Sahitya Angan February 2015.P65

§y!•ï˛ƒ xDl (meeefnl³e Debeieve // Sahitya Angan) Website : www.sahityaangan.com

Ù%áƒ §¡õyòÜ˛ í˛É çÎ˚ˆÏày˛õy° Ù[˛° (Chief Editor : Dr. Joygopal Mandal)

í˛É çÎ˚ˆÏày˛õy° Ù[˛° ≤ÃÎˆÏb / !ÓÉ ~lÉ ˆây£Ï !¢Ù)° !í˛!•ñ ˆï˛!°˛õyí˛¸yñ •#Ó˚y˛õ%Ó˚ñ ôylÓyòñ V˛yí˛¸á[˛ SAHITYA ANGAN An Exclusive Interdisciplinary & Literary Tri-lingual Peer-reviewed Journal ISSN:2394 4889, Vol. : 1, Issue : 1, 21 February 2015

Chief Editor : Dr. Jaygopal Mandal C/O-B. N. Ghosh, Simuldih, Telipara, Hirapur, Dhanbad, Jharkhand

Sub-Editor : Dr. N. K. Singh (Hindi) & M. K. Pandey (English)

Advisory Board : Dr. Tapas Basu, Dr. Sudha Goswami, Dr. Subrata Kumar Pal, Dr. Prakash Kumar Maity, Dr. S. P. Singh, Dr. Suranjan Middey, Dr. Sudip Basu, Dr. J. M. Lugun, Dr. K. Bandyopadhyay.

Editorial Board : Dr. Sharmila Banerjee, Dr. Sanjay Kumar Singh, Raju Ram, Rajeev Pradhan, Dr. Bhrigunandan Singh, Dr. G. K. Pathak, Sharmistha Acharyya, Sabyasachi Mandal, Sukumar Mahanta, Satyam Chatterjee, Dr. Ratna Kumari, Sumita Das, Suresh Singh Munda, Vijay Aind, Rajani Sukeshi Bera.

Type Setting : Manik Kumar Sahu Kolkata - 152 Phone : 9830950380

Price : R 150.00

Published by : Dr. Jaygopal Mandal C/O-B. N. Ghosh, Simuldih, Telipara, Hirapur, Dhanbad, Jharkhand Phone : 09830633202/09570217070 E-mail : [email protected], [email protected] Website : www.sahityaangan.com CONTENTS

BENGALI VERSION :

1. Ë˛yl%!§Ç• ë˛yÜ%˛ˆÏÓ˚Ó˚ ˛õòyÓ°# / ˆòÓï˛yˆÏÓ˚ !≤ÃÎ˚ Ü˛!Ó˚ üüüÈ í˛É ˆ¢yË˛ly ˆây£Ï ˘9

2. iex›`ªbv‡_i wek¦cwiµgvq nv‡½wiüüüÈ†mŠMZ gy‡Lvcva¨vq ˘17

3. ≤ÃÜ,˛!ï˛ G ﬂiy˛õï˛ƒ / Ó˚Ó#wlyˆÏÌÓ˚ ˛õe§y!•ˆÏï˛ƒüüü ¢!Ù≈°y Óƒylyç#≈ ˘23

4. ÔmeyRcÎÕ- ce© t iex›`ª †QvUM‡í cÖwZev`üüü¯^cb Kzgvi Avk ˘31

5. ¢hnÄ-®R¡VN•Òfl d¡l¡ J lh£¾cÊe¡büüüf£k§oL¡¢¿¹ A¢dL¡l£ ˘37

6. çyï˛#Î˚ï˛yˆÏÓyˆÏôÓ˚ í˛zÍ§ §¶˛yˆÏl ÓyÇ°y í˛z˛õlƒy§üüüˆòÓy!¢§ Ù!Õ‘Ü˛ ˘46

7. E¢en na•Ll LmL¡a¡l LsQ¡ J ý•a¡j fyÉ¡Q¡l eLn¡üüü!Ù‹T% §yÙhs˝ ˘51

8. ç#Ólyl® òyˆÏ¢Ó˚ ˆSÈyê˛à“ / xyˆÏÓ˚y ~Ü˛ !Ó˛õß¨ !ÓﬂøÎ˚üüüí˛z_Ù !à!Ó˚ ˘58

9. ¢∑ã˛Î˚ˆÏl xllƒï˛y / §%ô#wlyÌ ò_ ~ÓÇ !Ó£%è ˆòüüüí˛É ≤ÃÜ˛y¢ Ü%˛ÙyÓ˚ Ùy•z!ï˛ ˘67

10. ˆÓyô G x!hﬂÏˆÏcÓ˚ ï˛ê˛ˆÏÓ˚áyÎ˚ ¢!_´ ã˛ˆÏRy˛õyôƒyÎ˚üüüˆ§yÙy Ù%áyç#≈ ˘70

11. xy° Ùy•Ù%ˆÏòÓ˚ Úl#° lyÜ˛Ê%˛°Û / !§/§D ˆ≤ÃˆÏÙÓ˚ xl%Ó˚îlüüüly!§Ó˚í˛z!jl ˛õ%Ó˚Ü˛y•zï˛ ˘74

12. Ú!ÙÌÛÈüÈ~Ó˚ Ü˛yÓƒÓ˚*˛õüüü˛õ%ï%˛° ˜Óòƒ ˘78

13. Kwe †gvwnZ P‡Ævcva¨vq I Zuvi wbe©vwPZ KweZvi wbweo-cvV I we‡k•lYüüü¯^ivR Kzgvi `vk ˘84

14. x°B˛yÓ˚üÈ~Ó˚ §•ç˛õyë˛üüüí˛É çÎ˚ˆÏày˛õy° Ù[˛° ˘90

HINDI VERSION :

1. laFkkyh Hkk"kk&lkfgR; vkSj thou dk bfrgkl&lqjs'k flag eqaMk ˘101

2. lqHknzkdqekjh PkkSgku ds dFkk&lkfgR; esa jk"Vªh; psruk&MkW0 lat; dqekj flag˘109

3. lwjnkl ,oa uannkl ds lkfgR; esa cztHkk'kk dk Lo:i&fuysss'k dqekj flag˘120

4. vkseizdk'k okYehfd dh dforkvksa esa ;FkkFkZoknh psruk&MkWŒ jktw jke ˘128 ENGLISH VERSION :

1. Romantic Tradition and Shelley–Dr. Gagan Kumar Pathak / 133 2. Challenges in Teaching English Language at Under-Graduate level in Jharkhand–Vijay Aind / 140 3. Humanitarian Compassion and Humanistic Conviction in Mulk Raj anand's Novels : Untouchable an Coolie–Mantosh Kr. Pandey /148 4. Dr. Bhabani Bhattacharya as a Novelist– Kamruddin Miyan/150 5. Environmental Awareness in Classical Sanskrit Literature–Rajeev Pradhan /155 EDITORIAL

Literature is the mirror of the mind of Individuals; It reflects the feelings and emotions. Journal is the medium of those expression. From the 19th century literatary critics developed and enriched through the periodical Journals (Samaik Patra). By the blessing and application of modern technology edition of Periodical journals are at large number. ''Sahitya Angan", a trilingual Journal is an addition to this chain. The feelings, emotions, creation and criticism of literature will be published in Bengali, Hindi and English. In the first edition importance has been given to the all section of literature. The system of joint family collapsed and nuclear system of families has been formed due to the respectable ladies, who are our mother and sister are harassed sexually and other aspects every day, now and then, individuals are becoming selfish & opportunist. At this juncture the reestablishment of literary criticism and new fundamental creativity can be able to force the individuals from loneliness and make him polite, selfless and also social being in true sense of the term. Linguistic differences and emotions create a division among citizens of our country. So need of the hour to established morality, harmony and coordination among all languages and people of our country. This journal, "Sahitya Angan", we started a journey to bridge the gap among International, National and provincial Languages. Put your life in the lives my friends with painful heart, as the moonlight in the moon in the sky at night, the life-boat in the dream water with tears beside the river, as the baby plays with silence in his mother. So I speak in my language :

ç#ÓˆÏl ç#Ól Ó˚yá Ó¶%˛ xyÙyÓ˚ ÓƒÌy Ë˛Ó˚y Ü˛°ˆÏ§ ãÑ˛yˆÏòÓ˚ ÙyˆÏV˛ ãÑ˛yò!l ˆÎÙl Ó˚yˆÏï˛Ó˚ xyÜ˛yˆÏ¢ñ ﬂ∫˛õlÈüÈçˆÏ° Ùyl§ÈüÈï˛Ó˚# Ü˛yß¨yÈüÈˆË˛çy lò#Ó˚ ˆáyˆÏ°ñ ÙyˆÏÎ˚Ó˚ àˆÏË≈˛ !¢÷ ˆÎÙl l#Ó˚ˆÏÓ ˆáˆÏ°–

Ê%˛ˆÏ°Ó˚ Ü%˛!í˛¸ lï%˛l ≤ÃyˆÏî !ï˛°Ü˛ÈüÈôÁ!l ÓyˆÏç í˛zÌy° ˛õyÌy° Ó˚yôy ˆÎÙl Ü,˛£è ˆ≤ÃˆÏÙ ÙˆÏçñ Ó,!‹T •ˆÏÓ ˆçˆÏl•z ˆï˛y ã˛yï˛Ü˛ ˛õy!á ÜÑ˛yˆÏò §Ü˛y° §ˆÏ¶˛ƒ xyÙÓ˚y ˆò!á Ó˚.#l §)Î≈ ÊÑ˛yˆÏò– í˛zòÎ˚ÈüÈxhﬂÏ Ó˚_´ ˆ°áyÎ˚ ˆÙâ Ê˛yê˛y Ê˛y=ˆÏl ã˛yˆÏ£ÏÓ˚ Ùy!ê˛ áˆÏí˛¸Ó˚ àyòy çµˆÏ° Ó#ç xy=ˆÏlñ lyí˛¸#Ó˚ ˆÎyà xy°ày ~ál Ë˛yˆÏ§ §Ù%j%ˆÏÓ˚ ˆÓÈüÈ°yàyÙ Ù%ˆÏáÓ˚ Ë˛y£Ïy @˝ÃyÙˆÏÜ˛ áyÎ˚ ¢•Ó˚ÈüÈˆÓ˚–

ÌyÜ˛ ï%˛!Ù !ÓŸªyˆÏ§ ï˛yÓ˚y ˆÎÙl xyÜ˛y¢ Ë˛ˆÏÓ˚ ârê˛y Ê˛rê˛y ÌyÜ˛ ˛õˆÏí˛¸ Ó®#¢y°y xÑyôyÓ˚ âˆÏÓ˚ñ Ó˚_´Ùyáy !•Ç§y Ë˛Ó˚y ¢Ü%˛lÈüÈGí˛¸y Ù,ï%˛ƒÈüÈˆ«˛ˆÏï˛ xy˛õl !ÓˆÏÓÜ˛ §ç#Ó Ü˛ˆÏÓ˚y !ÓˆÏÓÜ˛ÈüÈˆã˛ï˛l ˆﬂÀyˆÏï˛–

Dr. Jaygopal Mandal Chief Editor 21st February, 2015 BENGALI VERSION –– Ë˛yl%!§Ç• ë˛yÜ%˛ˆÏÓ˚Ó˚ ˛õòyÓ°# / ˆòÓï˛yˆÏÓ˚ !≤ÃÎ˚ Ü˛!Ó˚ –– í˛É ˆ¢yË˛ly ˆây£Ï

