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Chandrabati\u27s Ramayana: The Pioneering Narrative of Epic by the First Bengali Woman in Bengali Literature as a Poet/ মহাকাব্যকথা বয়নে প্রথম বাঙালি নারীর আত্মপ্রকাশ : চন্দ্রাবতীর রামায়ণ
No full textEpic literature encompasses a nation\u27s entire geography, time, thoughts, traditions, experiences, and culture. The Ramayana, a venerable masterpiece, is a cherished gem of Indian literature. Over the course of history, it has not only impacted the mindset of people in India but also had a significant influence on the literature and culture of different parts of the globe. The Ramayana, initially written in Sanskrit, has undergone multiple reinterpretations by various poets in different regional languages of India throughout the centuries. These poets have embraced the Ramayana and adapted it to their own languages and cultures, giving it new shapes while still maintaining the fundamental plot. The scope of our study article is centred on the analysis of Chandrabati’s Ramayana, which originates from the Mymensingh district of East Bengal during the sixteenth century. Our main objective is to examine the unique characteristics of its composition. In contrast to the conventional epic framework, this narrative portrays the influence of the Ramayana on the realm of female intellect and awareness. This rendition emphasises the character of Sita, her story, and her hardships more than Rama. The Ramayana was extensively transmitted through oral tradition among the women in the Mymensingh district. Later on, the information was gathered and documented by different individuals who specialise in collecting and studying such materials. This research paper examines the poet Chandrabati and her life, the way her life is portrayed in the Ramayana narrative, the distinctiveness and originality of the story, the portrayal of love and marriage, and the significance of the narrative style of the Ramayana as written by a woman during that time period
\u27Dressing Table\u27 : A Different Voice of partition/ \u27ড্রেসিং টেবিল\u27 : দেশভাগের অন্যস্বর
No full textSalil Chowdhury was a poet and composer. Apart from Hindi and Bengali, he composed music for songs in various Indian languages. In addition to writing poetry, he also wrote several stories. Dressing Table is one of his notable short stories. The story is set against the backdrop of the Partition of India. Its subject matter is somewhat different from conventional partition stories. Generally, stories written in Bengali about the Partition focus on the tales of refugees moving from East to West. The experiences of those moving from West to East remain unspoken. From a statistical perspective, nearly seven lakh people migrated from India to what was then East Pakistan. ‘Dressing Table’ presents a comprehensive picture of people displaced by the Partition. Alongside the displaced, a part of the story also focuses on a couple not directly affected by the Partition, yet burdened by the painful memories. Though they weren’t victims of the Partition, they carry the weight of its sorrow.
The Partition didn’t just create physical divides between neighbors but also deepened religious divides, leading to the death of humanity. It left a void for future generations, a lingering wound that is deeply felt. ‘Dressing Table’ creates a complete framework around the Partition, much like a triangle, with one corner representing the pain of Bengali Hindus forced to leave their homeland, another highlighting the experience of Bengali Muslims displaced, and the third corner depicting a couple who weren’t direct victims but could still feel the suffering of the Partition. Dressing Table is, in essence, a true document of the lives affected by the Bengal Partition
Born Transgender in Selected Bengali Novels: An Assessment of Traditional Reformation/ নির্বাচিত বাংলা উপন্যাসে জন্মগত হিজড়ে : চিরাচরিত সংস্কারের মূল্যায়ন
No full textBrihannalas have a narrow presence in society and literature since ancient times. As they suffer, neglect, ridicule in the society as well as in literature. Unliberated peoples move, talk and talk about the politics of imposition since time immemorial. The black cloud of incomparable power would cover their whole life, there was not a single drop of sunshine to be seen. They had to live in a kind of exile from human life. As time changes, people\u27s hearts and minds change, so do our perspectives, and with this change, we open the doors of truth and unravel the tangle of mysteries. Crossing the deep path of darkness, I see the light. But that light reaches few people, so most people cannot break the veil of superstition and come out. And do we try to pull the exiled people into the dark well even if we see the light? Rather, we know everything and consider them as human beings instead of raising our hands in a hateful mentality, and we stand by and watch them sink