Bengali Short Story - History

Sahitya Akademi
The Bengali Short Story Author(s): Anima Bose Source: Indian Literature, Vol. 26, No. 4 (July-August 1983), pp. 48-65 Published by: Sahitya Akademi Stable URL: http://www.jstor.org/stable/23331477 . Accessed: 07/02/2014 09:17
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The
Bengali
Short Story
Anima Bose
on length or the romantic elements. It had for its basis one unifying idea dealing with life and reality, rarely indulging in poetic images or fantasy. And yet while it dealt with life and reality. It did not concern itself with life as a whole. Rather, it concentrated on a specific aspect of life, giving just a glimpse of the reality with a deft touch so that the story vibrated with the impact. It would be very difficult to pinpoint the date as to when short stories began to make their appearance. Clearly, the in tellectuals world over, whether in France or in England, in Russia or in Germany, reacted to their respective social situations, often poignant and shocking. They were bothered by questionings and self-doubts. In the last decade of the 19th centry, a similar situation could be detected in Bengali literature, there were doubts, questionings 48
of story telling may be said to have begun with The history As Maupassant of mankind. the history said, "story telling is a human of all favourite pastime beings." However, the short story in the form we see to-day in Bengali literature is essentially the product of the 19th century, in many ways, a unique product of the literary world of that century. Why unique? Because short story did not depend either
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promotion and encouragement of short stories. Just as short stories in the literary form were given a momentum in Europe by the numerous magazines published there, in the same way magazines, like Bliarati, Scd'iOiiu, Sahitya, Manoshi-o-Marma
bani, Pradeep, Probaho, Bharatbarsho, Probashi, Kallal and
rather suddenly in the that short story made its appearance the of firmament Bengal. However, magazines of Bengal literary and an eminent role in the monthly) played (weekly, fortnightly
identifiable authors who could be said to have written them. Besides, their origin was verbal in the beginning. There has been no process of evolution in the history of short story in Bengali literature. It would be valid to say instead, no
of the time within Bengal's society as by Bengal's political background. It might be of interest here to note however, that although historically the seed of Bengali short story writing was latent in the "Churnak" (anecdotes), (sketch) and novella, there were "Akhyanak" (tale), "Noksha" the then upheavals
and uncertainty of attitudes. As a vehicle of expression of these postures, short story as a form of writing began to receive its due attention amongst the writers of the time. The history of Bengali short story was directly influenced by
later Desk, Amnio (some of them appear in Bengal even to-day)

