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Living-succession of indigenous community Munda through profound attachment with their primitive and domestic culture/ স্ব-অয়নস্যূত কুল-সংস্থিতির পরিপোষণায় আদিবাসী মুণ্ডার চারণ-চর্য্যা
No full textFrom distant past human generation got shape of many civilizations through evolution arising out of mode and status of living. If history of any ‘race’ is followd with an eye to its inception, the sight will be bound to the primitive stage. The rational feelings of human being created certain beliefs in mind which ultimately got the from of customs. Such customary trends introduced many events in their livelyhood and performance of those events are assigned as specific characteristics of the particular race. Even at the advent of modern civilization ‘race’ or ‘tribe’ of certain group of people are carrying such customary beliefs in them and leading their livelihood in distinctive manner. Those race or tribe are termed as ‘Adibasi’ which is a Sanskrit word constituted by two words ie ‘adi’ means origin and ‘basi’ means inhabitants. ‘Munda’ is one of such race of people and their certain features are illustrated in this context. Generation after generation the people of Munda community have resolute faith about their origin and are habituated to observe many customary occasions. They are in good faith that in ancient time, ‘Singabonga’ the deity of sun, forbided ‘Tot Harham’ and ‘Tot Buri’ to eat the root of a particuller tree. But they eat the sweet-root disobeying Singabonga. As a result they lost the good sense and enjoyed their conjugate life. They had three sons whose names were ‘Munda’; ‘Naka’ and ‘Rora’. The tribe ‘Munda’ has been emanated through successive heridities of the eldest son Munda. Such primitive affair happened at the place ‘Ajam Farh’. The peole of Munda community speaks in a language known as ‘Mundari’ which belongs to ‘Austro Asiatic’ language group. They live in associative manner all throughout India in different places eg Chota Nagpur, Jharkhand, Orissa, Madhya Pradesh, West Bengal, Assam, Tripura, Nepal and Bangladesh. In West Bengal Munda community is found to live mainly in the district of Jalpaiguri, West Midnapure, North 24 Parganas, Purulia and Jhargram. People of Munda community living in Jhargram District were the dwellers of Chota Nagpur before migration. 
Ancient Indian Tales: \u27Baital Pachchisi\u27 and \u27Betal Panchavinshati\u27/ প্রাচীন ভারতীয় উপাখ্যান : ‘বৈতাল পচ্চীসী’ এবং ‘বেতালপঞ্চবিংশতি’
No full textIn ancient India, anecdotes served as a primary vehicle for folk education. One of their main purposes was to educate the unlearned masses and to instill ethical values in children, preparing them to become civilized adults. Anecdotes were a pervasive form of cultural transmission, often carrying the lessons of folk education even without a formal teacher. This made them a powerful tool not just in Eastern traditions, but in Western ones as well. The \u27Betal Panchavinshati\u27 seems to have emerged from this ancient Indian tradition of anecdote writing. Its style of storytelling is influenced by the anecdotes found in the \u27Vedas\u27, \u27Upanishads\u27, \u27Ramayana\u27, \u27Mahabharata\u27, and \u27Jataka Tales\u27. The original style, known as Baddakaha, was written in the Paishachi-Prakrit language. This style later evolved and was incorporated into the Sanskrit work \u27Katha saritsagar\u27, a section of which became widely known as the \u27Betal Panchavinshati\u27. We can analyze the similarities and differences between two modern versions of this classic: Hindi writer Lallulal\u27s \u27Vaital Pachchisi\u27 and Bengali writer Ishwar Chandra Vidyasagar\u27s \u27Betal Panchavinshati\u27. Both authors avoided the original source material, creating unique works with natural similarities. Despite their constraints, both books were written with a distinctiveness that makes their differences just as significant as their similarities
NATARAJ SHIVA O NATUA NACH/ নটরাজ শিব ও নাটুয়া নাচ
No full textSHIVA-On the one hand he is the God of Gods and Nataraj. Again in secular tradition he is the father and God of agriculture. Just like on the one side agriculture began through his hand, he also the inventor of dance. We found his love for dancing in different puranas. We saw various types of pictures of dancing Shiva in the wall of temple. Stone idols of Nataraj were found in Harappa.
Basically, his dances are of two types. The first one is Tandava dance and the second is Mangala dance. Though we are more familiar with the first one. There is not only destruction in this Tandava of Nataraj Shiva, but is a combination of creation - stability - destruction.
