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
পুলিশি ডিটেকশনের কালো দিক : সাহিত্যে থার্ড ডিগ্রির নজির
Crime is an Eternal Phenomena underlying beneath human civilization. It develops around human interest. It changes according to the evolution of society, culture and norms. As the civilization grows the relation between crime and punishment leads to a complex equation. But to punish anyone for a particular criminal act we need to detect his/her involvement in that crime at first. Police are the administrative instrument for that work. The first authority to conduct any legal investigation. Police may be get a confession from a suspect under police custody for a crime and according to all the evidence they prepare a charge sheet and produce him/her to the court for final punishment. To collect all that evidences they must get a clue or some important information to go through with the investigation. Born criminals are hard to crack. They are not willing to confess anything that goes against them. For this there are so many unique methods invented to break them. But sometimes it could be fatal for the suspect. There are not any fix rule or manuals for applying these and couple of baneful occasion it becomes a black mark on police administration. In this article we are trying to find such examples and explore what are the possible reason behind this rigorous methodology? Are any worthy aspect or specific criminological background present against its defence? We used several bengali article, novel and memoirs from nineteenth and twentieth century’s bengali literature to collect necessary proofs in respect of this article.
প্রকৃতি চেতনায় মহাকবি কালিদাস : একটি সমীক্ষা
Why Kalidasa is called poet of nature can be understood by reading any of his poems or dramas. Mahakavi Kalidas has used the nature effectively in his poetry and plays. He is the true shaper of both inner and outer nature of man. He used the nature sometimes as a mood, sometimes as a stimuli and sometime only as an illustration. ‘Rtusamhara’, ‘Raghuvamsa’, ‘Kumarasambhava’, ‘Meghaduta’, ‘Abhijnanashakuntala’ - everywhere there is an identity of his love of nature, the extreme closeness of human life to nature. In “Rtusamhara, he has shown the variation that comes in human life with the variation of season. In ‘Raghuvamsa’, the poet shows his love for nature in the description of natural scenes like frothy ocean, green forest etc, and also the love of hero and heroin in the braking of the sea waves. In describing of the wonderful beauty of Himalayas in the first canto of the epic ‘Kumarasambhava’, In “Meghaduta” yaksha’s unconscious use of cloud as a messenger, in the description of rivers and wonderful beauty of city Alaka – Kalidasa’s love for nature is found. In the drama ‘Abhijnanashakuntala’ also the nature is depicted as one of the main character with other characters like Dushyanta. Sakuntala, Anasuya, Priyambada, Kanva etc. In the words of R.N Tagore, A fairy tale can be written by making nature as a human being and putting words in its mouth but to keep nature as nature and make it so live, so perceptible, so comprehensive, so intimate, to accomplish so much drama by it, which he never seen anywhere else. The nature assumes a central role in all of the Kaladasa’s work. There for there is no fault in awarding Mahakavi Kalidasa as ‘poet of nature’.
সাম্প্রদায়িক দাঙ্গা, দেশভাগ এবং পশ্চিমবঙ্গে উদ্বাস্তু প্রবাহ
The unprecedentedly violent communal riots that broke out in Bengal in August 1946 spread to other Indian Provinces, and the spate continued for about a year. The bloodshed that Calcutta witnessed during the few days of August 1946 has been infamously recorded in the memory and history of the city as the great Calcutta killing. The incidents of the Noakhali riots in East Bengal, on the other hand, were nothing short of a horror. A killing spree accompanied by plunder and abduction occurred across an area of about 200 square miles in Noakhali, and it led to an extremely panicked atmosphere in the district. The pattern of communal violence was similar everywhere in East Bengal, starting from Noakhali, Tipperah and Comilla to Dhaka and Chittagong – looting, forced conversion, abduction of women, killing characterised the violence everywhere. Consequently the anarchy and panic that ensued in East Bengal compelled many flabbergasted families to abandon their homes. Thus, the migration of refugees from East Bengal ensued even before independence and partition. And the relief camps for refugees were also setup during this period and continued to function well after partition. The problem of refugee influx and rehabilitation haunted India for several decades after partition. When communal riots once again broke out in Dhaka, Barisal and a few other districts in East Pakistan from 10 February 1950, a large number of Hindus from East Pakistan crossed the border to enter west Bengal. As contemporary records suggest, Hindus were the ones who suffered damage and deaths in this spate of riots. During the period between partition and mid-October 1948, a large number of refugees migrated to west Bengal. The next two large waves of migration occurred in the winter of 1950 and in the spring of 1952. According to an estimate done by the West Bengal government, about 250, 00, 00 displaced refugees migrated to West Bengal in early 1953. In 1962, after the massacre of minorities in Rajshahi and Pabna in East Pakistan, another 55,000 people got themselves officially registered to migrate to West Bengal. Another large-scale influx of refugees into West Bengal occurred in 1971. Although about 75, 00, 000 refugees migrated to West Bengal during this time, must of them went back to their native land in East Pakistan that eventually became Bangladesh.
পাণিনীয় ব্যাকরণ ও সুপদ্ম-ব্যাকরণের আলোকে অচ্-সন্ধির সূত্রসমূহের একটি তুলনাত্মক সমীক্ষা
Vyākaraṇam is an important part of Vedāñga. In Chāndogya Upaniṣada Vedāñga is called “Vedānāṃ vedaḥ” (7/1/2). Acharya Panini is the brightest star in the studies of Sanskrit Vyākaraṇam. In Rarh Bengal, Supadma - Vyākaraṇam, written by PadmanabhaDatta is one of the Vyākaraṇam studies that is different from Panini’s though based on his ‘Astādhyāyī Vyākaraṇam’. Supadma-Vyākaraṇam was written in 12th century A.D. In some cases, Supadma-Vyākaraṇam, seems to be just a simplified interpretation of some sūtras of Panini’s ‘Astādhyāyī Vyākaraṇam’. This paper presents a comparative study of ‘Ac sandhi’ sutras as interpreted by Panini in his Astādhyāyī and Padmanabhadatta in his Supadma - Vyākaraṇam. Panini in his Astādhyāyī gives the sutra “Akaḥ savarṇe dīrghaḥ” (6/1/101). Padmanabha follows him in interpreting this sūtra without differing from him in any way. Padmanabha’s sūtra in Supadma-Vyākaraṇam is “Akaḥ savarṇe dīrghaḥ” (1/2/2). The both sūtras are the same in form and meaning. Both the sūtras mean that if a ‘savarna’ follows ak (a-i-u-ri-li), then in the place of ak there will be ‘dīrgha ekādeśaḥ’. That means, if an ‘ak’ follows another ‘ak’, both of them will merge and be changed into a single ‘dīrgha swar’. For example ‘danḍāgram’. Here danḍa + agram, the last ‘a’ swar of ‘danḍa’ and ‘a’ swar of ‘agram’, becomes ‘ā’ of ‘danḍāgram’. Again, Panini in his Astādhyāyī has written two sūtras “Va supyāpiśaleḥ” (6/1/92) and “Eñi pararūpam” (6/1/94). But Padmanabhadutta has merged the two sūtras into a single one, in his Supadma-Vyākaraṇam, “Va supa eñādeśca” (1/2/11). Padmanabha has also followed vārtikkāra Kātyāyana. But there are also independent interpretations of the original source. In Pāṇinīya Vyākaranam, we get “śakandhwadiṣu pararūpam vācyam” (vārtika 3632). Padmanabha follows this, and states “śakāderandhwādau” (1/2/24). They are different in form and meaning. Padmanabha has denied ‘Pararūpa ekādeśa’ totally. He says, if words like Śakandhu, follows another word, then the ‘a’ swara of the Ka sound in śaka, lopas. Example- Śakandhu. In Pāṇinīya Vyākarana, Vārtikkāra Kātyāyana “Śakandhwādiṣu pararūpam vācyam”, this vārtika is interpreted as, Śakandhu like words if is at the end of a word, then śaka like words ‘a’ swara as in ka of śaka becomes ‘pararūpa ekādeśa’. For example śaka + andhu= śakandhu. To conclude, Padmanabhadatta has followed Panini in some cases, differed from him, in some other cases, and has independently given his statements in some other cases, in his Supadma-Vyākaraṇam. The main aim of this paper is to comparatively analyse the ac sandhi of Panini and Padmanabha.