gave a tremendous momentum to short story writing between
for the sake of introducing a variety in the content. Interest ingly, except for Bankim Chandra, all the well known authors and writers of Bengali novels and fictions have also written short stories. And the magazines (Patrika) have been their vehicles expression initially. Those who are knowledgeable pay tribute to the magazine Bangadarshan, a well known journal of the 18th century. Bengal
1877today in 1981. The puja issues (a very unique feature in literary world even to-day) became a fertile field for Bengal's short stories. The magazines encouraged (and do encourage to day also) short stories mainly because of space economy, and
of
as the pioneer in this area, and also a path-finder. "Modhumati" by Purna Chandra Chattopadhya was the first short story pub 49
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out
in 1873. Tagore's "Bhikharini" was published in 1877 in Bharati magazine, one magazine which played a very important role in the history of publishing short stories. Tagore then was "Ghater only 16 years old. Twelve years after, in 1885 Tagore's Katha" (The story of the River Bank) and "Rajpath" (1880) came Navajiban respectively. Thus in the beginn ing, short stories were slow in making their appearance, may be, because they did not catch the fancy of the then writers. Among those whose names must be mentioned during the initial stages of short story writing in Bengal, are Troilokynath Mukhopadhya and Rabindranath Thakur. Troilokyanath laid one important foundation in short story in Bharati and
lished
writingthat of a balanced outlook and a love for life and living based on actual experience. Critic Promoth Nath Bishi says that this particular feature became the corner-stone of short story writing in future. Akshoy Kumar Sen, Nagendra Nath, Sachin Majumdar of short story writing by all contributed to the development in Balok and Hifavadi magazines Nobojibon, Bharati, writing known those well days. Interestingly, quite a few short stories published during this period were written by authors whose
names are not available. They were published in Nobojibon, such as, "Pujar Galpo", "Oni Pishi", and in Janmabhumi such as, Did the authors think that short stories did Sardar". "Sanatan not become men of literature and so did not care to give their name? I wonder. It would not be an exaggeration to say that short story as a literary form of writing owes a great deal to the Tagores of Bharati Janasanko in Calcutta for its growth and development. played an unforgettable role in promoting short story writing by publishing them regularly. Since 1877 when Bharati was published in Jorasanko, Tagore's ancestral home, due to the magazine
Nath Tagore enthusiasm of Jotirindra Nath Tagore. Dwijendra was its founder-editor. In 1884, Swarno Kumari Devi became ts editor and held that responsibility for 18 long years until 1902. She was Rabindranath Tagore's elder sister. Later, Tagore 50
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himself became its editor. Right from the beginning Bharati had an eye for short stories. Consequently, many known and unknown writers of those days appeared in its pages. The stories were based on love, romance, on life's real experience, on conservative ideas, on revolutionary ideas, on sentimentalityeven on theatrical ideas which shows the liberal policy of the magazine. But creativity and a stress on variety were its trademark. It had no particular ideology to propogate. Swarna Kumari Devi wrote short stories even before R. Tagore which were published in Bharati and Balok in 1886. She probably began to write even before 1867. Her first short story, "Birendra Singhs Ratnolar" (Birendra Singh finds wealth) was published in Sakha magazine and the author's name appeared as Sm. x.x. Devi. Refined taste, and a sense of propriety predo minated her writing. She is not read much these days and may
Bahadur" Tagore, His short stories, "Choorio (Theft and and "Bhairav" were in Bharati and Balok. published courage) The treatment of the theme in those two stories and in "Duibaar" (Twice) augured a new chapter in short story writing in Bengal.
He presented drama, romance and excellent studies of human
not be considered as one of the best short story writers. But that she was a pioneer in this field needs to be acknowledged. also was known as a Nogendra Nath Gupta (1886-1940) short story writer of significance among those who preceded
characters e.g. "Shyamar Kahini" His (the story of Shyama). him out as a short marked writer. good story objective approach The treatment and style of "Kahar Bhram" (whose fault?) deserve mention. The plot of the story moves fast in the form of letters. With the arrival of Rabindranath Tagore, however, short story writing received the utmost momentum.. Towering over everyone else in his time and day, Tagore may be easily given the title of the first real short story writer in Bengali literature in the best sense of the term, and retains the crown even to-day. He started writing short stories from 1891 in their modern form. 51
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Before 1891, short story writing in Bengal was passing through its initial stages. By the time Tagore appeared on Bengal's literary scene, several short story writers had made their mark in world's literatures in other countries, such as Irving, Edgar Allen Poe, O'Henry in America; Balzac, Maupassant in France; Gogol, Pushkin, Turgenev, Tolstoy, Dostoyevsky and Chekov in Russia. But the specific form of short story, the writer's unique per Howthorne spective and the basic reality which is the corner stone of all short story writing, had not yet made its entry into Bengali literature. In the pre-Tagorean era imagination and fantasy predominated. Reality, flesh and blood had not yet engaged attention of the Bengali writers. the and