Natua is a very ancient folk dance in western border region of Bengal. It is believed that Shiva has a role as the creator of the dance. Many people think that Natua was born from Tandava dance of Shiva in Daksha Yajna. However, most of the artists and researchers are of the opinion that this dance was created by Nandi and Bhringi during Shiva\u27s marriage journey and it was on the instructions of Shiva himself. Many also said that Lord Shiva created Natua dance at the request of Devraj Indra by watching the dance of a small bird named Kshama. I have tried to show how Shiva\u27s attachment is connected with this dance
Kazi Nazrul Islam’s Islamic song and Gazal’s practices at the request of Abbas Uddin/ আব্বাসউদ্দীনের অনুরোধে কাজী নজরুল ইসলামের ইসলামী সঙ্গীত তথা গজল-চর্চা
No full textMusic is the expression of human heart. But music heart is song. The song has expressed the happiness, sorrow and joy of people in the world. Many songwriters and singer do having created variety dimension of song. The name of Nazrul Islam has to mention in the discussion of the song in Bengal. He is one of the lyricists in Bengali song. Classical song, Shyama Sangeet, patriotic and Islamic songs his own a unique creation of the traditional song in Bengal. Actually, Nazrul was humanity poet and writer. He did establishment of human harmony in religious structure. His self-glory by experimenting with themes like leto songs, Arabic-Persian and mythical. He has come in contact with many talented people; Abbas Uddin Ahmed is one of them. As Abbas Uddin got the opportunity to record music by Nazrul’s hand, Nazrul Islam devoted himself to the practice of Islamic music at his request. Due to the combined efforts of the two, Islamic music and Gazal’s are still heard in Muslim festivals, events and entertainment
Women’s Inner Voice in Folklore/ লোকসাহিত্যে নারীর অন্তঃকথা
No full textFolklore is a collage of the lived realities of ordinary people, providing valuable insights into the social position of women. In the earliest stages of human civilisation, women held a significant status in society. They actively participated alongside men in the struggle for survival and were industrious contributors. However, with the progression of civilisation, women’s autonomy and societal roles began to diminish, while male dominance steadily increased. Over time, the belief took root that women were incapable of participating in physically demanding activities. Consequently, men consolidated their authority, relegating women to subordinate roles confined within the domestic sphere. This confinement created an intense yearning within women to express their unspoken anguish. Much of Bengali folklore, predominantly oral in nature, was composed by women. Their oral literature naturally reflects their lived experiences, encompassing their struggles, sorrows, unfulfilled desires, and aspirations. Through their inherent creativity, women have crafted fairy tales, composed ritualistic bratakatha, soothing lullabies, and folk songs tied to various customs. Regardless of the themes, these works invariably carry the imprint of women’s personal experiences and inner reflections. Women’s repressed hopes and dreams found fulfilment through the female characters in their tales, where the heroines, despite enduring hardship and oppression—often at the hands of co-wives in a patriarchal society—reclaimed their dignity and fortune by the story’s end. Such narrative twists reveal the latent desires of women’s hearts. Similarly, the ritualistic rhymes of women’s vows (bratakatha) serve as reflections of their direct lived experiences. These verses express the hopes, aspirations, and contemplations of both unmarried and married women, capturing their achievements and disappointments. Across various branches of folklore, rural Bengali women have vividly and spontaneously articulated their life’s struggles, emotional turmoil, and suppressed sighs with masterful skill. Over time, as patriarchal oppression intensified, women—confined within the domestic sphere—grew vengeful, became aware of their individuality, and began to recognise the language of their subjugation. This awareness compelled them to portray their deprivations and grievances in the mirror of folklore, giving voice to their marginalised existence
Goyenda Gargi : Bangla Sahityer Ek Protivaban Nari Goyenda/ গোয়েন্দা গার্গী : বাংলা সাহিত্যের এক প্রতিভাবান নারী গোয়েন্দা
