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Reflections of Kālidāsa’s Śakuntalā in Modern Bengali Literature: Perception and Innovation/ কালিদাসের শকুন্তলা-ছায়াপটে নবরূপায়িত আধুনিক বাংলা সাহিত্য : অনুভব ও অভিনবত্ব
No full textKālidāsa\u27s timeless masterpiece, Abhijñānaśākuntalam, has inspired numerous adaptations and reinterpretations in modern Bengali literature. Authors like Michael Madhusdin Dutt, Saradindu Bandyopadhyay, Rajsekhar Basu, and Selim-Al-Din have woven their own narratives around the classic tale.
Sharadindu Bandyopadhyay\u27s \u27Bahni-patanga\u27 (Byomkesh Series) is a notable example. Although the story has a unique plot, the characters of Shakuntala and Inspector Ratikanta mirror the intense romance and all-consuming passion of Kālidāsa\u27s protagonists Śakuntalā and Duṣyanta.
Rajsekhar Basu\u27s \u27Bharater Jhumjhumi\u27 incorporates contemporary themes, allegorically depicting the 1947 Partition of India through the toy ‘jhumjhumi’ hidden by Durvasā Muni.
Selim-Al-Din\u27s play \u27Shakuntala\u27 not only adapts Kālidāsa\u27s narrative but also explores the protagonist\u27s struggles in the hermitage of Maharṣi kaṇva. As the daughter of an apsara, Śakuntalā faces societal contempt, highlighting the need for women\u27s empowerment and respect.
These works demonstrate Kālidāsa\u27s ancient masterpiece remains relevant in modern society, offering fresh perspectives and insights. The timeless themes and emotions woven into Abhijñānaśākuntalam continue to inspire new generations of writers and artists, ensuring the classic tale\u27s enduring influence on literature and art.
Through these adaptations and reinterpretations, Kālidāsa\u27s work proves its ability to transcend time and cultural boundaries, speaking to universal human experiences and emotions. As a result, Abhijñānaśākuntalam remains an integral part of India\u27s rich literary heritage, continuing to inspire and influence contemporary creative works
Ghazi songs from the Sundarbans region: Contextual theatrical elements / সুন্দরবন অঞ্চলের গাজির গান : প্রসঙ্গ নাট্য উপাদান
No full textA significant genre of ancient folk theater of Bengal is \u27Gazir song\u27. Ghazir song varies from region to region in Bangladesh. Although there is no specific information about the origin of Ghazir song, it can be said that Ghazir song has a close relationship with the Pir literature called Punthi of Ghazi-Kalu-Champavati. It is also known that Ghazi stories are associated with the mythical tiger god Dakshina Ray in Ghazi songs of the southern region. Various elements of thousand-year-old folk drama are hidden in the performance and character of Ghazi songs, which are tried to be highlighted in this article as a reflection of the folk life and spirit of that time
Santals\u27 Food Culture : A Continuous Review of Changes from the Past to the Present / সাঁওতালদের খাদ্য সংস্কৃতি : অতীত থেকে বর্তমান পরিবর্তনের একটি ধারাবাহিক পর্যালোচনা
No full textThe Santal community, one of the largest indigenous groups in India, has a rich and distinctive food culture deeply intertwined with their agriculture, environment, and traditions. Historically, their diet primarily consisted of millets, rice, maize, wild tubers, foraged vegetables, and bush meat, with fermented foods such as hadiya (a rice-based alcoholic beverage) playing a significant role in social and religious ceremonies. Their food practices were sustainable, seasonal, and community-oriented, reflecting a profound understanding of the local ecosystem.
However, modernization, economic shifts, deforestation, urbanization, and government policies have significantly altered traditional Santal dietary patterns. The decline of shifting cultivation, the expansion of cash crops, and increasing reliance on market-based food sources have led to nutritional transitions, often resulting in malnutrition and lifestyle-related diseases. Additionally, the influence of globalization and mass media has popularized processed foods, disrupting traditional dietary habits and weakening cultural identity.
This study adopts an ethnographic approach, incorporating fieldwork, interviews with Santal elders, and an analysis of colonial records and anthropological literature to conduct a comparative historical review. A temporal analysis reveals how economic policies, climate change, and urban migration have transformed Santal food traditions.