নারীবাদী পাঠে নারীর অবস্থান কত ভাবেই না হয়ে ওঠে, সাধারণ প্রতিবেদনের সংগে নারীর প্রতিবেদনের ফারাক কতটুকু তা-ই বুঝে নিতে হয় নারীর আখ্যানে। আমরা পড়ুয়া হিসেবে যতটুকু পাঠ করিনা কেন, পাঠান্তর গত পাঠ পরম্পরায় নারী ভাবনার ভিন্ন রূপ উপস্থাপিত হয় নারীর প্রতিবেদনে। অন্তত, পাঠক হিসেবে পড়তে গিয়ে এই অনুভবে পৌঁছাই। পুরুষ মানুষের প্রতিবেদনের সাথে নারীর প্রতিবেদনের পাঠ, জীবন অভিজ্ঞতার কতই যে খুঁটিনাটি উপস্থাপিত হয় তার-ই আলোকপাত রয়েছে এই নিবন্ধের প্রতিবেদনে। লেখিকা একজন নারী হয়েও মেয়ে মানুষের জগৎ ও বীক্ষণকে কত ভাবেই যে দেখেছেন; নারীর কতই যে না বলা কথাকে দ্বিধাহীন ভাবে উপস্থাপন করেছেন, এই নিবন্ধে তার-ই এক ভিন্ন পাঠের প্রতিক্রিয়া রয়েছে।
রাষ্ট্রচিন্তায় ‘ব্যক্তি’ ও ‘সমষ্টি’ : বিবেকানন্দের ‘ব্যক্তিস্বাধীনতা ভিত্তিক সমাজতন্ত্র’-র একটি অনুসন্ধান
ব্যক্তির জন্য সমষ্টি, না কি, সমষ্টির জন্য ব্যক্তি— রাষ্ট্র চিন্তা বরাবর এই প্রশ্নকে কেন্দ্রে রেখেই আবর্তিত হয়েছে, হয়ে চলেছে। ইতিহাস এ সাক্ষ্যই দিচ্ছে যে, একইসাথে ব্যক্তি ও সমষ্টির উপর সমান গুরুত্ব আরোপ পাশ্চাত্যের রাষ্ট্রচিন্তায় খুঁজে পাওয়া অত্যন্ত কঠিন এবং ভারতীয় রাষ্ট্রচিন্তায়, উপমহাদেশের ইতিহাস জনিত কারণে, এই জাতীয় ভাবনার যথার্থ প্রেক্ষিতই তৈরি হয়নি। এমনকি, বাংলার নবজাগরণের যে যুক্তিবাদ কিংবা মানবতাবাদের ধারণা, স্পষ্টভাবেই তা কিন্তু ব্যক্তিস্বাতন্ত্র্যবাদের পরিসর তৈরি করেছে। কিন্তু ব্যতিক্রম যে ছিল না, তা নয়। স্বামী বিবেকানন্দের ভাবনায় সেই ব্যতিক্রমী ভাব পাওয়া সম্ভব। একদিকে নবজাগরণ এবং অন্যদিকে শ্রীরামকৃষ্ণ তথা প্রাচীনভারতের ‘oneness’ এর বোধ যার সত্ত্বা নির্মাণ করেছিল, সেই বিবেকানন্দ কিভাবে ব্যক্তি ও সমষ্টিকে একে অপরে পরিপূরক ভাবেন এবং কেন তিনি একটিকে অন্যটির জন্য অপরিহার্য্য বলে মনে করেছেন তার বিস্তারিত আলোচনাই এই প্রবন্ধের উদ্দেশ্য।
সলিল সেনের ‘নতুন ইহুদী’: উদ্বাস্তু সমস্যার এক করুণ আলেখ্য
The partition is one of the biggest curse in Indian and Bengali life.This divission brought dire consequences to the lives of common people.One of the consequences of this partition is refugee problem.This problem also forced economically well-off families to fall by the wayside. Salil sen’s ‘Natun Ihudi’ is one such play written on the thorny issue of refugee.The common people of East Pakistan who suffered various atrocities due to partition are known as ‘Natun Ihudi’ in this play.Standing in the midst of decaying values Manamohan Bhattacharjee’s family moves to kolkata in search of new light and new hope. The dramatist has presented a pathetic and realistic picture of the refugee problem by focusing on this one family, showing the suffering of ordinary people like Manamohan Bhattacharjee.The main article will focus on the refugee problem based on ‘Natun Ihudi’ play.
