09_chapter 6.pdf
TRANSCRIPT
fnllniteila ftrtf She was the daughter o f Late aaented
NabdLn Chandra Bcrdolal. Bordalai was bom an trd November, 1 75
in Marth Qevfcati. He was a leaned and great Pa riot o f the
f i r s t rank. He took his education flron Calcutta Presidency College
and become advocate. But he join in the non-co-opera tion move mint
agains us the British Government and was taken into prison in 1981.
And so people of Assam entitled hin as "ftaraabix* ( the hero o f work)
fo r his deeds and love fo r the couotay. jiabdn Berdaloi’ a teaching
and Patriotism Influenced the growth of the career o f Naliaibala
Devi* In her childhood he narrated the stories o f RMnayana and i%hsbha-
rata to Nalinibeln Devi. And this has got a far reaching e ffe c t in
her l i f t and poetical works. Further, her father* a love fo r
■other-land also influenced her l i fe very deeply* Nafain Chandra' a
coopoeision o f such patriotic song inspired her too-
Kon kot acha Jansm Ehumir
Shaket Ssotan
A j i Air Puje babe
Ah la i ah
l ane id. ihribi Baa.(0( Devotee children o f toother lend please cone with the g ift, what you like to donate to-day fo r the worship o f mother* land
which w ill be celebrated).Contd.. . . 5ft
rU '
- 5t-rta lia ibala Ihvi had to lorn bar husband a t tha premature
age* Her huabaad Jibaawar Cheng Kakati was s tr lk sa with Cholera and died wh«i Walla ibala Cevi wae only twooV years old* In la te r p a rt of her l i f e , aha lo » t her eon aad daughter* So ahe had toundergo a great affliotLan* A ll these hare tuzaad the course of h er l i f e and aha iabibed the path of sp iritua l!ea* At heart she was pious and a t tha nuw tin e she was w all versed la Sagliah, Sanskrit, Bengali** Because Habda Chandra Bordaloi was a pious aad was aoquiated with G ita , Upaaiaad, Haaajyaaa and Mnhabhaxata from ih iah d a lia ih a la Devi got a scope to study a l l these books and took the re lig ious lessens with heart* Besides the Sanskrit book she studied EhgLlah and Baag&li books* Ihe lib ra rian of Carjan H all lib rary supplied her, many books* Ihe lib rarian Gcpal Krisna Dey was the f i r s t teacher of d a lin iba la Devi* Assamese was her aother tcague. l e t she was induced to read ady otherbooks of d iffe ren t languages other then Assamese* She was a
, Voracious reader* She was very curious to know about the philosophy and thought o f the world* So her depth of study was not confinedwithin a l in ita tio n with Assamese books*
1* Once when she came to n e t As oo Sahitya Sabha Adnibesan(conference) a t Ehubri (perhaps in 1972) 1 had an interviewwith her aad ty tha iy Sue to ld as to read every kinds of books an various languages , as She did the sane- Writer.
I
Ccntd.*. 5^
Nafcda (hahdxa Bordoloi very often used to stag tbe scng o f
Rabiadra iJath ib i i bachil user Pradip user Betach la g i "
( lhe lamp o f daw baa been saved froa it* s extinguish ly the blow o f the a ir o f the daw) And also Brahma Saageet writ tea by
Rabin dm ifath-
Pratah aaaay Jagare hriday
Saarare bhabataraai
Ceye dekho Misi Jay Jqy Jay
Seroj B««fcab Samudita Pngr Jbalasi jebe tfaba n i l rfirod
Dekbare purba Gagane*
She always ronombered the saag o f Babdadra tfath Wbdoh is included
in G itan jali- "Dukh hieha Jadi iiahi Ksati, Sahibare deba S^kati.1
In evening she used to sw g- the kynos to Kuati (Kwthi stotrn) Kuati said to Srikrisna- " 0 great Yogy , Kriaoa, please give me such a born that the distress o f clouds upai head would
never remove, because in the moment o f danger I remembered you
but during the period o f ay delight you are not remember ly me*
JSri aha din bar- Naliaibala Devi 1976 , p. 62. ib is teaching
o f Mahabharata gave her inspiration to bear the distress and
to concentrate herself restraint against mbalanced mental
position* She got a great r e l ie f when she suig -die sang o f Rabiadra 3ath_
" Chira sakhjhe chedua more cfaedsne
Jam bharature fiahin Karahe mor Ohs sudba sagar*
Ccntd... $9
•58-
All these soaga consoled tbs aind of Jialinl Bela devi inths midst of ocean of Sorrow* She had approached to the various sagec;who blessed her to lead a peaoeful Ufa and to forget the passed eland ties*
Her religious deliberation had got Maturity graduallywh«n she net different sages aaonget vfrich Swami Sureshamanda Swaai Avedahaada, Swami Jogananda Faxam Haasadev are deservesspecial aentLca*
great sock to her* 'ihe spiritual teachings of severalsages and the consolation of her father gave her eental strenghth to bear this aflicticc Nahia Chandra wrote letters to Naliai Bala Devi froa Jail in whioh he gave aeseages frca Gita and Upaaiaad so that sha oaa develop# her aind with philosophical thought and had tried to concentrate her aindupca God (Paraa Frdyaj • Such inspiration haa inspired her to take the path of aseetieieua* She visited aaty of the holy sagas and Scholars of different plaoes. She wasattracted deeply ty the prayer (Bhajan) of MLrabai-
Her son putuli died at the age of five. It was a
Coned***
- t o -
"K a n iji fyey giridharike
Ghar Jail
Giri<®eri mere sach pi tan
Sab ohexd aukh p«o
Kyey G iricbarike Ghar Jaiu.
At the f i r s t a tege o f her £0* S c l i f e the Qua influenced
by the poene, o f Nabio Chandrp f »»n- ’ uru--hetj?a, ' :iaibeta'
and 'Pnavna* which was presented qy hex* I a char rtabin Chandra
B ord alsi bo h is s i s t e r . In • haihn wak1 the character of
Sukhsdra was her idea¥ end t r ie d u> follow die idea of Subhsdra.
She tr ie d to drive the Ch.^rrir, i of h o sp ita lity to the poor, which
ahe from her e ld er brother Fricaaa. She admitted in
her auto-biography that she seemed h e rse lf t s hubhadra, A n<*•< */% »** yS^tU. r
she had gone through 1 iia ib a ta^ ^ d aiin ib a la Devi hr a s groat
indebtnear to Rehindrs Wath . 3s£k. often she admith/his y^niousneee
with f u l l re sp ect . She o ffered her sa lu ta tio n to Rabindra NathJin Alak&nanda' by the poen ' Rabindra B*rnana (D escription o f
Rabindra Nath) * Nothing in sp ired her ouch and h er 'sh rasta lagna”
i s nothing but the echo o f the poet Rabindra Nath. Although ahe
never men tinned her indebtedness p a rtic u la r ly in the asp ect we are c it in g heiej& pct thp poeml.^whicn. w ill ju s t i fy the observations a*de
by us t ----- y----in (A la ken an da'1. Not only in (Alahenande' $ poem, Rabindra l&rpan by nans an to
ad aira dLan o f Kktaindra Nath which she described in her "Sppaiar Sur* ( i«ielody of Dream) .
A CoffftC te e • 6#
6*.
1 Sitnnat JwH b xtumai aathcu chikitl
Par palo ffuni puwcti kulir aat
Khiriki Kaaat tehilo ales nae
Pindhilo keeat natun nalika dbar
ene saaayat aenduri a lir bate,
Irrun Pathi* dekh? dila ** j - Patfca
Son-Mkicutat usfcr Pohor pari
Kan the euwai Mukutar Alrchari
Sudhile byakuLa- Wo kot Wo kot?
Tnrun Pathik Faye xaai feye mai,
Fajcr banti tetipc jwala nei,
Pindhichilo mai kopSlst eon-phot.,
Khidiki iiukhet a oner dapon dhari
Apon menere bandhichilo khopn aor.
i-i la^anabe g--dKuli dtrusar beta
Katun duchoku tarun pathik rathe
Bhi'er f**aet, bhagara rather ghora
Be tar dtellra tfcuserita baste1 s.
Sudhile kataxe too kot Wo kot ?
1. Xante CJtorane nor diuwara 6 rtai
-‘” -8 t iiers-.hi nowarilo kabe -aai,/ _®r<:nta f; thik ''eye usi a aye •aii
Fneguni nir.er Jvmliche ghMV u dip.
Contd.. . . 61.
- 6* -Bukut lagiehe daksin ifalaya pur Sonar sajat Mikhara Salikajsni I>i war duwari ghonatlt pare dbali Uhupar dhovare dbuwati baser Urlha
i garu Gondhat aisul sarbedsh
Meyvr .'.anthi pindhilo (fchal kh«ni
Dubari s o u ji ach »l bukulai teh i ,
Kiildiki t a l a t dh u lit bahiio u aa i,
R ijp rth a la i n ir s le duchaku th a i
T in ipar u isa ra lo bahi ak a la i
Hataa p&thik J. Seye mai, -eye i>ai.
( t f te r pvGtang o f f 1he iig h tin g - la i^ e t bead o f bed.
I awake having he»rd the voice o f cuckoo
And s a t down with id le mind
and put tiie new garland in my h a ir ,
by th is moment on the way o f red d u st
Young t r a v e lle r appeared on the Royal Road
ihe lig h t oi dawan has f e l l upon the golden crown
n is neck i s decorated with the garland o f p earl
lie asked with perp'J axed mind where he is,-.here- he is?
Crumbling witu shams I coula not reply
th a t - i t i s 1, i t i s 1.
Contd.. . . 6}.
- 6£ -
xhe evening l&ap yet not United I have draw a Golden nark cn wy forehead
% the side of window, in front of Golden atirror,1 begad the dressing of hair in the dusk*
At that nonent an young traveller
appeared an the win RoadDressed with vaxioue beautiful and valuable ornaments
& garland*lad I being distracted asked the traveller* where he i s , where he i s ?xhe traveller being perspired due to his fatigunees,
tiredness replied-I an that, I an that s t i l l the l i^ i t of the evening
are s o t lighted.1 made gddan nark on the forehead; stayed near ny
window with a Golden mirror in hand I began to t ie up ny coiffure a t
that tine the said traveller being tired and perspired with a pitious eye appeared before me, 1 asked where he i s , where he i s *He was tired and remained s ile n t being as hanoed could act say anything* He then replied that- 1 an that, 1 an that* Ifanth i s Falgum, light i s bunting in the roan brssse fu ll o f Fragrant from
the south i s blowing gently and began to shiver ay heart in the golden Co£L, the Garrulous swallow tee in drowqr mood* 2he above become haziness due to smoke* A ll boty be ease perplexed due to
smell of fragrant wood* I weared a doth like colour of the aeek of a peacock*
Contd*. *.6tf
6a
I n t down alone on tile ground which fu ll of greet
end do not and waited up to tile third part o f the n±|ht md
told I an that dieheerted person, I an that diehearted person.)
The underlying the me, idea} vocabulary and style of Uhmste Lagne of Kebindra Hath ea tegorieslly followed lytfpltaibalo Devi. Habdndra dath* e JSxrasta bagaa nay be cited hers*
/ / _Sayan Siyare pradip tfibetche sabe,
;1 th«g i trioror kokil robs
Alar cbarsne bffii batayan pi.se
iutnn eplika Ferechi c i th j l ksee ,
Fn»n sameye a run dhuspr pa the.
Tcrun path !' dektor d ilc rF j pa the
Sonar nukute pereche uaar plo
Mukuter n ils J s lS y sejeche blploB ✓Sudhalo katare 1 s * hothly, Se ftotiKa/
lya^rn ctapir.ne pmarl duyjnr. nami
^pitne mariyi b e J ite nrrinu hay,
.Jrbin pr +h lk , S«ye end, t e i end.
Gredbuli belay tokhcno jsw aiin i dip
P nritech ilea /opgle e m ir u p
hanak bukut h« be laye ’of i . ygne
Beciiite dxilam icabari apon mane ,
Coatd....
Han k al a lo aandfyi dhuaar paths
Karun nay an tarun pethik rathe
Pheriay gp.nae akul aswagulx
Basane fahufane bhailya Glyacha dhuli,
Sucbalo ka tare ' se kbthay, Se kothey.
iilanta c^arane aaar i dqjrare namiS
Saraae marly a b a lita aaninu hay,
ahranta PatM k, 'S e j# a *L , S e i "aid..
( Ehrsata Lagna : Kalppna - Rabindre N* Ji Tagore).I *
Another poem i s * PrerwUrthp' in her A la Kan an c£ an
e f f o r t o f im itation o f Rfebindra la th 's ’ Ehnrrt -T irtfca'« The
T it le and the idea is common in both cps’e s. Robindra nath s a id .
Dibe pr n ibe, rdlabo m ilibe Jaba na phi re
ri bhawter mchsmiaber Sag&r l ir e ,
ihe idea i s concentrated upon Ralinibala' a poeau
Sata jp t i sa te bhaaa Sabhyata
bams4<riti ask • -Bn pm t 'iirU iate ahi linberup pay.
( Ilunur - ds o l r;;css hunures oi lajagungns and hundros of cu lture
and hundreds o f d esires bpve boon united in tho sacred land o f
In d ia )•From tho above d to d poems we can assume th a t bfalinibala
Davi was influenced by Habindxa tf&th. From the ays d e a l point o f view.
C o n t d . . . 6 5 .
6fher most o f the poem have a great sim ilarity with th * poem of
G itin ja li o f Habindra Hath. The t i t le o f bar collection of aye tic
o f Bahiadra Math. The following systo lic to rs* axe avallab lt la
Nalini Bala Dari’ s poems which are used V Habindra hath* ' 4rup'
Asia, S iidar, Sima, Jiiran Devote, Antaratam, Hriday Devote.
poetry Specially she was moved by hie G itan jali and it s spiritualism*
The 8on8ousnese oavispiritualxsa of dabindra Nath had never induoed
by spiritualism of any particular religious section*. We have
already mentioned that Habindra Nath and.Ni»lini Bala Devi got
shock due to the premeture death of their family members . And
tiwy led their lives in other way and both are inclined to spiritualism .
