fnllniteila ftrtf She was the daughter o f Late aaented

NabdLn Chandra Bcrdolal. Bordalai was bom an trd November, 1 75

in Marth Qevfcati. He was a leaned and great Pa riot o f the

f i r s t rank. He took his education flron Calcutta Presidency College

and become advocate. But he join in the non-co-opera tion move mint

agains us the British Government and was taken into prison in 1981.

And so people of Assam entitled hin as "ftaraabix* ( the hero o f work)

fo r his deeds and love fo r the couotay. jiabdn Berdaloi’ a teaching

and Patriotism Influenced the growth of the career o f Naliaibala

Devi* In her childhood he narrated the stories o f RMnayana and i%hsbha-

rata to Nalinibeln Devi. And this has got a far reaching e ffe c t in

her l i f t and poetical works. Further, her father* a love fo r

■other-land also influenced her l i fe very deeply* Nafain Chandra' a

coopoeision o f such patriotic song inspired her too-

Kon kot acha Jansm Ehumir

Shaket Ssotan

A j i Air Puje babe

Ah la i ah

l ane id. ihribi Baa.(0( Devotee children o f toother lend please cone with the g ift, what you like to donate to-day fo r the worship o f mother* land

which w ill be celebrated).Contd.. . . 5ft

rU '

- 5t-rta lia ibala Ihvi had to lorn bar husband a t tha premature

age* Her huabaad Jibaawar Cheng Kakati was s tr lk sa with Cholera and died wh«i Walla ibala Cevi wae only twooV years old* In la te r p a rt of her l i f e , aha lo » t her eon aad daughter* So ahe had toundergo a great affliotLan* A ll these hare tuzaad the course of h er l i f e and aha iabibed the path of sp iritua l!ea* At heart she was pious and a t tha nuw tin e she was w all versed la Sagliah, Sanskrit, Bengali** Because Habda Chandra Bordaloi was a pious aad was aoquiated with G ita , Upaaiaad, Haaajyaaa and Mnhabhaxata from ih iah d a lia ih a la Devi got a scope to study a l l these books and took the re lig ious lessens with heart* Besides the Sanskrit book she studied EhgLlah and Baag&li books* Ihe lib ra rian of Carjan H all lib rary supplied her, many books* Ihe lib rarian Gcpal Krisna Dey was the f i r s t teacher of d a lin iba la Devi* Assamese was her aother tcague. l e t she was induced to read ady otherbooks of d iffe ren t languages other then Assamese* She was a

, Voracious reader* She was very curious to know about the philosophy and thought o f the world* So her depth of study was not confinedwithin a l in ita tio n with Assamese books*

1* Once when she came to n e t As oo Sahitya Sabha Adnibesan(conference) a t Ehubri (perhaps in 1972) 1 had an interviewwith her aad ty tha iy Sue to ld as to read every kinds of books an various languages , as She did the sane- Writer.

I

Ccntd.*. 5^

Nafcda (hahdxa Bordoloi very often used to stag tbe scng o f

Rabiadra iJath ib i i bachil user Pradip user Betach la g i "

( lhe lamp o f daw baa been saved froa it* s extinguish ly the blow o f the a ir o f the daw) And also Brahma Saageet writ tea by

Rabin dm ifath-

Pratah aaaay Jagare hriday

Saarare bhabataraai

Ceye dekho Misi Jay Jqy Jay

Seroj B««fcab Samudita Pngr Jbalasi jebe tfaba n i l rfirod

Dekbare purba Gagane*

She always ronombered the saag o f Babdadra tfath Wbdoh is included

in G itan jali- "Dukh hieha Jadi iiahi Ksati, Sahibare deba S^kati.1

In evening she used to sw g- the kynos to Kuati (Kwthi stotrn) Kuati said to Srikrisna- " 0 great Yogy , Kriaoa, please give me such a born that the distress o f clouds upai head would

never remove, because in the moment o f danger I remembered you

but during the period o f ay delight you are not remember ly me*

JSri aha din bar- Naliaibala Devi 1976 , p. 62. ib is teaching

o f Mahabharata gave her inspiration to bear the distress and

to concentrate herself restraint against mbalanced mental

position* She got a great r e l ie f when she suig -die sang o f Rabiadra 3ath_

" Chira sakhjhe chedua more cfaedsne

Jam bharature fiahin Karahe mor Ohs sudba sagar*

Ccntd... $9

•58-

All these soaga consoled tbs aind of Jialinl Bela devi inths midst of ocean of Sorrow* She had approached to the various sagec;who blessed her to lead a peaoeful Ufa and to forget the passed eland ties*

Her religious deliberation had got Maturity graduallywh«n she net different sages aaonget vfrich Swami Sureshamanda Swaai Avedahaada, Swami Jogananda Faxam Haasadev are deservesspecial aentLca*

great sock to her* 'ihe spiritual teachings of severalsages and the consolation of her father gave her eental strenghth to bear this aflicticc Nahia Chandra wrote letters to Naliai Bala Devi froa Jail in whioh he gave aeseages frca Gita and Upaaiaad so that sha oaa develop# her aind with philosophical thought and had tried to concentrate her aindupca God (Paraa Frdyaj • Such inspiration haa inspired her to take the path of aseetieieua* She visited aaty of the holy sagas and Scholars of different plaoes. She wasattracted deeply ty the prayer (Bhajan) of MLrabai-

Her son putuli died at the age of five. It was a

Coned***

- t o -

"K a n iji fyey giridharike

Ghar Jail

Giri<®eri mere sach pi tan

Sab ohexd aukh p«o

Kyey G iricbarike Ghar Jaiu.

At the f i r s t a tege o f her £0* S c l i f e the Qua influenced

by the poene, o f Nabio Chandrp f »»n- ’ uru--hetj?a, ' :iaibeta'

and 'Pnavna* which was presented qy hex* I a char rtabin Chandra

B ord alsi bo h is s i s t e r . In • haihn wak1 the character of

Sukhsdra was her idea¥ end t r ie d u> follow die idea of Subhsdra.

She tr ie d to drive the Ch.^rrir, i of h o sp ita lity to the poor, which

ahe from her e ld er brother Fricaaa. She admitted in

her auto-biography that she seemed h e rse lf t s hubhadra, A n<*•< */% »** yS^tU. r

she had gone through 1 iia ib a ta^ ^ d aiin ib a la Devi hr a s groat

indebtnear to Rehindrs Wath . 3s£k. often she admith/his y^niousneee

with f u l l re sp ect . She o ffered her sa lu ta tio n to Rabindra NathJin Alak&nanda' by the poen ' Rabindra B*rnana (D escription o f

Rabindra Nath) * Nothing in sp ired her ouch and h er 'sh rasta lagna”

i s nothing but the echo o f the poet Rabindra Nath. Although ahe

never men tinned her indebtedness p a rtic u la r ly in the asp ect we are c it in g heiej& pct thp poeml.^whicn. w ill ju s t i fy the observations a*de

by us t ----- y----in (A la ken an da'1. Not only in (Alahenande' $ poem, Rabindra l&rpan by nans an to

ad aira dLan o f Kktaindra Nath which she described in her "Sppaiar Sur* ( i«ielody of Dream) .

A CoffftC te e • 6#

6*.

1 Sitnnat JwH b xtumai aathcu chikitl

Par palo ffuni puwcti kulir aat

Khiriki Kaaat tehilo ales nae

Pindhilo keeat natun nalika dbar

ene saaayat aenduri a lir bate,

Irrun Pathi* dekh? dila ** j - Patfca

Son-Mkicutat usfcr Pohor pari

Kan the euwai Mukutar Alrchari

Sudhile byakuLa- Wo kot Wo kot?

Tnrun Pathik Faye xaai feye mai,

Fajcr banti tetipc jwala nei,

Pindhichilo mai kopSlst eon-phot.,

Khidiki iiukhet a oner dapon dhari

Apon menere bandhichilo khopn aor.

i-i la^anabe g--dKuli dtrusar beta

Katun duchoku tarun pathik rathe

Bhi'er f**aet, bhagara rather ghora

Be tar dtellra tfcuserita baste1 s.

Sudhile kataxe too kot Wo kot ?

1. Xante CJtorane nor diuwara 6 rtai

-‘” -8 t iiers-.hi nowarilo kabe -aai,/ _®r<:nta f; thik ''eye usi a aye •aii

Fneguni nir.er Jvmliche ghMV u dip.

Contd.. . . 61.

- 6* -Bukut lagiehe daksin ifalaya pur Sonar sajat Mikhara Salikajsni I>i war duwari ghonatlt pare dbali Uhupar dhovare dbuwati baser Urlha

i garu Gondhat aisul sarbedsh

Meyvr .'.anthi pindhilo (fchal kh«ni

Dubari s o u ji ach »l bukulai teh i ,

Kiildiki t a l a t dh u lit bahiio u aa i,

R ijp rth a la i n ir s le duchaku th a i

T in ipar u isa ra lo bahi ak a la i

Hataa p&thik J. Seye mai, -eye i>ai.

( t f te r pvGtang o f f 1he iig h tin g - la i^ e t bead o f bed.

I awake having he»rd the voice o f cuckoo

And s a t down with id le mind

and put tiie new garland in my h a ir ,

by th is moment on the way o f red d u st

Young t r a v e lle r appeared on the Royal Road

ihe lig h t oi dawan has f e l l upon the golden crown

n is neck i s decorated with the garland o f p earl

lie asked with perp'J axed mind where he is,-.here- he is?

Crumbling witu shams I coula not reply

th a t - i t i s 1, i t i s 1.

Contd.. . . 6}.

- 6£ -

xhe evening l&ap yet not United I have draw a Golden nark cn wy forehead

% the side of window, in front of Golden atirror,1 begad the dressing of hair in the dusk*

At that nonent an young traveller

appeared an the win RoadDressed with vaxioue beautiful and valuable ornaments

& garland*lad I being distracted asked the traveller* where he i s , where he i s ?xhe traveller being perspired due to his fatigunees,

tiredness replied-I an that, I an that s t i l l the l i^ i t of the evening

are s o t lighted.1 made gddan nark on the forehead; stayed near ny

window with a Golden mirror in hand I began to t ie up ny coiffure a t

that tine the said traveller being tired and perspired with a pitious eye appeared before me, 1 asked where he i s , where he i s *He was tired and remained s ile n t being as hanoed could act say anything* He then replied that- 1 an that, 1 an that* Ifanth i s Falgum, light i s bunting in the roan brssse fu ll o f Fragrant from

the south i s blowing gently and began to shiver ay heart in the golden Co£L, the Garrulous swallow tee in drowqr mood* 2he above become haziness due to smoke* A ll boty be ease perplexed due to

smell of fragrant wood* I weared a doth like colour of the aeek of a peacock*

Contd*. *.6tf

6a

I n t down alone on tile ground which fu ll of greet

end do not and waited up to tile third part o f the n±|ht md

told I an that dieheerted person, I an that diehearted person.)

The underlying the me, idea} vocabulary and style of Uhmste Lagne of Kebindra Hath ea tegorieslly followed lytfpltaibalo Devi. Habdndra dath* e JSxrasta bagaa nay be cited hers*

/ / _Sayan Siyare pradip tfibetche sabe,

;1 th«g i trioror kokil robs

Alar cbarsne bffii batayan pi.se

iutnn eplika Ferechi c i th j l ksee ,

Fn»n sameye a run dhuspr pa the.

Tcrun path !' dektor d ilc rF j pa the

Sonar nukute pereche uaar plo

Mukuter n ils J s lS y sejeche blploB ✓Sudhalo katare 1 s * hothly, Se ftotiKa/

lya^rn ctapir.ne pmarl duyjnr. nami

^pitne mariyi b e J ite nrrinu hay,

.Jrbin pr +h lk , S«ye end, t e i end.

Gredbuli belay tokhcno jsw aiin i dip

P nritech ilea /opgle e m ir u p

hanak bukut h« be laye ’of i . ygne

Beciiite dxilam icabari apon mane ,

Coatd....

Han k al a lo aandfyi dhuaar paths

Karun nay an tarun pethik rathe

Pheriay gp.nae akul aswagulx

Basane fahufane bhailya Glyacha dhuli,

Sucbalo ka tare ' se kbthay, Se kothey.

iilanta c^arane aaar i dqjrare namiS

Saraae marly a b a lita aaninu hay,

ahranta PatM k, 'S e j# a *L , S e i "aid..

( Ehrsata Lagna : Kalppna - Rabindre N* Ji Tagore).I *

Another poem i s * PrerwUrthp' in her A la Kan an c£ an

e f f o r t o f im itation o f Rfebindra la th 's ’ Ehnrrt -T irtfca'« The

T it le and the idea is common in both cps’e s. Robindra nath s a id .

Dibe pr n ibe, rdlabo m ilibe Jaba na phi re

ri bhawter mchsmiaber Sag&r l ir e ,

ihe idea i s concentrated upon Ralinibala' a poeau

Sata jp t i sa te bhaaa Sabhyata

bams4<riti ask • -Bn pm t 'iirU iate ahi linberup pay.

( Ilunur - ds o l r;;css hunures oi lajagungns and hundros of cu lture

and hundreds o f d esires bpve boon united in tho sacred land o f

In d ia )•From tho above d to d poems we can assume th a t bfalinibala

Davi was influenced by Habindxa tf&th. From the ays d e a l point o f view.

C o n t d . . . 6 5 .

6fher most o f the poem have a great sim ilarity with th * poem of

G itin ja li o f Habindra Hath. The t i t le o f bar collection of aye tic

o f Bahiadra Math. The following systo lic to rs* axe avallab lt la

Nalini Bala Dari’ s poems which are used V Habindra hath* ' 4rup'

Asia, S iidar, Sima, Jiiran Devote, Antaratam, Hriday Devote.

poetry Specially she was moved by hie G itan jali and it s spiritualism*

The 8on8ousnese oavispiritualxsa of dabindra Nath had never induoed

by spiritualism of any particular religious section*. We have

already mentioned that Habindra Nath and.Ni»lini Bala Devi got

shock due to the premeture death of their family members . And

tiwy led their lives in other way and both are inclined to spiritualism .

