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
আদর্শ নারীর খোঁজে : উনিশ শতকের বাঙালি সাহিত্যিকদের চোখে নারীর রূপায়ণ/ In search of the ideal women : Representation of Women in the Eyes of Nineteenth-Century Bengali Writers
In the nineteenth century, the condition of women was clearly shown in Bengali literature of that time. Most writings presented women within the Hindu joint family and domestic life. Women were seen as symbols of unity and peace in the family. It was believed that they could protect society from the bad effects of Western culture. Their main quality was self-sacrifice, especially in love and motherhood. Because of this, women were treated as symbols of the nation. Writers like Bankim Chandra Chattopadhyay and others showed women mainly inside the household. They were ideal, disciplined, and devoted to family duties. At the same time, writers were thinking about how to develop patriotism among people. Nationalist leaders gave women the duty to protect Indian culture and values. They said women should not blindly follow Western lifestyle. In the early nineteenth century, some educated people praised English women for their household skills and education. They wanted Indian women to be educated and to come out of strict household boundaries. But later, with the rise of nationalism, these same people started supporting traditional Indian values again. Women were asked to follow old customs and maintain cultural purity. This created a comparison between ancient ideal women and modern women. Even journals like Tattvabodhini Patrika criticized women who followed Western ideas. Women’s education was allowed, but it was limited. The main aim was to make them good mothers, good wives, and good homemakers. Society needed role models for women. Ideal women were chosen from mythology and history, such as Sita and Savitri. Qualities like purity, devotion, and loyalty to the husband were seen as the highest virtues. Even though practices like sati were banned and widow remarriage was allowed, literature often continued to support self-sacrifice and strict life for widows. So, the way women were shown in Bengali literature was closely related to their real condition in society. It helps us understand the thinking and attitudes towards women in the nineteenth century and the ideal image of women at that time.
রাগবৈচিত্র্যে নজরুলের সুরলোক/ Raagboichitre Najruler Surolok
কাজী নজরুল ইসলাম বাংলা সংগীতের ইতিহাসে এক অনন্য স্রষ্টা, যিনি রাগসংগীত, কাব্যিক বাণী এবং মানবিক আবেগের সমন্বয়ে বাংলা গানে এক নতুন সুরধারার সূচনা করেছিলেন। এই প্রবন্ধে নজরুলগীতির রাগভিত্তিক বিন্যাস, রাগরূপান্তর, মিশ্র রাগের ব্যবহার এবং গানের ভাবানুসারে রাগ নির্বাচনের নান্দনিকতা আলোচিত হয়েছে। নজরুল কেবল প্রচলিত ভারতীয় শাস্ত্রীয় রাগের আশ্রয়ে গান রচনা করেননি; বরং লুপ্তপ্রায় রাগের পুনর্জাগরণ, নতুন রাগসৃষ্টি এবং রাগমিশ্রণের অভিনব প্রয়োগের মাধ্যমে বাংলা সংগীতকে সমৃদ্ধ করেছেন এবং রাগকে বাংলা গানের আবেগময় ভাষায় রূপান্তরিত করে এক স্বতন্ত্র ‘সুরলোক’ নির্মাণ করেছিলেন। ভৈরবী, খাম্বাজ, বেহাগ, ইমন, পিলু, মালকোষ, দরবারী কানাড়া প্রভৃতি রাগের ব্যবহারে তিনি প্রেম, বিরহ, বেদনা, ভক্তি ও মানবিক আবেগকে সার্থকভাবে প্রকাশ করেছেন। পাশাপাশি ‘হারামণি’ পর্যায়ে অপ্রচলিত রাগের পুনরুজ্জীবন এবং ‘নবরাগ’ পর্যায়ে নতুন রাগের উদ্ভাবন তাঁর সংগীতপ্রতিভার স্বকীয় পরিচয় বহন করে। শাস্ত্রীয় সংগীতের কাঠামো অনুসরণ করেও তিনি বাংলা কাব্যগীতিকে আধুনিক আবেগ ও মানবিক অনুভূতির সঙ্গে যুক্ত করেছেন। তাঁর রাগমিশ্রণধর্মী গানগুলিতে সুরের সামঞ্জস্য, ভাবপ্রকাশ এবং কাব্যিক ব্যঞ্জনা এক অনন্য শিল্পরূপ লাভ করেছে। তাঁর রাগবৈচিত্র্য, সুরৈশ্বর্য ও সৃষ্টিশীলতা বাংলা গানের ভাণ্ডারকে বহুমাত্রিক সমৃদ্ধি দান করেছে এবং বাংলা সংগীতকে বিশ্বসংগীতের পরিসরে এক স্বতন্ত্র মর্যাদায় প্রতিষ্ঠিত করেছে।
কালিদাস ও ভবভূতির দ্বারা চিত্রিত নারীচরিত্র : একটি তুলনামূলক অধ্যয়ন/ Female Characters Portrayed by Kalidasa and Bhavabhuti : A Comparative Study
Kalidasa was a poet of beauty and love. The poet has shown the greatness of human beauty along with the beauty of nature and in his vivid depiction of that human beauty, he has not allowed the stench of desire to enter anywhere. When the poet's pen was on the beauty of women, all the strings of his heart would ring in unison. Bhavabhuti's place was the greatest among the later playwrights. His plays were Uttararamacharita and Malatimadhav etc. From the study of these it is known that Bhavabhuti had studied Kalidasa's plays very meticulously and had taken the initiative to decorate his own works by adopting many of his beautiful imaginations, using words and mystical incidents. To attract Malati's mind, Malati Madhav gave examples of the love stories of Kamandaki, Dushyanta Shakuntala and Pururva-Urvashi which Bhavabhuti had got from Kalidasa's plays. In the ninth act of this play, Madhav is distraught over Malati's sudden disappearance and he prays to Megh (the clouds) to take a message to his beloved and asks Elephant, Wind etc. about Malati's welfare. Bhavabhuti got this idea from Meghdoot and Vikramorvasiya. However, Bhavabhuti's dramatic talent was of a different importance. A comparison of the characters of Sita in Uttara ramacharita and Shakuntala in Shakuntala makes it clear that Bhavabhuti portrayed Sita in his own style, in accordance with his ideal. Just as Kalidasa took the story of Shakuntala from the Mahabharata and gave it a completely new form with his own unique talent. Similarly, Bhavabhuti also took the story of Sita's abandonment from Valmiki and revised and refined it. But in the characterisation of Sita and Shakuntala, the special qualities of both poets come out clearly. Shakuntala was an ascetic but a householder. Even though she was the daughter of a sage, she was a lover. She had modesty, restraint and patience. Her name cannot be compared with Sita, Savitri, Damayanti and Shaivya. The sweetness of Sita’s character lay within both her faults and virtues. But Sita was the only pure and virtuous woman. She considered her husband's happiness as her own happiness.