This wes increased due to the influence o f the Principles of npe«iaada«i f leaving aside other religions discourse ve can eay that a fte r the
" Brahma-bodh" and Jaanyoga", the religions aptitude o f Indian
philosophy turned into ,!Bhakti ioga*" In Gee to we find the assim i-
lation o f ^naayoga and Bhakti yoga* In the tenth rfendal of
hig Veda . We lind ahcut the “Purus pbad" and that Purueabad began to
turn into 1Avaiarbed. ! e ei.uo a'iud iniluence ^JPCoeta also^
some r.lokas of Gita may be taken from tnaupanisad or i t hps
been inserted due to the influence of Aathe-Upsnisad. the tune
which we find in Gita in Vedas we also find the sane tune*
poems * ’Sandhiar Sur i s identical to 'Sa&cUqra SamgLi (Evening song)
Habindra Nrth’ s spiritualism influenced her, in writing
Contd.. . . Qb%
” Ekan sad ’’ iprf. Behudha badanti✓
ngni yama matari Sraaanha.*
In later ages that great personality (Msbasatia) was deemed
as the ununivoraal and He was termed as "Purusa- "
"Purusa ShedaniSarba Yadbhntan Yacca kjiaetyaai."
This is Purus# of Upenisada was dsterainsd as "Brahma'' Hera we find a new
idea • I t was not deep meditation or Prayer but. the Quarles
about the great personality (Viava Setts) . And preyed to
him "Apabie*.* 0 pusam yon open the mouth o f truth so tha t v may ccoceiva the personality*
"Hirpnme Pstrana S tysa Pihitem Mu ham
1st Ivsm Fasiftrhrnn Saty hbarmaya drstay*
5.15.1 Briiiadaranyak lipaniead.
After the upanisadas Yuga cams the lugs of "Serodarsna".
In thet age the question of salvation from the rebirth cams* And tha
sages turned their attitude towards "JnanyqgR*. After the Sardarean
yuga purenie Yoga cane. In the ere the ideas of the devotees greatly
changed, ihao in succession vlaoupur&ha BudHha JataA, Taina Siistraa,
Propogated many ideas. Al these discussions are not nacesssry in this
treatise. So we le f t that portion. Only the warned issues are
discussed.
- 6* .
Con d.. . . 6d
In the mind o f ftuaeui being than* th ree mein p r in c ip le s .
' B u d d k ib rliti *, hrday Bx tti< and evabrt& i1 whan the Hrdeybrtti
o r the h e a r t of nan o r an women g e ts prominence then a r is e s p i ty ,
a f fe c tio n , love. Mcng with love and a ffe c tio n grows th e idee
o f serving or • ceve B r t t i1 pad Jam the serv ing a t t i tu d e gets
predominance devotee is n o t whole h e a rted ly p leased . And there ly
th e u n iv e rsa l power o r ’■Asia' or in f in i t e become 5antn ( f in i te )
in the ui-ic of -he devotee. ‘ n ' we find the t in a n c ie n t tin e a
th e Butidnis-r vrri; no : p i v l i h the "•r /n AstRngik aarga
(e ig h t paths o f devotion . In the theory o f Gautarr. Buddha there
was no p lace o f lssvaea o r God. And a f t e r h ie death h is d isc ip le s
began to p lace the id o l of Luddha la the Buddhist usable.
Buddha pleaded fo r the »sunyabad' and s s a o ra c a ry a
pleaded f o r the "rCyabeTd*. But the general pub lic d id n o t
su p p o rt these th e o rie s . Co the veisnabas rev o lted a g a in s t
th e se th eo ries . Poet o f upnnisac1 to ld - " '’.-to be imani bhuteni
Jay ante yens J e tn n i J iv m t iy r t f ra aan iy abhine mbisan t i ta d v in i-
gn ijaaava tad Brahma." F u rth er s a id - ’’iPosba bhantemanufcheti aarbea
laey a bhaea C«rbamidam b ibh ilti .w The Veianabas upheld the views
of upani^adas. Chey sa id th a t th is world is not i l lu s io n ( Syi)
n o t f a ls e - "Tasya bhasa sarbaaddam bibhutdn in th is c re a tio n la•*
no th ing b u t "die Tdli» P lay o f the g re a t p e rso n a lity and la
l i f t e d ty Hie l i g h t - "?nan drupe a rt* m JadvivatL".
- 6* -
Con to*... 69
With a ll defects and deficiencies, the haaan life
is not fruit-lcse and cannot be neglecoad . And through the
l i f e one can get the Spiritual ettaiiwsnt-
' Tabbivutibhutam Jagadapi Faranar duHcn m th g* t i jnaya t»*n
I his world is nothing but the manifestation of that greet
personality.
Veiennras did not Bay that this world 1b i l las icp and i ti_
hrn get no roaHiy. They upheld the theory o f tiitareya Upaaisad .
*!\n*ndnthy.-vj: ’lr>Vir-~ni ’-hv.trni TayantsT and axpreeaed the
same In n more lucid mannar-
" I'naoda cinmayaramp tantnye fianh su
Y^kpraniriam Pratiphelan avartamipetya
:innyitenp bfr-banani Jayfchyapraa
Gobiadamadi Purus an tanshe® Bba^aei. •'
lhi£ idea ultimately le t the foundation of Vfeisnabisa and
basing upon thie theory. The vairname padas were written ky tike
galaxy of vetisnpv* Fadakartea.
This is wtoy he raiFnavR Iadavali inspired not. only the
vaisnavas, but the hinctus and the Mon-ninous. So a Galaxy of
MUalim poete wrote vsisenava pades. In tile background of the
Vaismrm pedas there is the emotion and sentiments o f hermen ku/nan
being for Which Rabindra /c.th raised tits quartian-
- 69-
Cantd... 09
/
” S u < S m B a i k u n t h e r T a r e v a i a n a v e r G i n
P u r b a r a g , a m u $ g , a n t - a b h i s e i n
A l h i s l r , P r e m l l l a b i r s t u a l l a n
B r o d a b a n g S t h e - « i p r a n a y s u a p a n
/S r a h a n e r s a r b a r i t e K a l i n d i j u l e ,
C a r l c & k h e c e y e d a k f i a k a d a a b e r M o l e
/
S a y a n e s a n b h r a m - e k i s u d h u D e v a t i r ?
( C o u r t s h i p , a t t a c h m e n t , f e i g n e d r s e e n t a a o t o u t o f l e v a ,
J o u r n e y o f l o r e S e p a r a t i o n , U n i o n , e p i s o d e o f B r l a d a b a n ,
a t o n a y n i g h t - i n t h e m o n t h o f S r & b e n a t t h e b a n k o f t h e
r i v e r Y a n i n a a l l t h e s e a r e f o r B a i k h u f c t h a ? o r t h e U n i e » o f a g r e e
a t t h e b a t t e n o f t h e J t e d a a b a t r e e , r e c l i n i n g , a d o r a t i o n
a l l t h e s e a r e f o r G o d . ? )
X X X X
y & i s n n v K a b i r G a t h * P r e a . U p a h f f r
C a l & l c h e N i s i d i n K a t a S h a r e W h i r
B a i k u n t h e r P y t h e V p a t h © n a r a - u i r l
___/ ^
A k s a y s e s u d i i r a s i J c a r i k a d a k a d i
L a i t e c h e a p n a r p r i y a g r i h a t a l e
J a t h i s a d d h t y a j o j g h i r .
( T h e T t o i s n a b a p a d a K a r t * ' . n L o r i e s o l * l o v e - U n i o n & S e p a r a t i o n a l l
t h e e e a r e g o i n g o n i n a b a n d a n c e i n t h e w a y o f t h i s w o r l d a r e
s n a t c h i n g a w a y a l l t h e s e * ) .
- 09 -
C o n t d __________j t >
The d isccntent m fin d in Vaisnabe Padas are nothing
but define discontent. This die con te n t cannot be over comb
in union with the lover, i t cannot be faded away even in
separation - and th a t i s the love - Pure and define love*
This d isconten t I s ev erlastin g * Poet Rebindra Math has
ju a t ly sa id -
"Skhono fcadiche Kadha hridajr k u tire n
The exy and hunger fo r R adii ie the u n iversa l
and w ill continue s t i l l the human being w il l remain
world*
FwancL Vlvekananda told about the Veianate
Philosophy o f love-
"The very idea o f love, the love th a t wants
nothing lev s th a t even does not ea rs fo r
heaven, love th a t does not ears f o r any
thing in th is world, through tttle love o f
the Gopis has been found o f so lu tion o f
the c o n flic t between the personal and
ij^ e rsan a l God."
( The sages o f Ind ia , ffedraa le c tu r e s ;.
Contd*.* 7 |
78- -
P la to h ia e e lf upheld th ia theoxy from h is a c ts , i f we would know th is , we would y e ild d iv ine x x
f o r love eannot d ie ."" For love beauty and d e lig h t
th e re i s no death n o r change n.Senes tiv e Plant/Shelxey*
Kabiadra Math sa id - ”n When love becomes unboixtded i t becoaes c a rr ie s
sway a l l oppositions before it* The sense o f sh ew , o r the fe a r o f p u b lic den cmb e la tio n can
have no fo rce to cheek i t s course, to the lo v er h is love, then becomes a l l in a l l in the whole u n iv e rse ."
Love i s the essence o f Vaisnava re lig io n and i t s
b a s is i s the love o f Ksdha~hfsna* According to Sahajiya Vaianave»> "Yugah ta t tv a " , i s the root* And "S ah a j-lr thva" l e t s in it* 'S ahaj Is the in te rn a l tru th o f the un iverse .
Contd*.>. 7JL
ihe world bao been created from this and a day will coma
when a ll will be devested* 'ibis "Sahara” is eternal* The
root, idea of "Sahaja1 is love* A nr love is ' Rasa1. Sahaj
Kabi chandidas said -
ett Rase bai basin WShi Artribhubana
X X XPiriti balijra e tin akhor
e tin tibubnna sir*
In Vaisnava literature the word "Par "
means " Paranataa -
"Parana baa bine par anya par nahe"
Merayanah para beda ia'regranah para HHtara
angranah para aukti arsyanah peragatih
.te'rayanah pareh (dianu PurSn).
In " Brahaan KhaPda" of Upanisada, i t was stated.
"Parato paranaa pumusa."
In Briha&raqyaka Upanifada we find.
"Atmalbedamugra asit puruaabidhsh
Sohnubiksa aanyada tea-nofcpsya t i."
1U11.
- 7* -
Contd... 741
This "Purusaker'1 was self oentned and Ha never saw*
others separable from Hie. He firs t told " I an » that# •
" Sa bai naiba remetataa-delfflcakiNa ranate s
dvitSaaicehatJ'- Bxihadaranya-Kopaniaat.
1 / 4 / 3
He was alone, bat for the 'Lila B ilas'
He wanted the second, He did not want to
renain alone- He wanted others
r Sa eaamabsTtmanaja Syodhopatayat tatehw , ^ S rnmPptisca patnisoabhabataa taanadiyan ardhabrta narolbu
Sva eti asnaha ya juabaU^a tasaadyaaalnrfl£«h
Striya porsat^ ebon tan mans bh&bat
ieto aanuaya agsyanta."
V V 3
- Brihadaranyakopanieat.
He became like husband and wife in a eabraoed condition.
He divided Hie body In two parts, from there grew husband and wife.
Ypgfteb&lka told man is incomplete and the woman rather the Sky u f O f u~iJ^ vu jfL u m v r\
■ekes complete. He made union with the female end thereby
the husan beings took birth.
Cantd.. . . 7gf
In Brihadaranys upanifada we find-Bupam j^ ibb p i n d i ^ a f bahaba iadayya rupam pratjc a manaya
Indro mayabhihf p r e r v p m iy a te yakha haaya pamy
Satsedar2 /5 /1 9 *
This Brahma is Krishna and Vaisnavas - /fa tter and energy- Krishna is m atter and Hadha i s energy* InVeisnava scrip ts i t has been d ea lt elabors oily*
Hhakti is -die essence of Vaisnrviam* Bat they preferred Reganuga ihak ti than Baidhi Hhakti - 1 ihe Ehhkti as a function in the Jive i s only an expression of H&gdini Sakti by which the Jive releases i t s e l f 1 from the fe tte rs of extremes i'eya Sakti i s the phenomenal world and realises ixs contiguity to the tshagevata.
( San gals contribution to Sanskrit L item tore and studies in Bengal vaisnaviaa ,.
This statement is application no t in ease of Vaianavas p rac tic a lly to a l l the ess fob of "Bhakti-Mdi.*
Coned... T t
ih ie is applicable in esse of Rebiudra Nath and tfplinibsla Q= i too. ftp. S, tfpdhakrishnan in his " 'ins itdloeophy ©f Rabindranath said -
*' The absolute of Philosophy becomes the God o f religion to a l l followers of Bhalcti- ehools.
Isvara, die h ighest manifestation of the absolute is the personal lord of the universe, ihedie tinction of lover and tile loved is kept up t i l l
/the l a s t po int, uh»n in p sffe e t love, the twobecome one the personal God i s then dissolved in the Absolute xx ib is E haiti School has had a continuous h isto ry from the very begining of reflec tion in Ind ia ."
Billaeangal ‘ihatoir in h is ' SidTJorisnaerta' described Szlkrlsna as-
Mndhuraa aadhuram Bhpurasya bivo Madhuxam madhuram badanae nedhuram
’j » • *
I f e d h u g a n d h i i t o l u s a i t a a a t a i i a r h ; ?
ifedmram aadhuram nedhuram nedhuram.• * * *
( f - 9 E )(He ia lord & He is eacbuX (Sweat)He i s powerful. He is beau tifu l).
