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
Folklore and culture of the Sundarbans region in the fiction of Jhareshwar Chatterjee/ ঝড়েশ্বর চট্টোপাধ্যায়ের কথাসাহিত্যে সুন্দরবন অঞ্চলের লোকাচার ও সংস্কৃতি
In the eighties, the emergence of Jhareswar Chattopadhyay in Bengali literature. The main field of his literature is the fringes of the Sundarbans. The people's life, culture, traditions, customs, superstitions and local gods and goddesses of this region have come up in his narratives. In fact, these customs and beliefs are intertwined with the people here. Because, in this favorable environment, they remember these worldly gods and goddesses to save them from various calamities. Naturally, Banabibi, Vishalakshi temples are established in various places of this region. Along with this, various rituals were introduced to worship these gods and goddesses. The main purpose of my essay is to show how this culture has been portrayed by Jhareswar Chattopadhyay in his literature.
Aranya Bhabna in the novels of Bibhutibhushan Bandyapadhyay and Buddhadeb Guha/ বিভূতিভূষণ বন্দ্যোপাধ্যায় ও বুদ্ধদেব গুহর উপন্যাসে অরণ্য ভাবনা
In spite of the fact that forest has been the background to many Bengali novels, it was introduced as a character for the very first time by Bibhutibhushan Bandopadhyay, having inculcated in it a unique juxtaposition of forest-consciousness and nature-consciousness. It is something entirely new and different from what the usage has been, not just in his novels, but in the total spectrum of Bengali literature. This thing has been veritably and authentically carried forward by Bandopadhyay's able successor- Buddhadeb Guha. However, in terms of generating nature-consciousness and using it as a character, there is more dissimilarity in the works of Guha and Bandopadhyay than similarity. While to Bibhutibhushan Bandopadhyay, nature is equivalent to God; he found pantheism in nature. Sometimes, nature is portrayed as a beloved, whereas sometimes as a child. By contrast, Buddhadeb Guha saw forest with respect to citizen-consciousness with an intelligent eye. Therefore, in his novels, we encounter psychology, sexuality and desires of women. Although a master investor of the theme of nature in almost all his novels, we find its most effective employment in one of his most acclaimed novels- Aranyak. Keeping the alike things between Bandopadhyay's and Guha's treatment of nature in mind, Aranyak and some of Guha's forest-centric novels are brought together for the sake of comparative discussion.
Appearance of Sidhujatha Character in Satyajit Ray's Detective Stories: An Appraisal/ সত্যজিৎ রায়ের গোয়েন্দা কাহিনিতে সিধুজ্যাঠা চরিত্রটির উপস্থিতি : একটি মূল্যায়ন
Satyajit's literary work is covered by Feluda stories. Satyajit started writing Feluda's stories keeping in mind the juvenile literature lovers, but later it was found that Feluda's readers are not only teenagers, but also adult readers find elements of joy in them. In the thirty-five stories of Feluda series, we meet various characters, but among them, except Feluda, the main characters are, Feluda's assistant cousin brother Topse, Lalmohan Ganguly Mashai and Sidhu Jatha (of Feluda and Topse). We will look at how much the character needs in the story. And at the same time, we will see how deep Feluda's relationship with this inanimate soul is. This person is like a portable encyclopaedia. This old man's extraordinary memory, huge library and generous heart had helped in various ways in the investigations of Feluda. Singleness, apparent anti-social this person only addiction is to reading books, his married life with books. The only purpose of his life is to pursue knowledge. We see all these visions in Satyajit's character; therefore, we have tried to show that Sidhujatha is Satyajit's self-projection to some extent in our overall discussion.
Saratchandra’s ‘Panditamashai’ Novel: Cultural Reflection in Mental Health/ শরৎচন্দ্রের ‘পন্ডিতমশাই’ উপন্যাস : মানসিক স্বাস্থ্যে সাংস্কৃতিক প্রতিফলন
This research paper explores the cultural reflections and mental health implications of Saratchandra’s seminal Bengali novel ‘Panditmashai’ (1914). Set against the backdrop of early 20th century Bengal, the novel explores the complexities of cultural identity, social change and mental health. Through a close reading of the text, historical contextualization, and theoretical frameworks (postcolonial, psycho-analysis, and cultural studies), this study reveals the intersection of culture, identity, and mental health. The hero of the novel is ‘Panditamshai’ i.e. Vrindavan, the son of Gaurdas Adhikari, a resident of Baral village. Bostam was the bearer of the culture of that time. The mentally strong hero Vrindavan also had a mental breakdown at some point. The novel’s heroine Kusum represents the emerging women’s movement and the impact of patriarchal norms on mental health. The characters like Kunj, Keshav, Brajeshwar, Govardhan etc. are representatives of the society of that time and these characters also carry the characteristics of different mentality. The paper examines how the novel reflects the cultural tensions of the time, including the decline of traditional values, the rise of modernity and rigid social hierarchies. The research highlights social expectations, oppression and the mental health consequences of trauma, highlighting the long-term effects of oppression and the need for empathy and understanding to navigate cultural change. This study contributes to existing works in South Asian literature, cultural studies, and mental health, offering a concise exploration of the intersections between cultural identity, and mental health.
Anil Gharai’s Novel ‘Megh Jiboner Trishna’ : The Narrative of Hari Community/ অনিল ঘড়াই-এর ‘মেঘ জীবনের তৃষ্ণা’ : হাড়ি সম্প্রদায়ের ইতিকথা
Post-colonial writer, Anil Ghrai's popular novel 'Megh Jiboner Trishna' is written about the Hari community. The Hari community has been depicted as the roots and reality of the caste system in our society. They are still oppressed. The process of Brahmin superiority and caste distinctions which became permanent in the social formation of Bengal during the Sena period still survives through various breakdowns. As a result, the social status of the Hari community remained the same and untouchability remains in our society. Through the story of Pawan's family's ups and downs, novelist Anil Ghrai is mainly represented in caste-dominated Hindu society who are not allowed to connect with the mainstream of the society. In the narrative of the novel 'Megh Jiboner Trishna', the picture shows the socio-economic condition of the Hari community, for whom there is a separate system, separate provisions in everything. The people of Hari community mainly spend their lives by rearing pigs, selling skins of dead animals collected from Bhagar to moneylenders or selling fish in the market and they lost their social identity.
