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The combination of contemporary social reality and religion and culture in Krishnaram Das\u27 Mangalkavya/ কৃষ্ণরাম দাসের মঙ্গলকাব্যে সমকালীন সমাজ-বাস্তবতা ও ধর্ম-সংস্কৃতির সমন্বয়
No full textThe primary history of Mangal Kavya dates back nearly five hundred years. Following the Turkish invasions, a new literary tradition known as Mangal Kavya emerged in Bengali literature, centered around mythological and folk deities. This literary genre synthesized religious elements from Buddhism, Jainism, Hinduism, Islam, and Vaishnavism. Although the early Mangal Kavya of the medieval period predominantly featured supernatural themes, they also reflected contemporary social structures and hinted at the integration of religious cultures within socio-economic, political, historical, and religious contexts. During the Mughal rule in the medieval period, gradual transformations took place in the social system. These changes over time influenced the style and composition of Mangal Kavya. Alongside supernatural themes, the depiction of folk life became particularly prominent in the Mangal Kavya composed during the later medieval period.
Poet Krishnaram Das, active in the latter half of the 17th century, was the first to compose five separate Mangal Kavya dedicated to five different deities. His works reflect both the traditional structure of Mangal Kavya and the introduction of new stylistic elements. During the reign of Mughal Emperor Aurangzeb, he composed five Mangal Kavya: Kalika Mangal, Ray Mangal, Shashti Mangal, Shitala Mangal, and Kamala Mangal. Krishnaram Das’s writings exhibit not only devotional sentiments but also a strong pragmatic outlook. Alongside devotion, his works vividly portray contemporary social realities, folk traditions, and the synthesis of religious cultures. His literary style prominently features Vaishnavism, while also reflecting the long-standing coexistence of Hindus and Muslims. This cohabitation led to a unique socio-religious and cultural integration, which finds expression in his poetry. In this article, I have attempted to provide a comprehensive discussion on these aspects of his work
The works of the medieval poet Shah Barid Khan : An analytical study/ মধ্যযুগের কবি শাহবারিদ খানের সৃষ্টিকর্ম : বিশ্লেষণী অধ্যয়ন
No full textThe 16th century poet Shah Barid Khan is the author of three poems, ‘Vidyasundar’, Rasul Bijoy\u27 and ‘Hanifar Digbijay’. The poem ‘Vidyasundar’ is full of dramatic qualities, and the dialogues of the characters are dramatic. The poet also mentioned it as \u27Natgiti\u27 in his poem. Natgiti were also important in medieval social life from the point of view of women\u27s education. His second poetry is the story of war, the poem ‘Rasul Bijoy’, for the purpose of spreading Islam. Although the background of the poem is foreign, it has domestic social and cultural environment also. In the poem ‘Rasul Bijoy’, hidusism is expressed and it says poet’s non-communal thinking. In the poem, the eternal patriarchy is shown in the character of Raja Jayakum. In the poem, we see female character Jaygun, who is immersed in weapons of war. Poet also expressed romantic character through fairy in his poem. The poet used rhythm, simile, ornamentation in his poem to enhance his writing
Teachers in Bengali Short Story : A Comprehensive Discussion / বাংলা ছোটগল্পে শিক্ষক : একটি সামগ্রিক আলোচনা
No full textEducation is the main force of the entire human society and human life. Education brings people from darkness to the path of light. Education helps in forming various senses like moral, aesthetic, intellectual, social etc. among the people and the main responsibility of imparting this Senses among people is on the teachers. That is why teachers are called the backbone of our society. Just as the spine plays a very important and vital role in the human body, teachers also play a vital role in society. Teachers have dedicated themselves to the welfare of society. Through their education, teachers transform people into human resources. Therefore, the importance of teachers in society is immense. So, the character of the teacher has emerged in Bengali literature at various times by various writers. Here we will try to discuss the significance of the character of the teacher in Bengali literature
Selected Short stories of Shyamal Gangopadhyay : Life and Reality/ শ্যামল গঙ্গোপাধ্যায়ের নির্বাচিত ছোটগল্প : জীবন ও বাস্তবতা