- 7* -
Con sd»»• 7%
- 7 % -
H« according to the Baidhi Bhakti is ' Davata* sad
to Raganuga class . He is dearer and nearer*
In Bible we find similarity-
n I may please Thee to unite to yourself asking
isy soul* the bride I will rejoice in nothing till I am in
Thine arns."This is "and Eb&ap Thai" of Habindranath and the
same case was with Naliaibala Deri.The senscasness on spiritualise of Habindranath had
never induced by spiritualism of any Particular religious
section. The realisation of beauty, universal conciousness of
love, feelings on humanity and the idealism of fiabindra Hath and
such realisation religion of fulfilment form is God. The same is applicable in respect of Mslinibala Dev is Poetry. She was also influenced by the Upanisadas, Vedanta, Hhaktibed, love
and amity. Nenjr of her poems were written by the thought,
based upon upanisadas and vedanta . Her ' Parampriya' is nothing but the Brahma, the eternal God which is interpreted in upanisad.^
1. udgitametat paramantu BrahmaTasminetray* Supratiatha-akttaramsa
A trantaraq Brahmabido viditwaLina Brahmani 1'atpexa jonimuktaf
-Sveta Swetaropaniead. 1/7*Contd.. yf
- T9
Her poetic imagination was exposed spontaniously with a deep
faith upon God and this fantastic creation brought her closer/ _
to Bhaktibid. She said- "Bar Pranta Prabhu aai, iqya tu li mox,
d iy i thai caran talat.* ( 0 lord I am very tired please take
me in to your lap and give me shelter under your fee t). Rabindra
Nath also a poet o f Bhaktibad. He also said- "Amir mathl nata kare
dao he lorair Caran ta le"•( bend ny head 0 fcord aider the dust
o f your fe e t ). But his Bhaktibad has got special Characteristic
and the same is net identical with the Veisnaviya Hiaktibad
(Je bhakti toms re laye dhaiiya nahi mane xx sei bhakti madadhim
nahi cahi nath)^ . In this sense his devotion was more liberal.
Even he realised the a rtis tic , love o f Rgdha to Krens amongs
man1 a love- "Satya kaho mare he Bsisnav Kabi Kotha turn! peyechile
e i prem chabi Herd. Kahar Mayan, Radhiklr asm AkH Pareehila
mane? " ((Si Vaianav Poet plsaee te ll me the truth x where from
you have been collected, this picture o f love. By, seeing whoa
eyes you remembered the eyes o f Radia with fu ll o f tears.10
1. Sandhiyir Sur I Bhagazuwa.
2 . 1 don* t went auoh kind o f devotion which is not concentrated upon me for you.
Contd... 7 $.
- 79 -
Ralinibela's Hhaktibad is of au e type* Her God or Iterate
la nothing but the Brahma of Upanisada* Breagr thing in thia world
i s nothing but the manifestation of that Suprene Power* She aaidU
Jagatar Prati ranu aaje ache tuniJaao Bhalkai" ( I know very well that you are reaeining
in every dust of world)*
ualiaibala Bari and BabdLndra Rath had a honognd oua thought.
i‘hegr raaliaed that pleasure is not confined within a limits tiaa-
”J o toai, bhuna ta t aukhan Ralpe Sukhanahti bhunaifaa aukham bbuaatreba bLjijiaaitgra*
( Happy i s there where vast i s ends tent, there bappdneee is l i t t le
happiaeaa is within in raat so rast ia always rep liable*" lh a ir
mysticisa i s based oa Upaniaad* iheir sp iritual thought way be
entitled as aystical religLan*
''Ralinibala is Jm io r to Babindra Rath. At the f i r s t stage
of l i f e Raliol Bala was deeply increased ly Rabin dzm Rath. Igr hie spiritualism and it s deliberation. Regarding the spiritualism of
RabLadra Rath^kcuit Kal char ling, a Genua philosopher has cc— cnt )
"Rabindra Rath the poet, impressed ae liias a guest from
higher more spiritual world, nswar, pexhaps have 1 seen so aueh
spiritualised substance of soul oondansed into aae man."1
1. 'i.ravel Qairy 1 9 2 5 Vol. 1 P. 335.A Aronson Rakdndra Rath through western eyes (1945) PP.64.71.
Caatd.. . -pg
Such kinds of Spiritualism is exposed in bis
y"Naiveddya" - Wiere he realised the God only the Supreme
Being, thrcu^i the meditation of ancient India and through
the realisation of the sagea of Upanisad. In his naiv^ddya-
God is almighty, eternal and supreme* He feels the relation
between God and himself is very nearest-
"TcaSrl aLlan Sajjya, he aor rajan
hhudra fc- tomar aejhe an ante as an
Aaim, bicitra, Kantai ego apaxup
(Dsh Lite t i'iaibedya).
(Oh King, the bed of re-union of yours is very in significant
i t is also a seat in your and less infinity and in your
friendless, variegated semblance* 0, dear 0 charming and
representation of the whole universe and in txx$r, mind, heart
1 am how vcnderful).
Nelinibala Devi realised the axis tan oe of the Godl
and the same clairvoyance eyes in her heart-
laser Surabhi legs
Jano tuni ache ocarat »Tomar rupah chaya
Jilikehi1' hiya daponat*
v9t>Contd..
so I fee l you are very near(Your fragrant touches m,
by me. Ifae Shadow of your beauty glittering in ay mirror
o f heart). Kabdndra Hath in Ms 'Manas! ' said-
’’Ami mans Jerri yai dure
tnoi rayeobn vi/va jure
Yata dure ,yai tatei tomar
KSchakacni f i r i ghUre."
The foundation of philosophy of H&bindre Hath was
based upon the • panisadas and die Vaianava * Ailoaophy. He
wrote a letter to Acaiye nrojandne Hath Seal in 1921 that
the a ir o f Katya was nixed up with Upenisad&s and Vaisnabe.
Padrteli. As Oxygen add nitrogen mixes so the Upaoisad
and Vaisnabe Fadavali was mixed Up*
ihe Bahaas believe in own God-" Brahma" end He
is eternal and Advaita (non-dualism). but Rabindra litera tore
was based ujen the dualism of the Vaisnsbites (i&sistadvaitabnd).
Cash.... S9.
Naiinibala Devi thou^i bom end brought up under they
influence of"Eka -a ran Zharoe" (Advaitabad i Ana mail God was
Narayana) stilly she also adopted the dualise in her l i f e and
works*S '
V
Ratadndra Nath addressed hid £±van Devote in different
names- Manaei (Priyn), Antnr jand, Pmbhu (Lord), Pita (father),
Sakha (friend) rapune (Snake Charmer). Likewise tlalinibala
also addressed the almighty in dtfferen u names. dhe h*.d
composed a Poem 'Pita* (Father) the Styrene being by whom
the world is created, while she was only ten* i t was her
f i r s t poem with a Spiritual realisation o f her ianatnxod heart*
She writes-
Leri Prabhatar arun Kir an
hot Fata one hj jval beran
Gann koaal aacimri sene
Jijane b i le t e e i hjjvalata
Si jane earner pita".
- 83 -
Contd.. . .
- 3 £ -( 0 the am shiae of seating where have you got such vivid
colour* How sweet sneered soft i t is y He who distributed
the vivicktess is our father)*
Her "Pita" is nothiag but the "Pazea Priya" of her latter
l i f e who resuscitated her from her laaaatable l i f e and which, can be
resembled with 1Jivaa Dovata1 of Babtadra Hath; she waats the reapcoee
fraa her "Paraa Pziya" -
“loeik taLoaxi nai suwadi puwat
Jivanar Sudbaaay Pabitra Kepat
A ji e i blsadar sandbya parat gahia
Si chare dhahaSimahia aagar parat icaalai pariche nan at
0 1 nor paxam Priya 1 iuaA ho* t "*
( Saadiiyir $ur i Anahuta).
( You were aot searched by- me at the monoat of delimited l i f e
which had purity, lo-day in a nouraful evening covered with
dark and in the side of ocean ihich beya»d limitation* I
reoambered you* O' ey God (Paraa Pziya) there y«| are 1
there you are 1 )
Ccntd**** 84
Rafendz* Hath has bean saarehlag fo r h is J in n
•frt** *v9 "tfCarets ntaee a l i j U fa %o*& *^u <t*e <•*!* "g y***f
^OAA s c A. -B-V*-
Ktgyer ante pariyi parfe
Tife* hahihal KaxAygfei pi?,
8a mug caxal a^ilsana
Toad dbalitaeha bnjhi
Atsr eavtl badanSr Hkfim
* loaara f ii&ba -**
( For this tlwa, I drank shaxp paisas, fe a t vine la liquid
and Ilka f ir a which 70a are pouring, s t i l l I w i l l search
you la the midst of such peia* )
Whan the aen ease ia oaataat r i f e Gad feaa f i ? fee
desires w ill be faded away free feaLr aiadi# aai they haaaaa aargad wife fee God» I t i s stated ip Openieada*
Goafe*..
- m •
r pmprapyninamreayo Jn?natppt?h
Kr t f :jmno b it»ragah Irasanteh
I'e Sprb,T |pm '>nrbaiah i rapys duira
Yuktajsehf^ - a rbamabn b iean ti.
3*2*5 ( ^wd hopanisst;.
uftbiadrsnath wants to give *p hie canine appetiti
from h is h e art and asked the (iod whether he fu l f i le d . ITja utaiuisuH line
T Z i C C r j ^ ( o - C K . *1 C 0 r < Y f a * # ' '
Ago an ta rs ta»,
iuiacue h i teba sak a l xiyas
A si antare aama ?
(0 Hjr beloved heve you f u l f i l yew a l l d e sire s a f t e r taking
your see u in nr- h eart V)
Nplinibftla a lso admits that the iod i s always
reinsin in h sr h eart y e t she d id n ot re a lise h is existence
with h eart and sou l*
Comd...
• &'tfadto hiyate nor
He aor an tarn tie®
Ciradta acha hlya juri
Iathapi© otih&r
ftmmr pazan jyoti
Eekhenai ducaiu biari.
(Saodldjrir Sur t Mtaeti ,
( Though you ai« stayiag^iy*Coxa of *r hsarc for a ll tha Mae }( l l M ^
yet I ha-re aot aaea year exquisitextbreudi qr tno naked syoe)«
BebiaAn Hath* a < slbm Dwwta» awl M»liaibala»s
• Pyxns Priya* are hear the seae aeeaiag Hfce Sarede of
Bihaxilal an authentic Power of araation, who treate her
like Goddess* la tibia respect i t Is adaitable that Rabdadm
aoth 1'agora was influenced by Bihaxilal and his * Jibaa Devota*
is ajrnmjmm to Rtharilal1 s Sarada by its oasaetetian*
thliiii Bale* a * Faraa Prlra* is etinaottMi tiw m m atadiur
as Jivan Devote* of BaMndr* Nath and Saxnda of Biharilal. Bnt
afas is direot3y lafluaaoed ly BablncTa Hath « d sot ly Biharilal*
coBtdu«.« nt
«
m 8 | ■
The n asties poets are always seek a f te r Ihe God who
i r never segrega ted free nan and die aa ie r ia ls of the world. A ll earth ly creation are die s e lf expression of Sod. 'the Poet is induced to sink in to the sorrow tgr the dstaefanant
of God. Puch m entis co n flic t has conpellad h i* to wke
sqtg t ic £avt* Rsbindrs 2Jp th< s ores lion i s the source of nenthd-ageny and i t touches the nystieisab.
Byatha bado lsgiyache Prens Sandhya tud dhire dh irs ay .
( I f y h ea rt i s f u l l wi1h pain, 0 evening come slowly)
Samgihare hrday anan to r bake lukelte esy.
( Hy h ea rt i s coopanionless t so the h e fr t wants to hide within your breast)
- Sandhya Sangit.
Contd... m
"ihe Symbolism of the evening is i t s e l f a sign
of S e lf assurance* Wo t i t l e could be more appropriate t
These are 6 cage o f tee evening of te a t time of day
when the l i # t fades, the shadows liaghten, the horijon i s haay, the bustle and sound of human a c tiv ity becomes subdued, and the veiy a i r i s pervaded ty a chaining
th o u# Melancholy, sense of ty ste iy . In the opening pom o f th is volume, Rabin dm Bath v isua lises Evening as
a strange beautifu l woman half* revealed and h a lf concealed, bending dOtfi to touch the earth with her flowing jet-b lack trsseee . with th is tqrsterious woman the Poet Goee on to
t e l l us - he has always heard her ausie with fascination though he has n o t understood e ith e r the meaning or tbe
melody*n *
1* An Introduction to Babiadrana th Tagore . V.S. Maravaul p. 60, 1977*
Contd... . §9
« ? -
The t i t le 'Sandhiy^r Sur« of Halini Bale Ibvi i r the
appropriate Symbolise^ which contains a aelo<$r of sorrow
relating to her past l i f e . In her Sendhyar Sur the
"Param Priya* i s like Jiben Devote of Rabin dm Nath who
f i r s t appeared in h is ’ SaadiyjTSaqgit (Evening sang) and
i s leding him. f o Edward inoopsan said -
" van in evening songs, the poet i s conscious
of a voioe sounding in his heart which i s not
ju st his own voioe yet has a f f in it ie s with his
own voice." I t i s the voice of Jiben Devota*. ihe
Same sense of Nalanibala Dbvi i s found in her
'Sandniyar Sur* as she writes-
icno Kale tuni nai
Kcno mp<> JnwtT nai bhin
Iliyar ucdhras aor
Haba Khojjs taonate b ilia .
1. Rebindra Nath Tagore i Edward Thompson -P. 69. Second
Edition . 1988.
Contd.. 99
( We were newer differed to each other in any resects,
d eiree ©f heart want to merge with you ) - and -
Antar msjhebfisi aharaha
Muidi hate tnai bhasa ♦ 'ted haha
Mor katha lays tuad. katha haha
l-fis ye Span Sure .
An Taryiud/ CitrS.
flfcito neg»o gao
hone Jano 8ey mor
x 1farahar jopan erat*
( Soponar Sur )'lhe Ty stic is in of Habindra ilpth and Malini Bala
Cevi is the reflection of ancient Indian ^etieisia of
earliest literature* According to H.h. D» Choucfeuxy-
1* he tucd Gopene ealaiohn more,
Aoi je tooiare 1dm ji
Jibsn Dovstfi i Chitrp.
- Rabindranath*
- 90 -
Contd... 9i
- 9 t -
■ tU h• * the basis type o f ggratieisa tiMfc ue find in the
earlie s t Indian literature viz* t the vedas and Upaniseds
o f Rsis, am of nye tical i n s i s t and Sp iritual vision
o f 12m Profound secrets concern lag the Supreme Rea l i ly
(Parana® gufyau)* Us is were type of eeestetiee given to
music who used to have beautiful visions and hear divine
voioes and many of then poured forth their sp iritu a l
1experience in ne1odious rhyme.*1
Ihe mys tic poets are always ren iiseu/da© infinite
i s within the fin ite so Esbindra **th said -
Sinar majhe a sia turn!