Social Portrayal of Women in Bani Basu’s Maitreya Jatak/ নারীর সামাজিক অবস্থানের প্রেক্ষিতে বাণী বসুর ‘মৈত্রেয় জাতক’
Buddhism holds a significant place in Indian history, and the social and political aspects of the Buddha’s era form the core of ‘Maitreya Jatak’, a novel by Bani Basu published in 1996. This novel provides a modern perspective on the social and political conditions of Buddha's time, with a particular focus on the lives of women during that period. It critically explores their roles, societal value, and the challenges they faced, both emotional and psychological. The women portrayed in the novel come from diverse social backgrounds. We encounter characters like Bishakha, a woman from a wealthy merchant family; Jitosoma, a famous courtesan; Queen Khema, who becomes a Buddhist bhikkhuni; and Kanha, a female slave. Despite their differing social and economic statuses, the novel delves deeply into the common struggles these women face in a patriarchal society. Their emotional battles and societal limitations are intricately examined. Bishakha, for instance, is a wealthy, educated woman who follows the path of Gautama Buddha. As a devout supporter of the Sangha, she donates generously to the Buddhist community. However, later in life, she realizes that the status of women in society is deteriorating, and many Bhikkhus are becoming idle parasites, evading responsibility under the guise of Buddhism. Jitosoma, a wise and independent courtesan, aspires to live life on her own terms but is ultimately unable to achieve her dream. Apart from Jitosoma, the novel also sheds light on the lives of other courtesans during that time. Kanha, a slave woman, though personally content, believes that there is no happiness for women as a whole and sees no escape from the collective suffering of her gender. Through these characters, ‘Maitreya Jatak’ provides a vivid portrayal of women’s lives over 2,500 years ago, illustrating their social status, the limitations imposed upon them, and the challenges they faced. The novel offers a critical reflection on the rights, roles, and value of women in ancient society, resonating with issues still relevant today.
Kara japaner Itibrita O Rajnoitik Andolone Nari: Prasanga Jaya Mitrer ‘Hanyaman’/ কারা যাপনের ইতিবৃত্ত ও রাজনৈতিক আন্দোলনে নারী : প্রসঙ্গ জয়া মিত্রের ‘হন্যমান’
Author Jaya Mitra is a well-known figure in Bengali literature (1950-). In 20th-century Bengali literature, Jayamitra first appeared in the 1980s. her practicality and sense of life are very sharp, and she writes with sensitivity. ‘‘All practical experience is written together and the author – the construction of both’’, the author states. An Influential development in India’s social and political history was the peasant movement, which began in the West Bengali region of Naxalbari in the seventh decade of the 20th century. The Naxalite movement is the name of the movement that began when young intellectuals and urban students joined forces to declare jihad against parliamentary politics. Numerous authors and poets were connected to the Naxalite movement either directly or indirectly. As a result, numerous literary poems, tales, and novels have been created that center on the movement. Jaya Mitra was a direct participant in the movement and was imprisoned in West Bengal for four and a half years during the 1970s. Kashaldharmi wrote novels and stories based on his own experiences living in prison. In his writing, a variety of real-world encounters are mentioned at life’s turns. In the turbulent 1970s, Uttal was imprisoned without trial for an extended period of time due to his affiliation with the Naxalite movement within the political Communist Party, despite the country’s modern ideals of self-sacrifice for its citizens. Hanyaman, his memoir about his experiences in prison, was awarded the Anand Award. “The present book is not really a memoir of his personal life, but an immense expression of the meaning of the entire human background beyond the limits of individual suffering,” Amitabh Gupta says about his 1994 film “Hanyaman.” Every page of Hanyaman details the ways in which women participated in the Naxal movement, either directly or indirectly. These women’s stories—Ganga, Jayalakshmi, Maya, Hanifa, Itwari—are about life behind bars. Stories about Bapidi, Mala, and Maina are also included. How did each of these women become a criminal or end up in prison? Some of them went years without facing any consequences. According to eyewitness writer Jaya Mitra, although our perception of jails varies from the outside, life inside is very different and, to put it mildly, frightening. You can never imagine if you do not spend a lifetime behind bars.
Urban Life in the Novels of Suchitra Bhattacharjee : A Brief Study/ সুচিত্রা ভট্টাচার্যের উপন্যাসে নগরজীবন : একটি সংক্ষিপ্ত আলোচনা
This paper will discuss the multifaceted nature of urban life in the novels of Suchitra Bhattacharjee. Urban life is the refuge in the novels of Suchitra Bhattacharjee. Since Suchitra Bhattacharjee grew up in the city of Kolkata, it is natural that various issues of urban life come up in her novels. The important aspect of urban life i.e. divorce is the main theme of Suchitra Bhattacharjee’s novels. We notice the reflection of separation in the novels like ‘Ami Raikishori’, ‘Dhusor Bisad’, ‘Ses Belay’, ‘Fire Dekha’, ‘Shyamoli’, ‘Arpita’, ‘Hridoy Atol’, ‘Alo Chaya’, ‘Rangin Prithibi’, ‘Rang Bodlay’ etc. Live together is a common thing in urban life. This theme of live together is vividly present in her novels. We find the context in the novels like ‘Faki’, ‘Chena Mukh Achena Mukh’, ‘Soheli’, ‘Nilghurni’, ‘Hothat Ekdin’, ‘Bhanga Ayna’, ‘Shunno Theke Shunno’, ‘Rangin Prithibi’, ‘Ayna Mohol etc.’ The Naxalite movement that once created a terrible situation in the heart of the city of Kolkata is revealed in a short scale in the two novels ‘Jokhon Juddhoa been reflected in the novels like ‘Bhalo Meye Kharap Meye’, ‘Nandini’, ‘Rangin Prithibi’ etc. Besides, the negative aspects of the acting world are also shown in these novels. These novel show that women are willing to sacrifice their bodies to get a chance to act. The aspect of the conflict between landlord and tenant in urban life is recorded in the novel ‘Aniket’. Apart from this, call girl culture, old age homes, women trafficking, alcoholism, drugs etc. are also reflected in the novels of Suchitra Bhattacharjee.