into darkness and help them sink deeper. And the drowning deprived people forget to raise their voices in helplessness, they lock themselves up just to survive and therefore do not fight for their rights, thus spending their lives in a kind of survival and non-survival. Along with the change in people\u27s social mentality, there have been various changes in the novel. From 1947 to the present time, they have been revealed in several writing talents through different characters, fragmented and as a whole. The meaning of living as a member of society as a common man is revealed in their voice. The desire to return to the mainstream of society is still embodied in their hearts. They have transitioned from the hijra life to the good system of medicine. Writing about them is less but not less. Their lives have been captured in the pen of several writers. However, even in novels such as their bratya and aparag dasha in the society, their bratya and aparag dasha have not yet been completed
Saratchandra’s ‘Panditamashai’ Novel: Cultural Reflection in Mental Health/ শরৎচন্দ্রের ‘পন্ডিতমশাই’ উপন্যাস : মানসিক স্বাস্থ্যে সাংস্কৃতিক প্রতিফলন
No full textThis research paper explores the cultural reflections and mental health implications of Saratchandra’s seminal Bengali novel ‘Panditmashai’ (1914). Set against the backdrop of early 20th century Bengal, the novel explores the complexities of cultural identity, social change and mental health. Through a close reading of the text, historical contextualization, and theoretical frameworks (postcolonial, psycho-analysis, and cultural studies), this study reveals the intersection of culture, identity, and mental health.
The hero of the novel is ‘Panditamshai’ i.e. Vrindavan, the son of Gaurdas Adhikari, a resident of Baral village. Bostam was the bearer of the culture of that time. The mentally strong hero Vrindavan also had a mental breakdown at some point. The novel’s heroine Kusum represents the emerging women’s movement and the impact of patriarchal norms on mental health. The characters like Kunj, Keshav, Brajeshwar, Govardhan etc. are representatives of the society of that time and these characters also carry the characteristics of different mentality. The paper examines how the novel reflects the cultural tensions of the time, including the decline of traditional values, the rise of modernity and rigid social hierarchies.
The research highlights social expectations, oppression and the mental health consequences of trauma, highlighting the long-term effects of oppression and the need for empathy and understanding to navigate cultural change. This study contributes to existing works in South Asian literature, cultural studies, and mental health, offering a concise exploration of the intersections between cultural identity, and mental health
The Concept of Brata And it’s Presentation in ‘Bharati’ Periodical/ ভারতী পত্রিকায় ব্রত ও ব্রতের কথা
No full textBharati is a masterpiece in the history of Bengali periodicals. It was Published in the 19th century by the Jorasanko Tagore family and has crossed the path of the 20th century. For fifty long years from 1284 to 1333, under the leadership of several editors, this magazine reaped gold in the literary field. In addition, the Brata has been made to protect the social culture of Bengal. In this effort, among many other subjects, the Bar-Vrata of Bengal appeared in Bharati Patrika. The editors have endeavored to restore the Bratakatha as an important part of folk culture. Therefore, more than one Brotokatha has been placed in the pages of Bharati. Even the distinguished forms of a Brata across space and time have also been revealed here. Bratas were once a part of Bengali life. But today there existence is almost endangered. Thanks to Bharati Patrika, we have come to know about several Bratakatha-s we got a glimpse of the socio-culture, people\u27s thoughts-process, and even indirectly, the economic aspects of the time - the very topics of this article
Abul Basar\u27s novel ‘Ekti Kalo Borkhar Rohosso’ : protected Women\u27s lives behind the Veil/ আবুল বাশারের ‘একটি কালো বোরখার রহস্য’ : বোরখার অন্তরালে সুরক্ষিত নারীজীবন
No full textPostmodern novelist Abul Basar has presented the muslim life and society of Bengal. He has narrated the unenlightened world of women in the narrative of the novel ‘Ekti Kalo Borkhar Rohosso’. the veil is related to the main story of the novel where the society cannot guide the raped girl. but the practice of veil in her everyday life provides a way of living. although the veil plays an unfavorable role in the human development of femininity in muslim society. This veil allowed women to live without a society surrounded by a hundred prohibition. This veil also played a great role in the life of hindu women. Here the writer\u27s ideology has opted for an openly supportive role. The veil has also played a crucial role in the connotation of harmony.  
