Bangladesh has a long tradition of literature. Thousands of years old documents of poetry of this country have been discovered from the cowshed of the royal court of Nepal. This indicates the antiquity of our literature and its crisis. Due to the crisis, our literature was exiled from the plains to the mountain valleys. We are not going to discuss that. This is due to the fact that our literature has survived the millennium with challenges. In the Middle Ages, our poetry was inspired by the human consciousness and paved the way for prose.
In that sense, at the beginning of the british period, our prose literature flourished and tried to create its own style. With the partition of India in 1947, when we became part of Pakistan, our literature faced a crisis of existence under Pakistani rule, as well as accelerated the trend of humanist literature by tackling challenges. At this time in stories, poems, novels and plays we notice the attempt to establish the independence and self-dignity of Bengalis. Political backgroundand events have come up intensively in the literature of this period. The way the Bengalis moved from independence to freedom under the leadership of Bangabandhu; His impact on our literature. Literature continues to become a document of life and political reality. Through its independence gained through the bloody war of 1971, our literature also became inspired by new paths and inspirations. We will focus on that.
For the convenience of discussion, five branches of literature, namely novels, poems, stories, plays and essays, are briefly discussed. First the novel.In the novel of this episode of Bangladesh, the war of liberation, the hellishness of the war, dreaming of a beautiful Bangladesh through it and later gaining independence have all found a place. In this episode, written by Syed ShamsulHaque capture the complex and multidimensional conflict of post-independence rural life.In his novel “Distance” (1981), the life story of college teacher Joynal paints a picture of the complex reality of socio-political life in post-75 Bangladesh with great fidelity. His novels “Paran Master in Space” (1982) and “AinaBibir Pala” (1982) also depict the changes and breakdowns of village life.
Hasnat Abdul Hai’s novel “Whale” (1981) paints a picture of instability and socio-politics in the immediate aftermath of independence. The novel paints a faithful picture of how the people of the coastal Kajalpur Union won the struggle for their existence against all kinds of evil forces. A similar picture is found in his novel “Prabhu” (1986).Bashir al-Helal’s novel “Last Cup ” (1986) is an excellent expression of the conflict and existential question of post-independence rural life.
Against the backdrop of regional life, Selina Hossain depicts the eternal struggle for human survival in her novels “Jalochchbas” (1982) and “Insect Dwelling” (1985). Two other such works are Abu Bakr Siddique’s “Jalraksas” (1985) and “Khardah” (1987).
In contrast to the depiction of post-independence rural life in the above-mentioned novels, HaripadaDutt’s novels “IshaneAgnidah” (1986) and “AndhakupeJanmotsab” (1987) are the only ones that depict the positive changes in rural life.
Inspired by patriotism, the large middle class that participated in the war of independence, a large part of them were disappointed to see the country’s socio-political instability and continuing chaos after independence; As a result, their dream-breaking turn began. The post-1971 novel paints a picture of that frustration and dream-breaking of middle-class life.SardarZainuddin’s “Shreemoti A and B” and “ShrimanTaleb Ali” (1973) are a novel depicting the overall decline of post-independence Bengali life.
Although it does not fully portray the frustrations of post-war life, Humayun Ahmed’s novels “NanditNarke” (1972) and “ShankhnilKaragar” (1973) depict the unchanging nature of middle-class life and the failures and loneliness in family circles. Syed ShamsulHaque’s novel “KhelaraamKheleYa” (1973) is an illustration of the consumerist mentality of finding the self-satisfaction of a socially isolated person. Sukanta Chatterjee wrote a novel opposite to this.The protagonist of his novel “Ekjan” (1975) is plagued with mental problems instead of sexual problems. Rashid Karim’s novels “PremEkLalGolap” (1978) and “SadharanLokerKahini” (1981) also depict the multifaceted crisis of middle class life. On the other hand, Rizia Rahman’s novel “RaktereAkshar” (1978) depicts the life of a prostitute who is obsessed with the dark, horrible and brutal violence of urban life. His novel “For a Flower” (1978) features a defeated face of a freedom fighter.Other such works are Shawkat Ali’s “Apeksha” (1985), Bashir Al Helal’s “KaloIlish” (1979), Hasnat Abdul Hai’s “Amar Attayi” (1980), Selina Hossain’s “Magna ChaitanyeShis” (1989) etc. On the other hand, another powerful writer of Bangladeshi novels, Razia Khan’s novel “Hey Mahajivan” (1973) shows the life of a liberating woman. She wrote the novel “Chitrakavya” (2 vols. 1987) with the same spirit.
