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Magical Reality and Ravi Shankar Ball\u27s Novel Chatushtoy/ জাদুবাস্তবতা ও রবিশংকর বলের উপন্যাস চতুষ্টয়
No full textOne of the genres of modern fiction is the magical narrative. This genre is most developed by several Latin American authors. As a critic Ravaishankar has also discussed magic realism in the context of Marquez’s writings. We will discuss how magic realism is used in Rabishankar’s fiction. The extent to which Rabishankar’s work is influenced by the ideas of magic realism from Franz Roah to Alegeo Carpenter to Marquez is a matter of concern.
Hallucinetory scenes and events, one of the elements of magic realism, are clearly used in Ravishankar’s works such as ‘Dozakhnama’, ‘Aynajiban’, ‘Zaro Hour’, ‘Kissa bolen Sheherzade’ etc. Elements of the magical world and hars reality of the world are spontaneously combined in these works. Other elements of magic realism such as ‘heteroglossia’, ‘cross-culturalism’, ‘postcolonialism’ etc, can be noted in Rabishankar’s work. Through all this, he wanted ro break the conventional European style of writing stories. Following the style of kissa, dastan in creating stories, he made the reader a passenger to an endless story
The Real Picture of India at that Time Behind the Allegory : Manmath Roy\u27s \u27Karagar\u27/ রূপকের অন্তরালে তৎকালীন ভারতবর্ষের বাস্তব চিত্র : মন্মথ রায়ের ‘কারাগার’
No full textPlaywright Manmatha Roy wrote the play \u27Karagar\u27 based on the story of the Srimadbhagavatam. After taking away the scepter and crown from the hands of the Yadavas\u27 king, Surasena, the chieftain Ugrasena became the king of Mathura. From then on, the oppression of Ugrasena\u27s son Kangsa and his followers began on the conquered Yadava’s. When Kangsa himself ascended the throne of Mathura after imprisoning his father Ugrasena, the level of oppression by him and his followers increased. At the fervent prayers of the humiliated Yadava’s, the savior, Lord Krishna, was born in the prison of the miscreants. He was born to destroy the Arati, to establish religion in a world flooded with irreligiousness, to destroy the demon Kangsa and establish peace on earth.
When the play ‘Karagar’ was written, Mahatma Gandhi had broken the salt law and spread the freedom movement across the country to gain complete freedom. Starting from Mahatma Gandhi and Jawaharlal Nehru, many leaders of the country, were imprisoned. Sometime before that, there was a social reform movement in North Bengal. Therefore, the playwright Manmatha Roy, who was aware of life and the world, did not directly attack the British power, but wrote the play ‘Karagar’ by combining the mythological story of the slaughter of Kangsa with the idea of saving kidnapped women and other welfare ideals.
Karagar’ is a metaphorical play. In this play, the playwright talks about national social reform and political struggle under the guise of mythological words. In the play, the tyrant Bhojpati Kangsa represents the imperialist tyrannical British royal power. The Yadavas defeated by the Bhojapati Ugrasena and his son Kangsa are actually the Indians defeated by the british. The servants of the British government, who are devotees and supporters of British imperialism, appear in the play as the slave Yadavs, such as Vidurath, who are greedy for the feet of the conquering lord. In the play, the tyranny of the Bhojaraja Kangsa is actually the tyranny of the Indian subjects by the imperialist British rulers. Their rule is nothing but exploitation in the name of rule. Through the abduction of some inhuman Yadav youths, such as the Yadav young woman Chandana, by the inhuman followers of Kangsa, the playwright wants to present a sad picture of the abduction and rape of Indian women by some drunken English servants or miscreants before the audience.