বিদ্যাসাগর, বঙ্কিমচন্দ্র ও রবীন্দ্রনাথের লেখনীতে কালিদাসের অমর সৃষ্টি শকুন্তলা চরিত্রের বিশ্লেষণ/ The analysis of Shakuntala, the immortal creation of Kalidasa in Abhijanasakuntalam, through the writings of Vidyasagar, Bankimchandra and Rabindranath
In Sanskrit Literature Mahakavi Kalidas, the greatest dramatist and poet, is recognized as the poet of similes. Very skillfully he has portrayed the natural and psychological transformation of the character of Shakuntala is ‘Abhijanashakuntalam’. The ornamentation of his similes is the best and the sweetness of his poetry, his arrangement of words, and his descriptions have given him extraordinary fame. His drama Abhijanashakuntalam is a special example of distinguished literature. Through the character of Shankuntala, the poet has expressed the penance of love. Among his many immortal creations, Abhiganashkuntalam is an unparalled creation of Indian Literature, love and aesthetics. The profound emotion of the drama, the natural description of nature, the appeal of human love and the poetic presentation of language all together make the play a vivid document of the dramatist’s supreme excellence. The linguist William jones was an appreciator of the acsthetic qualities of Abhijanashakuntalam. Vidyasagar Made a translation of the sentiments of this drama. Again, Rishi Bankimchandra and the world poet Rabindranath analyzed Shakuntala from different perspectives. In the present essay, the character of Shakuntala has been analyzed in the thoughts of Vidyasagar, Bankimchandra and Rabindranath.
রাঢ়বঙ্গের কবিগানে বোলের পালা : প্রসঙ্গ গিরিশ ঘোষ ও সারদা মিলন/ Rarbonger Kobigane Boler Pala : Prasanga Girish Ghosh O Sarada Milan
Bolgan/ Bolgaan is an essential part in the modern Kobigaan of Rarbonga. In the opinion of kobiyals/ Minstrels, Bolgan is like the jelly/ chutney at the end of a feast. After the main part of the Kabirlodai or Kobigaan is over, two kobiyals stand side by side on the stage and perform Bolgan for about 35 to 40 minutes focusing completely on another topic. No reliable evidence has been found about whether Bolgan was sung in the ancient genre of Kobigaan. Bolgan is also known as ‘Bolkatakati’ in Kobiyali language. According to kobiyals, the word ‘Bol’ means the ‘talk of mouth'. Standing side by side, two kobiyals continue a verbal fight and this is called Bolgan or BolKatakati. However, no matter how much conflict there is in Bolgan, but in the end, there will be a reunion between the two characters. This is the biggest difference between Bolgan and the main part of the Kobigaan. In the conflict of Kobigaan, the matter remains unresolved but in the case of Bolgan, the matter is always resolved and Bolgan is a reconciliation. Bolgan is unique here. Some notable topics of Bolgan in recent time are Billamangal - Chintamani, Sukhdev - Rambha, Debananda - Vishnu Sharma, Sasuri - bouma, Jamai - sasuri, Manasa - Chandbane, Parasar - Mathsayagandhya, Lakshyaheera - Haridas, Savitri - Yamraj, Harishchandra - Shaiva, Krishna - Lalita, Sona - Loha, Disguise Bramhan-Data Karna, Girish Ghosh-Sharda Milan etc. Through Bolgan, a mythological or social story is presented to the public in a very short time through the eloquence and verbal battle of the kobiyals or minstrels. During Bolgan two kobiyals stand on the stage and Sing but only one Dhulidar (dhol/ drum player) plays his Dhol and other Doharies (companions) Sing with them. One kobiayal starts the ‘Dhua' (beginning part of a song) of the Bolgan. Later the Doharies (other companions) repeat the part and gradually the kobiyals immediately compose the language of the song and help the song forward through questions and answers. In this case, the kobiyals sometimes sing Panchali, Tripodi, Payar etc. Thus, the entire story is completed through the song, through tripodi, and Panchali. The melody of the Dhua part in Bolgan is quite impressive. This captivating melody keeps the audience in their chair until the end. Through Bolgan, it is possible to verify the ability of two kobiyals to compose songs instantly. A message is given to the audience through the Bolgan. After the Bolgan is over, usually the Kobigaan or Kobirlodai ends with the sound of God i.e. Hari dhwani. Here we will discuss the Bolgan named Girish Ghosh O Sarada Milan.
মতুয়া সাহিত্য : সমাজ সংস্কার, শিক্ষা ও নারী জাগরণ/ Matua Literature : Social Reform, Education, and Women’s Awakening
The present research paper is an attempt to analyze the sociological and aesthetic significance of 'Matua Sahitya', a secular yet revolutionary literary genre of 19th and 20th century Bengal. The main focus of this research is the message of social reform, universal education and especially women's emancipation propagated through the entire genre of Matua Sahitya. The paper has made a text-based analysis of folktales and proverbs, along with narrative poems like 'Sri Sri Harililamrita' and 'Sri Sri Guruchand Charita'. Matua literature stands in opposition to the prevailing religious dogma, presenting a progressive philosophy of life, rooted in a work-oriented philosophy such as 'Haate Kam Mukhe Naam'. In particular, the importance of women's education and the dignity of women in domestic life are highlighted in this literature, which gives rise to a unique 'feminist consciousness' in the contemporary context. The article also discusses how this long-standing educational movement of the Matuas has taken institutional form in the present era—one of the signs of which is the establishment of the ‘Harichand Guruchand University’ in Thakurnagar, West Bengal, and the inclusion of this literature in the curriculum of higher education. Finally, this study proves that the usefulness of Matua literature is not limited to the historical context alone, but its global relevance in building a communist and inclusive society is undeniable even today.
বাউল গানে বাঙালীর জাতীয়তাবাদ : মাটির সুর থেকে জাতির কন্ঠস্বর/ Nationalism in Baul Songs : From the Melody of the Voice of a Nation
The formation of the Bengali’s distinct consciousness and sense of nationhood is not solely dominated by elite-determined articulation; in its deeper strata lies the uninterrupted, boundless and profound influence of the oral, unwritten literature of folk life. Indeed, Baul songs are an incomparable chronicle of that folk life. Resounding for centuries along Bengal’s fields, pathways and riverbanks, they were not merely a call for spiritual liberation, but simultaneously a quest for the Bengali’s love of the land, the search for freedom, the search for Bengal, and the search for Bengali-ness. In the present essay, the quest for Bengali collective identity, set against the backdrop of Rajendra sundar Trivedi and Rabindranath Tagore’s prayer ‘Banglar Mati Banglar Jol’, focuses on the narratives of specific Baul songs to explore the awakening of Bengali nationalism into its ‘grandest and most sublime consciousness’. We have observed that the Baul mystic poets, on the one hand, fearlessly and with resolute voice identified the nation’s self-destructive tendencies through self-criticism, and on the other hand, simultaneously crafted an unparalleled blueprint for the nation’s future on the foundation of the Bengali language, verdant nature, and a society free from exploitation. In opposition to formalistic religious practice, through self-inquiry they acknowledged an immense, boundless love for and indebtedness to the motherland. With a secular, liberal mentality, they transcended the narrow walls of artificial Hindu-Muslim division, offered the philosophy of ‘children of the same mother’, and instilled the death-conquering mantra of ‘if you want to live, live a life worth living’. The contention of this essay is that this life-affirming nationalism, nurtured and embodied in Baul philosophy—standing upon the four pillars of land, language, humanity and secularism—prepared the public psyche with an invisible force for the subsequent political contexts of resisting the Partition of Bengal, the Language Movement and the liberation war.
