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An introduction to Modern Poetry : A Search for ennui and aversion in Baudelaire\u27s Creation/ আধুনিক কবিতার ভূমিকা : বোদলেয়ারের সৃষ্টিতে বিষণ্ণতা ও বিতৃষ্ণার অন্বেষণ
No full textBaudelaire\u27s poems of \u27Les Fleurs Du Mal\u27 (Flowers of Evil,1857), unlike much chewed romantic literature are ladden with frustration, emptiness, agony and ennui along with distasteful disgust of people. The poet is different in his thoughts and conscience, never devoid of day- to -day scenerio of his time. A majestic modern poet Charles Baudelaire made himself a royal road for modern poetry that could suit his dignity. Beauty can have its breed in hell rather in than heaven only. Here beauty arrogantly walks over remorse, filthy, death- shaken dead body. The poet enters the arena of modern poetry with disease ladden empty, have - less beggars. The poet got himself dipped into a hole of bitter hatred. In his poems there is interest hungry money lender, drunkard, vagabond, cannabis addicted, bankrupt, thief, hooligans, rowdy, libertine, prostitute, sex-workers, syphilis patients, slum dwellers, and tuberculosis patients. His poems are enriched with all these figures. There is enjoyment of desolate, unhappy, loveless sex. In such a detrimental, dirty and swampy terrain, the poet blooms the buds of his poetic art. Seperation, discord, loneliness come again and again along with hopelessness in \u27Albatrosses’, ‘Le Cygne\u27. The shadow of sin and destruction in \u27Les Phares’, \u27Le Vampire\u27 strongly shake us. In \u27Une Martyre\u27 the poet\u27s pen hits a cut-throat body with oozing blood. Another side a fatigue bed projects a naked human body lying with midnight preperation for a game of dirty sex for a narrow, mean and perverted satisfaction. \u27Un Voyage a Cythere\u27 claims a very sensitive attention for a heart rending image. A hanging body from the gallows beam is being torn by some hungry vultures. On the ground foxes and dogs with extremely cruel hunger are jumping ceaselessly to have the dead flesh. Beside the distorted and torn body is staring his beloved with unuttered talks in her blank eyes. Yes, there is the unexhausted search for beauty amidst the dirt and reek of hell in \u27La Voyage\u27. Thus our majestic Baudelaire left, for modern poet, access to a very big opportunity with huge range and horizon of possibilities. Ennui, disgust, discord, sex and self-destruction, realistic approach to society, destruction, creation and construction --- with all these beads he made life and death self- reliant on one single thread with the symbol of his poetic art
Women’s education, the search for self-identity, and women in the world of newspapers : in the 19th century Bengal/ স্ত্রীশিক্ষা, আত্মপরিচয়ের সন্ধান ও পত্রপত্রিকার জগতে মেয়েরা : প্রসঙ্গ উনিশ শতকের বাংলা
