TFV Annual Souvenir 2019

Contents

From the Desk of General Secretary ...... 2 List of Life Members ...... 3 TFV Accounts 2018-2019 ...... 5 Activity Report 2016-2019 ...... 7 Annual Activities During 2019-20 ...... 11 3rd Natyo Utsav, 1st Day: Ganesh Vandana ...... 14 3rd Natyo Utsav, 1st Day: Dance Drama: Rabi Rongo . . . . 14 3rd Natyo Utsav, 1st Day: Drama: Gabbu Khela ...... 16 3rd Natyo Utsav, 2nd Day: Dance Performance: Ragini . . . 18 3rd Natyo Utsav, 2nd Day: Drama: Kankal ...... 19 মানুষ বনসাই ...... 20 কয়েদ ...... 24 ছববর রবীন্দ্রনাথ ...... 31 Awesome Threesome- An Overview of the Prose Writings of Rabindranath Tagore, Swami Vivekananda and Sri Aurobindo ...... 40 Rabindranath and Vivekananda; Their Common Thoughts and Veneration ...... 43 Tagore Unknown ...... 48

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TFV Annual Souvenir 2019

From The Desk of General Secretary

t gives me immense pleasure to share with you all about our much esteemed organization Tagore Foundation Vadodara popularly known as TFV. A few passionate Barodians started this I organization with their zeal and enthusiasm way back in April 2016. It has five different prominent wings namely, GOLDEN BOAT: The School of Art and Literature; MOHANA: The School of Academics; PRAKRITI: The School of Social Service; GITANJALI: The School of Music and CHITRANGADA: The School of Dance. These wings are our flag bearers for different activities so far TFV has carried out and its make our existence amongst you as a unique organization of Baroda with more than 70 life members spread over Pan India and aboard within this short span of time.

Our immensely successful events in social, educational and cultural fronts since inception in April 2016 are shared as Activity Report of TFV 2016-19 in this Souvenir. Many of these events got media appreciation and laurels from eye witness. TFV has cast an impression in the minds of Barodians by its hard work within a short span of four years.

Let me also take this opportunity to inform you that corporate oil giants e.g. IOC, ONGC- Baroda and ONGC-Dahej; OIL, OPAL, GAIL, Raymond’s, Bank of Baroda, Allahabad Bank, Navrachana Education Trust, Ratnaprabha Trust, Dr K C Patel, Anwesha Engineering, Sukhadia Sweets, Manish Book, Sterling Hospital etc., along with hundreds of well-wishers across Pan India have been actively connected with our activities. Our collaboration in organizing several events during FY 2016-19 with different sections of Maharaja Sayajirao University Baroda (MSU) as well as Ramakrishna Mission and Vivekananda Memorial Baroda, deserves special mention.

During this short journey we have overcome several hurdles because of your constant vivacious support. In this calendar year 2019-20, TFV has organized all four mega events designating it as most vibrant year. Two mega social events namely Book and Stationary Distribution to 221 BPL Children on June 9th, 2019 and Dress distribution to 285 under privileged children and 88 Blind Persons on October 20th, 2019 in association with RMVM, Baroda, got media attraction as well. Our Cultural Extravaganza Musical Voyage-IV on August 24th, 2019 at ONGC Officers’ Club Auditorium and 3rd Natyo Utsav on 18th & 19th January, 2020 at C. C. Mehta Auditorium was highly appreciated because of the fascinating, enthralled performances by in-house and Kolkata Artists.

On the occasion of publishing the Annual Souvenir 2019-20 of TFV, I convey my heartfelt thanks to all our Patrons, our Radio Partner and all our Well Wishers for extending their kind support. Special thanks are also due to all the performers of both the cultural events especially our own talent Anindya-Shelley and Madhumita for making us proud by their mesmerizing performances throughout the year. Lastly, the support and encouragement received from Advisory Committee, Life Members (LM) and Executive Committee (EC) Members in particular, is profoundly acknowledged from the bottom of my heart. We also look forward to your active participation, encouragement and kind support to host these functions in future as well to further the causes of the foundation.

Jai Hind Chunilal Chatterjee

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TFV Annual Souvenir 2019

TAGORE FOUNDATION VADODARA (TFV) List of Life Members as of February 2020

Sl No Name Surname Contact 1 Mr Abhijit Ghosh 9830010922 2 Mr Alok Kumar Bhanja 9879117577 3 Mr Amber Chatterjee 8141594459 4 Mr Amitava Mukherjee 9953395826 5 Mr Amitava Roy 9910174720 6 Mr Anindya Sundar Paul 9428007721 7 Mr Anirban Bose 9727798097 8 Mrs Anita Shukla 9428423594 9 Mr Anjan Bakshi 9428007675 10 Mr Anupam Mallick 8238027300 11 Mr Arnab Mallick 9428332275 12 Mr Arun Kumar 9428828001 13 Mr Ashok Gupta 9099920154 14 Mr Ashok Chakraborty 9968602086 15 Mr Asim Chandra 9879528505 16 Mr Avishek Chakraborty 7226999196 17 Mrs Banani Dhar Gupta 7567041818 18 Mr Chunilal Chatterjee 9428007375 19 Dr Debal Dasgupta 9824058289 20 Mrs Debalina Bhattacharya 9909027018 21 Mr Debanjan Roy 7838104343 22 Mr Debashis Bhattacharya 9825111635 23 Mr Debashish Chakraborty 8980199479 24 Mrs Debjani Goswami 9638311814 25 Mr Debmalya Roy 971523999948 26 Mr Dipankar Dutta 9674940323 27 Mr Durga Prasad 9969224144 28 Mr G Ganesan 9969224576 29 Mr G Ramakrishna 9490168544 30 Mr Gopal Saha 9727780103 31 Mr Harshavardhan Dave 9428007294 32 Mr Indrapramit Roy 9898823165 33 Mrs Jayati Ghosal 8141691632 34 Mrs Juin Dutta 9714028704 35 Mr Kolluru Viswanath 9428828100 36 Mrs Koyel Pramanick 9470598203

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TFV Annual Souvenir 2019

37 Mr L M Onkar Prasad 9428007746 38 Mr L S Anil Kumar 9400371303 39 Mrs Lajuli Sarkar 9925037392 40 Mrs Lily Chakraborty 41 Mrs Madhulika Burman 9428007775 42 Mrs Madhumita Roy Chowdhury 9558413257 43 Mrs Manasi Roy 9099055405 44 Dr Manisha A Patil 9377068969 45 Dr Manjira Dasgupta 9327035610 46 Mr Moloy Roy 9099047705 47 Mr Nitesh Chaudhury 9725752884 48 Mrs Piyali Roy 8450962520 49 Mr Pradipta Mitra 9428007235 50 Mr Pusan Misra 9428007696 51 Mr Rajiv Paul 9410390139 52 Mr Sadhan De 7894434140 53 Mr Sanat Kr Dhar Gupta 7567057575 54 Mr Sandip Roy 9327221232 55 Mrs Sangeeta Savanur 9428007255 56 Mr Sanjeev Kaul 9428007396 57 Mr Satyajit Bhagat 9410390013 58 Mr Saurav Mitra 7575808266 59 Mrs Shampa Bhattacharya 9879116902 60 Mrs Shelley Chatterjee 9106590083 61 Mrs Shila Bagchi 9819540469 62 Mrs Shupti Bhanja 9879889896 63 Ms Sohini Bose 9712003156 64 Mr Subhojit Sarkar 9586022722 65 Mr Subir Dostidar 6353904509 66 Mr Sumit Paul 9428007830 67 Mr Sunil Kumar 9428007508 68 Mrs Supriya Paul 8000252304 69 Mrs Sushmita Chatterjee 9824018476 70 Mrs Sutapa Chottopadhyay 9898419345 71 Mrs Tripti Banerjee 72 Mrs Urmila Chatterjee 9428828243

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TFV Annual Souvenir 2019

TAGORE FOUNDATION VADODARA (TFV) Accounts 2018-2019

SCHEDULE IX (C) Statement of Income liable to Contribution for the year ending 31st March, 2019 Name of the Public Trust: TAGORE FOUNDATION VADODARA Registered No: F/3214/VADODARA

Particulars Rs. Gross annual Income 213658/- Details of Income not chargeable to contribution u/s 58 & rule 32 i) Donation received during the year from any source 155000/-

Total 155000/- Income liable to contribution: 58658/-

Balance Sheet as on 31/03/2019 FUNDS & LIABILITIES Amts Total PROPERTY & ASSETS Amts Total Rs. Rs. Rs. Rs. Trust Funds or Corpus Immovable Props. Nil Balance as per last b/s 60000.00 Investment: Nil Nil Loan (Secured or Unsecured) 50000.00 Moveable Props. Nil From Trustees From Members 50000.00 Loans (Sec. or Unsec.) Nil Nil Liabilities 106618.00 Advances Nil For Expenses 7500.00 For Advances Income Outstanding Nil For Sundry Credit Balances 99118.00 Nil Cash & Bank Balances Income & Expenditure A/c: -164407.00 Cash on hand 2.00 52211.00 Balance as per last B/S 105235.00 OBC 52209.00 As per Income&Exp A/c -269642.00 Balance -164407.00 TOTAL Rs. 52211.00 TOTAL Rs. 52211.00 The above Balance Sheet to the Best of my belief contains a true account of the Funds & Liabilities & of the property & Assests of the Trust TAGORE FOUNDATION VADODARA

Signature FOR VIPUL SHAH & CO. TRUSTEE Chartered Accountants PLACE: VADODARA Signature and Seal DATE:13/09/2019 M.No.049035 FRN: 115087W 12-A, Gokul Society, S.M.Road, Pratapnagar, Vadodara – 390004

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TFV Annual Souvenir 2019

Income & Expenditure A/c for the year ending 31/03/2019

Expenditure Amt Rs Tot Rs Income Tot Rs To Exp on obj of trust [Annex-2] 483300.00 By interest (a) Religious Bank a/c 1058.00 (b) Educational (c) Medical Releif By Donation (d) Releif of Poverty [Annex – I] 155000.00 (e) Other Charitable obj Donor Pass collection 483300.00 Musical Voyage-3 57600.00 To Surplus carried to B/S -269642.00 Total Rs. 213658.00 Total Rs. 213658.00

TAGORE FOUNDATION TRUST ANNEXURE-1

PARTICULARS AMOUNT Donation Musical Voyage -3 138000.00 Donation for Dress Distribution 7000.00 Other Donations 10000.00 155000.00

TAGORE FOUNDATION TRUST ANNEXURE-2

PARTICULARS AMOUNT Bank Charges 602.00 Musical Voyage III Expense 470573.00 AGM Expense 4625.00 Professional Fees 7500.00 483300.00

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TFV Annual Souvenir 2019

TAGORE FOUNDATION VADODARA (TFV) Activity Report 2016-2019

TFV functions under five different schools:

Highlights of Last Three Years Activities:  Work Association: Maharaja Sayajirao University (MSU), Ramakrishna Mission Vivekananda Memorial (RMVM)  Laurels Received: 1. Appreciation letter from Swami Nikhileshwarananda, Secretary, RMVM, Baroda 2. District Education Officer, Dept. of Education, Govt. of Gujarat offered us two Schools at Vill and Chapad Villages for imparting Education  TFV Conferred Glorification Award : TFV is proud to honour four distinguished citizens of Baroda by coveted “Golden Boat” Award.  Privileged With: Publication of musical album on Tagore Songs in Hindi

TFV functions under five different schools: Golden Boat, Prakriti, Mohana, Gitanjali and Chitrangada. Some highlights of activities of these schools in the last 3 years are shown below:

Highlights of Golden Boat: The School of Art and Literature Glorification Award: Took Initiatives to introduce “Golden Boat” Award for Eminent personalities in Barod. The recepients are:  Year 2017: Padmashree Dr Subrata Das and Dr Sampat Bhattacherjee, the Musical Mastreo  Year 2018: Prof. Alokananda Patel, Economist and Dr K.C.Patel, Sr. Orthopedic Surgeon Privileged With: Trans created “Rabindra Sangeet” in Hindi towards fulfillment of Foundation objectives to publish the “Creation of Tagore” in Indian National Language

Highlights of PRAKRITI: The School of Social Service  Eye Check and Follow Up Camp: 108 Children from “Pathsala” benefitted.