পশ্চিমবঙ্গের অঞ্চল ভিত্তিক শোলাশিল্পের পরিচয়/ Introduction to the regionally based Shola industry of West Bengal
One of the most ancient and traditional forms of folk art is Shola Art. The shola plant grows naturally in canals, marshes, ponds, wetlands, and other water bodies. Earlier, artisans themselves collected shola from these water sources. Nowadays, certain groups of people collect the shola and supply it directly to the artisans’ homes. Sometimes artisans also purchase shola from markets in Kolkata. Shola craft is practiced to varying extents in almost all districts of West Bengal. However, some particularly notable centers are Surul in Birbhum, Bonkapasi in Katwa, Kumartuli and Maniktala in Kolkata, Khardah in South 24 Parganas, Bishnupur in Bankura, Amta in Howrah, Chandannagar, Krishnanagar in Nadia, Khagra in Murshidabad, Malda, and Cooch Behar. The materials used in this craft include shola, paper, tracing paper, poplin cloth, ribbons, zari, sequins, bullion wire, decorative foil paper, basma paper, various colors, shoeb paper, glue, etc. The tools mainly consist of different sizes of Bday or Kait knives, along with scissors, knives, nurul, hammer, zigzag scissors, basma pressing machine, scale, pipe, balloons, and others. The artistic products made from shola include wedding headgear (topor), sinthi mor, chandmala garlands, kadam flowers, Bishahari decorations, idol ornaments, and various models such as peacock-shaped boats, Durga masks, elephant howdahs, palanquins, chariots, and more. Artisans traditionally continue this craft through hereditary practices and indigenous techniques passed down through generations. However, some evolution can be observed in the use of materials and tools. The motifs used in this art include fern leaves, lotus flowers, trees, creepers, paisley patterns, different chakis, shuten, pea designs, bitter gourd motifs, tooth patterns, rolled betel leaf designs, and various geometric patterns. The prices of these artistic products vary according to their size and design. Artisans sell their products either independently or through cooperative societies, middlemen, and various government organizations. This craft is primarily associated with the Malakar community. However, at present, people from other communities are also engaged in this artistic tradition. Shola art faces several challenges today. By addressing these problems, this ancient and traditional craft can once again regain its former glory.
গৌণ চরিত্রের আবহে ‘দীপশিখা’ নাটক/ 'Deepshikha' drama in the atmosphere of a secondary character
দ্বিতীয় বিশ্বযুদ্ধ সমকালীন পঞ্চাশের দুর্ভিক্ষ বাংলা সাহিত্য তথা নাটকের ওপর এক গভীর ক্ষত সৃষ্টি করেছিল। দিগিন্দ্রচন্দ্র বন্দ্যোপাধ্যায় ‘দীপশিখা’ নাটকের গৌণ চরিত্রের মধ্য দিয়ে তৎকালীন সমাজের সেই নগ্ন বাস্তবকে তুলে ধরেছেন। তারা মূলত দুর্ভিক্ষের ছোটো ছোটো খণ্ডচিত্রকে অসাধারণভাবে ফুটিয়ে তুলেছেন। প্রবন্ধটিতে আছে সাধারণ মানুষের টিকে থাকার লড়াই এবং নারী জাগরণের চিত্র।
নাট্যকার কাজী নজরুল ইসলাম/ Dramatist Kazi Nazrul Islam
Kazi Nazrul Islam’s dramatic works reflect his versatile genius through a wide range of themes and forms. His journey in drama began with the Leto dal (folk theatre), where he composed pala plays. This early experience significantly shaped his creative approach to theatrical expression. His first play Jhilimili, included in the collection of the same name, is a symbolic allegorical drama through the love and separation of Habib and Firoza. Nazrul explores themes of dreams, paradise, and emotional and social barriers within Bengali society. Setubandha is also reflects allegorical symbolism, where he examines the conflict between natural inert forces and human-made mechanical power. In Bhuter Bhoy, Nazrul envisions a revolutionary awakening for national liberation through the imagined presence of a supernatural. Shilpi explores the tension between domestic responsibilities and artistic imagination, revealing deeper emotional and social conflicts. Aleya is a musical drama where a realistic depiction of social problems arising from the eternal longing of men and women in love. Madhumala is an allegorical musical drama, portraying a triangular love story among Madhumala, Madan Kumar, and Kanchanmala. In Putuler Biye, Nazrul portrays a timeless social problem through the innocent girl’s doll play, symbolically addressing communal harmony in India. Pandit Moshayer Byaghro Shikar story of a greedy and gluttonous Brahmin scholar who goes tiger hunting with a zamindar named Lalit. Boner Bede is depicting the helpless life of a homeless, wandering community. In Eid,Nazrul expresses the spiritual significance of the festival along with the message of peace, reflecting Islamic ideals and traditions. In Jago Sundar Chirokishor, Nazrul attempts to reveal elements of reality through dreamlike imagination. Shrimanta is adapted from the merchant episode of the Chandimangal Kavya, focuses on the story of Dhanapati Sadagar, Khullana, and Lahana.Vidyapati explores eternal conflicts of love. His humorous play is Kaloyati Kosorat. Deeply influenced by the musical tradition inherent in bengali theatre, Nazrul composed lyrical, poetic, and music-rich plays where songs function as a vital dramatic element. His dramatic works evaluated within the broader and enduring tradition of bengali theatre, where his contribution remains distinctive, innovative, and significant.