Born Transgender in Selected Bengali Novels: An Assessment of Traditional Reformation/ নির্বাচিত বাংলা উপন্যাসে জন্মগত হিজড়ে : চিরাচরিত সংস্কারের মূল্যায়ন
Brihannalas have a narrow presence in society and literature since ancient times. As they suffer, neglect, ridicule in the society as well as in literature. Unliberated peoples move, talk and talk about the politics of imposition since time immemorial. The black cloud of incomparable power would cover their whole life, there was not a single drop of sunshine to be seen. They had to live in a kind of exile from human life. As time changes, people's hearts and minds change, so do our perspectives, and with this change, we open the doors of truth and unravel the tangle of mysteries. Crossing the deep path of darkness, I see the light. But that light reaches few people, so most people cannot break the veil of superstition and come out. And do we try to pull the exiled people into the dark well even if we see the light? Rather, we know everything and consider them as human beings instead of raising our hands in a hateful mentality, and we stand by and watch them sink into darkness and help them sink deeper. And the drowning deprived people forget to raise their voices in helplessness, they lock themselves up just to survive and therefore do not fight for their rights, thus spending their lives in a kind of survival and non-survival. Along with the change in people's social mentality, there have been various changes in the novel. From 1947 to the present time, they have been revealed in several writing talents through different characters, fragmented and as a whole. The meaning of living as a member of society as a common man is revealed in their voice. The desire to return to the mainstream of society is still embodied in their hearts. They have transitioned from the hijra life to the good system of medicine. Writing about them is less but not less. Their lives have been captured in the pen of several writers. However, even in novels such as their bratya and aparag dasha in the society, their bratya and aparag dasha have not yet been completed.
The Novelty of Language and Style : In The Context of Kamalkumar Majumdar’s Novel/ ভাষা ও শৈলীর অভিনবত্ব : প্রসঙ্গত কমলকুমার মজুমদারের উপন্যাস
In the 1950s, Kamalkumar Majumdar brought a remarkable innovation to the language of Bengali fiction. He stood apart from the conventional prose style of the time. In his writing, he transcended the material world, journeying into a realm of abstract beauty. He developed a unique sensitivity to words. To grasp his language, one must give importance to every single word, often reading each word multiple times. Readers can easily lose themselves in the romance hidden within his words. His sentences carried complexity, and sometimes they were lengthy. In fact, there was magic concealed within his sentences. He effortlessly juxtaposed Sanskrit words with colloquial dialogue. In this essay, the focus is on discussing the stylistic aspects of his language.
'The Last City': A creative debut/ ‘দ্য লাস্ট সিটি’ : একটি সৃজনশীল আত্মপ্রকাশ
The Bengali novelists of the Brahmaputra region have made a remarkable contribution of the Bengali Literature. Migration, social conflict, resentment etc has already began to a new narrative of Bengali novels. Mridul kanti Dey is a renowned writer in the Northeastern and Bengali literary world. His novel “The Last City” is about the small incidents of life and how Tanushankar involved himself with them. The writer has described in detail how he tried to establish himself from Guwahati city to Kolkata. The novel deals with how the lifestyle of the middle class was affected, especially during the Emergency. Movement politics revolves around the novel and love, family, college life, moving from one city to another, struggling to establish with self-confidence. In this analysis we have tried to find out the uniqueness of this narrative.
Samaresh Bose's 'Bibar': Finding the Form of the Middle Class/ সমরেশ বসুর ‘বিবর’ : মধ্যবিত্তের স্বরূপ সন্ধান
The rise of the Middle-Class in Bengal did not come through a transformative social movement like the industrial revolution in England, this Middle class was generally Calcutta-centric and job-oriented. Independence in 1947 brought with it refugee problem, economic depression, increasing unemployment problem, political disorientation, cultural invasion, degradation of values. As a result of which the Middle-Class society also evolved. In the post-independence period, the Middle-Class Bengali life became more and more complicated and disorientated due to various discriminations, hardships and dilemmas. Samaresh Basu in his novel ‘Bibar’ skillfully portrayed the character of the Middle Class, class mentality, struggle for survival, spiritual and external crisis and multi-dimensionality of characters. In the novel ‘Bibar’, he mainly presents to the reader the incongruous bleak and dark life of the urban Middle-Class of Kolkata. Not only that, the brutality, hypocrisy, unethicality, selfishness, depravity of the Middle-Class have been highlighted through the nameless hero and other characters of the novel.
Dhirendranath Kar’s Novel ‘Ai Lo Tusu’: Divers Perspectives of Folk Culture/ ধীরেন্দ্রনাথ করের উপন্যাস ‘আয় লো টুসু’ : লোকসংস্কৃতির বিবিধ প্রেক্ষণ
Dhirendranath Kar, a resident of Kenjakura village in Bankura district, is a popular writer of Rarh Bengal. A famous novel written by him is ‘Ai Lo Tusu’. The story of the novel is based on the life and culture of the working people of Chhatna area which is adjacent to Bankura. Although they have endured endless misery and proverty throughout their lives, they did not forget their culture. Through Bhadu, Tusu, Jhumur, Baul, Rhymes etc. they have retained the heritage of the folk and local culture alive. These folk songs and rhymes are interspersed with the captivating narrative of the novel in such a way that it will arrest the attention of any reader. Along with the folk songs, the special linguistic patterns of the working class of the region and the regional words used in the language have intensified the reality of the novel. All these points have been discussed at the appropriate place in the main article. The novel narrates how an educated urban comes to work in this rural region and integrates with the lifestyle of the natives, and how he takes initiatives to keep their cultural heritage alive. The writer wants to show that educated intelligentsia should come forward to keep alive the folk culture of rural Bengal which is getting extinct. There is no doubt, that the modern civilization and consumerism have ruined the balance of regional culture to a great extent. Yet, there are some people who live through dire distress, but still cherish folk culture in the core of their hearts. This is the light of hope for us. It is our duty to protect this tradition. Only then the folk culture can be revitalized. This is conveyed by the author in this novel.