This wes increased due to the influence o f the Principles of npe«iaada«i f leaving aside other religions discourse ve can eay that a fte r the

" Brahma-bodh" and Jaanyoga", the religions aptitude o f Indian

philosophy turned into ,!Bhakti ioga*" In Gee to we find the assim i-

lation o f ^naayoga and Bhakti yoga* In the tenth rfendal of

hig Veda . We lind ahcut the “Purus pbad" and that Purueabad began to

turn into 1Avaiarbed. ! e ei.uo a'iud iniluence ^JPCoeta also^

some r.lokas of Gita may be taken from tnaupanisad or i t hps

been inserted due to the influence of Aathe-Upsnisad. the tune

which we find in Gita in Vedas we also find the sane tune*

poems * ’Sandhiar Sur i s identical to 'Sa&cUqra SamgLi (Evening song)

Habindra Nrth’ s spiritualism influenced her, in writing

Contd.. . . Qb%

” Ekan sad ’’ iprf. Behudha badanti✓

ngni yama matari Sraaanha.*

In later ages that great personality (Msbasatia) was deemed

as the ununivoraal and He was termed as "Purusa- "

"Purusa ShedaniSarba Yadbhntan Yacca kjiaetyaai."

This is Purus# of Upenisada was dsterainsd as "Brahma'' Hera we find a new

idea • I t was not deep meditation or Prayer but. the Quarles

about the great personality (Viava Setts) . And preyed to

him "Apabie*.* 0 pusam yon open the mouth o f truth so tha t v may ccoceiva the personality*

"Hirpnme Pstrana S tysa Pihitem Mu ham

1st Ivsm Fasiftrhrnn Saty hbarmaya drstay*

5.15.1 Briiiadaranyak lipaniead.

After the upanisadas Yuga cams the lugs of "Serodarsna".

In thet age the question of salvation from the rebirth cams* And tha

sages turned their attitude towards "JnanyqgR*. After the Sardarean

yuga purenie Yoga cane. In the ere the ideas of the devotees greatly

changed, ihao in succession vlaoupur&ha BudHha JataA, Taina Siistraa,

Propogated many ideas. Al these discussions are not nacesssry in this

treatise. So we le f t that portion. Only the warned issues are

discussed.

- 6* .

Con d.. . . 6d

In the mind o f ftuaeui being than* th ree mein p r in c ip le s .

' B u d d k ib rliti *, hrday Bx tti< and evabrt& i1 whan the Hrdeybrtti

o r the h e a r t of nan o r an women g e ts prominence then a r is e s p i ty ,

a f fe c tio n , love. Mcng with love and a ffe c tio n grows th e idee

o f serving or • ceve B r t t i1 pad Jam the serv ing a t t i tu d e gets

predominance devotee is n o t whole h e a rted ly p leased . And there ly

th e u n iv e rsa l power o r ’■Asia' or in f in i t e become 5antn ( f in i te )

in the ui-ic of -he devotee. ‘ n ' we find the t in a n c ie n t tin e a

th e Butidnis-r vrri; no : p i v l i h the "•r /n AstRngik aarga

(e ig h t paths o f devotion . In the theory o f Gautarr. Buddha there

was no p lace o f lssvaea o r God. And a f t e r h ie death h is d isc ip le s

began to p lace the id o l of Luddha la the Buddhist usable.

Buddha pleaded fo r the »sunyabad' and s s a o ra c a ry a

pleaded f o r the "rCyabeTd*. But the general pub lic d id n o t

su p p o rt these th e o rie s . Co the veisnabas rev o lted a g a in s t

th e se th eo ries . Poet o f upnnisac1 to ld - " '’.-to be imani bhuteni

Jay ante yens J e tn n i J iv m t iy r t f ra aan iy abhine mbisan t i ta d v in i-

gn ijaaava tad Brahma." F u rth er s a id - ’’iPosba bhantemanufcheti aarbea

laey a bhaea C«rbamidam b ibh ilti .w The Veianabas upheld the views

of upani^adas. Chey sa id th a t th is world is not i l lu s io n ( Syi)

n o t f a ls e - "Tasya bhasa sarbaaddam bibhutdn in th is c re a tio n la•*

no th ing b u t "die Tdli» P lay o f the g re a t p e rso n a lity and la

l i f t e d ty Hie l i g h t - "?nan drupe a rt* m JadvivatL".

- 6* -

Con to*... 69

With a ll defects and deficiencies, the haaan life

is not fruit-lcse and cannot be neglecoad . And through the

l i f e one can get the Spiritual ettaiiwsnt-

' Tabbivutibhutam Jagadapi Faranar duHcn m th g* t i jnaya t»*n

I his world is nothing but the manifestation of that greet

personality.

Veiennras did not Bay that this world 1b i l las icp and i ti_

hrn get no roaHiy. They upheld the theory o f tiitareya Upaaisad .

*!\n*ndnthy.-vj: ’lr>Vir-~ni ’-hv.trni TayantsT and axpreeaed the

same In n more lucid mannar-

" I'naoda cinmayaramp tantnye fianh su

Y^kpraniriam Pratiphelan avartamipetya

:innyitenp bfr-banani Jayfchyapraa

Gobiadamadi Purus an tanshe® Bba^aei. •'

lhi£ idea ultimately le t the foundation of Vfeisnabisa and

basing upon thie theory. The vairname padas were written ky tike

galaxy of vetisnpv* Fadakartea.

This is wtoy he raiFnavR Iadavali inspired not. only the

vaisnavas, but the hinctus and the Mon-ninous. So a Galaxy of

MUalim poete wrote vsisenava pades. In tile background of the

Vaismrm pedas there is the emotion and sentiments o f hermen ku/nan

being for Which Rabindra /c.th raised tits quartian-

- 69-

Cantd... 09

/

” S u < S m B a i k u n t h e r T a r e v a i a n a v e r G i n

P u r b a r a g , a m u $ g , a n t - a b h i s e i n

A l h i s l r , P r e m l l l a b i r s t u a l l a n

B r o d a b a n g S t h e - « i p r a n a y s u a p a n

/S r a h a n e r s a r b a r i t e K a l i n d i j u l e ,

C a r l c & k h e c e y e d a k f i a k a d a a b e r M o l e

/

S a y a n e s a n b h r a m - e k i s u d h u D e v a t i r ?

( C o u r t s h i p , a t t a c h m e n t , f e i g n e d r s e e n t a a o t o u t o f l e v a ,

J o u r n e y o f l o r e S e p a r a t i o n , U n i o n , e p i s o d e o f B r l a d a b a n ,

a t o n a y n i g h t - i n t h e m o n t h o f S r & b e n a t t h e b a n k o f t h e

r i v e r Y a n i n a a l l t h e s e a r e f o r B a i k h u f c t h a ? o r t h e U n i e » o f a g r e e

a t t h e b a t t e n o f t h e J t e d a a b a t r e e , r e c l i n i n g , a d o r a t i o n

a l l t h e s e a r e f o r G o d . ? )

X X X X

y & i s n n v K a b i r G a t h * P r e a . U p a h f f r

C a l & l c h e N i s i d i n K a t a S h a r e W h i r

B a i k u n t h e r P y t h e V p a t h © n a r a - u i r l

___/ ^

A k s a y s e s u d i i r a s i J c a r i k a d a k a d i

L a i t e c h e a p n a r p r i y a g r i h a t a l e

J a t h i s a d d h t y a j o j g h i r .

( T h e T t o i s n a b a p a d a K a r t * ' . n L o r i e s o l * l o v e - U n i o n & S e p a r a t i o n a l l

t h e e e a r e g o i n g o n i n a b a n d a n c e i n t h e w a y o f t h i s w o r l d a r e

s n a t c h i n g a w a y a l l t h e s e * ) .

- 09 -

C o n t d __________j t >

The d isccntent m fin d in Vaisnabe Padas are nothing

but define discontent. This die con te n t cannot be over comb

in union with the lover, i t cannot be faded away even in

separation - and th a t i s the love - Pure and define love*

This d isconten t I s ev erlastin g * Poet Rebindra Math has

ju a t ly sa id -

"Skhono fcadiche Kadha hridajr k u tire n

The exy and hunger fo r R adii ie the u n iversa l

and w ill continue s t i l l the human being w il l remain

world*

FwancL Vlvekananda told about the Veianate

Philosophy o f love-

"The very idea o f love, the love th a t wants

nothing lev s th a t even does not ea rs fo r

heaven, love th a t does not ears f o r any­

thing in th is world, through tttle love o f

the Gopis has been found o f so lu tion o f

the c o n flic t between the personal and

ij^ e rsan a l God."

( The sages o f Ind ia , ffedraa le c tu r e s ;.

Contd*.* 7 |

78- -

P la to h ia e e lf upheld th ia theoxy from h is a c ts , i f we would know th is , we would y e ild d iv ine x x

f o r love eannot d ie ."" For love beauty and d e lig h t

th e re i s no death n o r change n.Senes tiv e Plant/Shelxey*

Kabiadra Math sa id - ”n When love becomes unboixtded i t becoaes c a rr ie s

sway a l l oppositions before it* The sense o f sh ew , o r the fe a r o f p u b lic den cmb e la tio n can

have no fo rce to cheek i t s course, to the lo v er h is love, then becomes a l l in a l l in the whole u n iv e rse ."

Love i s the essence o f Vaisnava re lig io n and i t s

b a s is i s the love o f Ksdha~hfsna* According to Sahajiya Vaianave»> "Yugah ta t tv a " , i s the root* And "S ah a j-lr thva" l e t s in it* 'S ahaj Is the in te rn a l tru th o f the un iverse .

Contd*.>. 7JL

ihe world bao been created from this and a day will coma

when a ll will be devested* 'ibis "Sahara” is eternal* The

root, idea of "Sahaja1 is love* A nr love is ' Rasa1. Sahaj

Kabi chandidas said -

ett Rase bai basin WShi Artribhubana

X X XPiriti balijra e tin akhor

e tin tibubnna sir*

In Vaisnava literature the word "Par "

means " Paranataa -

"Parana baa bine par anya par nahe"

Merayanah para beda ia'regranah para HHtara

angranah para aukti arsyanah peragatih

.te'rayanah pareh (dianu PurSn).

In " Brahaan KhaPda" of Upanisada, i t was stated.

"Parato paranaa pumusa."

In Briha&raqyaka Upanifada we find.

"Atmalbedamugra asit puruaabidhsh

Sohnubiksa aanyada tea-nofcpsya t i."

1U11.

- 7* -

Contd... 741

This "Purusaker'1 was self oentned and Ha never saw*

others separable from Hie. He firs t told " I an » that# •

" Sa bai naiba remetataa-delfflcakiNa ranate s

dvitSaaicehatJ'- Bxihadaranya-Kopaniaat.

1 / 4 / 3

He was alone, bat for the 'Lila B ilas'

He wanted the second, He did not want to

renain alone- He wanted others

r Sa eaamabsTtmanaja Syodhopatayat tatehw , ^ S rnmPptisca patnisoabhabataa taanadiyan ardhabrta narolbu

Sva eti asnaha ya juabaU^a tasaadyaaalnrfl£«h

Striya porsat^ ebon tan mans bh&bat

ieto aanuaya agsyanta."

V V 3

- Brihadaranyakopanieat.

He became like husband and wife in a eabraoed condition.

He divided Hie body In two parts, from there grew husband and wife.

Ypgfteb&lka told man is incomplete and the woman rather the Sky u f O f u~iJ^ vu jfL u m v r\

■ekes complete. He made union with the female end thereby

the husan beings took birth.

Cantd.. . . 7gf

In Brihadaranys upanifada we find-Bupam j^ ibb p i n d i ^ a f bahaba iadayya rupam pratjc a manaya

Indro mayabhihf p r e r v p m iy a te yakha haaya pamy

Satsedar2 /5 /1 9 *

This Brahma is Krishna and Vaisnavas - /fa tter and energy- Krishna is m atter and Hadha i s energy* InVeisnava scrip ts i t has been d ea lt elabors oily*

Hhakti is -die essence of Vaisnrviam* Bat they preferred Reganuga ihak ti than Baidhi Hhakti - 1 ihe Ehhkti as a function in the Jive i s only an expression of H&gdini Sakti by which the Jive releases i t s e l f 1 from the fe tte rs of extremes i'eya Sakti i s the phenomenal world and realises ixs contiguity to the tshagevata.

( San gals contribution to Sanskrit L item tore and studies in Bengal vaisnaviaa ,.

This statement is application no t in ease of Vaianavas p rac tic a lly to a l l the ess fob of "Bhakti-Mdi.*

Coned... T t

ih ie is applicable in esse of Rebiudra Nath and tfplinibsla Q= i too. ftp. S, tfpdhakrishnan in his " 'ins itdloeophy ©f Rabindranath said -

*' The absolute of Philosophy becomes the God o f religion to a l l followers of Bhalcti- ehools.

Isvara, die h ighest manifestation of the absolute is the personal lord of the universe, ihedie tinction of lover and tile loved is kept up t i l l

/the l a s t po int, uh»n in p sffe e t love, the twobecome one the personal God i s then dissolved in the Absolute xx ib is E haiti School has had a continuous h isto ry from the very begining of reflec tion in Ind ia ."

Billaeangal ‘ihatoir in h is ' SidTJorisnaerta' described Szlkrlsna as-

Mndhuraa aadhuram Bhpurasya bivo Madhuxam madhuram badanae nedhuram

’j » • *

I f e d h u g a n d h i i t o l u s a i t a a a t a i i a r h ; ?

ifedmram aadhuram nedhuram nedhuram.• * * *

( f - 9 E )(He ia lord & He is eacbuX (Sweat)He i s powerful. He is beau tifu l).

