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Gyanindra Barma Odisha Review ISSN 0970-8669 Poet Gyanindra Barma born in 1916 and one of But in the contest of Indian literature, there the eminent and noted poets and literary legends was also a change in trend, tone and thought, in during the period of “Green Age” (Sabuja Juga – different provincial literatures and young poets Ó¯ÿëf ¾ëS) in Odia literature; had enriched the Odia tried to distance themselves from the traditionalism Literature through his writings for a period of and influences of the then established poets and nearly 35 years. tried to create something new. Above aspects created a new school of thought in Indian poetry After First World War, the entire world in different provincial languages and were known literature was bifurcated into two schools of as the age of Indian Renaissance in Literature. thought. One is ‘Nihilism’ which was born from vast devastation of World War causing loss of Those poetry were identified under lives and property in a large scale and thus brought different groups in different states such as ‘uncertainty’, ‘mistrust and ‘degradation’ in social ‘KALLOLA’ in West Bengal, headed by poets values etc. Famous book ‘Wasteland’ of T.S. Eliot like Jibanananda Das, Premendra Mitra, and writing of W.B. Yeats etc. come under this Budhadeb Basu, Pramath Choudhury, Achintya Gyanindra Barma - A Revolutionary Poet Mamata Mohapatra category. Second is ‘Marxism’; which advocated Ku. Sengupta and so many others. Even those for a Çlassless Society’and equality raising voice young poets refused to be influenced by the then against exploitation and oppression of common great poets of India as well as abroad including man pioneered by “Vladimir Mayakovsky of Viswakabi Rabindra Nath. Russia”; who says: Similarly, in the Hindi literature they were “Where ever pain is; there am I called as Çhhayabadi’; in Maratha literature as With a single drop of tear that is shed, I ‘Rabikiran’ and in Odia literature as ‘Sabuja Juga’. myself am crucified.” Unlike Çhhayadadi’and ‘Kollola’ in Hindi and Bengali literatures respectively the ‘Rabikiran’and The poets like Louis Aragon of France, “ Sabuj Juga” in Maratha and Odia literatures Spender and Aden of England come under this could not gain prominence and failed to rise to category. That age after post world war brought that height of literary age in true sense as observed Renaissance in World literature. by some critics. JANUARY - 2018 45 ISSN 0970-8669 Odisha Review The name ‘Sabuja Juga’(Ó¯ÿëf ¾ëS) was known for Buddhist Monasteries, by the side of given by Ännada Shankar Roy”; being influenced the “River Birupa”. This village is also birth place by the ‘Sabuja Patra’published from of another noted poet called ‘Palli Kabi Nanda “Shantiniketan”(Viswa Bharati). The famous verse Kishore Bal’, besides other literary legends of the of ViswaKabi :-”H{Àÿ Ó¯ÿë{fæ-H{Àÿ A¯ÿë{læ had an locality like,Äbhimanyu Samanta Singhar”, impact on him who later on preferred to write in “Ganakabi Baishnaba Pani”and Pyarimohan Bengali Language and had got name and fame Acharya” etc. The poet had lost his father and for this. mother and became orphan from the childhood. However, Gyanindra Barma was emerged It would be seen from his literary works as a romantic poet during the Second World War that besides being a poet he was also known as and in the last part of his literary life, took the an Essayist, Dramatist, Story Writer, Novelist, 'Journalism' as his profession. Accordingly there Translator, Editor of Magazine and Journalist in was a clear cut demarcating line in the tone and his time. He was also a Freedom Fighter and had thought of his creations between the first part and been imprisoned for the cause. Also "Gyanindra last part of his writings. Granthabali" Part-I and Part-II were published during the year 1964 and 1968 respectively by Gyanindra Barma who lived during 1916- the “Friends' Publishers, Cuttack”, a famous 1990 was born on 02.02.1916 in a village of Publishing House of Odisha and its preface was undivided Cuttack district namely “KUSUPUR”, written by famous writer Godabarish which was a beautiful piece of land adjacent to Mohapatra.”Gyanindra Granthabali”- Part-1 Lalitgiri”, “Ratnagiri” and “Puspak Bihar”hills consists of the following books :- Sl.No. Subject Page 1. Bole Hun Ti ({¯ÿæ{àÿ Üÿëô sç) (Saying ‘Yes’) 1 2. Kalarei Phulla (Lÿàÿ{ÀÿB üÿëàÿ) (Bittergourd) 55 3. Eka Ratri (FLÿ Àÿæ†ÿ÷ç) (one night) 129 4. Meghaduta ({þW’ÿí†ÿ) (Cloud Messenger) 189 5. Eka Chhota Saharara Kahani (FLÿ {dæs ÓÜÿÀÿÀÿ LÿæÜÿæ~ê) (Tale of a Small Town) 241 6. Pramilara Smruti (¨÷þçÁÿæÀÿ Ó½&õ†ÿç) (Memory of Prameela) 255 7. Duietee