Trisangam international refereed journal
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Marital Struggles in the Novel Jaao Pakhi/ ‘যাও পাখি’ উপন্যাসে দাম্পত্য সম্পর্কের টানাপোড়েন
No full textShirshendu Mukhopadhyay’s novel Jaao Pakhi (1976) intricately explores the complexities of marital relationships, portraying the emotional turbulence, unspoken conflicts, and eventual reconciliations that define human bonds. The novel, initially serialized in Desh magazine and later expanded into a book, delves into the lives of three couples— Brajgopal-Nonibala, Raneen-Beena, and Ajit-Shila—each representing distinct facets of conjugal strife and resilience.
At the heart of the narrative is Brajgopal and Nonibala’s marriage, which deteriorates from affectionate banter to bitter resentment due to Brajgopal’s neglect and Nonibala’s growing isolation. Their story reflects how unaddressed grievances and societal pressures can erode love, yet hints at the possibility of late-life redemption. In contrast, Raneen and Beena’s relationship is marked by mutual distrust and toxic masculinity, culminating in violence—a stark commentary on patriarchal dominance and emotional detachment in urban middle-class marriages. The third couple, Ajit and Shila, embodies a seemingly harmonious union disrupted by unspoken insecurities, particularly Shila’s ambiguous friendship with a colleague, which strains their trust.
Through these relationships, Mukhopadhyay underscores that marital harmony requires more than love—it demands empathy, communication, and compromise. The novel’s cyclical structure, ending with tentative reconciliations, suggests hope amid despair. Jaao Pakhi thus serves as a poignant sociological document, revealing how external chaos (e.g., post-Partition displacement) and internal conflicts shape intimate bonds. Ultimately, the novel affirms that while marital tensions are inevitable, understanding and forgiveness can rekindle connection, making it a timeless exploration of human vulnerability and resilience
Buddhadeb Guhar Koekti Uponyase Lok Upadaner Anusanga/ বুদ্ধদেব গুহ-র কয়েকটি উপন্যাসে লোক উপাদানের অনুষঙ্গ
No full textThe customs, principles, reforms and belief of a folk society form a part of the folk element. Buddhadeb Guha has brought various references to folk elements in his writings. Buddhadeb Guha, fascinated by the magical beauty of nature, has repeatedly travelled to different parts of India. Just as he witnessed the joys and sorrows and lifestyles of the deprived and oppressed people of those regions, he also felt with his heart the folk beliefs, tradition, and culture of the indigenous people accustomed to living a forest life. Buddhadeb Guha has depicted in his novels the unique lifestyles, customs, beliefs, traditions and culture of people living far from the complexities of modern life. One can learn about the people of Bihar, Odisha, Madhya Pradesh etc. and their lifestyles by reading Buddhadeb Guha\u27s novels. The folk culture of Bengal is based on the customs and beliefs of the rural indigenous people. Buddhadeb Guha, in his novel, introduces us to the lost folk traditions and culture by highlighting folk elements such as folk beliefs, folk deities, folk songs, folk dances and folk tales. Reading his novels, one can discover folk elements derived from the daily lives of marginalized indigenous people. Buddhadeb Guha\u27s novels have taken on a different dimension in their depiction of both elements. While roaming around different parts of India on the pretext of hunting, he collected various folk elements and delineated those elements with utmost compassion in his novels, Buddhadeb Guha, who had diverse experiences, witnessed the lives of different communities and incorporated their life stories and folk elements into his novels. These folk elements sometimes appear in the form of songs and sometimes in the form of rhymes and proverbs. Because of his unwavering attraction to folk elements, Buddhadeb Guha\u27s novels have become unique in their fascination with folk beliefs and folk culture
Gobardanga\u27s Tradition of Dramatic Culture and Dramatic Practice (1870–2022): A Socio-Cultural Revie/ গোবরডাঙ্গার ঐতিহ্যে নাট্যসংস্কৃতি ও নাট্যচর্চা (১৮৭০- ২০২২) : একটি সমাজ-সাংস্কৃতিক পর্যালোচনা
No full textAn exploration of the history of drama practice in Gobardanga reveals the presence of more than 150 drama groups in the region. Gobardanga’s theater journey began in 1878 AD, greatly influenced by the location of the local landlord’s house and subsequent socio-cultural developments that spurred dramatic activity. Although it started with a single group in the 1870s, over the following decades, around 24–25 drama groups have consistently engaged in theatrical practices. To further enrich this tradition, a Drama Academy School was established to foster research and development not only in acting but also in the broader field of drama.