- 7* -

Con sd»»• 7%

- 7 % -

H« according to the Baidhi Bhakti is ' Davata* sad

to Raganuga class . He is dearer and nearer*

In Bible we find similarity-

n I may please Thee to unite to yourself asking

isy soul* the bride I will rejoice in nothing till I am in

Thine arns."This is "and Eb&ap Thai" of Habindranath and the

same case was with Naliaibala Deri.The senscasness on spiritualise of Habindranath had

never induced by spiritualism of any Particular religious

section. The realisation of beauty, universal conciousness of

love, feelings on humanity and the idealism of fiabindra Hath and

such realisation religion of fulfilment form is God. The same is applicable in respect of Mslinibala Dev is Poetry. She was also influenced by the Upanisadas, Vedanta, Hhaktibed, love

and amity. Nenjr of her poems were written by the thought,

based upon upanisadas and vedanta . Her ' Parampriya' is nothing but the Brahma, the eternal God which is interpreted in upanisad.^

1. udgitametat paramantu BrahmaTasminetray* Supratiatha-akttaramsa

A trantaraq Brahmabido viditwaLina Brahmani 1'atpexa jonimuktaf

-Sveta Swetaropaniead. 1/7*Contd.. yf

- T9

Her poetic imagination was exposed spontaniously with a deep

faith upon God and this fantastic creation brought her closer/ _

to Bhaktibid. She said- "Bar Pranta Prabhu aai, iqya tu li mox,

d iy i thai caran talat.* ( 0 lord I am very tired please take

me in to your lap and give me shelter under your fee t). Rabindra

Nath also a poet o f Bhaktibad. He also said- "Amir mathl nata kare

dao he lorair Caran ta le"•( bend ny head 0 fcord aider the dust

o f your fe e t ). But his Bhaktibad has got special Characteristic

and the same is net identical with the Veisnaviya Hiaktibad

(Je bhakti toms re laye dhaiiya nahi mane xx sei bhakti madadhim

nahi cahi nath)^ . In this sense his devotion was more liberal.

Even he realised the a rtis tic , love o f Rgdha to Krens amongs

man1 a love- "Satya kaho mare he Bsisnav Kabi Kotha turn! peyechile

e i prem chabi Herd. Kahar Mayan, Radhiklr asm AkH Pareehila

mane? " ((Si Vaianav Poet plsaee te ll me the truth x where from

you have been collected, this picture o f love. By, seeing whoa

eyes you remembered the eyes o f Radia with fu ll o f tears.10

1. Sandhiyir Sur I Bhagazuwa.

2 . 1 don* t went auoh kind o f devotion which is not concentrated upon me for you.

Contd... 7 $.

- 79 -

Ralinibela's Hhaktibad is of au e type* Her God or Iterate

la nothing but the Brahma of Upanisada* Breagr thing in thia world

i s nothing but the manifestation of that Suprene Power* She aaidU

Jagatar Prati ranu aaje ache tuniJaao Bhalkai" ( I know very well that you are reaeining

in every dust of world)*

ualiaibala Bari and BabdLndra Rath had a honognd oua thought.

i‘hegr raaliaed that pleasure is not confined within a limits tiaa-

”J o toai, bhuna ta t aukhan Ralpe Sukhanahti bhunaifaa aukham bbuaatreba bLjijiaaitgra*

( Happy i s there where vast i s ends tent, there bappdneee is l i t t le

happiaeaa is within in raat so rast ia always rep liable*" lh a ir

mysticisa i s based oa Upaniaad* iheir sp iritual thought way be

entitled as aystical religLan*

''Ralinibala is Jm io r to Babindra Rath. At the f i r s t stage

of l i f e Raliol Bala was deeply increased ly Rabin dzm Rath. Igr hie spiritualism and it s deliberation. Regarding the spiritualism of

RabLadra Rath^kcuit Kal char ling, a Genua philosopher has cc— cnt )

"Rabindra Rath the poet, impressed ae liias a guest from

higher more spiritual world, nswar, pexhaps have 1 seen so aueh

spiritualised substance of soul oondansed into aae man."1

1. 'i.ravel Qairy 1 9 2 5 Vol. 1 P. 335.A Aronson Rakdndra Rath through western eyes (1945) PP.64.71.

Caatd.. . -pg

Such kinds of Spiritualism is exposed in bis

y"Naiveddya" - Wiere he realised the God only the Supreme

Being, thrcu^i the meditation of ancient India and through

the realisation of the sagea of Upanisad. In his naiv^ddya-

God is almighty, eternal and supreme* He feels the relation

between God and himself is very nearest-

"TcaSrl aLlan Sajjya, he aor rajan

hhudra fc- tomar aejhe an ante as an

Aaim, bicitra, Kantai ego apaxup

(Dsh Lite t i'iaibedya).

(Oh King, the bed of re-union of yours is very in significant

i t is also a seat in your and less infinity and in your

friendless, variegated semblance* 0, dear 0 charming and

representation of the whole universe and in txx$r, mind, heart

1 am how vcnderful).

Nelinibala Devi realised the axis tan oe of the Godl

and the same clairvoyance eyes in her heart-

laser Surabhi legs

Jano tuni ache ocarat »Tomar rupah chaya

Jilikehi1' hiya daponat*

v9t>Contd..

so I fee l you are very near(Your fragrant touches m,

by me. Ifae Shadow of your beauty glittering in ay mirror

o f heart). Kabdndra Hath in Ms 'Manas! ' said-

’’Ami mans Jerri yai dure

tnoi rayeobn vi/va jure

Yata dure ,yai tatei tomar

KSchakacni f i r i ghUre."

The foundation of philosophy of H&bindre Hath was

based upon the • panisadas and die Vaianava * Ailoaophy. He

wrote a letter to Acaiye nrojandne Hath Seal in 1921 that

the a ir o f Katya was nixed up with Upenisad&s and Vaisnabe.

Padrteli. As Oxygen add nitrogen mixes so the Upaoisad

and Vaisnabe Fadavali was mixed Up*

ihe Bahaas believe in own God-" Brahma" end He

is eternal and Advaita (non-dualism). but Rabindra litera tore

was based ujen the dualism of the Vaisnsbites (i&sistadvaitabnd).

Cash.... S9.

Naiinibala Devi thou^i bom end brought up under they

influence of"Eka -a ran Zharoe" (Advaitabad i Ana mail God was

Narayana) stilly she also adopted the dualise in her l i f e and

works*S '

V

Ratadndra Nath addressed hid £±van Devote in different

names- Manaei (Priyn), Antnr jand, Pmbhu (Lord), Pita (father),

Sakha (friend) rapune (Snake Charmer). Likewise tlalinibala

also addressed the almighty in dtfferen u names. dhe h*.d

composed a Poem 'Pita* (Father) the Styrene being by whom

the world is created, while she was only ten* i t was her

f i r s t poem with a Spiritual realisation o f her ianatnxod heart*

She writes-

Leri Prabhatar arun Kir an

hot Fata one hj jval beran

Gann koaal aacimri sene

Jijane b i le t e e i hjjvalata

Si jane earner pita".

- 83 -

Contd.. . .

- 3 £ -( 0 the am shiae of seating where have you got such vivid

colour* How sweet sneered soft i t is y He who distributed

the vivicktess is our father)*

Her "Pita" is nothiag but the "Pazea Priya" of her latter

l i f e who resuscitated her from her laaaatable l i f e and which, can be

resembled with 1Jivaa Dovata1 of Babtadra Hath; she waats the reapcoee

fraa her "Paraa Pziya" -

“loeik taLoaxi nai suwadi puwat

Jivanar Sudbaaay Pabitra Kepat

A ji e i blsadar sandbya parat gahia

Si chare dhahaSimahia aagar parat icaalai pariche nan at

0 1 nor paxam Priya 1 iuaA ho* t "*

( Saadiiyir $ur i Anahuta).

( You were aot searched by- me at the monoat of delimited l i f e

which had purity, lo-day in a nouraful evening covered with

dark and in the side of ocean ihich beya»d limitation* I

reoambered you* O' ey God (Paraa Pziya) there y«| are 1

there you are 1 )

Ccntd**** 84

Rafendz* Hath has bean saarehlag fo r h is J in n

•frt** *v9 "tfCarets ntaee a l i j U fa %o*& *^u <t*e <•*!* "g y***f

^OAA s c A. -B-V*-

Ktgyer ante pariyi parfe

Tife* hahihal KaxAygfei pi?,

8a mug caxal a^ilsana

Toad dbalitaeha bnjhi

Atsr eavtl badanSr Hkfim

* loaara f ii&ba -**

( For this tlwa, I drank shaxp paisas, fe a t vine la liquid

and Ilka f ir a which 70a are pouring, s t i l l I w i l l search

you la the midst of such peia* )

Whan the aen ease ia oaataat r i f e Gad feaa f i ? fee

desires w ill be faded away free feaLr aiadi# aai they haaaaa aargad wife fee God» I t i s stated ip Openieada*

Goafe*..

- m •

r pmprapyninamreayo Jn?natppt?h

Kr t f :jmno b it»ragah Irasanteh

I'e Sprb,T |pm '>nrbaiah i rapys duira

Yuktajsehf^ - a rbamabn b iean ti.

3*2*5 ( ^wd hopanisst;.

uftbiadrsnath wants to give *p hie canine appetiti

from h is h e art and asked the (iod whether he fu l f i le d . ITja utaiuisuH line

T Z i C C r j ^ ( o - C K . *1 C 0 r < Y f a * # ' '

Ago an ta rs ta»,

iuiacue h i teba sak a l xiyas

A si antare aama ?

(0 Hjr beloved heve you f u l f i l yew a l l d e sire s a f t e r taking

your see u in nr- h eart V)

Nplinibftla a lso admits that the iod i s always

reinsin in h sr h eart y e t she d id n ot re a lise h is existence

with h eart and sou l*

Comd...

• &'tfadto hiyate nor

He aor an tarn tie®

Ciradta acha hlya juri

Iathapi© otih&r

ftmmr pazan jyoti

Eekhenai ducaiu biari.

(Saodldjrir Sur t Mtaeti ,

( Though you ai« stayiag^iy*Coxa of *r hsarc for a ll tha Mae }( l l M ^

yet I ha-re aot aaea year exquisitextbreudi qr tno naked syoe)«

BebiaAn Hath* a < slbm Dwwta» awl M»liaibala»s

• Pyxns Priya* are hear the seae aeeaiag Hfce Sarede of

Bihaxilal an authentic Power of araation, who treate her

like Goddess* la tibia respect i t Is adaitable that Rabdadm

aoth 1'agora was influenced by Bihaxilal and his * Jibaa Devota*

is ajrnmjmm to Rtharilal1 s Sarada by its oasaetetian*

thliiii Bale* a * Faraa Prlra* is etinaottMi tiw m m atadiur

as Jivan Devote* of BaMndr* Nath and Saxnda of Biharilal. Bnt

afas is direot3y lafluaaoed ly BablncTa Hath « d sot ly Biharilal*

coBtdu«.« nt

«

m 8 | ■

The n asties poets are always seek a f te r Ihe God who

i r never segrega ted free nan and die aa ie r ia ls of the world. A ll earth ly creation are die s e lf expression of Sod. 'the Poet is induced to sink in to the sorrow tgr the dstaefanant

of God. Puch m entis co n flic t has conpellad h i* to wke

sqtg t ic £avt* Rsbindrs 2Jp th< s ores lion i s the source of nenthd-ageny and i t touches the nystieisab.

Byatha bado lsgiyache Prens Sandhya tud dhire dh irs ay .

( I f y h ea rt i s f u l l wi1h pain, 0 evening come slowly)

Samgihare hrday anan to r bake lukelte esy.

( Hy h ea rt i s coopanionless t so the h e fr t wants to hide within your breast)

- Sandhya Sangit.

Contd... m

"ihe Symbolism of the evening is i t s e l f a sign

of S e lf assurance* Wo t i t l e could be more appropriate t

These are 6 cage o f tee evening of te a t time of day

when the l i # t fades, the shadows liaghten, the horijon i s haay, the bustle and sound of human a c tiv ity becomes subdued, and the veiy a i r i s pervaded ty a chaining

th o u# Melancholy, sense of ty ste iy . In the opening pom o f th is volume, Rabin dm Bath v isua lises Evening as

a strange beautifu l woman half* revealed and h a lf concealed, bending dOtfi to touch the earth with her flowing jet-b lack trsseee . with th is tqrsterious woman the Poet Goee on to

t e l l us - he has always heard her ausie with fascination though he has n o t understood e ith e r the meaning or tbe

melody*n *

1* An Introduction to Babiadrana th Tagore . V.S. Maravaul p. 60, 1977*

Contd... . §9

« ? -

The t i t le 'Sandhiy^r Sur« of Halini Bale Ibvi i r the

appropriate Symbolise^ which contains a aelo<$r of sorrow

relating to her past l i f e . In her Sendhyar Sur the

"Param Priya* i s like Jiben Devote of Rabin dm Nath who

f i r s t appeared in h is ’ SaadiyjTSaqgit (Evening sang) and

i s leding him. f o Edward inoopsan said -

" van in evening songs, the poet i s conscious

of a voioe sounding in his heart which i s not

ju st his own voioe yet has a f f in it ie s with his

own voice." I t i s the voice of Jiben Devota*. ihe

Same sense of Nalanibala Dbvi i s found in her

'Sandniyar Sur* as she writes-

icno Kale tuni nai

Kcno mp<> JnwtT nai bhin

Iliyar ucdhras aor

Haba Khojjs taonate b ilia .

1. Rebindra Nath Tagore i Edward Thompson -P. 69. Second

Edition . 1988.

Contd.. 99

( We were newer differed to each other in any resects,

d eiree ©f heart want to merge with you ) - and -

Antar msjhebfisi aharaha

Muidi hate tnai bhasa ♦ 'ted haha

Mor katha lays tuad. katha haha

l-fis ye Span Sure .

An Taryiud/ CitrS.

flfcito neg»o gao

hone Jano 8ey mor

x 1farahar jopan erat*

( Soponar Sur )'lhe Ty stic is in of Habindra ilpth and Malini Bala

Cevi is the reflection of ancient Indian ^etieisia of

earliest literature* According to H.h. D» Choucfeuxy-

1* he tucd Gopene ealaiohn more,

Aoi je tooiare 1dm ji

Jibsn Dovstfi i Chitrp.

- Rabindranath*

- 90 -

Contd... 9i

- 9 t -

■ tU h• * the basis type o f ggratieisa tiMfc ue find in the

earlie s t Indian literature viz* t the vedas and Upaniseds

o f Rsis, am of nye tical i n s i s t and Sp iritual vision

o f 12m Profound secrets concern lag the Supreme Rea l i ly

(Parana® gufyau)* Us is were type of eeestetiee given to

music who used to have beautiful visions and hear divine

voioes and many of then poured forth their sp iritu a l

1experience in ne1odious rhyme.*1

Ihe mys tic poets are always ren iiseu/da© infinite

i s within the fin ite so Esbindra **th said -

Sinar majhe a sia turn!