বিজন ভট্টাচার্যের দেবীগর্জন : প্রতিরোধের আলেখ্য/ Bijan Bhattacharya's Devigorjan: A Tale of Resistance
বিজন ভট্টাচার্যের ‘দেবীগর্জন’ নাটক স্বাধীনতা-পরবর্তী কৃষকজীবনের শোষণ, প্রতিরোধ ও অধিকার প্রতিষ্ঠার সংগ্রামের এক শক্তিশালী আখ্যান। নাটকে বীরভূমের সাঁওতাল ও ভাগচাষিদের জীবনের দুঃখ, জোতদার-মহাজনের অত্যাচার এবং রাজনৈতিক প্রতারণার বাস্তব চিত্র ফুটে উঠেছে। স্বাধীনতার পর জমিদারি প্রথা বিলোপ হলেও মধ্যস্বত্বভোগী জোতদারদের শোষণ অব্যাহত থাকে। প্রভঞ্জন ও ত্রিভুবনের মতো চরিত্ররা গরিব কৃষকদের প্রতারণা করে জমি ও অধিকার কেড়ে নেয়। কিন্তু কৃষকসমাজ ধীরে ধীরে সংগঠিত হয়ে প্রতিবাদে সামিল হয়। নাটকের গিরি, রত্না, মংলা ও সঞ্চারিয়ার মতো চরিত্রগুলি সংগ্রামী চেতনার প্রতীক। বিশেষভাবে নারীচরিত্রদের মাধ্যমে নারীর শক্তি ও অংশগ্রহণকে গুরুত্ব দেওয়া হয়েছে। রত্নার আত্মত্যাগ এবং শেষপর্যন্ত কৃষকদের ঐক্যবদ্ধ প্রতিরোধ শোষকের পতনের ইঙ্গিত দেয়। দেবী মায়ের প্রতীকী চিত্রের মাধ্যমে নাটকে দেখানো হয় যে অন্যায় ও শোষণের বিরুদ্ধে জনতার গর্জনই একদিন নতুন সমাজ প্রতিষ্ঠা করবে।
খল চরিত্রের ক্ষমতা, ষড়যন্ত্র ও বিশ্বাসঘাতকতা : সিকান্দার আবু জাফরের ‘সিরাজ-উ-দ্দৌলা’ নাটকের পাঠভিত্তিক বিশ্লেষণ / Power, conspiracy and betrayal of valillainious characters: A Text based Analysis of Sikandar Abu Zafar’s Sirajuddoula
Sikandar Abu Zafar is mainly a poet; then a dramatist. He was always a pioneer of the movement of progressive literature and culture. 'Sirajuddoula' is a historical tragedy written by him. In this drama, he discovered Siraj in a new way; at the same time, he depicts the interpersonal relation of the villainous or treacherous characters exactly. In this drama, he tried to follow the history completely. Even sometimes, to emphasize history, the character of Sirajuddoula was not developed fully. Though the suffering and agony of Siraj were suppressed because of the pressure of the historical events, the negative characters were in one dimension. It seems that every one is interrelated. Nevertheless, it is inevitable that the dramatist was capable of discovering a humanitarian and freewill agent like Sirajuddoula from the boring information of the history.
প্রসিদ্ধ নাট্যকার সৌমিত্র চট্টোপাধ্যায়ের ‘তৃতীয় অঙ্ক, অতএব’ নাট্য : শিল্পীর জমকালো আত্মসমীক্ষার উজ্জ্বল দলিল / Prasiddha natyakar Saumitra Chattapadhyayer ‘Tritio Onko, Otoyeb’ natya : shilpir jamakalo atmasamiksaya ujjbal dolil
Soumitra Chatterjee, the last disciple of Shishir Kumar Bhaduri, is not only a film hero, he is also a powerful playwright and stage actor. His play ‘Tritio Onko, Otoyed’ is an exceptional addition to Bengali drama. This did not happen in the case of Shishir Bhaduri or Shambhu Mitra either. Even in his seventy-six years, he has repeatedly proven that age is not a barrier to creativity. Soumitra Babu has always been immersed in his work, and as time goes by, his brilliance is becoming sharper and more subtle. A documentary has been made about various aspects of Soumitra Babu’s life, focusing on the rehearsals of the play. The actor, who is at the end of his acting career, repeatedly evokes the feeling of death of Soumitra Babu; and in response to this, his infinite, boundless sense of life is felt every time. Through his autobiography, the readership gets a glimpse of the educated middle-class Bengali family and society of that time. This autobiography begins with the life of growing up in the backdrop of Krishnanagar, woven with love and discipline. We also find out how the incident of sending the prisoners of war of the Azad Hind Fauj from Barasat station to the prison camp created a deep wound in the mind of a sensitive teenager. This is like the emergence of the ‘Indian’ sense developed from that family patriotism. Life flows through the affection and care of the father, the deep love of the mother, and the affection. Having overcome many ups and downs of life and maintained his own significance even in the changing times, he has reached the third stage of life by effortlessly climbing the difficult threshold of life. The play reveals Soumitra Chatterjee’s own life. Various fragmented memories of life. It is as if he himself has given up his own life to the operation theater. After his illness, he gradually breaks down, as if he becomes an emotionally driven old man, then it is understood that in this personal life drama, the actor Soumitra and the human Soumitra finally become one somewhere. Soumitra Babu has highlighted his autobiography and long-acting experience, commitment to the stage, and the relationship of the artist with time here. This is a brilliant document of the actor's self-exploration in Bengali drama. Which is still relevant today, despite the boundaries of time.
মৎস্যজীবী থেকে মউলে : পেশা পরিবর্তনে ভাষার নির্মাণ, একটি সমাজভাষাকেন্দ্রিক অনুসন্ধান/ From Fishermen to Moule : The construction of language in Occupational Transition-A Sociolinguistic Inquiry
Sundarban is the largest mangrove forest in the world. At the same time, its recognition as a heritage site is significant not only in india but across the entire world. Moreover, the Sundarban is also rich in forest resources. The indian sundarban is composed of thirteen blocks of south 24 parganas and six blocks of north 24 parganas. But if on looks at the lives of the people in this predator-infested region, it becomes clear that this global recognition fades into the background, and their economic poverty and despair come to the forefront. In order to survive the daily struggle of life and to preserve their existence and indentity, the people here have to engage in an uncompromising conflict with nature. Many people have built their economic dependence around the Sundarbans, but at the same time, it also bears the stigma of countless live being lost. Due to economic hardship, the inhabitants of Sundarbans have become dependent on water-and forest-based occupations. Among these, fishing and honey collection are two major and riskey professions. However, alongside these traditional occupations are closly linked the rise and fall of society, culture customs, beliefs, and values, which are primarily expressed through language. The study of this intrinsic relationship between language and society is the subject of sociolinguistics. Sociolinguistics is one of the most prominent branches of linguistics. As early as the beginning of the 1950s, sociolinguistics began to feel the necessity of this field. However, in the early stages, many linguists found it difficult to accept it, because they believed that language is not something separate from society. Therefore, the relationship between society and language seemed quite natural and not significant enough to become a separate area of study. But the various dimensions of language formation in society-such as education, profession, age and gender- have had a profound influence on language and have created diversity within it. This influence became impossible for linguists to ignore any longer. Professional plays a remarkable role in shaping and expanding the relationship between society and language. During the breeding season of fish, when fishing in the river is completely prohibited for fishermen, they turn to the forest to engage in honey collection. However, when they shift from being fishermen to becoming honey collector (Moule), their identity nature of work, language of work, culture, folk beliefs, and customs all undergo significant changes. The objective of this paper is to examine, from a sociolinguistics perspective, the kinds of changes and variation that occur in language alongside this occupational shift among the inhabitants of the Sundarbans.