No full textThe socially conscious fiction writer of the seventies, Shyamal Gangopadhyay, has given space to the reality of the helplessness that second World War brought to people\u27s lives. Important issues such as the crisis of the post-war period, doubts, the hard struggle caused by partition, economic hardship, the crisis of values of the middle class, etc. have emerged in his literature. Shyamal Gangopadhyay has seen people, understood the world and he discovered himself in various ways. Just as he wanted life and the world, people and nature appeared to him with diverse resources which he developed his own perspective. The pain, regret, mental inclinations, and complications of modern life were not avoided in his stories. This article has tried to discuss the way in which life narratives or life thoughts have emerged in his works by adopting the events of a few selected stories. The characters in the story seem to be alive in the author\u27s own characteristics. The life story has been revealed through this. Some selected stories are like \u27Sakshi Dumur Gacha\u27, ‘Urbarashakti\u27, \u27Dakhal\u27, \u27Pari\u27, \u27Nishithe Sukumar\u27, \u27Adbhut Baganer Chashi\u27 etc. In the story \u27Sakshi Dumur Gacha\u27, we see how inhumane the behavior of sons towards helpless parents is in modern society. Shyamal Gangopadhyay talks about the terrible inhumanity and degradation in the story \u27Sakshi Dumur Gacha\u27. In the story \u27Urbarashakti\u27, the story of a middle-class helpless man is told among the characters of welfare. Along with this, the reproduction of cats from the fox or tiger group and the birth of the grandson of one of the narrators from the monkey group bind animals and humans in a thread. In the story \u27Dakhal\u27, he has left the huge population of city life and chosen that part of the town where the wind of modernity has just blown. Shyamal Gangopadhyay has highlighted this changing human and non-human world in the story \u27Dakhal\u27. The context of the story \u27Pari’ is the belief tendency of people. The belief that things match. The belief that Bipin Biswas brings down fairies. And the story revolves around the belief in bringing down fairies. The story is presented in the description of some small incidents. In this way, Shyamal Gangopadhyay has highlighted the life story in his various stories and has highlighted the existence, humiliation, and crisis of man in the weaving of the story, and this will be an attempt to reveal this in the article under discussion
Binodoni and Makchak Harin : A Narrative of the Gradual Disappearance of an Ethnic Language and Ethnic Community/‘বিনদনি’ ও ‘মাকচক হরিণ’ : এক কৌমভাষা ও কৌমজাতির ক্রমবিলীয়মান অস্তিত্বের আখ্যান
No full textAmiya Bhushan Majumdar, a renowned and exceptional writer of Bengali literature. In most of his works, North Bengal is colourfully portrayed in its multi-varied aspects. He brings North Bengal, the nature and people’s life there, into the landscape of his works and presents their forest-centric life story also. However, it would be bit unfair to call his works only nature-centric. In many cases, shades of Scandinavian literature can be found in Amiya Bhushan’s works. Makchak Harin and Binodoni are his two such creations. Here, the story of a tribal community called Rava and the many crises that are looming over them find their exposure. One such crisis is the crisis of language. The Rava language is rapidly declining. Though the Rava language has a rich cultural heritage, it is currently classified as a ‘vulnerable language’ by UNESCO due to declining number of its speakers and the increasing influence of the other dominant languages. When a community loses its language, its survival is at stake and the roots of its very existence are cut off. This is exactly what happened to the Rava tribe. This discussion will attempt to address this issue and emphasise on the reasons lurking behind this tragedy
Tarashankar Bandyopadhyayer uponyase aancholik gotipother bhinnota: Kobi o Hansuli Banker Upokatha/ তারাশঙ্কর বন্দ্যোপাধ্যায়ের উপন্যাসে আঞ্চলিক গতিপথের ভিন্নতা : কবি ও হাঁসুলী বাঁকের উপকথা