=ip jso apon Sur

loner mejhe aaar Prakee

i'a i to ata nadhur*

1. God in Indian Religion by- E.K. De Chouctoury -

1969 P* 17-18*

C o n t d ..9 9 L

( Thou are die in fin ite in midst of the fin ite ana

£ang the melody of your own, I am exposed tferou^i you.

Therefore i t is so sweet.)

He realised that the ultimate rea lity i s

confined within the fin ite or small. Lite 'Goepade

fievomandale.m' ( ihe sky i s within the foot- Print of

Cow), ifalinibala also fee ls the same sense like

-sbindra Hath. Her poems carried the same meantng-

Ir^sta tumi Jagatar

laipar iu jn ri rupe

Azupak tulicha Jagai

Asimer Maharup

Prahar rupere turn!

Bueakut tulichi futei.

( Sopanar £>ur ) .

Coatd*.. 91

•**%r( Ifcou are the creation of the world and P rie st o f the Beauty,

you expressed a t 'die eyes, the laxgi beauty of in fin ite

through the fora o f liv in g being.,'

I t is stated in Upanisada*

" Yat Xinecha yadidae sarvaa prana e je tin in srlta a "-

" A ll that there is cooes out o f l i f e and vibrates

in i t . " And also stated- n Eeiia devovisva —

Kama mahatha Jndajananin hzideye Sannivlsha tab" -

"This is the devine being, the world worker, who is

the Greet soul ever duelling inherent in the hearts

o f a l l people." So Sabtadxanath wants to see the

world ly h is own soul*

Jagats keha nnl, Sabai Prin& nor

( Pravat utsab)

( There is nothing in the world a l l are in w h eart,.

ifaftini Bain devi a lso rea lise d .

Adnya Viswar tatts*

A t a i l Karile bekat

Hnnuhe b ioari p ile

Oeh nan Pranar ara t

(Sopanar Sur)Contd.. 9$

( The scn& expressed the fee t o f unseen world, nan has find

out by the Worsen of body and soul).

A ll living being are the pert o f God. The souls

ere created by the Greet Soul (Parang tea). When both are

make re-union then a l l the egoiem w ill be destroyed.

Kabindre Nath Said-

xomr a*Br ailan bale

Sakala Jabe Khals

B era Sagsr dbeu kheliye

Uthbe tekhan dule.

( iita n ja li )•

{ A31 w ill be v isib le i f you and I unite and the universe w ill

be shikar due to the waves)•

The soul* o f ifalini tela Deri wants to unite and

merge with Hie*

Tumi jouti mai anu

he arup mpar alay

AnurGpe anAdit

iomatei lin ham gai.

( Sandhiyar Sur ).

- 9* -

Ccntd... 9*

- m is

( Ihou are ligh t I a-n molecule in the might of form you are

formless and I w ill unite with you* )

She Poets expressed their perplex of heart and warned to

surrender themselves before God-

l'uai eber laha he nath laha

(Gitanjali)

(Please take me, 0 lord take me) .

Bar Sraita prabhu msi

Bows tu li mok

Riya tfcai caran talft t.

( dalinibala Devi .

( I a - very tired, Please take me into your breast, and

give me shelter under your fe e t) .

God oannot be seen, I t can only be realised within

the heart. Ihe earthly desires give an obstruction to reali­

sation o f God* And thus Babandra Nath said-

"Khen sh all I be able to go out in this vast

universe with the chariot of ny heart by breaking

C o n o d*.. 96T

- 9f-1

breeiiijn*' tha terriers of sy own isole ®d hone." (G itanjeli).

I t is also admitted ty afelini Bela l>evi that, the '!ar;hly

objects cannot fu l f i l human desires.

PFrthiwar bilasita nitoo Jogei

Abhilas P?“rane Pursba*

(Can fulfil the desires after supplying the sensual

pleasure of Earth ?)

Ihe Upanisadic view also support this phenomenon

w&ich is ste asd in Kathopanisad.

lada sarbe Pramoysnte Kama

sieasya hrdi Sriteh

A tha martyo'/uarto bhabatyatras

Brahma Samasnute*

{ Kcthqpanisad - 2/3/14)*

(fcjhen a l l the desires the ho'-rt h&rbours are done, man becomes

immortal. ana reaches Brahman here)

Each and every port of dust an the Rarth is the

manifestation of the almighty God* u&lini Bala and Rrbindra

i'Jath realised this facu uhole heartedly, Beianibala stated.

tcotd.. 9«

Jag&tar fra ti ranu aaje

Acha tumi Jaao Bhaljkai*

(Saadiiyar Sur)

( 1 know reijr well that you are staying ia erexy dust of

the world)*

*■**<*" ‘i

''i'usd Jiao Khudra Jaba

Khudra taha nay-

Satya yetha Kiohu ache

Viswa Setha Bay*

(KhqrS : uatdndranathj. i, t o(r t+t'rf \. k*&

( You know that the peartAdo is not froa a ll ow the world ie• /ft

ttaa. existdhee of thAe-truth).

Yet the poet runs after the absolute reality without

knowing film* As the musk deer runs after the mask .

Bahia dm Wath realised-Pagal haiya bane bane f l r i

^pan gandhe aama

Kasturi mrga Sana*

1* AaL Mane Kari ya i (hiretuad myecha biswa Jude Yata dure y ii xatai tcnftrKacha Kachi f ir i ghude.

(Manasi (Hattadmmath).Cmtd.. <j(f.

- n-( Ac a much-deer fo r the fra giant of the musk roams

Forest a f te r forest/ so I like a mad awak-de^r 4a roaming fo re s t a f te r fo rest)

Ihe same idea has bean influenced upon aniiiiibsle Devi as she fee ls like Eabindra iJath-

wan mrga mor o ira canon 1im sturi base abee u ta l ,

bane bane ure kusum subastomir surabhi aacal.

( /laknnsnde

( Deer-like-mind of mine is vet*v f ic k le musk & i t ia overwhelmed lik e the fragrant of musk of a masludeor.Cenying the sweet smell of the flower , the sk irt, of the fo re s t is waving)

G Midha Hprinar haste ribas_ /litchari nepai byakul ha trio

Dekha nedejthar Jibanar pare pare bum r lahari ure.

, ✓( Parptfmani.J

2 7 - 5 - 8 4 , .

Dontd.. 99

- 99 -

Jalinitwlfl Devi fttrihsr Qjqppoet'ed-

1 Jibans t i ono dine nappril torank tapir z

X ji ex abelir bidiy parat

uphia er.dhrre dhakn

' imnfcio sagsr par=t

lomc.lei p*> riche man*; t,

0 mor par&m Priya J. turni kot,

iuraL kot kot ?"

1 Yandhiyar Sur ).

( :?inee longer fa iled to remember you, but aou a i the

owning pert of my l i fe _ , vjhila th tine o f departure,

from tmis world is drawing nearer, ay mind is reae boring

you 0 ray beloved c: is set r&ling you , where you ere. )

Uiujiuechi iottoa vumi

jkOtte tmni 1

Ye oairx lukano today

so ictiiSy .

( ifcjtjf.ei « liPbindi* J r th

Con^d... Qe

-5|0t- 106

( I aui searching you. where you ere, where you are. II\n

nee tar ( aart) vhich is hidden by you, where i o is ?)

Put the poet Rabindra .lath gets his reply from

-he Core o f his ho* r t that He is very closer to him, though

ho is serrciuag him hid.or and thither, and seid-

i'r.ahe ache doMkite nSipao

iuai i.fihor sandhihe dure yao ?

t-snor ma to Jtrra . huje aero

‘ e hi ache tfrub- >ne' e rayeche aane 1

•

( h.» is near a .. hand, butycu failed to see him. I© is nob

in cuter world, he is ia youx mind}•

ihe same vme also vibrates in the aind of airiinibulp.

Devi*icnrr furp.bhi 19-53

Jpxjo tumi acha ocerat

iomSr super chayn

J ili iohe hjya dapcnet*

(farrsmani;.

Contd.. . 10tw

( Your fragran t touches me, I Jqow you are near by me. And

your Shadow o f beauty a s lig h tin g the h eart o f mine).

The Physical presence o f God cannot be observed

but His existence in the universe only can be re a lise d

wh® mays can be overcome by mankind through th e ir devotion

then they sh a ll be able to r e a l is e the existence o f lirahma.

Ihe world i s nothing but the m anifestation o f the Pnrama

Brahma or Parana Purus* Only the devotees can fe e l i t

with th e ir tresandant e a r *

" Kino swarag bdnFr gah

ffedhu murulir

Men berasa tan

Altai Viswp. akul pran.

- ifa lln ib sla Devi*

( V.’h a t c e le s t ia l tune cones fr tu the heavenly lyre ?

I t showers lilts nectefe and makes distram ght the universe

a s w ell a s the h e art) .

Ccntd.. . . . 10$

Bisun j-nkhsn Jidrf> mgan

' ip gen andhakFr

Ke dejy imer bln<Tr tare anan

JhankFr.

• Rablndm rJn tft•

( Viien the world i s imaersed in sleep and the aky

i s covered ty derkness. ihen who strokes such

sweet tune in vy lyre ? ;

but gradually they guessed that the s-mger

appeared before them because they have hoard the sound

o f the jingling of a linkling anklet).

.lepurnr dhwni suno r in i r in i

(AlaMnanda)

( I have heard the sound of the jingling of n

tinkling anklet).

i'Otbay £cnSr nupur baje

buji amnr hiyar aajhe.

Contd... 10JL

- 10* ~

( Ihero did the jing ling of a tinkling anklet sounds Y Perhaps i t sounds in n$y h ea rt .

Without the sKis cenn of the Supreme being the Farrar. brahma or the man of --tint i t cannot be possible) without His companion the l i f e is barren.

a hey get every thing y e t something i s blank which cannot be oxpnasoed-

/iharff Grho Puqya ? a itana bihrue (u itnn ja li,

( In ? f u l l house I m alone without your presence,

lik e Rabindra ivnth ilallnibala also reoiiaod-

Pnicho -akalo yennSi powe teo

Kibn e t i nai n a i n a i •

(Parr:a tr ia n a ).

ContcU#. 1Q£

m J l Q / f c -w r —

( X *ot :veaythlnti yet i t see-us to ne thrt there is

sonsethiag, Which. I hfl-70 not yet rr-oeivedih**dUmk

nnrT tiijr WlTijmec- )

IfTBin Purus ft is eternel or *Asif bat the

seint poets or pastes- wstius to see Li» in the midst of

termiaetioo*Rap sagare dub diy-chi

A r t i p - r p t e a S b 5 k a i l

( ' ruprpten)•

( j hpve sank into tile oeoea of aotablance to get

invisible Gaa )

H% seg^mt bur mrrl ?o

Jiban jar? sur mein*

( i-er*!sxoHjai t jpHnibnlp ) .C a n d j« • * T .)^ i

( I sink in the ocaan o f semblance to play the tone)

the theory o f transaignrn tion is one o f the p^rt

o f Indian Philosophy. A ll the sect o f Indian religion

admit this theory* Man get re-birth after Ms death,

when he could not f u l f i l his desires. AH individuals

are liable to suffering on account o f Karan. But they

do not know of the fate o f their deeds. Rnbindra [fcth

and :iplinibala also adult this feet -

Jeni Jahi kan ndiknl hate

Ijhasale amBre jibsner srote.

(Gitanaali).

( I know from the earliest time, ycu floated me in the

wave of l i f e ) .

Jibanar Suti u lati ulatl

apuni ahicha ghuri.

(Sopaner Sur i iialinibela/.

10 ^- -

( The wave at l i fe has been moving in Cyclic order

throu^i birth-depth. & rebirth ).

in ’’ tntinxn Prem ' o f iknasi" Rabindra .In th

said -

''ionire youa bhslabesiochi

Spta r$pe sate bar

Janame J^poine luge yuge anib«"r.

( /s i f X loved you in hundred times in hundred for-n/ or

"impra dujane bhssia esechi

Jugal premer sroto

Anadi ICaler ut3a he te .

( In tha wave of From, we two are floe dng frajox

time in memorial)'

i ran a raigro tion is believed uo be just

ronl as the etqpiriepl world. But from n higier point

o f view eoporical reality together with creation and

C o n td .... 10%

- 10* -

end transmigration is only a ;rea1 illusion for in

truth there is no manifold, no world) but only one

being — the Brahma t h e atmon*11 S o R a b in u ra ,jr. th

wants to give up the egoism avoiding the illusion

( i-Byi) -

iumi amar anubhabe

kothao nahi badha pabe

Puma &jtR debo dekha

i'ariye diy# mayake

nanke, soar kfyeke.

( You will not find ary obstruction in realising

me , & w ill appear before me in your perfect

form by the removing the v e il o f illusion froa

ny eyes :i mind).

In lipenis ad i t is stated that as tee streams

enter into the ocean so as tea wise men w in .aergx

with Brahma, o f a fter his dent and his sp ir it does

not wander ary more.

V See outlines o f Ionian philosoply - P. 32 , by - Dr. Paul Derm sen- 1976.

Contd.... 10*

V.»th? nacSjrfih -yndrm'nph teiwJre

■' stem epcchnntd n^trupe bihrypj.

.i-P 'fli? vidran iiF ia m iJp ^ d b im u k -C B h

wrrtparao purusr raup- ix-idaty pm .

{ / s rixrors run sad in tho deep lose n«me rad for..!

and disappear so goes, from asaae and form role-ae

ihe wise man to the deity)1'- Srannlrted by i'r>

Paul bans sen in his outlines of Jnuisn Friiloeopby .

ibis upanisadic ihoughv h* a been expresi-.od

by Rabin dre bath with. symbolic Her>.. -

Si Jegr.ter ma|be ekti sagar

~ one

distabdr ffihsr jeb rasx

Caiidik hote setba nbira.:

abispimJibencr srot adse sane.

Gout/. . . . . 1 ) g

( a hare la an ocean in this world which h? s got no

wave but Calm, the wave of life merge there fro-;

a ll side? } .