সিকান্দার আবু জাফর : স্বাধীনতা-পূর্ববর্তী কবিতায় সমাজচেতনা
সিকান্দার আবু জাফরের কবিতায় যুগ সচেতনতা ও সাধারণ নিপীড়িত প্রলেতারিয়েত মানুষের সাথে একাত্মবোধ, তাঁদের প্রতি মমত্ববোধ সিকান্দার আবু জাফরের কবিতার প্রাণ সজীবতার কেন্দ্র বিন্দু। জীবনের বাস্তবতা ও ব্যঙ্গতা ও কৌণিক ঈর্ষা, অস্থিরতা, রাজনৈতিক ও সামাজিক হীনম্মন্যতা কবি সিকান্দার আবু জাফরকে সব সময়ের জন্য মনোপীড়নের দ্বারে দ্বারে ঘুরিয়েছে। সিকান্দার আবু জাফর জীবন এবং বাস্তব ভিত্তি ভূমির ওপর নির্ভর করে সবসময় পথ চলতে চাননি। তিনি মানুষের কাছাকাছি যেতে চেয়েছেন; তিনি বুঝতে চেয়েছেন প্রকৃতির প্রকৃত সত্যকে। তিনি উপলব্ধি করেছেন মানুষই আসল সত্য। স্বাধীনতা-পূর্ববর্তী কবিতায় সিকান্দার আবু জাফর সেই সব সত্যের প্রতিফলিত রূপকে বাস্তবের ভূমিতে প্রতিষ্ঠিত করেছেন। যা প্রবন্ধে আলোচিত হবে।
‘এপার গঙ্গা ওপার গঙ্গা’ : দাঙ্গার এক অনালোকিত ইতিকথা
যে কোনো শাসকই শাসিতের ওপর আধিপত্য বিস্তার করার জন্যে নানা কূটকৌশল অবলম্বন করে। পরাধীন ভারতের শাসক ইংরেজরাও এর ব্যতিক্রম নয়। তারা সর্বদা চেষ্টা করত হিন্দু-মুসলমান দুই সম্প্রদায়ের মধ্যে দ্বন্দ্বের জাল ছড়িয়ে দিতে। ফলে এই দুই সম্প্রদায়ের মধ্যে একটি ব্যাপক দূরত্ব তৈরি হয়। আর এই দূরত্বই ফাটলের আকার ধারণ করে ১৯৪৬-১৯৪৭ সালে। ১৯৪৬ সালে দেশে যে দাঙ্গার উত্থান ঘটে তাতে দুই সম্প্রদায়ের মানুষেরই প্রাণহানি ঘটে। ঘর-বাড়ি ধ্বংসও, সম্পত্তি লুণ্ঠন, জন্মভূমি ছেড়ে পলায়ন, খুন ও আর্ত মানুষের চিৎকারে সেদিন ভারি ভারি হয়ে উঠেছিল ভারতের আকাশবাতাস। বলা বাহুল্য এই রাষ্ট্রিক ও মানবিক সংকটকালে সবচেয়ে বেশি নির্যাতন ও অত্যাচারের শিকার হয় নারীরা। কত নারী যে সেদিন ধর্ষিত হয়েছিল তার সঠিক হিসেব জানা নেই। কেউ আবার সম্মান রক্ষার্থে কুয়োয় পর্যন্ত ঝাঁপ দিয়ে আত্মহত্যা করতে বাধ্য হয়েছিল। এই সংকটকালে চুপ করে থাকেননি সংবেদনশীল সাহিত্যিকরা। তাঁদের লেখনী হতে একে একে উঠে আসে বহুবিচিত্র বেদনাতুর আখ্যান। ঔপন্যাসিক জ্যোতির্ময়ী দেবী এই সংবেদনশীল লেখকদের মধ্যে অন্যতম। তাঁর ‘এপার গঙ্গা ওপার গঙ্গা’ উপন্যাসটিও দাঙ্গার প্রেক্ষাপটে নির্মিত। তবে তিনি এখানে আমাদেরকে দাঙ্গার এক অনালোকিত ইতিকথার দৃশ্যের সঙ্গে পরিচয় করিয়ে দেন। খুন, লুণ্ঠন, ধর্ষণ, প্রাণে বাঁচার তাগিদে স্বদেশ ছেড়ে পলায়ন কিংবা জন্মভূমিকে আঁকড়ে ধরেই বাঁচতে চাওয়া ইত্যাদি দিকগুলি নিয়ে অসংখ্য গল্প-উপন্যাস নির্মিত হয়েছিল এবং হচ্ছেও। কিন্তু দাঙ্গাকালে যে মেয়েটি হিন্দু কিংবা মুসলিম পরিবার আশ্রয় নিয়েছিল, দাঙ্গা শেষে সেই মেয়েটি কি তার পরিবারের কাছে ফিরে যেতে পেরেছিল? যদি সে ফিরে না যায় সেক্ষেত্রে তার কী পরিণতি হয়? আর যদি বা তাকে তার পরিবারের লোকজন ফিরিয়ে নেয় তবে সেখানে কতটা আন্তরিকতা ছিল? নাকি তাকে আবার নির্বাসনের ব্যবস্থা করা হয়? দাঙ্গার এই অনালোচিত দিকটিই এই নিবন্ধে বিশ্লেষণাত্মক পদ্ধতিতে আলোচিত হয়েছে।
শিক্ষার অধিকার বঞ্চিত অন্তঃপুরবাসীদের জীবনসংগ্রাম : প্রসঙ্গ রাসসুন্দরীর ‘আমার জীবন’
Rassundari Dasi was a prominent figure in the field of Bengali literature. Her biography ‘Amar Jiban’ which was written in 19th century carrying the social and historical signs of that era. Women had no right to education at that time, they were assumed to be from bedroom to kitchen. Women’s education was seemed to be a crime in that society. In that era of darkness Rassundari was born. She taught herself by her own unbelievable efforts. Though she had faced a lot of difficulties but her strong mentality was enough to get rid of all the obstacles. In this essay, the author shown the various aspects of difficulties that women faced to educate themselves in 19th century. Besides that it shown how Rassundari get rid of all her difficulties. Her struggle for existence and education inspired us. In modern age also women get many hurdles for their education. But now the obstacles are less comparing to that age. 19th century was a dark period for women education. To find out the background of that era is main intension. If you want to know the modern age, you must understand the dark era of girl child education.
মধুকুপির পরিবর্তমান আর্থসামাজিক প্রেক্ষাপটে দাশু ঘরামি ও মুরলীর সম্পর্কের বিবর্তন : সুবোধ ঘোষের ‘শতকিয়া’
Tempted by the dream of a better, prosperous life, Madhukupi’s peasant Dashu Ghorami’s pregnant wife Murli leaves her husband, her own society, religion and culture for the sake of her unborn child and establishes a new family with a Christian identity in Haranganj. After losing one and a half Bigha of his land by the conspiracy of a local land owner, pauper Dashu tries his best to buy his own land and dreams of having back his wife again with their son but newly emerged coal mines, soil- cutting factories and rail track implantation sites around Madhukupi start employing the villagers as daily wage workers and therefore Madhukupi’s old agricultural economy collapses. Due to the damage of Madhukupi’s natural resources, corruption of landlord and administrators and the new government policy of joint farming instead of farmers’ individual ownership of land drive more and more farmers out of their old occupation and Madhukupi. Dashu’s son does not get accommodation in Murli’s new family and ends up in a Christian orphanage. Ambitious murli marries Dr Richard Sarkar but his impotency deprives her of her conjugal demands and her maternity both. Finally, defeated in the battle of life, Dashu comes to see his son at Haranganj and finds no place for him in Murli’s life anymore. Then he commits suicide.