Shamsur Rahman’s novels “Octopash” (1983) and “Montaz” (1985) are written on the internal and external pressure of a person’s bleeding. Among such novels is a trilogy of Abu JafarShamsuddin’s “Padma MeghnaJamuna” (1974), “SankarSankirtan” (1980) and the pre-independence essay “BhawalGarhUpakhyan”. Similarly, the course of events from 1947 to 1952 has been disinterestedly evaluated in SardarZainuddin’s novel “Destroyed Sun Wave” (1975).The story of Shawkat Osman’s novel “Artnad” (1985) and Selina Hossain’s “JapitJibon” (1981) has developed as a word expression of the basic emotions of the language movement. At the same time, it has also raised the issue of refugee division and cultural crisis. A unique addition to Shawkat Ali’s “PradoshePrakritjan” (1984) based on history and tradition.Rizia Rahman’s “Bang To Bangla” (1978), “EkalChirkal” (1984) and Selina Hossain’s “Blue Peacock’s Youth” (1983) and
“Chand Bene” (1984) are the longest span of Bengali ethnographic-geographical-socio-cultural life novel.Several novels have been written based on the assessment and analysis of the complex political situation that existed in the post-independence period through politics-awareness, military, theocracy and rehabilitation of war criminals. Notable among these are Shawkat Osman’s “PatangPinjar” (1983) and Selina Hossain’s “NirantarGhantadhvani” (1987).Shawkat Ali’s trilogy of novels “Dakshinayaner Din” (1985), “KulayaKalsrot” (1986) and “PurvaratriPurbadin” (1986) have been written with the dreams and political aspirations of individuals and groups of the sixties. Akhtaruzzaman Elias’s novel “chilekotharSepai” (1986) is based on another influential event of the sixties, namely the mass uprising of 1971.
The first of the novels centered on the War of Liberation was Anwar Pasha’s autobiographical novel “Rifle Roti Aurat” (1973). Shawkat Osman wrote four novels on the same theme: “Farewell from Hell” (1971), “Two Soldiers” (1973), “Wolf Forest” (1973) and “Jalangi” (1976).
Novel by HasanAzizulHaque
“Agunpakhi” ( 2006) and “SavitriUpakhyan” (2013) are both unique additions to Bangladeshi novels. The novel is based on partition, life and socio-economic crisis. The country is being divided, but a village girl can understand how much. Even if she doesn’t want to understand, her influence is still felt in her life. The division of the country is highlighted in the novel “Agunpakhi” through the girl who witnessed history at that time.
Notable poets of the eighties are Khandaker Ashraf Hossain, Mohan Raihan, Sarkar Masud, KajalShahnewaz, Rifat Chowdhury, Masud Khan, Dara Mahmud, Subrata Augustine Gomez and others.
ShahidulZaheer is one of the most recent novelists. His novel “seratepurnimachila”(1995) has created a new trend of magical reality in Bangladeshi novels.Just as HarishankarJaldas’s novel “Jalputra” (2012) contains the history of fisher woman’s struggling life, so does the story of Jalputra’s becoming aware of his rights. In this novel, Fisher society is present with all its inconsistencies. ZakirTalukder’s “Muslim Mangal” (2013), Papri Rahman’s “Boyan” (2007), PrashantMridhar’s “DugdugirAsar (2017), Ahmed Mostafa Kamal’s” Agantuk “(2002) have added new genres to Bangladeshi novels.