(Prabhat Samglt i-nrn t! Jibr i •.

lh • same thought is cherished by Jalinib^la

Devi •-

uijsra Purst rial Sagarat

Ji banor Sur mita i yiun .

( i shall be attached with the ocean like the spring .

( Jjivni : r j.cin; r ' ur .

And •

ueo ifnn apon pnhari

3i sur« c bpi yiy

iv'ad nadi kata lu it juri

Dai yay sa ar bicari.

( Mai •••ur bisva binar : • aponar Sur ,.

Contcf.. W

- 1*9 -

( i oiag such K song by f o r e ttiiv ; qyf.^lX pno throi gi*.

-&i;o in f lum ca of th rt c.wco l m-iody lo ts o f r iversA *

Rirorms flows nuay tovnrde t»io ooopn;

On® should not f e - r dertii J-erth cannot sep- iv _«

„he soultf frc 'i hie e te rn a l journey. B«cruoo bio l± f '

pud der>th oro s e lr te d to e»cb o:her so ti"bin rr jr. tit s^id-

■V “

irtyure linrSyp k«m kpdi

Jibrn to rartyur Samp-Shi

- I T f v~ t*

( ; by I cry fo r depth V Im eed ihe l i f e i s die ;rrve

o f da' th ).

Jplinibplp Devi n lso re a lise d th rt uiero ir no

d i f ronce betweei l i f e and depth,. According u> usr,

depth ir. '.hr- bpd of roses -if

.'In ran io ye . uichnr .>,ynn

Jibpj apron snap.ri there.

f nprnpr Fur ).

c-^nui... 11P

( -jh© ie-'-th is confort-Ws boa of pore?, rao thsy

.•«ro ndjuncc of each o-hor c.-;. v-alli«- x • crimed-

' *he ordinary Proc ess of Per ih if; tao foyr- ioti

of the scrulat fra,i tho borty ra In drr»-.js, &«r> only difi '-

rone? bain:; Hir>t in fcho lr t<#t*r coee tjno &cf*'T~ "Anil i-

for th.~ Has beinjf but in tibo former i : if., f.-rri-n?:it

-nd fiarl«,ia

t'o Kr ftuictra Jrtft pad dolini )5rla Davi i/*ko

r J©r. tif r e b I la suto—

.irtyu l*o ho b?db^a ciiido

panr rnrido.

- j i lyr,

( 0 teaxh tftke so t?/- tearing tho bond." 30 , s»t. you * r d-iiii'ir;-

f . 1 to j» }

1. rtrblndrr dr til said-rip.rrnro tuhu mar syT>i rarii>. 0 rar *fc you ?:rr> l i«e i.rai!< or .:-y“aa.C. i . vullir y, X .mortal uoa.

r i.-'ji. .l* 11£,

Jagatar tuadL cira bhayabaha

iuod nor cdra an an da r lchan 3 .

(Sqpanar Sur.)

( You are veiy fearful to others but you are the aouree of

pleasure to me >•

At last the object of pleasure tinned Into lover

and both of them embraced Death as their beloved* Sablndra ifeth

addressed Death as his fxiya (Beloved)*

Capal cancel Fxiya dbara nahi dite cqjr

Sthir nahi thake*

- I ratiksa : -cnar tori*

(% msteacy and brisk lover does not want to surrender who

is restless) or -

iferaa dolay dhari rasigachi

Basiba dujans bado kachakachi

Jhattjba aslya atta ha sly a

tfsribe thela

Anate prahete kheliba dujane

Jhulan Jdiela

Jisitii bell*

- J nulan/S endrtori.

Ccn to ... 11J,

( Catching the rope o f cradle o f death, we w il l a i t

side fcy aide, the stoma w i l l cam with roar o f

laughter and thrust us, both o f us w i l l play in

the cradle a t n i # t ) »

italinibala Davi too address the death as her

Priya fo r when she is waiting-

Priya had mar ahibe~ yidina"

/ _ _s an ti candan ha ta t la i

( 0 beloved, then you w i l l cone to as 9WM& with peacefully

taking sandal- pashe in your hand).

- /*ran amiyn t Spponar cur.

In Wee tern world are also find the sim ilar thought

pythagoras (572-497 B»C. , we find the orphic view o f death

Contd.. . 11$

11* -

death tc.ich gained his way in philosophy* Be taught

transmigration of the soul, i t s purification in the

wheel of births, and i t s fin a l reunion with the OLvfne.

Ihe soul is imprisoned in the body and leaves i t a t dontfa,

oand a fte r a period of purification re-enters another body*"

therefore death i s not the end of l i fe . After

death the soul merges with Brahma* The upanisad and g its

accepted this theory which was a great influence upon

dabindra Math and Nplinibela D v i.

There i s a great siaLlaxity be between die two poets

regarding the treatment of nature* The allurement of natural

beauty in-spired Rabindra t'lsth intensity. So the case of

.fciinibala fend*

heath and western thought fey- Jnoques choron 1963- P. 33 .

Contd.. 114

- 11*

B o t h o f t h e p o e t h a d t r i e d t c r e a l i s e t h e e x i s t e n o e

o f u o d t h r o u g h t h e n a t u r e . T h e w e s t e r n p o e t c o n s e n t e d :

n a t u r e i s t h e b e s t t e a c h e r . " ^

M a t u r e t o u c h e d t o t h e h e a r t o f R a b i n d r a n a t h i n

t h e e a r l y a i e g e o f h i s p o e t i c l i l t o . ' t h e n a t u r a l b e a u t y

a t t r a c t e d h i m t o o a n d t h i s p h e n o m e n o n h a d d r a w n a g r a p h i c

p i c t u r e i n m o s t o f h i s p o e m s l i k e c f c i t r i T , ? c h a r t o r i a n d

l i a n a b a n i . D u r i n g t h e b e g i n i n g o f h i s w r i t i n g s h i s n a t u r a l

a p t i t u d e m y b e j u d g e d b y h i s p o e m , d n o p e d o n l y a s i n g l e

s e n t e n c e * " H a l p a d e p a t e n a r e " ( I t r a i n s , t h e l e a v e s

t r e m b l e ) .

± 0S o ^ R a t i n d r a H a t h t h e u n i v e r s e i s n o t h i n g b u t

t h e m a n i f e s t a t i o n o f t h e a l m i g h t y G o d * A n d i t i s f u l l o f

b e a u t y .

1 . l o r d s w o r t h

C o n t d * . 1 1 £ ~

n r-Gagane gsraje megh iana barsa

Kula ska base ichi, nahi bharasa.

$ Sonartori ,.

( The clouds are roaring in the sly and is raining

frequently. I an sitting lately in the bank of

rircr where there is no hope ) *and-

Jadi, kalas bhasiye gale basiyg

ihakite oao apna bhule

He the syama durbadal nava nil

Bikasita banastal bikae phule

(Hrday yamuna t Sonartori).

( If you want to forget yourself by sailing the pitcher

in the stream sene the grasses are green,is sky is blue

& the copes and bushes are bloomed).

Coefcd..... 11«

mH*ro the Poet in the Garb o f a netaphajie "h relay yawns"

entered in the -vaisnavlte theme of yawinS, Radw and Krana.

IVaisnaba Padpkartas were such influence^ fay EBr^-Sy, roar

o f tfamder, heavy shower with lightning.

In respect of ^elinifaala Devi also had a creative

Power to draw natonal scene and aakes them mm seasons like

BPbindra Nath -

Utfca Jaga banespati J. Gths bsnfdl J.

hai gef 1 dhire dhire kopai kahan

Jsgi uthe trninkur nirab dhsrat

( Bsran s Sandhiyir Son ).

( Rise, awake 0 large trees l rise wild flowers J. Pome one has

gone away by saying with trembling the garden, the shoot

of grass has been awaken up in this quiet world;.

C o n td '..11jr

HabdLndra Nath had a firm belief upon the

ganmantarbad ( traneemigrB ticn), To the ocean, sea, forth

eveiything vaa taoun to hi* anal Berafot—

A mar Prthibi tumi

Bahu bareer; toaar Mrttika sane

arnar mieaya laye ananta gagane

aAsrente carane Kariyaoha Pradakain

Sabitroandal, asajokfaya rejani din

Yug Xugantar dharij a«fir ma Jhare

Uthiyache tree tab*; Pospa EhaTe bhare*

PhutiySche, barea kareohe tarunaj

Patraphal gandharenu J tai a ji

i.onodin an#n»ne basiya ekiki

Padaatlre, Sanaaukhe aeliya angdha akhi

Sarba ange sarbe sane anubhab kari

toaar mrttika najhe kemane sihare

- 11? -

Contd' 118

- 119 -

uthiteche trnwikur, tooar ante re« 4 ^

Ki jiban rasdbara aham isi dhare

.aritecha soffc^r .

(Tonalrtori : Basundhsre;.

^ 0 ay earth, your existence i s from a long line,

You are moving along with M»y- for unnuentered days and nightA ^

fro i endless year without being fatigued steps in the

etem el sky elaag with end in the Orb of the sun, upon

m grasses grow* tip, inuaerable bunches of flowers . Shewn «tiA

bp fee tiPes upon m> ?o today with an absence sdlnd ty

sittin g on the bank of padna with my chf rmed eyes I feel

on your so il how does i t mains romance on your Serth by

r isin g the shoot o f grass as well as the caatnauLty of

lives. }

The western poet 6eoar wild also think

90-

Contd... 1S9>

- 1*0f

kith beat o f systole and o f d iastole

One grand greet l i f e , throbs throu#

earth's giant heart,

tad nighty waves o f single being r o l l

From nerveless ^era to fo r

we are part

Of every rock and bird beast and h i l l ,

One with the things that prey on us

and one with vhat ve k i l l .

From lower ce lls o f taking l i f e we pass

To f u l l perfectionj thus the world grows old.

. . . Oscar v ilde , Fenthea.

Cento 120

. *2f*.

Ib is hot hard flame with which cur

bo<$r burn

i . i l l make some meadow blaze vith daffodil,

Ay 1 and those argent breasts of thine

will tun

io water - l i l l i e s ; the brow* fie ld s

man t i l l

w ill be more fru itfu l for our love to-night

nothing i s lo st in nature, a l l things lives

Death d e s p i t e *

. . . Oscar l i ld .

h alin i Devi's heart i s a lso fu l l with the

beat% of the Earth t

Aphuranta Saundaiyya Pratima/

Aparupa Suwani Prthibi

dicitra barnere opachai rupar Samvgr

Calo oaku ra i yowa

Kata rang number khela.

Contd.• • 222*

( An abundant beauty of image , An extra-ordinaxy

beautifu l world , tile d iffe ren t colours of beauty

over flooded the earth , the ayes would be fixed

i f we see them, to what extent play of colour

and beauty*) \ "

Griama ses hay

■Jerasar aganane daware aware

Unnatte dhutmiha bale

ik asa t b i ju l i caoake

duranta fcejyut u t ta l tarruagn uphe

Nadir bukut.

( P rth ib ir r tu Sajja J Jugdevata)

( fhe suomer season about to pass the rainy season i s

near the door, s to n y wind is Blowing with sparkling

t: roaring of cnunder the waves of the riv ers are

vexy high )V*~

AaMndra ^ath N" Barsa Man gal ( Kalpana)*

C cn td ..... 22£

- 22VGuru gargpne a i l araqjra siyare

Utala kalapi keka kalarebe fadhare

Nikhil cittataarasa*

Ghana Gauraba asicbe matta bara?a •

(Heevy roaring sound o f thunder blua fare a & the

location o f tile bead in bed, impulsive note of

tbe per cock is strolling, tbe mind of tile uiiveraa

is cheerful, tbe rain is cooing majestically).

Babindra Nath realised that there is eternal

enjcyment in nature, the eternal beauty is scattered in

nature, Hm % necftgpl ag lift tgglti, he aays-

H«y Sunderl basundhara

tana pane cegre

i^ataber prin mar uthiyaehe Jqye

Prakanda Ullas fchare

(dasundbara ).

Cootd*.*. m 1XT>

- a2$-

( Oh, beautiful Sarth, ay heart i s ra ised with j<y

and great deligh t ty seeing you ).

Ja lin ibala Devi also rea lised from the core

of heart, the beauty of the world the n a tu ra l ereaticn

of God which she fee ls more e te rna l-

iio d iaran i janraadfittrl

abhagak diya stan,Ddya deh, diya trinEfcQlir paras nags asahte atofti

taaar suwani e i j Iran i Kolat

diya oaba janamar anupam dnh.

( Alakanaada )•( 0 dear Barth, the motherland, give me place and save

me* Hr unrest soul desires the touch o f the earth , you ere charming and you are the re s tin g place and give me the deligh t of new b irth in th is life ) •

Contd... lag

- 1 2 f

Xne poet JSabindra l^ath makes h is mind to r e a l is e

a l l the things o f nature with a depth o f love whic h i s

ever g rate fu l to him t

Ihanya ami h eritech i akaser a lo

Dhaoya ami ja g a te r basiyachi bhalo.

(Pravat t C a ita l i ) .

( d ie seed 1 am peraiv ing the l i j h t o f the Sjgr, B lessed

1 an a s 1 have loved th is world,

Further he seated -

laha kichu h eri caskhe kichu

Xuccha ney,

S ak a li durlav bale a j i mane hay.

(Durlav janma t C a ita li } .

Contd*.. . t2 & .

( Uiat I m see in this world is not. at a ll

insignificant - on the other hand to u» verthing

is valuable and scarce )•

Jhe same idea was daeprooted in the mind of

aliaibela Devi* She also did not make any difference

between dust and hilL-

for dhuli faali par bat bhaiyar-i

i4ukali patbar bahal naiye

Sakalote moor tej m&ngahar

maraud surar ciaaKi diye

( Opaja tfcai * iug Devata)

( I find my flesh and blood in the dust h ill

open Held created by you ; .

- 226 -

Cm id .. . . 22%.

&t$ -

The universe is nothing but the manifestation

of Lord Brahma* All things are created ly Him* He

is the ligh t o f a l l light. He is the creator, Severer

of a ll.

The ancient sages wcss prayecL

" fcntaso m jyotiragamaya " • The wee ten Poets

also immersed with the l i^ i t - L i^ t 1 more ligh-

Goethe f

Miltcn actnits the l i ^ t as the main source

of worldly creation -

The l i^ it is in the Soul

She a ll in every pert* '

Poet Habindrs iiath was overjeyed with the

Tight, „ the melody o f the truth -

Car^o,... 22y,

*2® .