The reason for the playwright Manmath Roy to adopt this metaphorical disguise in the play ‘Karagar’ is to avoid royal anger. In subjugated India, speaking against the powerful royal power is tantamount to treason. The patriotic playwright knows this very well. A mythological environment has been created in the play ‘Karagar’. The playwright talks about national social reform and political struggle under the guise of mythological words. Kangsa’s prison is a symbol of the British’s crushing machine, the prison in India. The playwright has used the form of Kangsa’s prison to highlight the real problems of India at that time
Natyatattbik Saumitra Chattapadhyayer ‘Tiktiki’ Natya : Apratyashita Prabin - Nabiner Anabadya Yugalbandi/ নাট্যতাত্ত্বিক সৌমিত্র চট্টোপাধ্যায়ের ‘টিকটিকি’ নাট্য : অপ্রত্যাশিত প্রবীণ - নবীনের অনবদ্য যুগলবন্দি
No full textThe evolution or development of Bengali drama has been seen by theatre enthusiasts from the general public to theatre intellectuals. As much as social, political and historical dramas have been seen, Rajshekhar Bose, Sharadindu or Satyajit Ray have not been brought to the theatre arena. In this regard, the long-standing desire of the theatre enthusiasts has been fulfilled by the recent famous mystery and detective drama ‘Tiktiki’ by the ‘Swapnasandhani’ theatre group. Playwright Soumitra Chatterjee has made a Bengali adaptation of the much-loved ‘Sleuth’ play by foreign playwright Anthony Shaffer in the play ‘Tiktiki’. In the world of theatre in the 20th century, veteran playwright Soumitra Chatterjee has been working tirelessly with indomitable dedication and enthusiasm in the pursuit of theatre. He has inspired his creative power in writing original and translated plays and both full-length and one-act plays. The play was first published in Bahurupi Patrika, issue 52, September 1979, and secondly in Vibhav Patrika. Satya Sindhu and his wife Rekha found a companion of thirty-five years to shake off the boredom of their failed married life. The man was Bimal Nandi, new resident of the area. Bimal Nandi’s father’s name was Jagannath Kangsavanik. His father moved to Kolkata during the partition. His original home was at Faridpur. Even though Satyasindhu was immersed in his own world, the love story between Rekha and Bimal finally reached into his ears. One day, in Rekha’s absence, Satya invites Bimal Nandi to his house. Two people of different ages, different classes, different tastes and different mindsets stand face to face in a room of that large house decorated in various ways. Bimal Nandi and Rekha love each other, but Bimal’s financial condition was not as prosperous as Satyasindhu’s. Satyasindhu prefers to stay in his own imaginary world, afraid to come out into the real world outside. Therefore, he deals with his wife’s illicit love and lover in the style of a fictional detective story. Bimal has fallen in love with a very expensive woman and he has no money. In this case, according to Satyasindhu’s logic, if he wants to have a married life, he has only one way out, which is to steal those jewels. Bimal completely believes Satyasindhu this time. Satya Sindhu have asked Bimal to play this game in such a way that the government inspector comes and spends his time on this matter, and you will have to do the work in such a way. The black dog will come only after you have stolen; it is called a detective. The language of the underworld, ‘tiktiki’ is what you call it. Bimal, the lover, joins in this game and gets a kick out of it at first, then uses his ‘Gurumara’ knowledge to trick Satya Sindhu (Soumitra Chatterjee). Needless to say, Satya Sindhu plays the game like a seasoned player. And Kaushik Sen, who plays Bimal, keeps pace with him. This pairing of the old and the new is enjoyable and educational for the young. As a smart, intelligent comedy, ‘Tiktiki’ certainly comes off well. But even in that, the production gets a little deeper because it touches on some contemporary issues, problems or relationships. For example, the problem of marital relations or illicit love, the class gap enters into it and complicates it, a sharp joke about police corruption or the fantasy world of detective literature. The comedy at the beginning of the second act is also particularly interesting, especially Bimal’s extraordinary disguise, Balaram is at least fifty years old. He wears glasses, has unkempt hair, and a mustache. He wears a police uniform. The director, actor, and makeup designer Sri Das is also a partner in the achievement. At one point, it is almost proven that Satyasindhu has murdered Bimal. The police officer says that he will arrest Satyasindhu for murder. Then Bimal Nandi comes out from behind the makeup of the officer disguise. He wants to take revenge for the extreme humiliation and shame of defeat that Bimal suffered when he came close to death in the first act. Bimal takes that revenge at the end of the play; the play becomes new in another episode. The game starts again. The three-time game ends in today\u27s social emptiness. How he takes it creates a terrible beauty in the play. In this play, Satyasindhu Chowdhury is a rich, aristocratic man. And Bimal is a poor son of a refugee family. Bimal loves Satyasindhu’s wife Rekha. He wants to marry her. So, Satya wants to compose a play within the play to punish Bimal. In this way, two men endanger each other by taking control of the same woman, become cruel, ruthless, brutal towards each other, and even become each other\u27s murderers. This play is a report on how jealousy, rivalry, and the attitude of competing with each other make people desperate and endangered, how they push each other towards humiliation and disrespect. The play is not just a spy story, but it is very much like that. Playwright and director Soumitra Chatterjee has beautifully presented the imagination and feelings of the subconscious in the analysis of the psyche of people