Novelist Shankar and Contemporary Bengali Novel/ ঔপন্যাসিক শংকর ও বাংলা জনপ্রিয় উপন্যাস
এখন ‘জনপ্রিয়তা’ নিছক একটা ঘটনা নয়, উপন্যাসের একটি স্বতন্ত্র পরিভাষা। শংকরের বেশকিছু রচনাকে আমরা এই পর্যায়ে ফেলতে পারি। প্রথমেই আসে ‘কত অজানারে’ ও ‘চৌরঙ্গী’র নাম। প্রথম জীবনে লেখা এই দু’টি উপন্যাসের বিচারে মণিশংকর মুখোপাধ্যায় অবশ্যই একজন ‘জনপ্রিয় ঔপন্যাসিক’ বা ‘পপুলার নভেলিস্ট’। পাশ্চাত্যে প্রথম-বিশ্বযুদ্ধ সমকালে উপন্যাসের দু’টি ধারা তৈরি হয়। একটি ‘জনপ্রিয়’ ধারা এবং অপরটি ‘সিরিয়াস’ উপন্যাসের ধারা। খুব নির্দিষ্ট করে বলা না গেলেও সমালোচকরা ১৯১৩ সালটিকে ধরে নিয়েছেন জনপ্রিয় উপন্যাসের জন্মলগ্ন হিসেবে। কারণ ফ্রান্সের ঔপন্যাসিক মার্সেল প্রুস্তের (১৮৭১-১৯২২) ‘আ লা রেশের্শ দুতঁ টেম্প পর্দু’ (In Search of Lost Time) উপন্যাসটি ঐ বছর প্রকাশিত হয়। যার মধ্যে জনপ্রিয়তার বিশেষ বৈশিষ্ট্যগুলো ফুটে উঠেছিল বলে সমালোচকরা মনে করেছিলেন। বাংলা সাহিত্যে ‘জনপ্রিয় উপন্যাস’-এর এই ধারণাটা এসেছে অনেক পরে। তাকে ঘিরে কিছু বিতর্কের অবকাশও তৈরি হয়েছে। প্রথম বিশ্বযুদ্ধের ভয়াবহতায় স্থিতিশীল পারিবারিক কাঠামোতে ভাঙন ধরলো। মানুষ হয়ে উঠলো সংশয়ী। আমরা বেঁচে আছি এটাই হয়ে গেল বিস্ময়! তাই এই সময়ের সিরিয়াস উপন্যাসের লেখকরা জোর দিয়েছেন মানুষের অন্তর্জীবনের ওপর। স্বাভাবিকভাবেই তাদের উপন্যাসশৈলীতে কিছু বদল এসেছে। বদলে যাওয়া সেই ধারার ফসল হল মনস্তাত্ত্বিক উপন্যাস (Psychological Novel), চেতনাপ্রবাহধর্মী উপন্যাস (Stream of Consciousness Novel), উদ্ভট উপন্যাস (Absurd Novel) ইত্যাদি। এই ধরনের উপন্যাসে আগা-মুড়ো-ল্যাজাবিশিষ্ট কোনো গল্প ছিল না। নিটোল গল্পের অভাবই সিরিয়াস উপন্যাসের মূল বৈশিষ্ট্য। ‘আসলে গল্প ব্যাপারটা খুবই জরুরী। কবি ভাবেন শব্দরূপ ও চিত্ররূপের ভিতর দিয়ে, নাট্যকার ভাবেন দৃশ্য চরিত্র। ঔপন্যাসিক ভাবেন গল্পের ভিতর দিয়ে। গল্প ও প্লট সাজানোয় চরিত্রগুলি শক্তি পায়। বক্তব্য দ্যুতি পায়। সবথেকে বড় কথা, ঠিকমতো বলা গল্প শুধু যে পাঠককে জানায় তাই নয়, তাকে ভাবায়ও বটে—ভিতরে ঢুকে পড়তে উত্তেজিত করে। আধুনিক বাংলা উপন্যাস তার সাক্ষী।’ এই ধারার পাশাপাশি আরও একটা উপন্যাসের ধারা আত্মপ্রকাশ করলো। যাকে আমরা ‘পপুলার স্ট্রিম’ (জনপ্রিয় ধারা) বলে চিহ্নিত করতে পারি। অনেকে আবার জনপ্রিয় ধারাকেই সাহিত্যের ‘মেন-স্ট্রিম’ (মূল-ধারা) বলবার পক্ষপাতী। বাংলা উপন্যাস সাহিত্যের ক্ষেত্রে এই ধারণাটা অনেকটা সঠিক। স্বাধীনতা-পরবর্তী পাঁচ দশকের বাংলা জনপ্রিয় উপন্যাস ও মূলধারার উপন্যাসকে আলাদা করা যাবেনা। এখানেই বাংলা জনপ্রিয় উপন্যাস, বেস্টসেলার উপন্যাস, শ্রেষ্ঠ উপন্যাস সব এক হয়ে গেছে। এমনকি শংকরের উপন্যাসও তার ব্যতিক্রম নয়।
শংকরের জনপ্রিয়তা ও সমকালীন অন্যান্য ঔপন্যাসিক
Kalkut-er ‘Shambaw’: mulyabodher obokkhoye jonojagoroner daak/ কালকূটের ‘শাম্ব’ : মূল্যবোধের অবক্ষয়ে জনজাগরণের ডাক
Renowned Novelist Sri Samresh Basu has written a number of travel-novels based on Indian mythology under the pseudonym ‘Kalkut’. The novel, here we are discussing is ‘Shambaw’. This was first published in the 1978 issue of ‘Sharadiya Desh Patrika’. In this novel how ‘Kalkut’ has drawn a mythological character ‘Shambaw’ as a real-life, struggling character and by reconstruction of mythology how the novel has become a contemporary life story, that's the main point of this discussion. Shambaw's novel is based on an insignificant story and character of the Indian mythology, but here Kalkut has been able to reconstruct parts of the mythology from the very beginning. Due to the inevitable curse of his father Sri Krishna, Shambaw came down with terrible disease leprosy. This sudden calamity in the life of the improbable handsome Shambaw, saddens him but does not discourage. He faces destiny. As the father instructed, he patiently moves forward on the difficult path to release from the curse. In this journey, not only alone Shambaw, but also many others leprosy sufferers like him are encouraged by Shambaw to get rid of this disease. Here, Shambaw is presented as an inspiration to those who have lost hopes in their life. The tone of transition from doubt, crisis, despair that were formed in the turbulent political situation of that real time, can be heard in the character of ‘Shambaw’, written by Kalkut. How Shambaw called for soul-searching and great mass-awakening, despite the decline of values of that time by defeating so many obstacles, ​​is the main focus of this discussion.