No full textThe 19th century witnessed a transformative shift in the landscape of women’s education in Bengal. As the movement for women’s empowerment gained momentum, pioneering women like Mokshadayani Mukhopadhyay, Swarnakumari Devi, and Hiranmayi Devi emerged as trailblazers in the realm of literary pursuits. Through their editorial endeavors, they not only championed women’s education but also provided a platform for women’s voices to be heard. The proliferation of women’s magazines such as Bharati, Paricharika and Antarpur underscored the growing awareness of women’s issues and the need for their empowerment. These initiatives collectively contributed to a burgeoning sense of self-awareness and intellectual curiosity among women, laying the groundwork for their increased participation in the public sphere. As such, the 19th century marked a pivotal moment in the evolution of women’s roles in Bengal, one that would have far-reaching implications for the future
Colonial efforts to introduce Western medicine in 19th-century Bengal/ উনিশ শতকের বাংলায় পশ্চিমী চিকিৎসা পদ্ধতি প্রয়োগে ঔপনিবেশিক তৎপরতা
No full textবাংলার ইতিহাসে উনিশ শতক ছিল পশ্চিমী চিকিৎসা বিজ্ঞানের যুগ। ইউরোপীয় শক্তিগুলির মধ্যে পোর্তুগীজরা এক্ষেএে প্রথম উদ্যোগ গ্রহণ করলেও ইংরেজরাই পশ্চিমী চিকিৎসাবিজ্ঞানকে বাংলাসহ ভারতবর্ষে সুদৃঢ় ভিওির উপর প্রতিষ্ঠিত করেছিল। একেবারে শুরুর দিকে ব্রিটিশদের সৈন্যবাহিনীর স্বাস্থ্যসংক্রান্ত বিষয়টি অগ্রাধিকার পেয়েছিল এবং সেই জন্য তারা নেটিভ হাসপাতাল প্রতিষ্ঠিত করেছিল। যেটি ছিল পশ্চিমী চিকিৎসাপদ্ধতি প্রয়োগের একেবারে প্রাথমিক পর্যায়। কিন্তু সেই নেটিভ হাসপাতালে জ্বর ও প্লীহারোগে আক্রান্ত রোগীদের সংখ্যা বাড়তে থাকার কারনে ইংরেজরা ফিভার হাসপাতাল প্রতিষ্ঠার সিদ্ধান্ত নিয়েছিল। পরবর্তীকালে অর্থাৎ ১৮৩৫ সালে যখন তারা কলকাতায় মেডিক্যাল কলেজ প্রতিষ্ঠার সিদ্ধান্ত নিয়েছিল তখন চিকিৎসাক্ষেএে এই পাশ্চাত্যকরণ পক্রিয়া সম্পূর্ন হয়েছিল। এছাড়াও সমগ্র উনিশ শতক জুড়ে সরকারি ও বেসরকারি উদ্যোগে বহু হাসপাতাল প্রতিষ্ঠিত হয়েছিল। যার ফলে বাংলায় পশ্চিমী চিকিৎসাপদ্ধতির ভিত অনেকটাই মজবুত হয়েছিল
Kinnar Roy\u27s novel in the light of the theory of ecocriticism/ ইকোক্রিটিসিজমের তত্ত্বের আলোকে কিন্নর রায়ের উপন্যাস
No full textবর্তমান বিশ্বে পরিবেশ রক্ষার জন্য যে লাগাতার প্রচেষ্টা চলছে এবং মাত্রাতিরিক্ত দূষণের ফলে একে একে ধেয়ে আসছে মহামারী অতিমারী, বিশ্বউষ্ণায়ন, দাবানল, ঘূর্ণিঝড়ের প্রকোপ। মানব সমাজ আজ গভীর সংকটের মুখে। পরিবেশের বিপন্নতা থেকেই জন্ম নিয়েছে পরিবেশবাদ। মানুষ তাঁর সভ্যতাকে বিকশিত করতে, জীবন যাপনে স্বাচ্ছন্দ্য আনতে, অর্থনৈতিক ভাবে নিজেকে সমৃদ্ধ করতে প্রাকৃতিক সম্পদকে নির্বিচারে ব্যবহার করেছে। ফলে বেড়েছে পরিবেশ দূষণ। বিশ্ব উষ্ণায়নের প্রভাবে যখন সর্বত্র চলছে মানুষের বেঁচে থাকার লড়াই, তখন সেই নির্মল পরিবেশ বনাম দূষণের লড়াইতে লেখনীকে অস্ত্র বানিয়ে সামিল হয়েছেন বহুমুখী প্রতিভার অধিকারী সাহিত্যিক কিন্নর রায়। তাঁর ‘প্রকৃতিপাঠ’, ‘বিষকুম্ভ’, ‘মৃত্যুকুসুম’, ‘ধূলিচন্দন’ ইত্যাদি উপন্যাসে তুলে ধরেছেন মাত্রাতিরিক্ত দূষণের কবলে পড়ার কথা
Rakhaldas Banerjee\u27s \u27Shashank\u27: History vs. Narrative/ রাখালদাস বন্দ্যোপধ্যায়ের ‘শশাঙ্ক’ : ইতিহাস বনাম আখ্যায়িকা
No full textIn his narrative Shashanka, Rakhaldas Bandyopadhyay sought to rekindle the spirit of a humiliated and oppressed Indian populace by portraying the independent Bengal of the 7th century against the backdrop of 19th and 20th-century colonial India. At that time, the extraordinary valor of the Sikhs, Marathas, and Rajputs was well known throughout the country. Yet, instead of choosing any of these non-Bengali figures as his hero, Rakhaldas presented Shashanka, the ancient sovereign ruler of Bengal, who had liberated Gauda - present-day Bangladesh - from the shackles of subjugation.