Folk Medicine in the Context of Baul Spiritual Practice: Tradition, Philosophy and Relevance/ বাউল সাধনার প্রেক্ষিতে লোকচিকিৎসা : ঐতিহ্য, দর্শন ও প্রাসঙ্গিকতা
No full textBaul practice is a unique and profound theoretical and cultural tradition of Bengal. It is not merely a spiritual journey but also a distinctive approach to improving physical, mental, and social well-being. The philosophy and practices of the Bauls inherently incorporate elements of folk medicine, primarily guided by natural and spiritual knowledge. In Baul philosophy, the body is regarded as a vessel for attaining Brahmatattva (the ultimate truth of the divine). Bauls believe that spiritual enlightenment is unattainable without a healthy body. Based on this belief, they utilize various herbal plants and natural elements to treat ailments. Their methods of folk medicine include specific rituals, music and meditation, which play a significant role in enhancing the mental health of individuals. The philosophy of Baul practice emphasizes maintaining harmony between the individual and the collective. It holds that the fusion of natural energy and consciousness within the human body is the true source of health and happiness. Although Baul folk medicine does not rely on modern medical equipment or pharmaceuticals, it has the potential to bridge the knowledge of ancient traditions with modern healthcare practices. Thus, Baul folk medicine is not merely a traditional element but a vital healthcare system for marginalized communities. It can be considered a complementary approach to modern medical science. Through this practice, we observe a profound philosophy of respect for nature and the pursuit of self-purification
Social Consciousness of Sarat Chandra chattopadhyay in the light of His Writings/ শরৎ সাহিত্যের আলোকে শরৎচন্দ্রের সমাজ-চেতনা
No full text‘Literature can act as a mirror of society’. This is very much true about the writing of all great writers, Sarat Chandra chattopadhyay being one among them. The vast corpus of his writing- novels, short stories, essays- depicted superstition, social injustice and condition of women of his time. But behind all his writings was his silent intention to inform and educate his readers about evils of society as he saw it. Sarat Chandra Chattopadhyay was also a very socially conscious person and as a very popular writer, he did not write various stories, novels and essays only for the purpose of writing literature, but also from his firm belief that it was his moral duty for creating social consciousness against various social evils. He firmly believed that, one should try to remove various injustices and superstitions from society by writing against them. Sarat Chandra believed that the root of social evils and problems stem from socio-economic discrimination, the disturbing condition of lower caste and class, caste discrimination, the way women were treated in a patriarchal society, particularly in contemporary Hindu society. These social evils were so firmly rooted in the minds of people that it was impossible for people to get rid of these social evils and malpractices unless they were completely uprooted.
In the article under discussion, there will be an attempt to analyze how Sarat Chandra chattopadhyay, through his various novels, stories and articles, tried to form a public opinion among his readers by writing against various social evils and various social injustices. In short, the main aim of this research paper is to reveal how his social consciousness has been revealed through the Sarat Chandra\u27s literature, that is, how much Sarat Chandra was a socially conscious person, in the light of the literature he created
Bengali Song : Modernity and Thereafter/ বাংলা গান : আধুনিকতা এবং তারপর
No full textOne of the most well-liked musical genres in India is Bengali music. Since the dawn of civilization, music has played a significant role in human existence. Since ancient times, Bengali songs have been an integral part of Bengali culture. The song made reference to modernity in the later 19th century. The protagonist is Rabindranath Tagore. Bengali songs have been influenced by the significant changes that have occurred both domestically and internationally, as well as the ways that historical and political events have impacted people\u27s lives. Later, this song has transcended the current era and given rise to new commentary in the hands of different lyricists. The song\u27s lyrics evolved together with the crisis of civil life. It changed again because of globalization.