˜Ó£÷ÏÓ ˛õòyÓ°# ÙôƒÎ%ˆÏàÓ˚ ÓyÇ°y §y!•ˆÏï˛ƒÓ˚ ~Ü˛!ê˛ ¢!=˛¢y°# §y!•ï˛ƒÈüÈ¢yáy– ˆ£Ïyí˛¸¢ÈüÈ§Æò¢ ¢ï˛y∑#Ó˚ ~•z ≤ÃyîÓhs˝ §y!•ï˛ƒÈüÈôyÓ˚y!ê˛ xT˛yò¢ÈüÈ|l!ÓÇ¢ ¢ï˛y∑#ˆÏï˛ ~ˆÏÜ˛ÓyˆÏÓ˚•z ¢%!Ü˛ˆÏÎ˚ ÎyÎ˚– |l!ÓÇ¢ ¢ï˛y∑#Ó˚ !¢!«˛ï˛ Óy.y°# §Ùyç ˛õòyÓ°#ˆÏÜ˛ ã˛ã≈˛yÓ˚ ˆÎyàƒ ÓˆÏ°•z ÙˆÏl Ü˛Ó˚ˆÏï˛l ly– Ê˛ˆÏ° ~ §ÙÎ˚ ˜Ó£÷ÏÓ ˛õòyÓ°#Ó˚ xï%˛° Ë˛yÓ G Ë˛y£ÏyÓ˚ Ë˛yu˛yÓ˚ ~Ü˛Ó˚Ü˛Ù xlyòˆÏÓ˚•z ˛õˆÏí˛¸!SÈ°– ~•z ¢ï˛y∑#Ó˚ !mï˛#Î˚yˆÏô≈ Ü˛ˆÏÎ˚Ü˛çl Óƒ!=˛Ó˚ í˛zˆÏòƒyˆÏà ˜Ó£÷ÏÓ ˛õòyÓ°# §Ç@˝Ã•ñ ≤ÃÜ˛y¢ G ≤Ãã˛yÓ˚ §Ω˛Ó •ˆÏÎ˚!SÈ°– ~Ó˚ÙˆÏôƒ x«˛Î˚ã˛w §Ó˚Ü˛yÓ˚ G §yÓ˚òyã˛Ó˚î !Ùe §¡õy!òï˛ ≤Ãyã˛#l Ü˛yÓƒ§Ç@˝Ã• å1874ä í˛zˆÏÕ‘áˆÏÎyàƒ– ~•z @˝ÃrÌ!ê˛ ˛õˆÏí˛¸•z Ó˚Ó#wlyÌ ˛õòyÓ°# §y!•ˆÏï˛ƒÓ˚ ≤Ã!ï˛ xyÜ,˛T˛ •l– ïÑ˛yÓ˚ !lˆÏçÓ˚ Ü˛ÌyÎ˚ ÚÚxyÙyÓ˚ ÓÎ˚§ Îál ˆï˛ˆÏÓ˚yÈüÈˆã˛yjñ ï˛ál ˆÌˆÏÜ˛•z xy!Ù xï˛ƒhs˝ xyl® G xy@˝ÃˆÏ•Ó˚ §ˆÏAà ˜Ó£÷ÏÓÈüÈ˛õòyÓ°# ˛õyë˛ Ü˛ˆÏÓ˚!SÈñ ï˛yÓ˚ SÈ®ñ Ó˚§ñ Ë˛y£Ïyñ Ë˛yÓ §ÙhflÏ xyÙyˆÏÜ˛ Ù%?ô Ü˛Ó˚ï˛–ÛÛ1 ˆ§•z !Ü˛ˆÏ¢yÓ˚ ÓÎ˚§ ˆÌˆÏÜ˛•z !ï˛!l ˛õòyÓ°#Ó˚ í˛zÍ§%Ü˛ ˛õyë˛Ü˛ !SÈˆÏ°l– ˛õòyÓ°#Ó˚ ôÁ!lüÈˆ§Ô®Î≈ñ SÈ®ÈüÈï˛Ó˚Aà G !ã˛eÙÎ˚ ¢∑ çàÍ !Ü˛ˆÏ¢yÓ˚ Ü˛!ÓˆÏÜ˛ xy!ÓT˛ Ü˛ˆÏÓ˚ ˆÓ˚ˆÏá!SÈ°– ˜Ó£÷ÏÓ ˛õòyÓ°#Ó˚ Ó˚)˛õ§¡õò G Ë˛yÓ§¡õò Ó˚Ó#wlyÌˆÏÜ˛ àË˛#Ó˚Ë˛yˆÏÓ ≤ÃË˛y!Óï˛ Ü˛ˆÏÓ˚!SÈ°– ïÑ˛yÓ˚ §yÓ˚yç#ÓˆÏlÓ˚ §y!•ˆÏï˛ƒ Ù!îÙ%ˆÏ=˛yÓ˚ ÙˆÏï˛y SÈ!í˛¸ˆÏÎ˚ xyˆÏSÈ ˜Ó£÷ÏÓ˛õòyÓ°#Ó˚ ≤Ã§Aàñ Ë˛yÓyl%£ÏAà !Ü˛¡∫y àË˛#Ó˚ñ !lË,˛ï˛ í˛z˛õ°!kô– !Ü˛ˆÏ¢yÓ˚ ÓÎ˚ˆÏ§ Ù)°ï˛ ˛õòyÓ°#Ó˚ Ó!•ˆÏ§Ô®Î≈ƒñ !ÓˆÏ¢£Ïï˛ ÓçË˛y£Ïy ïÑ˛yˆÏÜ˛ xyÜ,˛T˛ Ü˛ˆÏÓ˚– ï˛yÓ˚•z Ê˛°◊%!ï˛ ÚË˛yl%!§Ç• ë˛yÜ%˛ˆÏÓ˚Ó˚ ˛õòyÓ°#Û– ~Ü˛ ˆÙâ°y !òˆÏlÓ˚ SÈyÎ˚yâl xÓÜ˛yˆÏ¢ ïÑ˛yÓ˚ ˆ°ál# !ã˛!eï˛ Ü˛Ó˚° ˛õòyÓ°#Ó˚ x˛õy!Ì≈Óñ ÙyÎ˚yÙÎ˚ñ §%®ˆÏÓ˚Ó˚ Ü˛“ˆÏ°yÜ˛ûÚÚà•l Ü%˛§%Ù Ü%˛OÙyˆÏV˛–ÛÛ Ë˛yl%!§Ç• ë˛yÜ%˛ˆÏÓ˚Ó˚ ˛õòyÓ°# ≤ÃÌÙ @˝ÃrÌyÜ˛yˆÏÓ˚ Ù%!oï˛ •Î˚ 1884 á#/ å1291 ÓAày∑ä– ˆÙyê˛ Ü%˛!í˛¸!ê˛ áu˛ Ü˛!Óï˛y ~ˆÏï˛ §ÇÜ˛!°ï˛ •ˆÏÎ˚ˆÏSÈ– Ü˛!Óï˛yà%!° ~Ü˛•z §ÙˆÏÎ˚ ˆ°áy •Î˚!l– Ü˛!ÓÓ˚ ˆ£Ïy° ˆÌˆÏÜ˛ ã˛!ÓÁ¢ ‡ ˛õÑ!ã˛¢ ÓSÈÓ˚ ÓÎ˚ˆÏ§Ó˚ ÙˆÏôƒ ~à%!° Ó˚!ã˛ï˛– Ü˛!Ó çylyˆÏFSÈlûÚÚË˛yl%!§ÇˆÏ•Ó˚ ˛õòyÓ°# ˆSÈyê˛ ÓÎ˚§ ˆÌˆÏÜ˛ xˆÏ˛õ«˛yÜ,˛ï˛ ÓˆÏí˛¸y ÓÎ˚§ ˛õÎ≈hs˝ ò#â≈Ü˛yˆÏ°Ó˚ §)ˆÏe àÑyÌy– ˛õˆÏòÓ˚ ÙˆÏôƒ Ë˛y°ÈüÈÙ® §Ùyl òˆÏÓ˚Ó˚ lÎ˚–ÛÛ2 ~•z Ü˛!Óï˛yà%!° Ü˛!ÓÓ˚ x“ÓÎ˚ˆÏ§Ó˚ xyˆÏÓà G Ù%?ôï˛y ˆÌˆÏÜ˛ çyï˛– ï˛y•z ˛õ!Ó˚îï˛ ÓÎ˚ˆÏ§ !ï˛!l ~•z Ü˛yˆÏÓƒÓ˚ ~Ü˛çl !lÙ≈Ù §ÙyˆÏ°yã˛Ü˛– !Ó!Ë˛ß¨ §ÙˆÏÎ˚ !ï˛!l ~•z Ü˛yÓƒ !Ó£ÏˆÏÎ˚ xy˛õl §ˆÏAÜ˛yã˛ ≤ÃÜ˛y¢ Ü˛ˆÏÓ˚ˆÏSÈl– ˆÎÙlûÚç#Ólflø,!ï˛ÛÈüÈˆï˛ ÓˆÏ°ˆÏSÈlûÚÚË˛yl%!§ÇˆÏ•Ó˚ Ü˛!Óï˛y ~Ü˛ê%˛ Óyçy•zÎ˚y Óy Ü˛!£ÏÎ˚y ˆò!áˆÏ°•z ï˛y•yÓ˚ ˆÙ!Ü˛ Óy!•Ó˚ ••zÎ˚y ˛õˆÏí˛¸– ï˛y•yˆÏï˛ xyÙyˆÏòÓ˚ !ò!¢ l•ÓˆÏï˛Ó˚ ≤Ãyîà°yˆÏly ì˛y°y §%Ó˚ ly•zñ ï˛y•y xyçÜ˛y°Ü˛yÓ˚ §hflÏy xy!à≈ˆÏlÓ˚ !Ó°y!ï˛ ê%˛Çê˛yÇ Ùye–ÛÛ xyÓyÓ˚ñ ÚË˛yl%!§Ç• ë˛yÜ%˛ˆÏÓ˚Ó˚ ˛õòyÓ°#Û @˝ÃˆÏrÌÓ˚ §)ã˛lyÎ˚G ~Ü˛•z !l®yÓ˚ §%Ó˚ûÚÚ~Ü˛Ìy ÙˆÏl•z !SÈ° ly ˆÎñ !ë˛Ü˛ÙˆÏï˛y lÜ˛° Ü˛Ó˚ˆÏï˛ •ˆÏ° ¢%ô% Ë˛y£ÏyÎ˚ lÎ˚ñ Ë˛yˆÏÓ áÑy!ê˛ •GÎ˚y ã˛y•z– l•zˆÏ° Ü˛ÌyÓ˚ àÑyÌ!lê˛y !ë˛Ü˛ •ˆÏ°G §%ˆÏÓ˚ ï˛yÓ˚ ÊÑ˛y!Ü˛ ôÓ˚y ˛õˆÏí˛¸– ÉÉÉ ~•zçlƒ Ë˛yl%!§ÇˆÏ•Ó˚ ˛õòyÓ°# Ó•%Ü˛y° §ˆÏAÜ˛yˆÏã˛Ó˚ §ˆÏAà Ó•l Ü˛ˆÏÓ˚ ~ˆÏ§!SÈ– ~ˆÏÜ˛ §y!•ˆÏï˛ƒÓ˚ ~Ü˛ê˛y xl!ôÜ˛yÓ˚ ≤ÃˆÏÓˆÏ¢Ó˚ ò,T˛yhs˝ ÓˆÏ° àîƒ Ü˛!Ó˚–ÛÛ Ë˛yl%!§ÇˆÏ•Ó˚ Ü˛!Óï˛yà%!° !Ü˛ §!ï˛ƒ•z ˆÙ!Ü˛– x«˛Ù xl%Ü˛Ó˚î ú ˆÜ˛Ó° ˛õòyÓ°#Ó˚ Ó˚)˛õˆÏ§Ô®Î≈ˆÏÜ˛ lÜ˛° Ü˛ˆÏÓ˚ˆÏSÈl ú §!ï˛ƒ•z !Ü˛ ï˛yÓ˚ xhs˝à≈ï˛ §%ˆÏÓ˚ ˆÜ˛yˆÏly áÑy!ê˛c ˆl•z ú Ü%˛!í˛¸!ê˛ ˛õò ˛õyë˛ Ü˛ˆÏÓ˚ !Ü˛v ~•z ˛õòyÓ°#ˆÏÜ˛ Ü˛áˆÏly•z ~Ùl lÜ˛° Óy §hflÏy ÓˆÏ° ÙˆÏl •Î˚ ly– ˜Ó£÷ÏÓ ˛õòyÓ°#Ó˚ Ó§hs˝ñ Ó£Ï≈yñ ã˛wyˆÏ°y!Ü˛ï˛ Ó˚y!eñ à•l xÓ˚îƒñ í˛zFSÈ° ÎÙ%lyñ §%§!Iï˛ Ü%˛OÜ%˛ê˛#Ó˚û|l!ÓÇ¢ ¢ï˛y∑#Ó˚ ~Ü˛ !Ü˛ˆÏ¢yÓ˚ ˛õòÜ˛ï≈˛yÓ˚ Ü˛°ˆÏÙ ÎÌyÌ≈ !ã˛ey!Î˚ï˛ •ˆÏÎ˚ˆÏSÈ– xylˆÏ® ÈüÈ xyˆÏÓˆÏà ÈüÈ !ÓÓ˚ˆÏ• ÈüÈ x!Ë˛§yˆÏÓ˚ ÈüÈ !Ó£Ïß¨ï˛yÎ˚ ÈüÈ x!Ë˛ÙyˆÏl ÈüÈ xyˆÏ«˛ˆÏ˛õ Ó˚yôy ˛õòyÓ°#Ó˚ ˆ§•z xy!òÈüÈxÜ,˛!eÙ Ó,®yÓlÈüÈÓy!°Ü˛y– ÓÓ˚Ç Ü˛ˆÏÎ˚Ü˛!ê˛ ˛õˆÏò Ó˚yôyÓ˚ fl∫yï˛sfƒ àï˛yl%à!ï˛Ü˛ï˛yÓ˚ Ùôƒ ˆÌˆÏÜ˛ x¢!l§ÇˆÏÜ˛ˆÏï˛Ó˚ Ùï˛ |l!ÓÇ¢ ¢ï˛y∑#Ó˚ çyàÓ˚î Ü˛yˆÏ°Ó˚ lyÓ˚#Óƒ!=˛ˆÏcÓ˚ xyË˛y§ !òˆÏÎ˚ ÎyÎ˚– ïÑ˛yÓ˚ Ë˛y£Ïyñ SÈ® Ü˛áˆÏly !Óòƒy˛õ!ï˛ñ Ü˛áˆÏly ˆày!Ó®òy§ñ