Tagore introduced a few essential features of short story writing right from the Bharati days which developed and deepen ed as time passed. They were: one, the form of a short story must be short. Two, although a short story necessarily portrays
a part, or a slice of life, the portrayal must have the flavour of
the whole. Three, not only is the external aspect of life is por trayed in short stories, but the invisible inner life too must form a part of that portrayal. And finally, the essential ingredient of a short story is a particular moment amidst the monotony of routine daily life culled out by the author's own experience and sensitivity. Tagore's short stories occupy the most eminent position in Bengali literature right after his songs and poems. The creative artist in Tagore blossomed to the fullest in the realm of short stories where his genius found a fertile field. He wrote short stories until 1941 a span of 64 years from 1877 when his first short story appeared at the age of 16. He wrote 118 short stories in all published in "Galpagucha"3 volumes, "Shey",
"Galpo Shalpo" and "Teen Songi". I am not including "Mukut" (Crown) which I think is a short novel. His short stories are not problem centred but idea-centred as were the stories of Maupassant ("Simon's Father"), of Balzac in the Desert"), and of Diedre ("The Man with a ("Passin 52
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Golden Head"). His stories touched the reader's heart because, I think, Tagore was essentially a lyricist whose use of words matched his thought and .idea, the peg on which he hung his short stories deftly. He was utterly sensitive to what remained unsaid and by this technique made his characters human, por traying them ably. He revealed an ocean that lay hidden in one drop of water. And only Tagore could achieve that miracle, (e.g.,
"Post Master", "Shuva", "Chuti" (Holiday). He wrote some action-centred short stories, such as, "Dena Paona" Babur Pratyavartan" (The Return of "Khoka (Debt), Khoka Babu), "Bhai phonta" (Bhaia Dwuj),"Man Bhanjon" and with social evils of his many (House-mistress)dealing time and day (and which linger even in our own time) e.g., the "Ginni"
evils of dowry system, prostitution, agony of unwed love, the tragedy of arranged marriages, sale of bridegroom, sheer family centredness verging on an anti-social mentality. Many of his
short stories have unmatched human touches and reveal the
being with all his, or her, good and bad qualities. "Ashambhob Katha" "Kabuliwalla", (Impossible happening), "Muktir Upaya" (The way to Release) - all reveal this unique human
aspect of Tagore's short stories. His personal experiences as
he lived on the boat on the Padma, his visits to the villages and the natural way in which he responded to people enhanced his Tagore paid an enormous amount of attention to the psycho logical aspects of his characters, portraying them on a small canvas but with great skill and deftness. These stories are "Thakuda" (Grand father), naturally character-centrede.g. "Ritimoto "Daan-Protidaan" novel" (Really novel), (Gifts), In several stories, such as, "Apod" "Protibeshi" (Neighbour). (Nuisance),"Nishithey" (At night), "Didi", he deals with women's psychology rather expertly. The plots of the stories received careful attention from Tagore. Very rarely one finds any abrupt, or a coerced ending in his short stories. Very rarely does he become dedactic. He is consistently natural in his narrative, bringing about an end that 53 writing.
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rarely jars although the end might raise a philosophical question, reveal a truth, or affirm the writer's faith. His characters emerged from life influenced by their environment, social customs but left a mark trying to be themselves. He laid a great emphasis on
portraying a character faithfully than displaying a perfect tech nical skill of form and style. That Tagore eminently enriched Bengali literature by his short stories goes without saying. But very few realise that his short stories raised Indian literature to the status of world literature even in the early 20th century by the beauty of his language, refinement of ideas, simplicity of narrative and deft character portrayal. No compilation of short stories at world level is complete to-day without including Tagore's short stories. Among Tagore's contemporaries the name of Probhat Kumar Mukhopadhya (1873-1932) was best known in Bengali literature, although he is not read much these days. He may be said to be
Tagore's direct writerdisciple and was greatly influenced by
Tagore's style and theme. In point of fact, Tagore helped him with the plot of "Devi". Probhat Kumar was also influenced by the French writers. In his short storiesthe idea is more predo minant than the plot, and imagination plays a very important part therein. He wrote more than 100 short stories. His own experience as he travelled for education and later, for jobs enriched his short stories with a flavour of reality. But he did
not deal with life's grave problems in depth, nor did his writing contain the breadth of life or the fine sensitivity that one comes across again and again, in Tagore's short stories. Prabhat Kumar's themes were not varied, and he did not seem to have delved depp into life's reality. He looked at the world and society in order to portray their comical sides, and thereby amuse his readers as though. Among other contemporary
whose names at least must be
short-story writers of Tagore,