নারীদের জীবন ও জীবিকার টানাপোড়েনঃ প্রসঙ্গ অমর মিত্রের ‘ধনপতির চর’ উপন্যাস
Amar Mitra a notable popular writer of Bengali fiction. In the last 40 years, changes in villages and cities, changes in life direction, dangerous times and helpless people, various forms of nature have become the subjects of his story and novels. In the novel ‘Dhanapatir Char’, the multifaceted tension of life and livelihood of these endangered people, especially women, has been given a relevant literary form. Dhanapati’s Char is the world of six months. From the end of Ashwin to the beginning of the month of Chaitra this Char is under Dhanapati Sardar, a descendent of Harmad Pedru. It is said that an ancient tortoise, thousands of years old, sleeps with Dhanapati’s chariot on his back; he is also called Dhanapati. He was Harmad Pedru. Fishermen from the mainland come to the Char to catch fish and dry fish. Destitute like Batasi, Ahalya, kunti, Roma, Purnima, Yamuna, Annabibi from places like Ghoradal, Kultali, Kakdwip, Namkhana etc. of the mainland come to Dhanapati’s Char in search of work; on the otherhand, in search of rice. Separated from husband, separated from family, these women involve their lives with the strange rule of Char. They leave their father, mother, brother, sister, son-daughter and come to posture for six months and get a family with the fishermen. When six months are completed that is, when the fishermen leave the Char, the six months of happiness of these women ends. After the month of Chaitra, the fishermen forgot about the women and live happily and peacefully with their families, but women of Char’s six months can’t easily earase the incident from their mind. The memories of women like Batasi, Ahalya resolve around those six months, about their suffering. Whether it is the Government or the common people, everyone is hesitant about the ownership of Dhanapati’s Char. Although the Government considers this Char as Government-own land, the Sardar Dhanapati consider himself the master or owner of this Char through generations. Traditinally, Dhanapati Sardar is recognisedas Sardar by Fishermen and women. Even here, womanizers like Dasharath Byapari have appeared to supply the daily necessities of the common man. Who under the guise of their own business, with the active support of some people in the administration, have become eager to use six-month working women as consumer goods. Destitute women are sent to Delhi or abroad via Howrah or Sealdah stations. The life stories of these distressed women have been given realistic language in the novel ‘Dhanapatir Char’ by renowned fiction writer Amar Mitra.
কবির উপন্যাসে কবিতার প্রভাব - ‘সেইসব শেয়ালেরা’, ‘সাঁঝবাতির রূপকথারা’ ও ‘প্রেতপুরুষ’
If we look at the prose written by authors who are famously known as poets, we will notice that their novels are directly or indirectly impacted by poetic essence. Here, I have discussed three novels by the eminent poet Joy Goswami. In these novels, there is plenty of evidence to support the fact that when a poet writes a piece of prose (here novel), there will be a poetic impact. It is somehow inevitable. These impacts can be found in the form of words, and sentences & sometimes also affect the syntax. In the first novel, ‘Seishob Sheyalera’ we can see a character named Rajat Sen, who is a professor by profession. This character has very unique characteristics, he is silent, and always looks sad because deep down inside he is a sad person for many reasons. His presence in the poem always brings a vibe of loneliness and gloom. The poet draws this character as a form of an idea that can be related to poetry. The next novel is ‘Sanjhbatir Rupkathara’. In this novel, Joy Goswami created a fantastic lyrical ambiance through his prose. It is more like a poem than a novel. His selection of words and drawings of the characters are literally poetic. The last novel is ‘Pretpurush’. The theme of this novel is really interesting. It says the primitive desire of humankind. The desire of leaving a mark in this world through his child. The narrator, who is anonymous, narrates his life, his pain, and his unfulfilled desire. Joy Goswami describes his desires in a very poetic manner. His usage of words, syntax, and formation of sentences are extremely poetic. If we go through his poem’s we will observe a huge similarity between his poems & literature. Through my work, I have tried my best to show how his inner poet makes a prominent mark on his novels. Sometimes it’s so obvious that anyone can comprehend and sometimes it’s so subdued that one needs to dive deep into his writings to understand the same.
খগেন্দ্রনাথ মিত্রের ‘ভোম্বল সর্দার’ : বৈচিত্র্যের আলোকে কিশোর মনের রূপায়ণ
খগেন্দ্রনাথ মিত্রের একটি অত্যন্ত জনপ্রিয় কিশোর উপন্যাস হল ‘ভোম্বল সর্দার’। চারটি খন্ডে বিভক্ত এই গ্রন্থটির প্রকাশকাল যথাক্রমে ১৯৩৭, ১৯৫৫, ১৯৭৫ ও ১৯৭৮ সালে। গ্রন্থটি চলচ্চিত্রের রূপ পায় ১৯৮৩ সালে এবং ওই বছরই এটি Best Children Film হিসাবে National Award পায়। খগেন্দ্রনাথ মিত্রের ‘ভোম্বল সর্দার’– এক কিশোরের স্বপ্ন দেখার কাহিনি। কিশোর বয়সীদের চঞ্চলতা, সজীবতা, মনের নানান গোপন আঁকিবুকিকে ছবির মধ্যে তুলে ধরেছেন লেখক। ভোম্বল নামের এক মাতৃ-পিতৃ হারা কিশোর, পাড়ার ছেলেদের সে ‘সর্দার’। সমাজের বেড়াজাল টপকে সংসারে কাকা-কাকিমার চোখ এড়িয়ে পাড়ি দেয় দূরদেশে ইচ্ছেডানাকে ভর করে। উপন্যাসের পরতে পরতে কিশোর মনের নানা দিক উঁকি দিয়েছে। ভোম্বলের বাড়ি ছেড়ে হঠাৎ বেরিয়ে এসে দুঃসাহসিক যাত্রার প্রতি ক্ষেত্রেই রয়েছে কিশোর বয়সীদের স্বপ্নউড়ানের গল্পকথা। প্রতিটি অধ্যায়ে এক এক সমস্যার সম্মুখীন হয়ে সে যেমন অভিজ্ঞতার সঞ্চয় করেছে তেমনই সাহসী ভোম্বল কখনো ভয় পেয়ে পিছিয়ে যায়নি তা সত্যিই প্রশংসার যোগ্য। ঘটনাগুলি একের পর এক কিশোর বয়সীদের বৈশিষ্ট্যকে ফুটিয়ে তুলেছে। শুধুমাত্র ভোম্বল নয়, ভোম্বলের একদল দস্যি বন্ধুরাও কিশোর মনের প্রতিনিধি। বলা বাহুল্য এতগুলো বছর পরেও সমানভাবে ‘ভোম্বল সর্দার’ কিশোর মনের দর্পণ রূপে বিবেচিত হয়।
কবিতা সিংহের নির্বাচিত ছোটগল্পে নারীর সামাজিক অবস্থান ও প্রতিবাদী কন্ঠস্বর
Kavita Singh was one of the literary figures of the fifties of the 20th century. Mainly known as a poet, her steps were also strong in the field of friction. As a woman, Kobita Singha’s childhood, domestic life and career were filld with varied experiences and toughchallenges. Tolerant of father's strong dominating character, bearer of mother’s unfulfilled dreams, ‘member of husband’s bureaucracy’, Kobita Singha has therefore time and again explored the current problems of girls in the society and ways to overcome them through struggle. Often in radical feminist perspectives, the issue of portraying women as opposed to patriarchy in literature or other media is entwined with ideological power struggles. But Kobita Singha has remained completely neutral in the construction of her female characters. As we see depicted in the works of Virginia woolf’s fan Kavita Singha, the dangerous condition of women in the society, torture, physical and mental exploitation; similarly, there is a form of artificial covering in the name of women's independence. Along with this, theirself - establishment, self - relience and rights acquisition, fierce protest against torture and strong confident voices were established through the struggle against all these adversities. At the time Kavita Singha wrote her literary works, modern feminism of the Western world had not yet awakened. Yet what interests us is how women in her stories have become aware of their position, able to express their own opinions and decisions, or at least try to do so. Therefore, in this article, we have tried to find the social position of women and the progressive tone of protest in the selected stories of Kavita Singha.