9 10 §y!•ï˛ƒ xDl ˘ meeefnl³e Debeieve / Sahitya Angan

~Ùl!Ü˛ Ü˛áˆÏly çÎ˚ˆÏòÓˆÏÜ˛G ÙˆÏl Ü˛!Ó˚ˆÏÎ˚ ˆòÎ˚– ˛õòyÓ°# §y!•ˆÏï˛ƒÓ˚ !l˛õ%î àˆÏÓ£ÏˆÏÜ˛Ó˚ ˆã˛yˆÏá lÓ#l ˛õòÜ˛ï≈˛y Ë˛yl%!§ÇˆÏ•Ó˚ xˆÏlÜ˛ ˆòy£ÏÈüÈe%!ê˛ ôÓ˚y ˛õí˛¸ˆÏÓ– !Ü˛v §y!•ï˛ƒ í˛z˛õˆÏË˛y=˛y xÓ¢ƒ•z ~•z ˛õòà%!°Ó˚ Ùôƒ !òˆÏÎ˚ ÙôƒÎ%à#Î˚ ˛õòyÓ°# §y!•ˆÏï˛ƒÓ˚ x˛õyÓ˚ ˆ§Ô®Î≈ çàÍñ ï˛y°ÈüÈï˛Ùy° ˆâÓ˚y SÈyÎ˚yâl Ó,®yÓl ˛õÕ‘# ≤Ãyhs˝Ó˚ñ ~Ü˛ Ó˚yáy° Óy°ˆÏÜ˛Ó˚ ≤Ãyî ÈüÈ ˆÜ˛Ùl Ü˛Ó˚y ÓÑy¢#Ó˚ §%Ó˚ñ §ˆÏÓ≈y˛õ!Ó˚ ˆ≤ÃÙ˛õ!Ó˚˛õ)î≈yñ xyl®ÈüÈx◊%§ç° ~Ü˛ ÓçÓy!°Ü˛yÓ˚ §rôyl ˛õyˆÏÓ– xyÓ˚ ˆ§ê%˛Ü%˛ §rôyl Ü˛Ó˚y•z ~•z ˆÏ°áyÓ˚ í˛zˆÏj¢ƒ– ≤ÃÌˆÏÙ•z Ó°y ≤ÃˆÏÎ˚yçlñ ~•z @˝ÃrÌ!ê˛Ó˚ Ü%˛!í˛¸!ê˛ Ü˛!Óï˛y•z ﬂ∫ï˛sf Ü˛!Óï˛y– ˛õÎ≈yÎ˚Ü˛Ù xl%§Ó˚î Ü˛ˆÏÓ˚ !ï˛!l ˆ°ˆÏál!l– ï˛ˆÏÓ Ü˛!Óï˛yà%!° ˛õí˛¸ˆÏ° ˆÜ˛yl!ê˛ˆÏï˛ xl%Ó˚yàñ ˆÜ˛yÌyG x!Ë˛§yÓ˚ñ Ùylñ !Ù°lñ ÙyÌ%Ó˚ñ xyˆÏ«˛˛õñ ˆÜ˛yÌyG Óy ˆ≤ÃÙ˜ÏÓ!ã˛ˆÏ_ƒÓ˚ Ë˛yÓ Ë˛yÓlyˆÏÜ˛ xl%Ë˛Ó˛ Ü˛Ó˚y ÎyÎ˚– ≤ÃÌÙ ˛õò ˆÏÌˆÏÜ˛ £Ï¤˛ ˛õò ˛õÎ≈hs˝ ˛õòà%!°ˆÏï˛ ~Ü˛!ê˛ âê˛ly G Ë˛yÓÜ˛Ùñ §ÆÙ ˛õò ˆÌˆÏÜ˛ myò¢ ˛õÎ≈hs˝ xˆÏÓ˚Ü˛!ê˛ ~ÓÇ eˆÏÎ˚yò¢ ˆÌˆÏÜ˛ !ÓÇ¢!ï˛ ˛õò ˛õÎ≈hs˝ !Ó!«˛Æ !Ü˛S%È Ë˛yÓlyÓ˚ ˛õ!Ó˚ã˛Î˚ ˛õyGÎ˚y ÎyÎ˚– ≤ÃÌÙ ˛õò ¢%Ó˚% •ˆÏFSÈ Ó§hs˝ Óî≈ly !òˆÏÎ˚– ≤ÃÜ,˛!ï˛ ç%ˆÏí˛¸ Ó§hs˝ ~ˆÏ§ˆÏSÈû Ó§hs˝ xyG° ˆÓ˚ ú Ùô%Ü˛Ó˚ à%îà%îñ xÙ%Î˚y ÙOÓ˚# Ü˛yll SÈyG° ˆÓ˚ ú ~Ùl Ó§ˆÏhs˝ Ü,˛£÷Ï!ÓÓ˚!•l# Ó˚yôyÓ˚ •y•%ï˛y¢ !Óòƒy˛õ!ï˛Ó˚ ˛õˆÏò ˛õyGÎ˚y ÎyÎ˚– çÎ˚ˆÏòÓG Úà#ï˛ˆÏày!ÓÏ®ÛÈüÈ~ Ó§ˆÏhs˝Ó˚ xy!ÓË≈˛yˆÏÓ ÙòlÎsfîyÜ˛yï˛Ó˚ Ó˚yôyÓ˚ Óî≈ly !òˆÏÎ˚ˆÏSÈlû Ó§ˆÏhs˝ Óy§hs˝# Ü%˛§%ÙÈüÈ§%Ü%˛Ùy˜ÏÓ˚Ó˚ÓÎ˚˜ÏÓº≈Ùhs˝#Ç Ü˛yhs˝yˆÏÓ˚ Ó•%!Ó!•ï˛Ü,˛£Ïyl%§Ó˚îyÙ‰– xÙ®Ç Ü˛®˛õ≈çµÓ˚ç!lï˛!ã˛hs˝yÜ%˛°ï˛Î˚y Ó°myôyÇ Ó˚yôyÇ §Ó˚§!ÙòÙ)ˆÏã˛ §•ã˛Ó˚#–– !Óòƒy˛õ!ï˛Ó˚ Ó˚yôyG Ü˛yï˛Ó˚ Ü˛ˆÏt˛ ÓˆÏ°ˆÏSÈû Ê%˛ê˛° Ü%˛§%Ù lÓ Ü%˛O Ü%˛ê˛#Ó˚ Ól ˆÜ˛y!Ü˛° ˛õM˛Ù àyG•zˆÏÓ– Ù°Î˚y!l° !•Ù !¢áÓ˚!§ ôyÓ° !˛õÎ˚y !lçˆÏò¢l xyG•zˆÏÓ–– Ë˛yl%!§ÇˆÏ•Ó˚ Ó˚yôyG lÓÓ§ˆÏhs˝ !≤ÃÎ˚ï˛ˆÏÙÓ˚ ¢)lƒï˛y xl%Ë˛Ó˛ Ü˛ˆÏÓ˚ˆÏSÈlû ÜÑ˛!• ˆÓ˚ ˆ§y !≤ÃÎ˚ñ ÜÑ˛!• ˆ§y !≤ÃÎ˚ï˛Ùñ •,!ò Ó§hs˝ ˆ§y Ùyôy ⁄ !Ü˛v Ë˛yl%!§ÇˆÏ•Ó˚ Ó˚yôy xˆÏlÜ˛ ˆÓ¢# xyd§ˆÏã˛ï˛l– ïÑ˛yÓ˚ xyd°#l ˆ≤ÃÙyl%Ë)˛!ï˛ ~ ˛õˆÏò Ü˛Ù– !ï˛!l Ü,˛£÷Ï Óƒ!ï˛ˆÏÓ˚ˆÏÜ˛ G ≤ÃÜ,˛!ï˛Ó˚ ˆ§Ô®Î≈ í˛z˛õˆÏË˛yà Ü˛Ó˚ˆÏï˛ ˛õyˆÏÓ˚l– ~•z ˛õˆÏòÓ˚ ≤ÃÌÙyÇˆÏ¢ Ó˚yôy xl%Ë˛Ó Ü˛Ó˚ˆÏSÈl ïÑ˛yÓ˚ ÙÓ˚ˆÏÙG Ó§hs˝ ~ˆÏ§ˆÏSÈ– §á#ˆÏÜ˛ Ó°ˆÏSÈlû ¢%l¢%l §çl# •,òÎ˚ ≤Ãyî ÙÙ •Ó˚ˆÏá xyÜ%˛° ˆË˛°ñ çÓ˚çÓ˚ !Ó˚V˛ˆ§ ò%á çµy°y §Ó ò)Ó˚ ò)Ó˚ ã˛!° ˆà°–– Ó˚yôyÓ˚ ~•z Ü,˛£÷Ï!lÓ˚ˆÏ˛õ«˛ xydË˛yÓlyÓ˚ ≤ÃÜ˛y¢ ˆòáy ÎyÎ˚ ï,˛ï˛#Î˚ ˛õˆÏò– ˆ§áyˆÏl Ü,˛ˆÏ£÷ÏÓ˚ çlƒ Ó˚yôy §yÓ˚yÓ˚yï˛ ÓƒÌ≈ ≤Ãï˛#«˛yÎ˚ !SÈˆÏ°lûÚÚ!ÓÓ˚•!ÓˆÏ£Ï ò!• Ó!• ˆà° Ó˚Î˚l#ñ ‡ l!• l!• xyG° Ü˛y°y–ÛÛ ï˛y•z ~ ç#Ólñ ˆÎÔÓlñ ~•z §y!•ï˛ƒ xDl ˘ meeefnl³e Debeieve / Sahitya Angan 11