This fundamental study looks at how Bangla songs have evolved over time, how it represents modernity, and how they move from the mordenityto the post-modern era
The visual form of poetry and the \u27concept formation process\u27: A psychological analysis/ 7. কবিতার দৃশ্যরূপ ও ধারণাগঠন প্রক্রিয়া : একটি মনস্তাত্ত্বিক বিশ্লেষণ
No full textIn their role as both creators and artists, poets have long used subject matter and style to evoke joy in the hearts of their readers. A unique group of poets, however, took this a step further by using the ‘physical’ and ‘visual form’ of their work to simultaneously captivate the eyes and hearts of their readers. By arranging lines and stanzas in a specific way, they created a visual form that often served as a physical representation of the poem’s abstract ideas. Furthermore, some poems use a distinct ‘typographic style’ to create a picture of a physical object. This kind of poetry where the visual form is paramount, has a rich history in the literature of various languages and has consistently drawn the attention of readers. This paper explores how this visual poetry impacts the reader’s mind, and it psychologically analysis the relationship between this poetic form and how we organize knowledge
The dynamics of modern Bengali poetry after Rabindranath Tagore: from the beginning to the end of the 1940s/ রবীন্দ্রোত্তর আধুনিক বাংলা কবিতার গতিপ্রকৃতি : শুরু থেকে চল্লিশের শেষ
No full textDeparting from the obscurities of the medieval period, Michael Madhusudan Dutt (1824-1873) was the first poet in Bengali literature to articulate, through his works, the diverse sensibilities of a modern consciousness. The defining features of modern literature—individuality and the assertion of selfhood—were most prominently realized in his poetry. Biharilal Chakraborty’s (1835—1894) inclination to voice personal sentiments in an authentic idiom found a fuller and more accomplished expression in the poetry of Rabindranath Tagore (1861—1941), who engaged with multiple strands and possibilities of modernity. Nevertheless, the emergence of genuine modernism in Bengali poetry was ultimately conditioned by the necessity of transcending Tagore’s overwhelming influence.
The earliest conscious desire to liberate Bengali poetry from the overwhelming influence of Rabindranath Tagore was most distinctly articulated by the poets of the ‘Kallol’ group. Yet, even prior to them, Kazi Nazrul Islam (1898–1976) had, perhaps unwittingly, with his rebellious, fiery verse freed himself from the spell of Tagore’s influence, but the decisive breakthrough arrived with the ‘Kallol’ group. Journals like ‘Kallol’ (1923), ‘Kalikalam’ (1926), ‘Pragati’ (1927), ‘Parichay’ (1931), and later ‘Kobita’ (1935) created platforms for a radically modernist generation of modern Bengali Poetry.
This new poetry was inseparable from its turbulent historical context: the First and Second World Wars, the Russian Revolution, India’s Non-Cooperation Movement, the Great Depression, and the rise of Marxist ideology. Against this backdrop, the 1930s produced some of the most remarkable poets in Bengali literature. Jibanananda Das (1899–1954) became a central voice with his haunting imagery, skepticism, and unique meditative tone. Sudhindranath Dutta (1901–1960) emphasized classical discipline, dense intellectualism, and impersonality. Buddhadeb Basu (1908–1974) championed modernism through lyrical romanticism, frank sensuality, and aesthetic delight. Amiya Chakravarty (1901–1986) combined scientific rationality with spiritual quest, while Bishnu Dey (1909–1982) brought Marxist thought, historical awareness, and realist concerns into poetry. Alongside them, poets like Premendra Mitra (1904–1988), Ajit Dutta (1907–1979), and Achintyakumar Sengupta (1903–1976) enriched the movement with varied stylistic experiments.