mentioned if no details are pos
sible, are Sudhindra Nath Tagore who contributed remarkably to short story writing; Jaladhar Sen (1860-1939) whose stories were mainly based on Bengal's villages dealing with the poor farmers, 54
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potters and the weavers whom he knew well as he was born and brought up in a village. Most of his stories have a sad ending, or deal with life's tragedies; Suresh Chandra Samajpati (1870
1921); Hemendra Prasad Ghose most of whose writings dealt with everyday life and unfulfilled love; Dinendra Kumar Roy (1869-1943) who became famous for his detective stories, but was also known for his short stories specially dealing with the rural life of Bengal. The Bharati Gosthi(group) has a special place among the modern short story writers of Bengal. They got this title because their stories were published in Bharati. Abanindra Nath Tagore,
the most distinguished among them, wrote innumerable short for the children. The titles of his stories, such storiesspecially Putul" "Khirer indicate the theme. Several as, (cream-doll) other writers of Bharati Gosthi became famous as writers of short stories: Sukumar Ray (Satyajit Ray's father) who also wrote for children both in prose and verse; Pramatha Chow dhury; and Monilal Gangopadhya who was known to be at the head of these galaxy of writers and made tremendous contribu tion to short story writing both in theme and style. The Bharati Gosthi kept a vigilant eye so that nothing coarse or vulgar tainted literature. Further, this group laid a great deal of empha sis on the translation of short stories from European languages
into Bengali. Often, they also adopted ideas and plots from European literatures for their short stories thus adding two new dimensions to Bengali literature. Premankur Alorthy (the author of "Mahasthober Jalak") is famous for creating type characters and writing stories around characters, e.g. "Shapurey" (Snake charmer) "Borda" "Barbonita" (Prostitute) among others. He (Elder Brother), those
usually wrote in the first person and based his stories on utter realism. The characters became alive in his stories. The Sabuj Pairo Gosthi (group) emerged after World War of 1914-18, and naturally, had the theme of freedom and the struggle for it as the central idea. The use of paradox, sarcasm, penetrating language, and an attack on Bengal's orthodoxy, 55
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prejudices and the impractical mindedness of the people became their effective weapons. In this, one can detect a certain European "Chaar Yarri Katha" (The influence. Pramotho Chowdhury's Tale
of four friends) reveals the stinging and deliberate use of these weapons ably which was meant to awaken the drooping society of the then Bengal from the puppet-dance in which it indulged at that time. This style required serious thinking, a critical analysis, a clever presentation of the theme through paradoxes, seemingly light-hearted comments with a piercing insightfulness determined to expose the fake, the shallow and the veneer of hypocritism. Needless to say, that a great deal of reading, preparation and understanding of the issues lay behind all this. It could be said without inviting any contradiction, that because the writers of this Gosthi prepared themselves with so much trouble, (specially Promotho Chowdhury) that they expressed themselves with great felicity and a seeming effortlessness.
The period between the appearance of Sarat Chandra
Chattopadhyay until the second world war may be considered to be Post-Tagorean era in Bengali literature although Tagore was still living and his influence did not diminish by any manner of means. Tagore died in 1941.
But the appearance of Sarat Chandra on the scene of Bengali literature from 1913 onwards, added a distinctive dimension to the field of Bengali short story writing. His short story Manik Bandopadhya's "Mahesh", "Pragoitihashik" (Pre-his and Premen Mitra's "Mahanagar" torical) (The Great City) opened up a new vista in the short story writing world of Bengali literature of the time. The new features were clearly visible in the choice of themes, in character portrayal and in the narrative. As Tagore himself commented, Sarat Chandra delved deep and simply conquered
their own sorrows and joys as they actually experienced in their 56
the hearts of the Bengalees. The Bengalees began to see them selves, their very own day-to-day life portrayed and faithfully reflected in Sarat Chandra's stories their tears and smiles,
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own life. Needless to say, the Bengalee readers were delighted, and felt that they had a place under the sun. They completely surrendered themselves to Sarat Chandra's charms. As a matter of fact, Sarat Chandra's writings, short stories (and novels) the hearts of all-India readers in general spontaneously when his works were translated into other Indian languages in course of time. The readers were not shocked into something new. Rather, touched they felt at one with his writings, the presentation, the senti ments he described made them feel as though Sarat Chandra was speaking on their behalf. Perhaps it could be commented in passing, that the senti ments that the writers of pre-Tagorean era expressed were more specific, rather character-centred. But Sarat Chandra touched the human heart in a manner that was universal in its appeal and