ˆfl¨•ÈüÈˆ≤ÃÙ §Ó•z !ÙÌƒy– ~Ùl xl%ï˛y˛õ ÓƒÌyÓ˚ ˛õˆÏÓ˚•z Ó˚yôy Ó°ˆÏSÈlû ã˛° §!á à,• ã˛°ñ Ù%M˛ lÎ˚l ç°ñ ã˛° §!á ã˛° à,•Ü˛yˆÏç– Ü,˛ˆÏ£÷ÏÓ˚ xò¢≈l âê˛ˆÏ° Ó˚yôy xlyÎ˚yˆÏ§•z ˆã˛yˆÏáÓ˚ ç° Ù%ˆÏSÈ xy˛õl Ü˛yˆÏçÓ˚ Ü˛Ìy Ë˛yÓˆÏï˛ ˛õyˆÏÓ˚l– xT˛yò¢ ˛õˆÏòG ˆò!áñ Ó˚yôy §á#Ó˚ §ˆÏAà xyˆÏ°yã˛ly Ü˛Ó˚ˆÏSÈlñ ïÑ˛yÓ˚ Ù,ï%˛ƒÓ˚ ˛õÓ˚ Ü,˛£÷Ï !Ü˛ Ó˚yôyÓ˚ çlƒ ÓƒyÜ%˛° •ˆÏÓl ú ÙˆÏl •Î˚ ly– Ü˛yÓ˚îû ly ÎÙ%lyñ ˆ§y ~Ü˛ ¢ƒyÙ ÙÙñ ¢ƒyÙÜ˛ ¢ï˛¢ï˛ lyÓ˚# •Ù ÎÓ ÎyGÓ ¢ï˛ ¢ï˛ Ó˚yôy ã˛Ó˚ˆÏî Ó˚•ˆÏÓ ï˛y!Ó˚– Ó˚yôyÈ ÈüÈ xÓï≈˛ÙyˆÏl Ü,˛ˆÏ£÷ÏÓ˚ Î!ò ˆÜ˛yl x§%!Óôy ly •Î˚ñ ï˛ˆÏÓ ~Ùl xÜ˛Ó˚%î ˆ≤Ã!ÙˆÏÜ˛Ó˚ çlƒ ˆò•ï˛ƒyà Ü˛ˆÏÓ˚ °yË˛ !Ü˛⁄ ï˛Ó §!á ÎÙ%ˆÏlñ Îy•z !lÜ%˛ˆÏO Ü˛y• ˆï˛Î˚yàÓ ˆò ⁄ ~•z§Ó ˛õˆÏò Ë˛yl%!§ÇˆÏ•Ó˚ Ó˚yôy ˛õòyÓ°#Ó˚ Ó˚yôyÓ˚ ˆÌˆÏÜ˛ ˛õ,ÌÜ˛– ˛õòyÓ°#Ó˚ Ó˚yôy Ü,˛£÷Ï Óƒ!ï˛ˆÏÓ˚ˆÏÜ˛ fl∫ÈüÈx!hflÏc Ü˛“lyG Ü˛Ó˚ˆÏï˛ ˛õyˆÏÓ˚l ly– Ü,˛£÷Ï •,òÎ˚•#l •ˆÏ° Ó˚yôy Ù,ï%˛ƒ SÈyí˛¸y xlƒ !Ü˛S%È Ë˛yÓˆÏï˛ ˛õyˆÏÓ˚l ly– ã˛u˛#òyˆÏ§Ó˚ Ó˚yôy ÓˆÏ°ˆÏSÈlû ÓÑô% Î!ò ï%˛!Ù ˆÙyˆÏÓ˚ !lòyÓ˚%î •G– Ù!Ó˚Ó ˆï˛yÙyÓ˚ xyˆÏà òÑyí˛¸y•zÎ˚y Ó˚G–– !Óòƒy˛õ!ï˛Ó˚ Ó˚yôyÓ˚G ~Ü˛•z Ü˛Ìyû Óí˛¸ ò%á Ó˚•° ÙÓ˚ˆÏÙ !˛õÎ˚y !ÓS%ÈÓ˚° Î!ò !Ü˛ xyÓ˚ ç#ÓˆÏl– ~•z Ü˛ˆÏÎ˚Ü˛!ê˛ ˛õò SÈyí˛¸y xlƒe ˛õòyÓ°#Ó˚ Ó˚yôyÓ˚ Ùï˛ Ë˛yl%!§ÇˆÏ•Ó˚ Ó˚yôyG Ü,˛£÷Ïàï˛ ≤Ãyîyñ Ü,˛ˆÏ£÷ÏÓ˚ ≤Ã!ï˛ ˆfl¨ˆÏ• ÈüÈ ˆ≤ÃˆÏÙ ÈüÈ ÙyˆÏl ÈüÈ x!Ë˛ÙyˆÏl ~Ü˛•z Ü˛Ó˚%îÈüÈ!Óô%Ó˚ Ù)!ï≈˛– §á# Îál Ó,®yÓˆÏlÓ˚ Ü%˛ˆÏO Ü%˛ˆÏO á%ÑˆÏçG Ü,˛£÷ÏˆÏÜ˛ ˛õyÎ˚ lyñ ï˛ál Ó˚yôy ÙyÌ%ˆÏÓ˚Ó˚ ly!Î˚Ü˛y– ï˛yÓ˚ ÚÚÜ%˛§%Ù•yÓ˚ Ë˛•z° Ë˛yÓ˚û•,òÎ˚ ï˛yÓ˚ òy!•ˆÏSÈÛÛñ ÚÚxôÓ˚ í˛zë˛•z ÜÑ˛y!˛õÎ˚yÛÛñ ï˛yÓ˚ Úã˛!Ü˛ï˛ •,òÎ˚Ûñ Ú!¢!Ì° xM˛°Ûñ ÚˆÏã˛yˆÏá x◊%Û– ˛õˆÏòÓ˚ ˆ¢ˆÏ£Ï å!mï˛#Î˚ ˛õòä Îál ˛õòÜ˛ï≈˛y ÓˆÏ°lû Ü%˛O˛õyˆÏl ˆ•!Ó˚Î˚y x◊% Óy!Ó˚ í˛y!Ó˚Î˚y Ë˛yl% àyÎ˚ ¢)lƒÜ%˛O ¢ƒyÙã˛w ly!•ˆÏÓ˚ ú ï˛ál Ó˚yôyÓ˚ xhs˝ˆÏÓ˚Ó˚ ¢)lƒï˛yÓ˚ •y•yÜ˛yÓ˚ ÙˆÏl Ü˛!Ó˚ˆÏÎ˚ ˆòÎ˚ !Óòƒy˛õ!ï˛Ó˚ Ó˚yôyÓ˚ xyÜ%˛°ï˛yû ¢)l ˆË˛° Ù!®Ó˚ ¢)l ˆË˛° làÓ˚#– ¢)lƒ ˆË˛° ò¢!ò¢ ¢)l ˆË˛° §à!Ó˚–– !ÓÓ˚ˆÏ•Ó˚ ˛õy¢y˛õy!¢ ~Ü˛•z §ˆÏAà ˆ≤ÃÙ˜ÏÓ!ã˛ˆÏ_ƒÓ˚ §%Ó˚ ˆ¢yly ÎyÎ˚ ï,˛ï˛#Î˚ ˛õò!ê˛Ó˚ ÙˆÏôƒ– ¢ƒyÙˆÏÜ˛ ˆòáyÓ˚ çlƒ Ë˛yl%!§ÇˆÏ•Ó˚ Ó˚yôyÓ˚ ≤Ãyî !òlÓ˚yï˛ ï,˛!£Ïï˛ •ˆÏÎ˚ xyˆÏSÈ– ïÑ˛yÓ˚ ÚÚxyÜ%˛° ç#Ól ˆÌ• l ÙyˆÏl ‡ x•Ó˚• çµ°ï˛ •ï˛yˆÏ¢–ÛÛ !Óòƒy˛õ!ï˛Ó˚ Ó˚yôyG ˆÎÙl ~Ü˛•z Ë˛yˆÏÓ ÓˆÏ°lûÚÚ!˛õÎ˚y !ÓˆÏl ˛õÑyçÓ˚ VÑ˛yV˛Ó˚ ˆË˛°y–ÛÛ Ë˛yl%!§ÇˆÏ•Ó˚ Ó˚yôy ~Ó˚˛õˆÏÓ˚•z !Ù°l §%á fløÓ˚î Ü˛Ó˚ˆÏSÈl xyÓ˚ ˛õÓ˚«˛ˆÏî•z ÙyôÓˆÏÜ˛ •yÓ˚yˆÏlyÓ˚ xy¢AÜ˛yÎ˚ xyÜ%˛° •ˆÏFSÈlû §ç!lñ §ï˛ƒ Ü˛!• ˆï˛yÎ˚ñ 12 §y!•ï˛ƒ xDl ˘ meeefnl³e Debeieve / Sahitya Angan

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–– !lˆÏò≈!¢Ü˛y ––

1É Ó˚Ó#wç#Ól# å1Ùäû≤ÃË˛yï˛Ü%˛ÙyÓ˚ Ù%ˆÏáy˛õyôƒyÎ˚ å˛õ,É71ä 2É Ë˛yl%!§Ç• ë˛yÜ%˛ˆÏÓ˚Ó˚ ˛õòyÓ°# å§)ã˛lyä 3É ˙ 4É Ó˚Ó#w§y!•ˆÏï˛ƒÓ˚ ≤ÃÌÙ ˛õÎ≈yÎ˚ûí˛É ç!° ˆ§là%Æ å˛õ,É 56ä §y!•ï˛ƒ xDl ˘ meeefnl³e Debeieve / Sahitya Angan 17 iex›`ªbv‡_i wek¦cwiµgvq nv‡½wi †mŠMZ gy‡Lvcva¨vq 1926 mv‡j iex›`ªbv‡_i BD‡ivc mdi we‡kl ¯§iYxq GB Kvi‡Y †h GB md‡i wZwb hZ¸wj †`k ågY K‡iwQ‡jb AZ¸wj †`kågY GKm‡½ Avi †Kvb mg‡q K‡ibwb| Zuvi ågY ZvwjKvq wQj BZvwj, myBRvij¨vÊ, Aw÷ªqv, weª‡Ub, biI‡q, myB‡Wb, †WbgvK©, Rvg©vwb, †P‡Kv‡k•vfvwKqv, nv‡½wi, †µv‡qwkqv, hy‡Mvk•vwfqv, eyj‡Mwiqv, MÖxm, BwRÞ, †ivgvwbqv cÖf…wZ †`k| GBme †`k¸wj‡Z Avgwš¿Z AwZw_ wn‡m‡e wM‡q †mLvbKvi gvbyl‡ì Zuvi cÖwZ fv‡jvevmv †`‡L AevK n‡qwQ‡jb| nv‡½wii evjvUb dz‡iW †_‡K Kwe GK wPwV‡Z Zuvi GBmg‡qi BD‡ivc mdi m¤^‡Ü †ivgv †ivj¨vu‡K Rvwb‡qwQ‡jb- In most of the places in Europe where I travelled I was surprised to discover what a great enthusiasm the people have for me. In course of time a bankruptcy of reputation may happen to me in the West where people get angry at their discarded fovourites when they imagine that they had cheated themselves by over payment and yet even if what I have experienced does belong to the moment, it is amazing in itself. I am not ambitious and therefore set much value on my immediate reward. But I feel confident that I have left enough legacy in my own language which has a permanent worth. And therefore in spite of the certainty of a reaction against this sudden popularity of mine, I feel that I have right to what has been offered to me by the West, that most of my work will bear lestimony to the fact that I have truly loved and therefore I can truly claim love not only for today but for the days to come.1 †ewkifvM †`‡kB wZwb Lye †ewk mgq _vK‡Z cv‡ibwb| ZeyI †mBme †`‡k Zuvi Dcw¯’wZ mvwnZ¨ I Ab¨vb¨ †ÿ‡Î cÖwZwµqvi m„wó K‡iwQj| GB me cÖwZwµqv¸wji †ewkifvMB wQj iex›`ª AbyK~j| wKš‘ Zuvi weiæ‡× cÖwZK~j Av‡jvPbvI wQj| Gi g~‡j iex›`ªmvwnZ¨ I Rxeb m¤úwK©Z AÁZv‡KB `vwq Kiv hvq| 1926 mv‡j iex›`ªbv‡_i BD‡ivc åg‡Yi mgq nv‡½wi md‡ii w`‡K GKSjK `„wócvZ Kiv †h‡Z cv‡i| GB md‡i Kwei m½x wQ‡jb cyÎ i_x›`ªbv_, cyÎea~ cÖwZgv †èx, Zuv‡ì cvwjZv wkï bw›`bx, myiy‡ji wgt jvj, †MŠi‡Mvcvj †Nvl, wÎcyivi ivRKzgvi (whwb jvjyKZ©v bv‡g cwiwPZ wQ‡jb), cÖkvšÍP›`ª gnjvbexk, cÖkvšÍP‡›`ªi ¯¿x wbg©jKzgvix (ivYx) gnjvbexk cÖgyL|2 Kweiv BZvwj, myBRvij¨vÊ, Aw÷ªqv, weª‡Ub, biI‡q, myB‡Wb, †WbgvK©, Rvg©vwb, †PKvk•vfvwKqv Ny‡i nv‡½wi‡Z †cuŠQvb| eyWv‡c÷ kn‡ii Zid †_‡K †mLvbKvi wgDwbwmc¨vwjwU Kwe‡K wbgš¿Y Rvbvq| Kweiv nv‡½wi‡Z _v‡Kb 26 A‡±vei †_‡K 13 b‡f¤î ch©šÍ | 26 A‡±vei Kweiv eyWv‡c÷ kn‡i(AviI wbLuyZfv‡e ej‡Z †M‡j c~e© eyWv‡c‡÷i Keleti Palyaudvar) †cuvQvb| Kwei m‡½ i‡q‡Qb cÖwZgv †èx, cÖkvšÍP›`ª gnjvbexk, ivbx gnjvbexk Ges nv‡½wii cwÊZ e¨w³ Ferenc Zajti| Kwe‡K Af¨_©bv Rvbv‡Z G‡jb eyWv‡c÷ wmwU KvDwÝ‡ji cÖwZwbwa Dr Jeno Lobmayer, miKvwi Uzwi÷ Awd‡mi wW‡i±i Dezso Zilahi, Magayar Kulugyi Tarsasag(Hungarian Society of Foreign Affairs)-Gi †m‡µUvwi Dr Jozsef Nezsi, 17 18 §y!•ï˛ƒ xDl ˘ meeefnl³e Debeieve / Sahitya Angan