02.
The poem of the fiftieth year of post-independence Bangladesh can be called the poem of the liberation war in one word, because the poems of this period have captured the emotions and experiences of the liberation war and the war in particular.
Poets of the forties and fifties Ahsan Habib, Abul Hossain, Syed Ali Ahsan, Shamsur Rahman, Al Mahmud, Syed ShamsulHaque were active in the poetry of this period.
Abdul Mannan Syed, SikderAminulHaque, Rafiq Azad, Mohammad Rafiq, JinatAraRafiq, Altaf Hossain, Asad Chowdhury and others were among those who were active in the poetry of post-independence Bangladesh even though they started writing towards the end of Pakistan period. After them, AbulHasan, NirmalenduGuna, MahadevSaha, Humayun Azad, DawoodHaider, HumayunKabir, Mohammad Nurul Huda and others are notable among those who have written poems of intense emotion, resentment and love. Their poems are much closer to life and closer to the land and people. Poetry of this period has more embodied the consciousness of the collective rather than personal happiness or sorrow. Excluding the traditional style and language of poetry, they have turned their attention to inflexible and subject-based poetry.
Poetry became the most important branch of literature in the free environment of the independent country as compared to other branches. But the poets, like the common people of this country, are in the throes of despair and deprivation as they do not see any possibility of realizing what the people of Bangladesh had hoped for through independence. This is manifested in DawoodHaider’s poems ‘Janmaiamarajanmapaap’, Rafiq Azad’s ‘Bhat de haramzada ta na hale manchitrakhabo’ etc. Rafiq Azad’s “Bhat de Haramzada”, DawoodHaider’s “Janmaiamarajanmapaap” and Rudra Muhammad Shahidullah’s “The smell of corpses in the air” are notable among the books of poetry written about the volatile situation and famine-stricken life in post-independent Bangladesh.
Another major theme of the post-Freedom poem is love. Apart from political thought, the splendor of the mind in the works of poets is also particularly significant. Many young poets as well as old poets have shown generosity in publishing love poems. They consider love and revolution as synonymous and are eager to get their desired world. For this reason, post-independence revolutionary poems as well as countless love poems have been written.
But the poets and poetry of Bangladesh did not stop only in love.The poets did not hesitate to express their frustration, anger and protest even when the military dictatorship was in power, disrupting the democratic process in the country’s governance. However, in this case, they have presented their statement either traditional style or in the shelter of metaphor. Shamsur Rahman’s “Homeland on a Bizarre Camel” is particularly noteworthy as such a metaphorical poem.
In addition to composing poems on the war of liberation, a group of poets have experimented with poetry since independence. They have composed surreal poems. In this context, the name of Abdul Mannan Syed’s book “Surreal Poetry” is especially memorable. However, this trend of composing poetry did not last long. In addition to this, some people have broken the rhythm of the poem and carried out various experiments in its form. Of course, such experiments have always been and continue to be.
The poetry of the eighties is basically full of protestant consciousness. At that time Bangladesh was under military dictatorship and exploitation of power seekers; Therefore, direct expression of rebellion has appeared in the poems of that time. Notable poets of the eighties are Khandaker Ashraf Hossain, Mohan Raihan, Sarkar Masud, KajalShahnewaz, Rifat Chowdhury, Masud Khan, Dara Mahmud, Subrata Augustine Gomez and others.
In the nineties, a new consciousness moved the poetic world of Bangladesh. The poets of this decade consciously started the practice of post-modernism. They look back to the original and real Bangladesh with various issues of the local tradition centered on Little Magazines.The modernity in Bengali poetry introduced by the poets of the thirties had nothing to do with traditional Bengali poetry; Because that was an imposed matter. The efforts of the post-modern poets are to bring out the Bengali poetry from the shell of the imposed modernity and make it the true Bengali language and the poetry of Bangladesh. The poets of the zero decade have joined them. With the joint efforts of all, the poetry of Bangladesh has made its own position in the world poetry festival.