pleasing in its truthfulness. The problems that Sarat Chandra's characters faced were not theirs alone. These were the social problems in reality that the Bengalees encountered every day the accumulated prejudices, the innumerable injustices, economic, social and religious, the
cruel social laws and customs that ceaselessly
human beings, men and women, irrespectively were all present in his stories without any embellishments. The caste system, the social class system that crushed true love between a man and a woman in Bengal's then society touched the author's heart. His deep sympathy for Bengalee women who almost choked amidst the dark four-walls of the home, and endlessly suffered being
born a woman, received the most human and touching
trampled
upon
the
in Sarat Chandra's pen. Bengalee women will always remember Sarat Chandra with love and gratitude for taking up their cause at a time when they were considered less-than-human in every sphere of life within the four walls of the home and outside it. It would be true to say that Sarat Chandra was truly "deshi" (belonged to the land) and faithfully reflected his times. The points I mention above have been well portrayed in his short stories namely, "Bindur Cheley" (Bindu's Son), "Mahesh", 57
response
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(the "Bairagi", "Mej dicii" (The second sister), "Darpa-Churna" fall of Price), "Ekadashi", "Andhareyalo" in the Darkness) (Light "Swami" (Husband), "Chobi" (Picture), "Abhagir "Haricharan", Swargo" (The Heaven for the luckless one), among others. The lack of space prevents me from giving the full list. Sarat Chandra's stories had an objectivethat is, his over powering desire to expose the social evils and rouse the readers' conscience
in this regard. He did not go in for sob-stories. He how social evils created wanted to point out unambiguously diminished human situations and beings, men and women tragic alike. Consequently, Sarat Chandra kept a vigilant eye that what
he wanted to say was clear enough. He harmonised his thought process and story-structuring with that aim in view. Among the contemporaries of Sarat Chandra, there were a few women short story writers whose names must be mentioned. They
Shanta Devi, and her sister, were Nirupama Devi (1883-1951), were well known writers of short stories. The Sita Deviboth
latter is known for her translation of French and English works
today. They read Knut Hamsum, D.H. Lawrence, Barnard Shaw, Romain Rolland, Gorkey. They read Freud. The Freudian influ ence seems to have had a tremendous impact on them. Poverty, rebellion against tradition and the establishment became their powerful themes. They were called the "Kallol Gosthi"
into Bengali. Indira Devi was another writer who wrote a num ber of short stories and made name for herself. After Sarat Chandra, a group of modern writers brought about a new trend in short story writing. They were in touch with world literatures and were affected by the world wide dis content that spread at that time in the 40's and continue even
(group) and gave an impetus to this temper of rebellion enhanced by a sense of frustration in everything. The discontent, the lack of a sense of fulfilment, disillusionment, all these mark their writings. After the Kallol group mention may be made of Kalikalam, Progoti and Sanghaii groups which intensified this trend. Three aspects of this trend stand out. One, the choice of themes. 58
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Two, the angle, or point of view. Three, the portrayal. The theme was consistently about the deprivation of human beingssocial and economic. The angle was a piercing demand for more and more for those who were deprived focussing en
tirely on the dark side of life. The portrayal used half spoken or unsaid words, symbols and sings as the means. The importance lay in "how" it was being said, not in "what" was being said. Names of Monindra Lai Basu, Achintya K. Sen Gupta (also a Bose (also a poet), Premen Mitra, Bobodh poet), Budhadev Sanyal stand out in these groups. added a new dimension to Shoilajanendra Mukhopadhya
Bengali literature by concentrating on the life in the mining areas thus introducing the portrayal of specific areas and sec tions of Bengali life into literature. His own personal experience helped his writings. Bibhuti B. Bandopadhya (Pather-Panchali) painted the pictures of the deprived, the poverty-stricken villa gers of Bengal. Tara Shankar Bandopadhyay (who died in 1971)
devoted himself to presenting the life and time of the people in Birbhum District in all its colour, pain and ugliness. His personal experience with the people there enhanced his writing. His
village, Lavpur in Birbhum District has become very familiar in
Bengali literature. The name of Bonophul (pen name) is a well the field of Bengali short story. He was a physician but a writer by vocation. Born in Bihar (1899-79) both a variety and plurality of themes that made
short stories story were writer. really He wrote more sometimes than 100 or short, a page two
loved
one
in
by profession he presented him a unique