শব্দ পড়ে টাপুর টুপুর : দৈনন্দিন জীবনের প্রাপ্ত শব্দের তালিকা তৈরীর অভিনব কৌশল / SHOBDO PORE TAPUR TUPUR : DOINONDIN JIBONER PRAPTO SHOBDOER TALIKA TOIRIR OVINOBO KOUSHO
প্রাবন্ধিক এই প্রবন্ধের শুরুতে নিজের চোখের দৃষ্টিশক্তি কমে যাওয়ার প্রসঙ্গ তুলে এবং রসিকতা করতে করতে পৌঁছে গেছেন প্রবন্ধটির রচনার মূল বক্তব্যে। তিনি তাঁর এই প্রবন্ধে বলেছেন যে কোন এক সম্পাদক মশাই তাকে নিজের খুশি মত পাঁচ হাজার শব্দ সম্বলিত রম্য রচনা তৈরি করে দিতে অনুরোধ করেছিলেন। এত শব্দ একসাথে লিখে একটি রম্য রচনা নির্মাণ করার ক্ষেত্রে প্রাবন্ধিকের প্রথমে একটু দ্বিধা আসলেও যেহেতু শব্দ তাকে লিখতে বলা হয়েছিল, তাই তিনি শব্দ নিয়েই এই প্রবন্ধে আলোচনা করেন, তিনি মূলত এখানে যেই সময়ে তাঁর প্রবন্ধটি লিখেছেন সেই সময় পর্যন্ত ফেলে আসা দিনগুলিতে তাঁর কাছে যা যা নতুন শব্দ এসেছে সব কিছুরই একটি তালিকা প্রবন্ধ আকারে তুলে ধরেছেন এবং সবশেষেই প্রবন্ধের মধ্যেই তিনি দেখিয়েছেন শব্দইগুলিই যেন নিজে থেকেই ওই শব্দসম্ভার নিয়ে লিখতে লেখিকাকে উৎসাহিত করেছে।
বর্তমান শিক্ষার্থীদের বাংলা ভাষা ব্যবহারে সমস্যা : গত পঁচিশ বছরের মূল্যায়ন/ Problems in the Use of the Bengali Language Among Contemporary Students: An Assessment of the Last Twenty-Five Years
Over the past twenty-five years, through my experience of teaching the Bengali language at the school, college, and university levels, I have observed certain fundamental areas of difficulty regarding the use of Bengali among the current generation of students. Despite Bengali being their mother tongue, many students are unable to demonstrate effortless proficiency in its usage due to several underlying issues. § A lack of sufficient emphasis placed on using the language, precisely because it is their mother tongue. § At every level—school, college, and university—an excessive emphasis is placed on subject matter over spelling, presentation, and grammar in the teaching of language and literature. § The educated middle class is losing interest in educating their children through the medium of their mother tongue. The most prominent issues observed in the speaking and writing of the Bengali language at the school, college, and university levels are : 1. Students often become confused regarding pronunciation and spelling due to the presence of three variations of ‘sh’, three of ‘r’, and two of ‘j’ in the Bengali alphabet. 2. Although the rules governing the use of the retroflex ‘ṇ’ (ṇatva-vidhān) and the retroflex ‘ṣ’ (ṣatva-vidhān) are taught at the upper-primary level, their practical application remains limited. 3. Despite instruction on sentence construction issues being provided at the secondary level, students often fail to retain this knowledge in practical application. 4. The double application of case endings— (e.g., ‘amāderke’, ‘tomāderke’) — is now widely prevalent. 5. The simultaneous use of cardinal numerals and numerical case endings occurs frequently. 6. Under the influence of globalization, the excessive influx of loanwords is gradually rendering the language unfamiliar. 7. The current generation is responding in the language of SMS. 8. In the course of civilization, linguistic characters evolved from signs and symbols; today, language is reverting to signs. 9. There is a misuse of letters—specifically, the substitution of 'y' for 'i' and 'i' for 'y'—such that one now encounters ungrammatical forms like ‘ami khay’ and "she khai" in written texts. 10. Reliance on visual and auditory input is increasing relative to reading. 11. The widespread prevalence of substandard or vulgar language is on the rise. 12. Colloquialisms and slang are finding their way into literary language. 13. The importance of the traditional alphabet is diminishing due to the practice of writing on mobile phones and laptops.
হামিরউদ্দিন মিদ্যা : পল্লী প্রকৃতি ও সম্প্রীতির রূপকার/ Hamiruddin Middya : Polli prokriti o Sampritir Rupakar
Hamiruddin Middya is a popular young writer of modern Bengali short stories. Has a storyteller, he has a cheap remarkable acclaim within hey remarkably short span of time. He was born into a peasant family in the lalmati region of the district of Bankura. Consequently, he has mingled closely with the local people and has shared intimately India Joys and sorrows. His stories feature the common people individuals of robust character and resilince. Themes of poverty livehood struggles and religious dogmatism frequently recur in his negatives. In the majority of his stories, he places his primary focus on Muslim society. His portable short stories include 'Aaj railerdark’, ‘mat Rakha’ etc Driving by a sense of social responsibility he has brought the realities of Muslim society to the forefront of his work. A significant portion of his short stories is dedicated to poverty, striken Muslim protagonists and there ardous, struggle for survival; they depict agriculture as the sole means of livelihood alongside vivid descriptions of rural Bengals cannals, wetland, rivers lush green farmland and picturesque natural environment. Beyond the geographical and environmental backdrop his stories also reply to the contemporary political climate the rep ripoles of which have invitable reased the villager and rural area. Furthermore, he addresses various government initiative and the manner in which they are implementedIn this article showed he explores social customs religious beliefs and superstitions highlighting the inherent conflict and Contradictions among them as well as the eventual ly resolution of such tension. In the story 'Mat Rakha’, one discerns a message championed by the Imam Sahib; that humanity, human, dignity and communal harmony transcend the strictures aap religious orthodoxy, conversly in the narrative examines the complexities and ambiguities surrounding religious practicles among both Hindu and Muslim. Emerging from this very context of crisis is the figure of an elderly women a savior of shots who had successful overcome are infertility after seeking blessing at the pir's shrine. The retualistic cooking and distribution of' khichuri’ (a mixed grain dish) as a suffering and the subsequent acceptable of this food by people all classes, irrespective of caste are religion epistom if profound synthesis of tradition. Thus, Hamiruddin middya as a masterful architect of communal harmony in contemporary literature.
তারাশঙ্করের ‘গুরুদক্ষিণা’ উপন্যাসে প্রতিফলিত ঔপনিবেশিক শিক্ষাব্যবস্থার সংকট ও শিক্ষক সমাজের কঠিন বাস্তবতা/ The Crisis of the Colonial Education system and The Harsh reality of the Teacher Society reflected in Tarashankar's novel ‘Gurudakshina’
Our land of India is one of the original educational areas of the world. In this land, since ancient times, sages have been educating the younger generation. Later, this education went beyond the free environment of the ashram and was confined within the narrow confines of the four walls of the school. There was a radical change in the education system. In colonial India, the education system took a new turn. Crossing the boundaries of religion, philosophy and scripture, the common people focused on logic and argument, knowledge and science. Modernity touched their lives. The conflict between the old and the new began. Although the education system changed, the lifestyle of teachers did not change. Under the pressure of colonial rule, teachers did not get any opportunity to express their independent views. Teaching there had become only a means of earning a living. As a result, the real purpose of ideal teaching had been weakened to a large extent. However, there were some exceptional teachers who, despite enduring various forms of life-pains, suffering, injustice, and neglect, remained steadfast in their goal of changing society. They only gave to society, but received nothing in return. Society did not give them even the minimum respect. Novelist Tarashankar Bandyopadhyay has presented the life story of such a struggling teacher in his novel ‘Gurudakshina’ (1966). He has depicted the character of Chandrabhushan as a beacon of light in a degraded society. Chandrabhushan has shown the path to society by carrying the burden of education on his shoulders throughout his life. In return, he received disrespect and neglect. Tarashankar has presented the tragic story of a teacher's tormented life through his writings in the novel under discussion. Chandrabhushan has given his all to make students human beings. In return, he received a lot of deprivation, pain, contempt, and humiliation as Gurudakshina. This disrespect and suffering of teachers like Chandrabhushan is a long-standing problem of modern society. No one can say when this problem will be overcome. However, the ideal teacher class does not give priority to this problem. They dream of forming ideal students, forming an ideal society; because only an ideal student can bring about the intellectual and cultural development of a society.