Some of the notable contemporary groups include Rupantar (1973), Navik Natyam (1977), Shilpayan (1980), Naksha (1981), Shilpanjali (1987), Rabindra Natya Sangstha (1995), Bihunga (2010), Mridangam (2012), Chittopat (2012), and Rangabhumi (2013). In addition to stage performances, these groups organize workshops and seminars, publish drama magazines, and host theatre festivals. Many original plays have emerged from these groups, contributing significantly to Bengali literature.
Gobardanga is often referred to as the “City of Theatre” or the “Village of Theatre.” Its theatrical influence extends beyond the locality to various districts of West Bengal and serves as a vital link in the broader network of Indian drama. This research paper seeks to analyze the historical development of Gobardanga’s socio-cultural identity through the lens of its vibrant theater culture
A search for history beneath the surface of folk rhymes/ লৌকিক ছড়ার অন্তরালে ইতিহাসের অনুসন্ধান
No full textRhymes are identified as a mirror of social history. Rhymes often portray the history of common people, which is absent from mainstream historical narratives. Hidden within the rhythm and words of these rhymes lie the history of Bengali wedding processions, the Mall kings of Bishnupur, the Dom Sena of the feudal kings of Rajnagar, the history of buying and selling girls for money in various regions of India, the story of Mughal emperor Jahangir sending his general Man Singh to defeat Pratapaditya, one of Bengal’s twelve landlords, the Maratha invasions during the rule of Nawab Alivardi Khan, the Battle of Plassey, the arrival of the British, floods and droughts in Bengal, the Santal Rebellion, indigo cultivation, and ancient temples— each of which carries significant sociological and historical value
Relevance of Yoga on Kalidasa’s Literature/ কালিদাসের সাহিত্যে প্রতিফলিত যোগতত্ত্ব
No full textYoga Darsana literally translate to the philosophy of yoga. Yoga has known as the form of bodily, mental and spiritual practices in which a practitioner in a self-disciplined manner continues to practice enhance ongoing towards fast bodily than mentally finally leading to spiritual progress. The text of Yoga Darsana does not deal with elaborate postures and techniques well known to all who have come across the term of yoga practice. Patanjali is being claimed as the introducer of yoga but it is not ultimately correct. Yoga was previously excited even before Patanjali he only showed the chain of Yoga and wrote down main theories in his book by compiling the essence of yoga. The famous aphorism by Patanjali echoes throughout the fundamental approach and meaning of Yoga - Yoga cittavrttinirodah. Elements of yoga are abounded in Sanskrit literatures. Kalidasa the poet is reflected in his works external poetic craftsmanship. Kalidasa is empathic, pragmatic and practical and vibrant and his literature has a touch of the ambrosia being nothing short kathamrta. He said kalidasa was well versed in the intricate practices of yoga as it is described in his writing how mother goddess Parvati resorted to rigorous practice of penance and asceticism in order to win lord shiva as her life partner. Lord shiva himself is greatest yogi. It has been depicted in kalidasa’s literature is a how kings of the Raghu dynasty used shed their bodies in yoga. Thus mention about kalidasa’s creativity where implemented yoga in practical sense. The research work tries to show the relevance of yoga on kalidasa’s literature