His in short In length.
books.
a small space he presented his characters through a few deft sketches, and evolved a new format of short story. His statements were clear and in a way, reflected his own personality. His stories were based, always, on his own, personal knowledge. This paper will remain experience, or
incomplete if I do not say a few words about short stories in Bengali literature during the post second-world-war covering upto the present day. 59
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Just as in the world arena, fascism and nazism were making their strides, so in India imperialism was having its last fling. Thus, anti-British sentiments and a keen desire for freedom from the alien rule marked this period. Such political ills as imprisonment without trial, internment, the use of Section 144, all this affected India's suppression of freedom of expression in most. The writers Bengal became specially intelligentsia the sensitive to this situation. One rather significant thing happened during this period. As Jawaharlal Nehru declared at the 1941 Bardoloi Congress session, the progressive forces of the world were aligning with the group that appeased the fascists and the nazis. This group was then
represented by America, Britain, China and Russia. The socia listic ideas were now no longer confined to the so-called intelli gentsia and the political groups. Rather, these ideas began to influence the people more than even before. The communist ideologies affected the young and the modern. Many of them believed in Bengal, as in other parts of India, that in a socialistic pattern of society free from exploitation, lay the solvation of the
country.
The terrible famine of the fifth decade of this century, in flation, blackmarketing and corruption devasted the country. Bengal became a helpless victim. The refugees from the villages crowded the streets of Calcutta for a handful of rice. The youth of Bengal reacted to all this rebelliously and angrily. When freedom came in 1947, the partition of the country shattered Bengal. As though, a new struggle for freedom, for food, for human dignity and a roof overhead began alll over again. Sharp ideological
restlessness.
differences arose.
There
was
general
Not strangely, all this led to a new flood of creativity in the realm of Bengali literature. There was a here to foreunheard of consciousness against all the injustices, social and economic, against the existing social structures and class distinctions. The writers of this period began to ask scathing and boldly challenged the system that encouraged 60 questions a double
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standard. Subodh Ghose's "Ajantrik" (Non-mechanical), later turned into a movie by Satyajit Ray, may be taken as a representative literature of the time, as was his "Teen piece of Bengali Adhya" (The three chapters). The word "why" predominated the literary field of Bengal. Manik Bandopadhya's "Pheriwala" is a good example of this attitude. Narendra N. Mitra (1916-75) was a product of the times above, but the expressions of his rebellion was much more gentle. He concerned himself more with a psychological some analysis of the "whys" and "wherefores". Consequently, of his stories deal with distortion in sexual life, e.g. "Sanisar" described "Jora" (old age), Most of his stories (Household), 'Yayati". deal with the family life of Bengal, and with romantic love. He admitted that his approach might have limited his scope. But
his education, upbringing and values made this approach natural for him. It was spontaneous. Among his work, "Mrityu-o Jobon" (Death and Life) is a good example. Santosh K. Ghose, Bimal Mitra, Ashapurna Debi added another
rather fine. Sometimes it becomes difficult to make a Situational ethics take over more fter than not. The characters of the short-stories highlight these points. A word regards the short stories by Debi might Ashapurna be relevant here. Although she has been for more than writing six decades now, she is modern in her and outlook in style more than one ways. She is a master and herself story teller, says that she expresses herself best through short-stories where distinction. 61
come
new dimension to short story writing. They portrayed the poignant aspects of life degraded, its conflicts, psycho logical upheavals and human helplessness in the face of it all. Perhaps, the modern mind is more subtle in its sensitivity to the degrading aspects of life which has become more knotty, more complexnot only economics-wise, but psychologically as well. Short stories of to-day's Bengali literature naturally respond to that. The demarcating line between the good and the bad has
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she has a canvas albeit small, but is conducive to effective cameos that bring out the characters in sharp lines, present quick and clear sequences of events bringing into a focus human relation ships, human joys and sorrows, their despair and happiness. The unpredictability of human character interests her no end, and she responds with deep sympathy and compassion, "Seema rekhar Seema" (The point beyond the limit), "Bairagyer rong" (The many colours of Renunciation), "Mrithika" (Earth) all are are mostly so-called ordinary women, but what enormous future promise they have and fulfil! These days, the themes of her stories are centred round to-day's life, the contemporary problems of divorce, the conflict between the two generations, the adult and the young. Bimal Kar is considered to be one of the famous short story writers of Bengal to-day. His stories are not plot-centred. Rather, his short stories present portraits after portraits with
engaging descriptions and a sensitive narrative, e. g. "Park
good examples. Her woman-characters