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TFV Annual Souvenir 2019

 Diwali Celebration with 285 destitute children by distributing new dress for boys and girls of 5-16 age group at ONGC Officers’ Club Auditorium, Baroda  New Book & Stationary Distribution To Deserving Children at ONGC Officers’ Club Auditorium, Baroda: 277 Beneficiaries  Second New Dress Distribution To Children & Blind Citizens at RMVM, Baroda on 20th October 2019  Second New Book & Stationary Distribution To Deserving Children on June 9th, 2019 at ONGC Officers’ Club Auditorium, Baroda: 219 Beneficiaries

Highlights of MOHANA: The School of Academics  8th MAY 2016: Seminar on “RELEVANCE OF TAGORE IN MODERN WORLD” organised in association with Dept. of Russian Studies, MSU, Baroda. Five Eminent Speakers deliberated on this occasion.  23-26 JAN 2017: Four days musical workshop on “INDIAN FOLK & ITS E- CUBE: ETHNICITY, EMOTION & ESSENCE”, conducted by SHRI ABHIJIT BOSE and his team from Kolkata

Highlights of GITANJALI: The School of Music 16-17 June 2016: “Musical Voyage I”: Shri Prabuddha Raha in Tagore/old melody songs and Shri Abhijit Bose in Indian Folk songs along with local artists from other cultural organisations of Baroda. 26th March 2017: Musical evening by Ms. Dipannita Acharya, Ms. Shelley Shatterjee and Shri Anindya Sunder Paul to celebrate the colourful “Basant Rhitu: Matal Hawa” at Officers’ Club, ONGC in collaboration with Ramkrishna Mission & Vivekananda Memorial, Baroda 13-14 May 2017: “Musical Voyage-II”: Rendering of Tagore songs, Folk and old melodies by Ms. Shrabani Sen, Shri Shamik Pal, Ms. Iman Chakraborty and recitation and comparing by Smt. Mounita Chatterjee, in the Si Sayajirao Nagar Gruh, Akota, Vadodara. 9-10 May 2018: “Musical Voyage-III”: Smt. Jayati Chakraborty in Tagore songs; Shri Soumya Bose in Nazrul Sangeet, Ghazals and Old melodies; Shelley-Anindya in Tagore Folk songs and Old Melodies at C. C. Mehta Auditorium, MSU, in collaboration with Dept. of Art History and Aesthetics, MSU. 24 August 2019: “Musical Voyage-IV”: Debabrito Chattopadhyay (Kolkata) in Rabindra Sangeet, Shelley-Anindya in 100th Anniversary of Hemant Kumar, Madhumita Dance Academy in Bhanusinghyer Podaboli.

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TFV Annual Souvenir 2019

Highlights of CHITRANGADA: School of Dance and Theatre 9th May 2016: In-house Performance of Tagore’s Dance Drama “Chandalika” in Hindi at Prof. C. C. Mehta Auditorium, MSU, in collaboration with MSU Dept. of Russian Studies.  21-22 January 2017: In house Theatre Festival in Hindi and Bengali at Prof. C. C. Mehta Auditorium, MSU, in collaboration with Dept. of Russian Studies, MSU, Baroda  Hindi Full Drama “Are Shariff Log”  One Act Bengali Drama “Chakkhudan”  One Act Play “Raktokarabi” by Gurudev Tagore  Dance Drama “Shyama” In Hindi by Gurudev Tagore 3-4 February 2018: Staging of Agatha Christie’s “Witness for the Prosecution”, a Three-act Murder Mystery Drama and “Ashchorjo Fantusi”, a Two-act Comedy In Bengali, at Prof. C. C. Mehta Auditorium, MSU, in collaboration with MSU, Baroda 18-19 Jan 2020: Natya Utsav III. Details are later in this Souvenir.

Supported by:  Corporate oil giants e.g. IOC, ONGC, Baroda, CEWELL and Dahej (C 2- C 3 Plant) OIL, Noida  Officers’ Club, ONGC (Infrastructural)  Navrachana Education Trust  Ratna Prabha Trust, Dr. K.C. Patel and Dr. Piyush Patel.  OPAL, Dahej  Bank of Baroda and Allahabad Bank  Raymond's (Alkapuri Branch)  Sterling Hospital  Manish Book  Anwesha Engineering  Sukhadia Sweets  Along with all Well-Wishers across Pan India who had been actively connected with our activities during 2016-19.

Take Away During Last Three Years:  Our collaboration with different departments of Maharaja Sayajirao University (MSU), Baroda Ramakrishna Mission Vivekananda Memorial (RMVM), Baroda deserves special mention  Giving opportunities for performance to Other Eminent organization of Baroda to showcase their talent

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TFV Annual Souvenir 2019

 Seminar on Tagore by Renowned Speakers and Musical Workshop on “Folk Music” by World Famous Artist Shri Abhijit Bose, from Kolkata, helped in updating and enhancing knowledge  Feeling priviledged in Honouring Laurels from Baroda City by conferring them coveted “Golden Boat” Award  Publication of Tagore’s Songs and Performance of Dance Drama of Tagore in Indian National Language Hindi met the objective of TFV  Unique Organisational Objectives under Single Basket: Social, Academics, Art-Literacy, Music and Dance-Dramatics  Most of the events got Media appreciation inter-alia laurels from eye witness  72 Life Members on Pan India Basis  Submission of change report and formalities at the office of Assistant Comissioner’s Office by personal efforts of committee members without involvement of any agency

Road Map Ahead for TFV During 2020-21:  New Book & Stationary Distribution To Deserving Children: June 2020  Celebration of Musical Voyage V: August, 2020  Dress Distribution to Needy Children: October 2020  Drama Festival: January 2021

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TFV Annual Souvenir 2019

Annual Activities carried out by TFV during 2019-20

As a part of Annual Curriculums, TFV during this year i.e. 2019-20 carried out five different mega programmes, besides organising different other cultural get together as summarised below:

1) Celebration of 158th Birthday of Gurudev Rabindranath Tagore on 18.05.2019 at Hall No- 1 of ONGC Officers Club in gracious presence of Prof. Alakananda Patel, Patron, TFV and Shri Sanat Kumar Dhargupta, Member, Advisory Committee, TFV: The splendid enthusiastic participation by our Esteem Life Members in this colourful cultural evening has enabled us to reach its acme. The evening witnesses mesmerising performance of Shri Maloy Roy, Sandeep Roy, Ashok Chakraborty, Arnab Mallick in songs, Smt Manasi Roy, Supti Bhanja and Supriya Paul in recitation. Shri A. K. Bhanja with his own written “Rammya Rachana” has touched the heartbeat of audience with flow of uncontrolled laugh. The individual performance of Smt Banani Dhar Gupta in songs, Smt Aradhana Rath in dance as guest artist, added glory to this evening. The programme also witnesses the wonderful performance by our star performer Anindya Shelley duo. The main attraction of the evening - the shruti natok “Madhy Bortini” based on the story of Gurudev by team Chunilal deserves special mention. It was really a full-fledged entertaining evening and highly appreciated by the audience presence.

2) Mega Social Event “Book and Stationary Distribution to Under Privileged Children” at ONGC Officers’ Club Auditorium on 09.06.2019: Like earlier years, TFV has organised this event is association with Ramakrishna Mission and Vivekananda Memorial (RMVM), Baroda to support the educational need for 221 under privilege children. The beneficiary of the event has been taken from RMVM who are mainly from schools of Chapad and Kalali Village. The kit for school children comprises of school bag containing 18 notebooks, 6 pens, 6 pencils, 6 erasers, 6 sharpeners, geometry box (Class V onwards), crayon (Upto Class-IV) and pouch. The to and fro journey of the beneficiaries was made easy by hired Bus Services. Snacks and packet lunch was also provided to them. The event was supported by corporates like OPAL, BoB, Anwesha Engineering, M/s Sukhadia Sweet and individual donors and well-wishers on Pan India basis. This kit was handed over to the children by different dignitaries, media personnel members and distinguished audience. The event also got laud appreciation from the audience and got media attraction.

3) Mega cultural event Musical Voyage-IV: Keeping in track with past glory, TFV has organised MV-IV at ONGC Officers’ Club Auditorium on 24.08.2019 in three different parts.

A) “Tumi Khushi Thako” by Debadrito Chattopadhyay (Kolkata): The beautiful cultural evening inaugurated by nationally and internationally renowned Bengali singer, Shri Debadrito

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TFV Annual Souvenir 2019

Chattopadhyay. He has enthralled the audience with Rabindra Sangeet being his forte and also by his soft modern songs of Golden Age.

Biodata of Debadrito: Shri Debadrito Chattopadhyay is a well-known versatile singer of West Bengal. He is the disciple of world famous Rabindrasangeet Shilpi Smt Srabani Sen. As a result Rabindrasangeet has become passion in his life. Besides Rabindrasangeet, Mr. Chattopadhyay is well capable of singing soft modern songs of Golden age. As he has natural aptitude in singing from his boyhood, he took admission in Rabindra Bharati University and achieved Master Degree in music- Rabindrasangeet. The audience is being mesmerised by his melodious voice and the music directors have offered him for singing in various T.V serials (Isti Kutum, Chokher Tara Tui, Chokher Bali, Dwiragaman etc). Mr. Chattopadhyay participates time to time in different TV shows in different channels like Akash8, Tara TV, CTVN, Rupashi Bangla, Doordarshan etc. He also performs in various F.M radio stations. In social media, various musical apps (iTunes, Saavn, Gaana, Jio music etc) his song has been accepted by many listeners and audiences. Debadrito has performed many cultural programmes both in abroad and many provinces in India successfully. He has also participated on behalf of Cultural department of Government Of West Bengal in many Bengali based area. He has been nominated consecutive two years in Mirchi Music Award. His popular Rabindrasangeet albums are ‘Tumi amari’, ‘Debadrito-r Anubhabey ‘, ‘Abhasey ‘, ‘Chittamajhe’, ‘Pagla Hawa’, ‘Laglo je dol’. His debut modern song album is ‘Galper Shohor’. These albums are his report card of his versatility. Debadrito’s music video, Galper Shohor also got special mention in ‘London X-4 Seasonal Short Film Festival, Spring 2019’. Debadrito was former teacher of Srabani Sen Music Academy, Techno India Group Of Public School. At present Debadrito has been conducting his own teaching institution Gaaner Tori in various places and many of his students are learning Rabindrasangeet there joyfully. His main aim is to teach Rabindra sangeet properly and spread it in every aspect of life.

B) “Yaad Kiya Dlney” Commemorating 100th years of the Golden Voice- Hemanta Mukhopadhyay by Anindya Shelley: Hemanta Mukhopadhyay better known as Hemant Kumar was among the best playback singers and composers in Bengali and Bollywood. Mostly popular for his work in Rabindra Sangeet, he won two National awards for best male playback singers and different accolades in his credential under different capacity. Even after two decades of his death, his legacy still lives on through the songs he has recorded, music he has composed, and through many male/female singers in Bengal and the rest of India who continue to imitate/emulate his singing style. Celebrating Hemanta Mukhopadhyay's talent, this is indeed a great pleasure and pride moment for TFV to have the privilege for being pioneer organisation at Gujarat to pay their awesome tribute to the legendary Hemant Kumar on “commemorating 100th years of the Golden Voice”. Indeed that evening audience was dancing in the melodious creation of him articulated and aptly presented by the melodious voice of Anindya Shelley. The duet creation of him was really became more lively by the excellent performance by the duo by blending the Hindi and Bangla version of his songs of golden era in perfect amalgamation and combination.

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TFV Annual Souvenir 2019

Both the musical programme was ably accompanied by: In Keyboard- Nayan, Guitar- Prem Dalvi, Octopad- Gautam Shah and Percussionist- Nikki. All are very well established musical personalities of Baroda in their own domain and field.

C) “Bhanusinghyer Podaboli”: Radha in the eyes of Gurudev Tagore portrayed through dance and narration by Madhumita Dance Collective. Our last evnt of the musical evening was Bhanusingher Podaboli. When Gurudev was only sixteen, he started writing under the penname "Bhanushingho". The performance is based on the collection of Vaishnava lyrics composed in Maithilli, "Bhanusingher Podaboli" or "Songs of Bhanushingho". Inspired from Maithilli poems and dedicated to his sister-in law Kadambari Devi, this is an anthology of 22 songs immortalised by its lilting lyrics and devotional outreach. Chronicling the romance between Radha and Krishna, Tagore sought connection with divinity through appeal to nature and the emotional interplay of human drama. The inbuilt essence and spirit in his creation was presented in dance and narration by Madhumita Dance Collective. Needless to mention, the entire audience remained spell bound by this unique, vibrant, touchy performance.