=ip jso apon Sur
loner mejhe aaar Prakee
i'a i to ata nadhur*
1. God in Indian Religion by- E.K. De Chouctoury -
1969 P* 17-18*
C o n t d ..9 9 L
( Thou are die in fin ite in midst of the fin ite ana
£ang the melody of your own, I am exposed tferou^i you.
Therefore i t is so sweet.)
He realised that the ultimate rea lity i s
confined within the fin ite or small. Lite 'Goepade
fievomandale.m' ( ihe sky i s within the foot- Print of
Cow), ifalinibala also fee ls the same sense like
-sbindra Hath. Her poems carried the same meantng-
Ir^sta tumi Jagatar
laipar iu jn ri rupe
Azupak tulicha Jagai
Asimer Maharup
Prahar rupere turn!
Bueakut tulichi futei.
( Sopanar £>ur ) .
Coatd*.. 91
•**%r( Ifcou are the creation of the world and P rie st o f the Beauty,
you expressed a t 'die eyes, the laxgi beauty of in fin ite
through the fora o f liv in g being.,'
I t is stated in Upanisada*
" Yat Xinecha yadidae sarvaa prana e je tin in srlta a "-
" A ll that there is cooes out o f l i f e and vibrates
in i t . " And also stated- n Eeiia devovisva —
Kama mahatha Jndajananin hzideye Sannivlsha tab" -
"This is the devine being, the world worker, who is
the Greet soul ever duelling inherent in the hearts
o f a l l people." So Sabtadxanath wants to see the
world ly h is own soul*
Jagats keha nnl, Sabai Prin& nor
( Pravat utsab)
( There is nothing in the world a l l are in w h eart,.
ifaftini Bain devi a lso rea lise d .
Adnya Viswar tatts*
A t a i l Karile bekat
Hnnuhe b ioari p ile
Oeh nan Pranar ara t
(Sopanar Sur)Contd.. 9$
( The scn& expressed the fee t o f unseen world, nan has find
out by the Worsen of body and soul).
A ll living being are the pert o f God. The souls
ere created by the Greet Soul (Parang tea). When both are
make re-union then a l l the egoiem w ill be destroyed.
Kabindre Nath Said-
xomr a*Br ailan bale
Sakala Jabe Khals
B era Sagsr dbeu kheliye
Uthbe tekhan dule.
( iita n ja li )•
{ A31 w ill be v isib le i f you and I unite and the universe w ill
be shikar due to the waves)•
The soul* o f ifalini tela Deri wants to unite and
merge with Hie*
Tumi jouti mai anu
he arup mpar alay
AnurGpe anAdit
iomatei lin ham gai.
( Sandhiyar Sur ).
- 9* -
Ccntd... 9*
- m is
( Ihou are ligh t I a-n molecule in the might of form you are
formless and I w ill unite with you* )
She Poets expressed their perplex of heart and warned to
surrender themselves before God-
l'uai eber laha he nath laha
(Gitanjali)
(Please take me, 0 lord take me) .
Bar Sraita prabhu msi
Bows tu li mok
Riya tfcai caran talft t.
( dalinibala Devi .
( I a - very tired, Please take me into your breast, and
give me shelter under your fe e t) .
God oannot be seen, I t can only be realised within
the heart. Ihe earthly desires give an obstruction to reali
sation o f God* And thus Babandra Nath said-
"Khen sh all I be able to go out in this vast
universe with the chariot of ny heart by breaking
C o n o d*.. 96T
- 9f-1
breeiiijn*' tha terriers of sy own isole ®d hone." (G itanjeli).
I t is also admitted ty afelini Bela l>evi that, the '!ar;hly
objects cannot fu l f i l human desires.
PFrthiwar bilasita nitoo Jogei
Abhilas P?“rane Pursba*
(Can fulfil the desires after supplying the sensual
pleasure of Earth ?)
Ihe Upanisadic view also support this phenomenon
w&ich is ste asd in Kathopanisad.
lada sarbe Pramoysnte Kama
sieasya hrdi Sriteh
A tha martyo'/uarto bhabatyatras
Brahma Samasnute*
{ Kcthqpanisad - 2/3/14)*
(fcjhen a l l the desires the ho'-rt h&rbours are done, man becomes
immortal. ana reaches Brahman here)
Each and every port of dust an the Rarth is the
manifestation of the almighty God* u&lini Bala and Rrbindra
i'Jath realised this facu uhole heartedly, Beianibala stated.
tcotd.. 9«
Jag&tar fra ti ranu aaje
Acha tumi Jaao Bhaljkai*
(Saadiiyar Sur)
( 1 know reijr well that you are staying ia erexy dust of
the world)*
*■**<*" ‘i
''i'usd Jiao Khudra Jaba
Khudra taha nay-
Satya yetha Kiohu ache
Viswa Setha Bay*
(KhqrS : uatdndranathj. i, t o(r t+t'rf \. k*&
( You know that the peartAdo is not froa a ll ow the world ie• /ft
ttaa. existdhee of thAe-truth).
Yet the poet runs after the absolute reality without
knowing film* As the musk deer runs after the mask .
Bahia dm Wath realised-Pagal haiya bane bane f l r i
^pan gandhe aama
Kasturi mrga Sana*
1* AaL Mane Kari ya i (hiretuad myecha biswa Jude Yata dure y ii xatai tcnftrKacha Kachi f ir i ghude.
(Manasi (Hattadmmath).Cmtd.. <j(f.
- n-( Ac a much-deer fo r the fra giant of the musk roams
Forest a f te r forest/ so I like a mad awak-de^r 4a roaming fo re s t a f te r fo rest)
Ihe same idea has bean influenced upon aniiiiibsle Devi as she fee ls like Eabindra iJath-
wan mrga mor o ira canon 1im sturi base abee u ta l ,
bane bane ure kusum subastomir surabhi aacal.
( /laknnsnde
( Deer-like-mind of mine is vet*v f ic k le musk & i t ia overwhelmed lik e the fragrant of musk of a masludeor.Cenying the sweet smell of the flower , the sk irt, of the fo re s t is waving)
G Midha Hprinar haste ribas_ /litchari nepai byakul ha trio
Dekha nedejthar Jibanar pare pare bum r lahari ure.
, ✓( Parptfmani.J
2 7 - 5 - 8 4 , .
Dontd.. 99
- 99 -
Jalinitwlfl Devi fttrihsr Qjqppoet'ed-
1 Jibans t i ono dine nappril torank tapir z
X ji ex abelir bidiy parat
uphia er.dhrre dhakn
' imnfcio sagsr par=t
lomc.lei p*> riche man*; t,
0 mor par&m Priya J. turni kot,
iuraL kot kot ?"
1 Yandhiyar Sur ).
( :?inee longer fa iled to remember you, but aou a i the
owning pert of my l i fe _ , vjhila th tine o f departure,
from tmis world is drawing nearer, ay mind is reae boring
you 0 ray beloved c: is set r&ling you , where you ere. )
Uiujiuechi iottoa vumi
jkOtte tmni 1
Ye oairx lukano today
so ictiiSy .
( ifcjtjf.ei « liPbindi* J r th
Con^d... Qe
-5|0t- 106
( I aui searching you. where you ere, where you are. II\n
nee tar ( aart) vhich is hidden by you, where i o is ?)
Put the poet Rabindra .lath gets his reply from
-he Core o f his ho* r t that He is very closer to him, though
ho is serrciuag him hid.or and thither, and seid-
i'r.ahe ache doMkite nSipao
iuai i.fihor sandhihe dure yao ?
t-snor ma to Jtrra . huje aero
‘ e hi ache tfrub- >ne' e rayeche aane 1
•
( h.» is near a .. hand, butycu failed to see him. I© is nob
in cuter world, he is ia youx mind}•
ihe same vme also vibrates in the aind of airiinibulp.
Devi*icnrr furp.bhi 19-53
Jpxjo tumi acha ocerat
iomSr super chayn
J ili iohe hjya dapcnet*
(farrsmani;.
Contd.. . 10tw
( Your fragran t touches me, I Jqow you are near by me. And
your Shadow o f beauty a s lig h tin g the h eart o f mine).
The Physical presence o f God cannot be observed
but His existence in the universe only can be re a lise d
wh® mays can be overcome by mankind through th e ir devotion
then they sh a ll be able to r e a l is e the existence o f lirahma.
Ihe world i s nothing but the m anifestation o f the Pnrama
Brahma or Parana Purus* Only the devotees can fe e l i t
with th e ir tresandant e a r *
" Kino swarag bdnFr gah
ffedhu murulir
Men berasa tan
Altai Viswp. akul pran.
- ifa lln ib sla Devi*
( V.’h a t c e le s t ia l tune cones fr tu the heavenly lyre ?
I t showers lilts nectefe and makes distram ght the universe
a s w ell a s the h e art) .
Ccntd.. . . . 10$
Bisun j-nkhsn Jidrf> mgan
' ip gen andhakFr
Ke dejy imer bln<Tr tare anan
JhankFr.
• Rablndm rJn tft•
( Viien the world i s imaersed in sleep and the aky
i s covered ty derkness. ihen who strokes such
sweet tune in vy lyre ? ;
but gradually they guessed that the s-mger
appeared before them because they have hoard the sound
o f the jingling of a linkling anklet).
.lepurnr dhwni suno r in i r in i
(AlaMnanda)
( I have heard the sound of the jingling of n
tinkling anklet).
i'Otbay £cnSr nupur baje
buji amnr hiyar aajhe.
Contd... 10JL
- 10* ~
( Ihero did the jing ling of a tinkling anklet sounds Y Perhaps i t sounds in n$y h ea rt .
Without the sKis cenn of the Supreme being the Farrar. brahma or the man of --tint i t cannot be possible) without His companion the l i f e is barren.
a hey get every thing y e t something i s blank which cannot be oxpnasoed-
/iharff Grho Puqya ? a itana bihrue (u itnn ja li,
( In ? f u l l house I m alone without your presence,
lik e Rabindra ivnth ilallnibala also reoiiaod-
Pnicho -akalo yennSi powe teo
Kibn e t i nai n a i n a i •
(Parr:a tr ia n a ).
ContcU#. 1Q£
m J l Q / f c -w r —
( X *ot :veaythlnti yet i t see-us to ne thrt there is
sonsethiag, Which. I hfl-70 not yet rr-oeivedih**dUmk
nnrT tiijr WlTijmec- )
IfTBin Purus ft is eternel or *Asif bat the
seint poets or pastes- wstius to see Li» in the midst of
termiaetioo*Rap sagare dub diy-chi
A r t i p - r p t e a S b 5 k a i l
( ' ruprpten)•
( j hpve sank into tile oeoea of aotablance to get
invisible Gaa )
H% seg^mt bur mrrl ?o
Jiban jar? sur mein*
( i-er*!sxoHjai t jpHnibnlp ) .C a n d j« • * T .)^ i
( I sink in the ocaan o f semblance to play the tone)
the theory o f transaignrn tion is one o f the p^rt
o f Indian Philosophy. A ll the sect o f Indian religion
admit this theory* Man get re-birth after Ms death,
when he could not f u l f i l his desires. AH individuals
are liable to suffering on account o f Karan. But they
do not know of the fate o f their deeds. Rnbindra [fcth
and :iplinibala also adult this feet -
Jeni Jahi kan ndiknl hate
Ijhasale amBre jibsner srote.
(Gitanaali).
( I know from the earliest time, ycu floated me in the
wave of l i f e ) .
Jibanar Suti u lati ulatl
apuni ahicha ghuri.
(Sopaner Sur i iialinibela/.
10 ^- -
( The wave at l i fe has been moving in Cyclic order
throu^i birth-depth. & rebirth ).
in ’’ tntinxn Prem ' o f iknasi" Rabindra .In th
said -
''ionire youa bhslabesiochi
Spta r$pe sate bar
Janame J^poine luge yuge anib«"r.
( /s i f X loved you in hundred times in hundred for-n/ or
"impra dujane bhssia esechi
Jugal premer sroto
Anadi ICaler ut3a he te .
( In tha wave of From, we two are floe dng frajox
time in memorial)'
i ran a raigro tion is believed uo be just
ronl as the etqpiriepl world. But from n higier point
o f view eoporical reality together with creation and
C o n td .... 10%
- 10* -
end transmigration is only a ;rea1 illusion for in
truth there is no manifold, no world) but only one
being — the Brahma t h e atmon*11 S o R a b in u ra ,jr. th
wants to give up the egoism avoiding the illusion
( i-Byi) -
iumi amar anubhabe
kothao nahi badha pabe
Puma &jtR debo dekha
i'ariye diy# mayake
nanke, soar kfyeke.
( You will not find ary obstruction in realising
me , & w ill appear before me in your perfect
form by the removing the v e il o f illusion froa
ny eyes :i mind).
In lipenis ad i t is stated that as tee streams
enter into the ocean so as tea wise men w in .aergx
with Brahma, o f a fter his dent and his sp ir it does
not wander ary more.
V See outlines o f Ionian philosoply - P. 32 , by - Dr. Paul Derm sen- 1976.
Contd.... 10*
V.»th? nacSjrfih -yndrm'nph teiwJre
■' stem epcchnntd n^trupe bihrypj.
.i-P 'fli? vidran iiF ia m iJp ^ d b im u k -C B h
wrrtparao purusr raup- ix-idaty pm .
{ / s rixrors run sad in tho deep lose n«me rad for..!
and disappear so goes, from asaae and form role-ae
ihe wise man to the deity)1'- Srannlrted by i'r>
Paul bans sen in his outlines of Jnuisn Friiloeopby .
ibis upanisadic ihoughv h* a been expresi-.od
by Rabin dre bath with. symbolic Her>.. -
Si Jegr.ter ma|be ekti sagar
~ one
distabdr ffihsr jeb rasx
Caiidik hote setba nbira.:
abispimJibencr srot adse sane.
Gout/. . . . . 1 ) g
( a hare la an ocean in this world which h? s got no
wave but Calm, the wave of life merge there fro-;
a ll side? } .