Mirza Ghalib’s Life and Philosophy in Bengali Novels/ বাংলা উপন্যাসে মির্জা গালিবের জীবন ও দর্শন
Mirza Ghalib was an Indian poet. He primarily wrote poetry in Urdu and Persian. He was a poet in the Mughal royal court, and the Mughal Emperor Bahadur Shah II accepted him as an Ustad. His poetry, letters, and other writings are treasures of Indian literature. Although he was an Urdu poet, he is very popular among Bengalis. Due to Urdu being an official language, there is a long history of Urdu and Persian studies among Bengalis. Although Mirza Ghalib visited Bengal in the early 19th century, the tradition of studying his poetry became noticeable from the mid-20th century. However, this tradition did not stop at translations alone. Novels have been written in Bengali, centered on Mirza Ghalib’s diverse artistic life. These novels present not only his poetry, lifestyle, and philosophy but also capture the essence of his life as an artist. Along with portraying the man and poet Mirza Ghalib, these novels also delve into his era, political situations, and the broader history of the time.
Ashapurna Devi: Symbol of the female entity/ আশাপূর্ণা দেবী : নারী সত্ত্বার প্রতীক
Ashapurna Devi is an embodiment of perfection of a woman in every detail. Women empowerment forms the kernel of her art of writing. Through she remains cooped up with in the four walls of her house and had no formal education, she was the rich seam of knowledge in terms of social education. With the deft touch of her creative thinking every female character has assumed great height. A hallo of identity surrounds her character and puts them on stilts. The character created by ashapurna Devi stand alone among others. Her prolific writing did not stand in the way of her domestic life. As a writer she danced to the beat of a different drummer. A flow of simplicity runs through her writing with elan. In her every story sordid reality in the row stares us in the face. In her writing the strain of Bengalee life finds eloquent expression which is dear to our heart. In the subject on the anvil ashapurna has glorified the female characters through her writing. Through her female characters in her novels she has brought out the best in women. It is an unvarnished truth that in her days she had created futuristic female characters Paving the way for women as to how to model themselves in the society (in future). That the mala and the female are created by the almighty and they are equal in his eyes and no one is no less than other resounds through her works. That the women should have a niche in the temple of honor forms the pith and marrow of her writing. Ashapurna has firsthand experience of the day to day precarious predicament of women. Their wretched condition has been portrayed without mincing matters. To quote her, what I have penned down has been closely watched from the precincts of a middleclass lifestyle. Not only hes she portrayed the life of middleclass women she has also exposed the umpteen number of problems be setting the modern women. In her works a innumerable problems of women comes to the fore but alongside she has guided them as to how to see light at the end of the tunnel. Many distinguished writers have attempted to poetry the life of women but ashapurna Devi was Poles apart. She was fully independent. Independence of women was the keystone of her writing.
IMPACT OF FOLK-CULTURE IN ABHIJIT SEN’S NOVEL 'HOLUD RONGER SURJO'/ অভিজিৎ সেনের ‘হলুদ রঙের সূর্য’ উপন্যাসে লোকসংস্কৃতির প্রভাব
This paper presents a detailed discussion of elements of folk-culture mentioned in the novel “Holud Ronger Surjo” by Abhijit Sen. The novel mentions wish-fulfilling deities such as Kali, Kameswari and Jaher-Than as folk-deities. In terms of folk-festivals, the main popular festival of the tribal Santal community ‘Saharay’ is mentioned. Some rituals are mentioned in the context of this festival. For example, Santal community has a custom of sacrificing rooster, pig etc. to the deity on the occasion of festival and in Namashudra society the ritual of Hari-sankritana is to pray for the peace of the soul of the deceased. Sadhumela is known as folk-mela. The Santal community’s belief in witch-craft in terms of folklore is found in this novel. There are also references to Hindu society’s ban on cow-slaughter and belief in the use of iron. Again, some folk-mantras and medicines are mentioned in this novel regarding the practice of witch-craft. Some Saharay music is introduced in the celebration of the ‘Saharay’ festival. Madal is mentioned as folk-instrument for singing this Songs. Besides, there are mentions of Muri, Khai, Chira and Jaggery as folk-food and Taadi, Pachani etc. as folk-drink. Dhoti is mentioned as a folk-dress. Agriculture, Carpentry, weaving etc. as folk-livelihood and Mural-painting, Woodwork, Mat-craft etc. are mentioned as folk-arts. Kodal, Ax, Da, Henso, Tangi, Lathi etc. are identified as folk-weapons in this novel. In the field of folk-technology, there are references to Dhekki, Dona, Sanko, Wooden-stairs etc. Moreover, various types of folk-languages of the society and some proverbs spoken by the people of the society are mentioned in this novel. All these elements are thoroughly analyzed in terms of the novel’s themes and characters in this paper.