Dancers: Anikesh Roy, Anwesha Mahapatra, Harshal Shah, Madhumita Roychowdhury, Maitreyee Bhowmick, Neha Banwani, Shreyashree Bannerjie and Sukanta Maiti Concept, Choreography & Costume: Madhumita Roychowdhury Voice Over: Sumana Aich Background Score, Recording & Script: Rajarshi Aich

4) Mega Social Event “Dress Distribution to Needy Children and Visually Impaired Team”: In order to celebrate “Diwali 2019” differently, TFV organised this mega social event in collaboration with RMVM on 20.10.2019 at Prayer Hall of RMVM itself. The divinity of the venue added a special flavour befitting to this noble event and concept behind it. Altogether 288 children and 86 blind team were the beneficiaries. The children are mostly from Chapad, Kalali and Bill village adopted by RMVM. In this auspicious Diwali Celebration, the boys have been handed over stitched dresses of mostly Raymond’s’ Make. Girls have been conferred with new dress materials. While, Gents of blind team offered with new Kurta-Payjama, the ladies member was handed over with new saree or dress materials as per their requirements. Two different trustees were identified as beneficiary for blind team and one of them is regular beneficiary of RMVM as well. This new dresses were handed over to the children and blind team by the different dignitaries, media personnel members and distinguished audience present in the occasion. The journey of the children was making comfortable by hiring buses. The event was patronised by Raymond’s, GAIL, ONGC and OIL in addition to personal donations. The programme was concluded by distribution of Bhog Prasad.

4. 3rd Natyo Utsav by Tagore Foundation Vadodara, at the C.C.Mehta Auditorium, MSU from 18.01.2020 to 19.01.2020 Full details are given on the following pages.

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TFV Annual Souvenir 2019

3rd Natyo Utsav by TFV CC Mehta Auditorium, MSU 18-19 Jan 2020

First Day: Opening Dance : Ganesh Vandana by Mrs Aradhana Rath

Biodata of Aradhana: Ms. Aradhana is an exponent of Khatyak Dance from Lucknow gharana. She also completed Her Nitry Bisharad from Prayag University. She is a regular stage performer and has many laurels in her credit.

Dance Drama: Rabi Rango A City boy, the hero of the script, is completely engrossed in the philosophy of Gurudev Tagore. All his endeavours are completely dedicated to Gurudev, whom he assimilates in his life as his own God. The boy finally reaches to a village where he comes to contact of a simple village girl Adorini, who perhaps does not hear the name of Gurudev and know anything about him. The Hero was astonished that there are people who do not know his own God, or not even heard his name. Finally they come very close to each other and their love story has starts to build up. The boy tries his level best to make her understand about the thought and philosophy of Geurdev. Let’s see how far he will able to explain Gurudev in the simple language of village girl, whether at all.

Script Suranjana Banerjee Adorini (Village Girl: Heroine): Rupa Nandy Voice Saharer Chhele (Hero) Voice Kushal Bhattacherjee Back Ground Voice Suranjana Banerjee Music Voice & Concept Anindya-Shelley Music Design Soumya Bose, Tapas Dutta (Marco) and Shamik Guha Roy Back Ground Music Shamik Guha Roy Recording Studio Music Zone, Saltlake, Kolkata Dance Choreography Madhumita Roychowdhury Dance Performer Shreyashree Banerjee, Maitrayee Bhowmick, Neha Banwani, Banasree Basu, Mansi Shah, Kashvi Lodhia, Tushti Shah, Anugraha Acharya

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TFV Annual Souvenir 2019

Anagha Acharya, Shraddha Udiyal Reshma Shah and Madhumita Roychowdhury Light Dr Ratan Lal Basak and Raju Bhai Lightwala Stage Craft Prof. Dr Debal Dasgupta

Biodata of Anindya & Shelley: Anindya & Shelley’s musical journey gained momentum way back in 2011 at Baroda, Gujarat. Both are blessed with a melodious voice, capable of singing romantic tunes as well as peppy numbers which sets the audiences on their feet. With their soulful rendition and exuberant performances, they have conquered the hearts of music lovers all over Gujarat, Delhi, Kolkata, Shantiniketan, Mumbai, Pune, Agartala, Dehradun, Jaipur and many other places including Dhaka, Joshore in Bangladesh. Their multiple stage performance in different corporate programme deserves special mention. They have appeared for live and recorded performance in almost all the leading Bengali TV channels namely DD Bangla, Akash Aath, Rupashi, Tara TV, CTVN and so on. Shelley is also an All India Radio Artist. Their duo performance has been aired in different FMs radio time and again.

Anindya-Shelley, the team Dujone offers bouquet of melodious songs that makes one reminiscent of the golden era of Hindi & Bengali music. They sing a broad spectrum of songs starting with filmy & non filmy modern songs, all sorts of Bengali songs including Tagore songs, folk and their own compositions. Anindya & Shelley have widely been acclaimed for their different duet and solo albums altogether 12. Their excellent publication of Rabindra Sangeet in Hindi “RANG” has generated a pulse in the musical world and got everyone attraction when it becomes the official ringtone for Jio Mobile. Shelley’s maiden album in Rabindra sangeet was later taken by Times Music and re-published it. Both of them have started their carrier also as music composer and lyricist, in the recent past.

Biodata of Madhumita: A renowned Kathak Dancer, Bisharad from Laucknow, and Bachelor of Performing Art, in Jaipur Gharana, MSU, Baroda, Madhumita has lot of accolades in her credit. She took active participation in National Dance Festival. She is very familiar performer of throughout Gujarat state and in the City of Joy. Besides Kathak, she has also learned Rabindrik and Creative Dance from Rabindra Bharati University, Kolkata. Presently, she is the Dance teacher, of Bharitya Vidya Bhavan School since 2015.

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TFV Annual Souvenir 2019

Drama -“GABBU KHELA” Written By: Dipendra Sengupta

The play is a satire that exposes the hypocrisy and duplicity prevailing across all sections of our society. The protagonist of the play, Kashi Mittir alias Kathi is a man who finds solace in alcohol after being ridiculed and rejected by his family and friends for being his apparent dubious character, misunderstood by his near and dear ones. The plot revolves around Kathi Mittir and the people he encounters in the course of one night, when he was completely drunk.

The play unfolds as Kathi discovers himself in a drunken stupor dumped inside a dustbin in an isolated park. As he tries to gain his footing, he accidentally comes across a Gondi (GABBU) around the lamp post, which was later on identified as a queer spot that brings out the innermost thoughts of an individual. Ironically, Kathi realises that the image portrayed by an individual is in stark contrast to his innermost thoughts thereby establishing height of inbuilt hypocrisy in all human beings. Every individual in our society is merely wearing a mask of civility. The GABBU rips off the mask and reveals the real character of the person in front of Kathi and the audience.

As the night progresses, Kathi witnesses the dual faces of a corrupt police officer, a disgruntled constable, a middleman catering to his boss's lecherous demands (Lafandar), poets harbouring rivalry and animosity, a corrupt political leader with her team and even a Swamiji whose unfair means for fulfilment of his desires are exposed, and the Swamiji’s assistant. Just at the moment, Kathi is about to resign himself to the hollowness and superficiality of the society, the drama takes a twist and experiences the entry of Haran Das, a simple peasant duped by politicians to come to the city. Kathi tries to lure the poverty stricken Haran even with money and is pleasantly surprised to finally discover a man of integrity who refuses to yield to temptations. This was an eye opener for Kathi. And suddenly drama takes its second twist.

Now, Ladies and Gentlemen, Let’s see what will be the fate of Kathi Mittir. Will he be able to reshape himself or else will he ….

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TFV Annual Souvenir 2019

CREDITS: Name of the Character Enacted by Characterisation Peno da and Goon Team Dillip Samal, Suraj Kumar, Mohm. Imran Political Miscreants Ansari, Sailu. C.M, Digbijaya Choudhury, Ayantan Chatterjee and Subhanjan Paul Kashi Mittir alias Kathi Chunilal Chatterjee Hero Lamp Post Rajiv Paul Symbolic Induction Police Officer Manisha Paul Police and her Constable Asok Chakraborty assistant Elder son Ayantan Chatterjee Sons of Kashi Younger son Subhanjan Paul Lafander Bikas Chandra Biswas Meyer Dalal Bubuni Di Shaswati Chakraborty Senior Poet Prakriti Manisha Paul Junior Poet Netri Subhra Banerjee Political Leader Team of Netri Dillip Samal, Suraj Kumar, Md. Imran Assistants of Ansari, Sailu. C. M, Digbijaya Leader Choudhury, Manisha Paul, Saswati Chakraborty and Subhanjan Paul Shri Satgajananda Ji Bikas Chandra Biswas Swamiji Bishwadhup Rajiv Paul Assistant of Swamiji Team of Swamiji Saswati Chakraborty, Rachana Thakore, Abhishek Kumar, Ayantan Chatterjee, Ambar Chatterjee and Debanjan Roy Haran Das Asok Chkraborty Village Farmer Dance Team Anumegha Paul, Aditi Paul, Sanjana Tandon, Jiya Chandrani, Paulami Bose and Unnati Bhatt Music and Sound Sumit Paul and Chunilal Chatterjee Light Dr Ratan Lal Basak and Raju Bhai Lightwala Backdrop, Stage Craft and Make Dinesh Lakhrewala Up Dress Rajan Dresswala Dance Choreography Rachana Thakore Music and Voice Anindya-Shelley and Team Prompter Sujit Sen & Pusan Misra Concept, Overall Creativity and Chunilal Chatterjee Direction

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TFV Annual Souvenir 2019

Second Day:

 Tagore's Ragini …  Emotional Ragini …  Dancing to the tunes of Ragini …

Presenting before you a bouquet of Tagore's songs.... In the form of dance presentation by Lajuli Sarkar, Sucheta Bhattacharya and Lajuli's dance disciples.

Speak of any emotion and Tagore has innumerable songs written on it. Be it a girls first love or be it separation, be it welcoming seasons, or be it the long wait of a beloved one … Tagore has penned verses for every mood and every soul.

Presenting before you some of the deepest emotions through Ragini … Through Tagore.

Artists: Lajuli Sarkar Sucheta Bhattacharya Deeksha Kulkarni Vanshika Shah Janvi Chougule

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TFV Annual Souvenir 2019

Drama -“KANKAL” Written by: Kabiguru Rabindranath Tagore From our rich Bengali literature collection of Shri RabindraNath Tagore, we shall be enacting one of the most mysterious stories of all – “KANKAL" (The Human Skeleton), from Volume I in” GolpoGucho”. For dramatization of the story, we have adapted keeping the language simple, taking care not to affect the original feel and events. The story spins around a writer who has to spend a night in the same room after 36 years of his graduation, where he faintly remembers to have worked with a human Skeleton. However there is certain uneasiness in the air that night...he is finding hard to sleep as he counts all the twelve bell tolls of a nearby church...the only oil lamp in the room whooshes out, and then he starts to feel a conscious thing slithering the wall by his bed with heavy breathing sounds.... Drama by: Shri Gautam Roy Direction, Stagecraft and Conceptualisation: Smt Manasi Roy Cast: 1. Lekhak...... Sandip Roy 2. Ramoni...... Sreeparna Banerjee 3. Swami...... Malay Roy 4. Shashi Shekhar...... Anupam Mullick 5. Dada...... Bhaskar Thakur 6. Soshur...... Ambar Chatterjee 7. Shasuri...... Tripti Banerjee 8. Bimal...... Niladri Goswami 9. Anil...... Suvro Choudhury 10. Shanku...... Samit Mitra Dramatization and Adaption Manasi Roy & Malay Roy Music & Background Score Pooja Roy Synthesiser Dhruv Patel Singer Koyel Dutta Lights and Special Effects Debmalya Roy and Arnab Biswas Stage Management Sushmita Chowdhary and Samit Mitra Overall Stage Management Debanjan Roy Stage Dinesh Lakrawala Sound Recording Hemant of Parampara Studio

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TFV Annual Souvenir 2019

মানুষ বনসাই অল াক কুমার ভঞ্জ

বন্যেরা বন্য সুর, শিশুরা মাতৃ ন্রান্ে - গান্েরাও প্রকৃশতন্তই সুর, অপ্রাকৃশতক অবায় যয়। গান্েন্ের অপ্রাকৃশতক অবার পশরযশতই ববাধহয় বযসাই যান্ম অশিশহত।

