The New Nation - Internet Edition

Michael Madhusudan Dutta and his working life

M. Nurul Haque

Michael Madhusudan Dutta was the first modern poet of Bengali literature. His revolutionary steps had given new life in Bengali language and literature. He introduced rhymeless verse (Amitrakkar Chanda) and sonnets (fourteen line poem) in Bengali language. He was the first modern poet in our literature.

At the age of thirteen years he was admitted in Hindu College. While he was reading there he was biased toward English literature and had started to write English poems at the age of seventeen years. He was very ambitious and his ambition had no bounds. He was desirous to be a renowned poet in English Literature. It was a great blunder of his life for which he repented later on.

Michael Madhusudan was born on the 25th January 1824 in village Sagardari on the bank of river Kapotakkha in Jessore district. His father Rajnarayan Dutta was a renowned lawyer and his mother Jahnabi Devi was daughter of Gouricharan, then Jaminder of Satkhira. Forefathers of Madhusudan had come from Bali of Haora district.

From school life Madhusudan was attracted to English literature and culture. He was very eager to go to England and had written the under-mentioned poem at the age of seventeen years which bears the identity of his passion for going there.

" I sigh for Albion's distant shore,

Its villages green, its mountains high;

Tho' friends, relations I have none

In that fair clime, yet oh ' I sigh

To cross the vast Atlantic wave

For glory or a nameless grave. "

Michael's ambition had no bounds. He had started to send English poems in Blackwoods Magazine and Bentley's Miscelleney. At that time Byron was his favourite poet. Gradually he was attracted to other poets. Madhusudan was born with extraordinary merit. While he was reading in college he learnt twelve languages. When he was grown up his mother had chosen a beautiful girl for his marriage but he was not agreed to marry her. He said If I marry, I will marry a girl of English family."

Madhusudan went to Madras in 1848 and stayed there for eight years. After going there he married an English lady named Rebecca. Their marriage was dissolved and Rebecca left him in 1855. Shortly he married a French lady named Henrieta who was his life-partner upto last day of her life. His first book of English poem "Captive Lady" was published in 1849, but in comparison to the books of renowned English poets it was assumed as a third class book. Madhusudan was deeply frustrated as his book could not occupy a good position in English Literature.

Madhusudan was connected to Bengali literature accidentally. A Bengali drama named Ratnabali" was staged in Belgasia. Madhusudan was advised to translate that drama into English to distribute it to invited English guests. Translation of the drama was published in time.

Madhusudan had witnessed the drama and later on he desired to write Bengali drama. His first drama" Sharmista " was published in 1858 and it was staged in Belgasia by the next year. Later on he had written five dramas continuously. He introduced the rhymeless verse in his drama "Padmabati for the first time. Madhusudan's best performance of his life was the Meghnadbadh Kabya in 1861 which was composed in Greek ideology and was completed in nine chapters. The book was reputable in whole Bengal and outside.

One day Madhusudan was walking in a street of Calcutta. He was in dress alike European wearing coat, tie and hat. He noticed that a grocer was reading his Meghnadbadh Kabya "attentively sitting in his shop. Madhusudan asked him "What are you reading?" "I am reading "Meghnadbadh Kabya" written by Madhusudan Dutta." said the grocer. Madhusudan asked "How is the book?"

"It is a wonderful book; such book was not written in Bengali literature earlier. But Sir,

you will not understand it".

"Why?" asked Madhusudan.

"It is written in strong language; It will require vast knowledge and erudition in Bengali literature to understand this book" said the grocer.

Later on Madhusudan was given felicitation in a big hall in Calcutta for writing the immortal book 'Meghnadbadh Kabya.' In such respectful reception he said "Today you are felicitating me, but I got a greater felicitation earlier." Saying so he narrated the fact of the grocer who read his book. He further said "I am unable to express the pleasure I got when the grocer said that I would not understand the book as it would require vast knowledge and erudition in Bengali literature to understand this book. It was a greatre felicitation for me."