Subimal Mishra is an independent sailor on the anti-establishment path: In thought and language (Based on selected novelets)/ প্রতিষ্ঠান বিরোধিতার পথে স্বতন্ত্র নাবিক সুবিমল মিশ্র : ভাবে ও ভাষায় (নির্বাচিত নভেলেট অবলম্বনে)
Subimal Mishra (June 20, 1943-February 8, 2023) whose name comes first in the list of anti-establishment literary practices. He was proficient in everything from literature, science, philosophy, mythology to history, his ability to coordinate in his writing is proof of this. Subimal Mishra wrote a critique of his own writing. His favorite author was Kamalkumar Mazumder. He was directly influenced by the aggressive language of Kamalkumar Majumder. According to him, the one who can attack the language keeps the language alive. His last advice was 'don't surrender'. He never surrendered himself. From the beginning to the end of his literary career, he wrote only in Little Magazine. Despite repeated invitations, he did not work with any established magazine or publishing house. He did not bow down to any powerful institution. Therefore, in the era of advertising, he did not get much recognition among the readers. He himself was the author, publisher, printer, shipper and bookseller of his books. He has done at least five-six papers in his whole life. Despite his immense love and devotion, he could not save a single one. Subimal Mishra's seventh and last magazine was his own—'Patalgaddi', each issue of which was the last issue. The ‘Pathak Samabaya' was developed completely experimentally. He called his writings non-stories, anti-stories or anti-novels in the case of novels. His main point is that a piece of writing is not just a text, nor is a book just a reading object—it is a whole art. The main themes of his writings are sexuality and politics. His protest against sexual violence. Therefore, even in the protest, the terrible image of sexual violence has emerged. Some say he composed pornography. His writing is unreadable due to the use of vulgar words. If you want to understand Subimal Mishra, you have to leave the conservative mentality. As a special approach, the author has chosen a satirical ironic language. Several other important themes can be noted in his writings— scientific consciousness, love of nature, sense of duty of a conscious citizen, foresight about world politics etc. On the whole, his thinking, use of language and style of presentation have made him a star in Bengali literature. In this article, the uniqueness of his writing is realized by reviewing his two novelets or novela 'Tejashkriya Abarjona' (1980) and 'Adyanta Manush' (1992).
Sharmila Bagchir's 'Anantapunya Atish Dipankar': The Story of a Bengali Monk's Journey to Mahanirvana/ শর্মিলা বাগচীর ‘অনন্তপুণ্য অতীশ দীপঙ্কর’ : এক বাঙালি ভিক্ষুর মহানির্বাণ যাত্রার গাঁথা
In this research article, Sharmila Bagchi's novel 'Anantapunya Atish Dipankar' has been analyzed based on the theory about the characteristics of the historical novel. Sharmila Bagchi had two special reasons for writing this historical novel. In the novel, he has depicted only a part of the prominent Bengali Buddhist monk's divine life. Although it is a historical novel, the novelist effectively displays the long journey of Atish Dipankar, embedding the past-present-future in the narrative. It is not exclusively a journey from one Buddhist Vihara to another rather, it is also a journey of Mahanirvana and the external liberation. The novel gained popularity because of its unique narrative technique that blends various elements, such as internal monologue, descriptive passages, historical storytelling, and philosophical reflections, to create a rich tapestry that reflects the life and spiritual journey of the Buddhist monk Atish Dipankar.
Abul Basar's novel ‘Ekti Kalo Borkhar Rohosso’ : protected Women's lives behind the Veil/ আবুল বাশারের ‘একটি কালো বোরখার রহস্য’ : বোরখার অন্তরালে সুরক্ষিত নারীজীবন
Postmodern novelist Abul Basar has presented the muslim life and society of Bengal. He has narrated the unenlightened world of women in the narrative of the novel ‘Ekti Kalo Borkhar Rohosso’. the veil is related to the main story of the novel where the society cannot guide the raped girl. but the practice of veil in her everyday life provides a way of living. although the veil plays an unfavorable role in the human development of femininity in muslim society. This veil allowed women to live without a society surrounded by a hundred prohibition. This veil also played a great role in the life of hindu women. Here the writer's ideology has opted for an openly supportive role. The veil has also played a crucial role in the connotation of harmony.
An analysis of the origin of the Bengali novel trilogy genre and the importance of time in the novel trilogy/ বাংলা উপন্যাস ট্রিলজি ধারার উৎপত্তি এবং উপন্যাস ট্রিলজিতে সময়ের গুরুত্বের বিশ্লেষণ
A novel is one of the modern equivalents of literature. With the change of time, new genres are created in novels. A new genre of Bengali novels is Trilogy/ ‘Troyi’. If a novel has three parts and maintains a continuity in plot and characters, it becomes a novel trilogy. In addition to Bengali novels, poetry and films use this form or genre. This trend is more common in Bengali novels. If you notice, it will be seen that ‘time’ is a very important element in the use of this form in the novel. It will be seen how ‘time’ played a special role in the novel trilogy. Time plays a variety of roles in the typical novel. Time sometimes comes as ‘perceived time’, sometimes as ‘apparent time’. Again, time in narrative comes through speech. Here we will take a brief look at the ‘perceived time’ of the novel trilogy. If you notice, it will be seen that the novel trilogy has come up for a long time. We have tried to show the political, economic, social aspects of the period in the novel trilogy in the article.
