Main sources of arts are—the choice of time, the stroke of decade and the sensitive mind of an artist. The source of every decade’s new queries are stroke of the same age and memories of the past. The habit and behaviour may so much attractive and effectual of a decade, it takes a faded shape by the random using in a time. In art, literature and specially in poetry this issue keeps a sign very deeply. The memory and actions of past take a glorious figure by the knocking present. By this way poem is rotated from one time to another. Every preparation of past and the inquisitiveness of present makes a suspicion to the person’s realm of imagination. Only this suspicious mind createsa inquisitive sense and creator an also.
At last, poetry is a sign of pure imagination and aboriginal thinking of the poet. There has a possibility to be irrespective of learnt knowledge but acquired knowledge is solitary only and its seclusion is undeniable. In their daily life, men have to face many kinds of practice. It is true that these conducts don’t always make same kind of react but every behaviour substantiate a common reaction to every place, time and person. The natural law of methodicalness doesn’t refuse this type of conduct. Beside this, by the change of time there may have many differences to human behaviour but normally it is impossible to bring any negative conduct against to any positive behaviour or civility. This ruleis abided by to every place, time and person. In art, imaginary was an important context to Heggel. He says, ‘The work of Art is of higher rank than any-product of nature whatever which has not submitted to the passage through the mind.’
That means, Art is far better than any of natural creation because there has a mediation of mind behind the creation of Art. The meaning of mind mediation is, to make a unification between imagination and concrete-truth. Moreover, when Plato says, Art is an imitation or duplication, for this reason it is many far from the truth, then Aristotle says a different talk. He says, though Art is an imitation of real but it is more alive than the intrinsic truth. With this meaning Poem is not a picture, it is a shadow of the society. The picture can capture from any attitude or any place, it looks like about same but the shadow or portrait takes many different shapes if the artist were same even. So if Poem or Art may so far from the truth though it makes more slaughter than the intrinsic truth in human mind. Man is always aboriginal in imagination; every person has an ownership of separate imaginary power. It is more true in the word of creativity, specially the imagination of a poet.
Man can be a claimant of irrespective knowledge, a similarity can be found between tow person in their learnt ideas and life experience; but there cannot be found even two person who dream the same or who have the ownership of same imagination. This speaking’s are hundred percent pure to the poets. In the preface of the book ‘Shrestha Kabita’ Jibanananda Dash has said, ‘ Before giving the shadowy answer of the question ‘what is Poem’, it can be said clearly at least that Poem has many types.’
In spite of sharpness of feelings there has no proof of mind improvement for non-discloser; in spite of enough life experience it would not be possible to retain of time for the lacking’s of sagacity.
As examples he has mentioned to the poems of Homer, Malarme, Raabouoe, Wrilke, Shakespeare, Bodleare, Rabindranath and Eliot. That means, ‘Poem has many types’ means not that a passionate address of honour or a wet love-letter of solid emotion is also a poem. For example, ‘Man has many types’ indicates the Kokeshoied, Mongoloied, Nigroied by the angle of anthropology, Men-women by the angle of gender and civilized-uncivilized by the angle of civilization and many others like these categories can be classified of human beings. But only for the similarity of figure certainly nobody will classify a Gorilla as mankind. Predated, ‘poem has many types’ means that only poem has many types. Any sentimental address of honour, love-letter or poetic selfcriness which are near to poem are not poem at all. To the sagacity of Poet the mechanism of creating poem is a great
liability. The main intention of poem is to transit purport in human mind. For this reason, a writer has to been an owner of aboriginal thinking and imagination. He, who is a creator, not a recons tractor; is reluctant and firm in mind to create an artificial art. In the article of ‘What is Art’ Tolstoy has mentioned four elements of making artificial art. There are- to whet, to make imitation, to strike with amazement and to make of curiosity. As a inspiration to create art, he says, ‘when a strong sentiment of anyone of the society feels any need to transit to any other’s mind, then creates an universal art only’. On the other hand the false artists create art to fulfill the taste and demand of the higher class. So the source of false art is not the flow of inner emotion of the artist, it is only a closes of the artist to gratificate the demand of the higher class. Honest literature is always a creation and false literature is a reconstruction or a imitation. For this cause the thinking and imagination of a false artist is as like as to whet, such as a imitation also. A poet creates a stroke to the deeper part of feelings where, the shelter of a sub-poet is wheedling language there. Inquisitiveness creates by the combination of these three elements. But though a poet is honest to his wisdom so he translates of the feelings and realizations. The main actors of behind this role playing factor are the experience of passed life, idea of learnt knowledge and the wheel of events of regularities-irregularities. The main resource of a poet is imaginary power. Keen insight, sharpness of feelings and individual technique of discloses are after that. The mastery or decline depends on the layer of a person’s merit or talent in many part.
