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The cry of the unemployed: The mirror of Bengali poetry/ বাংলা কবিতার আরশিতে কর্মহীনের আর্তনাদ
No full textUnemployment brings immense difficulties. Mental anguish, regret, and even suicide emerge as people struggle against distress. Its toll touches all of society and art. Though joblessness first struck India after British rule\u27s start, its true impact arose mid-20th century. Then, many flocked to bustling Calcutta hoping work would save them from want. All banked on government roles to end their woes. Only book learning seemed to offer positions. From that midpoint forward, the number of educated without employment ballooned exponentially. Bengali works told of sufferers\u27 plight. Though this scourge hammers lives, strength endures in community and compassion. Creativity blooms as writers give voice to victims\u27 resilience. Together may we ease others\u27 burdens through empathy, reform and will to persevere where fate deals cruel blows. After the nation gained freedom in 1947, the new government was unable to alleviate the plight of the many unemployed citizens. Efforts to address the issue were lacking. Recruitment agencies instead saw corruption skyrocket, a problem persisting today. Political squabbles and abuse of authority continue damaging the lives of educated and talented individuals left searching for opportunity. Literary works portray the deteriorating struggle to survive, depicting defeat in life\u27s battles and the attempts at self-sufficiency by those repeatedly crushed. Poetry once failed to show the unemployed finding establishment. As ever, verses broached this important matter. One poem presented a vision of the difficulties confronting youth scorched by the pain of joblessness. It also called for resisting such suffering. Another work described a man\u27s journey after losing his role, wondering how to find purpose anew despite facing rejection at every turn
Nazrul neglected in drama/ নাট্যে উপেক্ষিত নজরুল
No full textKazi Nazrul Islam was a born rebel. His essence is captured in poetry and song. His wanderings in the entire branch of Bengali literature. As much as his songs and poems are discussed, not so much is discussed about his plays or songs. Many parts of Bengali literature are rich in his works. His dramas are precious jewels in various collections. He composed dramas, palagans almost parallely for people of all ages from children to teenagers. The number of plays written by him is about hundred. Although some of his plays are still undiscovered. Apart from composing dramas, his achievements are immense in all fields from composing songs suitable for dramas, giving tunes, giving voice to songs. Not only his own drama, but also accompanied the drama of others in parallel. However, this contribution of his has not been studied anywhere from the pages of books to the stage. Playwright Nazrul is almost forgotten by the present generation. I left the next generation. This article discusses the aspect of Nazrul that is neglected in the play
The Context of Darbari Jhumur/ দরবারী ঝুমুর প্রসঙ্গ
No full textMy research paper is called Darbari Jhumur. Jhumur is a folk song of South West Frontier Bengal. A part of jhumor is Darbari jhumur. I claim that Barjuram Das is the creator of this jhumur. Darbari jhumors were sung by various royal families. Various genres are created around this Jhumur. The land of Darbari jhumur was once spread abroad. In the later period, the Darbari jhumur gradually disappeared. At present several courtly jhumors can be heard in the jhumur arena
Ghost-centered folklore of Medinipur/ মেদিনীপুরের ভূত-প্রেত কেন্দ্রিক লোককথা
No full textThe two words ghost and fear are closely related. Despite the changes in today\u27s advanced educated civilized society, the scary, spooky atmosphere still exists in rural life. Human mind is fanciful and ghosts are manifestation of fear within subconscious human mind. Just as people have taken science to greater heights by harnessing their imaginative mind and manifesting his inventive powers. Similarly, a class of people ignored science and created various types of ghosts with their imaginary minds. One such environment resides in village societies of the undivided Medinipur districts. Even today, ghosts can be seen inside the minds of some villagers. So even today one can hear different kinds of ghost stories from rural people. The belief in ghosts as well as eerie places in the minds of the rural people can be seen. They think that ghosts live in dark bushes, forests, big trees etc. The people of this area believe that if a person dies with his unsatisfied mind, then that unsatisfied disembodied spirit does not disappear and wanders around his house and area. We know that there is no end to human needs so human mind is never satisfied. Besides, many suffer from diseases or die from injuries at a very young age. In that case also, from the unsatisfied soul, an incorporeal soul or ghost is born. This metaphysical spirit harms people when given time. Its proof can be heard from the mouth of the people of those areas. Again, people have given different names to ghosts according to their behavior and activities. Such as Brahmadaitya, Kupursha and Supursha, Mamdobhuta, Shakchunni, Petni, Hanuman Bhuta, Gomua Bhuta, Chirkin Bhuta, Satbahin etc. Therefore, various folk tales of these ghosts are heard in various rural areas of undivided Medinipur. There is a concept among people of this area about the incorporeal soul; after the death of a person, for the satisfaction of his soul, one has to go to Gaya and perform rituals like Pinddan and Shradhanam. Otherwise, this spirit harms people. And those who do not have the ability to go to Gaya and perform Shraddha, spend their whole lives in fear of ghosts. The fear of these ghosts has become so ingrained in the rural people that even if they are reasoned with, many times they do not want to understand. They cling to that belief and reformation and give it a day.  