বযসাই এর অর্ থ “এ ট্রি ইয এ ”পট অর্ থাৎ পন্টর গাে, পন্টর শবশবরই মত, যা শুধু বসৌয বধ থ থয কন্র। বযসাইন্ক গাে বলন্ল হয়ন্তা একটু িু ল বলা হয়, বযসাই এর মন্ধে গান্ের বসৌয থ র্াকন্লও গান্ের উপকাশরতা বতময বযই, বযহাৎ ঘর সাজান্যা োো। বোষটা বযসাই এর যয়, পুন্রা কৃশতত্বটাই তাাঁর শযশয বযসাই বাশযন্য়ন্েয। বযসাই গান্ে ডালপালা র্ান্ক, ফুলফলও র্ান্ক, তবুও অন্যক শকেু ই বযয বযই - শযন্জর বেয়াল েুশিন্ত ববন্ে ওঠা বযই, ফুলফন্লর বােবােন্ত বযই, শিগ্ধ োয়া বযই, সব থাপশর - শবযাি হওয়ার পরও ঘন্রর আসবাবপত্রর মাধেন্ম অশবযাি হন্য় ববাঁন্ে র্াকার বকায সুন্যাগই বযই।

আজকাল মাযুষও বযসাই হন্য় যান্ে বা বযন্ত বন্সন্ে। দেশহক বােবােন্ত হন্লও মন্যর শেক বর্ন্ক আমরা বযসাই হন্য়ই রন্য় যাই। শিক্ষা-েীক্ষা, বপ্রম-িালবাসা, মায়া-মমতা সবই আন্ে, শকন্তু বযসাই গান্ের বিািাবধ থযকাশর েু-একট্রট ফলফুন্লরই মন্তা - হান্ত বগাযা, শযক্তিন্ত মাপা।

গাে ববন্ে উন্ঠ প্রকৃ শতর শযয়ন্ম, প্রন্য়াজয বলন্ত শুধু একটু মাট্রট, সামাযে জল , আর হাওয়া-বাতাস - সবই প্রকৃশত বর্ন্কই পাওয়া। তবু গান্েন্েরববন্ে ওঠার জযে এোোও বয মাযুন্ষর সাহাযে এবং সহাযুিূশতর প্রন্য়াজয বসটা আমন্ের জাযা র্াকন্লওগ ান্েন্ের হয়ন্তা জাযা বযই, বা বজন্যও করার বতময শকেু ই বযই, কারয ওরান্তা আরমাযুন্ষর মন্তা প্রশতবাে করন্ত পান্র যা। তাই গান্েরা আমান্ের এত শকেু বেওয়ার পরও মাযুষ তান্ের উপর শযযাতথ য কন্র, এমযশক বকন্ট বফলন্তও কসুর কন্র যা।

যশে মাযুন্ষর অগশযত হতোকান্ের মূল কারণ শযন্য় কেন্যা শবন্েষণ করা হয়, তাহন্ল হয়ন্তা বেো যান্ব ববশির িাগ হতোর বপেন্য র্ান্ক আন্রাি শকা প্রশতশহংসা, অর্ে মজার বেপার গান্েন্েরন্ক হতো করার বপেন্য শকন্তু পুন্রাটাই বলাি - আন্রাি শকা প্রশতশহংসার বকায অবকািই বযই।

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TFV Annual Souvenir 2019

আর এই বযসাই করণ - গান্েন্ের শযয থাতন্যরই আর এক যামান্তার, বজার কন্র পঙ্গু কন্র বেওয়ারই সাশমল। গান্ের িাো-প্রিাোন্ক তান্রর ববেী শেন্য় আন্েপন্ৃ ে ববাঁন্ধ বরন্ে তার ডালপালান্ক বোঁন্ট বফন্ল তার বােবােন্তন্ক বজার কন্রআটন্ক বরন্ে বাময বাশযন্য় ঘর সাজান্যার সামগ্রী কন্র বতালা। এ বযয বসই তর্াকশর্ত অসাধু বেন্লধরার বাচ্চান্েরন্ক হাশাঁ ের মন্ধে ঢুশকন্য় বরন্ে শবকলাঙ্গ কন্র শিন্ক্ষ করান্যার মতই বেবসাশয়ক অশিপ্রায়। বয গাে একশেয বে হন্য় অন্যক মাযুন্ষর ফলফুন্লর বযাগায শেত পারন্তা, শকা ক্লান্ত মাযুন্ষর কান্ে শিগ্ধ োয়াহন্য় োাঁোন্ত পারন্তা, বসই গােন্কই বযসাই হন্য় মাত্র একট্রট পশরবান্রর বসৌযথ সামগ্রী হন্য় রন্য় বযন্ত হয়।

মাযুন্ষর জীবযও প্রশকশতর শযয়ম বমন্যই েন্ল, শযন্জর বেয়াল েুশিন্ত ববন্ে উঠন্ত োয়। েয়া-মায়া, বপ্রম-িালবাসা, সততা, শবশ্বাস, মূলেন্বাধ সবই বযয জীবন্যর এক-একট্রট িাো-প্রিাো, সমন্য়র সান্র্ সান্র্ তা শবকশিত হন্ত োয়। শকন্তু আমরা তান্ক ববাঁন্ধ, বফন্ল বোঁন্ট বফন্ল বযসাই বাশযন্য় বফশল বা বফলন্ত োই। আমরা সবশকেু বয বজন্যবুন্ে কশর, তা যয়। অন্যক সময় আমান্ের আোর বেবহার শিশুর মাযশসক শবকান্ির ডালপালান্ক অজান্ন্তই বোঁন্ট বফন্ল,যা আমরা বটরও পাই যা।

এই প্রসন্ঙ্গ একটা গল্প মন্য, পন্েবগল একট্রটবাচ্চা স্কুল বর্ন্ক তার সহপাট্রঠর বপক্তিল, রাবার েু শর কন্র শযন্য় আসার পর বাশেন্ত জাযাজাশয হাওয়ায় মা েুব বকাবশক কন্রয। মান্য়র ঐ শতরস্কারই হয়ন্তা িশবষেন্ত শিশুট্রটর সততার ডালপালান্ক বমন্ল ধরন্ত সাহাযে করন্তা। শকন্তু তারপর মা যেয বোঁশেন্য় বন্ল উন্ঠয, শেয শেয বতামার স্বিাবটা েুব োরাপ হন্য় যান্ে, সব শকেু ই ববশি ববশি োই - আশম অশফস বর্ন্ক এত বপক্তিল, রাবার এন্য শে তান্তও বতামার ময িন্র। যা তেয মান্য়র ঐ কর্াটাই শিশুট্রটর সততার ডালপালান্ক মন্যর আজান্ন্তই বোঁন্ট বফন্ল তার বযসাই করণ প্রক্তরয়ান্ক ত্বরাশিত কন্র।

এই রকম উোহরণ িু শরিু শর, বেন্ল শযয়ম বমন্য ট্রটশকন্টর লা লাইন্য োাঁশেন্য় অন্পক্ষা করন্েআরবাবা বলন্েয- শক এতক্ষণ লাইন্যোাঁশেন্য় আশেস েিটা টাকা শেন্য় পাি বর্ন্ক বকন্ট বয। সশতে এই যা হন্ল শপতা - শপতা স্বগ, থ শপতা ধম থ, কত সহন্জ মূলেন্বান্ধর ডালপালাটান্ক বকন্ট বফলা বহাল।

পান্ির বাশের সহপাট্রঠ স্কুন্লর বহাম-ওয় থাক এর বোপান্র জাযন্ত এন্সন্ে, বেন্ল বোলা মন্য বু ন্ক সব বন্ল বেয়, পন্র মা বকাবশক কন্রয, বতার সব শকেু বলার

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TFV Annual Souvenir 2019

শক েরকার শেল, ও সব বজন্য শযন্ল তু ই আর ফাস্ট হন্ত পারশব যা। এবার বু ন্ত্বর গক্তজন্য় ওঠা ডালপালাগুন্লান্ক একটু বোঁন্ট বেওয়া বহাল।

এই বয শবশি জযসিার যাযায মন্ে পুষরষরা যারী স্বাধীযতার জযে গলা ফাট্রটন্য় বলকোর শেন্য় ববোয় আর বাশে শফন্র বউন্ক বন্ল আমার কর্াই বিষ কর্া, যা বপাষায় েন্ল যাও। কারয বসই একই, মুন্ে যাই বশল যা বকয, আসন্ল শকন্তু ময বর্ন্ক আমরা োই যারী স্বাধীযতার িাোপ্রিাোন্ক বোঁন্ট বফন্ল তান্ক বযসাই বাশযন্য় ঘন্রর মন্ধে সাক্তজন্য় রােন্ত।

এবার বপ্রম-িালবাসার কর্ায় আশস - মাযুন্ষর জীবন্য বপ্রম-িালবাসা অন্যকটা ফুলফন্লরই মত পশরপূণ থতার এক অন্মাঘ শযেি থয। পশরযতবৃক্ষ বযময অগশণত ফুন্লফন্ল বসন্জ উঠন্ত োয়, ট্রঠক বসইিান্ব আমান্ের জীবযও অফুরন্ত বপ্রম- িালবাসায় িন্র উঠন্ত োয়, শকন্তু আমরা বয বযসাই হন্য়র্াকন্ত োই। বপ্রম- িালবাসা সবই র্াকন্ব শকন্তু তা শুধু বিািাবধ থন্যরশযশমন্ে, েু-একট্রট ফুলফন্ল সুসজ্জিত হন্য়, তাই তার বােবােন্তন্ক ববাঁন্ধ রােন্তইহন্ব, বপ্রন্মর বজায়ান্র বিন্স বযন্য় তান্ক বকায মন্তই শবকশিত হন্ত বেওয়া েলন্বযা, যা শুধু িোন্লন্টাইযস-বড শকা বেেশিপ-বড উেযাপন্যর মাধেন্মই ববাঁন্ে র্াকন্ব।

আন্গ একটা কর্া শেল“ শবশ্বান্স শমলায় বস্তু, তন্ক থ বহু েরূ ” – এেয মাযুষ বমলান্ত োয় যা, বরং তকথ ক্তজইন্য় রােন্ত োয়, তাই অগাধ শবশ্বান্সর বকায প্রন্য়াজয বযই, বযসাইন্য়র মত বিা-শপস শহসান্ব একটু-আধটু র্াকন্লই েলন্ব।

পশরন্িন্ষ েয়া-মায়া, মাযশবকতার প্রসন্ঙ্গ আশস- স্কুল বর্ন্ক বফরার পন্র্ েুঘ থটযায় আহত পর্োরীন্ক রাা বর্ন্ক তুন্ল হাসপাতান্ল বপৌৌঁন্ে বাশে শফরন্ত বেন্লর বেরী হাওয়ায় মা-বাবা যেয বকাবশক কন্র বন্লয - বতামার এত েরে বেশেন্য় মাতব্বাশর করার শক েরকার শেল। তেয বেন্লট্রটর সেে গক্তজন্য় ওঠা মাযশবকতার কশেপাতাগুন্লা মন্যর অজান্ন্তই বোন্স পন্ে। বেন্ির বতথমায শহংসাত্মক কাা্য থেকলাপ শিশু মন্যেয়া-মায়ার বকামল ডালপালাগুলন্ক যে কন্র শযষা্ঠুর বাশযন্য় বেয়।

একাবতী পশরবার, পুরন্যা সংস্কৃ শত ও সামাক্তজক ঐশতহে মাযষু ন্ক ববন্াঁ ধ রােন্ত োয়, তাই বসই মূল বিকেগুশলন্ক সযন্ে বোঁন্ট বফন্ল মাযুষন্ক আত্মন্কক্তিক বাযান্যা েুবই জষররী। এটাও বযসাই করণ প্রক্তরয়ার অযেতম অঙ্গশবন্িষ, যান্ত কন্র বস শুধুমাত্র একট্রট পশরবান্রর বসৌয থ সামগ্রী হন্য় শবরাজ করন্ত পান্র। এইিান্বই জীবন্যর প্রশত পেন্ক্ষন্প সততা, মাযশবকতা, মূলেন্বাধ, মায়া-মমতা, বপ্রম-িান্লাবাসা, শবশ্বান্সর সবরকম িাো-প্রিাো ও ডালপালাগুন্লা োাঁটা পেন্ত পেন্ত মাযুষ একশেয বযসাইএ ষরপান্তশরত হয়, আর তারই রূন্প মুগ্ধহন্য়