Shei Bari" (That house on the Park Road), "Jonani" The question of death has engaged this (Mother), "Nishad". writer and the inevitability of fate. He has also dealt with the psychological vagaries of common man and woman, thus adding another dimension to Bengali short story writing. Samaresh Bosu, (the academy award winner of 1980) appear Roader ed on the scene of Bengali literature as it took a turn nearly 20 years ago. The basis of his stories is life as he has seen it. Some times, he has discovered the ocean in a puddle. His own experi ence of life as he travelled extensively (and travels even to-day) in Bengal's villages, and later, in the different parts of India has enhanced the beauty of his short stories enormously. He is an
eager student in the school of life. His knowledge of the rural areas of Bengal, the urban areas of India, and his beloved East Bengalall have left a priceless store-house for him to draw (Greeting) brought out the upon. His first short story is "Adab" terrible and the soft sides of life very vividly. He swears that only love can help one human being to understand another in depth. 62
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In his earlier short stories like "Jalsa", "Protirodh" (Obst ruction) his belief in Marxism comes out clearly. But as he developed as a writer, he shed his political ideologies, e.g. Joar Bhanta (Ebbtide), "Akal Brishti" (Untimely Rains). His sense of values are reflected in these stories revealing his deep sense of humanity and concern for mankind. He chooses his words well. Maha-Sweta Bhattacharya are the better known short story writers of to-day's Bengali literature. The writers of to-day seem to say that the done-thing in writing short stories and accepted all these years, do not really He is not a rebel, but he is non-conformist. Shrishendu Mukhopodhya, Sunil Gangopadhya,
complexity, inner truth and frightening uncertainities will reveal themselves in all their nakedness. Thus, to-day's short story writers in Bengali literature are predominantly introspective, individualistic and give a partial presentation in their stories which are entirely subjective. This may arise out of a mentality that wants to experiment. It does not hanker for a universal approval.
between the writer and the readers. The writer may have a theme, but he/she does not have to make a statement. Therefore, one's personal, very intimate experi ence needs must be the subject of the writer. This might limit the scope but that would be seeming, because for an individual writer that is THE REALITY. That way, the reality of life's
suffice. They are more bothered by how to write than what to write about. The traditional norms seem to be inadequate for them. They do not believe in the writers' "talking at" the readers from a certain distance because that posture creates a gap
They pay a great deal of attention to the language-structure, and the use of words, more or less, playing with words. However, it would be wrong to conclude that these writers are not aware or are not interested in the economic problems, the struggle for keeping alive, and the degradation of unem ployment for any young person. There is some protest against exploitation of every kind, and a promise of redemption. But 63
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continuous lessness
social decadence, lack of hope and a sense of help certainly assailed these writers and have turned them into introverts, less willing to identify themselves with the have
world they live in, the society they move about. They feel they have to portray life dismally because life is dismal. They concede, however, that life is representative of the times and they must be sensitive to the background, in terms of time, that they have been destined to live in (no one can choose the time and place to be born in!). The question arises, do these writers have a sense of social
responsibility? Any acute sense of the trials of life that have to be faced? That there is very little choice there? That many of these short story writers, such as, Shirshendu Mukhopadhya, Sunil Gangopadhya, Burman are also journalists is significant. They see life piece-meal as professional reporters. Their approach has to be detached which is not the same as
than reveal at all times.
being objective. And also, journalistic writing must impress more However, there is a visible attempt at experimentation in order to strike out differently experiment with subject matter, with the use of words, experiment in structuring the plot. They certainly do not burden themselves with too many questions, or seem to be interested in the past history. They are more inte rested in the unnatural aspects of sex in human relationship, in the distortion that it gives to life. Any warmth for life or living is missing in their writing. They do not say what they consider conducive to progress in life, or what they think is desirable for the society. They have not been able to excite their contemporary readers, or enthuse them with a wholesome life-view. Their voice is also not strong. Being separatists and individualistic, their tone of voices are rather faint, sometimes worn-out even, because of the atti endless controversies coloured by political and ideological tudes. Sometimes, they are directionless because of sheer loss of faith. Let me end on the note that despite the ups and down, the 64
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to structuring and a sensitivity displayed in their presentation does not depend solely on are a welcome augury. Excellence on an social awareness; or understanding of the reality alone. Excellence depends on the individual writer's own mental capa bilities. There seems no reason to be pessimistic.
stream of short-story writing flows on in Bengali literature. There are quite a few young writers, such as, Syed Shamsul Huq, Helena Khan, Seiina Hussain, Jyoti Prakash Dutt who are up and coming in this area. Their choice of new themes, attention
65

Bengali Short Story - History

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Bengali Short Story - History

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Sahitya Akademi

later Desk, Amnio (some of them appear in Bengal even to-day)

short-story writers of Tagore,

their own sorrows and joys as they actually experienced in their 56

by profession he presented him a unique

good examples. Her woman-characters

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