Commentary by Sanat K. Bandyopadhyay
The Literary Achievements of
Sri Tarasankar Bandyopadhyaya
An author of more than a hundred books, many of which are of quite substantial volume and with a literary career spread over almost forty years from 1928 to 1966, Sri Tarasankar Bandyopadhyay was a remarkable and outstanding figure in the field of Bengali literature. Born in 1898, the last years of the nineteenth century, Tarasankar could first find a calm tranquility in life and society around. Those were the last years of Queen Victoria’s reign when there was no political consciousness anywhere; British administration was at the highest peak at that moment. The country was reaping the harvest of British Law and order and new national consciousness was yet to spread. English education was spreading fast.
At that time he was born in a small zeminder family. The income was certainly
not much high compared to today’s affluence. But the feeling of feudal pride and
sense of respect was measureless. On the other side from his mother, who has
been the determining influence on him, he imbibed a respect for all catholic and
traditional ideals along with a love and attraction for country and new
education.
This is the background where Sri Bandyopadhyaya’s character was formed. And
under his mother’s influence and guidance he read Bamkim Chandra and
Rabindranath at a very age, came to respect and love Swami Vivekananda and was
attracted to patriotism when he was very young he is inspired by the name of the
great martyr Khudiram and of Alipore Bome Case.
In his youth theses tendencies took shape in the form of writing poems and
making secret acquaintance with members of revolutionary parties. Theses two
tendencies gradually grew stronger by years and he on the one hand wrote many
poems and dramas (which are since lost) and on the other he joined the Civil
Disobedience Movement in 1930 and courted prison.
The source of his inspiration as a literary man may be found here. Tarasankar is
all along deeply attached to the soil and to the men of the soil and to the men
of the soil as an author and these two elements from the main subject matter of
the bulk of his writing.
His starting point as a talented writer is from 1928 when his first short story
was published in Kollol. By writing that story he could at once feel that he had
enough to write on. Though his first printed book was a fiction, he first
discovered his literary powers as a short-story writer.
About his first two novels some lines must be devoted. His first published novel
was ‘Chaitali Ghurni’ (The Chaitra Strom) and his second novel is ‘Pashan Puri
(The Stone Chamber). The first one narrates the breaking up and disintegration
of the village and the second on deals with the life and characters in British
prison. For the first time the socio-economic touch into the fold of Bengali
literature along with stories of unconquered human lives and desires. The themes
are new and the experience is first hand and genuine.
Tarasankar has written nearly two hundred short stories and about fifty novels,
most of which deal with common people rooted to the soil and age-old tradition
of the country. After Renaissance common people first made their appearance in
the great short stories of Rabindranath. They are the creation of a poet and
their sentiments and taste are at once ethereal and earthly, but stand for away
from the daily odds of life. They carry the ‘poetic truth’ of ‘aesthetic man.’
In Sarat Chandra something new was added. The ‘sentimental man’ appeared in the
sphere of Bengali literature. Tarasankar added something new to it. He portrayed
the ‘biological man’ troubled with the various hunger sand thirsts of life.
After finishing the short story of Tarasankar you may feel that you might have
seen him somewhere around you somebody; the incidents will make you remember
that you might have heard of them earlier. But if you search for such a man or
such an incident you will fail. Even if you can find one you may try to compare
the two; but there you will also find that something is lacking in the man or in
the incident, which you have come across in the story. If you analyze it you
will find that something is in the story, which you fail, to find in the ‘real’
man or incident. That is Tarasankar’s contribution. You may call it either his
‘imagination’ or his ‘interpretation of life.’
Sometimes Tarasankar’s works have been termed as ‘regional.’ This is
simultaneously a word of praise and of short coring. Tarasankar is never
‘regional’ in the sense that it is used about Thomas Hardy. The reason lies
elsewhere. As an artist, Tarasankar’s experience of and acquaintance with life
is vast, his vision objective and accurate. He has seen humanity not in the
abstract form but in their concrete and individual shape with all their finesse
and oddities. Moreover he is in the habit of seeing them without detaching them
from their background; if he seen them in their entirety against correct
background. Thus when they appear in his writings they appear with all that they
can carry with them. Thus they carry with them, along with their personal
longings and behavior, the scent and flavor of a particular region. There
society and the rivers, fields, forests, jungles and lands also appear with them
in a chain as integral parts of Bengal or in other words India.