Ramayana: Valmiki and Kamban/ রামায়ণ : বাল্মীকি এবং কম্বন
No full textIf we observe and review the history of world literature, it can be seen that all the works of literaturethat havebeen written in different countries of the world throughout the ages have not disappeared in thewomb of time. Rather, the eternal message of this literature has been transmitted from ancestors tofuture generations. \u27Ramayana\u27 written by Valmiki is such a complete piece of literature. The \u27Ramayana\u27 texthas an indelible impact on the Indian culture, one that no other book in this world can match. The\u27Ramayana\u27 by Valmiki shaped Indian literature and research. In Bengaliliterature, KrittivasOjha\u27s \u27SriramPanchali\u27 and Chandravati\u27s \u27Chandravati Ramayana\u27; Hindi literature TulsiDas\u27s \u27Ramacharitmanas\u27 and Vishnudas\u27s \u27Bhasa-Valmiki Ramayana\u27; andBalaramDas\u27s \u27Ramayana\u27 in Oriya. An adaptation of the Ramayana into the Gujarati language started in the fifteenth century and was completed by Giridharin the eighteenth century. Eknath wrote \u27Bhavartha Ramayana\u27 in Marathi in the 16th century, followed by \u27Arya Ramayana\u27 by Morapanthin the 18th century. In Telugu,\u27Ranganath Ramayana\u27 was written by Buddha Reddy in the 13th century followed by \u27Bhaskar Ramayana\u27 in the 16th century, by a woman named Mollah. More recently, the poet Vishwanath Satyanarayan wrote \u27Shrimad Ramayana Kalpabrikshasu\u27. Theadaptation of the Ramayana into the Malayalam language began in the 13th century with the poem \u27Ramacharitram\u27. Later, the poet Kannasha Panikkar wrote the \u27Kannasha-Ramayana\u27 in the 5th centuryand Akhyapillai wrote the \u27Ramakathapattu\u27 around the same time. Kannada poet Kumar Valmiki (Narharir) wrote \u27Torbeya Ramayana\u27 in the 15th to 16th century. \u27Kandali Ramayana\u27 was written by MadhavKandali in the Assamese language in the 16th century. Nevertheless, Eduocchhan\u27s \u27Adhyatramayana\u27 was the most popular version. Each translation is not entirely original, but also influenced by regional Ramakatha folklore. Besides, Professor V.V. Raghaban\u27s Ramayana research book \u27Studies on Ramayan\u27 and Assamesefiction writer MamoniRaisomGoswami\u27s books on \u27Ramayana from Ganga to Brahmaputra\u27 havefurther strengthened research on the literary origins of the epic. Its influence can also be seen in ancient Indianliterature Tamil. Although the Tamil poet Kamban takes the story from Valmiki, his \u27Kamba-Ramayana\u27 or \u27Ramabhataram\u27 stands out in its quality
Companion to the Buddhist Story : Rabindranath’s ‘Mastak Bikray’/ বৌদ্ধ কাহিনির অনুষঙ্গ : রবীন্দ্রনাথের ‘মস্তক বিক্রয়’
No full textRabindranath is a world-renowned poet with diverse talents. He was also known as an essayist, novelist, story writer and dramatist. Rabindranath’s work has had an impact on all branches of literature. With the touch of Rabindranath\u27s brilliance, any subject in human thought becomes luminous. His originality and uniqueness are unparalleled. It fascinates, amazes, excites. One such wonderful poem of Rabindranath is \u27Katha\u27. Which was published in 1900. An evocative poem in this anthology is ‘Head Sale’ (\u27Katha\u27: 21stKartika,1304). The origin of this narrative poem is from the \u27Ajnat kaundilyajatakam\u27 belongingto the third volume of the original Buddhist Mahavastu contribution. It should be mentioned that Rabindranath was not familiar with the original \u27Mahabastu Karvani\u27 because he did not know the Pali language. He was familiar with Rajendra Lal Mitra\u27s (The Sanskrit Buddhist Literature of Nepal [Calcutta -1882]) short English translation from Pali. Rajendra Lal Mitra\u27s translation tell sthe story of \u27Ajnat kaundilya\u27 in the eighth volume of the book. In the second paragraph of that Story, there is talk of the rivalry between Kosalaraja and Kashiraja, in the memoirs of Ajnatkaundilya\u27s previous birth. As a result of that conflict, the song of self-sacrifice, forgiveness and prem-dharma of gentleman began