Zsolt Harsanyi cÖL¨vZ †jLK whwb Association of Hungarian Playwrights-Gi †cÖwm‡W›U| Harsanyi Zuvi e³„Zvq ej‡jb, ÔÔ It seems to us as if a dear relative has come to pay a visit to his relatives who had changed their residence long back.” Petofi Tarsasag (Petofi Society ), hviv Kwei nv‡½wi md‡ii cÖavb eë¯’vcK wQj,Zv‡ì c¶ †_‡K Ferenc Zajti e³„Zv w`‡jb| eyWv‡c‡÷i me‡P‡q wejvmeûj †nv‡Uj Hotel Gallert-‡Z Kwe‡ì _vKvi eë¯’v Kiv nq| 27 A‡±vei Kwe Concert Hangversenyvallalat R.T. bv‡g GKwU e¨w³MZ msMxZ ms¯’vi eë¯’vcbvq Civilization and Evolution e³„ZvwU w`‡jb| e³„Zvi Av‡M Ferenc Zajti Kwei cwiwPwZ `vb K‡ib Ges nv‡½wiqvb †jLK Gyorgy Kemeny Abyev`‡Ki f~wgKv cvjb K‡ib| e³„Zvi †k‡l c~iex †_‡K GKwU KweZv wZwb c‡o †kvbvbGes RbMYgb AwabvqK Rq †n MvIqv nq| 28 A‡±vei Kweiv kni †`L‡Z †ei nb| ey`vi cyi‡bv `y‡M©i Fisher Bastion RvqMvwU †_‡K Kweiv kn‡ii my›ì `„k¨ Dc‡fvM K‡ib| Gw`b nv‡½wiqvb PEN Club-Gi †cÖwm‡W›U Antal Rado Kwei m‡½ †`Lv K‡ib| Rado wQ‡jb GKRb AmvaviY Abyev`K| `v‡šÍ, †cÎvK©, †kKmcxqvi, †W‡dv, evqib, IqvBì, ivwmb, †M‡U, wkjvi cÖgy‡Li iPbv Abyev` K‡i‡Qb| wZwb MÖxK, jvwUb, BZvwjqvb, Rvg©vb, Bs‡iwR, divmx Ges cvwm©qvb fvlvq mycwÊZ wQ‡jb| wZwb Firdausi-Gi Shahname-i wKQy Ask Abyev` K‡iwQ‡jb| eyWv‡c÷ kn‡ii cÖwZwbwa I nv‡½wii ivRavwbi wkíx‡ì Zid †_‡K Kwei m¤§v‡b Hotel Gellert-†Z we‡kl Abyôvb I wWbv‡ii eë¯’v Kiv nq| Abyôv‡b Otmar Sagodi-i ev`¨ mn‡hv‡M Ilona Hollos The Gardener †_‡K KweZv cvV K‡ib| cyi‡bv n‡‡½wiqvb †jvKMxwZ MvB‡jb Imre Pallo Ges Mrs Izabella Nagy| Denes Sziji tarogato bvgK GKwU ev`¨hš¿ evwR‡q †kvbvb| Miss Bella Body Ges Miklos Szegedy-Tatar b„Z¨Kjv cª`k©b K‡ib| wRcwm wKs Bella Radic †envjv evwR‡q †kvbvb| Kwe GKwU evsjv KweZv cvV K‡ib, †hwU ZLbI †Kv‡bv we‡`wk fvlvq Abyw`Z nqwb| †jLK Gyula Pekar, whwb 1920 mvj †_‡K Petofi Tarsasag-Gi ‡cÖwm‡W›U, Kwe m¤ú‡K© Bs‡iwR‡Z e³„Zv K‡ib| nv‡½wi miKv‡ii c¶ †_‡K (under-secre- taries of state) Robert K. Kertesz Ges Pal Petry Dcw¯’Z wQ‡jb| HwZn¨gq w_‡qUv‡ii K¬ve Feszek Klub-GKwe‡K 30 A‡±vei mÜ¨vq Avgš¿Y Rvbv‡bv nq Hungarian PEN Club Ges Association of Hungarian Playwrights-Gi c¶ †_‡K| Kwe †mLv‡b GK N›Uv KvUvb| Antal Rado Ges Mneyhert Lengyel-Gi m‡½ mv¶vr K‡ib| †mLv‡b wewkó Professor Gyula Germanus Dcw¯’Z wQ‡jb|3 Awekªvg cwikª‡g Kwei kixi `ye©j n‡q c‡o| GLvbKvi weL¨vZ Wv³vi e¨vib †KvivYx Kwe‡K cÖwZw`b †`L‡Z Avm‡Zb| W. I‡q¼ev‡Ki g‡ZvB mviv BD‡iv‡c †KvivYxi L¨vwZ wQj| Kwei ¯^v¯’¨ D×v‡ii Rb¨ evjvUb dy‡i‡Wi KZ©…c¶ Kwe‡K †mLv‡b Avgš¿Y K‡i wb‡q Av‡mb|GLv‡b Kwe‡K w`‡q e„¶‡ivcY Kiv‡bv nj (8 b‡f¤î) hv wQj LyeB m¤§v‡bi welq| GB Dcj‡¶ Kwe GKUv KweZv wj‡L w`‡qwQ‡jb †hwU GL‡bv Kwei Aveÿ g~wZ©i GKav‡i †Lvw`Z Av‡Q, †n Ziy, G aivZ‡j iwne bv h‡e, †mw`b em‡šÍ be cj•‡e-cj•‡e §y!•ï˛ƒ xDl ˘ meeefnl³e Debeieve / Sahitya Angan 19