His book "Birangana Kabya" was published in 1862. In the meantime his father expired and he was owner of vast properties and resources. He could live an easy life and engage himself in culture of Bengali literature. But he had passion for going to England to be highly established in his life; so he left India on the 9th June 1862 to go there. He was admitted in Graze Inn University to study Bar-At-Law and completed the course.

In 1865 he went to France and stayed in Versailles. He paid close attention to compose sonnets (fourteen line poem). He composed more than hundred sonnets and sent to Calcutta for publication which were published in 1866. These sonnets were the last poems of his life. While he was staying in Versailles he remembered his motherland, rivers, banyan trees, birds, etc. from core of his heart which he expressed in sonnets. A small river named Kapotakko passes beside his village.

In sonnet named "River Kapotakko" he said:

" Oh river, you are always in my memory,

I always think of you in my seclusion.

So many rivers I saw in different countries,

But whose water can satisfy the thirst of affection;

You are alike fountain of milk

In breast of my motherland."

In another poem "To Motherland" (Janmabhumir Proti ) the poet said

"Mother mine, remember your slave

It's my humble prayer to you;

If in foreign country my life star drops accidentally

From the sky of body, I don't lament for that,

Whoever is born must die

Who will stay immortal anywhere,

Does water remain ever constant

Alack in life-river!

In 1867 Madhusudan had come to Calcutta and started to practice in Court as Barrister but he was ultimately failure in law business. The money he earned in practice was spent in drink and misuse. Day by day he was indebted which he could not repay. His health was deteriorated due to financial problem and frustration. Henrieta stayed with him in weal and woe like shadow. Madhusudan used to say -- Henrieta my darling, you are suffering much as my life-partner, but she never blamed her husband rather tried to console him. Such respect to husband of a foreign wife was a rare example.

Before one week of his death Madhusudan had written the under-mentioned poem on a piece of paper and kept it on the table.

"Stand a while passers-by beside the grave

If you are born in Bengal.

Poet Sree Madhusudan is in eternal sleep

On the lap of Earth as a child

Takes rest on lap of mother.

He is from Dutta family of Sagardari Jessore

Beside the river Kapotakko.

His father is Rajnarayan the high-minded

And mother is Jannabi "

Henrieta saw the paper on the table and read the poem from first to last. While she was reading the poem Madhusudan was looking at her fixedly. After reading she handed over the poem to her husband and Madhusudan read it loudly. Henrieta realised that the life of her husband was coming to an end. He had written the last poem of his life to be displayed on his tomb.

His wife Henrieta was suddenly attacked by severe fever and died on the 26th June 1873. Physical condition of Madhusudan was being deteriorated day by day and he was transferred to Alipore General Hospital, Calcutta. Madhusudan breathed his last on the 29th June 1873 in liver cirrhosis, throat ulcer and heart disease. At the time of death he had no house, money, resource or any support. He had brightened the sky of Bengali literature by his great contribution. He is alive in heart of the Bengali people and will stay forever.

( The Author is Essayist, Story Writer and Life Member, Bangla Academy. )

Love and darkness in Madonna of the Rain

Thomas O. Morgan

In his excellent new book, Madonna of the Rain, Rabiul Hasan has awarded his readers with an interesting combination of love and darkness, life and death, which creates exciting new images within their juxtaposition. The poems, proudly personal, belie their romantic subject with masterful restraint in quiet observation. Such refreshing reminiscence bathes the reader in joy and pain, completing the core insinuation of the book: Love and death overlap.

In ''Night Piece" the persona, a "scraggy figure" toddles in the "empty" countryside of Mississippi, "shaving off the dark," displaying attractive images of darkness, depression and death. He also, however, scoops up "fallen stars, flints and fireflies," in a romantic way, whimsically unaware of his direction in this empty world. Certainty the images are so poignant that they are almost tangible. The ache is real.