New Evaluation of Traditional Elements in the Poetry of Sankhya Ghosh/ শঙ্খ ঘোষের কবিতায় ঐতিহ্যের নব মূল্যায়ন
No full textTradition is a subject, that flows parallely with most of the ancient civilization of world. It describes the story of rise and fall of a civilization. It is deeply connected to the root of culture. The ideology of art is to evolve itself by accepting the tradion. From the very early period, ancient writers of Indian literature proudly accept the traditional elements of civilization in their respective creation. Not only in India, but also in Western literature poets and writers had used the elements of Greek mythology and other ancient oral and written traditional elements in a new perspective. Even in the degenerative time period after the world war, the flow remains same. Sankhya Ghosh is a renowned poet of Modern Bengali poetry in 5th decade of 20th century. His intellectual statements became so acceptable to the readers. In the post-independence era of Bengali literature partition of country, problem of refugees, unemployment, destruction of morality affects the mindset of the young poets and they tried to find a new way, ignoring the traditional flow but the poet Sankhya Ghosh was one, who became an exceptional example by using the traditional elements of our civilization in his own way, He just accepts the essence of Indian and Western traditional elements through his own knowledge and experience. It not only expresses his great knowledge of tradition and intellect but also his deep respect and pride for tradition. He uses the elements of myrthology, Puranas and Epics in a new suitable manner in modern time period. In the post-colonial era of India people had experienced socio-political disaster several time. People in this modern period lead themselves to the destination of void by their self-destructive activities. The poet has wanted to regenerate their suppressed moral sense by creating a pictorial view of glory and failure of past. He also inhales the essence of Indian ancient philosophy through his feelings and express it brightly in his poetry
RABINDRANATH KRITO NATOK O SHAMBHU MITRER PUNONIRMAN : BOICHITRO-OIKYO-SATANTRO/ রবীন্দ্রনাথ কৃত নাটক ও শম্ভু মিত্রের পুনঃনির্মাণ : বৈচিত্র্য-ঐক্য-স্বাতন্ত্র্য
No full textIn newly independent India, when there was a need to build a society, it was necessary to select plays whose content would resonate with the masses. Therefore, in addition to the productions of ‘Nabanna’, ‘Pathik’, ‘Ulukhagra’, ‘Bivahav’ etc. Rabindra wanted to touch Shambhu Mitra. Shambhu Mitra increased the glory of Bengali stage by acting and producing Rabindranath. Although ‘Muktadhara’ did not get success in Gananatya Sangha, the place of Rabindra Natak was high in the heart of Shambhu Mitra. That is why the theatre group ‘Bohurupee’ founded by him wanted to touch Rabindranath right from the time of his birth. ‘Char Adhyay’ and ‘Raktakarabi’ produced in ‘Bohurupee’ under the direction of Shambhu Mitra are still history. Especially the successful staging of the play ‘Raktakarabi’ brought the ultimate success in the theatrical life of Shambhu Mitra. Before staging the play ‘Raktakarabi’, Shambhu Mitra knew that before the play was published, Rabindranath handed it over to Natyacharya Sisir Kumar Bhaduri for staging. But unfortunately, the play could not be staged. He said that the reason for not staging the play was the lack of an actress to play the role of Nandini. Tripti Mitra gained popularity by playing the role of Nandini. Apart from ‘Raktakarabi’ the Rabindra Natakas which were produced in ‘Bohurupee’ were- ‘Char Adhyay’, ‘Muktadhara’, ‘Raja’, ‘Visarjan’, ‘Dakghar’, ‘Swargiya Swang’ etc. At that time Shambhu Mitra became famous by producing Rabindra Natak. Khaled Chowdhury and Tapas Sen were the main assistants of Shambhu Mitra in producing Rabindranatak. With Khaled Chowdhury’s music and stage design and Taposh Sen’s lighting, the actors came alive on stage. The diversity brought by Shambhu Mitra in Rabindra Natak is really commendable