(Prabhat Samglt i-nrn t! Jibr i •.
lh • same thought is cherished by Jalinib^la
Devi •-
uijsra Purst rial Sagarat
Ji banor Sur mita i yiun .
( i shall be attached with the ocean like the spring .
( Jjivni : r j.cin; r ' ur .
And •
ueo ifnn apon pnhari
3i sur« c bpi yiy
iv'ad nadi kata lu it juri
Dai yay sa ar bicari.
( Mai •••ur bisva binar : • aponar Sur ,.
Contcf.. W
- 1*9 -
( i oiag such K song by f o r e ttiiv ; qyf.^lX pno throi gi*.
-&i;o in f lum ca of th rt c.wco l m-iody lo ts o f r iversA *
Rirorms flows nuay tovnrde t»io ooopn;
On® should not f e - r dertii J-erth cannot sep- iv _«
„he soultf frc 'i hie e te rn a l journey. B«cruoo bio l± f '
pud der>th oro s e lr te d to e»cb o:her so ti"bin rr jr. tit s^id-
■V “
irtyure linrSyp k«m kpdi
Jibrn to rartyur Samp-Shi
- I T f v~ t*
( ; by I cry fo r depth V Im eed ihe l i f e i s die ;rrve
o f da' th ).
Jplinibplp Devi n lso re a lise d th rt uiero ir no
d i f ronce betweei l i f e and depth,. According u> usr,
depth ir. '.hr- bpd of roses -if
.'In ran io ye . uichnr .>,ynn
Jibpj apron snap.ri there.
f nprnpr Fur ).
c-^nui... 11P
( -jh© ie-'-th is confort-Ws boa of pore?, rao thsy
.•«ro ndjuncc of each o-hor c.-;. v-alli«- x • crimed-
' *he ordinary Proc ess of Per ih if; tao foyr- ioti
of the scrulat fra,i tho borty ra In drr»-.js, &«r> only difi '-
rone? bain:; Hir>t in fcho lr t<#t*r coee tjno &cf*'T~ "Anil i-
for th.~ Has beinjf but in tibo former i : if., f.-rri-n?:it
-nd fiarl«,ia
t'o Kr ftuictra Jrtft pad dolini )5rla Davi i/*ko
r J©r. tif r e b I la suto—
.irtyu l*o ho b?db^a ciiido
panr rnrido.
- j i lyr,
( 0 teaxh tftke so t?/- tearing tho bond." 30 , s»t. you * r d-iiii'ir;-
f . 1 to j» }
1. rtrblndrr dr til said-rip.rrnro tuhu mar syT>i rarii>. 0 rar *fc you ?:rr> l i«e i.rai!< or .:-y“aa.C. i . vullir y, X .mortal uoa.
r i.-'ji. .l* 11£,
Jagatar tuadL cira bhayabaha
iuod nor cdra an an da r lchan 3 .
(Sqpanar Sur.)
( You are veiy fearful to others but you are the aouree of
pleasure to me >•
At last the object of pleasure tinned Into lover
and both of them embraced Death as their beloved* Sablndra ifeth
addressed Death as his fxiya (Beloved)*
Capal cancel Fxiya dbara nahi dite cqjr
Sthir nahi thake*
- I ratiksa : -cnar tori*
(% msteacy and brisk lover does not want to surrender who
is restless) or -
iferaa dolay dhari rasigachi
Basiba dujans bado kachakachi
Jhattjba aslya atta ha sly a
tfsribe thela
Anate prahete kheliba dujane
Jhulan Jdiela
Jisitii bell*
- J nulan/S endrtori.
Ccn to ... 11J,
( Catching the rope o f cradle o f death, we w il l a i t
side fcy aide, the stoma w i l l cam with roar o f
laughter and thrust us, both o f us w i l l play in
the cradle a t n i # t ) »
italinibala Davi too address the death as her
Priya fo r when she is waiting-
Priya had mar ahibe~ yidina"
/ _ _s an ti candan ha ta t la i
( 0 beloved, then you w i l l cone to as 9WM& with peacefully
taking sandal- pashe in your hand).
- /*ran amiyn t Spponar cur.
In Wee tern world are also find the sim ilar thought
pythagoras (572-497 B»C. , we find the orphic view o f death
Contd.. . 11$
11* -
death tc.ich gained his way in philosophy* Be taught
transmigration of the soul, i t s purification in the
wheel of births, and i t s fin a l reunion with the OLvfne.
Ihe soul is imprisoned in the body and leaves i t a t dontfa,
oand a fte r a period of purification re-enters another body*"
therefore death i s not the end of l i fe . After
death the soul merges with Brahma* The upanisad and g its
accepted this theory which was a great influence upon
dabindra Math and Nplinibela D v i.
There i s a great siaLlaxity be between die two poets
regarding the treatment of nature* The allurement of natural
beauty in-spired Rabindra t'lsth intensity. So the case of
.fciinibala fend*
heath and western thought fey- Jnoques choron 1963- P. 33 .
Contd.. 114
- 11*
B o t h o f t h e p o e t h a d t r i e d t c r e a l i s e t h e e x i s t e n o e
o f u o d t h r o u g h t h e n a t u r e . T h e w e s t e r n p o e t c o n s e n t e d :
n a t u r e i s t h e b e s t t e a c h e r . " ^
M a t u r e t o u c h e d t o t h e h e a r t o f R a b i n d r a n a t h i n
t h e e a r l y a i e g e o f h i s p o e t i c l i l t o . ' t h e n a t u r a l b e a u t y
a t t r a c t e d h i m t o o a n d t h i s p h e n o m e n o n h a d d r a w n a g r a p h i c
p i c t u r e i n m o s t o f h i s p o e m s l i k e c f c i t r i T , ? c h a r t o r i a n d
l i a n a b a n i . D u r i n g t h e b e g i n i n g o f h i s w r i t i n g s h i s n a t u r a l
a p t i t u d e m y b e j u d g e d b y h i s p o e m , d n o p e d o n l y a s i n g l e
s e n t e n c e * " H a l p a d e p a t e n a r e " ( I t r a i n s , t h e l e a v e s
t r e m b l e ) .
± 0S o ^ R a t i n d r a H a t h t h e u n i v e r s e i s n o t h i n g b u t
t h e m a n i f e s t a t i o n o f t h e a l m i g h t y G o d * A n d i t i s f u l l o f
b e a u t y .
1 . l o r d s w o r t h
C o n t d * . 1 1 £ ~
n r-Gagane gsraje megh iana barsa
Kula ska base ichi, nahi bharasa.
$ Sonartori ,.
( The clouds are roaring in the sly and is raining
frequently. I an sitting lately in the bank of
rircr where there is no hope ) *and-
Jadi, kalas bhasiye gale basiyg
ihakite oao apna bhule
He the syama durbadal nava nil
Bikasita banastal bikae phule
(Hrday yamuna t Sonartori).
( If you want to forget yourself by sailing the pitcher
in the stream sene the grasses are green,is sky is blue
& the copes and bushes are bloomed).
Coefcd..... 11«
mH*ro the Poet in the Garb o f a netaphajie "h relay yawns"
entered in the -vaisnavlte theme of yawinS, Radw and Krana.
IVaisnaba Padpkartas were such influence^ fay EBr^-Sy, roar
o f tfamder, heavy shower with lightning.
In respect of ^elinifaala Devi also had a creative
Power to draw natonal scene and aakes them mm seasons like
BPbindra Nath -
Utfca Jaga banespati J. Gths bsnfdl J.
hai gef 1 dhire dhire kopai kahan
Jsgi uthe trninkur nirab dhsrat
( Bsran s Sandhiyir Son ).
( Rise, awake 0 large trees l rise wild flowers J. Pome one has
gone away by saying with trembling the garden, the shoot
of grass has been awaken up in this quiet world;.
C o n td '..11jr
HabdLndra Nath had a firm belief upon the
ganmantarbad ( traneemigrB ticn), To the ocean, sea, forth
eveiything vaa taoun to hi* anal Berafot—
A mar Prthibi tumi
Bahu bareer; toaar Mrttika sane
arnar mieaya laye ananta gagane
aAsrente carane Kariyaoha Pradakain
Sabitroandal, asajokfaya rejani din
Yug Xugantar dharij a«fir ma Jhare
Uthiyache tree tab*; Pospa EhaTe bhare*
PhutiySche, barea kareohe tarunaj
Patraphal gandharenu J tai a ji
i.onodin an#n»ne basiya ekiki
Padaatlre, Sanaaukhe aeliya angdha akhi
Sarba ange sarbe sane anubhab kari
toaar mrttika najhe kemane sihare
- 11? -
Contd' 118
- 119 -
uthiteche trnwikur, tooar ante re« 4 ^
Ki jiban rasdbara aham isi dhare
.aritecha soffc^r .
(Tonalrtori : Basundhsre;.
^ 0 ay earth, your existence i s from a long line,
You are moving along with M»y- for unnuentered days and nightA ^
fro i endless year without being fatigued steps in the
etem el sky elaag with end in the Orb of the sun, upon
m grasses grow* tip, inuaerable bunches of flowers . Shewn «tiA
bp fee tiPes upon m> ?o today with an absence sdlnd ty
sittin g on the bank of padna with my chf rmed eyes I feel
on your so il how does i t mains romance on your Serth by
r isin g the shoot o f grass as well as the caatnauLty of
lives. }
The western poet 6eoar wild also think
90-
Contd... 1S9>
- 1*0f
kith beat o f systole and o f d iastole
One grand greet l i f e , throbs throu#
earth's giant heart,
tad nighty waves o f single being r o l l
From nerveless ^era to fo r
we are part
Of every rock and bird beast and h i l l ,
One with the things that prey on us
and one with vhat ve k i l l .
From lower ce lls o f taking l i f e we pass
To f u l l perfectionj thus the world grows old.
. . . Oscar v ilde , Fenthea.
Cento 120
. *2f*.
Ib is hot hard flame with which cur
bo<$r burn
i . i l l make some meadow blaze vith daffodil,
Ay 1 and those argent breasts of thine
will tun
io water - l i l l i e s ; the brow* fie ld s
man t i l l
w ill be more fru itfu l for our love to-night
nothing i s lo st in nature, a l l things lives
Death d e s p i t e *
. . . Oscar l i ld .
h alin i Devi's heart i s a lso fu l l with the
beat% of the Earth t
Aphuranta Saundaiyya Pratima/
Aparupa Suwani Prthibi
dicitra barnere opachai rupar Samvgr
Calo oaku ra i yowa
Kata rang number khela.
Contd.• • 222*
( An abundant beauty of image , An extra-ordinaxy
beautifu l world , tile d iffe ren t colours of beauty
over flooded the earth , the ayes would be fixed
i f we see them, to what extent play of colour
and beauty*) \ "
Griama ses hay
■Jerasar aganane daware aware
Unnatte dhutmiha bale
ik asa t b i ju l i caoake
duranta fcejyut u t ta l tarruagn uphe
Nadir bukut.
( P rth ib ir r tu Sajja J Jugdevata)
( fhe suomer season about to pass the rainy season i s
near the door, s to n y wind is Blowing with sparkling
t: roaring of cnunder the waves of the riv ers are
vexy high )V*~
AaMndra ^ath N" Barsa Man gal ( Kalpana)*
C cn td ..... 22£
- 22VGuru gargpne a i l araqjra siyare
Utala kalapi keka kalarebe fadhare
Nikhil cittataarasa*
Ghana Gauraba asicbe matta bara?a •
(Heevy roaring sound o f thunder blua fare a & the
location o f tile bead in bed, impulsive note of
tbe per cock is strolling, tbe mind of tile uiiveraa
is cheerful, tbe rain is cooing majestically).
Babindra Nath realised that there is eternal
enjcyment in nature, the eternal beauty is scattered in
nature, Hm % necftgpl ag lift tgglti, he aays-
H«y Sunderl basundhara
tana pane cegre
i^ataber prin mar uthiyaehe Jqye
Prakanda Ullas fchare
(dasundbara ).
Cootd*.*. m 1XT>
- a2$-
( Oh, beautiful Sarth, ay heart i s ra ised with j<y
and great deligh t ty seeing you ).
Ja lin ibala Devi also rea lised from the core
of heart, the beauty of the world the n a tu ra l ereaticn
of God which she fee ls more e te rna l-
iio d iaran i janraadfittrl
abhagak diya stan,Ddya deh, diya trinEfcQlir paras nags asahte atofti
taaar suwani e i j Iran i Kolat
diya oaba janamar anupam dnh.
( Alakanaada )•( 0 dear Barth, the motherland, give me place and save
me* Hr unrest soul desires the touch o f the earth , you ere charming and you are the re s tin g place and give me the deligh t of new b irth in th is life ) •
Contd... lag
- 1 2 f
Xne poet JSabindra l^ath makes h is mind to r e a l is e
a l l the things o f nature with a depth o f love whic h i s
ever g rate fu l to him t
Ihanya ami h eritech i akaser a lo
Dhaoya ami ja g a te r basiyachi bhalo.
(Pravat t C a ita l i ) .
( d ie seed 1 am peraiv ing the l i j h t o f the Sjgr, B lessed
1 an a s 1 have loved th is world,
Further he seated -
laha kichu h eri caskhe kichu
Xuccha ney,
S ak a li durlav bale a j i mane hay.
(Durlav janma t C a ita li } .
Contd*.. . t2 & .
( Uiat I m see in this world is not. at a ll
insignificant - on the other hand to u» verthing
is valuable and scarce )•
Jhe same idea was daeprooted in the mind of
aliaibela Devi* She also did not make any difference
between dust and hilL-
for dhuli faali par bat bhaiyar-i
i4ukali patbar bahal naiye
Sakalote moor tej m&ngahar
maraud surar ciaaKi diye
( Opaja tfcai * iug Devata)
( I find my flesh and blood in the dust h ill
open Held created by you ; .
- 226 -
Cm id .. . . 22%.
&t$ -
The universe is nothing but the manifestation
of Lord Brahma* All things are created ly Him* He
is the ligh t o f a l l light. He is the creator, Severer
of a ll.
The ancient sages wcss prayecL
" fcntaso m jyotiragamaya " • The wee ten Poets
also immersed with the l i^ i t - L i^ t 1 more ligh-
Goethe f
Miltcn actnits the l i ^ t as the main source
of worldly creation -
The l i^ it is in the Soul
She a ll in every pert* '
Poet Habindrs iiath was overjeyed with the
Tight, „ the melody o f the truth -
Car^o,... 22y,
*2® .