Bajao aBare bajso

Bajale ye sure Pravat Hare

Sei sure mare bajao

• ••• GitiflsljrBi

(Play# Play me, as you played the morning li^vt, play

me like that

the light of the sin attracted him, he said-

" especially there is a fantastic charm at noon.

£he heat of the sun noiselessness, the voice of lhe birds,

especially the crows and long rest- all make me isolated.

1 do not know vty¥ 1 think the Arabian novels were

composed through this golden stony noon.

( Chinnapetra > Letter .. o. 119).

Caatd.... *2*

* 2 9 .

I h e s m i s t b e S o u l o f t h e w o r l d , .’i a l i n i b a l a

D e v i c o m p a r e d t h e l i g h t o f t h e S u n w i t h t h e h u m a n s o u l .

C o w i p u b t o r a n a t u d a y S u j j a r

D j v a l i c h e d i p t ! r e k h a a r u n s u n d a r

y i r m a l p e b i t r a r a s m i s i k h a

I l o k a r

V i s w B m a n a b e r y e n e t n a m a n c h a r .

( B a r a n : S a n d h i y a r S u r ) .

( L o o k a t t h e B a s t g a t e o f r i s i n g s v n , w h i c h i s g l a s i n g

t h e b r i g h t l i n e o f b e a u t i f u l a m . I t i s v e r y c l e a r

a n a p u r e r a y s o f t h e l i g h t o f l a m p w h i c h m a y b e

r e s e m b l e d t o t h e s o u l o f t h e m e n i n t h e w o r l d . ,

X h e m o o n l i g h t w h i c h i s s c a t t e r e d e v e r y w h e r e

i n t h e l a n d s c a p e a n d r i v e r m o v e d t h e p o e t * s m i n d a n d

C c n t d . . . j | Q r (

- y» -

and tfte earlier the poetess composed the various

beautiful and melodious verses, dabindra Hath a lso

cherished this idea from his childhood*

Kali madhtyaoinite Jyotananie'ithe

Khujakanane sukhe

xenilocchal youtaanshrm dharechi

l anar mukhe.

( Ratre 0 iravate i Citra ) .

( Yesterday in sweet moonlit- night in bower a cum

fu l l o f foany wine o f youth I placed before your

lip s) •

" dature1 to Habdndra dath is a beautiful laty*

Lady is nature and nature is lady not only to dahindra

deth, Shelley also f e l t nature as Rabin dra dath. '

Ccntd. *. J3f

xbis nature or lady, at the early stage was tfahasi &

than Mauassundari and ultimately i t turned into tataxyami,

Jihan Devata. ihia lady is the Sweet heart of fiabindra

Nath* Nature and lady nixed tip and became united as

one* Nature effesived fiabandit Nath with emoti« .

tip to the end^the poet cherised this idea* And the

nature influenced habindranath so much that the poet

while sinking the time of union and separatim nature

stood always in back ground aeae instances from Sonar fa r i '^

%-artha Ychban, ia jja , Niruddeser yatra«uu

Nalinibpla Devi became overwhelmed, tb, j<y and

geue inspira fcica fran che beauty of mocnli^it* She

described the fu ll mocn as the quean of Beauty simulta­

neously i t pleases her too*

Ccntd... J33L

- J3*-

Kon Swarpgnr tool aauidaijyar rani

Saxadar pumiaa aundari ?

Uialicha rupar dhal marater bukut

amiyar tulicha lahaN..

v Furaiae s Sandhiyar Sur ..

( 0 beautiful queen of fu ll moon of autuon fXoa which

heaven you h ail franyou ere showering the beauty upon

the eartn ty creating the wave of nectar.).

So tha western philoeopher Kant has consent

about beauty s He said - " That i s beautiful which

pleases ally which pleases witiaout in terest and

without in terest and without a concept and pleases

necessarily."

Caatd.. • %3%

ux-1q this monotonous world every thing become

now in Foot* s qyes day by day* ihe beauty is caacoaled

behind the natural things* Beauty is nothing but the

manifestation of God* According to iiegel " God manifests

himself in nature and in art in the fora o f beauty

God expresses himself in two ways in the object and

in the subjects in nature and in Spirit." i’he fold

beauty is , exposed in the poems of tiabindra Path’ s ' Jihan Devote

has appear as the existence which is inhere in nature.

dkhan bhiaichs turn!

A nan ter aajhej SwaXga hote

Mar jabhumi

Karicha bibarj Sandtyar nanaic

Same**

CoiudL*** 33$

- 33$

ivariicfle aneal; usar galita svarne

Jericna makhala ; puma Vi uinir

Jale

Kariche bister, talteie chalchale

La lit, jc Jauben rJa&ai.

( C u ll you are floating in like midst o f tile in fin ite;

and you ere moving from heaven to ear to. iou are

playing amo ro us i n gcldon colour o f evening fr

you have coloured your skirt like the Golden

colour of morning ray o f the si®, you spread

your garment over the water o f the river, staggering

and suffusing your fu ll youth*

i'he similar idea was also charised Ijr

ualinibala, Cue said

Cctiul. . 139

- X&-

Puwatir subna lagan; t

Arun?r range poharat

toner la ge t mar

An an ua milan

xtite dekha sew ali banat*

( Milan : Safldhiyar sur ).

( In che auspicious period o f morning and in the

suishining moaant o f the day my m ien with you

i s e tern a l. 3very day I see in tile garden of

sephalika flow er)•

.-ialinibele Devi and Habindra ;lath Tagore

are HcntancAA i oe os, and that i s why they sp ec ified

the beauty o f nature which i s mare s ig n if ic a n t in

the region o f Romanticism. ih e western } oets li !:e Shelley ,

Caa c d ... . J3T

I3T -

Sheliey, Aee.ts, whose speciality is the deep

feelings of i errestrial beauty in their poems-

' Oh for a life sensation rather than of thoughts'

• a thing of beauty is joy for ever,' ' the Foetay

Iof the errth is never dead etc. are the specified

utterance of heats, haomdra «ath and ^alinibala

Devi also tried to oahe mors sontantaous ly creating

seasouaness beauty:

^ —

-iisa ondharat fula

-Hajani Gandhar

Akul uunad saairat

Surabhi agaru dbile

mala g&the kiba abegat

( Puja : Farssoai?i).

Cai td*. . .

\5b -

( i'ha blosscm oi‘ d&janigandba a t dark n ig h t in

perplexed mao wind which poured the siae il of

sanlilalwood and makes garland with emotional

tu ought).

Same idea i s flashed ty habindra Nath : before ftand-

Heyaae im ar a a ja i megher n i l aajan le jeche

Nayane legeche.

uabp tm ad a le gbana ban chaye

ripras imax diyechi bichaye,— _ S _i u lay ita n ila a ja n e a j i b ik as ite Fran

Jegecheivayane s a ja l anigdha meg^n-nil an ja n

legsche.

( N a h ' b a r a a : a a n i n a ) .* •

Corvtd.. . 13

$3$ -

( Blue cdLlyriim o f blue cloud touched ny eyes* 1

1 have spread ay del igh m esa cn the green graesess

and in the bower of th r il le d m arigold and there ty

ay h eart has been delighted .co llyrita i and eveet

cloud touched ay eyes).

But such beauty never be onjeyed, i t i s only

can be re a lise d . P .d. Shelley sa id in h is " Hymn to

-in tellectual Beauty-

S p ir i t o f Beauty, that d o st consecrate

wxxn thine own hues a l l thou dost

shine upon

of human thought or feu * , where a r t

thou gone ?

Habindrs tfpth says :

C c n td .... 13^

- 339 -

Ago Satnderyyar lakami apaa pravate

j-iandita kergo tu a i ^hamahime te

^n abar rup rag ya kichu sunder

Kothay rayecha tumi ago man char.

i 0 the Goddess o f beauiy, you please Mb decorated

y o u r ss lf in your cm morning with your m afestica l

power. karmatior:, attachment and a i l other q u a lit ie s

o f humanbeing are b eau tifu l where you are resid ing

C fasc in atin g 7)

Such influence may be marked in ia lin ib a la s *

toems-

S e i c ira sundarar

Aparuper rup sikha

uaa dine, koneno dekhiche ?

Sutibra prerana dahi

i^anuh Saundaryya sah i

Ccnta.. . m

\

- m -

Manuhei Pratime gadhiche.

(Aaim Jiban; Sapannr Svtr , .

( He is o f exquisite beauty. Any boty have seen

such a beauty ? lie is giving a great inspiration

to mankind & this inspiration inspired the mankind

to i Croat the id o l so beautiful).

There i s a great sim ilarity between Kafaindra

ia th and lards worth in respect o f worship in nature*

Both o f the poet realised that the nature is vigorous

and hunane* There are differences far expression

o f the same truth. But the beauty o f nature ns depicted

ty wordsworth is the inspiration o f sp iritual as well as

moral strength which he expressed in h is poems.

ih g iifica n t.

Ccn tcU. . |4I)

i46 -

The noming roes in memorable poap ft

Glorious as e 'e r I had beheld - in fr a it

lhe see lay laughing ax- a distance hear

The so lid now tain shots, bright as the clouds

Grain tinctured, drenched in

empyrean lightf

• • • • see • e s s

Hr heart tins fUi.1 j 1 mad* no rows,but rows

were then made fo r me j bond mlmom

was given, that 1 should be to ne

else sinning greatly

A dedicated sp irit*

C cn td ....

- 148.

fhe vision of vardsvorth i s not attracted to

to the saascuaaeea beauty of nature - rather he i s

attracted to the aoral side of nature* But fiabdtadra

.»ath enjoyed the sansouaaess beauty of nature and » lso

realised that a l l the beauty of the world i s the part of

eternal beauty*

•go Kahare janai in i

Ki ache bbp$a

Akas pane oegre iaar

ndteche asa .

Hpday anar geche bhese

mine kichur euarga ease

Gbuse geche ek ninise

Sakai pipasa •

( Kheyi }•

Contd.• • • A&j3 * r ^ ^

( Oh, wham shall 1 intimate what kind o f language 1

have ? linking at the sty sy aspirations have

been fu lfille d , ity heart and soul have been

flooded and do not want to go in heaven in the

twinkle o f an core* a ll thirst have quenched)

Abasese buk fete sudha ball ini

He drasuadar, and. tore bhalobasi

( Seskatha; oaitali)

( At the end in the broken heart mly I speak,

that 0 eternal beauty t I love you ).

Jalinibala is vexy nearest to Babindra dath. So

her idea is based on the same thought . she uttered s

- £ 45- -

C oitd .... £4d

” K ae aki d ll * aor dueakut

Bendhaourupe ohatt.

Chanda ehande bakul gsndha

Hilakar aa i sur katt

Kata basanta kata b&ragar

Sur Jowarat dhan tu li

Ser&di .<iaar Jen- jcnakar

Sffl j a a l l t bur mxi

Nil aiULaar i% cal a i

Xko Mpaiar nip ohaM

Chayiagyl aar aaa upabsn

>61akar oal sur kabl. "

( A l aksaandi )

( Wno has portraited in jqr two eyes, like the colour of rain­

bow in a lythsdc way with the scent of bakul flower;

I aa a gardener creator of tune and created many

tunes of spring, rainy season in moonlit night of

autuon, seeing the beauty of the blue sky again

in shade and light of dreasy atmosphere)

The western poets like shells/ and wordswarth

had a wiaian to the sky which were glancing with full of

stars and moon, and makes a fantastic beauty.

n Or glancing at each other cheerful

lookslike separated stare with clouds between"

( On natures invilation Do I cone *uardsvorth ).

" is, in sparkling majesty, a s tar

Ccntd.. • 44*

• 44^ *

seen aid the sapphire heavens

deep repose -

(Shelley ) .

dot cnly Halini Bala Devi was inspired ty the

ideas o f Rafadadra datn but also influenced in using

vocabularies, astro, diction etc* also

We are dealing with these topics in the next

chapter*

What i s Kalya or literature ? fhe Rhetoricians of

India in early age have said -

/" Sabdarthaft safeitan kalyaa " - fihaaaha*

x x x/

" Adoem Sagujao sala^kaTao sabdarthaa

Kalyaa n - Haaobandra*

Cm td... .

p * -

n Sabderthau oirdosaa sagwan prayah Salam-

fcaran katyam - Bsgbhatta*

Whan the poets, iqy his potential genius write

Foeaa with the bast words in te s t fora accompanying s ty le ,

Rhetoric avoiding a l l kinds of fa u lts are knows as Kalyas*

According to wordswortoh.

" Poetry i s the span ten sous over flow of power

f u l l feelin gs, According to A r is to tle . " The

Object of Poetry x x i s io produce an emotional

delight, a pure and elavated pleasure. "

She 'word' and expression are priaazy neoessity

fo r writing a kitya* B • Croce said* " Xhcmgh, ouaical

fancy, p icto ria l image, did not e x is t without expression,

they did not e x is t a t a ll"

( She Eeeanoe o f A esthetic page- 43 }.

Ccntd* •• m

- m -

So the noet important thing in writing 'atyas, the

Power o f words are to be aoquired ty the authors. The

i . ords1 should be according to Habindrath -

'' An tar hate ahari ha can

anandalok karl biraean

gitarasadharS kari sin can

Samesar dhuli gala .

( I pick up the words from the oore o f ay heart and

create world o f beauty and shower the tm e tqacn th is

dusty world )•

About the language o f the Katyas Bhattanayak

the author o f " Hrday - Ihrpann said -

Ccntd**.* m

£49 -

' /

" Sohda Fradhanyam asiityatatra

Si strain Prthak taLduh • »

Arthe tettvena Tukt* tu

badantyakhyanan etayoh

Djayargieutre tya para pradhanye

Kalya girbhabet*”

( that i s , in vedas and court of lavs word i s

important , In these oases the words camot be

replaced ly others; in history gpd story {Be

dhttife and happenings are main, those cannot

be changed hut where the sentences and senses

are the follower of expression, then the Kalyas

are created ).

