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Medieval and Bengali Literature: Exploring the nature of some important events /মধ্যযুগ ও বাংলা সাহিত্য : কয়েকটি গুরুত্বপূর্ণ ঘটনার স্বরূপসন্ধান
No full textLiterature is life-based. History is created at the pace of ongoing life. Literature and history in the same body—the combination of these two forms is the history of literature. The perspective of some important events of the Middle Ages and their inevitable manifestation in literature— the nature of the coexistence of these two is the essence of this article. The reason for the bitterness of the dark age is not only the Turks, but also the arrogance of the intelligent Brahmins, their bias towards Sanskrit and their aversion to Bengali. When the Bengalis devastated by the Turkish invasion in Bengal were making a feeble attempt to breathe in the Bengali language, the scholar Vidyapati\u27s verses written in Brajbuli established a connection between Bangla and Mithila. The writers of Chaitanya\u27s life have presented contradictory information about death of Chaitanya. The search for new elements of history and the inquisitive minds of later times may give rise to some other new views. Until then, it is very important for us to rise above religious sentiments and reach the conclusion that even the incarnation dies. The movement of Gaurachandrika and Palakirtan, introduced by Kheturi, began to grow from the 16th century. At that time, a compiled Pala book was needed. As a result, several collections of Padavali were found in the 17th, 18th and 19th centuries. These collections of Padavali are a special treasure of medieval Bengali literature. The period of the Bargi uprising in Bangladesh is from 1742 to 1749 AD. The atrocities of the Bargis led by Bhaskar Pandit were a disaster for the public mind of Bangladesh. The story of the cruel atrocities of the Bargis is narrated in two poems of that time. One is Chitrachampu by Pandit Baneshwar Vidyalanka and the other is a Maharashtrapuran by Gangaram Sen. The stories of Gopal Bhand, passed down orally to satisfy the original and genuine interest in listening to stories, are a different experience, as well as evidence of the inner currents of the minds of people in the eighteenth century
The applications of Imagery: ‘Beerangana Kabya’/ চিত্রকল্পের প্রয়োগ : প্রসঙ্গ ‘বীরাঙ্গনা কাব্য’
No full textMadhusudan Dutta spoken about the inevitability of its application in literature in his own words several times. ‘Beerangana Kabya’ is a valuable example of this. However, the trend of considering imagery as an independent element is not a very old one. In the world of the criticism of poetry, the reference to Caroline Spurgeon inevitably comes up on this subject. He shed the light on this subject in the thirties of the twentieth century. And in the context of image he meant ‘every kind of simile’ and ‘every kind of what is really compressed simile- The world of Madhusudan Dutta’s literature is full of imageries. He has repeatedly metaphor’. Again in the forties, Cecil Day Lewis spoke about the imageries being ‘metaphorical’, On the other hand, Renne Walleck again identified it somewhere as a comparison, somewhere as a description. On the other hand, Robin Skelton had divided images into different categories in the book ‘Poetic Pattern’ - 1. Simple Image 2. Abstraction 3. Immediate Image 4. Diffuse Image 5. Abstract Image 6. Combined Image 7. Complex Image 8. Combined Abstract Image 9. Complex Abstract Image and 10. Abstract Combined and Abstract Complex Image। And based on the senses he had divided images into five categories- Visual, Auditory, Olfactory, Gastetory, Tactile.
We can come to a conclusion that the meaning of images in literature is multidimensional. And to study Madhusudan’s literature, one must focus in this matter. In this context, our discussion will be on ‘Beerangana Kabya’. We have tried to analysis the uses of imagery based on the text. We have extracted the texts of the letters written by Shakuntala, Tara and many others to discuss this. The imageries have been used to express the emotions and somehow themselves have become a character of the text
Nalini Bera’s authorship & the voice of the Marginal man/ নলিনী বেরার কথাসাহিত্যে প্রান্তিক মানুষের ভাষা
No full textLife with its vast expanse often becomes too overwhelming for human expression. Hence, we the petty beings resort to the ever popular trend to compartment-talise and category’s life into various classes of people based on social structure or living standards - higher class (elite/ aristocrat), middle class and the marginalized or lower class. The marginalized or the lower class of people are also referred to as the ‘masses’, the ‘common man’ or ‘working class’.
The stories we read in our novels, novellas or short stories are stories of people. However, we tend to divide people as well, for the ease of discussion. The fictional prose of the ‘70s moves out of the urban landscape to the rustic pioneered by the likes of Mahasweta Devi & Prafulla Roy. Nalini Bera being a rustic man himself chooses his own life as an inspiration for all his writings. His literary universe is decorated by his life, it\u27s various ebb and flow like the course of Subarnarekha. His language is the language of his people, simple and pure like the clear stream of Subarnarekha. This is the language we often refer to as ‘folk’.
‘Folk’ here refers to people. The people classified as rustic or ‘Vulgar’. All the people belonging to the working class the proletariat are referred to as ‘Folk’ and their culture as ‘Folk Culture’. The people associated with this culture are the working class Hence, we may say "folk Culture\u27 is actually the culture of the "Subaltern" & their language is the one in which the \u27Subaltern Speaks Therefor, the culture would be reduced to a void, dissociate the people from this culture.