In Narendranath Mitra’s Novel Dwippunja, the life of rural Bengal/ নরেন্দ্রনাথ মিত্রের উপন্যাস ‘দ্বীপপুঞ্জ’ ও গ্রাম-বাংলার যাপিত জীবন
Narendranath Mitra is one of the Bengali fiction writers of the 20th century. Stories of rural life or the complex psychology of love can be found in his literary spirit. His first novel is called Dwippunja. In this novel, various problems developed in rural life can be found in heart conflicts. The novel begins with a picture of a Saha-community family feud in the village. In the novel characters like Nabadwip and her son Murali and Mangala and her husband Subal, characters like Manorama become the epitome of rural society. The novel main problem is Mangala's complicated relationship with her husband Subal and lover Murali. And this problem has become more complicated in rural life. At the end of the novel, we find new ideas about village life in Subal's self-realization. That is why it can be said that Dwippunja is a worthwhile novel written in the community based and psychologically conscious perspective written in the context of village life.
An Analytical study of the representation of Human Trafficking in Anjali Lahiri's Novel 'Biloris'/ অঞ্জলি লাহিড়ীর ‘বিলোরিস’ উপন্যাসে মানব পাচার : একটি বিশ্লেষণাত্মক আলোচনা
Anjali Lahiri is one of the renowned literary figures belonging to Bengali language and literature. Through her writings, she tries to show issues related to humanism in particular and society at large. It would not be far wrong to consider her literary output as a mirror of society. The characters of her novels deal with the issues, crisis, protests and self-immolation of middle-class life. Isolation, loneliness and depression of the society came up again and again in her writings. The novel that deals with such issues is 'Biloris'. This paper seeks to analyze how the female protagonist of the novel got trapped in human trafficking and got victimized and whether she managed to escape from that situation or not. At the same time, this paper makes an attempt to highlight how the human trafficking is still prevalent in society and how it may destroy the very soul of a human being irrespective of gender.
Abu Ishaq’s Surya-Dighal Bari: Demonstration of Social-reality/ আবু ইসহাকের 'সূর্য-দীঘল বাড়ী' : সমাজ-বাস্তবতার স্বরূপ
Abu Ishaq (1926-2003) is a novelist who has mastered the art of portraying real life in the genre of post-partitional Bengali novels and presents the biographies of rural people with unique characteristics. Standing at a safe distance from the growth of a kind of cheap literature in the capitalist economic climate, he has constructed realistic discourses in the uniqueness of the dispassionate presentation technique. Over a long period of time, Surya-Dighal Bari (1955) and Padma's Polydwip (1985) have earned him the status of a timeless novelist due to his conscious craft of careful analysis of the people's life, well-versed social analysis and complex human psyche. In his novel Surya-Dighal Bari, Abu Ishaq has skillfully depicted the struggle of the helpless people in the rural areas of Bangladesh to survive. The rising middle-class and upper-class people of rural life, their socio-economic, political conditions, reactions to religion and reforms, hunger the dialectical conflict of poverty in this novel depicts the life style with masterful artistry. By combining the East-Bengal tradition with the modern art-literary sense, the novelist Abu Ishaq is distinguished in the fiction of Bangladesh for his deep life vision, social-scientific and personal talent.
Kinnar roy’s ‘Prokritipath’: a unique milestone in the antiquity of Bengali Eco-text writing/ কিন্নর রায়ের ‘প্রকৃতিপাঠ’ : বাংলা সাহিত্যে পরিবেশচর্চার ধারায় অভিনব মাইলফলক
Human and nature are two different forms of collaborative formation of the environment surrounding us. All the other constituents, living or non-living, also forms the superstructure of livelihood and life in this planet blue earth. Environmental writings, Eco-texts and/or criticism of the same are writings that are both about the earth that is nature, animals, and/or the relationship between the natural world and the human-built environment. They have a strong environmentalist/ecological message of bonding, preserving and maintaining the quality of life in present as well as would be future. Eco critic texts portray the urge to be sincere about the nature’s distress calls made up through the recurring misuse of our planet earth. Sustainable measure is being taken for the procurement of conservation of human and nature. Novelist Kinnar Roy’s ‘Prakritipath’ (1990) is a milestone Bengali novel from this concern. He started writing from the late 70’s and has been awarded with distinguished prizes for the same. He loves to follow nature, mostly the birds and their lives. In this text also, an approach has been made to the readers to reinvent the surrounding nature which is continuously getting poisoned, throttled and suffocated by the rigorous misappropriation by the consumerist civilization. This paper tries to focus and analyses the certain way outs and remedies to return to our mother nature with the eyes of the foremost central character of the novel, ‘satiprasanna’ and his sole fight to protect our natural indigenous identity as good human beings and a better Samaritan. As in context It is also discussed about the prevailing outline of the new trend - ecocriticism in Bengali literature.
Magnanimous Kunti by Samaresh Basu/ সমরেশ বসুর কলমে মনস্বিনী কুন্তী
Samaresh Basu wrote a number of books based on Puran-Mahabharata under the pseudonym Bhramar and Kalkoot. Such as, ‘Shamba (1978)’, ‘Juddher Sesh Senapati (1984)’, ‘Prachetas (1984)’, 'Pritha (1986)', ‘Antim Pranay (1987)’ etc. ‘Pritha’ was published in the magazine 'Prasad' under the pseudonym 'Bhramar'. In such books, the author analyzed the traditional story of the Puranas in a new perspective. One of the memorable Panchakanyas in Puranas, Empress Kunti has been recreated in the light of the author's spirit in this book. In the present article we will discuss how the character of Kunti has been recreated by Samaresh Basu in 'Pritha'. At the beginning of the story, before reaching the context of Kunti, the author undertakes a very realistic analysis of heaven-hell, Gods-demons, Samhita era-Puranic era, male-female relationship, marriage customs, child birth and the position of women in society. Then he explained the solitude, self-immolation and transition of Kunti from a feminist perspective. The story of love-marriage-motherhood-heroism-restraint-pain-sacrifice of this remarkable female character of Mahabharata has been captured in a new way in the unique writing of Kalkoot. Inventing many thoughtful arguments the author tried to establish the father-son relationship between Yudhisthira-Vidura and Karna-Durbasha. How the author incarnated new contexts in the familiar story of Mahabharata and how he made it acceptable by arranging relevant arguments in favour of his new thoughts – this essay will try to elaborate these points.