A real poet extends his own imagination in an uncertain topic, can shows an efficiency to elect a certain topic to own of his favorable choice; and shows also. In almost place of art and thinking every thinker is drawn on his own fields. His dream, imagination and thinking’s are rotated surrounds only to that special fields. Though in ‘The talking of poem’ Jibanananda has admitted the multidimensional talent of person, but in the same space he refuses the equal efficiency of one person at the same time in many fields. He has denied the possibility to show the equal talent and roaming to many fields like economics, sociology, politics and many other areas of the realm of imagination at the same time. With this, that person is equally skilled to many fields, he has called them as ‘sub-poet’ or ‘sub-philosopher’ and had written, ‘talent has made to whom a poet or a singer or an artist, he is amenable to the reason abilities of art of knowledge to that field, not to any other field’. So to a poet, of his society, of every time of every society’s expectation should be poems only. If any other type of creation doesn’t be beyond the range of his capability in spite of that it is unjust to him to demand any other content without poem. Jibanananda thought that if anyone keeps busy a poet to any other work without poem there occurs an injustice to the talent of a poet as though as a little. There has a great matter of preparation of poet before writing, it is not only reading; if a poet doesn’t get enough leisure to be engaged in meditation for a long time then it may possible to get of countless writings with full of poetical imagination but that writings cannot be able to reflect the talent of him. Time of poem is especially important fact to practicing of poem. Time, which is described in a poem, the type of relationship with the poet of that time, in the way of keeping influence to the poetic soul of that time’s experience, to paint with that to identify the taste and the main grief of that time is devolved on the poet as his duty. As a failure, to stay with present, he will describe the imaginary story of prehistoric era only. No similarity or relation will be found of present time or society with that description.
The poet is a direct visualizer and an explainer of the flow and stream of events of his own society, but he doesn’t keep limited to his thinking and imaginary in the bound of that curtained piece of time only. For the reason of that, in his book of ‘Modern Bangali Poem: Preface’, Sayed Ali Ahsan has mentioned, ‘the duty of a poet is to discover the truth and virtuousness of life and as the attempt of this discovery he touches the streams of events of the period of time, but doesn’t be limited in that.’ By this way, with the assemblage of the truth and the taste of time a poet has been impelled with his self-inquiry. As a reaction of external stream events, the poet has been excited inwardly, and that incitement and anxiety create the self-inquiry combindly. Always the answer of that self-inquiry doesn’t be made up in art, in literature, in philosophy or even in science also. So a poet has to face to himself and to his own society. Be tired with a great self-destruction, a poet keeps answerless questions ever. The source of that question is socio-economic disorderness, political instability and mental distraction of the person. The poet has to be not only inquisitive but also owner of sagacity also. The lacking of sagacity every inquisitiveness of a person makes just as a visit. So there creates a hard understanding feelings in exchange of obsession in poem. SudhindranathDatta had understood this matter many years ago. He has written in his article, ‘Speech and Feelings’, ‘the magnanimous, pathetic literature of this era is not individualistic also; and if anyone’s mind improvement is as uncommon, if he can’t be as more impersonal, then the expectation of self-revelation is a deception for him. On the other hand, the supreme way of oblivion of arrogance is obedience of knowledge without any question; and as knowledge is profound, so it’s advertisement is justly impossible.’ There has a negative role to the person’s foolishness and demureness with the question of mind improvement. In spite of sharpness of feelings there has no proof of mind improvement for non-discloser; in spite of enough life experience it would not be possible to retain of time for the lacking’s of sagacity.
The reason of this is foolishness and demureness. The poet has to be aware about time and owner of sagacity. Without sagacity, the practice of emotionalism may go on but the purity of sentiment or the stranger of imagination should not be expect there. The time of poem and the sagacity of poet are bounded with each other.
Poem is not an illusion without the knowledge of time, it’s an integrity full memento of the person’s emotion and wisdom which has been created to adopt of time. Poem wants literary honesty; slyness is thoughtful to the eye of poem.
