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52 Literature is not for just entertainment; it has a nobler purpose. With its power of enlightenment of the readers, literature can serve a nation and also the entire human society. A society’s progression can be traced with the advancement of its literature and philosophy. At the beginning of a new Platonic year, we hope the civilization will come out of its long-lasted gloom, reject all primitivism and embrace a new light of the genuine good will of a loving heart. Let the triumph of light and love be marked on the forehead of the human civilization in the new Millennium. May the good power be victorious against its evil arch-rival! And may our great nation be a fellow of this mission. APPENDIX • For selecting the writers for detailed discussions in the third chapter of the essay (‘Great Bengali Writers’), I have adopted the following principles - 1. S/he must be the best writer of an artistic type, for example – Jibanananda. 2. S/he must be eligible to be called the greatest (or one of the greatest) writer of her/his period. 3. S/he must be a unique writer as far as possible. If several or more number of writers’ works have remarkable resemblance, the best and older ones have been prioritized. That’s why I have not included Gobindadas (who is inferior to Vidyapati) or Mir Mosharraf (who is inferior to Bankim) or Sudhindranath (who is reasonably a minor poet than Tagore) in this list. 4. Some poets’ diction is too wordy and their poems convey few unique philosophies, like Bharatchandra Ray, Sudhindranath and Al Mahmud. I have avoided such poets. 5. I have avoided translators or rewriters, like Alaol or Vidyasagar. 6. From the poets of High Modern era, I have selected Jibanananda and Bishnu Dey and I believe this selection does not require any explanation. 7. I have not taken the writers of linear techniques, for example – Humayun Azad or Syed Shamsul Haq (in fact they are too concerned with sexuality to have real artistic qualities); and taken Waliullah, Mahmudul Haq and Elias as they are comparatively much greater writers. 8. Among the Marxist poets, I have taken Bishnu Dey for his artistic depth and left Sukanta and Subhash for their linearity. I have also excluded Joy Goswami, because excessive intricacies have made his poems artistically bizarre. 9. Among the writers of historical novels, I have taken Sunil Gangopadhyay, and reasonably left Bimal Mitra and Amiyabhushan. 10. Among the Sanskrit poets, I have accepted only Jayadeva because his Sanskrit is close to Bangla what cannot be said about others’ verses.
53 • A writer who wrote in two literary eras, has been included in the era that ideologically matches her/him. For example – Jasimuddin began in the Romantic Age (i.e. Tagore’s era) and flourished in the High Modern era. Considering his literary traits, I have included him in Tagore’s age. Again, despite beginning in the High Modern era, Syed Waliullah has been placed in the age of Liberation for ideological resemblance. • For the chronology of the writers in the third chapter, I have followed the years of publication of their first recognized books. Sometimes I have followed the probable time of their establishment. WORKS CITED • Roy, Niharranjan. Bangalir Itihas: Adi Parba. Kolkata: Dey’s Publishing, 1995. • Bandyopadhyay, Dhirendranath. Sanskrita Sahityer Itihas. Kolkata: Paschimbanga Rajya Pustak Parshat, 2000. • Halder, Gopal. Bangla Sahityer Ruprekha. Dhaka: Muktadhara, 1997. • Bandyopadhyay, Ashitkumar. Bangla Sahityer Sampurna Itibritta. Kolkata: Modern Book Agency Private Limited, 1995. • Chowdhury, Sree Bhudev. Bangla Sahityer Itikatha. Kolkata: Dey’s Publishing, 1984-87. • Murshid, Golam. Hazar Bacharer Bangali Sanskriti. Dhaka: Sahitya Prakash, 2006. • Bimanbihari Majumdar. Chandidaser Padabali. Kolkata: Bangiya Sahitya Parishad, 1403 BD. • Kabiraz, Krishnadas. Sree Sree Chaitanya Charitamrita. Gorakshpur: Geeta Press, 2008. • Hai, Muhammad Abdul & Sharif, Ahmad (Ed.). Madhyajuger Bangla Gitikabita. Dhaka: Maula Brothers, 1998. • Sukumar Sen (Ed.). Chandimangal (Kabikankan Mukunda Birochita). New Delhi: Sahitya Academy, 1975. • Kazi, Daulat. Lore Chandrani O Sati Mayna. Kolkata: Sahitya Samsad, 2010. • Ahsan, Syed Ali (Ed.). Alaol Padmabati. Dhaka: Ahmad Publishing House, 2002. • Sen, Sukumar. Islami Bangla Sahitya. Kolkata: Ananda Publishers Private Limited, 1973. • Chowdhury, Abul Ahsan (Ed.). Lalan-Samagra. Dhaka: Pathak Samabesh, 2008. • Chaudhuri, Rosinka (Ed.). Derozio: Poet of India. New Delhi: Oxford University Press, 2008. • Derozio, Henry Louis Vivian. Song of the Stormy Petrel: Complete Works of Henry Louis Vivian Derozio. Kolkata: Progressive Publishers, 2001.
Page 1 and 2: Bangla Literature: A Critical Overv
Page 3 and 4: 3 By that time, Buddhism was in the
Page 5 and 6: 5 not flourish here. Krittibas’s
Page 7 and 8: 7 Chaitanya’s era as the mystic f
Page 9 and 10: 9 slowly merging. Even after the Ba
Page 11 and 12: 11 ’85) and Piarichand Mitra (181
Page 13 and 14: 13 were two late representatives of
Page 15 and 16: 15 Panju Shah (1851?-1914) and Haso
Page 17 and 18: 17 Panchagram (1943), Hashuli Banke
Page 19 and 20: 19 Also a new trend of historical n
Page 21 and 22: 21 3 Great Bengali Writers Jayadeva
Page 23 and 24: 23 lovers’ pains. According to hi
Page 25 and 26: 25 This poem is a reflection of the
Page 27 and 28: 27 Michael’s epic has a prehistor
Page 29 and 30: 29 lovers. And at the end of the no
Page 31 and 32: 31 An intense ray is dispersed into
Page 33 and 34: 33 Shey.(S/he) is a novel out of th
Page 35 and 36: 35 Tasher Desh (The Play-Cards’ L
Page 37 and 38: 37 autobiographical novel. It is a
Page 39 and 40: 39 fighter and eventually a martyr
Page 41 and 42: 41 He died a premature death out of
Page 43 and 44: 43 the tiresome journey of Man is n
Page 45 and 46: 45 Giving the child a farewell kiss
Page 47 and 48: 47 Sunil’s poems are a unique pla
Page 49 and 50: 49 Akhtaruzzaman Elias (1943-’97)
Page 51: 51 He warns mankind of a possible f

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