†Zvgvi gg©i aŸwb cw_‡K‡i K‡e fv‡jv †e‡mwQj Kwe †eu‡PwQj h‡e|4 Avi GKwU dj‡K †Lv`vB Kiv Av‡Q Kwei e³e¨, I am planting this tree in resemblance of my stay here, for nowhere else was I given what I received here. It was more than hospitality. It was the awakening of the feelings of kinship. I sense and I have come to the land of a nation which is emotionally akin to India.5 Kwei ¯^v‡¯’ï DbœwZ n‡j wZwb GLv‡b _vKvKvjxb Rvg©vb cÖKvk‡Ki Rb¨ Bs‡iwR I evsjv Dfq fvlv‡ZB Zuvi A‡UvMÖv‡di msKjb †jLb m¤ú~Y© K‡ib|6evjvUb dz‡iW †_‡K eyWv‡c‡÷ 12 wd‡i Kwe †mLvbKvi eo bvwm©s‡nvg wj‡MU m¨vwb‡Uvwiqv‡g AwZw_ wn‡m‡e Avgš¿Y cvb| b‡f¤^î e¨w³MZfv‡e nv‡½wii ZrKvjxb Mf©bi Miklos Horthy Kwe‡K Avgš¿Y Rvbvb| †`‡ki Lvivc Ae¯’vi K_v wZwb iex›`ªbv‡_i m‡½ Av‡jvPbvI K‡ib| iex›`ªbv‡_i 1926 mv‡ji BD‡ivc åg‡Yi K_v wjwce× K‡iwQ‡jb wbg©jKzgvix gnjvbexk Zuvi Kwei m‡½ q~‡iv‡c MÖ‡š’| GB MÖ‡š’ Kwe †h Drmv‡ni m‡½ m¤^wa©Z n‡qwQ‡jb Zvi weeiY cvB| wKš‘ GB m¤â©bvi Avov‡jI wQj mgv‡jvPbvi KuvUv, †hUv Kwe ev wbg©jKzgvixi c‡i Rvbv m¤ê wQj bv| cieZx©Kv‡j 1961 mv‡j Kwei Rb¥kZel© Dcj‡ÿ¨ Kwe †hme †`‡k ågY K‡iwQ‡jb †mBme †`‡ki fvi‡Z Aew¯’Z we‡`k `ßi¸wj (Embassy) ågY msµvšÍ wewfbœ KvMRcÎ evi Ki‡Z ïi“ K‡ib| †mBm‡½ iex›`ªbv‡_i ågYKvjxb mg‡q †mBme †`‡ki ivR‰bwZK- A_©‰bwZK-mvgvwRK cwiw¯’wZi m‡½ iex›`ªbv_ I iex›`ªmvwnZ¨ m¤úwK©Z wµqv-cÖwZwµqvi Av‡jvPbvi GKUv cÖ‡Póv ïi“ nq| GB m~‡Î iex›`ªbv‡_i nv‡½wi ågY‡K nv‡½wii wfbœ wfbœ e¨w³‡Ë¡i wfbœ wfbœ cÖwZwµqvi m~‡Î wePvi Kivi †Póv Kiv †h‡Z cv‡i| †bv‡ej cÖvBR cvevi ci we‡ki `k‡K BD‡iv‡c iex›`ªbv_ inm¨gq/ Ava¨vwZ¥K cÖv‡Pï Kwe, mvay, ag©¸i“ (Ck¦‡ii evYxi cÖPviK ev e¨vL¨vZv)GgbwK mšÍ wn‡m‡eI m¤^wa©Z nb|Zuvi †Pnviv Ges †cvkvK nq‡Zv cvðv‡Zï gvby‡li Kv‡Q Zuvi GB iƒc Dc¯’vwcZ K‡iwQj| †mBm‡½ MxZvÄwj‡K gigx KweZvi msKjb wn‡m‡e e¨vL¨vUvI Gi wcQ‡b wQj| nv‡½wi‡Z iex›`ªbv‡_i †bv‡ej cÖvB‡Ri †h LeiwU cÖ_g Qvcv nq †mLv‡b Zuv‡K m½xZÁ ivRv †mŠix›`ª‡gvnb VvKzi bv‡g fzj Kiv nq| The Nobel Prize for literature, this year, was awarded by the committee to Rayen Dranatto Tagore. Tagore is a musical composer and a historian of music. He lives in Calcutta and heis eighty-two. (Világ 14 Nov. 1913)7 Gi `y-mßvn ci wewkó Kwe Mihály Babits cÖK…Z Z_¨ cwi‡ekb K‡ib| wZwb Bs‡iwR †_‡K iex›`ªbv‡_i wZbwU KweZvi M`¨ Abyev` K‡ib Ges iex›`ªbv_ m¤ú‡K© GKwU cÖeÜ †j‡Lb| wKš‘ A‡Pbv GB Kwei bv‡gi D”PviY nv‡½wi‡Z Av‡jvPbvi welq n‡q DVj| gvZvj †jv‡K‡ì wPwýZ Kivi Rb¨ GB bvg D”PviY Ki‡Z †Ìqv nZ| †h bvg D”PviY Ki‡Z cvi‡Zv †m †bkvMÖ¯Í bq e‡j wPwýZ nZ| iex›`ªKweZvi `ywU w`K Ñ cÖvP¨ I cvðvZ¨ ms¯‹…wZi wgjb Ges KweZvi Aa¨vZ¥ev` `y‡UvB 20 §y!•ï˛ƒ xDl ˘ meeefnl³e Debeieve / Sahitya Angan cvVK‡ì Kv‡Q Kì †cj| University of Budapest-Gi cÖ_g cvwm©qvb cÖ‡dmi Sándor Kégl (1862–1920)Zuvi †jLvq Rvbvb, It is obvious that he did not read European poetry in vain, yet he is following the way of his ancestors. Although it gained enrichment, Tagore is strongly permeated by the spirit of old Indian poetry. He is almost completely occupied with that one strong feeling, the deepest possible for an easterner: religious mysticism. This makes the reading of his poems tedious for a European, and they will mostly be enjoyed sporadically in antholo- gies.8 Czechoslovakia †_‡K cÖKvwkZ bvgx nv‡½wiqvb Rvb©vj Kassai Napló-G nv‡½wii Ab¨Zg †kÖô GK Jcb¨vwmK Sándor Márai, Darmstadt-G Keyserling-Gi ‘School of Wisdom’-G iex›`ªbv‡_i e³…Zv †kv‡bb| wZwb Kwei g‡a¨ †`L‡Z cvb Mfxi Ávb I `ytL| wZwb Kwei Pvicv‡k PvUzKvi‡ì wfo †`‡L Ges Kwe‡K wb‡R‡ì cÖ‡qvR‡b eënvi Kivq ÿzä n‡qwQ‡jb|9 1924 mv‡j Diogenesz KvM‡Ri GKwU cÖe‡Ü Zuvi RbwcÖqZvi e¨vL¨vq ejv nq, Tagore is a descendant of Brahmins brought up on old humanist mor- als… He is a brilliant writer who took the style of his writing, the structure of his conceptions, the problems, the human conflicts and even the nature of his characters from the framework of European culture. However, he is penetrated by philanthropy, which is nobler, warmer, truer and more radical than that of the Europeans. … Rabindranath Tagore is the heir of the ancient Brahma wisdom whom contemplation made capable of unutterable sensitivity and has a capacity of differentiation.10 nv‡½wi‡Z Kwei eB `vi“Y RbwcÖqZv AR©b K‡i| KweZvi eB¸wj me‡P‡q †ewk RbwcÖq nq| 1920 mvj †_‡K 1925 mv‡ji g‡a¨ TheGardener, Gitanjali, The Crescent Moon, Fruit Gathering, Lover’s Gift, Stray Birds, Crossing cÖf„wZ KweZvi eB; Chitra, Sacrifice, The King of theDarkChamber, The Post Office PviwU bvUK; wZbwU Dcb¨vm The Home and the World, The Wreck, Gora; PviwU bvUK; wZbwU Dcb¨vm, Auspicious Moment, Hungry Stones, Homecoming †gvU KzwowU Mí Ges Sadhana, The Inspiration of the Soul, Nationalism, My Reminiscences cÖeÜ MÖš’ cÖKvwkZ nq| MÖš’¸wji gy`ªY msL¨v K‡qK‡kv †_‡K `ynvRvi Gi g‡a¨ wQj|11 iex›`ªwe‡ivwaZvi myiwUI Pvcv wQj bv| K¨v_wjK Ges †cÖv‡U÷v›U Dfq PvP©B iex›`ªwe‡ivwaZvq †b‡g c‡o| Jesuit †jLK Béla Bangha iex›`ªbv_ m¤ú‡K© e‡jb, Certain admirers of the heathen East make efforts to introduce this pan- theistic cult of nature, erring in its concept of beauty and badly underdeveloped, as a new light predestined to renew Europe’s spiritual and moral life.12 wZwb †mBme e¨w³‡ì AvµgY K‡ib hviv iex›`ªbv_‡K ag©¸i“ iƒ‡c, bZzb Av`k©ev‡ì evnK iƒ‡c Zz‡j aivi †Póv KiwQj| wKš‘ iex›`ªbv‡_i KweZ¡ kw³‡K wZwb A¯^xKvi bv K‡i e‡jb, §y!•ï˛ƒ xDl ˘ meeefnl³e Debeieve / Sahitya Angan 21

Rabindranath Tagore is a true gem and we are free and right to study him as we do with the pagan poets of the Ancient Age.13 K¨v_wjK ag©ZË¡we` István Záborszky iex›`ªbv_ m¤ú‡K© GKwU MÖš’ iPbv K‡ib| wZwb Kwei Av`k©‡K cvðvZ¨ Av`k© I ag©Z‡Ë¡i m‡½ wgwj‡q wePvi K‡ib Ges K¨v_wjK Pv‡P©i wei“× gZev`¸wj‡K LÊb K‡ib| cÖvq mg¯Í K¨v_wjK Rvb©vjB RbwcÖq K¨v_wjK wmwiR Szent István Könyvek-†Z cÖKvwkZ István Záborszky-i †jLvwUi cÖksmv K‡i|14 Georg Lukács bv‡gi GK e¨w³I iex›`ªbv_‡K Zxeª AvµgY K‡ib| wZwb Kwei AvšÍR©vwZK L¨vwZi †cQ‡b weªwUk‡ì lohš¿ †`L‡Z cvb| iex›`ªbv_‡K wZwb weªwUk‡ì B‡›U‡jKPzqvj G‡R›U e‡j wPwýZ K‡ib| Kwei †bv‡ej cÖvwß Avm‡j Bs‡iR‡ìB `vb| The British bourgeoisie... is repaying its intellectual agent in the struggle against the Indian freedommovement.15 wek kZ‡K nv‡½wii †kÖô c¨viwW iPwqZv Frigyes Karinthy iex›`ªbv_‡K e¨½ K‡i †h †jLvwU †j‡Lb †mwU Zxeª weivMc~Y©| Palyazom a Nobel-dijra (I am applying for the Nobel Prize) bvgK †QvÆ †jLvwU‡Z wZwb MxZvÄwji Bs‡iwR Abyev‡` fviZxq kã ev fviZxq ms¯‹…wZi Abyl‡½i Afve‡K Abyev‡ì mvd‡jï KviY e‡j‡Qb| Zuvi †jLvwUi wKQz Ask D×…Z Kiv †h‡Z cv‡i, I can write without any fear that I am applying for the Poetry Prize of the Nobel Foundation and I can tell in what capacity I intend to apply. The committee in all probability does not know Hungarian. These days the committee only knows the Hindu language since they have given the Nobel Prize to the Hindu poet RabindranathTagore who was in this way declared to be the greatest poet of the world. I have been eager for the Nobel Prize since my early childhood and my poemshave been published under the pseudonyms Pet?fi, Heine, Baudelaire,Maeterlinckand others. I imbibed my poems with that universal human what's-it-called that wasexpected as a condition by the founder of the Nobel Prize. I have tried in all livinglanguages but I did not get the prize. Instead of me, Rabindranath Tagore, the Hindupoet, received it. –Why did the Hindu poet receive it? - you are asking, respected madam. Towhatextent does this Hindu poet represent my or your sentiments, respected madam? Orthose of the European gentlemen who decided, as a committee, to give him the award?Well, respected madam, I am going to explain it. Here is a wonderful poem by Rabindranath– When I first climbed on the tamarix-tree in my childhood, my little heart was still like an akaju-boabob, on which the drugho-bird is chirping. But now it is not the drugho-bird that sings in my heart but the great Mahad?- Biskaja and it says: pivi-pivi.16 Pwj•‡ki `k‡Ki †k‡li w`K †_‡K cÂv‡ki `k‡Ki cÖ_gva© ch©šÍ nv‡½wi‡Z KwgDwb÷‡ì Kv‡Q iex›`ªbv_ eªvZ¨ ‡_‡KwQ‡jb| KviY Zuv‡K Ø›Øg~jK e¯‘ev‡ì Øviv wVK e¨vL¨v Kiv hvw”Qj 22 §y!•ï˛ƒ xDl ˘ meeefnl³e Debeieve / Sahitya Angan bv| iex›`ªRb¥kZe‡l© nv‡½wi‡Z Zuv‡K Avevi cybivwe®‹v‡ii †Póv †`Lv hvq| Z…Zxq we‡k¦ cvðvZ¨ mvgªvRëv‡ì wei“‡× Zuvi Ae¯’vb KwgDwb÷‡ì Kv‡Q Zuv‡K MÖnY‡hvM¨ K‡i †Zv‡j| MÖnY eR©b BZ¨vwì ga¨ w`‡qB iex›`ªbv‡_i ¯’vwqZ¡| nv‡½wi‡ZI iex›`ªPP©v Gfv‡eB GwM‡q P‡j‡Q| 1926 mv‡j iex›`ªbv‡_i ågYm½x wbg©jKzgvixi MÖ‡š’ Avgiv iex›`ª-m¤â©bvi D”QvmwUB †`L‡Z cvB| wKš‘ iex›`ªbv_‡K AvµgY Gi Avov‡j XvKv c‡o †M‡Q| m¤â©bv ev weiƒc mgv‡jvPbv Dfqw`K †_‡KB iex›`ªbv_ PwP©Z n‡”Qb| weiƒc mgv‡jvPbv Kivi ga¨ w`‡q iex›`ªbv_‡K ¯^xKvi K‡i †bIqvB n‡”Q e‡j Avgiv g‡b Kwi| nv‡½wi ågY wb‡q iex›`ªbv‡_i †QvÆ †jLvwU w`‡q cÖeÜwU †kl Kiv †h‡Z cv‡i| (wbg©jKzgvix gnjvbex‡ki Kwei m‡½ q~‡iv‡c MÖš’ †_‡K M„nxZ)

Z_¨m~Î 1| L¨vwZ AL¨vwZi †bc‡_¨, iex›`ªbv_ I †ivg¨uv †ivjuv, †mŠix›`ª wgÎ, Avb›`, †KvjKvZv, wØZxq ms¯‹iY 1995, c„ 376| 2| Kwei m‡½ qy‡iv‡c, wbg©jKzgvix gnjvbexk, wgÎ I †Nvl, †KvjKvZv, 1376 e½vã| 3| Rabindranath Tagore in Hungary, Gyula Wojtilla, ed. by Istvan Major, Hun- garian Information and Cultural Centre, New Delhi, pp 9-22. 4|Kwei m‡½ qy‡iv‡c, wbg©jKzgvix gnjvbexk| 5| Rabindranath Tagore in Hungary, Gyula Wojtilla. 6| Z‡`e, c„ 20| 7| Rabindranath Tagore and Hungarian Politics, Imre Bangha, Parabaas, Sept 2008, pp 3.