নারায়ণ গঙ্গোপাধ্যায়ের ছোটগল্পে প্রেম ও মনস্তত্ত্ব
Narayan Gangopadhyay is a poet, novelist, short story writer and literary critic. At one hand he has shown the society in his short stories, also the love and psychological conflicts of the men and women in the society have also come up as well. The author has been able to express what he has gained from his real life experience and feelings in his writings. In his story, nature and love become one. Not only the marital relationship but also the complexity of the relationship, emotional conflicts, doubts, has developed the story of breakup in the literature as well as the atmosphere of the new path has been created with these. He has shown his uniqueness in each short story. His story lacks the exuberance of romance, no familial-social tug of war, but the sharp appeal of the subject matter becomes resonant through his narrative quality. An underlying pity touches the reader’s heart with a silent but deep sparkling. The stories are coordinated in the thick weave of word-language-description. The interweaving of emotions, reality, civility with the plot makes the short stories engaging, unique and rich in art, which are palatable to the inquisitive reader. The principal quality of the author is prominent in each of his easy-telling stories, the suffering, degradation, breakdown of values of contemporary society and individual– his short stories reveal the truth like the sharp sword in every subject.
Even though the tribal and tribal people living in the society are not compatible with the polite society, these people are the blossoming flowers of Mahasweta Devi’s pen. Mahasweta Devi is a painter of marginal public life. He carried the ‘Honorless Section’ of the society in his writings. He is a personality who has embellished his creation world with people from the Dalit and tribal sections of the society. Almost all parts of his works are full of slanders of backward people. He wrote a number of novels about mid-life sorrows and desires towards the early stages of his career as a writer, he opined – ‘Then I learned to write’. His own words – ‘I learned to write and write again’. He had to endure many hardships and pains to create the world of literary creation. Besides, many sacrifices have to be made. Intermingled with them over the years to get to know the tribe of society. Not only from the outside, he has visited the Dalit-tribes of the society. Mahasweta Devi became to them ‘Marangdai’ (Grandmother) and Mother. In return, he gave his identity. This is almost impossible for any writer to do. Naveen told Kishore in an interview that while working among the tribals, he broke the middle-class stereotypes, did not follow the so-called social norms, and lived his life independently. Once his work on tribals and his literary creation became one, the two can no longer be separated from his life. Writer Amar Dey said in this regard – “I think, we have to enter Mahasweta’s literature on this basis.” We do not know, never wanted to know, a large population of tribal society in India. Instead of being indifferent to them, I mocked and mocked them. They are repeatedly persecuted, oppressed, displaced and separated from the land. Even after the independence from the British era, the trend continues equally. We have to sit in a stupor after reading that history in Mahasweta’s story.’’ Mahasweta Devi writes about the backward classes of people in the society. He writes about neglected, oppressed, neglected, deprived classes. There is no doubt about it. The tendency to submerge the mind and eyes further down beyond the middle class of the society is as if it is the right of his blood forever. This time we will enter into the discussion about how Mahasweta Devi has portrayed the lower class life in selected short stories written about the lower class people. A class of people are being exploited, abused, neglected, oppressed every moment. They are fighting all their lives just to survive. It is unimaginable how hard one has to struggle for a handful of rice and salt. In the story of Mahasweta Devi, the subject of ‘rice hunger’ has repeatedly appeared. No writer seems to have used the same subject so many times. This shows that in his rice-centered story, Anna-Bubhukshu people also made rice which is dedicated to the dead in the shrine. Where food is not acceptable according to Shastri’s rules, but the hungry people did not obey that rule. Some notable short stories in this regard are – ‘Bhat’, ‘Mother of the Evening Morning’, ‘Jatidhan’ etc.
মানিক বন্দ্যোপাধ্যায়ের ‘দুঃশাসনীয়’ থেকে নারায়ণ গঙ্গোপাধ্যায়ের ‘দুঃশাসন’ : একালের দ্রৌপদীর আত্মকথা
Manik Bondyopadhay’s (1908-1956) 'Dushasaniya' and Narayan Gangopadhyay's (1918-1970) 'Dushasana' are two stories written in the context of famine, depression, inflation, black market and above all, the terrible clothing crisis. Both the stories show how the tragic death of humanity in a society plagued by economic exploitation has created a distressing shortage of clothing.The names 'Dishasaniya' and 'Dushasana' are very similar. Dushasana means misrule or oppressive rule, and the mythological connection of Dushasana, the second son of Dhritarashtra of Mahabharata, also comes here. When Draupadi was disrobed in divan in Mahabharata, Krishna appeared and saved Draupadi's shame. In 1943-44 AD, the group of smuggling misrule took away the clothes of many Draupadis of Bengal. Adharma was destroyed by the religious war of Mahabharata, misrule died but now there are no more religious wars, and no one punishes misrule. No one comes forward like Shri Krishna and removes the shame of mothers and sisters. All around is the reign of bad breath. That extreme disrespect of womanhood is mentioned in Manik Bandopadhyay's 'Dushasaniya' and Narayan Gangopadhyay's 'Dushasana'. The story of the two stories is different but the context is the same. Although the horror of the cloth crisis is shown in 'Dushasaniya', a protesting voice is heard in the story, a murmur of resistance is heard in the story.