Another poem, "Summer Evenings in the Mississippi Delta," engages the night as well. Here the "fields heavy with muffled sound," suggests the depression of oncoming night. What pain is associated with dark: a dog in a garbage truck, two Negro "shadows" next to "hogsties," magnolias dying? And how restrained is the author who only remarks directly on the "glowing" eyes of the buzzing insects.

When Hasan presents us with "Checking on Barn at Night," he again uses darkness to demonstrate the romantic attraction to death. Here there are cold and snow, a solemn barn, all symbols of death, but he immediately applies to this a recognition of gold and happiness. They are found "asleep in vast silence" (death wish?) "They are like/nestlings secure in their mothers' breasts." When the persona enters the barn (storage place for the gathered dead and the implements for their deaths), he knows and loves "these which are there", they are "eyes gouged out of the plants," (What an image!).

In "On a Moonlit December Night Near Charleston, Mississippi" Hasan again romances us with the beauty of nature at night. His images are vivid and his attraction to night "in December" is again remarkable. His night is "dipped into ashes of snow," and yet he is having a wonderful time experiencing a "long, empty, winding road ending up nowhere." In this wonderland he will "not let sleep creep" into his eyes. Sleep would destroy his appreciation of this natural attraction to death of the "Orchard by the Tallahatchie."

Another poem, "A Dream of a Fair Woman on a Late October Evening," combines his beautiful imagery with his attraction to life (the woman) and death (the night). The persona has been "low-spirited" during the day. In his dream he dashes for the outside, for nature, for life, for the woman. Snows suddenly fall, gray, old, dead. We ask whether he sees two horses mating or fighting, either of which would connote life in this death. Their manes are "dark, icy", another view of life in death is thus displayed. Within this scene the persona recognises the image of the sky (life) above him: "The sun is the moon is an embroidered quilt over my head." Meanwhile he waits expectantly for "one" (how well and deftly he avoids the explicit) to come "plodding through the snow." It is this natural environment in which he will find himself, or love, and escape his unhappiness.

In "December Snow" Hasan romanticises "the velvet shroud thick on the ground," the gaping clouds/glide past the glittering moon," the "Grasses" are "stiff/under the surge of white." We are reminded of Dickenson's chariot when his ''chariot of winter" passes through the lonely, quiet forest. And who are the figures observed in the ice and snow, those actively involved, not just watching from the protected interior? Which is preferable? After all, he exhorts, repeats, "keep the windows open."

"After the Rain" forgets the snow, but observes the rain in the night this time, at least the ambience after the rain. One notices that everything is gray, that the sky is empty. This time, however, the lush abundance is extolled. There is "wind through the swollen fields." It's interesting that "faces grow/Thin as daylight fades toward the dimming west," People lose substance, life, as night approaches. The summary is found in the old, lonely man walking slow home, perhaps to death.

In "Snowfall in Columbus, Mississippi," the persona anticipates night (death). His home is green (alive), but nature fades around him as night falls. He recognizes the danger glistening "In the dark like a cat's eye as moonlight breaks out." The barn door of the house of death that we encountered before "slams shut." It is interesting that the green house " moves nearer to what is shaping in the air." Ultimately, he watches as his body "empties its bones to the white cold." He readies himself for the end.

"The Death of P:aris" is Hasan's final address to death. If the persona is comparing himself to the abductor of Helen, the coward who killed Achilles, he is stepping out of character. He is more likely, however, anticipating instead the ultimate death at the hands of Hercules, son of Zeus, in the ninth year of the Trojan War, the penultimate year of the conflict. If so, the chopped moon, the night, the shadows, the hole, the town sinking and darkness are all the penultimate end. Our persona thus waits for someone-something to end experience.

Considering the similarity of the images of dark, rain, ice, snow and emptiness one might surmise that these poems deal with loss and death. When the poet combines them with a romantic attraction to nature we might argue that he is expressing a death wish, a desire to return to Mother Earth (his Madonna?) We can only hope that such a wish will be a long time coming.