The Conflict between the Old and the New in Education
ঢোঁড়াই চরিত মানস : প্রান্তজনের আধুনিক মহাকাব্য/ Dhonrai Charit Manas : A Modern Epic of the Marginalized
Satyanath Bhaduri’s Dhorai Charit Manas has been analyzed as an epic representation of the life struggle of marginalized people. Written in the socio-political context of the third and fourth decades of the twentieth century, the novel portrays the harsh realities of poverty, illiteracy, superstition, and social deprivation faced by the lower classes. The character of Dhorai is not merely an individual; rather, he represents the entire marginalized community, reflecting a journey marked by struggle, resistance, and the gradual development of self-awareness. The essay demonstrates that the exploitation of marginalized people is not confined to the upper classes alone; divisions, inequalities, and power conflicts are also active within their own communities. At the same time, religious beliefs, folk culture, and political ideologies—especially Gandhism—do reach these communities, but often in distorted and simplified forms. As a result, a tension emerges between lived reality and ideological ideals. Through Dhorai’s experiences and struggles, the novel gradually reveals the awakening of self-consciousness and a sense of rights among marginalized people, although they repeatedly face deception and failure. Dhorai Charit Manas is not merely a novel; it is a powerful document of the history, struggle, and existence of marginalized people, where ordinary individuals emerge as the true heroes of history.
‘দিবারাত্রির কাব্য’ ও ‘পদ্মা নদীর মাঝি’ উপন্যাসের চলচ্চিত্রায়ন/ The Film Adaptations of the Novels ‘Dibaratrir Kabya’ and ‘Padma Nadir Majhi’
Cinema is created through the convergence of imagery, motion, and sound. A film serves to present a narrative—that is to say, cinema is a medium for storytelling. Since the task of storytelling is also intrinsic to the novel, cinema has frequently turned to novels to fulfill its narrative requirements. Numerous films have been produced based on the plots of various novels by a diverse range of authors. Indeed, many films have been adapted from the novels written by Manik Bandyopadhyay. In this essay, we will discuss the cinematic adaptations of two of his novels: ‘Dibaratrir Kabya’ and ‘Padma Nadir Majhi’. The film ‘Dibaratrir Kabya’ directed by Bimal Bhowmik and Narayan Chakraborty, employs a number of extraordinary visual motifs. The screenplay, choreographic movements, and musical arrangements within this film effectively and beautifully convey the author’s original intent. In 1993, Goutam Ghosh directed a film based on ‘Padma Nadir Majhi’ — one of Manik Bandyopadhyay’s renowned regional novels. To narrate the story in this film, Ghosh chose to focus on the destitute rural populace, their authentic environment, and the river Padma itself. Through the lens of the camera, various scenes are rendered with exquisite precision on the screen. The acting prowess of the cast, the utilization of diverse visual imagery, and the incorporation of music collectively elevate the film to a distinct artistic dimension. Both cinematic adaptations prove to be highly successful; through a process of selection, omission, and creative reinterpretation, these two films effectively capture and convey the underlying spirit and intent of Manik Bandyopadhyay’s novels.
উনিশ শতকের নারীর অবস্থান, আধুনিকতার বিপরীত প্রতিচ্ছবি : রাসসুন্দরী দাসীর ‘আমার জীবন’/ The Position of Women in the 19th Century : A Counter-Image of Modernity in Rassundari Devi's ‘Amar Jiban’
The nineteenth century was the era of modernity—a modernity that taught us to bypass old beliefs and superstitions, viewing the world and life through a fresh lens, and scrutinizing ancient dogmas and scriptures with a rational mind. During this time, humanity became the focal point of various social and religious reform movements. Furthermore, women emerged at the forefront of the discourse during this transformative period. In the reformist efforts of Rammohan Roy and Ishwar Chandra Vidyasagar, as well as in the literary thoughts of contemporary writers, the voices and social status of women were repeatedly highlighted. Consequently, the emergence of a woman's sense of individuality is considered one of the defining characteristics of nineteenth-century modernity. ​ In other words, the position women held in ancient and medieval society underwent a significant shift during this era. But did the lives of women truly change in reality? For women living in the shadows of obscurity, it was not so simple for everything to change suddenly just because the times demanded it. This reality is documented in one of the most discussed texts of the nineteenth century, Rashsundari Devi’s Amar Jiban (My Life). One could argue that this book captures the actual condition of women in the nineteenth century; it stands as a counter-image to the idealistic portrait of modernity.
হিন্দি ও বাংলা উপন্যাসে প্রতিফলিত উত্তরপ্রদেশ ও বঙ্গসমাজে নারীর বৈধব্য জীবনের সংকট : তুলনামূলক অবলোকন/ The Crisis Of Women’s Widowhood in Uttarpradesh and Bengali Society reflected in Hindi and Bengali novels : Comparative Observations
In Indian society, widowed women have long been victims of social neglect, religious taboos and mental loneliness. A burning problem in women's lives is their premature widowhood. This is like a terrible curse on women's lives. Through widowhood, a woman enters another world, separated from her normal life; where she has to give up all her hopes and aspirations, and all tastes and colors are taken away from her food and clothing. Widowhood is the biggest curse in the life of a Hindu woman. Their lives were very difficult due to social customs and traditions rather than classical customs. Widows were considered evil or inauspicious in society. In Bengali and Hindi literature, women novelists have highlighted the pain of widowhood, silent protest and crisis of self-identity in women's lives with deep sympathy. Bengali novelist Bani Basu's 'Shwet Patharer Thala' (1991) and Hindi novelist Maitreyi Pushpa's 'Betba Bahati Rahi' (1994) - these two novels in different languages highlight the pain of widowhood and their psychological complexities in the context of reforms. Women novelists in both Bengali and Hindi have not only highlighted the oppressive aspects of widowed women's lives, but have also explored women's self-identity. In their writings, widowed women are silent but not powerless, they ask questions and gradually a sense of self-awareness awakens in them. Keeping the two novels in question in front of them, a comparative assessment of the crisis of widowhood in women's lives in the writings of two different languages, different novelists, and different spatial backgrounds, rural and urban, can be made.