Bajao aBare bajso
Bajale ye sure Pravat Hare
Sei sure mare bajao
• ••• GitiflsljrBi
(Play# Play me, as you played the morning li^vt, play
me like that
the light of the sin attracted him, he said-
" especially there is a fantastic charm at noon.
£he heat of the sun noiselessness, the voice of lhe birds,
especially the crows and long rest- all make me isolated.
1 do not know vty¥ 1 think the Arabian novels were
composed through this golden stony noon.
( Chinnapetra > Letter .. o. 119).
Caatd.... *2*
* 2 9 .
I h e s m i s t b e S o u l o f t h e w o r l d , .’i a l i n i b a l a
D e v i c o m p a r e d t h e l i g h t o f t h e S u n w i t h t h e h u m a n s o u l .
C o w i p u b t o r a n a t u d a y S u j j a r
D j v a l i c h e d i p t ! r e k h a a r u n s u n d a r
y i r m a l p e b i t r a r a s m i s i k h a
I l o k a r
V i s w B m a n a b e r y e n e t n a m a n c h a r .
( B a r a n : S a n d h i y a r S u r ) .
( L o o k a t t h e B a s t g a t e o f r i s i n g s v n , w h i c h i s g l a s i n g
t h e b r i g h t l i n e o f b e a u t i f u l a m . I t i s v e r y c l e a r
a n a p u r e r a y s o f t h e l i g h t o f l a m p w h i c h m a y b e
r e s e m b l e d t o t h e s o u l o f t h e m e n i n t h e w o r l d . ,
X h e m o o n l i g h t w h i c h i s s c a t t e r e d e v e r y w h e r e
i n t h e l a n d s c a p e a n d r i v e r m o v e d t h e p o e t * s m i n d a n d
C c n t d . . . j | Q r (
- y» -
and tfte earlier the poetess composed the various
beautiful and melodious verses, dabindra Hath a lso
cherished this idea from his childhood*
Kali madhtyaoinite Jyotananie'ithe
Khujakanane sukhe
xenilocchal youtaanshrm dharechi
l anar mukhe.
( Ratre 0 iravate i Citra ) .
( Yesterday in sweet moonlit- night in bower a cum
fu l l o f foany wine o f youth I placed before your
lip s) •
" dature1 to Habdndra dath is a beautiful laty*
Lady is nature and nature is lady not only to dahindra
deth, Shelley also f e l t nature as Rabin dra dath. '
Ccntd. *. J3f
xbis nature or lady, at the early stage was tfahasi &
than Mauassundari and ultimately i t turned into tataxyami,
Jihan Devata. ihia lady is the Sweet heart of fiabindra
Nath* Nature and lady nixed tip and became united as
one* Nature effesived fiabandit Nath with emoti« .
tip to the end^the poet cherised this idea* And the
nature influenced habindranath so much that the poet
while sinking the time of union and separatim nature
stood always in back ground aeae instances from Sonar fa r i '^
%-artha Ychban, ia jja , Niruddeser yatra«uu
Nalinibpla Devi became overwhelmed, tb, j<y and
geue inspira fcica fran che beauty of mocnli^it* She
described the fu ll mocn as the quean of Beauty simulta
neously i t pleases her too*
Ccntd... J33L
- J3*-
Kon Swarpgnr tool aauidaijyar rani
Saxadar pumiaa aundari ?
Uialicha rupar dhal marater bukut
amiyar tulicha lahaN..
v Furaiae s Sandhiyar Sur ..
( 0 beautiful queen of fu ll moon of autuon fXoa which
heaven you h ail franyou ere showering the beauty upon
the eartn ty creating the wave of nectar.).
So tha western philoeopher Kant has consent
about beauty s He said - " That i s beautiful which
pleases ally which pleases witiaout in terest and
without in terest and without a concept and pleases
necessarily."
Caatd.. • %3%
ux-1q this monotonous world every thing become
now in Foot* s qyes day by day* ihe beauty is caacoaled
behind the natural things* Beauty is nothing but the
manifestation of God* According to iiegel " God manifests
himself in nature and in art in the fora o f beauty
God expresses himself in two ways in the object and
in the subjects in nature and in Spirit." i’he fold
beauty is , exposed in the poems of tiabindra Path’ s ' Jihan Devote
has appear as the existence which is inhere in nature.
dkhan bhiaichs turn!
A nan ter aajhej SwaXga hote
Mar jabhumi
Karicha bibarj Sandtyar nanaic
Same**
CoiudL*** 33$
- 33$
ivariicfle aneal; usar galita svarne
Jericna makhala ; puma Vi uinir
Jale
Kariche bister, talteie chalchale
La lit, jc Jauben rJa&ai.
( C u ll you are floating in like midst o f tile in fin ite;
and you ere moving from heaven to ear to. iou are
playing amo ro us i n gcldon colour o f evening fr
you have coloured your skirt like the Golden
colour of morning ray o f the si®, you spread
your garment over the water o f the river, staggering
and suffusing your fu ll youth*
i'he similar idea was also charised Ijr
ualinibala, Cue said
Cctiul. . 139
- X&-
Puwatir subna lagan; t
Arun?r range poharat
toner la ge t mar
An an ua milan
xtite dekha sew ali banat*
( Milan : Safldhiyar sur ).
( In che auspicious period o f morning and in the
suishining moaant o f the day my m ien with you
i s e tern a l. 3very day I see in tile garden of
sephalika flow er)•
.-ialinibele Devi and Habindra ;lath Tagore
are HcntancAA i oe os, and that i s why they sp ec ified
the beauty o f nature which i s mare s ig n if ic a n t in
the region o f Romanticism. ih e western } oets li !:e Shelley ,
Caa c d ... . J3T
I3T -
Sheliey, Aee.ts, whose speciality is the deep
feelings of i errestrial beauty in their poems-
' Oh for a life sensation rather than of thoughts'
• a thing of beauty is joy for ever,' ' the Foetay
Iof the errth is never dead etc. are the specified
utterance of heats, haomdra «ath and ^alinibala
Devi also tried to oahe mors sontantaous ly creating
seasouaness beauty:
^ —
-iisa ondharat fula
-Hajani Gandhar
Akul uunad saairat
Surabhi agaru dbile
mala g&the kiba abegat
( Puja : Farssoai?i).
Cai td*. . .
\5b -
( i'ha blosscm oi‘ d&janigandba a t dark n ig h t in
perplexed mao wind which poured the siae il of
sanlilalwood and makes garland with emotional
tu ought).
Same idea i s flashed ty habindra Nath : before ftand-
Heyaae im ar a a ja i megher n i l aajan le jeche
Nayane legeche.
uabp tm ad a le gbana ban chaye
ripras imax diyechi bichaye,— _ S _i u lay ita n ila a ja n e a j i b ik as ite Fran
Jegecheivayane s a ja l anigdha meg^n-nil an ja n
legsche.
( N a h ' b a r a a : a a n i n a ) .* •
Corvtd.. . 13
$3$ -
( Blue cdLlyriim o f blue cloud touched ny eyes* 1
1 have spread ay del igh m esa cn the green graesess
and in the bower of th r il le d m arigold and there ty
ay h eart has been delighted .co llyrita i and eveet
cloud touched ay eyes).
But such beauty never be onjeyed, i t i s only
can be re a lise d . P .d. Shelley sa id in h is " Hymn to
-in tellectual Beauty-
S p ir i t o f Beauty, that d o st consecrate
wxxn thine own hues a l l thou dost
shine upon
of human thought or feu * , where a r t
thou gone ?
Habindrs tfpth says :
C c n td .... 13^
- 339 -
Ago Satnderyyar lakami apaa pravate
j-iandita kergo tu a i ^hamahime te
^n abar rup rag ya kichu sunder
Kothay rayecha tumi ago man char.
i 0 the Goddess o f beauiy, you please Mb decorated
y o u r ss lf in your cm morning with your m afestica l
power. karmatior:, attachment and a i l other q u a lit ie s
o f humanbeing are b eau tifu l where you are resid ing
C fasc in atin g 7)
Such influence may be marked in ia lin ib a la s *
toems-
S e i c ira sundarar
Aparuper rup sikha
uaa dine, koneno dekhiche ?
Sutibra prerana dahi
i^anuh Saundaryya sah i
Ccnta.. . m
\
- m -
Manuhei Pratime gadhiche.
(Aaim Jiban; Sapannr Svtr , .
( He is o f exquisite beauty. Any boty have seen
such a beauty ? lie is giving a great inspiration
to mankind & this inspiration inspired the mankind
to i Croat the id o l so beautiful).
There i s a great sim ilarity between Kafaindra
ia th and lards worth in respect o f worship in nature*
Both o f the poet realised that the nature is vigorous
and hunane* There are differences far expression
o f the same truth. But the beauty o f nature ns depicted
ty wordsworth is the inspiration o f sp iritual as well as
moral strength which he expressed in h is poems.
ih g iifica n t.
Ccn tcU. . |4I)
i46 -
The noming roes in memorable poap ft
Glorious as e 'e r I had beheld - in fr a it
lhe see lay laughing ax- a distance hear
The so lid now tain shots, bright as the clouds
Grain tinctured, drenched in
empyrean lightf
• • • • see • e s s
Hr heart tins fUi.1 j 1 mad* no rows,but rows
were then made fo r me j bond mlmom
was given, that 1 should be to ne
else sinning greatly
A dedicated sp irit*
C cn td ....
- 148.
fhe vision of vardsvorth i s not attracted to
to the saascuaaeea beauty of nature - rather he i s
attracted to the aoral side of nature* But fiabdtadra
.»ath enjoyed the sansouaaess beauty of nature and » lso
realised that a l l the beauty of the world i s the part of
eternal beauty*
•go Kahare janai in i
Ki ache bbp$a
Akas pane oegre iaar
ndteche asa .
Hpday anar geche bhese
mine kichur euarga ease
Gbuse geche ek ninise
Sakai pipasa •
( Kheyi }•
Contd.• • • A&j3 * r ^ ^
( Oh, wham shall 1 intimate what kind o f language 1
have ? linking at the sty sy aspirations have
been fu lfille d , ity heart and soul have been
flooded and do not want to go in heaven in the
twinkle o f an core* a ll thirst have quenched)
Abasese buk fete sudha ball ini
He drasuadar, and. tore bhalobasi
( Seskatha; oaitali)
( At the end in the broken heart mly I speak,
that 0 eternal beauty t I love you ).
Jalinibala is vexy nearest to Babindra dath. So
her idea is based on the same thought . she uttered s
- £ 45- -
C oitd .... £4d
” K ae aki d ll * aor dueakut
Bendhaourupe ohatt.
Chanda ehande bakul gsndha
Hilakar aa i sur katt
Kata basanta kata b&ragar
Sur Jowarat dhan tu li
Ser&di .<iaar Jen- jcnakar
Sffl j a a l l t bur mxi
Nil aiULaar i% cal a i
Xko Mpaiar nip ohaM
Chayiagyl aar aaa upabsn
>61akar oal sur kabl. "
( A l aksaandi )
( Wno has portraited in jqr two eyes, like the colour of rain
bow in a lythsdc way with the scent of bakul flower;
I aa a gardener creator of tune and created many
tunes of spring, rainy season in moonlit night of
autuon, seeing the beauty of the blue sky again
in shade and light of dreasy atmosphere)
The western poets like shells/ and wordswarth
had a wiaian to the sky which were glancing with full of
stars and moon, and makes a fantastic beauty.
n Or glancing at each other cheerful
lookslike separated stare with clouds between"
( On natures invilation Do I cone *uardsvorth ).
" is, in sparkling majesty, a s tar
Ccntd.. • 44*
• 44^ *
seen aid the sapphire heavens
deep repose -
(Shelley ) .
dot cnly Halini Bala Devi was inspired ty the
ideas o f Rafadadra datn but also influenced in using
vocabularies, astro, diction etc* also
We are dealing with these topics in the next
chapter*
What i s Kalya or literature ? fhe Rhetoricians of
India in early age have said -
/" Sabdarthaft safeitan kalyaa " - fihaaaha*
x x x/
" Adoem Sagujao sala^kaTao sabdarthaa
Kalyaa n - Haaobandra*
Cm td... .
p * -
n Sabderthau oirdosaa sagwan prayah Salam-
fcaran katyam - Bsgbhatta*
Whan the poets, iqy his potential genius write
Foeaa with the bast words in te s t fora accompanying s ty le ,
Rhetoric avoiding a l l kinds of fa u lts are knows as Kalyas*
According to wordswortoh.
" Poetry i s the span ten sous over flow of power
f u l l feelin gs, According to A r is to tle . " The
Object of Poetry x x i s io produce an emotional
delight, a pure and elavated pleasure. "
She 'word' and expression are priaazy neoessity
fo r writing a kitya* B • Croce said* " Xhcmgh, ouaical
fancy, p icto ria l image, did not e x is t without expression,
they did not e x is t a t a ll"
( She Eeeanoe o f A esthetic page- 43 }.
Ccntd* •• m
- m -
So the noet important thing in writing 'atyas, the
Power o f words are to be aoquired ty the authors. The
i . ords1 should be according to Habindrath -
'' An tar hate ahari ha can
anandalok karl biraean
gitarasadharS kari sin can
Samesar dhuli gala .
( I pick up the words from the oore o f ay heart and
create world o f beauty and shower the tm e tqacn th is
dusty world )•
About the language o f the Katyas Bhattanayak
the author o f " Hrday - Ihrpann said -
Ccntd**.* m
£49 -
' /
" Sohda Fradhanyam asiityatatra
Si strain Prthak taLduh • »
Arthe tettvena Tukt* tu
badantyakhyanan etayoh
Djayargieutre tya para pradhanye
Kalya girbhabet*”
( that i s , in vedas and court of lavs word i s
important , In these oases the words camot be
replaced ly others; in history gpd story {Be
dhttife and happenings are main, those cannot
be changed hut where the sentences and senses
are the follower of expression, then the Kalyas
are created ).