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আমান্ের আত্মীয়স্বজয, বু বাব তান্ক সংসান্রর দবঠকোযায় বযসাই এর মন্তা সাক্তজন্য় বরন্ে শবশকশকশযর আসর বসায়।

কর্ায় আন্ে“ অশত বে বহায় যান্কা েন্ে পন্েযান্ব ”, বসইজযে আজ আর বকউ বে হন্ত োয় যা। আবার বোট হন্য় র্াকার োন্মলাও আন্যক, োগন্ল মুশেন্য় োবার সাবযা র্ান্ক, তাই বযসাই হন্য় োর বেওয়ান্লর মন্ধে সুরশক্ষত র্াকাই বেয়। আধুশযক জীবযযাত্রার এই ইোঁ ুরন্েৌন্ে আমরা সবাই বযসাই মাযুষ হওয়ার লন্ক্ষেসাাঁই -সাইাঁ কন্র েু ন্ট েন্লশে, মন্যর সায় র্াক বা যা র্াক।

তবু মান্ে মান্েই বসই আত্মগ্লাশয আমান্েরন্ক তাশেন্য় ববোয়, আর মন্য হয় সশতেই শক আমরা বৃক্ষ হন্ত বপন্রশে- যাশক বযসাই হন্য়ই রন্য় বগশে।

~ ০ ~

With best compliments from

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কয়েদ মলনাজিৎ মবিক কাল রাত্তিরই বটে। এটক আমাবস্যা, তার ওপটর প্রচণ্ডঝড় বৃষ্টি। আজযত্তি চাাঁি উঠতও, ঘন কাটলা মমটঘর প্রটলটপ তার হত্তিস্ পাওয়া মযত না। আর এমত্তন এক ভয়ংকর রাটত স্ুশীল প্রস্াটির মবৌটয়র উঠটলা প্রস্ব মবিনা। অবশয ষ্টঠক তার ত্তববাত্তহত স্ত্রী না, তটব মস্ কথা পটর। এখন বাহন মখাজাঁ া ছাড়া ত্তকছু ই মটন আস্ত্তছল না অত্তভটেটকর।

অবটশটে অটনক কাঠ খড় পুত্তড়টয় একো মেটপা পাওয়া মেল। চালক স্ময় বুটঝ চার গুন ির হাাঁকটল। অেতযা রাজী হওয়া। বাটজর েজজন আর মত্তহলার ত্তচৎকার -হাহাকার ত্তমটল ত্তমটশ রাটতর অকার ভয়াবহ। শুনশান ভাঙাটচারা রাার মহাাঁচে। মেটপার পাতলা প্লাত্তিটকর পিজা বৃষ্টির িাপে ওঝাপে, ত্তকছু ই 쇁খটত অক্ষম। ত্তহটমর মটতা ঠাণ্ডা জটলর ত্তছটে হাড় অত্তি মস্াঁধটে।

হাস্পাতাটল মপৌৌঁটছই ত্তরটস্প্সাটনর ত্তিটক মিৌড় লাোটল অত্তভটেক। স্ুশীলও মমৌত্তমতা ততক্ষটে বুধনী মক পাাঁজটকালা কটর নাত্তমটয় মেটলটছ। বুধনীর অবা মিটখ এক জত্তু নয়ার ডাক্তার তাড়াতাত্তড় তাটক বচ্চা এওয়ম্ জচ্চা(মযাোত্তন জষ্টে) ওয়াটড জ ঢুত্তকটয় মেলটল। বাত্তকরা অস্হাটয়র মটতা বাইটরর মবন্টচ বটস্ পড়ল। ত্তমত্তনে িটশক পটর এক মপ্রৌঢ়া ডাক্তার হাত পুাঁছটত পুাঁছটত বাইটর এটস্কেমে কটর অত্তভটেটকর ত্তিটক মস্াজাস্ুজজ তাত্তকটয় ধমটকর স্ুটর বলটলন - মমটর মেলার মতলব ত্তছল নাত্তক। এটতা মিরীটত এটনটছা। এখন ত্তকছু হটয় মেটল আমাটক িুটো না। যত স্ব অত্তশত্তক্ষটতর িল।

অত্তভটেক মকমন মযন থম্ মমটর মেল মস্ই আচমকা আক্রমটে। ত্তকছু টতই বটল উঠটত পারটলানা ময মকস্ো তার না। তাছাড়া বুধনীর বযথা ওঠার পর তারা েত ত্ততন ঘন্টা ধটর আপ্রাে মচিা কটরও এই ঝড় বািলায় একো বাহন মজাোড় করটত পারত্তছল না। মমৌত্তমতা তাটক একপাটশ মডটক ত্তনটয় মেল। রাটে েুাঁ স্টছ। বলল- মকন তু ত্তম স্ত্ততযো বলটলনা। অথচ মিটখা মতামার ত্তপ্রয় বু মকমন স্াধু স্াধু মুখ কটর বটস্ আটছ, মযন ভাজা মাছষ্টেও উটে মখটত জাটননা।

অত্তভটেক মমৌত্তমতার রাটের কারেো ভাটলা কটরই জাটন। তাই তাটক শান্ত করটত করটত বলল- ওস্ব কথা পটর হটব। এখন বুধনীর প্রাে স্ংশয়।

এবার শুধু অটপক্ষা। হাস্পাতাটলর মবটের ওপর আধ মশাওয়া অবায় অত্তভটেটকর মটন ততক্ষটে এতত্তিটনর ঘেনাগুটলা বাটয়াটকাটপর স্লাইটডর মটতা মভটস্ মভটস্ আস্টত মযটত মলটেটছ। অত্তভ বা অত্তভটেক আর শুেবাস্ুশীল

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মছােটবলা মথটক অত্তভ িয় বু , পাশাপাত্তশ বাত্তড়টত মথটক একস্াটথ পড়াশুনা, মখলা ধুলা,মায় নানান অকাটজ কুকাটজ এটক অটনযর স্াথী অথবা স্াক্ষী।

বয়ঃস্ত্তর পর মথটক শুটের মত্ততেত্তত পাোটলা। মমটয়ঘষ্টেত নানা কূকাটে শুেটক জত্তড়টয় বহু কু ৎস্ায় তখন বাজার েরম। তার স্ুর োটনর েলা বা ত্তবত্তভ মখলাধুলাএ তার পারিত্তশ জতা মলাটক ভূটল মেটছ। ত্তমটলত্তমটশ যাওয়া িুটো ছায়ার মটধয মথটক তার ছায়াো ময হাত আলো কটর কখন আলািা পটথ রওয়ানা ত্তিটয়টছ তা অত্তভও মের পায়ত্তন।

তারপর পড়াটশানা আর চাকত্তরর চাপ জীবনটক অনয খাটত বইটয় ত্তনটয় মেটছ। অত্তভর এই স্েটরর নতুন স্াথী আজ মমৌত্তমতা। ত্তবটয়োই যা কটর ওঠা হয়ত্তন।তটব মমৌত্তমতার কাটছ মস্ ত্তকছু ই লুটকায়ত্তন। মমৌত্তমতা শুটের েল্প অত্তভর মুটখ এতোই শুটনটছ ময তার মিখা না মপটয়ও মটন হটয়টছ মযন শুে তাটির জীবটনর আনাটচ কানাটচ স্ব জিাই ঘুরটছ।

মটনর েেেষ্টেো ঘযাাঁচ কটর মেক কেটলা নাটস্ জর ডাটক।একো আধটখালা িরজার োাঁক মথটক েলা বার কটর এক োল মহটস্ মস্ জানাটলা- মছটল হটয়টছ।

মা ও বাচ্চাটক মকত্তবটন িাত্তখল কটর তাটির মমৌত্তমতার িাত্তয়টে মছটড় অত্তভ ছু েল মা ও নবজাতটকর প্রটয়াজটনর জজত্তনস্পত্র আনটত স্াত তলা নীটচ।শুে অপরাধীর মটতা মুখ কটর বলল - ত্তহটস্ব রাত্তখস্। মাইটন মপটলই চু ত্তকটয় মিব। রাত হটতই ত্তবভীত্তেকার স্ুত্রপাত। ভাঙা মহাটস্র োেল মথটক আনাটোনা শু쇁 করটল খরটোটশর স্াইটজর ইিাঁ ুররা। ভটয় আতাঁ টক ওটঠ মমৌত্তমতা। মচয়াটর বটস্ই কখন মযন ঘুত্তমটয় পটড়ত্তছল ক্লান্ত অত্তভ। মমৌত্তমতার ত্তচৎকাটর ধড়মড়কটরউটঠ নাস্ জটক মডটক ত্তনটয় এটলা। মমৌত্তমতা হাাঁউমাউ কটর যা বলল তার মাটন িাাঁড়ায় ময এই রাক্ষু টস্ ইিাঁ ুরটির এক্ষু ত্তন িুর কটরা। ভদ্রমত্তহলা ত্তনত্তবকজ ারভাটব জানাটলন ময মস্ো স্ব নয়। একআধো বাচ্চা মখটয় মনওয়ার ঘেনা ময ঘটেত্তন তাও নয়। তাই স্াওধানী বরতটত মহাটব। অেতযা স্ারারাত মমৌত্তমতার বাচ্চা মকাটল ত্তনটয়বটস্ থাকা আর অত্তভর হু স্ হু স্ কটর ইিাঁ ুর তাড়াটনা। শুেো কটয়ক মপে মেটন নাক ডাত্তকটয় ঘুটমাটে। নাত্তক মছটল হওয়ার খুত্তশটত অত্তেটস্ পাষ্টেজ ত্তছল। মভাটরর ত্তিটক অত্তভর জঝমুত্তন মটতা এটস্ত্তছল।তার মটধযই আবার মটনর কযাটমরায় স্লাইড চালু হটলা। এক স্যায় শুে তার অত্তেটস্ এটস্ হাজজর। মুখো শুকটনা, মচাটখর মকানাো ত্তচকত্তচটক। তার পাংশু মুটখর ত্তিটক তাত্তকটয় অত্তভ বুঝটত পাটরআবার মকাটনা ঝাটমলা পাত্তকটয় এটস্টছ মকননা ইিাত্তনং শুে তার কাটছ জ쇁ত্তর িরকার ছাড়া খুব একো আটস্না। অত্তভ চু প কটর আটছ মিটখ েলা খাকাঁ াত্তর ত্তিটয় আমতা আমতা কটর শুে বটল চটল তার কাত্তহনী। স্ুটের বাবা এক ম স্রকাত্তর অত্তেস্ার ত্তছটলন। অটনক ত্তিন হটলা অবস্রপ্রাপ্ত।

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TFV Annual Souvenir 2019

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অত্তভর জ্ঞান হওয়া অবত্তধ তাাঁটক বাত্তড়টতই মিটখটছ।শুটনটছ তাাঁর মিািজেপ্রতাটপর কথা। এখন ত্ততত্তনঅথব জপ্রায়। বুধনীটক শুটের বৃদ্ধ বাবার মস্বাশুশ্রুোর জনযোাঁ মথটক আনাটনা হল। রঙো কাটলা হটলও মুখখানা ত্তমষ্টি। লা েড়া মপো শরীটরর আকেজ ে ময স্ুে এড়াটত পাটরত্তন তা বলাই বাহু লয। ইিাত্তনংএর ঘেনা তারই পত্তরেত্তত। তটব কখন ময এর মটধয ভালবাস্া মাথা চাড়া ত্তিটয় উটঠটছ তা নাত্তক স্ুেও বুঝটত পাটরত্তন। তার ওপর বুধনীটির ধটম জ ভ্쇁েহতযা নাত্তক মহা পাপ। ত্তন쇁পায় শুেটক তখন হটত হটলা অত্তভর দ্বার।