Context of the Novels of Bankim Chandra in perspective of 19th Century History/ উনিশ শতকীয় ইতিহাসের প্রেক্ষিতে বঙ্কিম উপন্যাসের কথনবিশ্ব
Bankim Chandra Chattapadhyay (1838-1894) was the first Bengali novelist and the editor of the periodical Bengali magazine ‘Bongodarshan’. His novels were profoundly influenced by the cohesive elements of the 19th-century renaissance, characterized by an emerging middle-class awareness, a romantic sensibility, and a deep engagement with historical consciousness. Before he started writing Novels, he was an earnest reader of history. His writing creativity with potent knowledge of History was reflected in his every novel. These two spirits were stirring in his novels ‘Durgesnandini’ (1865), ‘Kopalkundala’ (1866), ‘Mrinalini’ (1869), ‘Chandrasekhar’ (1875), ‘Rajsingho’ (1882), ‘Anondomath’ (1884), ‘Devi Chowdhurani’ (1884), ‘Sitaram’ (1887) etc. The Strength of his writing is - A Reader can experience the feel of Patriotism & Nationalism in his every Novel and it was intertwined with the world socio-political history & Indian Nationalist movement and the cultural Renaissance of the late 19th Century. Analogically we can mention ‘Vande Mataram’ which was published in 1882 as a part of his Bengali novel Ananandamath, it was written as a tribute to the motherland, personified as the goddess of the country. ‘Vande Mataram’ Its lyrics express devotion to India and reflect themes of patriotism and national pride. The first two verses of the song are usually sung, and its significance remains deeply rooted in Indian history and culture. All his novel had been written in the context of the traditions and reform movements, revival and conservation of Hinduism, conflict between eastern and western culture, deficiency of progressive approach, priority of socialism etc. which I have explained periodically in my paper. As one of the first modern novelist in Bengali literature, his works made the foundation for the future writer. His Contribution in Indian Cultural and literacy History has created a long-lasting impact.
'Dressing Table' : A Different Voice of partition/ 'ড্রেসিং টেবিল' : দেশভাগের অন্যস্বর
Salil Chowdhury was a poet and composer. Apart from Hindi and Bengali, he composed music for songs in various Indian languages. In addition to writing poetry, he also wrote several stories. Dressing Table is one of his notable short stories. The story is set against the backdrop of the Partition of India. Its subject matter is somewhat different from conventional partition stories. Generally, stories written in Bengali about the Partition focus on the tales of refugees moving from East to West. The experiences of those moving from West to East remain unspoken. From a statistical perspective, nearly seven lakh people migrated from India to what was then East Pakistan. ‘Dressing Table’ presents a comprehensive picture of people displaced by the Partition. Alongside the displaced, a part of the story also focuses on a couple not directly affected by the Partition, yet burdened by the painful memories. Though they weren’t victims of the Partition, they carry the weight of its sorrow. The Partition didn’t just create physical divides between neighbors but also deepened religious divides, leading to the death of humanity. It left a void for future generations, a lingering wound that is deeply felt. ‘Dressing Table’ creates a complete framework around the Partition, much like a triangle, with one corner representing the pain of Bengali Hindus forced to leave their homeland, another highlighting the experience of Bengali Muslims displaced, and the third corner depicting a couple who weren’t direct victims but could still feel the suffering of the Partition. Dressing Table is, in essence, a true document of the lives affected by the Bengal Partition.
Rabindranath Thakurer chotogolpo : Narir atmamorjadar Proyas/ রবীন্দ্রনাথ ঠাকুরের ছোটগল্প : নারীর আত্মমর্যাদার প্রয়াস
One of the most important constituents of the Bengali literature are short stories. The short stories of Rabindranath Tagore has played a significant role in giving a shape to the short stories of Bengali literature and hence he is renowned as a great short story writer. Being a son of Zamindar he had to travel to Bangladesh (East Bengal) to supervise the peasants who worked in their land and at that time he, very closely witnessed the life of the villagers there, which he later described in his short stories. Tagore has composed around 90 short stories and the first one was 'Ghater Kotha'. The book 'Golpoguccha' contains all his short stories which were composed during the year 1891-1929. On one hand as his stories portray a vivid picture of the scenarios of the Bengali village life, on the other hand he has been seen to put up the issues and woes of the feminine groups faced at that time stressing mostly on the amount of importance given to them and their social rights. He has played a crucial role on liberating women from their social shackles portraying them as free individuals in his stories. Literary critics have indicated a great transition in the characteristics of women from the era of 'Sadhana Bharati' to 'Sabuj Patra'. Initially, the women were seen to suffer chauvinism but in 'Sabuj Patra' they were observed to establish their existence by means of struggles and protests. Tagore's most popular feminine characters from the later period were-Mrinal from ‘Streer Patra’, Giribala from ‘Manbhanjan’, Kalyani from ‘Aparichita’, Anila from ‘Poila Nombor’, Sohini from ‘Laboratori’, Anondi from ‘Bostami’, Sattabati from ‘Chitrakar’ etc. All these female characters are seen to establish their existence in the society created in the respective stories by means of protests and struggles. Even in some circumstances the characters were observed to give up from their marital relation with an uncompromising attitude. European authors had already started to glorify female characters in their stories at that time and in some way, Tagore's female characters were also influenced by them along with the modern culture that was gradually evolving during that time. Thus, it can be said that the protesting form of women in Rabindranath Tagore's short stories and their self-assertion is a significant issue which is still very relevant in Bengali literature.