Showing posts with label POET. Show all posts
Showing posts with label POET. Show all posts

10/22/11

JASIMUDDIN

Jasim Uddin
Jasim Uddin (1903-1976) was a renowned Bengali poet and litterateur, commonly known in Bangladesh as ‘Polli Kobi’, the rural poet.

His verse has a simple, charming bucolic authenticity that earned him the title ‘Polli Kobi’. But, his profound commitments in non-communal socio-political movements championing the cause of humanism give his lyrics and folksy poetry a powerful and universal stance.

In 1969 Jasimuddin was awarded the DLitt by Rabindra Bharati University. He also won several awards, including the President's Award for Pride of Performance (1958), Ekushey Padak (1976) and Swadhinata Dibas Puruskar (posthumous, 1978). In 1974 he was also selected for the Bangla Academy Award but refused it.


Jasim Uddin’s Major Publications: 
  • Rakhali (Shepherd) (1927)
  • Nokshi Kanthar Maath (1929)
  • Sojan Badiyar Ghat (1933)
  • Rangila Nayer Majhi (1935)
  • Matir Kanna (1951)
  • Suchayani (1961)
  • Padma Nadir Deshe (1969)
  • Bhayabaha Sei Dingulite (1962)
  • Padmapar (1950)
  • Beder Meye (1951)
  • Pallibodhu (1956)
  • Gramer Maya (1959)
  • Thakur Badir Aninay (1961)
  • Germanir Shahare Bandare (1975)
  • Smaraner Sarani Bahi (1978)
  • Bangalir Hasir Galpa
  • Dalim Kumar
  • Boba Kahini (1964)
  • Field of the Embroidered Quilt (Nokshi Kanthar Maath's English version)

 
Jasimuddin died in Dhaka on 13 March 1976 and was buried in his own village in Faridpur district.





JASIMUDDINER SRESHTO KOBITA


                                                                               

10/21/11

SHANKHYA GHOSH

Image of Sankha Ghosh , 1932- (photo credit: Bikas Das)
Well-known Bengali poet, academician and critic, Sankha Ghosh was born on February 5, 1932 in Chandpur, in present day Bangladesh. His mastery over language and his absolute control over the form of poetry mark his poems with an exemplary quality of proportion, grace and depth. His poems convey message, but are refreshingly free of polemics.
Ghosh is lyrical, reflective, and introverted in some of his poems. Other poems reflect a sense of anguish towards the superficiality of our society and existence. His commitment as a poet is well-pronounced in many of his unforgettable creations such as Murkho baro, samajika naya, chapa srshti karuna, etc. Poems such as Dinaguli rataguli and Nihita patalachaya are examples of perfect application of control and proportion. His Babarera prathana won him the Sahitya Akademi Award in 1977.
Sankha Ghosh is the recipient of many awards including Narasimh Das Puraskar, 1977; Kumaran Asan Prize, 1982; Rabindra Puraskar, 1989; Kamalkumari Award, 1993, Saraswati Samman, 1998, Sahitya Akademi Award, 1977. His poems have been translated into a number of Indian and foreign languages.
The Library of Congress has thirty-eight titles in its collection by him including translations.

OCCUMPOR RABINDRANTAH


                                                                         