The preservation of Santal food culture is crucial for cultural sustainability, food security, and biodiversity conservation. Revitalizing indigenous food knowledge and ensuring the intergenerational transmission of culinary traditions can be achieved through community-driven initiatives, documentation of food practices, and supportive policy interventions
The Crime Rate with the Special Reference of Dacoity in the District of Nadia in Nineteenth Century/ নদিয়ার অপরাধের গতিপ্রকৃতি ও ডাকাতির সুলুকসন্ধান
No full textIn the British period specially Nineteenth Century is known for its glorious revolution of knowledge, reformation of society and making of new type of humen who has come across with Western knowledge system. But besides of this one side analysis there were numerous incidents in this period which hasn’t get so much popularity like this and among these we’ve chosen the criminality in a district or division of colonial Bengal province. From the 16th century this district had a grorious effect in knowledge system, king Krishnachandra was a popular king residented here. But after the establishment of British East India company in Bengal, they wanted to capture all the power into their own hand. As a result governor Cornwallis established Police system in the last half of the 18th century. As the result all the zamindars in this province had lost most of their political powers which they couldn\u27t accept. They took the help of the Lathials and the Nadia’s zamindar’s were among them. There were numerous zamindars in this district, most of them had captured their power by Lord Cornwallis’s Land-revenue system. Pal Chowdhury was one of them. But there were some old zamindars also, like- Krishnanagar Raj Paribar, Nakashipara Zamindari etc. All of them had a same issue, they all had a or more-great Lathials, who work as a lathial at the day and at the night they all part as a Dacoit and this was increasing day by day. One time it came out at the sight of British governor and government took this advantage to supress again the Indian common people. This was one type of dacoit, most of the dacoits were among them. But there were numerous types of criminals, not only the dacoits, from the records of the Government we come across with them and we become surprise on seeing that the same crime isses were those days which we face today. Like- Rapes, Burglaries, Killing, marriage problem etc. and also suprising thing that the dacoity type also had changed in the second half. People don\u27t go together to do any dacoity, there was also no use Mashal or worshiping like Kalimata, rather it had become smarter with the situation. In this writing we’ve tried to find out the Criminality and specially how dacoity was there in the district of Nadia in nineteenth century
LOWBORN PEOPLE’S LIFE IN SELECTED MEDIEVAL BENGALI LITERATURE: MANASAMANGAL AND CHANDIMANGAL KAVYAS IN CONTEXT/ মধ্যযুগের নির্বাচিত বাংলা সাহিত্যে অন্ত্যজ জনজীবন : প্রসঙ্গত মনসামঙ্গল ও চণ্ডীমঙ্গল কাব্য
No full textLiterature mirrors the society in which it is written. The medieval Bengali literature is not an exception. The Mangal kavyas are one of the most significant subgenres of poetry written in Bengali during this era. The ‘Manasa Mangal’ and the ‘Chandimangal’ kavyas are the two of the most notable ones. Following the common tradition of Mangalkavyas, they sing the greatness of Manasa and Chandi. The two kavyas mainly narrate the stories of two non-Aryan goddesses accepting the challenges for the upliftment of their status to that of the chief goddesses of the superior Aryan society. It is as if another kind of class struggle of the deprived people for equality and dignity. In Manasamangal goddess Manasa is dishonored repeatedly as low caste by the upper caste merchant Chand Sadagar. For this reason Manasa forms public opinion with the help of numberless people from the lower strata of society who somehow are also subjugated by Chand Sadagar. Manasa now leads these people. This struggle for gaining the social rights of equality and dignity under the leadership of Manasa succeeds in the end. The upper class has to submit to this combined strength of the deprived. In a similar way the ‘Banikkhanada’ of Mukundaram’s ‘Chandimangal’ depicts the struggle of goddess Chandi against dominant merchant Dhanapati. But Chandi’s is her own struggle against deprivation, no combined strength of class struggle works here. But in the ‘Byadhkhanda’ of the same the plot centres around the struggle of Kalketu as a person from the deprived class of society. He in his life of a hunter has to undergo many sufferings in the hands of the dominant class. Even when he achieves kingship he has to bow down to the upper class. He is unable to oppose his humiliations rather is compelled to surrender to them. The two Mangal kavyas also record several pitiful events of the oppression of deprived lowborn people as well as the dalits and portray their struggles of class consciousness that are flowing like undercurrents in the body of the main narratives
The Essesnce of Reality in Dibyendu Palit’s Stories/ গল্পকার দিব্যেন্দু পালিতের বাস্তব-দর্শন