Bengali popular literature and its audio form: Context Satyajit Ray/ বাংলা জনপ্রিয় সাহিত্যধারা ও তার অডিও রূপ : প্রসঙ্গ সত্যজিৎ রায়
No full textWe are living in a busy age. Leisure has decreased among people in the dynamic era. Many people hardly have the time and patience to enjoy reading long novels and stories. So in this era, Audio stories have become a popular means of enjoying tales. These stories are easy to listen to when the listener is busy during the work time. Different sound effects, professional storyteller, background music and various foley sounds make the stories more fascinating. Millions of people are enjoying stories through YouTube, Spotify, Storytel, Gaana and other broadcasting mediums. So in today\u27s era Audio stories are bound to be discussed. This is the main reason for the current discussion.
In the world of Bengali audio story, the name of Satyajit Ray is bright for a special reason. The journey of Radio Mirchi\u27s Sunday Suspense began with the adaptation of a story written by Satyajit Ray. The first story aired with Satyajit Ray\u27s story \u27Septopaser Khide\u27, on 28 June 2009. The plan was to continue this program with the story of Satyajit Ray; But keeping in mind the huge popularity and demand, the stories of other popular writers have also been converted into audio stories and are still being done today. Stories by foreign writers are also being translated and served. Nowadays, the world of Bangla audio stories has become more diverse and popular. Along with popular stories and novels, classic stories and novels are also being converted into audio stories these days. So audio stories have become an important medium in the popularity of Bengali literature. It is for this reason that the present discussion is taken up as the subject
Education in Jain Philosophy in Early India: A Historical and Philosophical Outline/ প্রারম্ভিক ভারতে জৈন দর্শনে শিক্ষা : একটি ঐতিহাসিক ও দার্শনিক রূপরেখা
No full textজৈনর দর্শনের উল্লেখযোগ্য অংশ হল তাদের নৈতিক তত্ত্ব। জৈন নীতিশাস্ত্রের হৃদয় হল অহিংসা বা অহিংসার ধারণা। ভারতীয় দর্শন শিক্ষাকে সর্বজনীন মানবিকতা এবং আধ্যাত্মিকতার বোধ তৈরির সারমর্মকে গুরুত্ব দেয়। ঠাকুর তার শিক্ষার দর্শনে পুনর্ব্যক্ত করেছেন, সার্বজনীন মানবতার অনুভূতির উপলব্ধি দ্বারা আবদ্ধ জীবনের সারাংশ বিকশিত করার প্রয়োজন। জৈন প্রথা তথা দর্শন শিক্ষার চূড়ান্ত লক্ষ্য হিসাবে ‘মুক্তির’ সুপারিশ করেছিল। জৈন ঐতিহ্য অনুসারে মুক্তি দুই প্রকার, জীবন মুক্তি ও দ্রব্য মুক্তি। এই ব্যবস্থা শিক্ষার সামাজিক, অর্থনৈতিক এবং আধ্যাত্মিক লক্ষ্যের উপর জোর দেয়। জৈন শিক্ষার ইতিহাস মূলত দক্ষিণ ভারতের ইতিহাস। জৈন ধর্ম হল নৈতিক শিক্ষার দর্শনের একটি স্কুল যার লক্ষ্য শুধুমাত্র আত্মার পরিপূর্ণতা। জৈন ধর্মের মতে, আত্মার বন্ধন ঘটে যখন এটি পদার্থ বা পুদগলের সাথে যুক্ত হয়। তাই, মুক্ত হওয়ার জন্য, আত্মার মধ্যে কর্মময় কণা বা কর্মের প্রবাহ বন্ধ করার জন্য এটি আমদানি করা হয়। এটি জৈন ধর্মের তিনটি রত্ন বা ত্রি-রত্ন দ্বারা সম্ভব। তিনটি রত্ন হল সঠিক বিশ্বাস বা সম্যগ দর্শন, সঠিক জ্ঞান বা সম্যগ জ্ঞান এবং সঠিক আচরণ বা সম্যগ কারিতা। মোক্ষ বা মুক্তি জৈন ধর্মের তিনটি রত্ন (ত্রি-রত্ন) এর যৌথ পণ্য। পাঁচটি মহান ব্রত বা ‘পঞ্চ-মহা-ব্রত’/ ‘সঠিক আচরণ\u27 এর মাথা থেকে উদ্ভূত। জৈন ধর্ম অনুসারে পাঁচটি ‘মহান ব্রত’ পাদ্রী, সন্ন্যাসী এবং সন্ন্যাসী-হুডদের জন্য। তারা কঠোর, খুব অনমনীয়, প্রকৃতির বিশুদ্ধতাবাদী এবং ধর্মীয়ভাবে অনুসরণ করা উচিত। জৈন ধর্ম অনুসারে পাঁচটি ‘ছোট ব্রত’ সাধারণ মানুষের জন্য। সুতরাং, সেগুলি সেই অনুযায়ী পরিবর্তিত এবং পাতলা হয় এবং পাদ্রীদের জন্য পাঁচটি বড় শপথের মতো কঠোর, কঠোর নয়। আত্মা থেকে বস্তুর সম্পূর্ণ বিনাশ, বিচ্ছিন্নতা বা বিচ্ছিন্নতা ছাড়া মুক্তি কিছুই নয়। জৈন প্রথা শিক্ষার চূড়ান্ত লক্ষ্য হিসাবে মুক্তির প্রস্তাবিত করেছিল। জৈন ঐতিহ্য অনুসারে মুক্তি দুই প্রকার, জীবন মুক্তি ও দ্রব্য মুক্তি। এই ব্যবস্থা শিক্ষার সামাজিক, অর্থনৈতিক এবং আধ্যাত্মিক লক্ষ্যের উপর জোর দেয়। জৈন শিক্ষার ইতিহাস মূলত দক্ষিণ ভারতের ইতিহাস। জৈনরা কর্ণাটকে শিক্ষার প্রচার ও প্রসারে সহায়ক ভূমিকা পালন করেছিল। চৈত্য থেকে শুরুতে বাসদী ও মঠ ছিল ধর্মীয় কেন্দ্র কিন্তু পরে তা শিক্ষাকেন্দ্রে পরিণত হয়। জৈন ধর্ম মাতৃভাষার মাধ্যমে সর্বজনীন শিক্ষার উপর জোর দিয়েছিল। সময়ের সাথে সাথে জৈন ধর্ম সহ-শিক্ষার উপরও জোর দেয়। নারী ও পুরুষ উভয়কেই মঠে থাকতে এবং জৈন ধর্মগ্রন্থ অধ্যয়নের অনুমতি দেওয়া হয়েছিল। কদম্ব, গঙ্গা, বাদামীর চালুকিয়া, রাষ্ট্রকূট এবং হোয়সালদের মতো তৎকালীন বেশ কয়েকটি রাজবংশ থেকে জৈন শিক্ষার প্রসার ঘটে
