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jSeSZ
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cAy, rS}cvSs
PfSÇ¥ {ÑSwÙAsyH, 150.00
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rS}cvSs PfSÇ (1923-2000) ‘}yH4cS~Hv cMZcjv cAy’-Pc AvMZ cMZcAm <y3 A~MdAiM~v
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P|-csS yM~Miv, rS êAmcSörS} PjS} }SMd¥
“..._Z }yH4cAvï cAyMt} {Mu©
|S<}S <uSv rS<Mt} jHyvMySu
yS cAy{M{ñ} ySqH ÉDÊqñ Sr0 jeMr
XvÚ}Aqr ÑMZMi¥ XMvMc _<Mt} }yH4wA}c} yM~ µ$S AvMytv cM}Miv; rS<Mt} tÈAî }yH4<zSZ Yö7¥ }yH4vSMs} wA}wÛ}c y~M~a _<Mt} |sSM|Se© AyhS} c}S ÑZ vS¥ cTqSAvuSv
(1877-1955) PsMc Y}H cM} cSjH vjT~ ZÉ~S{ (1899-1976) w|ñå <Mr©c cAy}Z ScHZ KyAÅî© YMi¥ rS<Mt} |
cSA~tSÉ
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cAyɧS P| Éy jeMr} XåzñÌå }yH4cOvS PÉZ Éy jeMr Ayh}q cM}Av, AcØyS õAhà
êqAyÑS}H ÑMZMi _Z{S®¥”
}yH4vSMs} cSMi ySqzMù} ‘cStG}H’ P| XMsñ ‘Ah®ÅS~S’ cTqSAvuSMv} cAyrS P| PÉZ XMsñ YMtR iAyf} vZ, _ csSmS rS}cvSs T}q cA}MZ Ptv¥ cS}q, “` iAy Aô}Ah® vZ, eArÅH~— hS|~© rS} u{ñ¥” Y} _Z XAô}rS} PjSM} cTqSAvuSv rS<} ‘MÅÇ ySÉM}’ cAyrSZ |dv A~Md PxM~v, “{Mv wMY PÉZ vyM|Ryve}yH éHyS—”, rdv rS<Mc wSnMc} Atc PsMc Anc _Z {ÚÑÊMrña y}q cM} PvaZS} P<}qS jSMe¥ rS}cvSs _Z PjS}mSMc PySkSMr tÁ’Am ÅM@}ÉÑSyôSv É{sñv
cM}Miv— ÉSAxc w©SÅv¥ _Z É{sñv cTqSAvuSMv} ÉÙAîMc <ArzSr c}S} Atc PsMc
ÉÑM|SAerS cM} XMvcmSZ¥
ÉMr©4vSs t§’Mc AvMZ YM~ShvS c}Mr AeMZ rS<} iM2S{Señ AvMZ AyUOr |
cÌ{Út}bv
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rS<} cAyrSZ <SqÅAå} <ArïS} cSjmS XMvc wA}{SMq y©SÑr ÑMZMi¥ Ac1 XvÚySMt}
PêM® {Û~SvÚe ÑMZa ArAv P| crmS ÉÙAîÅH~, rS} <{Sq AtMr ÉSsñc zSMy rS}cvSs dÚ<Mj YMvv {SMÉñA~v zS~M{S}-_} ‘dÚcH} ySA~Å’¥
“Y{S} PiSm ySA~ÅAmM}! Ac A{Aî zSZ rÌZ,
PrS} \wM} {SsS P}Md P}Sj YA{ fÚ{ÚZ¥”
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‘ÉSAÑr©AyrSv’-_
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shows almost with a master's hand simple grandeur of inner soul of the
unlettered Bengali Cultivator,”¥ _ Éy yHêq P{Mv AvMZa rS}cvSs
Y{SMt} tÈAî YcÇñq cM}v rS<} cSMy©} Y}a
_cmS \wStSMv} AtMc “|S ySØ~S} <ScOArc wA}MyÅ yS ÉØÜOArer }ÉMhrvS
vZ, PÉAm ySgS~H} jHyv}MÉ} AvAyY XvÚzy¥” rSMc Anc
ySgSA~ZSvS _Z Å@Am} &S}S PySkSMvS |SZ vS¥ yÚkMr
PeM~ rS<} cAyrS}Z Å}qSw7 ÑMr ÑZ
“PÉZ PÉAtMv} d~Ú)Av cvAi YA{ cSy© A~Md,
PtdAi YA{ u}Mr cÌM~S nScÌ}{SMZ} ÅScYHMc¥”
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PtÑSßySMt} ÉH{SvS¥ PtÑMc w}{ {Û~©ySv {Mv cM}a |rH4vSs
rSMc AtMr hSvAv h}{ {Û~©¥ Y} P{SAÑr~S~ Pzt c}Mr PhMZMiv jHyv}ÑÉ©, PtÑMc Xy~Gv cM}Z¥ ÅAÅzÊÇq tSÅ`£
}yHM4S§} YuÚAvcrS} ÉÛ®wSr dÚ<Mj PwMZAiM~v
|rH4vSMs} {Mu©¥ ÑSySñmñ A}o-_}
‘Form
in modern Poetry’ ÉS{Mv P}Md rS}cvSs PtAdMZMiv _cZ {SvÚÇ _cSuSM} É{SM~Shc a cAy ÑMZ \nM~ P| YßAyM}SMu} ÉÛhvS ÑZ, rS} PsMc Xy©SÑAr |
P{SAÑr~S~
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PêM® _Z YßAyM}Su Pr{v {SsS rÌM~ tS<YSMr
wSM}Av¥ P{SAÑr~SM~} rxÉSuvS cSA~tSMÉ _MÉ cH cM} É{SA£ ~Sz cM} ~H~SZ,
rS rS}cvSs <cSÅ cM}Miv A&uSÑHv ÉS{Msñ©} {Su©M{¥ yZ
PÅÇ ÑMZMi cSA~tSMÉ} ‘YßwA}hZ’-_}
i® AtMZ¥
“zS~ySAÉyS} {MrS AciÌ
P{S} Ai~ vS jHyMv,
Xsh PÉ zS~ySÉS wSZyS} rOXS Ai~ {Mv¥”
|S<Mt} XyMÑ~S c}Mr AÅMdAi, _ yZ rS<Mt} cAyrS} jv© rOXS jSeSZ¥ |
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