সাহিত্যের পটভূমি লেখক রুচিভিত্তিক। কালের ক্রমাগত এগিয়ে চলার সাথে সাহিত্যিকের জীবন অভিজ্ঞতারও ক্রমবিবর্তন ঘটে। কালের গতি নিয়ন্ত্রক কোনো কৌশল নেই, এ পর্যন্ত তৈরি হয়নি। সব সময় না হলেও কখনো কখনো সাহিত্যে কালের চিহ্ন স্পষ্ট হয়ে উঠতে দেখা যায়। রবীন্দ্রনাথ ঠাকুরের ছোটোগল্পের বিস্তৃত প্রেক্ষাপটে বিচিত্র জীবনসত্য ও সমাজসত্য, লেখকের জীবনদর্শন সমকালের প্রেক্ষিতেই ধরা পড়েছে। পরাধীন ভারতের রাজনৈতিক গতিপ্রকৃতি ও কর্মকাণ্ডের চিহ্ন, বঙ্গভঙ্গ আন্দোলনের প্রত্যক্ষ প্রতিফলন বেশ কয়েকটি গল্পের কায়াগঠন ও ভাবধারণ করেছে। এছাড়া প্রতিদিনকার চলমান জীবনের ভাষারূপ তাঁর গল্পের অন্যতম বিশিষ্টতা। সমকালের পটে যে জীবনের বর্ণনা, যে মানবিক অনুভূতির সুললিত কাব্যিক বর্ণনায় রবীন্দ্রনাথের ছোটোগল্প সমৃদ্ধ তার আবেদন কোনো দিনই তাৎক্ষণিকভাবে ফুরিয়ে যাবে বলে মনে হয় না। বিশিষ্ট ভৌগোলিক পরিবেশে, বিশিষ্ট সামাজিক পরিকাঠামোতে, বিশিষ্ট রাজনৈতিক পরিমণ্ডলে রবীন্দ্রনাথ যে ছোটোগল্পগুলি লিখেছিলেন তা বর্তমান কালেও পাঠকসমাজের কাছে খুব সমাদর পেয়ে থাকে। এই পাঠক মনোরঞ্জক বিশেষ বৈশিষ্ট্য থাকার কারণে রবীন্দ্রনাথ ঠাকুর বিরচিত ছোটোগল্পের সাহিত্যমূল্য কোনোভাবেই কম নয়। আগেই উল্লেখ করা হয়েছে, ছোটোগল্পকার রবীন্দ্রনাথের ছোটোগল্পের প্রেক্ষাপট বিস্তৃত। বিস্তৃত এবং বিচিত্র। দেশকালের বিচিত্র যে বিষয়গুলি রবীন্দ্র ছোটোগল্পের উপজীব্য তার মধ্যে পল্লিবাংলার সমাজ, জীবনচিত্র বেশি মাত্রায় প্রতিফলিত হয়েছে। বাংলার নদীমাতৃক রূপ, নিসর্গ, মানব বৈশিষ্ট্য, পারিবারিক কাঠামো, শিক্ষা, সংস্কৃতি, লোকবিশ্বাস, লোকসংস্কার, ধর্মীয় আচার-বিচার, মানবিক উৎকর্ষ, প্রেম, বিরহ, মিলন, নির্মল হাস্য-কৌতুক, নারী প্রগতিমূলক চিন্তা-ভাবনা – এককথায় বাংলা ও বাঙালি জনজীবনের সার্বিক জীবন-ধারা রবীন্দ্রনাথের ছোটোগল্পের ছোটো ছোটো আয়তনে একটু একটু করে ধরা পড়েছে। সেই কারণে তাঁর ছোটোগল্পের নানা রকমের শ্রেণীবিভাগ করা যায়। পূর্বে অনেক বিশিষ্ট সমালোচক যুক্তি-বুদ্ধি প্রয়োগে সেই কাজ করেছেন। রবীন্দ্রনাথের ছোটোগল্পের সার্থকতা বা সাফল্য এবং অসার্থকতা বা বৈশিষ্ট্যের রকমফের বিষয়ে আলোচনা, চরিত্র বিচার, বর্ণনার ভালোমন্দ বিচার এ ধরণের কোনো উদ্দেশ্য আমরা রাখছি না। সমকাল অর্থাৎ রবীন্দ্রনাথের গল্প রচনার সময়ের চিহ্ন কতটা তাঁর গল্পে প্রতিফলিত হয়েছে তার অনুসন্ধান আমাদের কাম্য বস্তু। তবে নির্দিষ্ট ও নির্বাচিত কোনো ছোটোগল্পের তালিকা এক্ষেত্রে পূর্ব থেকে নির্ণয় করা থাকছে না। সমকালের প্রতিফলনে রচনা বাস্তব তথা জীবন্ত হয়ে ওঠে। রবীন্দ্র ছোটোগল্পের শরীরে সমকালের যে চিহ্ন রয়েছে তা তাঁর কালচেতনারই বিশিষ্ট ও শৈল্পিক নজির।
সমাজ এবং একটি মেয়ের জীবনসংগ্রাম ও জীবনভোগের খণ্ডচিত্র : বিভূতিভূষণের ‘বিপদ’
Bibhutibhushan's writing is marked by a holistic appreciation of Nature in her affectionate pesonage and her relationship with the intricacies of human mind. Experiences enrich the mind of the men of letters. Their writings drink deep from both the wells of these experiences and their imagination. Bibhutibhushan created some dreamy and surreal settings for his works where his protagonists live in close proximity of Nature. Their friendship and harmony with Nature are unquestionable. His works dwell on the simple, daily, apparently insignificant experiences of common people. Many of his short stories focus on the lives of simple villagers amidst the lush flora and fauna of rural Bengal. These writings calm the mind of the reader. But he also, as a conscious observer of human condition, portrays the ambiguities of the social life of rural Bengal. Bibhutibhushan has narrated in this story of a teenage married girl, who is also a mother, grown up amidst Nature, who is forced to take on the life of a prostitute under dire circumstances. This paper questions whether is it normal for a girl to accept prostitution as a job biding adeu to her past life? Can prostitution ever be a voluntary choice as a profession? Or, can morality have a place where the very physical existence is minimized to abject penury? This paper intends to create a space of discourse relating to these questions with a close analysis of Bibhutibhushan's short story "Bipod".
Kashi is attributed as the cultural capital of India. From time immemorial, the Bengali community share a soulful relationship with this holy city situated beside the Ganges. It is one of the few cities of the world having more than one name, that is Kashi, Banaras and Varanasi. It is not only sacred to the Shaiba, Sakta, Vaishnab sects of the Hindu religious community but also holy to the Jain and Buddhist faith. Sarnath located near this city is regarded as one of the holy sites by the Buddhists. One will find the reference of Kashi in Bengali literature for a long period of time. Kashi have been the theme and setting in the writings of Bankim Chandra Chattopadhyay, Rabindranath Thakur, Sarat Chandra Chattopadhyay, Prabhat Kumar Mukhopadhyay, Bibhuti Bhushan Bandyopadhyay, Ashapurna Debi etc. We find the appearance of Sarat Chandra Chattopadhyay in the literary scene in the first half of twentieth century. The society then was full of rituals such as polygamy and child marriage which compelled women to become widows at a very young age. Moreover, it was highly difficult for the women folk to remarry which is why they lived a secluded life in the Ashrams and Dharamshalas of Kashi. A section of these widows followed prostitution. It can also be observed that few early aged widows used to leave their houses and used to elope with their lover. The very same widows used to come to Kashi in order to shed their sins after they used to be rejected by their lovers. Apart from these instances, women both widowed and married used to live their remaining life in Kashi to attain salvation. Sarat Chandra Chattopadhyay illustrated these women and their stories in his novels and short stories with acute sympathy. With time our society evolved. Today a widow does not require to live in Kashi but the Mutts and Ashrams exists still. These institutions of Ashrams and widowhouses carry the legacies of Bengali diaspora. Even today Kashi is highlighted as a centre for education, spiritualism and tourism in Bangla literature.