Surjyara Jibanee (’ÿëBsç Óí¾ö¿Àÿ fê¯ÿ[ÿê) (Lifehistory of two Suns) 271 8. Swarnajugara Sandhyaa (Ó´‚ÿö ¾ëSÀÿ Ó¤ÿ¿æ) (Evening of Golden Era) 337 9. Swargara Lotaka (Ó´SöÀÿ {àÿæ†ÿLÿ) (Tears of heaven) 419 46 JANUARY - 2018 Odisha Review ISSN 0970-8669 The first one “Bole Hun Ti”( {¯ÿæ{àÿ Üÿëô sç - son “The Prince”; who wanted to marry his own Saying Yes) is a dramatic poetry. Its subject matter younger sister “The Princess”. But “Kalarei is taken from folk tale and fine blend of love, lust Phulla” strongly opposed to this condemnable, and death. A rich merchant who had gone on a unlawful and formidable relationship and preferred long voyage to earn money leaving his young wife to commit suicide by throwing herself into river of paragon beauty called “Leela” at home, found stream rejecting the luxurious life of a “Princess”. after returning back that the king of the land has Ultimately she preferred to marry a “Poor Yogi”. kidnapped and captived his beautiful wife being In this dramatic poetry, the poet has upheld the blind with lust. All the efforts and the requests of moral value and sacred bondage of the family. the merchant for release of his wife fail in the deaf Here also the poet has taken shelter of folktale, ears of the king. Lastly, finding no way out and and supernatural fairy imagination. For example realising that he can’t live without his loving wife the turmeric paste and massage oil thrown by committed suicide by stabbing himself with a knife “Kalarei Phula” into the river water turned into a at the entrance gate of the King’s Palace. boat and row. Still the poetic touch and lucidity Knowing the above fact, the wife of the merchant as well as recitation ability of the poetry; is also committed suicide by kissing her diamond capable to leave a magic touch in the mind of a finger-ring. Lastly the king also got himself killed “Reader”. Such as :- by a sword after death of that beautiful young Lÿàÿ{ÀÿB üÿëàÿ LÿëþæÀÿê f{~ ¾ë¯ÿ†ÿê fæ~, lady. Aæ[ÿ [ÿæÀÿê Óþ †ÿæÜÿæÀÿ $#àÿæ þ~çÌ ¨÷æ~ æ Though above poetic drama is written in {Ó {µÿsçàÿæ †ÿæÀÿ ¨÷çß{Àÿ FLÿ µÿçLÿæÀÿç {¯ÿ{É, a war torn time of painful reality, adhering to fiction {¯ÿÉ †ÿ{Áÿ {Ó {¾ {’ÿQB FLÿ þ~çÌ {É{Ì æ of king and merchant speaks of departure of the Lÿàÿ{ÀÿB üÿëàÿ LÿëþæÀÿê {Ó {¾ ™ÀÿæÀÿ lçA, poet from the then social picture. In this case the ™ÀÿæÀ þ~çÌë ¯ÿædçàÿæ †ÿæÀÿ ¨Àÿæ~ ¨÷çß æ poet has also followed the philosophy of Western (Kalarei Phula you know is a woman; Poet “Wordsworth” who said, “Our sweetest she had heart to live like others; She met her lover songs are those that speak of saddest thought”. in a beggar’s dress; Under beggar's dress she saw However in spite of all above ‘Bole Hun Ti’ is a man’s heart; Kalarei Phula a woman on earth; one of the mastercrafts of the poet and has brought chose her mate on earth as her loving man.) him recognition. The tragic end of the poetry drama also reminds us about Kabibar Radhanath From the point of view of poetic art and Roy who also influenced “Gyanindra Barma” the craft, ‘Kalarei Phula’ is more successful, popular poet. and matured than ‘Bole Hun Ti’. The poet has sharply criticized the devalued, non-ethical and The next dramatic poetry is ‘Kalareí pervasive attitude of a family; which was going to Phulla’ (Bittergourd flower) which has brought him compromise with the “Sacred Relationship of the wide appreciation and recognition. ‘Kalarei brother and sister”, saying: Phula’ is the name of a young and beautiful princess. Being blind with the love and affection for their ÀÿäLÿ {Üÿ¯ÿ {¾ µÿäLÿ/ FÜÿæ [ÿ$#àÿç fæ~ç- son, the King and Queen were pressurised to agree {’ÿQ# {þæÀÿ Àÿí¨ {¾ò¯ÿ[ÿ /¨~ {$æBdç Aæ~ç upon the heinous and incestuous proposal of their x x x x x x JANUARY - 2018 47 ISSN 0970-8669 Odisha Review {þæÜÿÀÿ ¨†ÿ{[ÿ {ÜÿæB¯ÿ/†ÿ¯ÿ ¨æ¨ëô D†ÿú$æ[ÿ Realism from his poems in Ëka Chhota Saharara {Ó$#àÿæSç Aæfç Óë’ÿí{Àÿ/{þæÀÿ F Aµÿç¾æ[ Kahani”(FLÿ {dæs ÓÜÿÀÿÀÿ LÿæÜÿæ~ê). It is vividly evident xÿèÿæ {þæÀÿ µÿæÓç ¾æAæ{Àÿ /¾æAæ {þæ †ÿÀÿê µÿæÓç from the poems in “Eka Chhota Saharara {’ÿQ#¯ÿç {þæ àÿæSç `ÿæ{Üÿô Lÿç/ {LÿDô Óë’ÿíÀÿ ¯ÿæÓê Kahani”(FLÿ {dæs ÓÜÿÀÿÀÿ LÿæÜÿæ~ê ) (Tale of a small x x x x x x town) written in the year – 1944, based on Western Odisha Town near Sambalpur. The “Eka Ratri”( FLÿ Àÿæ†ÿ÷ç ) is the collection of downtrodden, poor innocent natives and tribal poems of love and youth. In most of the poems people are exploited by business community. The of this collection, a reader can see the face of women and girls of those natives are employed “Mayadhar Mansingh”, the famous romantic poet by them for household works as servants and of that time.
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