C aatd .... 909
S o a s t»ue w o rd s ox' u ie J e w s p a p o r s an d t h e K a ly a s
d o n o t l i e i n t h e sam e f o o t i n g * M a la ro e 1* A . R ic a r d s o n a n d
p a l l v e b r i c o p io a e d l i k e w is e * A c c o r d in g t o p a l l v e b r i
s t a v e d - " ih e t h o u g h t s e t f o r t h o r s u g g e s t e d t y a p o e t i c
t e x t a r e in n o way t h e u n iq u e a n d p r im e x y c o n c e r n o f
( P o e t i c ) d i s c o u r s e b u t a r e r a t h e r t h e m eans w h ich m ove
t o g e t h e r e q u a l l y * ± t h s o u n d s , c a d e n c e s , t h e m e tr e a n d
t n e e m b e ll is h m e n ts t o p r o v o k e , t o s u s t a in a p a r t i c u l a r
t e n s i on o r e x a l t a t i o n , t o p r o d u c e i n u s a w o r ld o r a
n o d e o f e x i s t e n c e a l t o g e t h e r harm on ious* ' •
B u t a t t h e sam e t im e v e s h o u ld rem em ber t h a t a
K a ly a o f a h ig h o r d e r w i l l n o t b e c r e a t e d l y m ere s t y l e
e f f i c a c y u s in g r h e t o r i c s , u n le s s t h e oo** id i s c r e a t e d •
P o e t s a r e ccm p a re d w i t h c r e a t o r Brahma -
C a n td * ••• 159
- 150-
H apere katya samsare kabLrakah
PrajapatjJa
Yatheaaei rooate ULeeaa tattanbapari -
barcate "
( like creator dpi Brahma, the poeta are a lso creator
of toe world of poetry).
To toe European criticea upheld -
11 Poets are bom not made."
At night the crleket ciyout&that i s known to
a l l , but how many was able to express the same like
Babtadra da to -
n raterbela JfcLlli dike
Qaban banaaajne
Contd.... 152.
15* -
Ogo dbire dhlre dual's mor
Aar se aghat bajha.
Or, vtoo eould have able to say-
n Se katha suaibe n& keha £r
uivrta oirjaaa oaridhar
llfyaae mukhcoukhi gabhira dukhe dufchi
iicase ja l jhare aoibar
jagate keha yana naiM ar
( .«o bocty w ill hear, as tbe surrotn dings are s i lent and there
la none; we, sitting face to face and we are in grief ,
i t is raining heavily, as i f there is none in this
world) •
Crntd. • •• • 15X
- 15* -
" Ha ni$ada pratisthao traaagaaah
/ •—
Svaavati saaah
was astonished and raised the quest!cn-
^" Sakartenaqra sakweh lrimi dan
tyahrtae eaya."
( Being aggrieved a t the g rie f of the pegem, what I
have uttered ?)
like that fiabindra ia th also uttered in dieaay-
n gusi ceye achi biaasy nine
rahaaye niaagan
e ye saag it katha hate uthe
e ye ^abanya kotha hate phute
e ye krandan kotha hate tute
an ta r ULdaran."
C aatd .... 15^
( I am looking, being dismayed, what la the aysteiy,
from where this music i s coming, from where this
beauty is flashing, this cry bow vanishes, heart
i s fu l l o f g r ie f ) .
'i'his i s creative genious and this oannot be
acquired ty din* t o f labour or merit, I t is gifted Ly
the almighty God. So Sarlyle said- " Poet end the
prophet is the same man* 11
Wordsworth called this inspiration and "serene
and the blessed mood." According to Socrates i t i s - Ifeeocn."
Plato said- ' Idea " Aristotole said* " strain o f aadnesaP.
And in this stage " the poet is li fte d out o f his proper
se lf."* fiahindze Nath expressed -
Coatd.*... 154(
15* -
Nutan chande andher pray
Bhara anande chute eale yay
Mutan bedana be*e uthe tay
Nutaa riaginl bhare
Ye hatha bbaU ai tali, e e l kfctha
Ye tyatba bhsyhi n l jage saifyatha
Janina euechi kahar batata bfrhfjla
kare suaabar tare* "
( Like a blind in the midst o f new U ne runs away with f u l l
jq y . Feels^ew pain in a new tune, I speak thoee words,
wflich 1 never thought,! fe e l the pain which 1 did n ot
understand, ! do n ot know, whose message I have
brought and to whom 1 sh a ll coavey the same ) •
CgcU1*»»» 156"
- 1 5 * -
I .A. Hi card stated about th is momciousnees-
"much goes to produce a Poea is of course unconscious."
Plato said tills device inspiration " Devine insanity11 •
Rabindra ufath stated th is as "Oracle" • And th is <6
genious*" The genious of a sage is also an extra
ordinary genious, but the aim and object of a sage
i s quite different from a post*
The sages forsake the worldly pleasures and
they engaged them to obtain sons sp iritu a l power
ra ther they want to l i f t themselves to the sp iritua l
world. S t i l l then, in one pcdnt the Poet and the
sags have got acne sim ilarity . In cne sense the poete
who have got extraordinary genious are also a sage
C cntd .... 151
- 1 5 ®
sag * or “BSI n Poets feelings are a lso sp iritu a l, but
their expression i s quite different from Rfit*I« The
aediisa of the expression of &SS.&- Kahi i s the
embellished language* And their object i s to produce
a delight - an emotional delight. " Truth i s beauty ,
beauty i s truth.'1 The Goddes of lean in g i s the
symbol of Truth and beauty* Sobs aay opine that a
poet and a sags or Bsi i s not standing on the same
Platform, but that i s not true* The Poets of the
Upanisadas are a t a time BSI and Katd. ( Saga end
poet) • Thsir writings are a t a time ” iyan and
poetry.
Coatd*.. . 15®
It is stated in Gita -" IhukhAgvamicIhLgiwwnwh Sukhe8U
bigataeprihah( Who does not feel the pain of aiseiy and who has got
no aspiration for happiness).It is not the language of a poet, but we tejr
say i t a golden naxia. But when BSI Kanva Prayed -/n Sayan Yati S&khmtala Patigrihaa
Sarfchenanujaqratam."/( I o day Sakmtala is going to her husband's house,
all of you are requested to assent to it) .Here the idea and expression are united and
here the prayer of kanva be case a poetry of high order*
- 15* -
Caitd..... 159
t v > .
- m -
R&binebna N ath's Gitan j a l i
i s a t a time fyan and Poetxy.
Joe body of the poatxy aw "herds* (Syllable) . 1'h®
words have got two meanings -(1) Current meaning or the meaning sta ted in
dLctionaxy (P raealita Artho or baqyartba or
Abhidhamulah artha)*
(2) Ostensible meaning or apparent weening
(Pratiyaman artha) Again Pratiyawin Artba
has been c la ss ified -(a) Lakshaha (b) ^raqjana ( Eturfeni) or aomd.
fiabdndra Nath seleeted the best wards in best forms* We find the effiakqp of rheto ric ians in toto*
la h is writings we find grace (Prasad grn ) ,Sweetness
(Madhuxya gm) and vigour or incitem ent (Ojah Gin) •Cantd***. 1*3?
- 1 0 -
*fein]y, fiabindra Math is the Poet of
"Madhuxya Base"* His 1 Jivandevata* theory is expressed
by oadhuiya and "BhaktL Rasa" • But his Bhaktir&sa is
not identical with the vaianabdyabhakti*
As Malinibala Devi was influenced ty RabAndra
Math so we find similarity in vocabularies* diction,
mym» and the use o f figure o f speech (Alaakar).
Vocabularies t
RaHndra Math very often used these vocabulari.es-
akul* parent lyakul, bijaa* Mijhua, Nis&te* PatfcUt*
aparup, asia, use, Malay* Suxabbi rap- arup* Kara hi,
Malatd. Malinibala Devi also used these vocabularies*
Ccntd**.*l6d
Dictina l
Naliaibala Devi f o i l owed, the style o f dafcdndranath,
even in sane cases she made the verhatica translation
seme o f portions o f writings of Nabindra Nath* l-Je are
citing below some of them haUndza Nath vrite -
" 1 shall be bom in India again aad again with
a l l her poverty, misery and wretchedness, I love India*
•this has echoed in ia lio iba la -
♦ Mario Funar, ahi
dulddya deaate mort
lao yen Puaar Jananu"
1Putali' cue o f the eon o f Nalinihala Devi, died
a premature death and le ft for heavenly abode*
dalinibala is thinking that when aha w ill die
putali w ill cane to receive herw
Con td» • • * l6g
- 16*.-
11 Anguli *urat tunri. din gaai gaai
bate led ekebeli baba
eamy i id le mor acinaki bit
tund ahi n ije la l yaba "( Sandhiareur ) •
Poet Setyeudranath Datte was d iscip le of
Rabindranath , Ratdndra ia th loved bin dearly. Bat the
ircny o f fa ll , i s that Satyendra^being much younger
than Rabdadra ^ath, he died a premature death.
Rabindra wrote an elegy <n Satyendra riath in his
Kalyagnantha- - Purabd .
— s!t Asa kari, aartajanme chi la tabs aUKhe
ye bLaamra enigdhe ha aye, Ye ev&cchaA
Satej Sara late
Cantd.. . . l6 j_
163—
Sftbaj Salyer Prabha, taLral
/
Sanyata Santa Katha.
la i die arbar pal yena taba abiyarthana
Aarta loiter dvars- lyartha aahi hole* e
Raman a."
( I expect that the courtesy, which you have show
to me with sweet smiling face in the earthly abode,
you will also show the same gesture at the gate of
the paradise^when I w ill leave the worldly abode")
Satyendra Matiy'Punabi.
.'talinibala Devis-
n Amar opaja tbai
eikhan marfea trvaxgabhiid "
is nothing but the e«ho of Rabin die Nath* s
G<n td... .16#
. jjgir prtbibi tiad
bahu b&raser. taaar mrttiha sane "•> * m
Basmdhara /Scner iazl.
11 Gandfaa- harinar k&sturi - bas ,
bLcarx nepai tyakul bate6 "
( ihe mask, deer not finding from where the smell of
mask is cooing is roaming bewildered and dishearten d;
is rewinds the lines of Batdndra ^ath-
" Pagal haiya bane bane phiri
Span gandhe mama
Kasturi mrga saaa
• W a Sage sannyasi baba
i aadhu brands ban " - Walinibala
reminds of JiabLndra dath' b -
ami baba na tapes
■ nprai* tapasvlni"
. 16 $ .
yadi na pai
Caatd*.. 165
- 16J| -
ialinibala'a -
Kodo kale turn! ntai
kcnorupe boa nai bbio
iuml jyoti aai raau,
be arup, itupar ala,/ "
Reminds m of Rabandra Ratb-
11 2'cnir amir ad lan bale aakal yabe kbule
visva sagar dbeu kbeliye uthbe takben dole
n Cbayaaaya nor non upabaa
aalakar mai sur kafcd." - ^alinibala
C /i. " and haba taba
railanoer aalakar. "
Rabindra Rath.
" Paicho sakalo j m
nai powa too
Klba e ii aai nai "Pwnain Xrlaaa/Sandhljmr Sur.
Ccntd.. . . 16$.
(Got everything, s t i l l i t seems to be Be, that
scnethiag not received, which 1 cannot express) •
Hhara grihe sihya sad teas tihase
Gitanjali/53*
( 1 aa alone without you in the midst o f houaefull) .
A aliaibala* s-
/n Si tana t jfcsila nuaai affthen cikLty
Sir palo suni puwati kulir-aat
<KidUd kisat babilo alas aaae
Pindhilo kesat natw aalika dhar.
ene sansyat senduri dhulir bate
larua pathik dekha dila rajpathe
Sen- aulcutat usar pohar pari
Kantha suwai aukhtar aalakhani
- 16*
Caatd.... 16
Sudhile lyakule- teo ko* t?
Lajate earabi nowarilo Ka1 banaai
iaim Patbik 1 Seye aai, score ■ei."
- Brasta Lagaa/falinibala*
(Light which has placed Igr the side of aqr bed CD the
side of the head whm extinct, I got iqp froa the bed
hearing the cooing of the cuckoo, sat down ty the
side of an window with slothful aood, and puttqp the
new garland as qy head* At that tine as the gray
highway I saw a traveller wearing a cram of gold
which was flashed ty the nozning rays of the sun was
sitting a> a eharrlot, the traveller weared a neoklaoe
aada of pearl* He asked ee 'where he is where he is .
I was so ouch flushed with shaae that I could not aay -
. 16*-
C«td.. •• 16*
B0 yomg traveller, I am that I aa that ia the
verbatims traalatiaa of Rabin dra Hath* a
"Brastalagaa *-
' /Sayan signers pradLp nibeche grabs
Jagla utbacfci thorer Kokil rabe
Alas caian* baai batsyan {wise
tfutan aalika pareohi aithik kese.
Baaa saanye area dhisar paths
iarua patt&k dskha dlla raj paths
Scnar aukut parsche Osar l lo
Mukutar a lia galay sagreche bhalo
Sudhalo katare 1 Ss Kothaj Se Kothay
%-igra earane inari dtaars n iai
/
Saraae aarlya balets nariau hay.
- 1 6 * -
Cm td.... 169
- « # -
" W a fain petixik, Se 70 in i sal ami "
* Maters and figure of Speeoh*
Prosocy 1
So doubt that the Bengali proso<y is
/chaada_derived from the Apafaraaae/Qaxyapadas are the earliest
specimen of Bengali payer, iiipadi caiyaa vers written
in n Soroamatric padakula chanda ' • (8 +8°^6 )
Ka -7 a - / tarubar / Paries M- dala-
eaneal d * e/ paitho - ka - la - ”
( here we find pause after every eight metres
and in the end of every line we find the
alliteration ).