8| Z‡è, c„ 3ñ 9| Z‡è, c„ 4ñ 10| Z‡è,c„ 4ñ 11| Z‡è, c„ 5ñ 12| Z‡è c„ 7ñ 13| Z‡è c„ 7ñ 14| Z‡è c„ 7ñ 15| Z‡è c„ 8| 16| From 82-year-old Musiocologist to Anti-imperialist Hero: Metamorphoses of the Hungarian Tagore in East Central Europe, Imre Bangha, Asian and African Stud- ies XIV, 1(2010), pp 57-60. §y!•ï˛ƒ xDl ˘ meeefnl³e Debeieve / Sahitya Angan 23 ≤ÃÜ,˛!ï˛ G fliy˛õï˛ƒ / Ó˚Ó#wlyˆÏÌÓ˚ ˛õe§y!•ˆÏï˛ƒ ¢!Ù≈°y Óƒylyç#≈ Ó˚Ó#w§y!•ˆÏï˛ƒÓ˚ !Ó¢y° Ë˛y[˛yˆÏÓ˚ Ü˛!Ó !°!áï˛ !ã˛!ë˛˛õˆÏeÓ˚ §Çáƒy !lï˛yhs˝ làîƒ lÎ˚– §yÓ˚yç#Ól Ü˛!Ó x§Çáƒ !ã˛!ë˛ !°ˆÏá!SÈˆÏ°l– ˆ§=!° §Ó•z !lSÈÜ˛ !ã˛!ë˛ lÎ˚ñ ï˛yÓ˚ ÙˆÏôƒ Ü˛!ÓÓ˚ Ùll¢#° ÙˆÏlÓ˚ ~ÓÇ ç#ÓˆÏlÓ˚ SÈ!Ó ≤Ã!ï˛!Ó!¡∫ï˛ •ˆÏÎ˚ˆÏSÈ– Ó˚Ó#wlyÌ ïÑ˛yÓ˚ !˛õï,˛ˆÏòÓ ˆòˆÏÓwlyˆÏÌÓ˚ Ü˛ySÈ ˆÌˆÏÜ˛ ~•z =î!ê˛ ˆ˛õˆÏÎ˚!SÈˆÏ°l– ˛õe Ùyl%ˆÏ£ÏÓ˚ xî%Ë˛ˆÏÓÓ˚ §ÓˆÏã˛ˆÏÎ˚ fl∫yË˛y!ÓÜ˛ x!Ë˛Óƒ!_´– Ü˛!Ó ïÑ˛yÓ˚ ò#â≈ç#ÓˆÏl ˆÎ §ÙhflÏ !ã˛!ë˛ ˆ°ˆÏáÏl ï˛yÓ˚ §ÇáƒyG ≤Ãã%˛Ó˚– ~=!°ˆÏÜ˛ Ü˛!ÓÓ˚ ç#Ól ò¢≈l Óy ç#Ól ò˛õ≈î Ó°y ˆÎˆÏï˛ ˛õyˆÏÓ˚– §%ò#â≈ ç#ÓˆÏl !ï˛!l Îál Îy ≤Ãï˛ƒ«˛ Ü˛ˆÏÓ˚ˆÏSÈlñ í˛z˛õ°!∏˛ Ü˛ˆÏÓ˚ˆÏSÈlñ ï˛yÈüÈ•z !ã˛!ë˛ ÙyÓ˚Ê˛Í ≤ÃÜ˛y¢ Ü˛ˆÏÓ˚ˆÏSÈl– Ü˛!Ó ïÑ˛yÓ˚ ˛õeÈüÈ˛§y!•ï˛ƒ §¡∫ˆÏ¶˛ Ùhs˝Óƒ Ü˛ˆÏÓ˚ !°ˆÏá!SÈˆÏ°lÈüüüÈ ÚÚ!ã˛!ë˛Ó˚ §y!•ï˛ƒ ôÓ˚y ˆòÎ˚ ˆ°áˆÏÜ˛Ó˚ Ü˛ySÈ ˆâÑ£Ïy çàˆÏï˛Ó˚ ˜ò!lÜ˛ SÈyÎ˚yÈüÈ≤Ã!ï˛FSÈyÎ˚yñ ôÁ!lÈüÈ≤Ã!ï˛ôÁ!lñ ï˛yÓ˚ «˛!îÜ˛ •yGÎ˚yÓ˚ Ù!ç≈ñ xyÓ˚ ï˛yÓ˚ §ˆÏD ≤Ãôylï˛ !Ù!°ˆÏÎ˚ ÌyˆÏÜ˛ §òƒ ≤Ãï˛ƒ«˛ §Ç§yÓ˚ ˛õˆÏÌÓ˚ ã˛°!ï˛ âê˛ly !lˆÏÎ˚ xy°y˛õ ≤Ã!ï˛°y˛õ–ÛÛ åË)˛!ÙÜ˛ó ˛õˆÏÌ G ˛õˆÏÌÓ˚ ≤ÃyˆÏhs˝ ˘ ˛õ,/ 3ä xyÙÓ˚y çy!l ˆÎ Ó˚Ó#wlyˆÏÌÓ˚ !ã˛!ë˛=!° §ÇÓyò Ó•ˆÏlÓ˚ Óy•Ü˛ !•ˆÏ§Ó ˆÎÙl §yÌ≈Ü˛ñ ˆï˛Ù!l !ã˛hs˝y¢#° Ü˛!Ó ÙˆÏlÓ˚ !Ó!¢‹T x!Ë˛Óƒ!_´Ó˚ fl∫y«˛Ó˚– xÓ¢ƒ ~Ü˛ÌyG §ï˛ƒ ˆÎ Ü˛ï≈˛ˆÏÓƒÓ˚ ≤ÃˆÏÎ˚yçˆÏl xˆÏlÜ˛ §ÙÎ˚ Ü˛!ÓˆÏÜ˛ !ã˛!ë˛ !°áˆÏï˛ •ˆÏÎ˚ˆÏSÈñ ˆÎÙl ºÙî !ÓÓÓ˚ˆÏîÓ˚ ã˛y!•òy ˆÙê˛yˆÏï˛ §¡õyòˆÏÜ˛Ó˚ xl%ˆÏÓ˚yˆÏô ïÑ˛yˆÏÜ˛ ˛õeÈüÈ≤ÃÓ¶˛ Ó˚ã˛ly Ü˛Ó˚ˆÏï˛ •ˆÏÎ˚ˆÏSÈ– ~ ≤Ã§ˆÏD Ü˛!ÓÓ˚ §Ó˚§ Ùhs˝ÓƒÈüüüÈ ÚÚ˛õy!áÈüÈGí˛¸yÎ˚ xyÓ˚ â%!í˛¸ Gí˛¸yÎ˚ ï˛Ê˛yÍ xyˆÏSÈ– xy!Ù Gí˛¸y!FSÈ !ã˛!ë˛Ó˚ SÈˆÏ° ˆ°áyÓ˚ â%!í˛¸ñ Ü˛ï≈˛ˆÏÓƒÓ˚ °yë˛y•zˆÏÎ˚ ÓÑyôy– ˆÜ˛Ó°•z ˆ•Ñã˛ˆÏÜ˛ ˆ•Ñã˛ˆÏÜ˛ Gí˛¸yˆÏï˛ •Î˚–ÛÛ åÚçyË˛yÎye#Ó˚ ˛õeÛó ˛õe §ÇáƒyÈüÈ8ñ ˛õ,/ §ÇáƒyÈüÈ516ñ Ó˚Ó#wÓ˚ã˛lyÓ°# ò¢Ù á[˛ §%°Ë˛ §ÇflÒÓ˚îä Óy°ƒÜ˛y° ˆÌˆÏÜ˛•z Ü˛!Ó ≤ÃÜ,˛!ï˛Ó˚ ≤Ã!ï˛ !l!Óí˛¸ xyÜ˛£Ï≈î xl%Ë˛Ó Ü˛Ó˚ˆÏï˛l– ≤ÃÜ,˛!ï˛Ó˚ Óyî#ñ ≤ÃÜ,˛!ï˛Ó˚ xy•¥yl ˆÎl !ï˛!l ÷lˆÏï˛ ˆ˛õˆÏï˛lÈüüüÈ≤ÃÜ,˛!ï˛Ó˚ ˆ§Ô®ˆÏÎ≈Ó˚ ÙˆÏôƒ•z ≤ÃÜ,˛!ï˛ˆÏÜ˛ !ï˛!l ˆòˆÏá!SÈˆÏ°l Úˆ§yly°# ˛õyí˛¸ ˆòGÎ˚y lï%˛l !ã˛!ë˛Ó˚Û ÙˆÏï˛yñ ˆ°Ê˛yÊ˛y á%ˆÏ° !ÓŸª ≤ÃÜ,˛!ï˛Ó˚ ˆ§•z !ã˛!ë˛ ˛õí˛¸ˆÏï˛ !ï˛!l ˆÜ˛yˆÏly !òlG Ë%˛ˆÏ° Îyl!lÈüüüÈÚÚ§,!‹TÓ˚ ~Ü˛ê˛y !òÜ˛ xyˆÏSÈ ˆÎê˛y •ˆÏFSÈ §,!‹T Ü˛ï≈˛yÓ˚ !Ó÷k˛ ÓÜ%˛!l– ˆ§!òÜ˛ ˆÌˆÏÜ˛ ~ÙlG Ó°y ˆÎˆÏï˛ ˛õyˆÏÓ˚ !ï˛!l xyÙyˆÏÜ˛ !ã˛!ë˛ !°áˆÏSÈl– xyÙyÓ˚ ˆÜ˛yˆÏly !ã˛!ë˛Ó˚ çÓyˆÏÓ lÎ˚ñ ïÑ˛yÓ˚ Ó°ˆÏï˛ •zˆÏFSÈ •ˆÏÎ˚ˆÏSÈ ÓˆÏ°ó Ü˛yí˛zˆÏÜ˛ ˆï˛y Ó°y ã˛y•z–ÉÉÉÉ xy!Ù ~Ü˛ê˛y àÓ≈ Ü˛ˆÏÓ˚ Ìy!Ü˛ñ ˙ !ã˛!ë˛ !°!áˆÏÎ˚Ó˚ !ã˛!ë˛ ˛õí˛¸ˆÏï˛ ˛õyÓ˚ï˛˛õˆÏ«˛ Ü˛áˆÏly Ë%˛!° ˆl–ÉÉÉÉÉÉåÚçyË˛yÎye#Ó˚ ˛õeÛñ ˛õe§ÇáƒyÈüÈ2 ˛õ,/ 504Èò¢Ù á[˛ä˘Ó˚Ó#wÓ˚ã˛lyÓ°# Ó˚Ó#wlyÌ ïÑ˛yÓ˚ !ã˛!ë˛˛õˆÏe ÓyÓ˚ÇÓyÓ˚ ≤ÃÜ,˛!ï˛Ó˚ Ü˛Ìy ˆÎÙl ÓˆÏ°ˆÏSÈlñ ˆï˛Ù!l ˆ§•z ≤ÃÜ,˛!ï˛Ó˚ ˆfl¨•FSÈyÎ˚yÎ˚ Ó˚!ã˛ï˛ fliy˛õˆÏï˛ƒÓ˚ Ü˛ÌyG ÓˆÏ°ˆÏSÈl– Ü˛!Ó ˆÎ Ú˛õ,!ÌÓ#ˆÏÜ˛ Ë˛y!Ó˚ Ë˛yˆÏ°yÓy§ˆÏï˛lÛ ˆ§•z ˛õ,!ÌÓ#Ó˚ àySÈ˛õy°yñ lò#ñ Ùyë˛ñ !lhflÏ∏˛ï˛yˆÏÜ˛ ˛õ!Ó˚˛õ)î≈Ó˚*ˆÏ˛õ Ü˛yˆÏSÈ ˆ˛õˆÏï˛ ã˛y•zˆÏï˛lñ ˆ§áyˆÏl !ï˛!l Óy§fliyˆÏlÓ˚ ˆòGÎ˚y°ˆÏÜ˛ Óyôy ÓˆÏ° ÙˆÏl Ü˛Ó˚ˆÏï˛lñ ï˛y•z í˛zß√%_´ à,• ïÑ˛yÓ˚ á%Ó ˛õSÈ® !SÈ°– Î˚%ˆÏÓ˚y˛õ ºÙîÜ˛yˆÏ° ˆ§áyˆÏlÓ˚ à,•=!° ˆÎÙl ïÑ˛yÓ˚ lyÈüÈ˛õ§® !SÈ°ñ ˆï˛Ù!l çy˛õyˆÏlÓ˚ à,•fliy˛õï˛ƒ ïÑ˛yˆÏÜ˛ Ù%?˛ Ü˛ˆÏÓ˚!SÈ°ÈüüüÈÚçy˛õyl Îye#ÛˆÏï˛ ˆ§áyˆÏlÓ˚ à,•fliy˛õï˛ƒ ˆòˆÏá !ï˛!l !°ˆÏá!SÈˆÏ°lÈüüüÈ ÚÚ~ˆÏòÓ˚ Ü˛!í˛¸ !ç!l§ê˛y xï˛ƒhs˝ x!ôÜ˛ lÎ˚– ˆòGÎ˚y°ñ Ü˛!í˛¸ñ ÓÓ˚àyñ çyl°yñ òÓ˚çy Îï˛ò)Ó˚ ˛õ!Ó˚!Ùï˛ •ˆÏï˛ ˛õyˆÏÓ˚ ï˛y•z– xÌ≈yÍ Óy!í˛¸ê˛y Ùyl%£ÏˆÏÜ˛ SÈy!í˛¸ˆÏÎ˚ ÎyÎ˚!lñ §¡õ)î≈ê˛y– ï˛yÓ˚ xyÎ˚ˆÏ_Ó˚ ÙˆÏôƒ–ÛÛ Ü˛!Ó Îál ˛õ)Ó≈ÓyÇ°yÎ˚ ç!ÙòyÓ˚#Ó˚ ï˛_¥yÓôyˆÏl xy§ˆÏï˛lñ ˆ§áyˆÏlÓ˚ ≤ÃyÜ,˛!ï˛Ü˛ ˛õ!Ó˚ˆÏÓ¢ˆÏÜ˛ â!l¤˛Ë˛yˆÏÓ