Dobhashi puthi sahittye Moharram/ দোভাষী পুঁথি সাহিত্যে মহররম
No full textThe greatest contribution of Muslim poets and writers in terms of subject diversity in medieval Bengali literature is the Dobhashi Puthi literature. This Dobhashi Puthi literature is an important part of Bengali literature. Before the invention of printing, this Puthi was universal and part of our tradition. There was a time when Puthi was read in every house. This literature is written in a combination of Arabic, Urdu, Persian and Hindi languages. Its period was from the eighteenth to the nineteenth century. Both the authors and readers of this literature were the Muslim community. This literature is also called Islamic Bengali literature or Islamic Puthi literature, Islamic Bengali literature covers a large part of the Bengali language and literature. This literature breathed new life into the Bengali language. It quenched the literary thirst of millions of ordinary Bengalis. Although this genre is now almost extinct. Eminent Islamic scholar Dr. Osman Gani says that this Islamic puthi literature was created in the 18th century, it flourished in the 19th century, it declined in the 20th century and it is almost extinct in the 21st century. A large part of this interpretive puthi literature covers the tragic events of Moharram or Karbala. Muslim poets and writers have written one after another interpretive puthi literature based on the tragic events of Karbala or Moharram. In the 18th century, Shah Garibullah, the creator of interpretive puthi literature, composed \u27Jangnama\u27. Then, following him, other poets who became famous for writing poetry in the interpretive style from the 18th to the 19th centuries include Radhacharan Gope, Mir Manohar, Wajid Ali, Janab Ali. Muhammad Munshi, Saad Ali, Abdul Wahab, etc
Santal Religion and Current Situation : A Survey/ সাঁওতালদের ধর্ম ও বর্তমান পরিস্থিতি : একটি সমীক্ষা
No full textThis paper surveys the traditional religious beliefs and current challenges faced by the Santal community, one of the oldest and largest indigenous groups in South Asia. Deeply intertwined with nature, Santal religion emphasises the worship of natural elements and ancestors, with no idol worship or formal temples. Key deities like Marang Buru and Jaher Ayo represent the creative and nurturing forces of nature. The paper explores their vibrant festival calendar, which is intrinsically linked to agricultural cycles, reflects their gratitude towards nature. It then delves into the contemporary issues that impact Santal religious identity, along with the influence of Christianity and Hinduism, the ongoing demand for \u27Sarna Dharm Code\u27 recognition, and the pressures of urbanisation and modernity. The internal debate between \u27Sarna\u27 and \u27Sari\u27 as distinct religious identities is also discussed, highlights the community\u27s struggle for self-preservation. Finally, the paper proposes solutions for the constitutional recognition, preservation, and academic study of Santal religion, advocates for cultural confidence among the youth and legal protection against religious discrimination
Education system in India during the Vedic period/ ভারতে বৈদিক যুগে শিক্ষা পদ্ধতি