No full textIn the nineties, Tapan Banerjee created his fictional female detective Gargi. Gargi\u27s full name is Gargi Mukherjee. She is a student of the Department of Mathematics at Calcutta University and a mystery solver by passion. Her favourite subjects are country, time and time. She loves to read history and sociology. After enrolling in mathematics, she initially thought of becoming a mathematics professor or teacher. Later, she changed her mind. Before coming to detective work, she was a freelance journalist. She made her first appearance in a detective novel called ‘Ershar Sabuj Chokh’. Detective Gargi has sometimes investigated murders, sometimes recovered valuable documents from old history. She has had to travel to different places to do her detective work. Her husband Sayan has helped her a lot in this regard. She has solved one mystery after another while managing the family. Detective Gargi has an outstanding skill in solving mysteries. Gargi solves all the mysteries with her sharp intellect and infallible guessing power. When society slowly starts getting entangled in a web of mysteries, Gargi sometimes gets involved on his own, sometimes gets hired to solve the mystery. Sometimes, the mystery is created by looking at Gargi. Gargi’s curiosity is very wide. He goes out of his own field in search of many more information, theories and arguments. Sometimes literature, sometimes politics, sometimes economics, political science or philosophical theories are among his hobbies. On the one hand, he handles important positions in the family, office and ‘Paradise’ company, and on the other hand, he identifies the criminal through his hard observation and analysis. Gargi never has to take the help of a gun or a pistol to catch the criminal. He finds the criminal only through observation, speculation, analysis and unparalleled intelligence. He never takes payment from anyone for this. He is not a private detective. Gargi considers helping a person in danger to be his supreme religion. It has always been Gargi’s nature to delve deeply into a subject and analyse it thoroughly
Use of Slangs and bad words in selected literature of Rabindranath Tagore/ নির্বাচিত রবীন্দ্র সাহিত্যে নিন্দাসূচক শব্দ ও অপভাষার প্রয়োগ
No full textRabindranath Tagore is not only a famous author but a great part of our culture and heritage. In his literature there are also the use of slangs but these are used not for criticism, nor for cheap popularity but for the sake of providing authenticity to the characters. The slangs are only used in the dialogues of the characters.
Rabindranath Tagore was born in an educated liberal family of the nineteenth century. He believed in good values, but still a lot of slangs have been used in the short stories and novels. In drama, especially in the humorous short dramas, there are plenty of slangs which have been used for creating a ridiculous situation. The characters and the situations provide the laughter element in a drama. The duty of a good creator is to establish the character and the events in a believable manner. No doubt, Rabindranath has successfully created believable characters and situations in his writings.
Rabindranath wrote many devotional songs, poems and essays. He is the founder of Bramhacharya Bidyalay in Santiniketan, which was converted into Bishwavarati Bishwabidayalay. In the Shantiniketan Ashram he was called Gurudeva. But we are also able to gather a long list of slangs in his literature. This was not a controversy, but it’s a great way to ascertain the versatility of our beloved poet, who so realistically included the smallest detail.
Rabindranath went to East Bengal for the maintenance purpose of his father\u27s zamindari. In East Bengal he saw the rural people, who are fond of using slangs in their day to day life. So when Rabindranath created stories in the background of East Bengal, he used the slangs to make it more real. With the use of these words the life of the lower strata of the society was established as truly as possible.
In the era of Rabindra nath Tagore he was also criticized by the people in a bad way. Especially some literary magazines intentionally insulted Rabindranath. Sometimes this was happened as they had different views but often out of pure jealousy. But Rabindranath never answered rudely, nor did he use slangs for answering. He was a very soft-spoken person, who always respected his family, its culture and the heritage of our society. In this essay, we are going to look at the slangs which were used by Tagore in his writings, and also the deep purpose to use the same
abindra Byaktitwe Paribar Parijaner Prabhab: Rabindranath Thakurer ‘Chelebela’— Ekti Alochana/ রবীন্দ্র ব্যক্তিত্বে পরিবার পরিজনের প্রভাব : রবীন্দ্রনাথ ঠাকুরের ‘ছেলেবেলা’ — একটি আলোচনা