মমৌত্তমতা ও অত্তভর বু ে অটনকত্তিটনর। বড় হটয় অত্তভ চাকত্তরটত ঢুটকটছ, মমৌত্তমতার পড়াশুনা মশে হওয়ার মুটখ। িীঘত্তিজ টনর বু ে স্বাভাত্তবক ভাটবই মপ্রটম পত্তরবত্ততজত। স্াহস্ কটর খবরো িুবাত্তড়টতই জানান হটয় ওটঠত্তন। তাই অটনককাঠ খড় পুত্তড়টয়, মমৌত্তমতার হটিটল ত্তমটথয অজহু াত মিত্তখটয় তারা এটস্টছ শুেটির পত্তরত্রাতা হটয়। স্ব জিাই কা쇁র মচাটখ পটড় যাবার ভয় মলটে আটছ।তাই আনাটোনা রাটতর অকাটর করটত হয়।তাছাড়া শুটের পটকে স্বিাই জ োাঁকা। মস্ মক্ষটত্রও অত্তভ ছাড়া তার উপায় মনই।

জানলায় পায়রার ডাটক অত্তভর কাাঁচা ঘুমো মভটঙ মেল। মিটখ মমৌত্তমতা বাচ্চা মকাটল এক ঠায় বটস্ আটছ। বুধনী আেটর মটতা ঘুটমাটে। আর শুে মমটঝটত চাির মপটত মবহু াঁশ।এভাটব ময চলটত মিওয়া যায়না। মঠটল ঠুটল শুেটক ওঠাটনা মেল। অত্তভর েরা ময যথাথ জতা মস্ স্বীকার কটর। বটল অত্তেস্ মেরতা মস্ ত্তকছু বযবা করটব। এই বটল শুে োইো ষ্টঠক করটত করটত মবত্তরটয় মেল।

স্ারাো ত্তিন মা ও বাচ্চার পত্তরচয জায় মকটে মেল। মির রাত্তিটর শুটের প্রতযাবতজন। মনশায় চূর। আবার একষ্টে ত্তবভীত্তেকাময় রাত।

স্কাল হটতই শুে ক্ষমা েমা মচটয় মবত্তরটয় মেল ত্তবকটল্পর স্াটন। িুপুর নাোি ত্তেরটল শুে। জজত্তনস্ পত্র মোছাগুত্তছ কটর তাটিরত্তনটয় অটোএ কটর রওনা ত্তিটল আর এক নতুন অনুভটবর ত্তিটক। এো শহর মথটক মবশ ত্তকছু িটূ র পাহাটড়র মকাটল এক ত্তমশনাত্তর হাস্পাতাটল। ত্তনজজন ও শহটরর হট্টটোল মস্খাটন মপৌৌঁছায় না। এখাটনর মমট্রন তাটির িুজটনরই এক কাটছর বু র মা। আত্তন্ট তাটির খুবই মেহ কটরন। মটন হয় শুে স্ব ত্তকছু তাটাঁ ক জাত্তনটয় ত্তিটয়ত্তছল, তাই পরম আিটর তাটির একষ্টে বড় মকত্তবটন ঠাাঁই ত্তিটলন। মস্োটত মরােীর ত্তবছানা ছাড়াও িুটো খাে লাোটনা। মস্খাটন শু쇁 হটলা বাচ্চাোর ত্তদ্বতীয় ইত্তনংস্। অত্তভ আরশুেস্কাটল অত্তেস্ মবত্তরটয় যায়। অত্তভর স্টে থাটক মস্ত্তিটনর বাজাটরর েিজ। বস্্ মকবটল ময মাটয়র শরীর খারাপ, মস্ প্রায় মরাজই তাড়াতাত্তড় অত্তেস্ মথটক মবত্তরটয় পটড়। মস্খান মথটক বাত্তড়টত ঢুাঁ মমটর মকনাকাো কটর তার মমােরস্াইটকল মিৌড় লাোয় হাস্পাতাটলর পটথ। বাত্তড়টত বলা আটছ বু র মরনাপ স্ত্রীর মস্বায় হাস্পাতাটলই রাত কাোটে।শুটের নানান মকোর কথা বাত্তড়টত অজানা মনই, তাই অনয এক

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বু র নাম আত্তবষ্কার করটত হয় তাটক।টমৌত্তমতা অবশয অনয শহটরর মমটয়, তাই ককত্তেয়টতর হাত মথটক তার মরহাই। তার কাজ বাচ্চার তিারত্তক ও রাাবাা করা।পড়াশুনা চু টলায় মেটছ। এইভাটব ত্তিন েত্তড়টয় চটল।

ততত্তিটন বুধনীও একেু স্ামটল উটঠটছ। বাচ্চা ও তার কাপড় কাচাকাত্তচ কটর বাইটরর উটঠাটন মরাটি মিয়। এমত্তন এক মরািভরা শীটতর িুপুটর বুধনী কাপড় োঙাটত বযা। অত্তভ আর শুটের ছু ষ্টে, তাই তারা বারাায় পা ঝু ত্তলটয় মরাি মপায়াটে। মমৌত্তমতা অলস্ মচাখ জানলায় মরটখ তার আেত মস্টমিার পরীক্ষার কথা ভাবটছ। এমন স্ময় খেখে কটর জটু তার শি তু টল আত্তন্টর আত্তবভাজ ব। মুখ অস্ব েীর। অত্তভ প্রমাি গুনটলা।এো ত্তনয়টমর বযত্ততক্রম। আত্তন্টর মুটখমস্ হাটমশাই ঝলমটল হাত্তস্ মিখটত অভয। ত্ততত্তন তাটির ত্তিটক না তাত্তকটয় মস্াজা ত্তস্ত্তড় ত্তিটয় তরতত্তরটয় মনটম মপৌৌঁছটলন উটঠাটন মযখাটন বুধনী আনমটন বাচ্চাোর অস্ংখয মলংষ্টেগুটলা মমলটত বয।

আত্তন্ট মকানরকম ভত্তনতা না কটরই েটজজ উঠটলন - এ. . .ই বুধনী, মতার বর মকানো ত্তিখা।বুধনী থতমত মখটয় হাটত একো ত্তভটজ মনংষ্টে ত্তনটয় হাাঁ কটর মচটয় রইল আত্তন্টর ত্তিটক, তাাঁর এই ভীেে 쇁প মস্ মকানত্তিন মিটখত্তন। আবারেজজন- জল্ত্তি ত্তিখা। বুধনী েভীর জেটলর মকাটল এক প্রতযন্ত গ্রাটমর রমেী। শহু টর মারপযাাঁচ তার মবাটধর বাইটর। আত্তন্টর েজজটন স্ত্তত ত্তেটর মপটয় শুটের ত্তিটক আঙু ল মিত্তখটয় স্রল ভাটব বলটল- ঊটিা, অথ জাৎ ওইটয।

শুে পরম ত্তনজিন্ত মটন বারাায় পা ঝুত্তলটয় েীোর বাজাজেল। আত্তন্টআর বুধনীর কটথাপকথন ত্তকন্তু তার কান বা নজর, ত্তকছু ই এড়ায়ত্তন। মচাটখর ত্তনটমটে মস্ েীোরো পেটক উধাও। শুধু তার কুোটরর আওয়াজ িুটর ত্তমত্তলটয় মযটত মশানা মেল।

আত্তন্টর বযবহাটর ত্তকন্তু মকান পত্তরবতজন মনই। মটন মহাটলা এোই তাাঁরকাটছ প্রতযাত্তশত ত্তছল। ত্ততত্তন আবার মস্ই ক쇁োময়ী মমট্রন,ত্তচরপত্তরত্তচত আত্তন্ট। পরম আিটর ত্ততত্তন অত্তভ ও মমৌত্তমতাটক তাাঁর মচাটর মেটন ত্তনটয় মেটলন। ওরা িুজটনই তখনও েভীর জটল। অত্তভ আর থাকটত না মপটর জজটজ্ঞস্ কটর মেটল - আত্তন্ট, এো কী হটলা? আত্তন্ট একোল মহটস্ বলটলন - হটব, হটব, স্ব বলব। আটে এগুটলা মশে কর। আত্তম জাত্তন, কটয়ক ত্তিন ধটর মতাটির ষ্টঠকখাওয়া কটর িাওয়া পয জন্ত হয়ত্তন।

স্ামটনর মপ্লটে রাখা আত্তন্টর বানাটনা মকক, মপত্তি ও ত্তবকুে মিখটত মিখটত মশে। েরম কত্তেটত চু মকু ত্তিটয় আত্তন্ট শু쇁 করটলন- শুেোর ত্তবেয় আত্তম স্ব খবরই পাই মছটলর কাটছ। তাছাড়া আত্তম মাটঝমটধয ওটির বাত্তড়ও যাই ওর বাবাটক

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মিখটত। আমার স্টে তাাঁর অটনক ত্তিটনর পত্তরচয়। ত্ততত্তনও প্রায়ই িুঃখ কটরন মছটলটক ত্তনটয়। বটলন এই একো মিােই আমার মছটলোর স্ব গুে মঢটক ত্তিটয়টছ।

একেু মথটম কত্তেটত চু মুক ত্তিটয় ত্ততত্তন বটল চটলন - তাই মস্ত্তিন মতারা স্বাই আমার কাটছ এত্তল, ও আমায় একপাটশ মডটক বলটল ময অত্তভ একো ভূল কটর মেটলটছ। বাচ্চাষ্টে অত্তভ ও বুধনীর মস্ইভয়ংকর ভূটলর েল। ওর বাত্তড়টত মতা বলার প্রশ্নই ওটঠনা, হয়টতা বুধনীটক মমটরই মেলটব। ওটির কি শুে মিখটত পাটরত্তন, তাই তারা আমার কাটছ ত্তকছু ত্তিটনর জনয আশ্রয় চায় মকননা এই জায়োো িুটর ও ত্তনরাপি। স্টে আটরকষ্টে মমটয় বু টক এটনটছ মকননা এই স্ময় মমটয়টির প্রটয়াজন হটত পাটর।

আত্তম বলাম ভা - আত্তন্ট বটল চটলন- যাক, মছটলোর এতত্তিটন স্ুবুজদ্ধ হটয়টছ তাহটল। অপটরর স্াহাযয করটছ। আত্তম আর তাই মস্ত্তিন মতাটিরটক না কত্তরত্তন। ত্তকন্তু মতার আর এই মমটয়োর পরস্পটরর প্রত্তত বযবহার মিটখ আমার মটনস্টহ িানা বাাঁধটত শু쇁 হয়। একাটন্ত বটস্ মতাটির কথা বলা, মতাটির মচাটখর ভাো, স্বই মযন একো অনয ইত্তেত ত্তিজেল। ত্তকছু মটন কত্তরস্ না,ত্তহটস্টব েরত্তমল মিটখ আত্তম একত্তিন েভীর রাটত মতাটির কামরায় উত্তাঁ ক মমটর মিত্তখ মতারা এক খাটে শুটয় আত্তছস্ আর মস্ই হতভাোোর মকান পািা মনই। হয়টতা মি মখটয় মকাথাও পটড় আটছ। আমার মছটলটক চর লাোটনার পর স্ম ঘেনাো পত্তরষ্কার হটয় মেল। ত্তকন্তু আত্তম তারপরও চু পচাপ অটপক্ষায় ত্তছলাম ময কটব মতাটির স্কলটক একস্াটথ পাকড়াও করা যায়। অবটশটে আজ িুপুটর মস্ো স্ব হটলা।

আত্তন্টর স্বর এবার কষ্টঠন হটয় মেল। বলটলন- এো ভেবাটনর ঘর। এখাটন মকান রকম ত্তমটথযর প্রশ্রয় আত্তম মিটবানা। মতারা ভাই ত্তনটজর ত্তনটজর বাত্তড় ত্তেটর যা। পটরর উপকার করা ভাটলা, তটব ত্তনটজ বিনাম হটয় নয়। শুেটক আত্তম মিখত্তছ। ত্তবটয় কটর আমার কাটছ ত্তনিয়ই আস্ত্তব। বলটত বলটত আত্তন্টর মচাখ হঠাৎত্তভটজ আটস্। ওরা তাাঁটক প্রোম কটর শুকটনা মুটখ মবত্তরটয় আটস্। ঘটর বুধনী মবটঘাটর ঘুটমাটে। তার ত্তনষ্পাপ মুটখর ত্তিটক তাত্তকটয় অত্তভর বুকো মুচটড় ওটঠ। বাচ্চাোও মকমন মাটয়র বুটকর ওটম ত্তনজিটন্ত ঘুত্তমটয়। মমৌত্তমতার আেুটলর মখাাঁচায় তার চেকা ভাটঙ। ওর যাবার তাড়াোটক অত্তভ বুঝটত পাটর। পরীক্ষার চাপ আর তার ওপর ধরা পটড় যাবার ভয় তাটক ক্রমােত মকানঠাস্া কটর মরটখটছ এই কত্তিন।