This culture is representative of the life and living of the subaltern. This culture is a flowing stream of knowledge that has undergrow a matter Slow change.
Nalini Bera being a man of his culture has provided us well curated pictographic representation of his people residing our the banks of the Subaruarekha. He has captured of their culture in its totality - language, religion, culture, superstiticon to paint a wild, yet vivid image his people in his writtings. He represents this life with both, distouched objectivity and immersive subjectivity, captured beautifully in all his nuanced character While doing so he has used the language as a instrument of his craft, transcending it to become a seperate and individualized character of his narrative
\u27Chandal Life in History\u27: A Struggling Writer of a Dalit Life/ ‘ইতিবৃত্তে চণ্ডাল জীবন’ : এক দলিত জীবনের সংগ্রামী লেখোয়াড়
No full textIn the corpus of Dalit writings in India, Manoranjan Byapari is a significant name. He has given voice to those voiceless whose pain and suffering have never found a place in the grand narrative of the Indian nation-state. In his literary oeuvre, the lived reality of the Bengali Dalits found a greater place. Published in 2018, his seminal work Interrogating My Chandal Life: An Autobiography stands as a witness to the dislocation of the Bengali Dalits. Due to an unjust political problem i.e. Partition, a large number of Bengalis had lost their homeland and became refugees. These people were forced to migrate to the Sunderban area of Bengal or to the jungles of middle India. Manoranjan Byapari was one of them. Carrying the anguish of his own life, this book offers a pen picture of the refugee crisis, particularly the Dalit issue. Therefore, the paper aims to explore: (i) the lives of the refugees (ii) the author’s experience with the dirty politics of Bengal, and (iii) how Dalit Autobiography became an emerging literary genre
‘Chotti Munda And His Arrow’ : One Exceptional Struggle/ ‘চোট্টি মুণ্ডা এবং তার তীর’ : এক ব্যতিক্রমী সংগ্রাম
No full text‘Chotti Munda o tar tir\u27 are the famous novel of Mahasweta Devi. The novel was published in 1980. This novel depicts the life and struggle of the Munda community during the British rule. The central character of the novel is Chotti Munda. Choti Munda is a tribal in the nation. Indigenous means children of nature. Poverty is the constant companion of the Munda community. The protagonist of this novel, Chotti Munda, was born in a poor family.
Chotti has been proficient in the arrow from childhood. The Munda nation means arrows and bows are synonymous. Life becomes a bow and self - defence, the bow becomes resort. So every Munda learns to hit the arrow.
The Munda nation always lives with poverty. Maybe that\u27s their fate. So they do not share the crop by working hard on the land. Even if you sit in the market to sell things, you have to pay for the unusual rules. Opposition to wrongdoing takes a fine. However, Bengali businessmen do not take fine. Because the zamindars, Mahajans and police cooperate with each other. Unable to tolerate the respiration, someone goes to Christian mission, some go to work in a coal mine.
Chotti Munda wants the entire Munda society well. So the honour of the Munda society is very much respect. Because he seized people like the oppressive Mahajan Tirath Nath. He has shown the road when the Munda nation loses direction in the society.
Chotti Munda has long fought against a system. That system is made by the landlord and the Mahajan. This system has extreme economic inequality. The government is not zealous to correct this discrimination. Finally, the Choti Munda expressed dissatisfaction with the government and the administration. And it seems that the oppression of the Munda nation should be stopped.
Choti Munda is rich in many experiences. The zamindar Mahajan police administration, especially an entire social system, has experienced him. Even his child is in jail and death. Still he had to keep his head cool. Because he knows the Munda nation rely on him a lot. Therefore, the Munda has been associated with the \u27Aboriginal Mangal Bharti\u27 organization to save the nation. Because Chotti knows, the oppression cannot be finished by just making laws. In order to stop the atrocities, the society has to fight against the opposition. This is the life of the Munda nation
Bhagirath Mishra\u27s \u27Aarkathi’: The Crisis of the Livelihood and Culture of the Basu-Shabars/ ভগীরথ মিশ্রের ‘আড়কাঠি’ : বসু-শবরদের জীবন-জীবিকা ও সংস্কৃতির সংকট
No full textBhagirath Misra, a renowned novelist of the post-independence era, has centered his novel around the marginalized people of society. One of his popular novels based on the life of the marginalized people is \u27Aarkathi\u27 (1993). The novel \u27Aarkathi\u27 tells the story of how the life, livelihood and culture of marginalized Basu-Shabar1 have become commodities for the selfish, self-serving and exploitative human beings. Novelist Bhagirath Misra narrates the painful tale of how the once simple forest-dwelling people, confined to their lives and livelihoods were exploited first by Ranglal and later by Cathy Bird and Rajiv, bringing to the forefront characters like Kishto Mullick, Shridhar Mullick, Kanai Digar, Savitri, Roopmati and Rangi. The novel \u27Aarkathi\u27 serves as a document of the oppression faced by the bearers and carriers of indigenous culture at the hands of the merchants of culture2 and slave trader3. However, by the end of the novel, a picture of the awakening of the forest dwellers4 also emerges. The resistance to the powerful, rather than surrendering to their rule and exploitation5, has given a unique dimension to the characters of the novel created by Bhagirath Misra