No full textভারতীয় শিক্ষার ইতিহাস পর্যালোচনা করলে দেখা যায় যে, প্রাচীনকালে শিক্ষার মূল লক্ষ্য ছিল মোক্ষ বা মুক্তি অর্জন। শিক্ষার ধরণ এবং বিষয়গুলি উদ্দেশ্য অনুসারে নির্ধারিত হয়েছিল। মুক্তির প্রকৃতি এবং তা অর্জনের উপায় সম্পর্কে চিন্তাভাবনার বিকাশের সাথে সাথে শিক্ষার প্রকৃতিও পরিবর্তিত হয়েছে। এখানে এসে ভারতীয় চিন্তাভাবনা দুটি ধারায় বিভক্ত হয়ে যায়। যেগুলো পরবর্তীতে বৈদিক ও শ্রমণ মতাদর্শ নামে পরিচিত হয়। শিক্ষার লক্ষ্য তখনও মোক্ষ বা মুক্তিই ছিল, কিন্তু মুক্তির প্রকৃতি এবং এর অর্জনের উপায় সম্পর্কে মতামতের পার্থক্য শিক্ষার প্রকৃতিকে দুটি ধারায় বিভক্ত করেছিল। পরবর্তীকালে, এই উভয় ধারা সমান্তরাল ভাবে বিকশিত হতে থাকে। একদিকে বৈদিক শিক্ষাব্যবস্থা বিকশিত হয়েছিল এবং অন্যদিকে শ্রমণ শিক্ষাব্যবস্থাও বিকশিত হয়েছিল। বৈদিক শিক্ষার প্রধান দেবতা ছিলেন ঋষিরা। তাঁর আশ্রমগুলি ছিল শিক্ষার কেন্দ্র। সেগুলো ছিল গুরুকুল এবং বিশ্ববিদ্যালয়। ঋষিকুল ছিলেন গুরু এবং চর্চাকারী উভয়ই।
শ্রমণ ছিলেন শ্রমণ শিক্ষা ব্যবস্থার প্রতিষ্ঠাতা। বৈদিক ঋষিদের মতো, শ্রমণরাও আশ্রমবাসী ছিলেন না। আবাসিক গুরুকুলগুলি গড়ে উঠতে পারেনি। শ্রমণ ছিল শিক্ষার কেন্দ্রবিন্দু, কিন্তু শুরুতে শ্রমণ ঐতিহ্যে ভ্রাম্যমাণ শিক্ষা প্রতিষ্ঠান ছিল। বৌদ্ধ ধর্মের উত্থানের সাথে সাথে শ্রমণ শিক্ষাব্যবস্থায় এক বিরাট পরিবর্তন আসে এবং আবাসিক শিক্ষা কেন্দ্র তৈরি শুরু হয়
Sri Nityananda in the Medieval Gour Country/ মধ্যযুগের গৌড় দেশে শ্রীনিত্যানন্দ
No full textঅকৈতব প্রেমকে অবলম্বন করেই ধর্ম-বর্ণ শ্রেণী নির্বিশেষে সকলকে একাত্ম করে তিনি এক বিশেষ সামাজিক ধর্মীয় সাম্যবাদ প্রকাশ করতে সক্ষম হয়েছিলেন। প্রভুপাদ শ্রীনিত্যানন্দ সকলকে দিয়েছিলেন একটি বীজমন্ত্র, তা হল ভালোবাসার। এই প্রবাহে মধ্যযুগের বঙ্গ-সংস্কৃতিতে নিত্যানন্দের দধি-চিঁড়া মহোৎসব ধর্মান্দোলন ক্রমশ গণ-আন্দোলনের রূপ নিয়েছিল এবং এই গণ-আন্দোলনই পরবর্তী কালে বিশ্বভ্রাতৃত্বের বীজ রোপণ করেছিল
The Reflection of Communal Harmony in Sarat Chandra Chattopadhyay’s Literature: An Analytical Study/ শরৎচন্দ্র চট্টোপাধ্যায়ের সাহিত্যে সাম্প্রদায়িক সম্প্রীতির প্রতিফলন : একটি বিশ্লেষণ
No full textSarat Chandra Chattopadhyay is one of the legendary authors in Bengali literature, whose works consistently address socio-economic disparities, the establishment of women\u27s rights, and above all, the promotion of humanitarian values and communal harmony. A closer analysis of his writings reveals that during the first half of the 20th century, when British imperialism exacerbated communal tensions and disrupted life in India, Sarat Chandra endeavoured through his literature to foster Hindu-Muslim unity, religious tolerance, and mutual respect.
His personal life and his novels and short stories show him as a devout humanitarian who believed that service to the nation was the true religion, transcending narrow religious divisions. His anti-communal stance and mind-set are evident in every aspect of his literary work. He sensitively discussed communal conflicts and emphasized the urgent need to resolve them. However, it is surprising that certain so-called "progressive" literary critics of our country did not recognize his worth. Instead, they labelled him as "conservative," a "staunch Hindu," "anti-Islam," or even "Muslim-hater" and "communal." These critics cited various statements by Sarat Chandra to support their claims.
The purpose of this research paper is to examine from a historical perspective how justified it is to accuse Sarat Chandra of being ‘communal’ or ‘anti-Muslim’ and to assess the validity of such statements within the political context of his time. Furthermore, this research will explore how Sarat Chandra\u27s literary works reflected communal harmony, the historical context behind his writings, and how he encouraged people to transcend religious boundaries and embrace unity through his literary creations