--All quoted references in this essay refer to poems in Rabiul Hasan, Madonna of the Rain. Rockfield, II: Rockford Writers' Guild Press, 2008.

(Thomas O Morgan is a poet and an Assistant Professor of English at Southern University in Baton Rouge, Louisiana, USA.)

Book Review: Rise and fall of Buddhism in South Asia

The rise and fall of Bhddhism in South Asia

Author: M. Abdul Mu'min Chowdhury

Publisher: London Institute of South Asia

Pages 358, Price: Taka 500/- US$ 15

Before the rise of Brahmanism the subcontinent was overwhelmingly Buddhist. South Asian monks and merchants had introduced Buddhism to other countries. Although in those Asian countries it continues to prosper, in South Asia it survives only as a jumbled memory. The human agency, the Aryan-Brahmans, behind the unusual fate of Buddhism in the subcontinent also became its modern day historiographers.

The result is a slanted history in which Buddhism was not more than a seasonal weed in the Aryan garden, which has died out with the season, so writes Usman Khalid, director, London Institute of South Asia (Lisa) which published M. Abdul Mu'min Chowdhury's book.

Author, M. Abdul Mu'min Chowdhury, a former teacher of the University and Dhaka, the Agriculrural University, Mymensingh and the University College London has gone deep into the history of Buddhism in the sub-continent and has narrated how this great religion virtually disappeared from the land of its birth, although it continue to flourish in most countries of East Asia. The rise and fall of this religion in this area has been well-documented. The language is lucid and the arguments are well-articulated. Students of social history of Bangladesh and the rest of the subcontinent would get a lot of materials in their bids to paint a correct picture of the present, by tracing the ancient roots on which it is based.

A correct understanding of the present again would help make correct projections about the future. Viewed from this perspective this book is an invaluable document that can be of many uses.

As the publishers note, the book shows how Buddhism became a rallying creed for the pre-Aryan natives of the subcontinent they faced the Aryan-Brahman invaders. It brings to the forefront the methods used by the Aryan-Brahmans for uprooting Buddhism as part of their efforts to subjugate the peaceful and civilized pre-Aryan natives and the debilitating consequences these had for the South Asian economy and the society.

In the words of the author, "In gathering materials on the origin and progress of Buddhism in, and its disappearance from, the subcontinent and evaluating them, I was, to put it mildly, astonished by the extent and manner of such distortions.

It became obvious to me that if readers were to be given a chance to read a factual account of the subcontinent's history and truly consider its evidence and arguments on pure merit, then the distortions arising from the Aryan-centric perspectives and the high Hindu historians sanguinity to sustain it would have to be marked out and explained and not hedged. It is for this reason the bookh as also touched on the history of historiography."

M. Abdul Mu'min Chowdhury then tells readers, "In the light of the distorting tradition of South Asian historiography it is advisable that readers should weigh the evidence and rationale of a writer's judgment and accept or reject them on merit. I do not expect them to treat this book differently."

Such a bold statement would increase readers' interest in the book which is not only rich in content but also attractive in look. It can be collected from Mr. MA Taher, Phones: 01912146527, 01552311334.

MKM

Book review: Biswaser Diwan: Afzal Chowdhury

Biswaser Diwan ( collection of poems on Faith) by Poet Afzal Chowdhury. Publisher : Abdul Mannan Talib, Director, Bangla Shahitya Parishad, Dhaka. September 2007. Cover: Mashiur Rahman. Printer: Al Falah Printing Press, Dhaka. Price: Tk. 60.00 only.

Distinghished poet Afzal Chowdhury, a mighty pen of the Sixties, has a number of published books namely Kalyanbroto, Swetpotro, Shamgit Duhshomoyer, Shobmeherer Chhuti (published after his death), Noya Prithibir Jonyo (published after death), He Prithibi Niramoy How, Sylhet Bijoy, Oitijyochinta O Rasul Proshosti, Barnabaser Bible (Tr.).

He has some other unpublished books of which 'Biswaser Diwan', a compilation of some of his poems dealing in Faith, has recently been published.