03.
The short stories of this period are much more pro-people and more political than the pre-independence era. The war of liberation, the pain of breaking the dreams of a large number of middle class participants in the war, the breakdown of rural and civic life, the lack of stability in family life, etc. have come up again and again in the story of this period. Many of the active writers in post-independence short stories directly participated in the liberation war, so many of them were rich in direct experience of the war.
The armed resistance of the people of Bangladesh against the torture and genocide of the invading forces and the source of inspiration for the war storytellers. Abdul Gaffar Chowdhury’s first collection of short stories based on the War of Liberation “Bangladesh Kotha Kay” (1971) was published from Calcutta. The stories included in the collection capture the direct experience of the liberation war.Later, Bashir Al Helal’s “ProthomKrishnachura” (1972), AbulHasnat’s “Story of the Liberation War” (1973) and Harun Habib’s “Selected Stories of the Liberation War” (1985) were published from Dhaka.
Several stories have been published on the social instability of independent Bangladesh after the liberation war, the deteriorating law and order situation, the moral degradation of the youth and the extreme erosion of values as a whole. Among such short stories are Shawkat Osman’s “JanmaJid Tab Banga” (1975), Alauddin Al Azad’s “Amar Rakta, Swapna Amar” (1975), and Abdul Mannan Syed’s “Red Hunger for More Death” (1977).
A big change in the short story of post-independence Bangladesh is the change in the way of life. People from the upper strata of the society as well as the lower strata of the society also find a place as the subject of the story. Notable in this context is “Al Mahmoud’s Blood of Pankauri” (1973). It is an impeccably beautiful storybook depicting the aspirations of the common man.Very few writers in the history of Bengali short stories have written such lustful stories. The environment of his story is also far from the environment we know so far; These stories are set in fishing boats, Vedic fleets, beels or haors. Another important story by Al Mahmoud is “Defeated by Sourav”.
A different trend has developed in the short story about the urban culture of Bangladesh. There are two sides to this culture, one with wealth and the other with poverty. Many have created the world of their stories by adopting this retrograde theme of the plight of the rich and the accumulated anger of the poor.Rahat Khan’s “Uncertain Locality” (1972), “Endless Journey” (1975) and “Good and Money” (1981) on such topics; Abdush Shakur’s “Crisis” (1976), “Juicy Story” (1982); Rashid Haider’s “Different Men in Heart”, “Clouds’ House”; Hasnat Abdul Hai’s “Alone and in this context”, “When Spring”; Mafruha Chowdhury’s “AranyaGatha and Other Stories”, Bashir Al Helal’s “Opposite Man”, MahbubTalukder’s “Arup TomarBani”, AbulHasanat’s “Parakiya”, “Kaboshna”, “Baz”; SubrataBarua’s “Kachpoka”, Nazma Jasmine Chowdhury’s “Another Hero”,Humayun Ahmed’s “Nishikavya”, “Winter and other stories”; ImdadulHaqueMilon’s “Love Story” etc. are notable.
In the short stories of the post-independence period, social responsibility was more pronounced, as the society at that time was witnessing various changes; Due to political disintegration and increase in exploitation and deprivation, the economic emancipation of the common man did not happen much. However, an aristocratic class emerged through it. Their lives have found a place in short stories in many ways. Of such stories, Abu Bakr Siddique’s “Freedom to Die” (1977) is particularly noteworthy. Also Manju Sarkar’s “Indestructible Arrangement” (1982),Notable are HaripadaDutt’s “Return to the Scent of the Sun” (1985), Syed Iqbal’s “Return” (1982).
Although Mamtajuddin Ahmed wrote plays before independence, his plays spread after independence. He is known for his use of satirical language in monologue and dialogue.