8/12/11

SHAKTI CHATTOPADAYA



Shakti Chattopadhay(November 25, 1934 - March 23, 1995) was among the greatest of Bengali poets. Shakti started writing in 1950s, but is usually associated with the generation of poets in 1960's. Regarded with great acclaim in Bengali Literature, Shakti is equally well known for his legendary bohemian lifestyle. Most of Shakti's life was spent in Kolkata, India. During Allen Ginsberg’s stay in India, the American poet is said to have developed a close friendship with Chattopadhay, and both are said to have influenced each other in various ways. Shakti Chattopadhyay’s first collection of poems, named (Hay Prem, Hay Noihshôbdo (O Love, O silence) came out in 1962. These poems were written at Chaibasa, Singbhum district in Bihar (now in Jharkhand) where he was guest of Samir Roychoudhury for a few years and fell in love with Samir's sister-in-law, which changed Shakti from a novelist to the best lyrical poet after Rabindranath Tagore. In the next thirty-two years, he wrote around two thousand five hundred poems which were published through forty-five books. Along with Sunil Gangopadhyay, Shakti remains the most famous poet of his generation. He was the leader of the Hungryalists, also known as the Hungry Generation poets. Shakti also became a close friend of Sunil Gangopadhyay and both worked tirelessly for Bengali legenadry poetry Magazine Krittibas. With Sunil, he was instrumental in the influential Krittibash magazine. These two poets are often referred together as "Sunil-Shakti" due to their friendship, poems and personal exploits. Shakti Chattopadhyay also enriched Bengali poetry through his collection of translated poems fromvarious languages. He was the co-editor of 1st Negro Poetry Collections in Bengali. In 1983, he received the Sahitya Akademi Award for his collection of entitled (Jete Pari Kintu Kêno Jabo (I can go but why?).


POETRY BY SHAKTI CHATTOPADHAYA


                                                                                          

7/29/11

JOY GOSWAMI

Joy Goswami was born on November 10, 1954 in Kolkata. Goswami's formal education stopped early, in grade eleven. His first poetry collection, named Christmas o Sheeter Sonnetguchchho (Sonnets of Christmas and Winter) brought him immediate critical acclaim. Goswami is one of the most powerful poets of Bengal and one of the best in the post-Jibanananda Das era of Bengali poetry. Primarily a poet, he has also written novels and literary prose. He has more than 30 published books, including three volumes of compiled poems numbering close to a thousand. He has written 12 novels, two of which are written in verse and 5 collections of essays related to interpretation and appreciation of Bengali poetry. He has received the most prestigious Ananda Puroshkar twice, in 1990 for Ghumiyechho Jhaupata? (Have you slept, Pineleaf?) and in 1998 for Jara Brishtite Bhijechhilo (Those Drenched in Rain). In 1997 he won the Bangla Academy Puroshkar for Bajrobidyut-bharti Khata (Scrapbook of Thunder and Lightning) and in the same year he also won the Birendra Chattopadhyay Smriti award for Patar Poshak (Garments of Leaf). The Sahitya Academy Award from the government of India came in 2000 for his collection of poems Paagli Tomar Shongey (With You, Crazy Girl). Goswami has expressed his dissent on several grave injustices that have taken place in India. These include the mass killing of Dalits in Jehana village in 2001 and the Nandigram massacre of 2007. He has been vocal against state brutalities. His poems have taken a very different turn in his most recent book of poems Shashoker Proti (To The Powers That Be), translated into English by Sampurna Chattarji. In 2007 he left the premier Bengali magazine, Desh and joined the newspaper, Sanbad Protidin, where he currently works.



AJ JODI AMAKE JIGGYESH KORO



                                                                                                  





















SEI SOB SHEYALERA



                                                                                          






















SURJO PORA CHAI


                                                                                    























GHUMIECHOW JHORAPATA


     
                                                                                     




















SANJBATIR RUPKOTHA



                                                                                           





















FACEBOOK


                                                                          




7/26/11

MICHAEL MADHUSUDAN DUTTA


Michael Madhusudan Dutt is considered a leading figure of the Bengali Renaissance of the mid-nineteenth century. He is credited with poetic and dramatic innovations best illustrated by his merging of Bengali stories and language with Western styles and forms such as those found in the works of Homer and John Milton. He was born in 25 January 1824 at Sagardari, on the bank of Kopothakho River, a village in Keshobpur Upozila, Jessore District, East Bengal (now in Bangladesh). Madhusudan was born with rock-like determination. He proved himself to be a student of exceptional gifts, and his teachers and professors with no difficulty recognised in him a fast-blossoming intellectual figure. When his boyhood was just commencing to bud into adolescence, countless coloured images rocketed in the sky of his imagination for a swift flare-up into fame.At that time Madhusudan desired to be an Englishman in form and manner. Born to a Hindu landed gentry family, he converted to Christianity to the ire of his family and adopted the first name, Michael. However, he was to regret his desire for England and the Occident in later life when he talked ardently of his homeland as is seen in his poems and sonnets from this period. Madhusudan’s life was at once a stupendous boon and an enormous sorrow. Loss of self-control was in the main responsible for this sorrow and his over-flowing poetic originality for this boon. Madhusudan was a wonderful linguist . His reading is almost unbelievable. Besides Bengali, Sanskrit and Tamil, he studied Greek, Latin, Italian and French and could read and write the last two with perfect grace and ease.His best work is Meghnad-Badh Kabya.About this Epic Tagore said “The Epic Meghnad-Badh is really a rare treasure in Bengali literature. Through his writings, the richness of Bengali literature has been proclaimed to the wide world.” Vidyasagar’s lofty praise runs: “MeghnadBadh is a supreme poem.” Madhusudan died in Calcutta General Hospital on 27 June 1873.


