, ferocity, tyranny, deceit, hypocrisy etc. are manifested for the practice of Manasa Marte puja. Manasa is not able to take decision on what needs to be done to promote worship in Marty. The lower class goddesses are therefore manifested in inferiority. The worship of Manasa was not popularized by proving the victory of his power in the conflict with Chand saudagar. Manasa puja is established through three levels. In the first stage, worship was obtained from two brothers, Juaru Latik, Gop Rakhal Barui and Kumar, Cattle owner Jatrabor, Jhalu Malu, a representative of the fisherman class. Like other gods and goddesses, Manasa has been worshiped very easily and conventionaly the rough dream. In the second phase, worship became among people who converted from Hinduism to other religions. Manasa of the conflict of faith and disbelief defeats him at every step and propagates worship. In third stage is receiving worship from the then highly conscious and rational people. Here violence, jealousy, ferocity, delusion, deception, kinship, coercion are worshipped. Its representative is Chand Saudagar.
Chaitannya Parabarti Padakarta Hisabe Gobinda Das (চৈতন্য পরবর্তী পদকর্তা হিসাবে গোবিন্দদাস)
Govinda das was a linguistic genius of the Middle Ages. Verses written about Radha Krishna Leela are rare in Bengali literature. Although he is a Medieval Vaishnava poet, he is modern in his thinking. His achievements as a poet are quite commendable. Govinda das developed his genius level by level, for which he deserves considerable praise in the Padavali literature of the Middle Ages. We can see the theory and deep knowledge of Vaishnava philosophy in his verses. At first glance it may seem that only Radha Krishna's theory is expressed in its terms, but if we carefully observe the paths, we can see the shadow of life reflected in it. Chaitanyadev came to give a different dimension to Padavali literature, we can divide Padavali literature into two parts. As predecessors of Chaitanya we identify Vidyapati and Chandidas, whose poetic talent is quite admirable. But when Chaitanya came, a new trend was created in Bengali literature. But the name of Govinda Das will be remembered as Chaitanya's successor. Govinda Das was a devotee on the one hand and a poet on the other hand, and his poems, combining these two genres, deserve considerable prestige. Vaishnava terms were composed in Medieval times but his literary ideas are quite relevant in modern times. A combination of contemporary consciousness and modern consciousness developed in capturing the message of Vaishnava poets. Govinda Das was born after Chaitanya Dev's death so he expressed his regret in many terms that he did not see Chaitanya Dev with his own eyes. Govinda das composed the verses in harmony with the Gaudiya Vaishnava philosophy, so his poetic talent blossomed in his own characteristics, his poems are like a mine of nectar. If judged from an external point of view, apparent complexity and use of complicated words can be seen in his verses, therefore his verses must be judged with a deep mind. Compared to other Padaktaras after Chaitanya, he is quite modern and the most famous poet in his era. He was a poet of beauty. Among the verses expressed in a deep sense, not only in Radha Krishna Leela, but also in modern human consciousness. That is why he is modern and relevant today. Even though his mind was formed in a Medieval way, here is the significance of Govinda Das.
Madhyajuger nirbachito Bangla kabye nari monostattwa : prasangata ‘Maimansingha gitika’ ebong ‘Lorchandrani o satimayna’ (মধ্যযুগের নির্বাচিত বাংলা কাব্যে নারী মনস্তত্ত্ব : প্রসঙ্গত ‘মৈমনসিংহ-গীতিকা’ এবং ‘লোরচন্দ্রাণী ও সতীময়না’)
নারী মনস্তত্ত্বের ধারণা উত্তর ঔপনিবেশিক ভাবনার ফসল হতে পারে, তবুও মধ্যযুগের বাংলা সাহিত্যে কবিরা কাব্যের খাতিরে যে সব নারী চরিত্র নির্মাণ করেছেন তাঁরা এক একজন এক একদিকে সম্পূর্ণা। যদিও নারী চরিত্রের বিশ্লেষণ করার অভিপ্রায় এক্ষেত্রে নেই, এখানে আলোচনার ক্ষেত্র হিসেবে এসেছে নারী মনস্তত্ত্ব। আর সেই মনস্তত্ত্বের কেন্দ্র থেকে নারী চরিত্রদের সমাজ, ও তাদের দয়িতকে দেখে নেওয়ার, পরখ করে নেওয়ার চেষ্টা কতটা কাব্যে কবিরা ফুটিয়ে তুলেছেন তা দেখার চেষ্টা করেছি আধুনিক দৃষ্টিভঙ্গি থেকে। এখানে নারীর আত্মপ্রতিষ্ঠার লড়াইকেও গুরুত্ব দেওয়া হয়নি, তা শুধু এসেছে কাহিনির প্রসঙ্গে। যে সব নারীদের এই আলোচনায় স্থান দেওয়া হয়েছে তারা নিজ নিজ অবস্থানে নিজের মনস্তত্ত্বের প্রভাবে কিভাবে প্রতিক্রিয়া ব্যক্ত করেছে তা-ই আলোচ্য বিষয়।
Nogorayan ar tattba somporkito akti bisyas porjalochona/ নগরায়ণের তত্ত্ব সম্পর্কিত একটি বিশেষ পর্যালোচনা
Urbanization refers to a process that brings population to cities instead of living in villages. In fact, a continuous process of rise, fall of cities along with development, evolution of civilization is called urbanization. This urbanization process takes place mainly in the rural environment and its spread gradually. Thus, like other branches of sociology it is a social process as well as an economic process and a geographical process. Demographers, sociologists, historians, economists and geographers have various ideas about urbanization. The solution to these problems will be discussed very carefully in the discussion paper.