Contribution of Pir Sufi Abubakar (1846-1939) to undivided Bengal/ অবিভক্ত বাংলায় পীর সূফি আবুবকরের (১৮৪৬-১৯৩৯) অবদান
No full textAbu Bakar was a cleric or pir of the Muslim community. He was born in 1846 AD at Furfura in Hooghly district of Bengal. He was a central figure in Muslim Bengal in the late nineteenth and early twentieth centuries. Various movements were formed around him at that time. He was able to make a special contribution to the spread of education in the Muslim society of Bengal. The education rate among Muslims in Bengal in the 19th century was very low. An account by A.F. Ahmed suggests that the level of education among Muslims in Bengal in the nineteenth century and even in the first half of the twentieth century was very poor and their backwardness considerable. According to Ahmed\u27s calculations, in 1875 the number of Muslim students in schools in Bengal was 29% and the number of Hindu students was 71.1%. Muslim participation in higher education was even lower. In 1875, the number of Muslim students at the college level was 5.4% and Hindu students were 93.6%. Less than 2% of educated Muslims knew English. But the number of Hindu students knowing English was about 5%. The picture was almost the same in terms of employment. In 1871 the number of Muslim employees in Bengal was 5.9%. On the other hand, the rate of Hindus was 41%. Abu Bakar realized the backwardness of this education in Muslim society and devoted himself to spreading education among Muslims. He initially advocated the expansion of madrasa education, but eventually supported English education and science education. In the expansion of education, he established Old Scheme Madrasas, established New Scheme Madrasas, emphasized on women and children education, emphasized on the mother tongue Bengali education, sponsored the spread of newspapers, helped in the spread of spiritual education, etc. But why did he take all these measures? What steps did he take for this? What was the result? —Answers to all these questions are attempted in this article through analytical review
Sadhan Chatterjee\u27s \u27Sahare Bristi Hay\u27: Surrealism or Narrative Reality/ সাধন চট্টোপাধ্যায়ের ‘শহরে বৃষ্টি হয়’ : পরাবাস্তবতা নাকি আখ্যানের বাস্তবতা
No full textPost-colonial Bengali art and literature have been influenced by various western movements in many ways. An important movement within that is Surrealist movement. Surrealism attempts to bridge the apparent disparity between the worlds of reality and fantasy. The aim of this research is to find out how Surrealist thought and consciousness are reflected in an important short story of Sadhan Chattopadhyay named ‘Sahore Brishti Hoi’, as well as how the tension of time and the degradation of values have affected the people of the second half of the 20th century upto 21st century. At the same time, the fall of feudalism and the emergence of capitalism have affected Bengali life as well as Bengali art and literature. Bengali life has changed enormously with the advent of capitalism. And how the changes of era has been discussed in the form of Sadhan Chattopadhyay\u27s story is also the intention of this writing. Surrealism is not only a revolution in art or literature but also the name of wanting to see the world and life through a slightly different art form in keeping with the contemporary political, social and economic context. Finally, the purpose of this writing is to find out how much surrealistic movement influence bengali fiction especially in short stories