Ccntd.... 1fQr
In Jcyder*' s Gita Govinda we also find thec'*r?finest specimen of Bengali Chanda* In later ages the
Vaiaaaha PadaJmrtes have followed Jaydeva in aetzical composition* Rabin dz* Math too followed Jeydeba*
A A A AFatatipa /tatre - hLoalita / patreA A ASamM t«/hha1»dupa/yalfflBin
A A A ARaoeyatd/ say an a^sa csld.ee/nayan anA, APaayati/taba pon/tlit-aaa /
( Jay deha)Rabindra Math -
8 8SatlncLx* rajani SaoakLta sajaniSSuoya nlkunja axaaya
Kalay*t£. aalaye subLjana nilayehale MrahaM senna •
« • -
Cantd* • • • 17®
As regards m etrica l composition, Veisaeva
Padav&li - have got two s ty le s - B xajabali and Ban g a l l •
In case o f m etrica l ccmpositiaa the Vaianaba
Padakartes have maintained, two system - m atrabritte and
A ks& rbritta.feifyapati was the ch ie f expcnant o f a a tra -
b z it ta (halehadtta) system and Badu chandidas was
ch ie f expectant o f Aksar b z it ta (M isra- h a la b r it ta ) .
Leaving a s id e the trad it io n a l me t i l c a l
cmnpoeian o f Bengal, Bharat Chandra made a remarkable
gain h is way ty introducing San skrit Prosody in Bengali.
In la t e r period Satyendra Hath Datta e lso iatrodooed
S an sk rit ohanda in Bengali. But Madhueudan have broken
the sack le s o f Bengali m etrical composing lqy introducing
Blank verse in Bengali. About Blank verse Madhuaudan sta ted -
C m td ... 174
17* -
N I f w ell recited , i t sounds as much lik e prose as
Qaglish Blank v rse sounds lik e Ehglish prose,
reta in ing a t the sane t ia e a Sweet musical impress! cn."
la composing Blank verse MadhusGdau based 19m
’ Payer chaada " aad the metre o f the same i s 3+6 = 14 Words.
He did n o t observed a llite ra t io n in the and o f the
lines* But HahLadra Nath made several v a r la t im s . He
did n o t observe the system o f Madhusudsn in collating metres
as 3*6. He made 3*6, 6*8, 10*4| 8*10, 10+8, 8*2*6 .
Baoindia Nath created the "Huktek" Chanda.
A lso he i s fouader o f "Adhuaik " ^ t r a b r i t t a '1 ehanda* la
Hanasi laMndza gave two aatras t o the words ending in a
consonant * la la te r Period the Poets o f Bengal cad Aesaa
C cntd ... 174L
Assam followed the same. He also showed that "PAX&ff1
has gob power of absarving eoapouad letters.
Assamese critics have also adopted the said
/ /method (PAXAHER 90SAu SAKl'I)
Xo * Ldpika’ , Sea Saptak* introduced the "Praee-Poe&P.
Nalini Bala £evi mainly wrote Poems in "Aksarbritta
Chanda "• lhe use of matxibrltta in her writings is
negligible* She also wrote Prose- Poem following the
path showed ty Rabindranath.
We are citing some examples s
Mahapayar ( dirgha payer ) •
ft&thuray Ken a Phul/Phuteche a jilo sal
Basaxi bajate giye /baekii bajila kai*
- Hatdndra Nath.
- 173- -
Ccntd... 17g
- 17# -
Diire dhire Jibanar/aiiiche nuaai
daup dip puri ga‘ 1 / E>jrartiietar Saurabh b ila i
>*al±oibala.
Aksarbrtxa " Muktak**
He bhubaa - 4
~aa± yata kshaa - 6
xonare aa beeecfriau bhelo - 10
tatakshua taba a lo * 3
* Hatdadra Hath*
Sidiaar para - 6
Lauhitya aiuaere - 6
Paacatirtba kali Frakahalao- 10.
• Haliaibala*
Oiac ia iripadi - 3
Kehabale dramatic faala nahi yiy thick 10
Lirlkar bado badabadia « *
- Rabindranath.Cm id*. •
-m -
✓ z®-ate Jati sate bhasa safcbyate Senskriti asa
Ebarat tdrthat Ihi nabaxup pay
• Uallnibala.
Figure of speech
She word 1Alankaxa" is derived fran the Sanskrit word-
"Alam" • Alan aeans "flhuaan" (Omaaants) . 'ihe ward
'•Alankara" has got x two aeaoinga. (a) beauty (b)
figure of speech like ailetratiaB, upaaa, rupaK etc.
v»
ihe real aeanlag of the Alaakir Sgstra " is " Sam da lya-
<_ a -Saetra" or " Katyaam daiya- ib-joan." ‘ihe European Critios
have called this Styipture " Aesthetic of Poetry.".
Ia Kalya - ainamsa i t has been stated -
'upakarak trad alankarh saptam ang&a ix i yajjrabariyah Rte oa
„ v .tatevarupa- bdjuad vedarthaaabngatih."
Cos td» • • 176
- i7r
Sanskrit rhetoricians have compared the
'KabBradeha' with the feaale bo$r. Alankara i s
aeoessaxy to deoorate the feaale body* So as the
figure of Speeohes are aeoessaxy for the ora amentatico
of "Katya-body
Visranath Chakra bortty, the author o f Sahitya
darpan stated .'"N ^ *** —"Kalyaqya eabdar thad sariraa, yaaadiscataa,
s' _Guaah Sauxyadaya iba, doaah Kaoutvadibat ritegrah
abay&b* Semathaa laLsV^sabat, alaakarasca katak.
kuadaladitaat."
* Word and aeaaiag i s the body of Kalya, ataa i s rasa etc.
valouxw guaah, defects are kinatradi r i t i i s the
structure, figure of Speeohes are the aaxbiag, aeoklace
etc* of the feaale )•
Cratd... 17%.
17| -
Baaaa in b is "Kalya laskar" said- "Sauidaiyaa
alaskaiah’1t •
- _ /Rhetorician BhoyDev ia h is Sringar Prakas"
divided alankara as - (a) Bahixanga (external)*
(b) An tanas ga (intenia 1 )
(c) Misra or mixed.
Bahirsnga- Ureas, Gar lane, Gold oraaaoats . A ll these
are external thiaga, which whan weaved ty the ladies j
the beauty aanifested*
Antaranga- Dressing of hair, washing of teeth etc*
fonaatd.cn of boefcr & cooplaxsi au
i'iLxed- Bathing and dressing with perfua»ries(Prosachan
and belepca) these are external things but sixes with the
boefor in such a Banner that cue oaaaot roeova them a t her
sweet w ill e#g* vem dllicn, Alakta etc* ualesa the
cco tru o tto . of a f « a l o b o * f ro . sort of
C an td .o . 1 7 ^
y tosort of Ifefectioa and they have got a exquisite eomplextiai
if the said body is ornamented no bosutjT ox* glaanr will
coneout from that body. *f t-h0 body is fraa from any
defect than a natural beauty will cane out froe that body
is natural beauty which is^Alaakara is known as the
Svabhabokti Alaakar.a
But for the augmentation of beauty of the ladies
ornamentation is necaesazy so m for the increase of beauty
of the Kalya- deha the figure of speeches are necessaxy.
But we must remember that both the bodies (Feaale body &
Katyadeha) should be free from any kind of fault(deformity
otherwise no beauty will come out, from the feaale body
and Katyadeha.
Acaiya hand! in his " Katyadarsa” said -
- 17* -
Ccntd* •. 179
" ianabasxhaa padarthina* repeat
Sikshat bibriavati
Svabhabcktiscagsti seitatya salam-
Kritizjratha*
‘ Siabhabokti is the principal alankar )
la creat svafchbolcti alamkora Si^pematuzal power Is
necessary-
" vabtaabokti duruhartha smkrlya
Rupabaina*iam
Rabin dra dath said -
amir SL gin chedeche tar
Sakai Blanker #
toaar kache rakhani tar
Sajer anankar.
- 179 -
Ccn id. 4. W <
)
- 13*-Alafkar ye aajhe pad®
oalanate a dal k&re 0
lonar katfaa dhake aa ye tar
mukher jankar".
Kadha for the Union with Krishna dropped a l l the
alaakaras from bofy a® i f the alaskam trill stead in the
way o f complete m ica -
"Ciza candana ure her aa dels "
Sabdalaakar is aot intimately related with the
Kalya deha. Anandb&rdban and A this aha $*£>ta stated that
/ a.the use I f “Sataljglankar should be avoided as for as practicable*
/ _I f the use o f SabdUaahir liee within the lim it jis good ( otherwise
i t w ill be 'attahas" (roar o f faughtei-). i'o creat sabda-
laokar the poets have to take Medial cars (PrithagjataarinUtf F k * U ’r k- * '
faarta) • While to creat^no special cars is necessary*
I t is "aprithag yatnanfbartta" • I t is spontaneous.
Ccntd*.. 1$tt
Racdadra Hath took special care fo r creation of
Sabdalankar-
n Sxebane deputy pen} a
E to kabhu nay sand-
isa pratha eye ana -
s r i s t i anaoar*«
Patra/i'ianasi.
In making allefiraticn Mabdadnanath had to break
the word "Saoataa" into two parte, the same thing waa
dene in case of "an aaristi."
Kaaa hajao kakaa ken* ken
Kata chala bhare1’
Hatdncira Hath*
here the ward* *K» was used several times , s t i l l then
i t l ie s within the lim it and produced a mueioal note*
Cob td» • • 1S J
But
ttEhut oath bhut seth
lkksha joyui aa sio e
YaAsba jnaksha lakaha lakaha
a l l th a s haad i£(£h irat Chandra)
Here the a lle te ra tic n eavaris l ik e a a t t a has (ro ar o f
lau gh ter).
Upaaa Bahindraegra J -
ihere i s a saying- "Upaaa K alidasasya" -
itv ifc making " Se drisyamulak a laak ar. Kalidasa.
surpassed a l l the ancient poets o f -India* K alidasa a l l
t o t a l used 1200 sadrisgra mulak a la a k a r ." Out of those
(< - *he used 250 a laak ar in Kuaar daabhabaa. In creating
sio d id e s , K&lidas, compared the object, with the beasts,
b ird s , in sa c ts , r iv e rs , blue Sly and so cn. Rabindranath
a lso did so & he excels^ o th ers. in ask ing t ia d i^ r •
- 18* .
Contd.. IdjL
- 131-
His "nines Sfcundazi" Poen is consists of
300 lines aad the nuabor of sftndlas ere 34*
"Eaadfcyarage- JhiliaLl • •» . *...... "
Poen of 'Balahe* consists of 6g lines aad number of
similes are 24* Only a few a illustratiaas hare given
below-
-aadhyarage jh lliir il jhilaaar
Srotkhani baka
adhere ualia ha la , yena khape
b£ka ualowar.
Object of cosqparisoa (upaaqya ) - 3 trot.
Object for coiqjariscn (upenaa)- tolawar
Coaocn attributd.es (Sadharan flbarna )
- "bhka".
“yeoa" is a comparative word* It is a puxna-Upana.
Coatd, • •
" S la t e r these ia a taaiphul . . . .
ia r a - phul i s aetaphor.
"i%ae halo, s r i s t i yaoa swapne
cay katha kanibare
b a lite aa para sp esta k ari
Alyakts cOunauir pxuja andhakare
uthiche gunari " i s
Bacyotpxnksa (P erson ification )
lJa lia ib a ln Eevi a lso used Ssbdalaokar and Arthalaakar
" Madhu a e la t l r Hup nadhuri
tfadhu madiup g i« ja a .
a lleb ratio n o f * HA’
Metaphar - Gaicho J i baa-git aaadti kal&r
' Saaasokti ' Alaijkar -
- 13$-
Ccn td» • . 18J|
- 13H
Fuwati saiidre aui kueum Paraee
uirala bhaaglle mar . . . . .
• ia tia i calacne a bra sire -
Habiadra ^p.th/Samasoicti.
/
^idersana »
Bukur ffliyar se jsr Wyae
Jurie acMp.ra purabe
Qiganta awarw dri^tir rekha
Sioare nowari juktti.be.
A tisqyfi'kti-
" Fhulaait soar hejar kusua
Fttulile oarass tor
i or surabbie niyat jagela
a jut Sapcnbor. '•
Gostd... tijjT
19T
Rabindranath-
flaaasa kusurn t o l l aaca le
Gethecha id. »ala, parecho Id. gale.jridUti&aoi lillekh i
Ski nangaliasyi aurati tokaKL
Prabhate ditecha dekha
Hate Frqjrasi*Rupdhari
i’uinl eeecha Prenesvsri
Prate kakhan d ev ir beee
xiaod saauUie udile haeo".
Ratoadm Jath.
different qualities of aqjr thing when stated by cne or
different people attributes different qualities of me
then i t i s ca lle d ullekh al&aKar-
(che i s maagalasyi id o l , a t n igh t she is lo v e r .
la the naming Ztie i s Goddess) •
Can t d . . • • m
- 138 -
JaH aibela Deri "poke about different qualities
o f fe t t le ( Nari
" i J a r i ......................... ..
b id tra nehlai tuad
ehahe anrt bhandae
inhale kalkui lwH$> ’ of
Abfainafca abbinetri rupe
Seugsarar natya aancat
in altar mrtyumukhi asur mahite
ih e li diya chals bale d i e t i le
purusak nrtyu aukhaloi
Rabindra Nath used not aaly the Indian egrets* of
figure of speeches ao brightly but also used the western
figure of speeches. Very oft an which are not a bus dan t in
Nalinibela hevi
dalinibBla ilavi was not cnly a Poet but also a
composer, essay writer, dramatist and a Painter, - o r Langi^’e
o f tiie dramas are equally poetic like rahiidranoth .
fllflft tft»n fllfi t/1 o Uftti n Dii4m _AL
ftsbiadra Professor o f Gauhati University opined that u n liiiteV
picked the words o f her Poem, drama etc. from Sanskrit an frcrj
Rabindra literature (/ samiya -oh iiyat -talinibalar Stpa/Jallaitii i4
Devi Page - 2 2 > ).
i.alinihala Devi's es Puja was written be sing iq
tiie ga.tir Puja o f Re bindra ilath. See puje is out o f Print
not a single copy was available in the big lib raries o f MjbrA
and Gauhati. So documentary ir o o f cannot ^fLvai.
has mpde v~rbptive trsnslaticn o f some lines o f letirpuj" (m c>ut
Moreover the idea is identical with that o f Rabindranath,
i'he story is also the same.
Cri / maxima dharali (..alinibnla bevir iJataic)kf. N +-U'h* 1) 'ostated that the : ocia l dmaaA' cos Puja'. ^ 1 *tfi t i 'aTWn- i,hT
p c