Bandyopadhyay’s narrative constructs a powerful dichotomy between freedom and subjugation, strength and weakness, through which he explores the conflict between Hinduism and Buddhism in 7th-century India. One of the most contentious questions in history is: was Shashanka truly anti-Buddhist? History has often portrayed Shashanka through a one-sided lens, resulting in a simplistic evaluation of his character. Rakhaldas Bandyopadhyay, however, diverged from this conventional historical narrative in his Shashanka, attempting instead to offer a more nuanced view.
By presenting the actions and motivations of both Shashanka and the Buddhist monks, he created space for a re-evaluation of Shashanka’s character. Many of the allegations against Shashanka appear, in Rakhaldas\u27s portrayal, to be exaggerated. Hence, he provides counter-arguments to defend Shashanka and absolve him of such accusations. Conversely, he casts doubt on the conduct and ideals of the Buddhist monks by portraying them in a tainted, morally ambiguous light.
In those of Rakhaldas Bandyopadhyay’s novels that depict the socio-cultural fabric of the Hindu-Buddhist era, the Buddhist monks are often shown in a degenerate and decayed form. As a novelist, he fails to maintain an impartial perspective in this regard. His portrayal of Buddhist monks reflects a nationalist sentiment, rooted in his ideological convictions. Consequently, Shashanka is presented as the epitome of masculine prowess. Through the heroic tale of this Hindu patriarch and his immense strength, there is a discernible and conscious attempt to assert Hindu national pride
Abu Ishaq\u27s ‘Surya-Dighal Bari’ : A Narrative of Lower Class Life/ আবু ইসহাকের ‘সূর্য-দীঘল বাড়ী’ : নিম্নবর্গ জীবনের আখ্যান
No full textAbu Ishaq is a renowned Bangladeshi novelist. His first and timeless novel is ‘Surya-Dighal Bari’. The time period of the novel’s setting extends from the famine of 1943 to the immediate after of independence. As a result, the famine of 1943, the riots of 1946, the impact of independence and partition of 1947 naturally flow through the novel like a torrent. The author, capturing that time of burning, has painted the life of the helpless lower-class people of Bangladesh with utmost compassion. At the center of the novel is the difficult struggle for survival of a selfless family caught in the famine and riots. This novel is about people who leave their villages for the city in the famine of 1943 and return to the village after a terrifying experience of despair. In the Muslim family of the lower class, witch doctors, brooms, spells, and bewitchment are everyday occurrences. That picture has been painted through various incidents in \u27Surya-Dighal Bari\u27. The topic of the illiterate and lower-class people\u27s superstitions and beliefs, and belief in evil spirits, comes up in the novel in various ways. In parallel, various evils flowing in the public mind, stories, verses, rhymes, riddles, etc. flow into their daily conversations and behavior. Various elements of folk culture have come up in various ways. Polygamy and divorce are a big problem in the life of the lower-class Muslims, and Abu Ishaq has also highlighted that problem with great compassion in his novel. Abu Ishaq\u27s \u27Surya-Dighal Bari\u27 has become a living history of what created deep wounds in the minds of the people of Bangladesh in the past. The novel deals with the issue of the country\u27s independence and its impact on the lower-class Muslim community of Bangladesh. The economic crisis and struggle of lower-class Muslim families, inhumane practices like polygamy and divorce, the veiling system, religious discipline, the lifeless religious practices of religious merchants and the lust for women, the blind faith, reformation, and worldly customs of marginalized people - all of this together makes the novel a realistic biography of a lower-class marginalized Muslim family
The use of myth in drama and Buddhadev Basu’s ‘Tapasvi o Tarangini’/ নাটকে মিথের প্রয়োগ এবং বুদ্ধদেব বসুর ‘তপস্বী ও তরঙ্গিণী’
No full textThe use of myth in the explanation of science, philosophy, religion, religion, ritual, literature, psychology, narrative, social interpretation is a very relevant topic. The first and most important of the various categories of myth is the myth of \u27fertility\u27. Rabindranath Tagore, Madhusudan Dutt, Jivananda and Buddhadev Bose have used myth very carefully in their literature. Buddhadev Bose\u27s first myth-based drama was \u27Tapaswi O Tarangini\u27. The play takes into account the legend of the Indian Puranas, the drought ridden Angadesh, the advent of the sage and his credit in making the princess accepting water; which becomes the mythical backdrop to the play. The myth that is hidden in this story is that the union of men and women is the source which will bring down the rain and \u27Bashundhara\u27 or the Earth will be filled with grains; which is a primitive fertile component. Buddhadev Bose while retaining the main mythic structure has endowed the play with a modern relevance by exploring the psychological complexity of the characters and its significance in contemporary times