So at the time, poet’s own life-experience and truthful feelings have to disclose. With the knowledge of time, the subject of culture and traditionalism is also related. The poet has to be also conscious about cultural heritage. Because, poem is not any sequence less inanimate matter, it’s a continuous illusion of all event from beginning to end. The relation between the culture and history is very deep. Where the evidence of cultural consciousness is founded, the lesson of history also keeps a great role there. Eliot has said at ‘Culture and Personal Skill’, ‘This historical sense, which is a sense of the timeless as well as of the temporal and of the timeless and of the temporal together, is what makes a writer traditional. And it is at the same time what makes a writer most acutely conscious of his place in time, of his own contemporaneity.’
At the change of era the main directing power is money; economic certainty keeps a poet active and pensive. The activeness of thinking and imagination being as the main detector of the poet’s creative faculty.
The relish of any assembled past event or a myth or tradition that creates by the influence of any special event make to an author as pensive; to a poet as self-absorbed. The time consciousness of a poet is reflected by the transformation of culture and reliable illustration of present time’s stream of events. The literary works of Shakespeare, Sophocles, Rabindranath, Whitman, Byron, Nazrul, Manik, Jibanananda and many others are written as the glow of cultural sequence of past and experience of their same age. At the literature of Rabindranath intellectual difficulty discloses as much as, the literature of Nazrul-Manik, humanity is agitated too much there. Jibanananda is not loud in spite of seeing after the worldwide political instability but his support to the mass-movement and mass-taste is inartificial and unshaken to human love. By the influence of the poet’s sagacity the lamp of culture and history can be a part of poem. Lickings of sagacity makes poem an instrument of pleasure only. Poem is not a way of acquirement of knowledge, a reader has to been disappointed by reading a poem if there have a goal to gain knowledge about any particular time.
At poem, time has to hold as not a part of eternity only; rather than the goal is to give the place to the memento of eternity’s court. By admit with the relation between time and tradition it has to admit also that the relation with time and place is also very deep. In the article of ‘Poet and his Instrument’ has said, ‘at the modern icon of poem the sense of time mixes deeply with the sense perceptible regional shape, with being related with a particular place and a point of time it makes itself as a secluded picture.’ In this point it has to keep in mind that though a poet is a horoscope of time, is also a creator of eternity, though he is engaged with cultivating knowledge, is also a source of wisdom. With the waste of time and misuse of sagacity the decadence of values is started. Though the difference between socio-ethical values and poetic values is very sharp but it is obvious and extensive. The ethical question is irrelevant at poem; poetic values are different than that of the social values. Social and ethical values are made of society. At a time of in a special society that values are equally applicable to all of that society. But poetic values are totally different on the basis of place, time and person. This values are made by the poet own and they are related with the poet’s personal and poetic honesty. Any external power neither can make a crack on it nor can control it too. Poetic values are aloof fromLalan, he is a self-born person; a sovereign too. About this topic the speech of BenedettoCrouch is mentionable here, ‘Art is independent both of science and of the useful and the moral.’
He also said that it is very funny to search any goal at art. Binay Ghosh has written in his article of ‘Truth and Reality’ about this topic, ‘The goal of art is to feel the truth of life and express to it. The evolution of truth is not detached from reality, is related.’ If we accept these two quotations, it has to admit also that ethic is a comparative matter and poetic values are totally an artistic subject, never it depends on the social values any way. Sometimes the tune of art and the irresistible truth of life plays as same. At the field of human-thinking, in the matter of life-art and cosmological area are questionable. In the article of ‘The Nature of Literature’, Rabindranath Tagore has written, ‘Without feelingthe reality of matter there has an another side of poetry, that is art of that. It is easy to proof a logical matter; I want to disclose that which is delightful.’ Man’s mind is existence in a place of emotion thrown upped matter, with the sharpness of talent and the rule of wisdom it cannot be possible to reveal the secret of it. Poem pays respect to wit, loves to sensitiveness only. All of these occur on the basis of taste of time, by the stroke with finite-infinite habits of man’s classical desire.
Time has an ascertained identity; has a special picture of the economic system of a special society also. For this reason, a poet has to be conscious about time. He has to a clear idea about the economic rotation and the use of money in that limit of period. At the change of era the main directing power is money; economic certainty keeps a poet active and pensive. The activeness of thinking and imagination being as the main detector of the poet’s creative faculty. The shelter of modern time’s poet is not a valueless estimate; is the identifying token at connectedsagacity. Not in the excess of emotion; his relief is at the compactness. Sudhindra Datta has admited to his poem ‘The Ostrich’, I know to the liability of this destruction/ We both are alike partner/ Other has collect the due ago/ The burden of debt repaying is to us.’ For the result of socio-economic-political sterility such amount of stroke creates at a specific time in a society, country, the same amount of impression creates in the heart of advance poet of that time. Poet is magnanimous, sensitive hearted, so sometimes he is flooded with emotion, sometimes is afflicted with grief. But that humanitarian difficulty does not create inevitable neurosis, it makes the poet as self-conscious about reasoning, sagacity and causality. Ashru Kumar Shikder has mentioned at ‘Modernity of Modern Poem’, ‘He is modern who is the person of modern time, and in whom writings the modern situation is reflected with its quarrelsome entirety in full dignity. He, who has felt at modern time and has abled to discourse that feelings as significant.’