It is not hard to explain how this has been possible. The intense love and
respect for the life, the people and the land he was born in, with all the
history and tradition, good or bad is at the root of it. He has seen and loved
the whole show in its entirety, and thus when he goes to depict life he depicts
them in their entirety. Thus his characters set in their proper and correct
background is never hazy but clear cut and concrete, throbbing with genuine
human passion, which are mostly of elemental character. Acquaintances with his
characters make one feel that they are like iceberg with some quantity pleating
before human eyes while the major portion of the passion is hidden underneath,
by which they attain a strength and depth at once.
Along with this, something more is to be added about his vision and creative
powers. In his outlook as an artist the known daylight is of course keen; but to
depict this well known day light he always remembers and never forgets about the
other side of life- the mysterious night with her unfathomable darkness. Even
though he could not fathom her depth, he has again and again followed and traced
the beguiling gesture of her arch eyes.
“Night, the shadow of light And life the shadow of death.”
As an artist Tarasankar always tries to place mystery of life in the background
of the mystery of death. So in his works laws of nature is not the Nemesis of
humanity. This destiny has endowed an immense and grand significance and great
beauty to the Laws of Nature. For this, while with the keen and wondrous eyes of
an observer he observes the sparks of life being the outcome of Nature, he does
not take away his vision from the darkness at the background, against which
these sparks of life is mainly due to the immense darkness at the background. He
feels that the portion of life that lies hidden in the darkness is much more
immense and compel the reasoning and logical thinking of the reader to stop and
fumble and brings in a feeling of strange and sweet uncertainty in the reader’s
mind. It is not an outcome of poetic realization, nor it is akin or nearer to
the taste of realization of ‘Brahma’. But this realization is the outcome of
concrete life itself. To read and taste them one does not loose the
consciousness of life, but he rather feels all the more intensely about a
particular pattern of life. Thus Tarasankar presents life in all its
multifarious color and variety and with all its contradictions. He not hesitate
to portray the ugliest and the most revolting expression of life and can easily
give them an eternal art from of beauty as symbols of that great and eternal
drama that is on the play. In a word, Tarasankar does not analyze but discovers;
he does not explain but creates; he does not prove but exhibits. Thus all his
best works carry this suggestion of a symbol; there is nowhere in their about
life. His vision discovers the same beauty in both the ugly and the beautiful,
in the terrible and the sweet, in the cruel and the soft and relishes every
experience equally. There is objectivity of vision in him that has made it
possible. Thus in his works, life, the strange phenomenon that we just realize
in meditation only, sparkles in his works for the fraction of a moment. Thus in
one drop of water one gets the taste of the sea, in the story of two
insignificant man and woman the shadow of eternal humanity can be found and in
the love-crisis of a couple falls the shadow of a great human tragedy. Through
small incidents in a story one can get the glimpse of the unbounded sea of
mystery.
What has been said above is equally truth both about short stories and novels.
But in his novels something more added to it consciously, which forms the root
of the plan. One is the theme and the other is the background. While in this
short stories he weaves a piece of life and dramatically debiting it between two
clear-cut points he leaves it, at the time of shorting a novel he, first of all,
selects a theme and this theme in its form supplies him the background. Around
this theme and he weaves his story against the background, the natural outcome
of his theme. The theme thus forms the backbone of his novel.
The striking point about his selection of themes is that it is almost always
contemporary. Thus he depicts his own age through which he tries to depict the
eternal. As he has been alert and alive about the life around him the selection
of theme very naturally comes from there. His style follows his theme. Just as
temper and tune of music determine the nature and method of accompaniment his
style differs from one novel to the other. Ample proof of this statement can be
had from his bulk of writings.
Tarasankar has so far written nearly fifty novels. His first two novels, as said
earlier, were written on the eve of the national movement of thirty. The theme
of one is the decay and breaking up of rural life. It ends with a small note-
the Chaitra Strom, the precursor of the summer storm. The other one is about
prison life, written in prison. Then after two more novels, four great novels
came out one after another within five years. They are Dhatri Devata, Kalindi,
Gana Devata and Panchagram. All these novels are classic in pattern, the rural
life with all its grandeur forming the background. In each of them are drawn
with all their complexities and greatness interwoven by their peculiar
superstition and shortcomings. In each of them the socio-economic angle of
vision has played its part well. Patriotism, children, is one of the keynotes of
each of them. It is evident in Dhatri Devata and Kalindi while it has been very
subtly and beautifully punched in the other two novels- Gana Devata and
Panchagram. As in the great epics The Ramayana and The Mahabharata, in these two
novels also the characters are inextricably connected and woven with the story,
and the two are inseparable. Very deep and sympathetic acquaintance with village
life and its people is evident in every line on these two novels. But the
greatest success of the author lies in the portrayal of the social surrounding.