C aatd .... 909

S o a s t»ue w o rd s ox' u ie J e w s p a p o r s an d t h e K a ly a s

d o n o t l i e i n t h e sam e f o o t i n g * M a la ro e 1* A . R ic a r d s o n a n d

p a l l v e b r i c o p io a e d l i k e w is e * A c c o r d in g t o p a l l v e b r i

s t a v e d - " ih e t h o u g h t s e t f o r t h o r s u g g e s t e d t y a p o e t i c

t e x t a r e in n o way t h e u n iq u e a n d p r im e x y c o n c e r n o f

( P o e t i c ) d i s c o u r s e b u t a r e r a t h e r t h e m eans w h ich m ove

t o g e t h e r e q u a l l y * ± t h s o u n d s , c a d e n c e s , t h e m e tr e a n d

t n e e m b e ll is h m e n ts t o p r o v o k e , t o s u s t a in a p a r t i c u l a r

t e n s i on o r e x a l t a t i o n , t o p r o d u c e i n u s a w o r ld o r a

n o d e o f e x i s t e n c e a l t o g e t h e r harm on ious* ' •

B u t a t t h e sam e t im e v e s h o u ld rem em ber t h a t a

K a ly a o f a h ig h o r d e r w i l l n o t b e c r e a t e d l y m ere s t y l e

e f f i c a c y u s in g r h e t o r i c s , u n le s s t h e oo** id i s c r e a t e d •

P o e t s a r e ccm p a re d w i t h c r e a t o r Brahma -

C a n td * ••• 159

- 150-

H apere katya samsare kabLrakah

PrajapatjJa

Yatheaaei rooate ULeeaa tattanbapari -

barcate "

( like creator dpi Brahma, the poeta are a lso creator

of toe world of poetry).

To toe European criticea upheld -

11 Poets are bom not made."

At night the crleket ciyout&that i s known to

a l l , but how many was able to express the same like

Babtadra da to -

n raterbela JfcLlli dike

Qaban banaaajne

Contd.... 152.

15* -

Ogo dbire dhlre dual's mor

Aar se aghat bajha.

Or, vtoo eould have able to say-

n Se katha suaibe n& keha £r

uivrta oirjaaa oaridhar

llfyaae mukhcoukhi gabhira dukhe dufchi

iicase ja l jhare aoibar

jagate keha yana naiM ar

( .«o bocty w ill hear, as tbe surrotn dings are s i lent and there

la none; we, sitting face to face and we are in grief ,

i t is raining heavily, as i f there is none in this

world) •

Crntd. • •• • 15X

- 15* -

" Ha ni$ada pratisthao traaagaaah

/ •—

Svaavati saaah

was astonished and raised the quest!cn-

^" Sakartenaqra sakweh lrimi dan

tyahrtae eaya."

( Being aggrieved a t the g rie f of the pegem, what I

have uttered ?)

like that fiabindra ia th also uttered in dieaay-

n gusi ceye achi biaasy nine

rahaaye niaagan

e ye saag it katha hate uthe

e ye ^abanya kotha hate phute

e ye krandan kotha hate tute

an ta r ULdaran."

C aatd .... 15^

( I am looking, being dismayed, what la the aysteiy,

from where this music i s coming, from where this

beauty is flashing, this cry bow vanishes, heart

i s fu l l o f g r ie f ) .

'i'his i s creative genious and this oannot be

acquired ty din* t o f labour or merit, I t is gifted Ly

the almighty God. So Sarlyle said- " Poet end the

prophet is the same man* 11

Wordsworth called this inspiration and "serene

and the blessed mood." According to Socrates i t i s - Ifeeocn."

Plato said- ' Idea " Aristotole said* " strain o f aadnesaP.

And in this stage " the poet is li fte d out o f his proper

se lf."* fiahindze Nath expressed -

Coatd.*... 154(

15* -

Nutan chande andher pray

Bhara anande chute eale yay

Mutan bedana be*e uthe tay

Nutaa riaginl bhare

Ye hatha bbaU ai tali, e e l kfctha

Ye tyatba bhsyhi n l jage saifyatha

Janina euechi kahar batata bfrhfjla

kare suaabar tare* "

( Like a blind in the midst o f new U ne runs away with f u l l

jq y . Feels^ew pain in a new tune, I speak thoee words,

wflich 1 never thought,! fe e l the pain which 1 did n ot

understand, ! do n ot know, whose message I have

brought and to whom 1 sh a ll coavey the same ) •

CgcU1*»»» 156"

- 1 5 * -

I .A. Hi card stated about th is momciousnees-

"much goes to produce a Poea is of course unconscious."

Plato said tills device inspiration " Devine insanity11 •

Rabindra ufath stated th is as "Oracle" • And th is <6

genious*" The genious of a sage is also an extra­

ordinary genious, but the aim and object of a sage

i s quite different from a post*

The sages forsake the worldly pleasures and

they engaged them to obtain sons sp iritu a l power

ra ther they want to l i f t themselves to the sp iritua l

world. S t i l l then, in one pcdnt the Poet and the

sags have got acne sim ilarity . In cne sense the poete

who have got extraordinary genious are also a sage

C cntd .... 151

- 1 5 ®

sag * or “BSI n Poets feelings are a lso sp iritu a l, but

their expression i s quite different from Rfit*I« The

aediisa of the expression of &SS.&- Kahi i s the

embellished language* And their object i s to produce

a delight - an emotional delight. " Truth i s beauty ,

beauty i s truth.'1 The Goddes of lean in g i s the

symbol of Truth and beauty* Sobs aay opine that a

poet and a sags or Bsi i s not standing on the same

Platform, but that i s not true* The Poets of the

Upanisadas are a t a time BSI and Katd. ( Saga end

poet) • Thsir writings are a t a time ” iyan and

poetry.

Coatd*.. . 15®

It is stated in Gita -" IhukhAgvamicIhLgiwwnwh Sukhe8U

bigataeprihah( Who does not feel the pain of aiseiy and who has got

no aspiration for happiness).It is not the language of a poet, but we tejr

say i t a golden naxia. But when BSI Kanva Prayed -/n Sayan Yati S&khmtala Patigrihaa

Sarfchenanujaqratam."/( I o day Sakmtala is going to her husband's house,

all of you are requested to assent to it) .Here the idea and expression are united and

here the prayer of kanva be case a poetry of high order*

- 15* -

Caitd..... 159

t v > .

- m -

R&binebna N ath's Gitan j a l i

i s a t a time fyan and Poetxy.

Joe body of the poatxy aw "herds* (Syllable) . 1'h®

words have got two meanings -(1) Current meaning or the meaning sta ted in

dLctionaxy (P raealita Artho or baqyartba or

Abhidhamulah artha)*

(2) Ostensible meaning or apparent weening

(Pratiyaman artha) Again Pratiyawin Artba

has been c la ss ified -(a) Lakshaha (b) ^raqjana ( Eturfeni) or aomd.

fiabdndra Nath seleeted the best wards in best forms* We find the effiakqp of rheto ric ians in toto*

la h is writings we find grace (Prasad grn ) ,Sweetness

(Madhuxya gm) and vigour or incitem ent (Ojah Gin) •Cantd***. 1*3?

- 1 0 -

*fein]y, fiabindra Math is the Poet of

"Madhuxya Base"* His 1 Jivandevata* theory is expressed

by oadhuiya and "BhaktL Rasa" • But his Bhaktir&sa is

not identical with the vaianabdyabhakti*

As Malinibala Devi was influenced ty RabAndra

Math so we find similarity in vocabularies* diction,

mym» and the use o f figure o f speech (Alaakar).

Vocabularies t

RaHndra Math very often used these vocabulari.es-

akul* parent lyakul, bijaa* Mijhua, Nis&te* PatfcUt*

aparup, asia, use, Malay* Suxabbi rap- arup* Kara hi,

Malatd. Malinibala Devi also used these vocabularies*

Ccntd**.*l6d

Dictina l

Naliaibala Devi f o i l owed, the style o f dafcdndranath,

even in sane cases she made the verhatica translation

seme o f portions o f writings of Nabindra Nath* l-Je are

citing below some of them haUndza Nath vrite -

" 1 shall be bom in India again aad again with

a l l her poverty, misery and wretchedness, I love India*

•this has echoed in ia lio iba la -

♦ Mario Funar, ahi

dulddya deaate mort

lao yen Puaar Jananu"

1Putali' cue o f the eon o f Nalinihala Devi, died

a premature death and le ft for heavenly abode*

dalinibala is thinking that when aha w ill die

putali w ill cane to receive herw

Con td» • • * l6g

- 16*.-

11 Anguli *urat tunri. din gaai gaai

bate led ekebeli baba

eamy i id le mor acinaki bit

tund ahi n ije la l yaba "( Sandhiareur ) •

Poet Setyeudranath Datte was d iscip le of

Rabindranath , Ratdndra ia th loved bin dearly. Bat the

ircny o f fa ll , i s that Satyendra^being much younger

than Rabdadra ^ath, he died a premature death.

Rabindra wrote an elegy <n Satyendra riath in his

Kalyagnantha- - Purabd .

— s!t Asa kari, aartajanme chi la tabs aUKhe

ye bLaamra enigdhe ha aye, Ye ev&cchaA

Satej Sara late

Cantd.. . . l6 j_

163—

Sftbaj Salyer Prabha, taLral

/

Sanyata Santa Katha.

la i die arbar pal yena taba abiyarthana

Aarta loiter dvars- lyartha aahi hole* e

Raman a."

( I expect that the courtesy, which you have show

to me with sweet smiling face in the earthly abode,

you will also show the same gesture at the gate of

the paradise^when I w ill leave the worldly abode")

Satyendra Matiy'Punabi.

.'talinibala Devis-

n Amar opaja tbai

eikhan marfea trvaxgabhiid "

is nothing but the e«ho of Rabin die Nath* s

G<n td... .16#

. jjgir prtbibi tiad

bahu b&raser. taaar mrttiha sane "•> * m

Basmdhara /Scner iazl.

11 Gandfaa- harinar k&sturi - bas ,

bLcarx nepai tyakul bate6 "

( ihe mask, deer not finding from where the smell of

mask is cooing is roaming bewildered and dishearten d;

is rewinds the lines of Batdndra ^ath-

" Pagal haiya bane bane phiri

Span gandhe mama

Kasturi mrga saaa

• W a Sage sannyasi baba

i aadhu brands ban " - Walinibala

reminds of JiabLndra dath' b -

ami baba na tapes

■ nprai* tapasvlni"

. 16 $ .

yadi na pai

Caatd*.. 165

- 16J| -

ialinibala'a -

Kodo kale turn! ntai

kcnorupe boa nai bbio

iuml jyoti aai raau,

be arup, itupar ala,/ "

Reminds m of Rabandra Ratb-

11 2'cnir amir ad lan bale aakal yabe kbule

visva sagar dbeu kbeliye uthbe takben dole

n Cbayaaaya nor non upabaa

aalakar mai sur kafcd." - ^alinibala

C /i. " and haba taba

railanoer aalakar. "

Rabindra Rath.

" Paicho sakalo j m

nai powa too

Klba e ii aai nai "Pwnain Xrlaaa/Sandhljmr Sur.

Ccntd.. . . 16$.

(Got everything, s t i l l i t seems to be Be, that

scnethiag not received, which 1 cannot express) •

Hhara grihe sihya sad teas tihase

Gitanjali/53*

( 1 aa alone without you in the midst o f houaefull) .

A aliaibala* s-

/n Si tana t jfcsila nuaai affthen cikLty

Sir palo suni puwati kulir-aat

<KidUd kisat babilo alas aaae

Pindhilo kesat natw aalika dhar.

ene sansyat senduri dhulir bate

larua pathik dekha dila rajpathe

Sen- aulcutat usar pohar pari

Kantha suwai aukhtar aalakhani

- 16*

Caatd.... 16

Sudhile lyakule- teo ko* t?

Lajate earabi nowarilo Ka1 banaai

iaim Patbik 1 Seye aai, score ■ei."

- Brasta Lagaa/falinibala*

(Light which has placed Igr the side of aqr bed CD the

side of the head whm extinct, I got iqp froa the bed

hearing the cooing of the cuckoo, sat down ty the

side of an window with slothful aood, and puttqp the

new garland as qy head* At that tine as the gray

highway I saw a traveller wearing a cram of gold

which was flashed ty the nozning rays of the sun was

sitting a> a eharrlot, the traveller weared a neoklaoe

aada of pearl* He asked ee 'where he is where he is .

I was so ouch flushed with shaae that I could not aay -

. 16*-

C«td.. •• 16*

B0 yomg traveller, I am that I aa that ia the

verbatims traalatiaa of Rabin dra Hath* a

"Brastalagaa *-

' /Sayan signers pradLp nibeche grabs

Jagla utbacfci thorer Kokil rabe

Alas caian* baai batsyan {wise

tfutan aalika pareohi aithik kese.

Baaa saanye area dhisar paths

iarua patt&k dskha dlla raj paths

Scnar aukut parsche Osar l lo

Mukutar a lia galay sagreche bhalo

Sudhalo katare 1 Ss Kothaj Se Kothay

%-igra earane inari dtaars n iai

/

Saraae aarlya balets nariau hay.

- 1 6 * -

Cm td.... 169

- « # -

" W a fain petixik, Se 70 in i sal ami "

* Maters and figure of Speeoh*

Prosocy 1

So doubt that the Bengali proso<y is

/chaada_derived from the Apafaraaae/Qaxyapadas are the earliest

specimen of Bengali payer, iiipadi caiyaa vers written

in n Soroamatric padakula chanda ' • (8 +8°^6 )

Ka -7 a - / tarubar / Paries M- dala-

eaneal d * e/ paitho - ka - la - ”

( here we find pause after every eight metres

and in the end of every line we find the

alliteration ).