বঙ্কিমচন্দ্রের সাম্য ভাবনায় পৈতৃক সম্পত্তিতে নারীর সমানাধিকার : অধিকারের বিবর্তন ও তাঁর ভাবনার আইনি স্বীকৃত
From ancient times to modern times – just as the social status of neglected women in society has changed, so have the economic rights. The idea that the quality of life both of men and women need to be improved for the real progress of society – has become increasingly entrenched. Therefore, many initiatives have been taken to eliminate the discrimination between men and women in various fields. The Indian Constitution also mentions the establishment of equality by eliminating discrimination between men and women. Article 14 of the PART-III of the Indian Constitution provides for equality before the law and the right to equal protection under the law and Article 15 for the elimination of discrimination irrespective of caste, religion and gender. Since ancient times, men have had rights to property, but women did not have. The idea was ingrained in society that women should live under men. However, with the evolution of time, women’s rights to property have also been recognized. Women’s rights to ancestral property have also been recognized. But it was not easy. In ancient times only unmarried daughters had rights to ancestral property, married or widowed daughters did not. In the Middle Ages unmarried daughters as well as married daughters were given life rights to ancestral property. Although women were given some rights to ancestral property in ancient and medieval times, they were not given equal rights as sons. For the first time in making modern India: Bankim Chandra Chattopadhyay, in his essay ‘Equality’, talked about eliminating the inequality between men and women in other fields as well as eliminating the inequality between men and women in ancestral property. Various laws are made in this regard. Finally, in 2005, The Hindu Succession Act (Amendment) established women’s equal rights to ancestral property. However, due to the ambiguity of retrospective effect in the 2005 Act, cases were subsequently filed in various courts in India. Different courts had given different verdicts on this matter. However, this issue was resolved in the Supreme Court. In 2020, the Supreme Court resolved all these issues in a case verdict. Women’s equal rights to ancestral property are legally recognized. Bankimchandra’s idea also got legal recognition.
মহাভারতের সাহিত্য-মূল্য নিরূপণে রবীন্দ্রনাথ
The literary value of the Mahabharata in Rabindranath Tagore's view is the main topic of this discussion. The Mahabharata is one of the greatest ancient literary texts, which spread their influence on the creations of a much later period, overcoming the boundaries of space and time. It also takes on new forms for various critics. Rabindranath Tagore is an important figure in the criticism of the Mahabharata in twentieth-century Bengali literature. He discussed this epic from many different angles. Rabindranath didn’t write a single essay on the Mahabharata, but scatteredly he delivered many remarks about this epic. As literature it was criticised by him in his many essays and letters. Rabindranath’s remarks on the Mahabharata’s literary value have some important points. These are like the Mahabharata’s genre, technique of creation, characters, inconsistencies, impolations etc. These points have been focused on in our discussion. Rabindranath, in his book ‘Adhunik Sahitya’, said that he had judged Mahabharata as historical poetry. And indirectly he judged it as an epic also. According to Rabindranath, the Mahabharata’s structure is very strong. He appreciated the Mahabharata’s technique of creation. Rabindranath discussed the Mahabharata’s characters in his many essays and letters. He did a comparative analysis between the Mahabharata’s characters and modern Bengali novel characters. He thought that, the Mahabharata’s characters were not as perfect those in the modern Bengali novels. But in spite of that, Mahabharata’s characters must survive year after year. Rabindranath judged the Mahabharata’s inconsistencies from the perspective of literary criticism. His view about the Mahabharata’s later impolation was very scientific. According to him, it would be better if the original form of this epic could be discovered. He thought that the operation should be done by an objective researcher. These points have been discussed in detail in our essay. Generally, Rabindranath’s philosophical view about the Mahabharata is too much discussed. But he looked over this text as literature, too. He is one of the most important literary critics of the Mahabharata. Rabindranath’s literary view of the Mahabharata is a very important topic to discuss.
In Advaita Vedanta, Brahman is recognized as the only transcendental substance. Advaitavedanti calls all beings identical with Brahman. Advaitivedanti does not call the fiery world that the living being experiences in its four sides as the transcendental good substance. Advaita considers the world as the third type of falsity, separating it from good and bad matter. If the world were a second transcendental good substance other than Brahman, then non-dualism would not be possible. The falsity of the world is necessary for the sake of advaita siddhi. If the world evolves from a good substance, then the world will also be a good substance, but for Advaita Vedanti, the falsity of the world is necessary, so Advaita admits ignorance as a false material cause of the world. Such ignorance is also the subject of Advaita Vedanta's 'Prithak Prasthan' or extraordinary theme. All the Advaitacharyas have accepted the falsity of ignorance as the false element of the world, but there is a difference of opinion among the Advaitacharyas on the question of where ignorance resides and what is the subject of ignorance. Among the three main branches of Advaita Vedanta, Brahman is accepted as the refuge and subject of ignorance in the Bharsa branch. On the other hand, the Bhamti sect accepts Jiva as the refuge of ignorance and Brahman as the subject of ignorance. And it is in this context that Acharya Shankar in his Brahmasutra Commentary on the Third Sutra of Anumanikadhikaran has defined the refuge and subject of ignorance. This article is intended to reveal how Acharya Shankar defined the refuge and subject of ignorance.
বিদ্যাসাগরের ‘বেতাল পঞ্চবিংশতি’ : রূপতত্ত্বের আঙ্গিকে
“Āmāra kathāṭi phurālō Naṭē gāchaṭi murālō.” Among other forms of folklore are folktales; And a special element of folklore is the fairy tale. A link to the nursery rhyme mentioned above can be seen in the fairy tale, which takes the child to the kingdom of kings-queens, fairies, demons, bangama - bangami. But these folk tales or fairy tales are born during the discovery of creation. They were created by humans for his entertainment as well as to keep alive his own experience and self-belief. Meaning of fairy tale means – unrealistic fictional story. But the purpose of a fairy tale is to highlight the reality hidden behind the metaphor. Fairy tales are a medium to make a complex subject simple to children. Every fairy tale has some message, which gives children an idea about the present social system. Another purpose of telling fairy tales to children is to develop their 'imaginary world'. Although folk tales or fairy tales are mainly identified as children's books, it is undeniable that behind the story the deep theory of people’s aspirations and dreams can be seen. We continue to carry this trend of development and expansion of folk culture even today through our literature and culture. Because the perfection of creation is attained, by resorting to ancient traditions. In search of that perfection, Vidyasagar also had to go to the threshold of folk culture, he chose folk tales or fairy tales. 'Betal Panchabinshati' story book translated by Vidyasagar is chosen for this essay. In this essay I have chosen the structure of folktales mentioned by Vladimir Propp to present selected stories from 'Betal Panchbingashti' translated by Vidyasagar. However, a quote by Ferdinand Saussure first comes up in the context of this abstract discussion. The linguist Ferdinand de Saussure, in search of an answer to the question of how language becomes meaning in speech, said – “Language was composed of arbitrary units that were void of concept of meaning until they acquired meaning through system that relied on differences between terms within their larger linguistic and social contexts.” [Source – Internet] It was later applied to folklore by Vladimir Propp in his book 'Morphologia Skazki'. Which was published in 1928. Vladimir Propp's theory is called the ‘Syntagmatic Model’. Because the theory is built according to syntax. In his theory, Vladimir Propp divides the functions of folklore characters into thirty-one units, resorting to certain symbols or codes to express the functions of the characters in the fairy tale and at the same time states that two types of units can be observed in folklore – (a) variable units and (b) invariable units. In this case, although the name and place of the hero and heroine have changed, but Vladimir Propp identified their activity as an unchanging unit. Vidyasagar's attempt to present some selected stories of 'Betal Panchabingshati' translated by Vladimir Propp through the theory of 'Syntagmatic Model'.