No full textLife in a megacity is a constant performance. Crowds fill the streets, yet people are islands, drifting through seas of strangers. The rhythm is restlessness: rushing to work, chasing deadlines, navigating traffic, and returning to space that feel less like homes and more like temporary shelters. Time is currency, and no one seems to have enough of it to pause, connect, or even notice. Faces are full of facades and go through a training of corporate smiles, polite nods, but behind this Facades, the realities are raw and unpolished. Anxiety, loneliness and exhaustion simmer beneath the surface. In the inner world of city life, people are striving, sacrificing and often, quietly breaking. Relationships feel transactional. Conversations skim the surface, seldom delving into the depths of fear, dreams and struggles. Urban life thrives on ambition, but it often starves the soul. People become shadows of themselves, walking a tightrope between dreams and survival, with little room for authenticity in the chaos. City glows with glamour and brightness, but inside those lit windows are countless stories of solitude, nakedness and vulnerability. Dibyendu Palit captures those dark stories of city life without any filter. He presents his characters with their raw core of flesh and blood. These unmasked faces often startle us, sometimes leave us amazed. His stories hold up a mirror to our own faces, forcing us to confront ourselves. Dibyendu Palit essentially speaks of the preparatory phase of present dominance of artificial intelligence, highlighting the confusion and helplessness of people entangled in the intricate mechanisms of machines during this period
Leela Majumdar\u27s Novels: A Comprehensive View of the Child’s Mind/ লীলা মজুমদারের উপন্যাস : শিশুমনের সার্বিক কথন
No full textChildren’s literature plays a vital role in shaping a child\u27s mental framework, alongside their environment, family, and education. In the Indian context, traditional forms like folklore, epics, and moral tales gradually transitioned into structured publications catering to children\u27s evolving needs. Despite efforts by notable literary figures and magazines, like Sandesh, spearheaded by Upendrakishore Ray Chowdhury, Rabindranath Tagore, and Sukumar Ray, many early publications failed to balance entertainment, education, and engagement.
Leela Majumdar redefined children\u27s literature in Bengali by addressing their dynamic needs at different life stages. She crafted stories that combined adventure, humor, curiosity, and life lessons without enforcing moral dictums. Her characters, like Ganasha, Ghontan, Gupe, and Panu, reflected everyday flaws and learned from their mistakes, resonating deeply with young readers. Majumdar\u27s storytelling emphasized human values such as kindness, gratitude, and empathy, all while acknowledging the socio-political upheavals of her time—British rule, independence struggles, Partition, and post-war realities.
Her thematic diversity spanned science, fantasy, ghosts, and nature. Unlike others, her portrayal of animals and nature was rooted in realism, fostering an emotional connection and ecological awareness among children. Her unique approach extended to language and presentation, using simple, modern words and short sentences to make Bengali literature accessible and enjoyable for children.
Drawing inspiration from her familial legacy, time at Santiniketan, and personal experiences, Majumdar enriched her works with authenticity and emotional depth. This essay examines her contributions across six chapters: her literary inheritance, understanding of child psychology, integration of science, animal and nature themes, innovative ghost stories, and distinctive narrative techniques. Majumdar\u27s oeuvre remains a cornerstone of Bengali children\u27s literature, blending education, entertainment, and ethical growth seamlessly
PRAFULLA ROYER ‘MAATI AAR NEI’ : ADHIKAR ARJANER SANDHANE EK ANTAHIN JATRA/ প্রফুল্ল রায়ের ‘মাটি আর নেই’ : অধিকার অর্জনের সন্ধানে এক অন্তহীন যাত্রা
No full textEconomic inequality has divided the society in many ways. This division created the capitalist class on the one hand and the toiling masses on the other. In the context of a capitalist society, when the thinking becomes capitalist, the life of the marginalised class is plunged into uncertainty. The right of crops and green soil belongs only to humans. But the hegemonic claws of capitalist society axed all habitable space. As a result, the lower classes of the society have to lose land again and again. They move from place to place like nomads. Plains, jungles, dense forests – everywhere they plow in search of land. By clearing the forest, clearing the weeds, they create habitable land in return of inhuman labour. From the firm fist of the forest, the wet juicy soil is brought out. As a result of their combined efforts, golden crops emerged on that fertile land. But then suddenly someone appeared with the ownership of that land. And again, they are landless and move from place to place. Hoping for a piece of land. They live through such uncertainty and struggle throughout their lives. They have no identity, no land, no soil. Novelist Prafulla Roy brings out this cruel form of society through the life struggle of Kubera Saidar, Moti, Gagan, Bilas, Kunj, Gupi, Nishi, Bhatuni’s. In this article we will discuss his novel “Mati Aar Nei” from this point of view.  