MICHAEL MADHUSUDAN DUTTA RACHANABALI
























MEGHNAD BADH KABYA

                                   
                                                             

                                                                               




CHATURDDASHPADI KOVITABOLI



                                                                       
                                                                                             




















NANA KAVITA


                                                                       

                                                                     





TILOTTAMA SAMBHAV


                                                                         





















VRANGANA


                                                                         

























7/25/11

JIBANANDA DAS




Jibanananda Das (1899-1954) is the strongest poet in Bengali literature. He was in quest of the modern age through its sorrow that makes him quite different from all others. This mystic poet was born on 28th February of 1899 in a Brahmo family at Barishal, which is now in Bangladesh. He started his studies at Brojomohan school, later on he passed I.A from Brojomohan college. He settled in Calcutta and passed B.A exam with English Hons. from Presidency College. After completion of Post Graduation in 1921 he started his career as Professor in City College of Calcutta.

His collection of first poetic works of Jharapalak came out in 1927, where he did not able to overcome the influence of Tagore but the said work was mercilessly criticized for its obscenity. Later Jibananda did overcome the influence of Tagore and accepting the rebellions of Kallol era he then followed T.S Elliot. Elliot’s feelings of History reflected in his next work. Dhusar Pandulipi (1936) – "Time present and time past are both perhaps present in the future and time future contained in time past."
His search for history or better to understand the Root influenced throughout his poetic works – Banolata Sen(1942), Maha Prithbi (1944), Satti – Tarar Timir (1961), Ruposi Bangla (1957), Bela Abela Kalbela (1961), Sudarshama (1973) , Beat of Jibananda Das (1954). Collection of articles ‘Kobitar Katha’ two novels – ‘Subirtha’ Malyaban and some short stories are recently discovered.
Among the modern poets of Bengali Literature the nature attracted Jibananda the most: Tagore expressed his poetry as Seenari. He was able to reach too close to the nature that makes nearer to Keats. Jibananda’s sense of nature created a myth of nostalgia. Most of the critics feel that his expression of nature scenery was like the ‘impressionists artists’. His creation forced towards the mystery of unworldly phenomenon. Like the impressionists with the use of one or a couple of words in his each and every poem. Another main feature of his poem is the feelings of the death obsession. His work Ruposi Bangla mainly deals with the natural scenery of Bengal but it deeply concerns with the feelings of death. Jibananda is the pioneer of Sur-realism in Bengali literature. Reality and fantasy come alive in his creation – ‘Banalata Sen’, ‘Aboshese’ or ‘Horinera’ may be referred to.
This lonely poet passed away on 22nd October of 1954 in a road accident which is tent amount to his works -
"When all the earthly light go off Creation, twinkles Birds come back to the nest, streams too. Death comes, Darkness left behind to close with Banalata Sen.