মতুয়াধর্মের উত্তরণে মূলধারার বৈষ্ণব ধর্মীয় প্রভাব
Matua is a sect of depressed class of AVARNA Hindus who are Namasudras, a Schedule Caste group. The Movement was launched as a reformation by the followers of SriSri Harichand Thakur. Thakur attained atmadarshan at an early age and would subsequently preach his Darshan in Twelve Commandments. The teaching of Harichand Thakur established education as preceminently important for the adherent and the upliftment of the population the adherents duty, while also providing a formula for ending social conflict. Matua Mahasangha believe in Swayam-Dikshiti (self-realization) through the chanting of Harinaam, i e, chanting the Holy name of God Hari. Harichand stressed the congressional chanting of Lord’s name Kirtan of the sole means to Mukti. His followers in 19th century were enchanted by congressional chanting of Lord Hari, which Bengali called ‘hariname matoara’ giving the sect current name ‘Matua’. So anyone who has faith in the Darshan or Philosophy of God Harichand belongs to the Matua-mahasangha. Gaudiya Vaishnavism had immense influence on this sect. I have tried to discuss the influence of Gaudiya Vaishnavism on the Matua Sect of Bengal in my research paper.
বাংলা মঙ্গলকাব্যে বৌদ্ধধর্মের বিকাশ ও সাহিত্যে তার প্রতিফলন
Although there were no early influences of Buddhism in Bangladesh, the influence of this religion increased by the Pala kingdom. Tolerant of all Indian religions, opposed to caste and casteism system, this religion called all people under their broad umbrella. As a result, the whole common people of Bengal began to accept Buddhism more dearly. Brahmanism was patronized by the aristocracy and remained confined to the upper society. On the other hand, the populist trend of Buddhism dominated the vast masses of Bangladesh and this religion was able to harmonize with the secular religion. These gods and goddesses, who have the joint idols of secularism and Buddhism, they were enshrined in the Aryan nobility and once a time established in the Brahmanical temple. Because of this recognition of folk life, Brahmanism paved the way for its self-expansion. Brahminism combined with Buddhist-influenced secularism and the Mangalkavyas emerged as a literature of this combination. Bangladesh also had good relations with Java during the time of King Devpal of the Pala dynasty. The sculptures found in Java testify to that, such as Shiva Buddha, Vishnu Buddha etc. Charyapada is a book written by the laymen of Tantric Buddhism. Buddhists are also known for their skill in writing logic, medicine, astrology, grammar-dictionaries etc. During this period, there was an improvement in various fields of literature. South India's controversial victor Shilabhadra was a student of Professor Baiakaran Chandragomi, who was taught at Nalanda University. Chandragomi wrote Chandravakarana. Buddhists are known for their skill in writing such as Amar kosha. The Kosh has three organelle stages, like Anga, Anekarrtha and the linga. Many knowledge can be found around these three. Various questions have been raised about this ‘Hindu-Buddhist’ doctrine. At the end of the 19th century, Harprasad Shastri was called the culture of Bengal a ‘Pracchanna Bouddha Sanskriti’. His doctrine created a great stir in the history of Bengali literature and culture. In the history of ancient Bengal, the history of Bengali glory that has been written during the period of expansion of Buddhism in Bengal.
মঙ্গলকাব্যে বাস্তুনির্মাণ, নগর নির্মাণ ও পরিবেশ ভাবনা
In this essay I will highlight how environmental awareness has been seen during the construction of Vastu, Nagar or Temple in the Mangalkavyas. Environmental awareness is a phrase of the modern age that modern people began to think seriously in the second half of this nineteenth century. In the second half of the 20th century, this issue became so important that a world-wide environmental stir was created. This issue of environmentalism has also emerged in medieval Mangalkavya. This issue of environment protection also come up in the context of that time. Although the literature of that time was mainly religious, in several parts of the story the poets have presented various information related to the environment while maintaining their social awareness. Therefore, the relationship between humans and nature-environment has been going on since ancient times and the middle ages is no exception. And of course the issue of ecosystem has also come up.
সমাজ ব্যবস্থার পরিবর্তনে চৈতন্যদেবের উদার ধর্মনীতির অবদান : চৈতন্যচরিত, চৈতন্যভাগবত ও চৈতন্যচরিতামৃত গ্রন্থ অবলম্বনে
ষোড়শ শতকে চৈতন্যদেবের আবির্ভাব সমাজ-সংস্কৃতির উপর প্রভাব ফেলার সঙ্গে সঙ্গে বাংলা সাহিত্যের উপর প্রভাব ফেলেছিল। তৎকালীন সময়ে সাধারণতঃ দেব-দেবীর কাহিনি নিয়ে অলৌকিক কল্পনার ভিত্তিভূমিতে বিচরণ করে আখ্যানকাব্য, গীতিকাব্য, নাট্যগীতি ইত্যাদি সাহিত্য ধারা রচিত হত। ঐ রচনাগুলির মধ্যে সমাজ বাস্তবতার ছবি হয়ত ফুটে উঠত, তবে তা রূপক চরিত্রের মধ্য দিয়ে। তাই রচয়িতার দার্শনিক মনের পরিচয়ও ওই চরিত্রগুলির মধ্যে নিহিত থাকত। চৈতন্যদেবের তিরোভাবের পর বাংলা সাহিত্যে তাঁর ধর্ম ও কর্মজীবন নিয়ে চরিত সাহিত্য নামে সাহিত্যধারার জন্ম হয়েছিল। ঐ সাহিত্যধারায় প্রথম অতিলৌকিকতা, অলৌকিকতার কল্পনার বাতাবরণের গণ্ডী ভেঙে মানবজীবন নিয়ে সাহিত্য রচনা শুরু হয়েছিল আর ঐ সাহিত্যধারায় ফুটে উঠেছিল সমাজবাস্তবতা, ভক্তি নির্মাণের ইতিহাস ও দার্শনিক তত্ত্ব অর্থাৎ মনোস্তাত্ত্বিক ভাবধারার পরিচয়।
ধনেশ্বর রায় এবং তাঁর নির্বাচিত দুটি গানের সাহিত্যিক বিশ্লেষণ
Dhaneswar Roy was born on 28th October 1934 in Alipurduar distric of West Bengal and death on 22nd May 2021. He is an eminent exponent of popular folk song Bhawaiya of Rajbanshi Community’s of North Bengal. He has written more than 1000 of song in different categories in Rajbanshi and Bengali languages. Some of the song is become most popular in entire West Bengal, Lower Assam, and Rangpur region in Bangladesh. He has received various awards including Banga Ratno in 2015, Abbasuddin Award in 1997, Thakur Panchanan Barma Award in 2005, Lalon Award etc. His song “O baidesha bandhu re” is a most popular song in North Bengal. And also “Oki o omor garial firia re aiso a heart touching song in Bhawaiya song. I have tried to discuss his life history and meaning and literary values of his two selected songs.