No full textTarashankar Bandyopadhyay is known as a fiction writer, novelist, essayist and story writer. In his novel ‘Kabi’ (1944), which is an exception in Bengali literature, we see the diverse vibrations and mental intentions of the lower-class society of our country, the history of countless fragments of dreams and dream-breaks and the application of folk media in folk life. The novel’s protagonist, Nitai, a son of the Dom community, abandons his family’s caste business and takes up the profession of a poet, realizing the ultimate truth. Mahadev Kabiyal sarcastically says, ‘আস্তাকুঁড়ের এঁটোপাতা-স্বগ্গে যাবার আশা গো!’. Nitai’s social experience and position can be understood in the historical background, who is the first hero in a Bengali novel. Where he lives on the narrow fringes of society. Although we know that the first regional novel is Shailjanand Mukhopadhyay’s ‘Koyla Kuthir Desh’. Nevertheless, in the novel under discussion, the author has shown that the background of the harsh Bengali, the level of mastering the Vaishnava culture and the level of searching for a hero of the lower class - everything is one. Where people have tried to find themselves through the vibrant flow of time and changing times. It can be said that the poet’s pursuit of Nitai and the story of ‘Hansuli Banker Upokatha’ have taken the form of a story. The novel ‘Hansuli Banker Upokatha’ (1946) is set in Birbhum. In the middle of the ‘Kopai’ river in Bolpur, where the river takes a bend like the Hansuli, there is the village of Banshwadi. About thirty houses of the Kahards, who are palanquin bearers by profession, live on about two and a half bighas of land. The novel describes the life of the Kahars and their struggles; where Tarashankar has adorned them with the special marks of being in close contact with nature and the special marks of being in close contact with nature. In the novel we see the stories of those social people who are deprived of the symbols of civilization and the attractions of the world. Tarashankar’s genius seems to shine with the power of omniscience, which can see the waves of this human resource neglected by the world. Besides, characters like Nasubala, Nimtele Panu etc. are brought to life through their names and the quality of the regional language. Where the language of West Birbhum is West Radhi and the language of East Birbhum belongs to East Radhi. In the novel, Banwari wants to follow past customs or traditions that have existed for a long time and wants others to follow them, and Karali questions these issues. Karali is modern, he believes in rationalism, scientific mind and individualism. Banwari feudalism prevails in the environment and Karali in capitalism. Tarashankar has highlighted such things of a harsh society in his novel that have no echo. It is through such helpless decline and extinction of culture that our country\u27s modernity has emerged
Niranjaner Ushma : Between the Lines and Beyond/ নিরঞ্জনের উষ্মা : পাঠে-পাঠান্তরে
No full textNiranjaner Rushma (or Ushma) by Ramai Pandit is an integral part of Shunyapurana. The mythological, historical and social significance of this particular section stands as a cornerstone in the pre-modern Bengali Mangalkavya literature. There is no concrete etymology for the word ‘Rushma’. It can happen that while reading or listening, there were some errors in comprehending; Or else there is a possibility that, this new term was strategically coined to imply the fiery wrath of Dharmaraj! In essence, Niranjaner Ushma is a fragment of the ‘Jalali Kalima’, vividly depicting the Turkic conquest of Jajpur in Odisha. Here, the story unfolds the torture of rapacious Brahmins for honorarium and the exploitation of the common folks which are beyond words. Into this turmoil, Dharmathakur emerged in the disguise of a Yavana who strategically put them in their places and hence justice prevailed.
Many celebrated historians of literature had framed the context of this piece as an era of conflict between Hindu-Buddhist ideologies. And so, in the fading twilight of Buddhism, we witnessed that Brahmanical culture rose to ultimate dominance and tyranny and as an expected outcome, persecuted Buddhists (Saddharmi) dived into the open arms of Islam. This chapter, stained with both power and pain, lingers in the annals of literature as a silent witness. Literature remembers this not as history, but as confession.
Perhaps scholars like Haraprasad Shastri, Nagendranath Basu or Dineshchandra Sen would delve into the political history of 10th–12th century of Bengal and dig up evidence—tracing the rise of royal dynasties (the Sens, Varmans, Chandras, Devas or Khargas). These kingswere devoted patrons of Brahminical culture. So, regionally the rise of the Brahmin community as the economic and religious superiors in Bengal’s society was the real driving force behind this phenomenon.