The 1940s brought further transformation under catastrophic events—World War II, the Bengal Famine of 1943, communal riots, the struggle for Independence, and Partition. Poetry now became more overtly political and socially committed. Sukanta Bhattacharya (1926–1947), who died tragically young, emerged as a symbol of revolutionary hope and youthful defiance, while Birendra Chattopadhyay (1920–1985) and Ram Basu articulated leftist ideals and collective struggle. Yet not all poets turned activist; some, like Ashok Bijoy Raha (1915–1997), Arun Kumar Sarkar (1919–2001), and Naresh Guha (1923–2009), retained a lyrical attachment to nature and beauty. Others, such as Arun Mitra (1909–2000) and Jyotirindranath Maitra (1911–2000), attempted a balance between realism, social consciousness, and humanist values.
Thus, from the beginning of 1930s through the late 1940s, Bengali poetry underwent a vibrant and multi-layered transition. Beginning with a conscious break from Tagore’s dominance, it moved through experimental modernism, embraced skepticism and historical awareness, and finally reached politically engaged verse that voiced hunger, protest, and the dream of social transformation. These decades decisively shaped the foundation of post-Independence Bengali poetry, ensuring its richness, diversity, and modernity
Satyajit Ray’s ‘Bankubabur Bandhu’: A Study of Language Style/ সত্যজিৎ রায়ের ‘বঙ্কুবাবুর বন্ধু’ : ভাষাশৈলী
No full textLanguage is any medium of communication. Through the mastery of language use, a story can be vividly painted in the reader’s mind like a picture. The technique of using language is what we call style. Stylistics is a branch of applied linguistics that analyzes the practical variations of language depending on individuals or situations—for instance, an author’s choice of words, tone, narrative style, grammar, and linguistic patterns.
Analyzing the language of a narrative at the phonological, morphological, syntactic, and semantic levels of linguistics is what constitutes stylistic analysis of narrative language. The play of language in a narrative can also be revealed through the use of dialects, bilingualism, diglossia, or multilingualism in characters.
Narrative discourse is of two types: descriptive discourse and dialogic discourse. In descriptive discourse, the narrator speaks directly. In dialogic discourse, the narrator makes characters speak on his behalf. To highlight dialogic discourse, descriptive discourse becomes necessary. Before dialogic discourse, the writer usually inserts short objective declarative sentences, which belong to descriptive discourse. Through these declarative sentences, the writer portrays a character’s physical gestures, manner of speaking, and intonation to the reader via language. This lends additional dimension to the dialogue. In this way, the true nature of each character is revealed.
In dialogic discourse, the writer presents the main message of the narrative to the reader. In descriptive discourse, the surrounding environment of the story, the behavior of the characters, their state of mind, their attire, and every detail is elaborated. In Satyajit Ray’s short story ‘Bankubabur Bandhu’, the author employs the first-person narrative style, making use of both forms of discourse. In the dialogues of the characters, the themes of diglossia and multilingualism appear from the perspective of sociolinguistics. The story has been made vivid like a picture through the techniques of repetition, special word choice, phrase usage, onomatopoeic expressions, mimetic sounds, and reduplication of words. This article has sought to analyze and demonstrate these aspects.  
Tarashankar Bandyopadhyay\u27s novel \u27Aranya-Banhi\u27: Narrative of an Indigenous Tribe/ তারাশঙ্কর বন্দ্যোপাধ্যায়ের ‘অরণ্য-বহ্নি’ : আদিবাসী জনজাতির আখ্যান
No full textThe writings of Tarashankar Bandyopadhyay reveal the history of the struggle of the people of Birbhum district which is inhabited by tribals, both in the pre-independence and post-independence periods. The bloodthirsty eyes of the English merchants, exploitation3 and oppression, the deception and fraud of the local landlords and moneylenders, and the ruthless exploitation made the life of the tribals unbearable. The narratives of all these tribal people living in their own land are also found in Tarashankar\u27s novels. \u27Aranya-Banhi\u27 (1966) is a popular novel of that genre, which is written in the context of the Santal rebellion of 1854-1855. Here, the author has constructed the history of the past glory of the Santal people by combining historical facts and truths and a folk-friendly historical concept. Tarashankar Bandyopadhyay has chosen the voice of history as a protest against the social degradation, political oppression, violence or the accumulated discrimination at all levels of the sixties after independence. Therefore, Tarashankar Bandyopadhyay’s \u27Aranya-Bahni\u27 is an exceptional alternative historical narrative of the helpless suffering and pain of the indigenous people.