In Ganadevata , the social ties are shown to have gone loose and individual
hatred and greed vicate life in the form of social quarrel. But unvanquished
life tries to make headway through all odds. Moreover these are not stories of
one individual, but of a whole village, wherein one can hear the heart-bit of
the whole country.
It is worthwhile to mention here that side by side the national thirst for
freedom from foreign rule and struggle for independence, these works of
Tarasankar appeared and certainly served as a source of inspiration to the
people and contributed to the cause of freedom movement. These books thus fall
in line with Bankim Chandra’s Anandamath, Rabindranath’s Gora and Sarat
Chandra’s Pather Dabi. By years he developed these themes from various angles
and stories of individual lives also reflect one of such social and economic
problems along with the expression of the eternal humanity.
Of course with one brilliant exception. In this period he wrote on short novel,
‘Kavi’ (The poet). In it he has depicted the life story of a rustic village
poet, composing songs extempore and catering those to the rustic audience. The
poet’s life is spent first among his fellowmen, who are devoid of all culture
and decency of life. The poet himself was form in a family, who by profession
are thieves by generations. But strangely enough the child of such a family
sprung up as a poet. He did not take up his family profession, but lived apart
and took to composing songs. In his amateur days he would sing to the trees as
his audience and practiced composition and singing. In later life he lived among
prostituted. But in the life of a rustic village poet the shadow of a great poet
can be found who throughout his life, like Valmiki, composed songs, the main
burden of which was- I am not satisfied by loving. I want to love more. Ah, why
life is so short?
On the other hand he discovered new spheres of creation. His ‘Hansuli Banker
Upakath’ (Sana of the Sickle Bend) deals with the lives of reveal people who
stand at the threshold of industrialization and feels its impact. So long this
life, for hundred years, was stranded by thick bamboo jungles where wild boars
and big snakes were their neighbors. The people so long led a quiet life- say
it peace or sleep. ‘New life’ appears amongst them in the form of young lad and
the clash begins and this new life wins ultimately. Like his Datri Devata,
Kalindi, Gana Devata and Panchagram, this work is also epic in character but
there is strong difference between them in matters of approach, style and
characterization. Then comes his ‘Nagini Kanyer Kahini.’ This book, like his
‘Kavi’ is almost a lyric. In it he deals with the peculiar life with their
peculiar approach to life and their superstition. They are gypsies, catching
snakes and living apart from divilised life. The tragedies of two girls, whom
they worshiped as the daughter of the snake Goddess have been told very
poignantly. Seldom to be met.
After this introspection has been wedded with observation and thoughtful and
philosophical attitude has been added to his writings. His ‘Arogya Nikaton’,
which won for the Akademi Prize, deals with the life an Indian ‘Kaviraj’ (Vaidya).
He can hear the silent footfall of death from the pulse bit. He not only cures
diseases by prescribing medicines but at time advices not to take any more
medicine to be cured but to be prepared for death. In this novel he has, in a
masterly manner, narrated the Indian attitude towards death. The famous poet
Dinkar rightly wrote about this novel that here was a book, worthy of the award
of Nobel Prize.
Apart from being an outstanding novelist and short storywriter he is also a
dramatic quality of repute. All his writings are characterized by a dramatic
quality and at least one of his dramas ‘Dui Purush’ has been widely performed
and read in the country. So far about his creations upto his fifty-seventh
years. Tarasankar after ‘Aragya Nikaton’ till date has written at least six
novels which are worth mentioning. Without going into further details one can
only finish by naming them. They are Vicharak Swaptapadi, Radha, Pancha Puttali,
Kanna, Manjari Opera. Each of these later novels deals with new themes, fresh
characters and separate background. Yet one never misses that they are creatures
created by the master hand and they are ‘real’ man and woman with genuine
emotions and passions. In these there are problems, which are eternal in nature,
and the angle of vision is rather introspective in character though he never
leaves the dramatic method of character delineation.
Apart from what has been said earlier it is necessary to add that in his long
range of creation every shade of the society, men of all strata of the society
have been represented and depicted. During the years of his literary life that
ranges from 1928 to till date, almost all the trends of social and political
movements have been both critically and emotionally represented.
In present day Indian literature he occupies a place of honor and in the
history of Indian fiction he historically occupies a position in the great line
where the great masters like Bankim Chandra, Rabindranath, Sarat Chandra and
Prem Chand stand ahead of him like great luminaries. Tarasankar is still a vital
force in this field and it is hoped that this creation will continue to inspire
the reading public in times to come. Large numbers of his works and stories have
translated into various Indian Languages and many of his stories have been
included in various anthologies of European languages. Two of his novels have
also been translated into English.