ত্তনঃশটি জজত্তনস্পত্র গুত্তছটয় তারা মবত্তরটয় পটড়। মমােরবাইটকর ইজিটনর শিো ভারী ত্তমটঠ লাটে তার। মমৌত্তমতা যখন ত্তপছন মথটক তাটক জত্তড়টয় ধটর, শহরমুটখা অত্তভর মটন হয় তারা মযন মজল ছাড়া কটয়িী। আবার এক নতুন জীবন তাটির হাতছাত্তন ত্তিটে। ~ ০ ~

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েশবর রবীিযার্ ইন্দ্রপ্রবিম রা붼

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Awesome Threesome- An Overview of the Prose Writings of Rabindranath Tagore, Swami Vivekananda and Sri Aurobindo Madhurita Choudhary Professor, Dept of English, MSU, Vadodara

he Indian renaissance of the nineteenth century produced two distinct kinds of prose - historical-political and religious-cultural. The prose of this T period not only exhibits an intense awareness of the issues of that period but also a remarkable understanding and appreciation of the Indian past. Bengal and Bombay dominate the scene where 'the grand old man of India' Dadabhai Naoroji wrote about the acute problems of India and a social and religious reformer like 'Rishi Ranade' attempted to synthesize the East and the West in his writings. In Bengal the most notable prose came from the trio-Rabindranath Tagore (1861-1941), Swami Vivekananda (1863-1902) and Sri Aurobindo (1872- 1950). Tagore's English prose came much after he had been accepted in Bengal as a Bangla poet. His prose fall in three categories: (i) Bangla prose translated into English by others ii) Bangla prose translated by Tagore himself iii) Prose written by Tagore originally in English. His autobiographical works: My Boyhood Days and Reminiscences belong to the first the category. Tagore's prose writings in English were delivered as lectures. The earliest was a series of lectures at Harvard University published as Sadhana: The Realization of Life (1913). These lectures are spiritual discourses aimed at explaining the Indian religious texts to Westerners. The next prose collection is that of speeches compiled from his lecture tour in the U.S.A in 1916 - Personality (1917) and Nationalism (1917). As in Sadhana, in Personality too Tagore brings forth non-dualistic faith.

The one cry of the personal man has been to know the supreme person." Nationalism is a remarkable example of upholding the spirit of the nation. It accuses the imperialistic nationalism of the West of destroying the fabric of Indian social life. He also warns Japan and India to safeguard against themselves against the West. In the name of modernization, these nations are losing their identities. For Tagore, true modernism is "freedom of mind, not slavery of taste".

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In 1922 came a set of ten lectures in Creative Unity in which Tagore's essay on the analysis of the East-West relationship stands out. The twain, Tagore says, do not meet because machines have been sent out from the West instead of humanity. In 1930, came publication of the lectures delivered by Tagore in Oxford- “The Religion of Man” (1930). Tagore proclaims here the divinity of humanity and humanity of God. He also calls this conception of religion a "poet's religion". Two lectures delivered at the Andhra University, Waltair, were published as Man (1937). These lectures end on a note of hope in humanity. Surprisingly a similar hope we find in his last testament, written on his 80th birthday, Crisis of Civilization (1941) which was translated from his Bangla original Sabhyatar Sankat. Tagore here also cries in anguish seeing “the crumbling ruins of proud civilization strewn like a vast heap of futility".

Swami Vivekananda's prose is, like Tagore's, firmly grounded in the Indian ethos. Described by Americans as “Hindu Hurricane", had the mission of bringing home to the West the true nature of Hinduism and also of uplifting India. His Complete Works (Vol I to VIII, 1907-1951) is a compilation of what he spoke. He emphasizes on the universal faith which he finds in Adwaita Vedanta, which for his is “the most scientific religion". He also explains the principles of Jnana, Karma, Bhakti and Raja Yogas. One of the ailments of India has been the fossilization of its thought processes. His speeches range from a clinical analysis of the causes and cure of the present degradation of India to a proclamation of his dream for India as a super spiritual power. Most of Swami Vivekananda's essays were delivered extempore. The sources of his thoughts were in the Hindu religious and philosophical tradition. His prose style is marked by simplicity and straightforwardness. Talking about women, Swami Vivekananda states, “The best thermometer to the progress of a nation is its treatment of its women." "My ideal of language’, he once said, 'is my mater's language, most colloquial, yet most expressive." The real power of Swami Vivekananda's prose comes from his conviction and scholarship.

If Swami Vivekananda was known for his spoken word, Sri Aurobindo produced a varied range of prose writings on a wide range of topics ranging from religion and philosophy to occult and culture. Between 1893-94, in 'New Lamps for Old' published in Induprakash, Sri Aurobindo advocated his idea of radical politics. In 1894, he also published a series of articles on the great nineteenth century Bangla poet, writer and journalist Bankim Chandra Chatterjee. His Bhavani Mandir (1905) is a political pamphlet penned anonymously by Sri Aurobindo. In it he associates the identity of Goddess Bhavani to the concept of nation. His Bande Mataram (1906) also deals with current politics. It was also an English

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TFV Annual Souvenir 2019 language newspaper founded by Sri Aurobindo in 1905. Karmayogin was launched as a weekly English journal conceived as 'A weekly Review of National religion, Literature, Science , Philosophy etc. 'According to him, the first and foremost work of a karmayogin is to popularize Indianism, the knowledge of " what we were, are and may be". Soon after his arrival at Pondicherry, Sri Aurobindo founded the monthly Arya (1914-21).The prose writings published here were later published in book form as Essays on the Gita (1928), The Life Divine (1939-40), Heraclitus (1941) and The Synthesis of Yoga (1948). Of these, The Life Divine is the crown of Sri Aurobindo's prose writings. The central proposition of this thousand-page treatise is “the affirmation of divine life upon earth and an immortal sense in mortal existence. "Human evolution', according to Sri Aurobindo, 'must lead inevitably towards an evolution in the knowledge, a self-finding, self-unfolding of the Spirit..." The Synthesis of Yoga advocates Integral yoga which radically differs from other yoga practices, it aims at reaching the supermind and then descend to this earth for the salvation for the entire human race. The Arya essays also comprise of cultural and political issues which were later on published as The Renaissance in India ( 1920), The Foundations of Indian Culture (1953), The Human Cycle ( 1949), The Ideal of Human Unity ( 1919) and War and Superdetermination (1920). The Arya essays on literary criticism have been collected in The Future Poetry (1953). In this, Sri Aurobindo's letters on poetry, literature and art were also added later in 1971. His study of literary criticism is firmly grounded on ancient Indian literature and aesthetics and offers a comparative approach with European tradition.

Sri Aurobindo's short poetic essay The Mother (1928) celebrates “the divine Conscious forcethat dominates all existence "in her four forms- “Wisdom, Strength, Harmony and Perfection". The last of Sri Aurobindo's prose writings is a set of eight essays entitled The Supramental Manifestation upon Earth. Published in 1949-50, this book reveals a vision that enlightens not only an individual but also humanity in general. In addition to these writings Sri Aurobindo wrote numerous letters that have been collected in various volumes.

Thus we see how this awesome threesome from Bengal created a whole body of knowledge that India and the world will remain grateful to. If Tagore's prose writings were known for their impassion and poetic utterances, Swami Vivekananda's prose was marked for its boldness and virility whereas Sri Arobindo's prose style is protean and versatile.

(Source: A History of Indian English Literature by M. K. Naik)

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Rabindranath and Vivekananda; Their Common Thoughts and Veneration Gopal Chandra Saha

he contemporary legendary figures, Rabindranath (7 May 1861 – 7 August 1941) and Vivekananda (12 January 1863 – 4 July 1902), were main force T in reformation of the society in colonial India. They worked for common goals in different paths but when “Vivekanander Kanthe Rabindrasangeet” (Rabindrasangeet in Vivekananda’s Voice) enthrals Sri Ramakrishna or Rabindranath tells, “If you want to know India, study Vivekananda”, then it shows their veneration for each other!

The Tagore family was at the forefront of the Bengal renaissance. They hosted the publication of literary magazines; theatre and recitals of Bengali and Western classical music featured there regularly. Child Rabindranath was tutored mostly at home on various subjects, practised Indian classical music and at the same time received all round physical training like swimming, gymnastics, judo & wrestling. He didn’t like teaching in class rooms.

Vivekananda (earlier name Narendranath Datta or shortened to Naren) was born in a progressive Bengali Hindu family. He was also trained in Indian classical music and regularly participated in physical exercise, sports and organised activities. Since his boyhood he was exceptionally energetic, intelligent and had sharp memories. His meeting with Sri Sri Ramkrishna Paramhamsa in 1881 proved to be a turning point in his life. He became a disciple of his spiritual Guru Sri Sri Ramakrish Paramahamsa who bestowed on him an appellation and Narendranath Datta became Swami Vivekananda (or simply Swamiji).

Both were educated in Western education but they were proud of the Vedic culture of the country. They considered education as a tool for social change and made significant contributions to the cultural renaissance and the freedom movement of the country. Rabindranath’s Grandfather Dwarakanath Tagore (1794-1846), was closely involved in the conception and founding of the liberal religious society, the “Brahmo Samaj”. Both Rabindranath and Narendranath were members of this society at their young age. Rabindranath’s ideals of education were greatly influenced by the Uponishodic concepts and based on it he established his institute “Visva Bharati” at Santiniketan. Tagore won Nobel Prize in Literature in November 1913. He was awarded a Knighthood by King

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George-V in the 1915 but Tagore renounced it after the 1919 Jallianwala Bagh massacre. Rabindranath was a versatile legend and known as Gurudev, Kabiguru, Biswakabi etc.

Vivekananda was influenced by Vedanta philosophy. He believed that “Conceptions of the Vedanta must come out, must remain not only in the forest, not only in the cave, but they must come out to work at the bar and the bench, in the pulpit, and in the cottage of the poor man, with the fishermen that are catching fish, and with the students that are studying”. He strongly believed that personal salvation has to be given up, and only tireless work for the salvation of others is the true mark of the enlightened person. He believed, “To reach Narayana (God) you must serve the Daridra Narayanas – the starving millions of India…”. He founded the Sri Ramakrishna Math and Mission on the principle of “Atmano Mokshartham Jagad-hitaya cha” (for one's own salvation and for the welfare of the World).

Vivekanada popularly known as Swamiji, took the Indian philosophies of Vedanta and Yoga to the Western world and is credited with raising interfaith awareness. He founded Vedanta Society at New York” and San Francisco. He was a major force in the revival of Hinduism in India, and contributed to the concept of nationalism in colonial India.

Rabindranath and Vivekananda had common thoughts on social reform and political freedom of mother land. Both of them believed that it was necessary for India to impart its spiritual wealth to the world and the country should acquire the scientific knowledge from the West. Both of them thought that the welfare of India was dependent on the union of the ideas of East and West. He called Vivekananda as a great man.

Their personal interactions may be very less as they worked in separate paths but their mutual appreciations came to the light in different occasions. Narendranath was fond of Rabindrasangeet specially Brahmasangeet. At young age Narendranath as a member of Bramho Samaj, went to Tagore's house a few times for music rehearsals. Tagore had composed some Bramho songs which were taught to Naren and his company to be sung in some Bramho festivals and occasions. When he used to go to Brahmo Samaj he frequently sung Rabindrasangeet. In this context Acharya Kshitimohan Sen in his article, "Vivekanander Kanthe Rabindrasangeet" published in Anandabazar Puja issue in 1365 (vide page 141 of "Vivekananda O Rabindranath" by Prof. Jagadish

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Bhattacharya, Agranthita Grantha, Centenary issue). He wrote, I was lucky to listen Rabindrasangeet sung by Vivekananda in Banaras. The song was, "Eki e sundara sova, kee mukho heri e" [available in Puja section of Gitabitan]. Kshitimohan also said, "At that time he was seen with his associates in the evening in the house of Jangeswar Teli. I too visited there every day, we were young at that time". Kshitimohan also heard other songs sung by him, amongst them were, “Mari lo Mari, amay banshite deekeche ke" & "Sakhi, amari duare keno asilo nishi bhore yogi Bhikhari". Both of these songs are in the section "Prem" of Getabitan. Vivekananda was fond of singing Brahmasangeet of Rabindranath, which is known to everybody, such as, "Satya Mangala premamaya Tumi Dhrubajyoti tumi Andhakare" & “Maha singhasane basi sunicho he Bishwapati". His favourite song was, “Tomarei kariachi jibaner dhrubatara". Sri Ramakrishna used to be in trance listening songs of Vivekananda.