                                              



                           








              

DUSORPANDULIPI PART-1



                                         
             
















                                            







                           

DUSORPANDULIPI PART-2


                                             





                       



                               


   




           

























                                                
JORAPALOK



                       

















                             

 

RUPOSEBANGLA PART-1



                                                               























 
RUPOSEBANGLA PART-2





                                                   


KAJI NAZRUL ISLAM

Kazi Nazrul Islam, known as the 'Rebel' poet in Bengali literature and the 'Bulbul' or Nightingale of Bengali music, was one of the most colourful personalities of undivided Bengal between 1920 and 1930. His role in freeing modern Bengali poetry from poor and unsuccessful imitations of Rabindranath Tagore was significant. He may be considered a pioneer of post Tagore modernity in Bengali poetry. The new kind of poetry that he wrote made possible the emergence of modernity in Bengali poetry during the 1920s and 1930s. His poems, songs, novels, short stories, plays and political activities expressed strong protest against various forms of oppression slavery, communalism, feudalism and colonialism and forced the British government not only to ban many of his books but also to put him in prison. While in prison, Kazi Nazrul Islam once fasted for forty days to register his protest against the tyranny of the government. In the 1000 year history of Bengali music, Nazrul was perhaps the most original creative talent. By fusing the elements of north Indian classical music with a tradition whose basis was primarily folk, and not merely because of the large number of songs that he wrote, Nazrul made Bengali music a part of the longer tradition of the music of the Indian sub continent. His lyrics and melody freed Bengali music from its earlier medieval mould. Like modern Bengali poetry, Nazrul was a pioneer in modern Bengali music as well. Kazi Nazrul Islam was born on May 24, 1899/11th Jaishthya 1306(Bengali era) in Churulia village, Bardhawan in West Bengal, India. The second of three sons and one daughter, Nazrul lost his father Kazi Fakir Ahmed in 1980 when he was only nine year old. Nazrul's nickname was \"Dukhu\" (sorrow) Mia, a name that aptly reflects the hardships and misery of his early years. His father's premature death forced him, at the age of ten, to take up teaching at the village school and become the muazzin of the local mosque. This early exposure to the principles and practices of Islam was to have a Significant impact on his later literary endeavours. Later, Nazrul joined a folk-opera group inspired by this uncle Bazle Karim who himself was well-known for his skill in composing songs in Arabic, Persian and Urdu. As a member of this folk-opera group, the young Nazrul was not only a performer, but began composing poems and songs himself. Nazrul’s involvement with the group as an important formative influence in his literary career. In 1910, at the age of 11, Nazrul returned to his student life enrolling in class six.

The Headmaster of the school remembers him in the following words: \"He was a small, good-looking boy, always the first to greet me. I used to smile at him and pat him on the back. He was very shy. \"Again, financial difficulties complelled him to leave school after class six, and after a couple of months, Dukhu Mia ended up in a bakery and tea-shop in Asansole. Nazrul submitted to the hard life with characteristic courage. In 1914, Nazrul escaped from the rigours of the tea-shop to re-enter a school in Darirampur village, Trishal in Mymensingh district. Although Nazrul had to change schools two or three more times, he managed to continue up to class ten, and in 1917 he joined the Indian Army when boys of his age were busy preparing for the matriculation pre-test examination. For almost three years, up to March-April 1920, Nazrul served in the army and was promoted to the rank of Battalion Quarter Master Havildar. Even as a soldier, he continued his literary and musical activities, publishing his first piece \"The Autobiography of a Delinquent\" (Saogat, May 1919) and his First poem, “Freedom\" Bangiya Musalman. Sahitya-patrika, (July 1919), in addition to other works composed when he was posted in the Karachi cantonment. What is remarkable is that even when he was in Karachi, he subscribed regularly to the leading contemporary literary periodicals that were published from Calcutta like, Parbasi, Bharatbarsha Bharati, Saogat and others. Nazrul's literary career can be said to have taken off from the barracks of Karachi. When after the 1st World War in 1920 the 49th Bengal Regiment was disbanded Nazrul returned to Calcutta to begin his journalistic and literary life. His poems, essays and novels began to appear regularly in a number of periodicals and within a year or so he became well-known not only to the prominent Muslim intellectuals of the time, but was accepted by the Hindu literary establishment in Calcutta as well. In 1921, Nazrul went to Santiniketan to meet Rabindranath Tagore. Earlier in 1920, the publication of his essay, \"Who is responsible for the murder of Muhajirin?\" in the new evening daily Nabayug, jointly edited by Nazrul and Muzafar Ahmed, was an expression of Nazrul's new political consciousness and one that made him suspect in the eyes of the police. In 1921, Nazrul was engaged to be married to Nargis, the niece of a well known Muslim publisher Ali Akbar Khan, in Daulatpur, Comilla, but on the day of the wedding (18th June, 1921) Nazrul suddenly left the place. This event remains shrouded in mystery. However, many songs and poems reveal the deep wound that this experience inflicted on the young Nazrul and his lingering love for Nargis. Interestingly, during the same trip, Nazrul met Pramila Devi in the house of one Birajasundari Devi in Comilla. Pramila later became his wife. On his way to Calcutta, Nazrul spent a fortnight in Comilla where he became involved in the non co-operation movement against the British government. He composed and sang several memorable and inspiring patriotic songs; the amateur lyricist and composer had found a new voice to express his patriotic fervour. Later in Calcutta the same year (1921), an inspired Nazrul composed some of his greatest songs and poems of which \"The Rebel\" is perhaps the most well-known. The 22-year old poet became on overnight sensation, achieving a fame unparalled in the 1000-year history of Bengali literature.