Not only West Bengal, esteemed historian of the East Bengal, Ahmed Sharif has also declared ‘Bada Jalali & Chhota Jalali’ Kalima as a burning evidence of the seething rage and bitter defiance of an near-extinct Buddhist community against the expanding, oppressive Brahminical order. According to the author of “Bangla Sahitya Kosh”, Mr. Wakil Ahmed also interpreted that ‘Niranjaner Rushma’ is nothing but a literary historic instance of the desperate surrender of the oppressed Buddhists who are trying their best to escape from the pathetic tyranny of Brahmins. In his words, this persecuted community maintained a safe distance and enjoyed the conquest of Turks and the shameful downfall of the Brahmins. As a token of gratitude towards Muslims, they worshipped Niranjan dharma infused with Islamic monotheism. In ‘Niranjaner Rushma’ there is a subtle hint of socio-religious shift where the oppressed Buddhists started to get converted in Islam in a large number.
On the other contrary, historian of Bengali Language, Dr. Sukumar Sen will emphasis that ‘Jalali Kalima’ is nothing but a reminiscence of the rapid raid of Delhi Emperor Badshah Firoz-Shah-Tughlak in Bengal and Odisha during the 14th centuries.
Moreover, entirely refuting the imagined periodization of Hindu-Buddhist conflicts, Shashibhushan Dasgupta would shift the focus and add: The residues of Buddhism, the framework of Hindu popular thought, certain indigenous non-Aryan ritual practices, and the ethos of Islamic ideology formed into an entirely new tapestry of folk ‘Dharma’.
But we’d argue that interpreting this from such scattered, fragmentary angles misses the bigger picture. Take the Ramai Pandit’s scripture on Dharma worship rituals (Vishwabharati MS No. 129)—when we piece together the stories before and after ‘Niranjaner Ushma,’ a fascinating narrative unfolds. Here, the Dharma worshippers’ belief system describes the cosmic creation process of Dharma-Raja himself, where diverse human races emerge—and right there eventually, the almighty Niranjan (in his form as Khoda) was creating the Muslim community.
Dharmapandit Ramai had replaced Hindu deities like Karticka, Ganesha, Brahma, Vishnu, Maheshwara, Chandi Mata, Manasa etc with Kaji, Gaji, Khoda, Pekambar, Baba Adam, Fakir, Nurbibi etc. This is nothing but Hindu mythological pattern. A hallmark of Hindu mythic tradition is its syncretic impulse—assimilating disparate beliefs by refracting them through the prism of its own deities. In the ecumenical vision of devout seekers, Gods and Goddesses of all faiths converge under one roof; where Khoda, Ishwar, and Dharmathakur had unified into one entity and created this cosmos. In the alchemy of converging divinities, ‘Niranjaner Ushma’ kindles into scripture where all faiths dissolved into a single syllable
Buddhadeve Bose’s Tapasvi o Tarangini : Aligning mythology with inner conflict of life/ বুদ্ধদেব বসুর ‘তপস্বী ও তরঙ্গিনী’ : পুরাণ প্রতিবিম্বে অন্তর্দ্বান্দ্বিক জীবনভাষ্য
No full textThe great poet and playwrights Buddhadeva Bose (1908–1974), a prominent figure of the modern era, had a deep understanding of modern human life and psychology. Modern human life and psychology have become increasingly complex, requiring writers to adopt refined narrative techniques. Consequently, he successfully unraveled the intricate inner-conflicts of modern human of the post-World War era. Bose’s childhood memories and academic engagement with comparative literature nurtured his interest in mythology. Myths encompass vast narratives and timeless philosophical archetypes. To portray the internal psychological conflicts of his characters, Buddhadeva Bose, as a modern poet and playwright, drew inspiration from mythology, employing verse drama as his preferred literary form. His involvement in drama began in