No full textThe Creation makes the creator immortal. But in order to express one’s own story one needs to write an autobiography. Because through an autobiography writer/ author reveals himself/ herself to the readers. So that autobiography is the best way to know the writer/ author deeply and personally. Rabindranath Tagore wrote three autobiographies during his life-span. Those are ‘Jibansmriti’ (1912), ‘Chelebela’ (1940) and ‘Atmaparichoy’ (1943). Rabindranath Tagore wrote the book \u27Chelebela\u27 for boys at the request of Nityanandabinod Goswami, the professor of literature of Shantiniketan Vidyalaya. In this book Rabindranath Tagore recollected his childhood. But here he didn’t describe the continuous account of boy Ravi. Instead he reminisced the reasons why Ravi became Rabindranath Tagore. No man can grow alone. One grows up in family and Society. So that the role of environment, society, family and relatives are enormous in the formation of personality. And Rabindranath Tagore is not an exception. In the book ‘Chelebela’ Rabindranath Tagore focused on the history of the boy Ravi\u27s growth in vitality. So as usual the description of farmer Calcutta, the rules and systems of Tagore’s family and relatives brought up in his reminiscence of childhood. In ‘Chelebela’ while Rabindranath Tagore talking about his family specially mentioned his four elder brothers’ — Dwijendranth Tagore, Satyendranath Tagore, Hemendranath Tagore and Jyotirindranath Tagore. However, the contribution of Kadambari Devi is not left out. Ravi’s childhood was spent on a small scale surrounded by servants. But that couldn’t clasp the boy Ravi. The vast experience and the independent thinking of the elders influenced the imaginative mind of boy Ravi little by little. Especially for the boy Ravi becoming Rabindranath Tagore, the education system of Hemendranath Tagore, the philosophy of Dwijendranath Tagore, the modern mentality of Satyendranath Tagore, the musical education and the sense of realism of Jyotirindranath Tagore and the extraordinary personality of Kadambari Devi have been mentioned here
Epidemic in Bengali and International Literature : The past and the present/ বাংলা ও আন্তর্জাতিক সাহিত্যে মহামারি : সেকাল ও একাল
No full textA walk through the history tells us that nearly after every century there have been evidences of epidemics and pandemics across the world and how it affected the lives of people, health, economy, education and the overall social system. COVID-19 pandemic like other pandemics has been reflected through the literature also. This paper focuses on the effects of COVID-19 pandemic on literature. It will try to analyse the literature in the phase of COVID-19 with special references to the bengali short stories, drama and also try to compare with some other literary works on various pandemics. The major literary works are taken as examples are ‘The Plague’ by Albert Camus, ‘Love in the time of Cholera’ by Gabriel García Márquez, ‘A journal of the Plague year’ by Daniel Defoe, ‘The Masque of the Red Death’ by Edger Allan Poe.
There has been clear efforts in writings to bring out the misery caused by the pandemic and how it affected people and their livelihoods. Classic and contemporary writings not only provide an insight, but it also allows a fair portrait of the losses and people\u27s efforts to move forward
Modern poetry - Unorthodox alternative beauty in Baudelaire\u27s poems/ আধুনিক কাব্য : বোদলেয়ারের কবিতায় বিপ্রতীপ বৈকল্পিক সৌন্দর্য
No full textFather of modern poetry, great French poet Charles Baudelaire (1821-1867) has searched poetic beauty in depression that has been felt in the sludge of aversion and hate. In his poetry reader finds an unparalleled poetic art in sin, hell, lewdness, libido. Surprisingly Baudelaire tries to extract beauty from carcase. His poetry is not gracious but rich in beauty. A wonderful blend of sin and beauty one may witness in Baudelaire\u27s poetry. He has seen the trafficking of foul sex in Paris. He has filtrated poetic beauty from deteriorated civic life. He wrote, hell may be the source of beauty in his \u27Hymne a la Beaute\u27 (Hymn to Beauty) of \u27Les Fleurs du Mal (1857). He showed in his poem \u27L\u27 Albatras\u27 (The Albatross) the wounded bird Albatross as the symbol of spoiled charm. The poet finds beauty in the heartless city, the indecent breast of Sphinx of Greek mythology, waterless canal, sick poetry, unconscionable desire, ugly sex of monster bint in his different poems like \u27Le Cygne\u27, \u27La Muse Malada\u27, \u27La Muse Venale\u27, \u27La Beaute\u27, \u27La Geante\u27, \u27Une Charogne\u27, \u27Un Voyage a Cythere\u27 etc. To the poet\u27s view, the sinful man and woman, blind, deaf and dumb, ugly are also part of beauty. In his great poem \u27La Voyage\u27 Baudelaire wrote that for the creation of beauty nobody will be there to place a petty ensis on his tomb. The dejected poet has left a doleful memento for the mankind. He has built a cresset of light in his poem \u27Les Phares\u27 with thief, hooligan, jaundice patient, severed corpse, girl\u27s naked acting, worship of witch, lust of ghoul etc. The great poet Baudelaire is the aesthetic artist of decayed time, truely a novel architect of beauty opposite to the romanticism