The protestant folk religion of Bengal: In the context of the Balahari Sects/ বাংলার প্রতিবাদী লোকোধর্ম : প্রসঙ্গ বলাহাড়ি সম্প্রদায়
No full textThe middle of the 18th century saw several folk religions to have heaved in sight to a larger extent in different parts of Bengal, and many of them amongst themselves displayed strong flavour of protests or disagreements that arose primarily depending on religious principles in multiple ways. Nihar Ranjan Ray, in his report presented to the National Congress Session in 1975, called attention to, with enough and perceivable pellucidity, these protestant characters he observed in the folk religions of that time. An ideal example of such a folk religion, that distinctively marked it out to be a protestant one, is Balahari, or Balarami, or Balaram Bhaja religious community. This religious sect was given its congregated formation by the Hari community in the region of Meherpur, located in the district of undivided Nadia, under the leadership of Balaram Hari. Later on, present day Nischintapur of Nadia district turned out to be one of the biggest centers of this religious sect. Bankura, Purulia, and Murshidabad as well gradually came under a massive influence of this religious community and their evidently distinctive religious perspectives. Around 1780, Balaram Hari took his holy birth, and he took his last breath around 1850. The Hari community and their distinctive religious perspectives established their erect heads, that patently displayed its religious sway in different geographical locations, fundamentally through opposing Vaishnavism and specifically Brahmin religious culture. That is why, in their religious culture one can easily trace their force of oppositions in several ways, specifically with respect to religious rituals, principles and practices of worship. The Hari community does not allow and accept the use of Dip, Dhup, Dhuna, Tulsi and Tilak and even Gangaajal while maintaining any religious creed and custom. And this essentially unique and rudimentarily unmixed religious perspective provides the Hari community with a separate recognition
Madhusudan’s ‘Birangana Kavya’ and Indian Mythology: A Comparative Analysis/ মধুসূদনের ‘বীরাঙ্গনা’ কাব্য এবং ভারতীয় পুরাণ : একটি তুলনামূলক বিশ্লেষণ
No full textMichael Madhusudan Dutt brought the first revolution in Bengali literature during the renaissance era of the 19th century. Influenced by Western education, literature and culture, Michael composed the poetry book \u27Birangana\u27 (1862) with his independent and unique mindset. The sources of the stories in \u27Birangana Kavya’ is Indian epics and Puranas. He took most of the stories from The Ramayana and The Mahabharata. All the heroines presented by Madhusudan in this poetry book are women of ancient times. As individuals, they are of great stature. In mythology they are significant characters. Behind them lies the vast backdrop of India\u27s past. Not only Shakuntala\u27s identity as an ashrama girl, but also the character of India\u27s emperor Dushyanta is associated with her. The background of Rukmini\u27s story is the crooked political conflict of the royal family in Arabia in ancient India. Behind Jana’s story is the location of weak town-streets in the post-war period of Kurukshetra. And she is remembered as the consort of Brihaspati as the cause of a bloody struggle between the gods and demons of ancient times.
Reading the ‘Birangana Kavya’, we feel that Madhusudan was not satisfied with serving the old gods and goddesses in new clothes, but transformed the religious stories taken from the Puranas into human stories. The names remain the same, the structure of the story is the same; He gave a completely new look to the story, characters and speech. If we analyze a little better, we will see that the heroines of Birangana are full of happiness, sadness, hope, despair, pride and anger like the hearts of ordinary women of modern times. As a result, they have come from the high court of the epic to the common people\u27s home premises. They do not have the great scope of the epic. In Birangana\u27s lyrics the characters of the heroines of the poem lack the mystique of mythological solemnity; they appear in ordinary human form. I will try to discuss this topic in detail in my research paper