These poems have the message for resurgence of the Muslim Ummah, clarion call to rise up against all sorts of aggression, domination and suppression, to reach the cherished goal of victory.

According to Faith, the goal for the emancipation of humanity can be achieved through the united struggle of the suppressed people.

The headings of the poems in 'Biswaser Diwan' are Ontotoh Arekbar, Shomapti, Hizrat, Shabuz Gombuzer Niche, Madinatunnabi (Sm), Hejajer Suryasta, Lohiter Shamudratir, Kubar Shwet Manjil, Ohod, Adi Jononir Kobor, Masjidul Haram, Kaba, Makka Muazzama, Chandrobidaron, Khatune Zannat, Islam Toronir Kandari and Nabuwat Sodrisho Khelafat.

The poet believes in the ultimate victory of truth and perish of falsehood. A dominating modern poet, Afzal Chowdhury, with firm faith in the Divne Mission, successfully conveyed his spirit and message by coining his poems with suitable words, befitting the call.

The poet's creative verses depict the present disaster of the Muslim world and agony for lost heritage. The last poem Nabuwat Sadrisho Khelafat is a call to rise to form Khilafat in the light of Nabuwat, destroying all evil elements and inhuman atrocities. The poet has firm conviction in this victory according to holy Hadith. The book is a fountain of inspiration of the suppressed people.

We expect good circulation of Biswaser Diwan.

-Abdul Muqit Chowdhury

Poem

Leaving

I am leaving, Miriam. I am leaving as

The clouds leave the sky's pool of blue face.

The earth is leaving me. So are you. And I am

Leaving all: flowers, woods, love, my roots - myself.

I am leaving all. Hear me, Miriam. Hear me well.

In the darkness of your eyes, I am no more

A light. I have lost my spirits, I do not exist.

I am leaving, Miriam, I am leaving as

The afternoon sun leaves off behind the trail

Of evening smoke. I am leaving behind all

These: fine madnesses, intimate sorrows, innocent joys,

Beautiful griefs that I could not endure, or

If I could, so what - I am leaving. I cannot

Breathe heartily: Earth is possessed, Mother Earth,

Mother Earth is dead, dead like your two translucent eyes.

I am leaving, Miriam, leaving soon, I could

See your eyes cast a glare of sickness and disease.

Hemlock, that is, where my infinite journey begins,

My last goodbye. All that were beautiful are damned.

All that were lovely are glassy. All that

Were innocent are effete. So be it, Miriam, now

I can die, you kindly bury me beneath the earth,

Or hurl me quietly into that eternal black river in Hades.

Trees and plants

Md. Maiz Uddin

Trees and plants give us cents

Trees and plants give us oxygen.

Trees and plants give us plants

Trees and plants fill up blanks,

Trees and plants give us smells.

Trees and plans give us fruits

These are all economic-roots.

Have we sheds from the plants

Have we shades beneath the trees.

Shadow and flowers bower to bowers

Birds and bees come to trees

In their nests to take rest.

Trees and plants fertilise lands

Harvest we crops blessings of drops.

Trees and plants beautify the lands

Natural sights brights the rights

Sun and moon as the boon

Appears at noon and afternoon.

Trees and plants make the environments

Cool and peaceful,

All the pool becomes full

Rain and Shower

Befall thunder

Passersby wait under

Trees and plants

Symbol of developments.

Human Descendant

Syed Lutful Haque

Six crore years ago Were you a human

Or being one of the animals

Lived years thousands and crores

Been one of the monkeys?

Like tiger-lion or wolf

No cruelty you have

Yet hunted with ease

Intelligent than animals you are

Beast-king lion bows you.

Animals have no mask

Defeated by you frequently

You are multi-face like octopus

Kept yourself coloured

Unparallel you the actor.

You are incarnation, vampire

You are father, you mother

You are grabber, you saviour

You are great in kindness and humanity

Human descendant in beings you are.

Translation: Main Uddin Ahmed