দেশভাগ ও বাঙালি উদ্বাস্তু নারীর জীবন/ Partition and the life of Bengali refugee women
In order to fulfill the heinous plots and political interests of some people, India was partitioned on August 14 and 15, 1947, creating two separate states, Pakistan and India respectively. Due to lack of proper planning and haste, the ancestral habitats of many people were divided, coupled with a situation of religious riots. As a result, millions of people became homeless refugees. This refugee problem not only created a political crisis; it also dealt a terrible blow to the lives of millions of people. Starting from children to the elderly, no one was spared from this impact. However, innocent women were the most affected in the partition situation. In a state created on the basis of religion, women, who were weaker than others and their sensual bodies, became the main targets of attack for those who attacked people of different religions. To escape from these, the once peaceful women, who were once confined to the nest of peace, were forced to flee with their families as refugees. But there was no peace there either, many women were kidnapped and raped on the way, and even after reaching this country, they were forced to live a life of indignity as refugees. The continuous humiliation and violence as refugees gradually strengthened the refugee women from within, and they became vocal in their protest. The entry of refugee women into the outside world to earn a living for the sake of their stomachs caused a crack in the conservatism of society, and the spread of women's education for the sake of earning a living gradually spread awareness about women's freedom and gender inequality, which resulted in increased public awareness and the entire women's society began to awaken. The new century brought the message of women's freedom, which was initiated by the refugee women of that day.
বাংলা সাহিত্যের দু-জন জনপ্রিয় মহিলা গোয়েন্দা : একটি পর্যালোচনা/ Two Popular Female Detectives in Bengali Literature : A Review
Detective stories hold universal appeal due to their blend of suspense, crime, and resolution of mystery. Readers are drawn to narratives where they can engage with the unraveling of enigmatic events. In English literature, Sherlock Holmes dominates the genre, while Bengali literature features iconic male detectives such as Sharadindu Bandyopadhyay’s Byomkesh, Satyajit Ray’s Feluda, Swapan Kumar’s Deepak, Nihar Ranjan’s Kiriti, and Syed Mustafa Siraj’s Cornel. Female detectives were historically scarce, though Prabhavati Devi pioneered the field with Krishna and Shikha in the ‘Kumarika’, ‘Prohelika’ series, intended to present adventure stories for girls. Contemporary Bengali literature has seen a notable rise in female detective protagonists created by male authors. Tapan Bandyopadhyay’s Gargi, a mathematician turned detective after her sister’s murder, balances professional leadership, family life, and relentless pursuit of mysteries. Her stories, published in nine collections by Deys Publishing, are marked by accessible language, intricate plotting, and strong characterization, with Gargi’s femininity remaining integral to her identity. Similarly, Manoj Sen’s Damayanti, a history professor and amateur detective, solves cases through careful analysis of past and present. Her narratives blend romance and intellect, establishing her as a distinct figure in the genre. Both characters draw their names from Puranic figures, Vidushi Gargi and Buddhimati Damayanti, reflecting intelligence and wisdom. Their creation by male writers demonstrates a shift away from gender bias in Bengali detective fiction. Gargi and Damayanti have achieved significant popularity, fulfilling a long-standing gap in the genre and affirming that mystery and deduction transcend gender.
শরৎচন্দ্রের 'শ্রীকান্ত' (চতুর্থ পর্ব) : বৈষ্ণবীয় পরিবেশে কমললতার উপাখ্যান/ Sarat Chandra’s ‘Srikanta’ (Part IV) : The Episode of Kamalalata in a Vaishnava Milieu
In the first half of the twentieth century, SaratChandra Chattopadhyay was a popular figure in the realm of Bengali literature, particularly known for his prose fiction. Sarat Chandra’s novels and the Vaishnavite tradition are two completely different literary ideas and are much debated topics in Bengali literatur. But with the combination of these two ideas, Saratchandra's biographical art forms can be the subject of a completely unique discussion. SaratChandra’s personal life was filled with mystery and immense diversity. Often labeled a ‘wanderer’ due to his unsettled lifestyle, he transformed all the experiences and emotions he absorbed from society and life into the artistic fabric of his novels. From this foundation emerges a thematic engagement with literary elements such as the traditional Vaishnavite motifs of Bengal’s culture. In his personal life, Sarat Chandra was deeply devoted to Vaishnavism and its philosophy. His novel ‘Srikanta’ (in its entirety) presents a continuous narrative tracing Sarat Chandra’s journey from childhood to adulthood. Among its sections, the ‘Fourth Part’, composed on the basis of Vaishnavite aesthetic theory, is considered the most exemplary. This study aims to explore and discuss how Sarat Chandra’s Vaishnavism philosophy influenced the creation of the character Kamallata. In the novel Srikanta, the Vaishnavite setting is primarily centered around the akhara (monastic community) of Muraripur. The construction of this setting is deeply rooted in Sarat Chandra’s personal engagement with Vaishnavism. Much of his childhood was spent at the Vaishnavite akhara of Raghunath Goswami. Critics have noted that this very akhara in real life was transformed into the Muraripur akhara in the fourth part of ‘Srikanta’. Throughout the akhara, there is a vivid depiction of the devotion and concentration of the Vaishnavi women in their spiritual practices. The supreme Vaishnavi, Kamallata, immersed in the service of God, embodies the melodies of Vaishnavite songs and the enchanting tunes of Lord Krishna’s flute. In his personal life, Sarat Chandra was predominantly a practitioner of Vaishnavite music. His profound reverence for Vaishnavite songs inspired the creation of characters like Kamallata. Through Kamallata, the Vaishnavite musical devotion of Sarat Chandra finds its fullest expression.
শিশু মনের কথাকার মহাশ্বতা দেবী/ Mahaswata Devi, the storyteller of children's minds
Shishu Shahityik ‘Mahasweta Devi’ - this phase may initially surprise readers, as her name is most often associated with a powerful voice of resistance and social justice. She is widely recognized for representing the struggles of marginalized communities and for blending activism with literature to create a force of human awakening. Celebrated for works such as Aranyer Adhikar, Hajar Churashir Maa and Draupadi, it may seem unlikely that such a writer also contributed significantly to children’s literature. Yet, Mahasweta Devi wrote extensively for young readers, producing remarkable works like Armani Chanpar Gachh (1968), Ganga Theke Sagar (1975), Birsa Munda (1981), Bagha Shikari (1986), Tutul (1991), and Dakate Kahini (1998). A closer reading of these stories reveals that she did not rely on conventional fairy-tale motifs of kings, queens, and magical abundance. Instead, she narrated the lives of ordinary people—especially those who, though seemingly simple, possess extraordinary courage and humanity. Their stories, grounded in reality and are no less engaging or adventurous than fairy tales. Her primary literary identity remains rooted in protest and social commitment, her children’s writings create a unique imaginative space shaped by empathy, realism, and deep human values. This article This article is a humble attempt to shed light this relatively unexplored dimension of Mahasweta Devi, bringing attention to her remarkable yet often overlooked contribution to children’s literature.