Poverty-stricken landless peasants, landlords and moneylenders have been exploited and oppressed by the political elites, brokers and religious businessmen. Even in the short stories after independence, many have described them with sympathy. HasanAzizulHaque’s story presents such a picture of public life in North Bengal.Before independence, he wrote “Dreams of the Sea, Winter Forest” (1964) and “Atmaja and an oleander tree” (1969); After independence, he wrote “JibonGhasheAgun” (1973), “NamhinGotrahin” (1975), “Patale Hospital” (1981) etc. Shawkat Ali’s “LelihanSadh” (1973) and “Shun He Lakhinder” (1986) are also notable in this regard.
All the story books of Akhtaruzzaman Elias have been published after independence. His other notable short stories are “Another Voice in Another House” (1976), “Khoari” (1982) and ” DudhevateUtpat ” (1985). He has perfectly portrayed the life of old Dhaka in his story. The story of HasanAzizulHaque, Shawkat Ali and AkhtaruzzamanIlyas reveals the social system and socio-politics of Bangladesh’s short story, which has established exploited rural life on the one hand, and decaying values on the other.
Moinul Ahsan Saber (ParastSahis), Kayes Ahmed (Blind Archer), BipradashBarua (Gangchil, War Victory Story), Bulbul Chowdhury (TukaKahini), Harun Habib (Bidrohi and ApanPadabali), Bhas Chowdhury (Grammar of Bloodshed), Ahmed Bashir, KajalShahnewaz, ZakirTalukder, Papri Rahman, MasudulHoq, PrashantMridha, Ahmed Mostafa Kamal, MirzaTaher Jamil, KabirRana, ShahnewazMunni, AditiFalguni and others.
04.
With the liberation from the hands of the divisive rulers in 1971, a conducive environment for free culture was created in Bangladesh and due to that drama was established as a regular art form. After the poem, the image of the society is reflected more in the play. Moreover, the innovative power of the playwrights, political-awareness, strategic structure and sophisticated language created a vibrancy in the post-independence drama.The drama of this period depicts the mass movement, liberation war and freedom struggle and the decline of values in post-independence social life, frustration and deprivation of the people. Various plays were also composed during this period using metaphors, symbols and folk traditions and many foreign plays were translated into Bengali. Syed ShamsulHaque, Abdullah Al Mamun, Mamtajuddin Ahmed, Mamunur Rashid and Selim Al Deen Pradhan were among those whose writings accelerated the drama movement in Bangladesh after independence. They are all related to stage acting.
Syed ShamsulHuq’s play based on the liberation war “Payer AwaazPawa Jay” (1976) is a valuable addition to the field of drama in Bangladesh. It is also important in terms of form in terms of the form of his “Life of Nooroldin” (1982). Abdullah Al Mamun established himself through the play “SubchanNirbasane”. He also wrote several plays on the erosion, despair, instability, etc. of the values prevailing in the country in 1974, such as “Now is a bad time”, “War around”, “Catch now”, “Commander”, “Still a slave” (1984).
Mamunur Rashid is the most socially conscious of the contemporary playwrights. His notable plays are: “OraKadam Ali” (1979), “OraAayeBalei” (1981), “Iblis” (1983), “Here Anchor” (1984), “Guinea Pig” etc. Selim al-Din has experimented with the form and language of drama. His theatrical talent is evident in his satirical plays in “News Cartoons” and “Muntasir Fantasy”. Also noteworthy are his plays “Kittankhola” (1985), “Shakuntala”, “Keramatmangal”.
Although Mamtajuddin Ahmed wrote plays before independence, his plays spread after independence. He is known for his use of satirical language in monologue and dialogue. His two post-independence dramas were “Sat GhaterKanakari” and “Ki ChayShankhchil” (1985).
By the standards of world literature, every branch of Bangladeshi literature is playing a unique and exemplary role in the field of creativity.