Some Notable Figures of the Nineteenth Century in Rabindra Bhavana: A Review/ রবীন্দ্র ভাবনায় উনিশ শতকের কয়েকজন বরণীয় ব্যক্তিত্ব : একটি পর্যালোচনা
According to Shivnath Shastri, the period from 1856 A.D to 1861 A.D was an auspicious time for Bengal. During this time, the widow marriage revolution, Indian Mutiny, Indigo Movement, the demise of Ishwar Chandra Gupta, and the appearance of Madhusudan, among other incidents, occurred. During this period, a drastic change occurred in socio-cultural, political, literary, religious, nationalist, and all aspects of society. The Thakurbari of Jorasanko was the central point of these activities, and it was during this crucial time that Rabindranath was born. In the 19th century, socio-religious reform movements, literary revolutions, and national movements took place. The pioneers of these three movements, such as Devendranath Thakur, Keshav Chandra Sen, Bankim Chandra Chattopadhyay, and Madhusudan Dutta, have been clearly described in this essay based on Rabindranath Tagore’s memoirs, letters, and many other writings. In addition to this, Rabindranath Tagore's opinions on other elite individuals of different backgrounds have also been described here.
Khun Shahityer Naipathya : Rabindra-Nazrul Dbandber Ekti Parjalochana/ খুন সাহিত্যের নেপথ্যে : রবীন্দ্র-নজরুল দ্বন্দ্বের একটি পর্যালোচনা
<span style="font-size: 11.0pt; line-height: 107%; font-family: 'Calibri',sans-serif; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin; mso-bidi-font-family: 'Times New Roman'; mso-bidi-theme-font: minor-bidi; color: #222222; background: white; mso-highlight: white; mso-font-kerning: 0pt; mso-ligatures: none; mso-ansi-language: EN-IN; mso-fareast-language: EN-US; mso-bidi-language: AR-SA;">Indian polymath Rabindranath Tagore and rebel poet Kazi Nazrul Islam, without a doubt, are considered <span style="font-size: 11.0pt; line-height: 107%; font-family: 'Calibri',sans-serif; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin; mso-bidi-font-family: 'Times New Roman'; mso-bidi-theme-font: minor-bidi; color: #222222; mso-font-kerning: 0pt; mso-ligatures: none; mso-ansi-language: EN-IN; mso-fareast-language: EN-US; mso-bidi-language: AR-SA;">two of the greatest spokesmen in the history of bengali literature. Needless to say, Nazrul used to respect Rabindranath which knows no bounds. Then again, everyone knows their conflicting ideas & disagreements over few of the topics. On December 13, 1927, Surendranath Dasgupta was one of the most renowned professors at Presidency College, Calcutta. Basically, he felicitated Rabindranath Tagore at the newly formed "Rabindra-Parishad" function in his college. Thenceforth, Rabindranath delivered a speech in response to the reception. On that speech, Rabindranath Tagore strongly comdemned the usage of the Persian (Farsi) word 'Khun' in the sense of blood in Bengali. That's the reason why Kazi Nazrul Islam considered himself to be the target of Tagore and wrote, 'Barar Piriti Balir Bandh' because a few years ago, on May 22, 1926, he had read Rabindranath a poem titled 'Kandari Hushiyar'. In that poem, there is the usage of the word 'Khun' which is used in the sense of blood. However, Rabindranath did not respond to the composition of 'Barar Piriti Balir Bandh'. Pramatha Choudhuri, one of the influential figures of bengali literature, took the responsibility of answering. He wrote in response to Kazi Nazrul's essay, 'Banga Shahitye Khuner Mamla'. Then, his article was published in the 'Shaptahik Atma Shakti' on 3rd of February, 1928. After that, the tide of criticism from both parties was observed in the letters and books of the critics. Later on, Kazi Nazrul Islam was not the target of Rabindranath Tagore's speech. Although he criticized the works of Kazi Nazrul Islam, he was forced to agree on many issues. In a nutshell, I tried to review and discuss their works refuting each other's allegations.