In 1922, Nazrul published a volume of short stories \"Byather Dan\" (The Gift of Sorrow) an anthology of poems Agnibeena, an anthology of essays Yugbani, and a bi-weekly magazine, Dhumketu. A political poem published in Dhumketu in September 1922 led to a police raid on the magazine's office, a ban on his anthology Yugabani, and one year's rigorous imprisonment for the post himself. On April 14, 1923, when Nazrul Islam was transferred from the Alipore jail to the Hooghly jail, he began a fast to protest the mistreatment by a British jail-super-intendent. Immediately, Rabindranath Tagore, who had dedicated his musical play, Basanta, to Nazrul, sent a telegram saying : \"Give up hunger strike, our literature climes you\", but the telegram was sent back to the sender with the stamp \"address not found.\" Nazrul broke his fast more than a month later and was eventually released from prison in December 1923. A number of poems and songs were composed during the period of imprisonment. On 25th April 1924, Kazi Nazrul Islam married Pramila Devi and set up household in Hooghly. The Brahma Samaj of which Pramila was a member, frawned upon this marriage and started a campaign to villify Nazrul through a column in the monthly magazine, Prabasi. An anthology of poems 'Bisher Banshi' and an anothology of songs 'Bhangar gan' were published later this year and both volumes were seized by the government. Nazrul soon became actively involved in political activities (1925), joined rallies and meetings, and became a member of the Bengal Provincial Congress Committee. He also played an active role in the formation of a workers and peasants party.


From 1926 when Nazrul settled in Krishnanagar, a new dimension was added to his music. His patriotic and nationalistic songs expanded in scope to articulate the aspirations of the downtrodden class. His music became truly people-oriented .in its appeal. Several songs composed in 1926 and 1927 celebrating fraternity between the Hindus and Muslims and the struggle of the masses, gave rise to what may be called \"mass music\". Nazrul's musical creativity established him not only as an egalitarian composer of \"mass music\", but as the innovator of the Bengali Ghazal as well. The two forms, music for the masses and ghazal, exemplified the two aspects of the youthful poet: struggle and love. Nazrul injected a revivifying masculinity and youthfulness into Bengali music. Despite illness, poverty and other hardships Nazrul wrote and composed some of his best songs during his Krishnanagar period. While many others were singing and popularizing his songs in private musical soirees and functions and even making gramophone records, Nazrul himself had yet no direct connection with any gramophone company.




AGNI-BINA


                                                         




















NAZRUL GITIKA


                                                                             


















BAYTHAR DAN


                                                                      



















GHUMER GHORE







SANCHITA


                                                                    





















BON GITI


                                                  




















JINJIR


                                                                              



















JHOR


                                                              





















MORU VASKAR





BADOL BORSHONE







BISHER BASHI


                                                    






















HENA


                                                                            
























MIRTU KHUDA


                                                                                 





















SORBO HARA






BULBUL



                                                                                   




















SINDU HILOL


                                                                     





















SHULI MALA

                                                                                





















CHOKROBAK






SONDHA






NAJRUL KABITA SOMOGORW-1


                                                                       





















NAZRUL KOBITA SOMOGROW PART-2


                                                                  





















NAZRUL KOBITA SOMOGROW PART-3