After independence, drama in Bangladesh became a major tool of the drama movement; Various drama groups were formed. The groups are gradually taking the drama towards a promising future through regular drama staging. The drama groups which are especially active in the drama movement are: “NagarikNatyaSampradaya”, “Theater”, “Dhaka Theater”, “Aranyak”, “Dhaka Padatik”, “Natyachakra” etc.They are translating and adapting plays by world-renowned playwrights such as Brecht, Moliere, Chekhov, Shakespeare and Ibsen. Nowadays young playwrights are also writing with a great enthusiasm such as Masud Reza, Mannan Here’s, BodrujjamanAlamgir, SomyaSarker, KamaluddinKabir, SaimunJakaria .
05.
Although significant progress has been made in the field of research in post-independent Bangladesh, its development in the field of basic essay writing has not been as expected. Essays and literature of this period can be divided into nine main sections: ancient and medieval literature, modern literature, Rabindra-literature, Nazrul-literature, folklore, language practice, literature on language movement, literature on liberation war and editing. SanjidaKhatun, Rafiqul Islam, Anisuzzaman, Abdul Hafiz, Abu HenaMostafa Kamal, Mohammad Moniruzzaman, Syed Akram Hossain and others have made special contribution in the field of research. SanjeedaKhatun and Syed Akram Hossain’s research subjects are RabindraSangeet and Rabindranath’s novels and short stories respectively. Rafiqul Islam’s research subjects are Nazrul literature and Nazrulmusic.AbuHenaMostafa Kamal’s book is titled “Bengali Press and Literary Writing” (198). Mohammad Moniruzzaman has done research on a variety of topics, but the most notable of them is “Sahityachinta in the Periodicals: Saugat” (1981). Through the writings of Mohammad Moniruzzaman, Anisuzzaman and Mustafa Nurul Islam, a character of Bengali periodicals has been revealed to the reader.
GolamMurshid has done significant work in research at the university level. The subject of his research is ‘Social Reform Movement and Bangla Drama’; Rashid Al Farooqi has worked with Muslim novelists in Bengali literature. AbulKashem Chowdhury has studied the background and establishment of social design, Nazma Jasmine Chowdhury has studied politics in Bengali novels and Wakil Ahmed has studied the trend of Bengali Muslim thinking in the nineteenth century. One thing is clear from this that after independence, there has been a touch of diversity in the field of research in Bangladesh.
Extensive research has also been done in Bangladesh on folklore and linguistics. AbulKalam Mohammad Zakaria, Ashraf Siddiqui, Mozharul Islam, AbdusSattar, Abdul Hafiz, Anwarul Karim, KhandakerRiazulHaque, SM Lutfar Rahman, Abul Ahsan Chowdhury and others have done significant research on folk literature. Mohammad Abdul Qayyum, Rafiqul Islam, AbulKalamManzurMorshed, Mansur Musa, Humayun Azad, DaniulHaque, Moniruzzaman and others have done research on linguistics.
Notable in the field of political, sociological and contemplative writings are Badruddin Omar, Abdul Haq, Sirajul Islam Chowdhury, AbulKashemFazlulHaque, Ahmad Rafiq and others. The contribution of RaneshDasgupta, Syed Ali Ahsan, Kabir Chowdhury, Abdul Mannan Syed, SyedAkram Hossain in basic research essays are important. Among them RaneshDasgupta is known as a Marxist essayist. Syed Ali Ahsan has written numerous articles on past and present Bengali poetry and art. His “Constantly Welcome”, “Art Sense and Art Consciousness” is a book of profound insights. Kabir Chowdhury is credited with introducing Bengali writers to foreign writers and their works.
Just as Bangladesh has kept the country afloat with its achievements in agriculture, industry and economy through the fiftieth anniversary of its independence, art, literature and culture have been playing a unique role in building a creative Bangladesh with the Bengali consciousness and spirit. By the standards of world literature, every branch of Bangladeshi literature is playing a unique and exemplary role in the field of creativity.
Comments
0 comments