Utpal Dutta’s Macbeth : A protest against the capitalist state power politics/ উৎপল দত্তের ম্যাকবেথ : পুঁজিবাদী রাষ্ট্রশক্তির ক্ষমতায়নের বিরুদ্ধে এক বিদ্রোহ
No full textUppal Dutt took a slightly different approach to translating Shakespeare. During his translation, class consciousness and social consciousness came to the fore especially in Shakespeare\u27s plays. Uppal Dutt respectfully wants to say about Shakespeare, Shakespeare\u27s plays are full of elements of social philosophy and class consciousness. Many have tried to show Shakespeare as a representative of the bourgeois class. A capitalist society wants to introduce a petty bourgeois economy, with the owners of capital living in the hearth of capital as its controllers. Shakespeare\u27s Macbeth falls in the hands of Uppal Dutt as the main focus of capital. In fact, when Utpal Dutt under took the translation of this play, progressive thought was constantly dying in the atmosphere of terror created in India and Bengal
Byomkesh Mustafee’s ‘Rogshyar Pralap’; The old and modern Times of Bengali Life/ব্যোমকেশ মুস্তফীর ‘রোগশয্যার প্রলাপ’ : বাঙালি জীবনের সেকাল ও একাল
No full textByomkesh Mustafee wrote the book ‘Rogshyar Prolap’ under the pseudonym ‘Sreerogatur Sharma’. While he was associated with the Bengali Sahitya Parishad, he contrcted a fever due to his long-term tireless work and became bedridden. Even in such a sickly mental state, his deep thoughts on various issues related to Bengali life in the 19th and 20th centuries are evident. My aim is to shed light on how various aspects of Bengali life are reflected in the book ‘Rogshyar Prolap’ written by Byomkesh Mustafee. We will understand that he gradually accumulated experience and observed Bengali life. At the same time, he tired to clearly grasp the changes in the lifestyle of the people of that time and its flow based on the comperative position of that time and time
Plurality of Purushas and the Diversity of Living Beings: A Philosophical Inquiry/ সাংখ্য বহুপুরুষবাদ ও জীব-জগতের বৈচিত্র্য : একটি দার্শনিক অনুসন্ধান
No full textSamkhya philosophy, an ancient and influential school of Indian thought, is fundamentally dualistic, positing two independent realities: Purusha (pure consciousness) and Prakriti (primordial matter). This research paper delves into Samkhya\u27s unique doctrine of \u27plurality of Purushas\u27 and its profound implications for understanding the diversity of living beings. Unlike monistic traditions, Samkhya asserts the existence of multiple, distinct Purushas to logically explain the varied experiences of birth, death, enjoyment, suffering and liberation observed across individuals. The paper meticulously examines the foundational arguments for this plurality, drawing insights from classical texts like the Samkhya Karika and commentaries by revered scholars such as Vacaspati Misra and Vijnanabhikshu. Furthermore, it explores how Prakriti, composed of the three dynamic Gunas (Sattva, Rajas, Tamas), undergoes sequential evolution to manifest the diverse physical and mental forms of the cosmos. This intricate interplay between the numerous inactive Purushas and the active, ever-changing Prakriti provides a comprehensive framework to comprehend the vast spectrum of life\u27s manifestations. The study highlights Samkhya\u27s philosophical depth, its unique approach to causality and its ultimate aim to achieve liberation through the discerning knowledge of the distinction between Purusha and Prakriti. This paper seeks to illuminate the profound wisdom embedded within Samkhya thought, make its complex concepts accessible
Ritucharya in Chrak-Samhita for Complete Well-being of Human Bodies/ মানব শরীরের সার্বিক সুস্থতায় চরকসংহিতান্তর্গত ঋতুচর্যা
No full textAyurvedshastra is all about ‘Ayu’ or life. Acharya Charak has discussed on ‘Ritucharya’ (what to do in different seasons) in the 6th Chapter of his ‘Charaka Samhita’. The different seasons of a year have impacts on human bodies resulting in different diseases. ‘Ritucharya’ is the routine of food habit and lifestyle leading to good health defeating these bad impacts of different seasons on human lives. ‘Ritucharya’ helps us to fortify our health all through the year against diseases. Moreover, it helps us to keep the balance in our three ‘Doshas’ - Vata, Pitta and Kapha. The ‘Uttarayan’ and ‘Dakshinayan’ of the Sun complete a year. A year comprises of six seasons and these six seasons are divided into twelve months. Varsha (Rainy season), Sharata (Autumn) and Hemanta (Late Autumn)- these three seasons make the Dakhinayan of the Sun where as Sisir (Winter), Vasanta (Spring), and Grishma (Summer) these three seasons make the Uttarayan of Sun. The types of food and lifestyle necessary for different seasons to be healthy and to keep away diseases and to live long are very much important things. These are well discussed in the ‘Ritucharya’ by Acharya Charak.