Ccntd.... 1fQr

In Jcyder*' s Gita Govinda we also find thec'*r?finest specimen of Bengali Chanda* In later ages the

Vaiaaaha PadaJmrtes have followed Jaydeva in aetzical composition* Rabin dz* Math too followed Jeydeba*

A A A AFatatipa /tatre - hLoalita / patreA A ASamM t«/hha1»dupa/yalfflBin

A A A ARaoeyatd/ say an a^sa csld.ee/nayan anA, APaayati/taba pon/tlit-aaa /

( Jay deha)Rabindra Math -

8 8SatlncLx* rajani SaoakLta sajaniSSuoya nlkunja axaaya

Kalay*t£. aalaye subLjana nilayehale MrahaM senna •

« • -

Cantd* • • • 17®

As regards m etrica l composition, Veisaeva

Padav&li - have got two s ty le s - B xajabali and Ban g a l l •

In case o f m etrica l ccmpositiaa the Vaianaba

Padakartes have maintained, two system - m atrabritte and

A ks& rbritta.feifyapati was the ch ie f expcnant o f a a tra -

b z it ta (halehadtta) system and Badu chandidas was

ch ie f expectant o f Aksar b z it ta (M isra- h a la b r it ta ) .

Leaving a s id e the trad it io n a l me t i l c a l

cmnpoeian o f Bengal, Bharat Chandra made a remarkable

gain h is way ty introducing San skrit Prosody in Bengali.

In la t e r period Satyendra Hath Datta e lso iatrodooed

S an sk rit ohanda in Bengali. But Madhueudan have broken

the sack le s o f Bengali m etrical composing lqy introducing

Blank verse in Bengali. About Blank verse Madhuaudan sta ted -

C m td ... 174

17* -

N I f w ell recited , i t sounds as much lik e prose as

Qaglish Blank v rse sounds lik e Ehglish prose,

reta in ing a t the sane t ia e a Sweet musical impress! cn."

la composing Blank verse MadhusGdau based 19m

’ Payer chaada " aad the metre o f the same i s 3+6 = 14 Words.

He did n o t observed a llite ra t io n in the and o f the

lines* But HahLadra Nath made several v a r la t im s . He

did n o t observe the system o f Madhusudsn in collating metres

as 3*6. He made 3*6, 6*8, 10*4| 8*10, 10+8, 8*2*6 .

Baoindia Nath created the "Huktek" Chanda.

A lso he i s fouader o f "Adhuaik " ^ t r a b r i t t a '1 ehanda* la

Hanasi laMndza gave two aatras t o the words ending in a

consonant * la la te r Period the Poets o f Bengal cad Aesaa

C cntd ... 174L

Assam followed the same. He also showed that "PAX&ff1

has gob power of absarving eoapouad letters.

Assamese critics have also adopted the said

/ /method (PAXAHER 90SAu SAKl'I)

Xo * Ldpika’ , Sea Saptak* introduced the "Praee-Poe&P.

Nalini Bala £evi mainly wrote Poems in "Aksarbritta

Chanda "• lhe use of matxibrltta in her writings is

negligible* She also wrote Prose- Poem following the

path showed ty Rabindranath.

We are citing some examples s

Mahapayar ( dirgha payer ) •

ft&thuray Ken a Phul/Phuteche a jilo sal

Basaxi bajate giye /baekii bajila kai*

- Hatdndra Nath.

- 173- -

Ccntd... 17g

- 17# -

Diire dhire Jibanar/aiiiche nuaai

daup dip puri ga‘ 1 / E>jrartiietar Saurabh b ila i

>*al±oibala.

Aksarbrtxa " Muktak**

He bhubaa - 4

~aa± yata kshaa - 6

xonare aa beeecfriau bhelo - 10

tatakshua taba a lo * 3

* Hatdadra Hath*

Sidiaar para - 6

Lauhitya aiuaere - 6

Paacatirtba kali Frakahalao- 10.

• Haliaibala*

Oiac ia iripadi - 3

Kehabale dramatic faala nahi yiy thick 10

Lirlkar bado badabadia « *

- Rabindranath.Cm id*. •

-m -

✓ z®-ate Jati sate bhasa safcbyate Senskriti asa

Ebarat tdrthat Ihi nabaxup pay

• Uallnibala.

Figure of speech

She word 1Alankaxa" is derived fran the Sanskrit word-

"Alam" • Alan aeans "flhuaan" (Omaaants) . 'ihe ward

'•Alankara" has got x two aeaoinga. (a) beauty (b)

figure of speech like ailetratiaB, upaaa, rupaK etc.

v»

ihe real aeanlag of the Alaakir Sgstra " is " Sam da lya-

<_ a -Saetra" or " Katyaam daiya- ib-joan." ‘ihe European Critios

have called this Styipture " Aesthetic of Poetry.".

Ia Kalya - ainamsa i t has been stated -

'upakarak trad alankarh saptam ang&a ix i yajjrabariyah Rte oa

„ v .tatevarupa- bdjuad vedarthaaabngatih."

Cos td» • • 176

- i7r

Sanskrit rhetoricians have compared the

'KabBradeha' with the feaale bo$r. Alankara i s

aeoessaxy to deoorate the feaale body* So as the

figure of Speeohes are aeoessaxy for the ora amentatico

of "Katya-body

Visranath Chakra bortty, the author o f Sahitya

darpan stated .'"N ^ *** —"Kalyaqya eabdar thad sariraa, yaaadiscataa,

s' _Guaah Sauxyadaya iba, doaah Kaoutvadibat ritegrah

abay&b* Semathaa laLsV^sabat, alaakarasca katak.

kuadaladitaat."

* Word and aeaaiag i s the body of Kalya, ataa i s rasa etc.

valouxw guaah, defects are kinatradi r i t i i s the

structure, figure of Speeohes are the aaxbiag, aeoklace

etc* of the feaale )•

Cratd... 17%.

17| -

Baaaa in b is "Kalya laskar" said- "Sauidaiyaa

alaskaiah’1t •

- _ /Rhetorician BhoyDev ia h is Sringar Prakas"

divided alankara as - (a) Bahixanga (external)*

(b) An tanas ga (intenia 1 )

(c) Misra or mixed.

Bahirsnga- Ureas, Gar lane, Gold oraaaoats . A ll these

are external thiaga, which whan weaved ty the ladies j

the beauty aanifested*

Antaranga- Dressing of hair, washing of teeth etc*

fonaatd.cn of boefcr & cooplaxsi au

i'iLxed- Bathing and dressing with perfua»ries(Prosachan

and belepca) these are external things but sixes with the

boefor in such a Banner that cue oaaaot roeova them a t her

sweet w ill e#g* vem dllicn, Alakta etc* ualesa the

cco tru o tto . of a f « a l o b o * f ro . sort of

C an td .o . 1 7 ^

y tosort of Ifefectioa and they have got a exquisite eomplextiai

if the said body is ornamented no bosutjT ox* glaanr will

coneout from that body. *f t-h0 body is fraa from any

defect than a natural beauty will cane out froe that body

is natural beauty which is^Alaakara is known as the

Svabhabokti Alaakar.a

But for the augmentation of beauty of the ladies

ornamentation is necaesazy so m for the increase of beauty

of the Kalya- deha the figure of speeches are necessaxy.

But we must remember that both the bodies (Feaale body &

Katyadeha) should be free from any kind of fault(deformity

otherwise no beauty will come out, from the feaale body

and Katyadeha.

Acaiya hand! in his " Katyadarsa” said -

- 17* -

Ccntd* •. 179

" ianabasxhaa padarthina* repeat

Sikshat bibriavati

Svabhabcktiscagsti seitatya salam-

Kritizjratha*

‘ Siabhabokti is the principal alankar )

la creat svafchbolcti alamkora Si^pematuzal power Is

necessary-

" vabtaabokti duruhartha smkrlya

Rupabaina*iam

Rabin dra dath said -

amir SL gin chedeche tar

Sakai Blanker #

toaar kache rakhani tar

Sajer anankar.

- 179 -

Ccn id. 4. W <

)

- 13*-Alafkar ye aajhe pad®

oalanate a dal k&re 0

lonar katfaa dhake aa ye tar

mukher jankar".

Kadha for the Union with Krishna dropped a l l the

alaakaras from bofy a® i f the alaskam trill stead in the

way o f complete m ica -

"Ciza candana ure her aa dels "

Sabdalaakar is aot intimately related with the

Kalya deha. Anandb&rdban and A this aha $*£>ta stated that

/ a.the use I f “Sataljglankar should be avoided as for as practicable*

/ _I f the use o f SabdUaahir liee within the lim it jis good ( otherwise

i t w ill be 'attahas" (roar o f faughtei-). i'o creat sabda-

laokar the poets have to take Medial cars (PrithagjataarinUtf F k * U ’r k- * '

faarta) • While to creat^no special cars is necessary*

I t is "aprithag yatnanfbartta" • I t is spontaneous.

Ccntd*.. 1$tt

Racdadra Hath took special care fo r creation of

Sabdalankar-

n Sxebane deputy pen} a

E to kabhu nay sand-

isa pratha eye ana -

s r i s t i anaoar*«

Patra/i'ianasi.

In making allefiraticn Mabdadnanath had to break

the word "Saoataa" into two parte, the same thing waa

dene in case of "an aaristi."

Kaaa hajao kakaa ken* ken

Kata chala bhare1’

Hatdncira Hath*

here the ward* *K» was used several times , s t i l l then

i t l ie s within the lim it and produced a mueioal note*

Cob td» • • 1S J

But

ttEhut oath bhut seth

lkksha joyui aa sio e

YaAsba jnaksha lakaha lakaha

a l l th a s haad i£(£h irat Chandra)

Here the a lle te ra tic n eavaris l ik e a a t t a has (ro ar o f

lau gh ter).

Upaaa Bahindraegra J -

ihere i s a saying- "Upaaa K alidasasya" -

itv ifc making " Se drisyamulak a laak ar. Kalidasa.

surpassed a l l the ancient poets o f -India* K alidasa a l l

t o t a l used 1200 sadrisgra mulak a la a k a r ." Out of those

(< - *he used 250 a laak ar in Kuaar daabhabaa. In creating

sio d id e s , K&lidas, compared the object, with the beasts,

b ird s , in sa c ts , r iv e rs , blue Sly and so cn. Rabindranath

a lso did so & he excels^ o th ers. in ask ing t ia d i^ r •

- 18* .

Contd.. IdjL

- 131-

His "nines Sfcundazi" Poen is consists of

300 lines aad the nuabor of sftndlas ere 34*

"Eaadfcyarage- JhiliaLl • •» . *...... "

Poen of 'Balahe* consists of 6g lines aad number of

similes are 24* Only a few a illustratiaas hare given

below-

-aadhyarage jh lliir il jhilaaar

Srotkhani baka

adhere ualia ha la , yena khape

b£ka ualowar.

Object of cosqparisoa (upaaqya ) - 3 trot.

Object for coiqjariscn (upenaa)- tolawar

Coaocn attributd.es (Sadharan flbarna )

- "bhka".

“yeoa" is a comparative word* It is a puxna-Upana.

Coatd, • •

" S la t e r these ia a taaiphul . . . .

ia r a - phul i s aetaphor.

"i%ae halo, s r i s t i yaoa swapne

cay katha kanibare

b a lite aa para sp esta k ari

Alyakts cOunauir pxuja andhakare

uthiche gunari " i s

Bacyotpxnksa (P erson ification )

lJa lia ib a ln Eevi a lso used Ssbdalaokar and Arthalaakar

" Madhu a e la t l r Hup nadhuri

tfadhu madiup g i« ja a .

a lleb ratio n o f * HA’

Metaphar - Gaicho J i baa-git aaadti kal&r

' Saaasokti ' Alaijkar -

- 13$-

Ccn td» • . 18J|

- 13H

Fuwati saiidre aui kueum Paraee

uirala bhaaglle mar . . . . .

• ia tia i calacne a bra sire -

Habiadra ^p.th/Samasoicti.

/

^idersana »

Bukur ffliyar se jsr Wyae

Jurie acMp.ra purabe

Qiganta awarw dri^tir rekha

Sioare nowari juktti.be.

A tisqyfi'kti-

" Fhulaait soar hejar kusua

Fttulile oarass tor

i or surabbie niyat jagela

a jut Sapcnbor. '•

Gostd... tijjT

19T

Rabindranath-

flaaasa kusurn t o l l aaca le

Gethecha id. »ala, parecho Id. gale.jridUti&aoi lillekh i

Ski nangaliasyi aurati tokaKL

Prabhate ditecha dekha

Hate Frqjrasi*Rupdhari

i’uinl eeecha Prenesvsri

Prate kakhan d ev ir beee

xiaod saauUie udile haeo".

Ratoadm Jath.

different qualities of aqjr thing when stated by cne or

different people attributes different qualities of me

then i t i s ca lle d ullekh al&aKar-

(che i s maagalasyi id o l , a t n igh t she is lo v e r .

la the naming Ztie i s Goddess) •

Can t d . . • • m

- 138 -

JaH aibela Deri "poke about different qualities

o f fe t t le ( Nari

" i J a r i ......................... ..

b id tra nehlai tuad

ehahe anrt bhandae

inhale kalkui lwH$> ’ of

Abfainafca abbinetri rupe

Seugsarar natya aancat

in altar mrtyumukhi asur mahite

ih e li diya chals bale d i e t i le

purusak nrtyu aukhaloi

Rabindra Nath used not aaly the Indian egrets* of

figure of speeches ao brightly but also used the western

figure of speeches. Very oft an which are not a bus dan t in

Nalinibela hevi

dalinibBla ilavi was not cnly a Poet but also a

composer, essay writer, dramatist and a Painter, - o r Langi^’e

o f tiie dramas are equally poetic like rahiidranoth .

fllflft tft»n fllfi t/1 o Uftti n Dii4m _AL

ftsbiadra Professor o f Gauhati University opined that u n liiiteV

picked the words o f her Poem, drama etc. from Sanskrit an frcrj

Rabindra literature (/ samiya -oh iiyat -talinibalar Stpa/Jallaitii i4

Devi Page - 2 2 > ).

i.alinihala Devi's es Puja was written be sing iq

tiie ga.tir Puja o f Re bindra ilath. See puje is out o f Print

not a single copy was available in the big lib raries o f MjbrA

and Gauhati. So documentary ir o o f cannot ^fLvai.

has mpde v~rbptive trsnslaticn o f some lines o f letirpuj" (m c>ut

Moreover the idea is identical with that o f Rabindranath,

i'he story is also the same.

Cri / maxima dharali (..alinibnla bevir iJataic)kf. N +-U'h* 1) 'ostated that the : ocia l dmaaA' cos Puja'. ^ 1 *tfi t i 'aTWn- i,hT

p c