The Religious Orientation of Iswar Chandra Vidyasagar in Context of Shri Ramakrishna Kathamrita/ ধার্মিক ঈশ্বরচন্দ্র বিদ্যাসাগর : প্রেক্ষাপট শ্রীশ্রীরামকৃষ্ণকথামৃত
Iswar Chandra Vidyasagar, one of the Avant garde representatives of the Renaissance in Bengal was a devout Hindu Brahmin in orientation. He wears the sacred thread of the Brahmin and performed traditional rituals and customs with seriousness and dedication. He believed in God, but didn't believe in resignation to destiny. He was a scholar empowered with self esteem and a consciousness of the self. The polemical criticism concerning Vidyasagar involves his faith in God. According to the popular consensus, the person, who believes in God is a theist. In that sense, the life of Vidyasagar does not testify atheist inclination. On the contrary, he categorically acknowledged that he does not have the scope to delve in the ocean of faith to fathom the abode of divinity Unlike many intellectuals of the nineteenth century, he practiced what he preached throughout his life. As the principal of Sanskrit College, he lifted the restriction that no one, other than Hindu and Buddhist would be allowed to study over there. He opened the gate of Sanskrit College to everyone and contributed to the expansion of education in Bengal in the nineteenth century This paper intends to explore and address the polemic issue about the atheism of Vidyasagar. It endeavours to render Vidyasagar as a man of wisdom, who often conceive faith as the panacea and the Hindu scriptures as the infinite source of knowledge, inexhaustible.
A pre-1947 Bengali language Muslim women's edited magazine/ ১৯৪৭ সালের পূর্ববর্তী বাংলা ভাষায় মুসলিম মহিলা সম্পাদিত পত্রিকা
Chapter-1 Introduction: Muslim women edited before 1947 mentioned by name. Although the name of two newspapers is found to be negligible, it has not been traced till the time of present research. On the other hand, there are about forty newspapers edited by Hindu women. Chapter -2 Names of Muslim Women Edited Newspapers – Annesa, Barshwani, Begum, Bulbul. Suniti, JagOran was seen but not found. Chapter-3 Annesa: In 1928 AD,' Annesa’ was edited by Sophia Khatun B.A. Although the paper was run by husband instead of wife, but there is no way to deny that 'Annesa' has been established as Muslim women editor with Sophia Khatun in front. Not only that, He was a calligrapher. Ahmed Rafiq writes that, in addition to logic, linguistic emotion is quite strong in Sophia's speech, as is the anti-colonialist sentiment. There is room for more research to know the last word about him. Sophia Khatun was never seen writing again. The magazine's subject matter was varied and fascinating. Socioeconomics, politics, and foreign psychological topics attracted discussion journals. Chapter- 4 ‘Varshvani’ Magazine: Manifestation of the Joint Heart of Husband and Wife. From 1932-37, Jahanara Chowdhury and her husband Altaf Chowdhury had an intimate interest. Apart from stories, essays, poems, various topics were published here. Rabindranath gave a letter to Jahanara Chowdhury. Rabindranath writes in the letter that on that day I received the hand of all Bangladeshi girls from you, it touched my heart. Chapter -5 Shamsunnahar Mahmud was the editor of ‘Bulbul’ patrika. Shamsunnahar's nephew Anwar Bahar, who was an indirect patron. Shamsunnahar who wrote the first authentic biography of Rokeya. In 1340, Nazrul Islam, Abdul Odud, Abdul Karim, Jasimuddin, Dr. Kudrat-i Khoda, along with Adela Khan, Abul Mansoor Ahmad, Mohammad Wazed Ali, and Shamsunnahar wrote the Baishakh-Shravan issue. Chapter-6 Begum: First Sufia Kamal and later Naseeruddin's daughter Noorjahan were the editors of the newspaper. If it was published in 1947, after 1947 it was not published from Calcutta, but from Dhaka. The name of the newspaper says that it is only for women. However, 'Begum' newspaper became important and in some cases the only news carrier in Bengali language. Chapter-7 Conclusion: Among the women edited magazines, the above magazines which touch on Muslim women deserve the distinction of Bengali literature and language.