That person who is a failure to feel the trend and question of that same age, it is not easy for him to disclose the image of his own age.
his own experience and acquired knowledge cannot make him as time-conscious, then his great narcissism can terminate him as an apathetic poet about space-time. Same age fully neglects that person; eternity does not give him any welcoming garlands. Nature also abides to the compatible exchange of practical side of meditation and thought. By living in a time of scarcity, hunger, poverty that poet is being self-centered only, hard time does not make affected of whose mind it is possible for him to be a sub-poet, real poet is made with different semblance of shape, different entity. In modern time, every poet has a specific country, his relief is in that country too. The blooming, arising and shelter of his brilliance is in that country and centralized to the poet’s self-nation only. So an honest poet has to be faithful to his country and nation. Love to own nation and country gives a poet nobility but the exaggeration love of nation and country makes the poet world-apathetic and narrow-minded. PanditJawharlal Nehru has written to his daughter of ten years in one of his letter named, ‘The lesson of Nature’, If we want to know anything about this world of us, then we must have to think about all the people and country of it. It will not be enough to think about our small homeland only.’
at the way of poet’s aloofness, the knowledge of time and sagacity are important.
This advice of Nehru is not enough for the politicians only, it is important to the poets also. To the consideration of modern time’s poet by exceeding the border of country and time universe gets a special importance only, jingoism or blind nationalist feelings would not get any favor to his intellect and wisdom. By reading the drama and poems of Shakespeare, Robert Frost, Yeats, Rabindranath, and Jibanananda Dash, it is seen clearly of the generosity of their mind. Dr. Ahmad Sharif judge the matter with more impersonal angle of vision. In article of ‘Place-time and national shape in Literature’ he has said clearly, ‘ The three quarter of men life feelings are the gift of place-time, rest of one quarter gets by practice. On the other hand, by the difference of feelings, talent, wisdom and education there has a variety to man’s consciousness and develop. For this reason, the truthfulness of filtrate consciousness is not so much as that of the expressed behaviour of man’s impact of latent consciousness. So the number of feelings, talent, wisdom and culturally advanced man is a little.’ It is not possible to write up poem as anyone’s wish, without the gift of place-time by depending only on imagination it is not possible to go ahead so far, practice is needed for that. To the poet of modern time practice, experience of reading and feeling of life is as much as acceptable, inspiration is not as much, excuses of inspiration is ridiculous.
In the preface of the book of poem, Arkestra’ which was published at 1935, SudhindranathDatta has written, ‘in spite of the kick of present time’s writings, as like as a somnambulist passerby, just like that I am not afraid of the inspired poet also; and by the virtue of time value of sense-directing is increased nor decreased at all.’
Sudhidranath has accepted the experience for art in an special importance and has given an specific honour of sense-directing. The eco of this words can be found to the words of William Folkner. This Nobel winner novelist has said to Jaack Stain at 1956 in an interview, ‘Experience, observation and imagination are important to a writer.’ After this he has rejected the matter of inspiration. The fact of inspiration gets a great importance to only the third and fourth grader poet. To the first grader poet its value is negligible. Shamsur Rahman has written to the preface of his book ‘Shrestha Kabita’, ‘For any insensible reason at the time of writing poems, I can hear a sharp sound of whip, a scream of any woman. A racy posture of any cock, tree of some guava, a garden aboundedbungalow, an aspect, vibration of a mulberry tree, a slow motioned horse carriage, an asleep groom float on my eye sight again and again. I cannot remove them far away anyhow.’
These type of sceneries are as related with the passed life of a poet, poet cannot remove these. So the experience becomes important only. But however, misery of thinking, poverty of guessing and inertly of imagination terminate the poem as to sentimentalism. So a real poet assimilates the essentiality of arts and every fields of illusion of knowledge, makes the transformation of these in thought and language. Always not the drift of daily life, usually the eternal fact and realization and feelings become context only, with these not only imagination, experience and the sagacity which is gained by observation, make the poem as ascertained. For this reason, at the way of poet’s aloofness, the knowledge of time and sagacity are important.
Translated By Shilpi Naznin
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