Young Narendrath Datta acted as a co-editor of book titled “Sangeet Kalpataru” published in the year 1887. He included twelve Rabindra Sangeets in this book. In his college days Narendranath regarded Brahmo Samaj as an ideal institution which might solve all life’s problem, individual or national. Rabindranath’s father, Maharshi Devendranath Tagore liked Narendranath very much. In fact Maharshi Devendranath, Pandit Shivanath Shastri and other notable Brahmo leaders visited the Datta family at one time or another. But as Narendranath gradually became Swami Vivekanada with the blessings of his spiritual Guru Shri Ramkrishna, his thinking on religious aspects also gradually changed from idealisms of Brahmo to that of Hinduism and he became a world famous leader of Hinduism.

Sister Nivedita, (Swamiji’s disciple Margaret Elizabeth Noble of Scots-Irish origin) became the centre of veneration of both Swami Vivekananda and Rabindranath Tagore. She organised an evening tea party on 28 January 1899, where Swamiji and Tagore apart from some other dignitaries were present. but Nivedita after meeting the Tagores and the Bramhos was very impressed with them and she longed heartily that these two most progressive thought movements of the day should be more integrated with each other. Vivekanada also believed so and told Nivedita, "Make inroads into the Brahmos!" She was responded to this appeal. Vivekananda was very much excited when Nivedita told him that Mahrshi Debendranath Tagore wished to meet Swamiji and he readily agreed. She accompanied Vivekananda to meet with the Mahrshi at the Tagore’s house.

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Tagore and Swamiji may have some points of differences. Tagore, being a Bramho, did not appreciate Swamiji's devotion to Mother Kali or his discipleship to another person (Sri Ramakrishna). Even Narendranath himself as a member of Brahmo Samaj, he opposed idol worship, polytheism and Ramakrishna's worship of Kali. Swamiji on his part, being a strong propounder of Brahmacharya, could not approve of Tagore's romantic and emotion-exciting writings and poems. He was of the opinion that India was not fit for such ideals. Instead the youth now required strong, rational thinking and character building ideas.

Swami Vivekananda once asked Sister Nivedita, not to befriend with the members of Tagore family and told, "Remember, Tagore family has poisoned the culture of Bengal with erotic venom (Sringara Rasa)”. However, she continued her effort for the cause of social reform. Rabindranath felt Sister Nivedita to be an exceptional soul and he had high regards for her. Though they had met quite a number of times, they never worked together and thus Tagore had written, "I had felt her great power, but with all that I understood that her path was not for me. She was a versatile genius, and there was another thing in her nature; that was her militancy. She had power and she exerted that power with full force on the lives of others. When it was not possible to agree with her, it was impossible to work with her."

There is no reason to deny that Tagore was also influenced by Vivekananda’s philosophy. Biographer of Rabindranath, Pravat Kumar Mukhopadhyay said, “I hope, none will be hurt if I say that I find a combination of characters of Swami Vivekananda and Nivedita with that of Gora as portrayed by Rabindranath. Imagining the impossibility of the Irish Lady to become a Hindu, Rabindranath made Gora a Irish born hero; Miss Nobel was also an Irish lady." Sister Nivedita translated Tagore’s Kabuliwalla into English in 1910 on request of Sri Jagadish Chandra Bose. Rabindranath conferred her title “Lokmata”.

Rabindranath not only moved in the same vehicle as Vivekananda did, to attain his goal, his poetic mind also counted Vivekananda as a great worshipper. In his poem "Ratri" of Kalpana Kabya grantha Vivekananda was one among the 'worshippers' mentioned in his poem, "More karo Sabhakabi Dhyanamauna tomar Sabhay He sarbari, he abagunthita."

Years after Vivekananda's death Rabindranath gave Vivekananda a big certificate.

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Rabindranath Tagore wrote —  If you want to know India, study Vivekananda. In him everything is positive and nothing negative. (Romain Rolland, in a letter written to Swami Ashokananda informed that Rabindranath Tagore once told him these words).  In recent times in India, it was Vivekananda alone who preached a great message which is not tied to any do's don'ts. Addressing one and all in the nation, he said: In every one of you there is Brahman (Bengali: েহ্ম)); the God “Narayan” in the poor desires you to serve Him. This is what I call real gospel. This gospel showed of infinite from man's tiny egocentric self beyond the limits of all selfishness. This was no sermon relating to a particular ritual, nor was it a narrow injunction to be imposed upon one's external life. This naturally contained in it protest against untouchability— not because that would make for political freedom, but because that would do away with the humiliation of man— a curse which in fact puts to shame the self of us all. Vivekananda's gospel marked the awakening of man in his fullness and that is why it inspired our youth to the diverse course of liberation through work and sacrifice. Rabindranath and Vivekananda did not work together but it is quite evident that both of them were aware of each other’s work with due appreciations.

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Tagore Unknown

Ambar Chatterjee “I slept and dreamt that life was joy I awoke and saw that life was service I acted and behold, service was joy”

In line with this thought of Rabindranath Tagore, we at Tagore Foundation Vadodara are finding joy in service to the underprivileged!

agore, a philosopher, a poet, a dramatist, a painter, a novelist, an educationist and composer was a well-known personality in the field of T art and literature. I am sure all of you know all there is to know about Tagore, but perhaps there maybe some of you who may not be acquainted with all the facts presented here.

 Nobel Laureates form Kolkata: The Nobel Prize has been in the news recently and you may have read that Abhijit Banerjee is the 6th Nobel Laurette associated with Kolkata. Do you know all the 6? 1 Sir Ronald Ross Medicine 1902 2 Rabindranath Tagore Literature 1913 3 Sir C.V. Raman Physics 1930 4 Mother Teresa Peace 1979 5 Amartya Sen Economics 1998 6 Abhijit Banerjee Economics 2019 Rabindranath Tagore was the first Asian to win a Nobel Prize. Not only was it a first in Literature, but in any field. (Sir Ronald Ross’ prize in medicine came from work done in Kolkata, but he was British).

 Tagore’s own English words saved “Lost in Translation”: The citation given by the Swedish Academy for Tagore’s prize is as follows: “The Nobel Prize for Literature 1913 is awarded to Rabindranath Tagore because of his profoundly sensitive fresh and beautiful verse, by which with consummate skill, he has made his poetic thought, expressed in his own English words, a part of the literature of the West.”

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A key point to note in the Nobel citation is, “… in his own English words …” Many literary works have been translated to another language, but in this process, inner meanings are often lost. The phrase, “Lost in Translation” is familiar to all. But here, the Kabi Guru was his own translator. What better than the author to translate his own work, so as to convey the inner most feelings of his poetic thought. But as we shall soon see, “Lost in Translation” acquired a new twist in this case.

For a long time, Tagore’s works remained confined to Bengal. His poems were read and interpreted, his plays enacted, his stories cherished and read aloud to children. But it was all confined to one region. Many people realised the need to spread Tagore’s works to a wider audience, but nothing would have happened if the poet did not himself undertake a venture to reach out across the world.

Thus started a long journey for Tagore who took a ship to England in 1912. Tagore had travelled to England in 1878 for his education purpose, but this time it was a specific mission to present his literary work on the higher platform of world literature. Prior to this travel, he had exchanged letters with prominent people in Europe in the field of art and literature. Among the many eminent westerns who appreciated Tagore’s work, special mention maybe made of Sir William Rothenstein (a painter and art critic), Charles Andrews (an English priest), William Yeats (an Irish poet), Ezra Pound (an American poet and critic) and Robert Bridges (a doctor who became a poet).

William Rothenstein (an English painter, printmaker, art writer and draughtsman) expressed an interest to meet Tagore and read and his work. Tagore began to translate his poems, but looking at the enormity of the work, he concentrated on the collection of verses that constitute only one book, Gitanjali. The translation would be continued during the month long ship journey to England. His son, daughter-in-law and a friend from Kolkata accompanied Tagore on the voyage.

About the difficulties in translation, in a letter to Pramathalal Sen, Rabindranath wrote, “… Rabi Dutt’s translations of my poems are not at all up to the mark. Surely I cannot expect my poems to be properly translated into English - let alone metrical translation. Even so they may be tolerably rendered in fairly plain prose”.

The poet’s pen flowed across the pages, now in English, carefully re-crafting his verse while trying to retain as much of the richness and colour of the original

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Bengali text. This was rightly noticed and hence the comment “… in his own English words …” was incorporated in the Nobel citation. When the ship reached the port of Dover, notebooks were filled and carefully stored in an attaché case. They safely travelled with that attaché case from Dover to London by train.

 “Translation Lost”: His re-crafting of verses in English saved the chances of “Lost in Translation” but “Translation Lost” happened during their travel by Tube Rail from London to Hampstead where they would be visiting Rothenstein. The London Tube was somewhat of a novelty at the time. It enabled travelling the city and suburbs of London at great speed in comfort and with convenience. On disembarking at Hampstead, the group made a shocking discovery. The attaché case containing the English translation of Gitanjali was no longer in their possession! 16th June 1912, was a moment in history where events would decide the future. With no manuscript, where would be the acclaim in Europe and the Nobel Prize? In 1912, there was no possibility of taking another printout from a softcopy and even Xerox machines were yet to be invented! Could Rabindranath re-write the translation? Would he have to return to India and come back again? It was not a case of “Lost in Translation”, it was a situation of “Translation Lost”.

What was needed was some detective work to recover the manuscript. Alas, there was no Feluda at hand to help in the matter, since Satyajit Ray would come up with the character only in 1974!

Rabindranath asked his son to approach the Tube authorities, and to the great happiness of history, the attaché was traced and recovered from the lost property office at Baker Street station, which we all know was where Sherlock Holmes “lived”!

That fateful meeting with Rothenstein was deferred to the following day. Rothenstein was truly overwhelmed with the personality of Rabindranath and his writings. Rothenstein read the verses in English and was overcome with joy. Very quickly word spread and reached personalities like Y.B.Yeats.

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The next step would be publication, but this could be an expensive affair. The London India Society, with no major funding, took up publication in November 1912 of a limited edition restricted to 103 poems from Gitanjali.

At the house of William Rothenstien in London June 1912 Seated L to R: Somendra Chandra Deb Burman, Rabindranath Tagore, Rathindranath Tagore (Tagore’s son) Standing L to R: Dr D.N.Maitra (founder Bengal Social Service League), Rothenstein’s son and William Rothenstien

The poet’s great verse was now in the hands of the literary elite in European circles - such is the reach of the printed word. It was no surprise then, that almost immediately, Macmillan, the biggest publisher of the time, agreed to publish the complete Gitanjali with a foreword by Y. B. Yeats in March 1913. The Nobel Prize followed in the same year and Tagore had become a world figure.

 Medal Lost: Talking of detectives, I am led to tell you of the mystery surrounding the theft of the Nobel Prize Gold Medal of Tagore from the vault at Visva Bharati University, Santiniketan in 2004. This is one case that remained unsolved, the medal was

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TFV Annual Souvenir 2019 never recovered. But there was a gold lining. On hearing about the disappearance, the Swedish Academy presented Visva Bharati University with two exact replicas in gold and bronze.

 Knighthood Rejected: We could have known him as Sir Rabindranath Tagore, but he did not accept the Queen’s knighthood. He would not accept such a title from the same British that massacred hundreds of people in Jallianwala Bagh.

 National Anthems: We all know that Rabindranath wrote our national anthem, Jana Gana Mana, but did you know that his name is linked with the national anthems for two other countries?

The lyrics for আমার মস্ানার বাংলা (Amar Sonar Bangla) the national anthem of Bangladesh was written by Rabindranath Tagore in 1905. Sri Lanka Matha, the national anthem of Sri Lanka written in the Sinhala language is largely based on translation of Tagore’s writing.

 About Einstein: Since I am a scientist, it is fit that I end this article , with mention of Tagore’s meeting with Albert Einstein. Tagore met Einstein four times during the course of 1930-31. Here is what Tagore wrote about Einstein,

“There was nothing stiff about him – there was no intellectual aloofness. He seemed to be a man who valued relationship and he showed toward me a real interest and understanding”.

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