Subodh Ghosh’s Laghu Aranyak and Mahasweta Devi’s Shikar: A Comparative Discussion/ সুবোধ ঘোষের লঘু আরণ্যক ও মহাশ্বেতা দেবীর শিকার : একটি তুলনামূলক আলোচনা
No full textSubodh Ghosh’s ‘Laghu Aranyak’ and Mahasweta Devi’s ‘Shikar’ both reflect the story of two women. Mithi and Mary are oppressed by two socially dominant men. The characteristics of the two women’s, the fightback is same even though it is different. They raised voice against this kind of patriarchal distortion. Mithi has tried to uproot the distortion by fighting silently in the quiet environment of the forest. She injured Prasad Babu. On the other hand, in the story ‘Shikar’, it is described how the people of higher class of the society see the women of the lower class as commodities. Mary also struggles for the social establishment of women. Prasad Babu and Tashildar have become one. 
Dualism in Rabindranath’s Poetry/ রবীন্দ্রনাথের কবিতায় দ্বৈতবাদ
No full textAcharya Madhvacharya was the main proponent of dualism. The poet Rabindranath Tagore was deeply influenced by dualism. But his dualism is distinct from the dualism of Madhvacharya. Rabindranath was a lilavadi. He wanted to perceive the form, taste, sound, smell, touch of this world with the five senses as divine bliss. Rabindranath did not abandon this world as false illusion. This world is to him exclusively true and the manifestation of God. So, he could not accept the Advaitism or Mayavada introduced by Shankaracharya. Because in pure Advaita, Lila (divine play) is distant, and no action is possible there. Thus, he was influenced by dualism. Rabindranath possessed both a strong intellect and a deep heart, along with a burning desire to serve God. He sought to attain God through the simultaneous engagement of mind, heart, and action. Rabindranath\u27s desire was not satisfied in pure Advaita. Rabindranath’s desire would not have been fulfilled had he followed non-dualism. Even though Nirguna, formless Supreme Brahman is known by knowledge, but love and devotion cannot be established with him. So, Rabindranath is inevitably attracted to duality.
Rabindranath was drawn to dualism for personal and spiritual reasons. He realized that a profound joy operates at the root of the entire universe. From this supreme bliss all beings are born, within this bliss all beings live, and after death all beings return to this bliss. Therefore, the creator of the world should not be known merely through intellect but through a relationship of joyful love. Otherwise, the purpose of creation would be unfulfilled, realizing that the ultimate purpose of creation is the enjoyment of bliss. Rabindranath was influenced by this concept of bliss in the Upanishads. Rabindranath was influenced by dualism through this concept of rasa (aesthetic experience) and ananda (bliss). For the pure \u27One\u27 cannot experience rasa; a second entity is required. The union of these \u27two\u27 results in eternal bliss. Thus, Rabindranath recognized the importance of duality. Formless, tasteless, and unmanifest unity is antithetical to Rabindranath’s thinking. Although Rabindranath accepted dualism, but he did not reject non-dualism. Duality is necessary to fully realize non-duality. Thus, we see that Rabindranath\u27s poetry begins with dualism but gradually merges into the ocean of non-dualism.
I have tried to show in this essay how Rabindranath\u27s poetry is influenced by dualism