The Uniqueness of the Type and Motif Index in the Analysis of Folktales/ লোককথা বিশ্লেষণে টাইপ ও মোটিফ সূচির অনন্যতা
No full textAlmost all nations and tribes have their own traditional folktales which have been passed down orally from generation to generation in the world. The renaissance in the 19th century led to a worldwide increase of interest in folk culture, and the collection of folktales was started. The Grimm Brothers, pioneers of this genre, began this effort with their collection of Kinder-und-Hausmarchen. However, simply collecting and compiling folktales is not enough, a scientific method is needed to analyze the folktales. In addition to various methods such as comparative, historical-geographical, psychoanalytic, historical materialist, nationalist, anthropological, etc., the type index and motif indexing methods introduced by Anti Arne and Stith Thomson opened up a new horizon in the second decade of the 20th century. Through this method, a folktale is possible to be read not only as a story but also as a cultural document. This method is helpful for the analysis of literature, anthropology, sociology, and psychology. Following this method, scientific classification of folk tales has been possible in many countries. But, in multilingual and multicultural countries like India, such a type and motif index has not yet been applied. If an Indian researcher works deeply on this issue, it will create a new avenue of research on folktales not only in India but also in the research done worldwide on the folktale. Although the type and motif index are a groundbreaking discovery in the research on folktales, it is necessary to modernise and reform it according to the current diverse reality
Exploring the Nature of Folktales: In the Light of Tradition/ লোককথার স্বরূপ অন্বেষণ : ঐতিহ্যের আলোকে
No full textThe concept of "culture" is often misunderstood. Many people think of it only as entertainment like dance and music. As a result, the term "folk culture" is also not clearly understood by most. Educated urban society often shows little interest in folk elements. Yet today, folk culture has become more relevant and valuable, both academically and socially. Folk culture refers to the collective, traditional practices, beliefs, stories, and customs of common people, especially from rural areas. It is created and passed down orally across generations. Scholars like William John Thoms first coined the term "folklore" in 1846, which has been translated in many ways in Bengali by scholars such as Suniti Kumar Chatterjee, Ashutosh Bhattacharya, and others. Among the many Bengali terms, “lokosanskriti” (লোকসংস্কৃতি) is now the most widely accepted. A major part of folk culture is verbal art or oral literature, which includes folk tales, riddles, rhymes, folk songs, and plays. Among these, folk tales (locally known as lokokatha) are especially significant. They are traditional stories passed orally, often involving magical elements, moral lessons, and symbolic characters like animals, kings, and villagers. These stories reflect the values, beliefs, and imagination of rural communities. Folk tales are universal in theme, even though they arise from different cultures. They often teach moral lessons, promote justice, and provide inspiration. Over time, folk tales gave birth to modern storytelling and fiction. The study and collection of Bengali folk tales began during the 19th century, inspired by European interest. Books like Folktales of Bengal by Reverend Lal Behari Dey played a major role in documenting these tales. Today, folk tales continue to be an important part of Bengali literature and cultural identity
Origin of the Mahishya Community: Few Sources/ মাহিষ্য সম্প্রদায়ের উৎপত্তি : কয়েকটি সূত্র
No full textThe Mahishya community is familiar in different regions by various names. They are called as Parasar Das, Halik Das and Mahishya Das in East Bengal. They are also called as Chashi Das and Halik Das in the district of North 24 Parganas, South 24 Parganas, Hoogly, Howrah, Midnapore and Nadia. It is said that the Mahishya community is the legitimate child of the Kshatriya and they are born in the womb of the Baishya. The motherland of the Mahishya community lay just on the south part of the Vindhya range and it was a borderland of the Buddhist Madhyadesha or Middle Country. It is situated in the bank of the Narmada river. It is also said that there is a relation between the Kaibarta community and the Mahishya community. The subject of their birth is the same. But there was no evidence of the communication between the Kaibarta community and the Mahishya community in the reign of the Pala Dynasty. Then the Kaibarta community did not claim themselves as ‘Mahishya’. After that this matter was also not mentioned in any treatise of the Sena rule. Thereafter there was emerged the demand of declarion of the Kaibarta community and the Mahishya community as same community. The demand was almost accepted by the society. But the Chashi Kaibarta was acceptable by the higher castes, like the Brahmins and the Jalik Kaibarta was unacceptabe by the higher castes