নিম্নবর্গীয় সম্প্রদায়ের জীবনচেতনা : তারাশঙ্কর বন্দ্যোপাধ্যায়ের নির্বাচিত ছোটগল্প/ Nimnoborgiyo Somprodayer Jibon Chetana : Tarasankar Bandyopadhyayer Nirbachito Chotogolpo
Tarashankar's stories vividly depict various communities of the Rarh region, such as the Santals, Bagdis, Bouris, Bedes, and Doms. He strongly believed in human dignity, echoing the idea that humanity stands above all. in Tarini Majhi, the conflict between love and self preservation result in the triumph of survival, while the relationship between tarini and his wife sukhi highlights mutual dependence, care and affection. In Bedeni, the character Radhika represent the complexity of human desire and instinct, revealing a natural yet intense side of human nature. In contrast, Daini portrays the tragic life of superstition, exposing the ignorance and cruelty of society. In Nari O Nagini, Tarashankar explores the tension between desire, love and marital conflict through the character of Khora Sheik. Torn between his attention to the snake-woman and his love for his wife Jobeda. He faces a tragic end shaped by emotional conflict and human weakness. In motilal, he presents a poor, physically unattractive couple whole deep love and humanity shine despite hardship. Overall, Tarashankar Bandyopadhyay introduced a new direction in Bengali literature by focusing on marginalized communities. His works are marked by deep human sensitively, realistic portrayal, and a profound understanding of life's complexities.
মানবতা ও মানবতার অবক্ষয় : প্রেক্ষিত রমাপদ চৌধুরীর ছোটগল্প/ MANABATA O MANABATAR ABAKHOY : PREKHITA RAMAPADA CHOWDHURYIR CHOTAGALPA
Humanity, as a moral and emotional ideal, is not an inherent quality in every individual but a cultivated consciousness that emerges through empathy, compassion, and ethical awareness. The present study explores the theme of humanity and its gradual degeneration in the short stories of Ramapada Chowdhury, a prominent post-World War II Bengali writer. His works reflect the socio-economic and moral crises of contemporary society, particularly focusing on the erosion of human values amid war, poverty, class division, and self-interest. Chowdhury’s stories vividly portray how extreme conditions such as war, famine, and displacement distort human behavior, often reducing individuals to mere instruments of survival and profit. In stories like ‘Chandrabhasma’, the commodification of human suffering is exposed through the horrifying practice of exploiting beggars for financial gain, symbolizing the peak of moral degradation. Similarly, ‘Raktabeej’ illustrates the devastating impact of war on a once-stable middle-class family, where violence and brutality overshadow humanity, revealing how fragile moral values become in times of crisis. At the same time, the author juxtaposes this degeneration with instances of genuine humanity found among marginalized individuals. In ‘Imli’, while the so-called civilized society exploits and humiliates a poor woman, a humble vendor exhibits true respect and compassion, suggesting that humanity often survives outside the boundaries of social status. This contrast highlights Chowdhury’s critique of middle-class hypocrisy and moral inconsistency. Furthermore, the stories emphasize that self-interest and material greed are primary causes behind the decline of humanity. Characters frequently abandon ethical responsibilities once their needs are fulfilled, exposing a deep-rooted selfishness within society. However, despite this bleak portrayal, Chowdhury does not entirely dismiss the existence of humanity; rather, he underscores its persistence in small, often overlooked acts of kindness.
বাংলা গোয়েন্দা গল্পের ইতিহাস ও ক্রমবিবর্তন : এক বিশ্লেষণাত্মক অধ্যয়ন/ History and Evolution of Bengali Detective Stories : An Analytical Study
The history and evolution of Bengali detective fiction represent a dynamic interplay between literary creativity, socio-cultural transformation, and the gradual formation of modern rational consciousness in Bengal. This study aims to analytically trace the origin, development, and diversification of detective narratives in Bengali literature, examining how the genre has responded to changing historical contexts and readerly expectations. Beginning in the late nineteenth century during the colonial period, Bengali detective fiction emerged under the influence of Western literary models, particularly the works of Edgar Allan Poe, Arthur Conan Doyle, and Wilkie Collins. Early Bengali writers adapted these models to local contexts, initiating a process of indigenization that shaped the foundation of the genre. The study highlights the pioneering contributions of writers such as Priyanath Mukhopadhyay, whose Darogar Daptar introduced crime narratives rooted in real police experiences, and Bankimchandra Chattopadhyay, whose prose contained elements of mystery and investigation. As the genre matured in the early twentieth century, it witnessed a significant transformation through the works of Hemendra Kumar Roy and Sharadindu Bandyopadhyay. Sharadindu’s creation, Byomkesh Bakshi, marked a turning point by introducing a more nuanced, psychologically aware detective figure who identified himself as a “truth-seeker” rather than merely a solver of crimes. This phase reflects a deeper engagement with moral ambiguity, social structures, and human psychology. The post-independence period saw further expansion and popularization of the genre through iconic characters such as Satyajit Ray’s Feluda and Samaresh Basu’s Gogol. These narratives combined intellectual rigor with accessibility, appealing to both young and adult readers. The study also explores how Bengali detective fiction adapted to urbanization, globalization, and technological advancements in the late twentieth and early twenty-first centuries. Contemporary writers have experimented with narrative techniques, themes, and character constructions, incorporating elements such as forensic science, cybercrime, and transnational settings. Through a critical examination of representative texts and authors, this study argues that Bengali detective fiction is not merely a form of entertainment but a significant cultural discourse reflecting the evolution of rationality, modernity, and social ethics in Bengali society. It also underscores the genre’s ability to negotiate between tradition and modernity, local specificity and global influence. Ultimately, the analytical framework of this study seeks to position Bengali detective fiction as an important literary form that mirrors broader intellectual and cultural transformations across different historical phases.
সুলেখা সান্যালের ছোটগল্প : নারী পরিসরের নানা মাত্রা/ Short Stories of Sulekha Sanyal : Diverse Dimensions in Women’s sphere
This article examines Sulekha Sanyal’s short stories, focusing on women’s experiences in mid-twentieth-century Bengal. Situating her work within colonial transformation, famine, Partition, and refugee rehabilitation, the study shows how Sanyal foregrounds the everyday realities of marginalised women. Although she wrote before feminist discourse was formally articulated in Indian literature, her stories engage with themes central to feminism, especially the intersection of personal and political concerns of women. Sanyal’s narratives depict women confronting patriarchy, poverty, displacement, and social stigma while seeking to assert agency and dignity. The article analyses stories of Sanyal addressing refugee trauma, sexual exploitation, precarious labour, and maternal challenges. It illustrates how she transforms individual suffering into broader social critique, like the present-day feminist writers. Unlike earlier male-authored works, her female characters are rooted in the lived experience of everyday drudgeries and as the witnesses of the historical episodes, and embody resistance, self-awareness, and evolving identities. The study also traces the transition of women’s roles from domestic confinement to economic participation and intellectual development, reflecting broader societal changes. Ultimately, Sanyal’s work is interpreted in this article as an effort to rewrite history from a female perspective, transforming ‘his-story’ into ‘her-story’ and establishing her as a significant, though systematically overlooked, figure in Bengali literature.