early adulthood, and he made significant contributions to this genre. Among Bose’s verse plays, Tapasvi O Tarangini (1966) stands out as a remarkable literary creation. Bose derived its central narrative from the Mahabharata, particularly the mythological story of the sage Rishyashringa, unfamiliar with female existence, and the courtesan Tarangini. Through a nuanced depiction of their psychological struggles, Bose reinvented mythology with a modern perspective. He not only adapted mythological events but also reshaped unstated narratives to align with the mythological essence, while designing non-mythological characters to reflect contemporary human nature. The application of mythological symbols in literature is not uncommon, yet Buddhadeva Bose’s interpretation is unique. In this play, he delves into the psychological aspects of male and female characters, transforming the courtesan Tarangini from a figure of mere carnal desire into an embodiment of romantic love. He illustrates the sage Rishyashringa’s moral downfall, self-discovery, and ultimate liberation. Through non-mythological characters, he presents profound insights into life and, most importantly, creates a new lens through which to read mythology. His skillful technique of aligning mythology with modern psychological discourse sets his mythological adaptation apart as a distinctive literary achievement
Chitrangada: Ritu and Rabindranath/ চিত্রাঙ্গদা : ঋতু ও রবীন্দ্রনাথ
No full textThis essay explores the intersection of literature, cinema, and gender identity through a comparative analysis of Rabindranath Tagore’s Chitrangada and Rituparno Ghosh’s cinematic interpretation. While Tagore\u27s Chitrangada transitions from a warrior to an ideal woman for love, Ghosh reimagines the character as a metaphor for gender fluidity and the struggle for self-acceptance. In Chitrangada: The Crowning Wish, Ghosh reflects his own journey as a queer artist, transforming Tagore’s narrative into a modern tale of identity and resistance. The essay discusses how literature offers boundless creative freedom, but cinema, bound by audience and market expectations, requires bold reinterpretations. Ghosh uses cinema not merely to retell a story but to challenge gender norms and societal prejudices, especially against homosexuality and trans identities. His film becomes a powerful statement of individuality and emotional truth, pushing beyond traditional binaries of male and female. This reinterpretation marks a significant step in blending mainstream art with marginalized voices
From Queen Sumitra to Tapati-- A journey to establish own ideology through self sacrifice in Tapati drama/ রাণী সুমিত্রা থেকে তপতী হয়ে ওঠা - ‘তপতী’ নাটকে আত্মত্যাগের পথে এক আদর্শ স্থাপনের যাত্রা
No full textনাটকের মাধ্যমে নাট্যকার জীবনসঞ্জাত অভিজ্ঞতাকে দ্বন্দ্ব, আবেগ, সংলাপ ও কর্মের মাধ্যমে দর্শকদের সামনে তুলে ধরেন এবং একটি বার্তা পৌঁছে দেবার চেষ্টা করেন। রবীন্দ্রনাথ যে একান্তই কবি এবং নাট্যকার হিসেবে তাঁর দুর্বলতা যাকে “ড্রামাটিক বলা নাহি যায় ঠিক, লিরিকের বড়ো বাড়াবাড়ি” - অনেক সমালোচককৃত এ অভিযোগ দীর্ঘকালের হলেও একথা স্বীকার করতেই হবে যে ট্রাজেডি নাটক গুলিতে রবীন্দ্রনাথের অনন্যতা সুস্পষ্ট। সেই অনন্যতা তিনি সৃষ্টি করেছেন তাঁর বক্তব্য বিষয় উপস্থাপন রীতির কুশলতায়, বলার আর্ট দিয়ে তিনি তাঁর ট্রাজেডির স্বরূপ নির্ধারণ করেছেন। রবীন্দ্রনাথের ‘তপতী’ নাটকটি একাধারে প্রেম, সংকট ও দ্বন্দ্বের কথা বলে। এই দ্বন্দ্ব ও সংকট একদিকে কাশ্মীর ও জালন্ধরের মধ্যেকার রাজনৈতিক সম্পর্ক আবার অপরদিকে রাজা বিক্রমদেব এবং রানী সুমিত্রার ব্যক্তিগত দাম্পত্যকে অস্থির করে তোলে। বিক্রমের স্বার্থকেন্দ্রিক বাসনা এবং জোর করে সুমিত্রার প্রেমকে অধিকৃত করতে চাওয়ার মোহপাশ থেকে তাকে কিছুতেই মুক্ত করতে না পেরে শুরু হয় সুমিত্রার আত্মশুদ্ধির তপস্যা যা তাকে উন্নীত করে তপতীতে। আলোচ্য প্রবন্ধে এই দাম্পত্যের নির্মাণ ও বিনাশের কারণ ও স্বরূপ অন্বেষণের একটি প্রয়াস করা হবে।