Literature-Critique

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14 The Romantic Age or the Age of Tagore (1890-1936) Romanticism can be defined as an idealized and lofty vision of the temporal world which, to the general mind, may seem bizarre or unfamiliar. The origin of this concept may be dated back to the antique philosopher Plato’s time. In Bangla literature, Romanticism was introduced by Bankim and it reached an incredible height in Rabindranath Tagore’s (1861-1941) era. It came possible not only through his outstanding individual achievement but also through ambitious efforts of many other writers of the age who were influenced by his style and diction. Tagore’s age started with the publication of his Manashi (1890), a lyrical poetical work. It came to an end in 1936 with the coming to light of Jibanananda’s book of poems entitled Dhushar Pandulipi. The difference between Bankim and Tagore is not only artistic but also ideological. While Bankim was an admirer of Geeta, Tagore was a Brahmo and his philosophies were based on the Upanishadas. He had a universal vision and loved this world much more than any other poet has ever done to the date. This is why he is called “Biswa Kavi” (i.e. Poet of the World). Tagore’s Manashi (1890), Sonar Tori (1894), Chitra (1896), Gitanjali (1912), Balaka (1916), Punascha (1932), Prantik (1938) are significant contributions to romantic and mystic poetry. He was awarded the Nobel <strong>Literature</strong> Prize in 1913 for Gitanjali, a collection of his mystic poems that he himself translated into English entitling Song Offerings. Chokher Bali (1903), Gora (1910), Chaturanga (1915), Shesher Kabita (1929) are his famous novels. He introduced short story in Bangla and took it to its supreme shape. His short stories are collected in an anthology titled Galpaguccha. Further, he is also our greatest dramatist; his Chitrangada (1892), Dakghar (1912) and Raktakarabi (1926) are remarkable plays of world drama. Three leading literary journals of the era were Bharati, Sabujpatra and Kallol. Bharati was the early haven of Tagore and some other young writers who wanted to free themselves of the strong reign of Bankim. Sabujpatra introduced the movement of a new standard of Bangla prose (called ‘Chalita Bhasha’) led by Pramath Chowdhury (1868-1946). Tagore himself was engaged with that movement. And Kallol was the leading journal of the rebels against the dominant literary trend. Dwijendralal Roy (1863-1913), famed for his historical plays and songs, was an early literary rival of Tagore. The works of the Tagorean school seemed extremely modern to the conservatives and they developed as a different group with Roy – their leader. The other poets of Tagore’s era gave birth to more or less individualistic styles but failed to exceed his artistic halo. Among them, Kazi Nazrul Islam (1899-1976) stands next to him in many respects. He achieved the glory of ‘Rebel poet’; no other poet has yet succeeded to express so artistically the tone of political rebellion. He assimilated Hindu, Greco-Roman, Christian and Islamic cultural heritages and thus exposed himself as a model of non-communal Bengali writers. But unfortunately his non-communal humanism was turned into sick Pakistanism (influenced by Jinnah’s two-nation theory) by some later Muslim poets [e.g. Farrukh Ahmad (1918-’74)].
15 Panju Shah (1851?-1914) and Hason Raza (1855?-1922) were two mystic folk poets of the time. Kantichandra Ghosh (1886-1949) translated the Persian mystic Omar Khayyam’s poems. Other renowned poets of the period were Karunanidhan Bandyopadhyay (1877-1955), Jatindramohan Bagchi (1878-1948), Satyandranath Datta (1882-1922), Kumudranjan Mallik (1883-1970), Jatindranath Sengupta (1887-1954), Sukumar Ray (1887-1923), Mohitlal Mazumder (1888-1952), Kalidas Roy (1889-1975) and Jasimuddin (1903-’76). Satyandranath is famed as the ‘wizard of rhythm’ and Jasimuddin is well-known as the ‘Pastoral poet’ of modern Bengal. Saratchandra Chattopadhyay (1876-1938) wrote social and psychological novels, which are worthy assets of Bangla literature. Among his fictional writings Pallisamaj (1916), Charitrahin (1917), Sreekanta (1917-’33), Datta (1918), Grihadaha (1920), Pather Dabi (1926), Shesh Prashna (1931) are popular and recognized by critics. In portraying social scenario and psychological insight, he was influenced by Tagore’s Chokher Bali. Prabhatkumar Mukhopadhyay (1873-1932) was renowned for his short stories. Rokeya Sakhawat Hossain (1880-1932) wrote against suppression and seclusion of the Bengali Muslim women. She is our first feminist writer. Parashuram (1880-1960, pseudonym of Rajshekhar Basu) wrote popular funny stories. Nareshchandra Sengupta (1883-1964) wrote novels with explicit sexual candor. Manindralal Basu (1898-1986) wrote pure romantic novels [e.g. Ramala (1923) and Sahajatrini (1941)] based on modern urban life; Tagore refined his style in Shesher Kabita. Tagore, Swami Vivekananda (1863-1902) and Ramendrasundar Trivedi (1864-1919) wrote philosophical essays. Dineshchandra Sen (1866-1939), Birbal (pseudonym of Pramatha Chowdhury), Abanindranath Tagore (1871-1951) and Mohitlal Mazumder wrote critical essays on art and belles-lettres. Sreema (1854-1932, pen-name of Mahendranath Gupta) wrote the mystic Ramakrishna’s (1836-86) hagiography titled Sree-Ramakrishna-Kathamrita (1897- 1932). And Jagadishchandra Basu (1858-1937) was a famed scientist who expressed his scientific ideas and observations through his literary works. The High Modern Age (1936-’60) In the first half of the 20 th century, two world wars changed the course of human history. Highly humanistic values were replaced by inhuman and abominable attitudes. Merciless brutalities stained the war-inflicted West and its impact was seen across the colonial Orient. Several genocides caused the most memorable human disaster so far. Famine shattered the poverty-stricken India. Economic disaster gripped the colonized and later independent nations. Besides, life and the society fell in the grip of mechanization. A sense of helplessness and frustration was seen among artists and intellectuals. Hyper romantic thoughts found its place in cultural trashcans. Thus the post-Romantic era of literature, which is now called the High Modern Age, launched its voyage.
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: 13 were two late representatives of
Page 17 and 18: 17 Panchagram (1943), Hashuli Banke
Page 19 and 20: 19 Lalshalu (1948) achieved worldly
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 Bengali critics, his supremacy a
Page 29 and 30: 29 love with each other. A Pathan p
Page 31 and 32: 31 found in very few writers of the
Page 33 and 34: 33 catastrophe of another part of t
Page 35 and 36: 35 “Monihara” is the story of M
Page 37 and 38: 37 Saratchandra Chattopadhyay (1876
Page 39 and 40: 39 agitation against the injustice
Page 41 and 42: 41 Bishnu’s world-view is not con
Page 43 and 44: 43 nationalist movement. His moveme
Page 45 and 46: 45 Is free of weariness And that is
Page 47 and 48: 47 own queen. Thus he deprives the
Page 49 and 50: 49 Michael, Bankim, Dinabandhu, Kal
Page 51 and 52: 51 comprehension of the deep crises
Page 53 and 54: 53 As a fictionist, Elias was a goo
Page 55 and 56: 55 Literature is not for just enter
Page 57: 57 • Sen, Sukumar. Islami Bangla

Literature-Critique

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