23 24 §y!•ï˛ƒ xDl ˘ meeefnl³e Debeieve / Sahitya Angan

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bZ Kwe gv_v c_ cÖv‡š— †Kb ie RvwM Kvš— âh© cÖZ¨vkvi c~i‡Yi jvwM ˆèvMZ w`‡b|Ó GB `„ß I AvZ¥cÖZ¨qx ¯î †kvbv †Mj 1914 mv‡j †jLv Ô¯¿xi cÎÕ M‡íi g„Yv‡ji K‡Ú| g„Yvj m¤ú‡K© iex›`ªbv_ e‡jb - ÒcÖ_g Avwg †g‡q‡ì c¶ wb‡q ¯¿xi cÎ Mí ewj| wewcb cvj Zvi cÖwZev` K‡ib|Ó ev¯—weK, mgv‡Ri iYcš’x‡ì Øviv G M‡íi welqfvebv KwVb e¨½ we`ª“‡ci wb›`vc‡¼ f~wlZ nj| So DVj mgv‡jvPbvi| wKš', S‡oi †Lqvq mIqvi nIqv meyRcÎ I 34 §y!•ï˛ƒ xDl ˘ meeefnl³e Debeieve / Sahitya Angan iex›`ªbv_ wbf©xK| cÎ Avw½‡K DËg cyi"lxq X‡O †jLv MíwU cÖwZev`-D‡Øj bvix mË¡vi we‡`ªv‡ni evZ©ven| 27bs gvLb eovj †j‡bi k¦vm‡ivax cwi‡ek I cwiev‡i G‡m Dcw¯’Z nj g„Yvj weev‡ni c‡i| msmv‡ii ˆ`bw›`b KvRKg© I Ab¨vb¨‡ì AeÁv, gvbwmK jvÃbv, we`ª“c, KU~w³ mn¨ K‡i LvIqv civi ¯^v”Q‡›`ï ga¨ w`‡q †m KvwU‡q w`‡q‡Q| wKš‘, 27 bs evwoi cv‡Uvqvwi eyw×m¤úbœ m`m¨‡ì †_‡K ¯^vfvweK eyw×e„wËi †Rv‡i g„Yvj wQj ¯^Zš¿ ÒH eyw×Uv Avgvi GZB ¯^vfvweK †h †Zvgv‡ì NiKbœvi g‡a¨ GZKvj KvwU‡qI AvRI †m wU‡K Av‡Q|Ó GQvov, g„Yv‡ji Avi GKwU ¯^vaxb †Î wQj| g‡bi wbf„Z †Kv‡Y Av‡eMgq Abyf‡e †m KweZvKzÄ ˆZwi K‡iwQj - ÒAvwg jywK‡q KweZv wjLZzg| †m QvBcuvk hvB †nvK-bv, †mLv‡b †Zvgv‡ì A›ìgn‡ji cuvwPj I‡Vwb| †mB Lv‡b Avgvi gyw³; †mB Lv‡b Avwg Avwg|Ó g"Yv‡ji 27 bs-Gi e× Rxebhvc‡b gyw³i AeKvk G‡b w`‡qwQj ¶wY‡Ki gvZ…‡Z¡i Av¯^v`| wKš' ÒmÜ¨vZvivi g‡Zv ¶YKv‡ji R‡b¨ D`q n‡qB Zvi Mf©RvZ Kb¨vwU gviv †MjÓ| djZ, gv nevi `y:LUzKz †c‡jI gv nevi wPi¯’vqx gyw³UzKz Zvi Kv‡Q Aaiv †_‡K †Mj| cyi“lkvwmZ mgv‡R msmv‡i cvwZeª‡Zï K‡Vvi Av`k©‡K wk‡ivavh© K‡i e‡ov Rv‡qi g‡Zv KvwU‡q w`‡Z cviZ| Ôgyw³Õ (1325 e½v‡ãi êkvL msL¨v, meyRcÎ) KweZvi nZfvwMbx bvixi g‡Zv g„YvjI ej‡Z cviZ - ÒAvwg †Kej Rvwb / iuvavi c‡i LvIqv, Avevi LvIqvi c‡i ivuav / evBk eQi GK - PvKvB‡ZB euvavÓ| wKš‘, g„Yv‡ji N‡iB Gj Ôemš— KvjÕ| we›`yi Avwef©v‡e gvLb eovj †j‡bi `geÜ Kiv cwi‡e‡k g„Yvj †hb cÖvY †cj - ÒAvgvi msmv‡ii cvKv e‡›`ve‡¯—i gvSLv‡b †Qv‡Uv GKUzLvwb Rxe‡bi KYv †Kv_v †_‡K D‡o G‡m cojÓ| e‡ov Rv‡qi GB gv giv †evbwU fv‡q‡ì Abvì AZ¨vPvi mn¨ Ki‡Z bv †c‡i g„Yv‡ji k¦ïievwo‡Z AvkÖq wb‡jv| GLv‡bI mK‡jB D‡cv AeÁv K‡i, GK cÖKvi Av¯—vKzu‡oiB †hb †m Dchy³| Ggb Ae¯’vq cig †mb‡n ggZvq g„Yvj Zv‡K N‡i I ü`‡q AvkÖq w`j| †mI Abyfe Kij we›`yi Abvwej Ôfv‡jv evmvi `ytmn †eMÕ - ÒGB fv‡jvevmvi wfZi w`‡q Avwg Avcbvi GKwU ¯îƒc †`Ljyg hv Avwg Rxe‡b Avi †Kvbw`b †`wLwb| †m Avgvi gy³ ¯îƒcÓ| cyi"l kvwmZ mgvR bvixi ¯^Zš¿ AvZ¥cÖKvk I ¯^vaxbZv‡K ¯^xKvi Ki‡Z Pvq bv, gvb‡Z Pvq bv bvixi ü`qv‡eM‡K, Zvi gy³ cÖv‡Yi Dj•vm‡K| cÖwZ c‡` c‡` †m ˆZwi K‡i ms¯‹vi, Abykvmb I bxwZwbq‡gi `yj©sN¨ k„sLj I cÖvPxi| cyi“l kvixwiK kw³i †kÖô‡Z¡ Kv‡qg Ki‡Z Pvq GKvwaZ¨| GB GKZidv †RviRei`w¯— g~jK eë¯'vq mbvZb mgvR eë¯’v ZiZwi‡q P‡j e‡U; wKš‘ bvixRvwZi GB Pig Aegvbbvq gvbemf¨Zvi PigZg Ae‡qi G GK wPi¯’vqx e‡›`ve¯— bq wK? ¯¿xi c‡Îi g„Yvj cyi“l RvwZi Rei`w¯’i cvKv e‡›`ve‡¯—i wei“‡× I `vm‡Z¡i ksL‡ji wei“‡× cÖwZev` K‡i‡Q| k¦ïievwoi †jvK‡ì nvZ †_‡K †m AvcÖvY †Póv K‡iI we›`y‡K euvPv‡Z cv‡iwb| cvMj ¯^vgx I k¦ïievwoi AZ¨vPvi cxob AeÁv mn¨ Ki‡Z bv †c‡i wbi“cvq AvkÖqnxb we›`y cy‡o g‡i g„Zzï †Kv‡j AvkÖq wb‡q‡Q| we›`yi gg©vwš—K cwiYwZ‡Z g„Yv‡ji mZ¨`k©b n‡q‡Q| k¦ïievwoi Kxe m`m¨‡ì AgvbweKZv, AmviZ¡ I fÛvwgi ¯îƒc D‡b¥vwPZ n‡q‡Q| ZvB, mvZvk b¤î gvLb eov‡ji A›ìgn‡ji BuUKv‡Vi Aš—ivjeZ©x mg¯— euvav wbqg, euvav Af¨vm, euvav eywj, evav gv‡qi bvMcvkeÜb‡K Zz”Q, AMÖvn¨ I jsNb K‡i g„Yvj P‡j Gj - ÒAvwg Avi †Zvgv‡ì †mB mvZvk b¤î gvLb eov‡ji Mwj‡Z wdie bv| Avwg we›`y‡K †`‡LwQ| msmv‡ii gvSLv‡b †g‡q gvby‡li cwiPqUv †h wK Zv Avwg †c‡qwQ| Avi Avgvi ìKvi †bBÓ| e¯‘Z, mvZvk b¤î evwoi gvby‡li i³Pz, kvmb, KUv I m‡e©vcwi Rei`w¯— g„Yvj‡K µgk AÜKv‡i †V‡j w`w”Qj| we›`yi §y!•ï˛ƒ xDl ˘ meeefnl³e Debeieve / Sahitya Angan 35

Av‡jvi g‡Zv ¶wY‡Ki A_P cÖ`xß Avwef©ve I AvKw¯§K cÖqv‡Y PwK‡Z msmv‡ii cÖPwjZ eë¯’vi duvwK aiv coj| cÖvq g‡i - _vKv g„Yvj we›`yi g„Zz¨‡Z Rxe‡bi RqcZvKv Do‡Z †`‡L‡Q| ZvB, kÖx‡¶‡Î D`vi bxj AvKvk I Avlv‡pi †gN cy‡Äi (MíwU kªveY-G cÖKvwkZ nq) mvg‡b ùvwo‡q g…Yv‡ji AvZ¥cÖZ¨qx ewjô bvixKÚ †NvlYv K‡i‡Q ÒAvR evB‡i G‡m †`wL, Avgvi †MŠie ivLevi Avi RvqMv †bB| Avgvi GB Abv`…Z iƒc huvi †Pv‡L fv‡jv †j‡M‡Q, †mB my›ì mg¯- AvKvk w`‡q Avgv‡K †P‡q †`L‡Qb| GB evi g‡i‡Q †g‡RveDÓ| Abš- AvKvk Z‡j GB cÖkvš- gyw³‡Z g„Yvj †g‡Rv‡eŠ wnmv‡e msmv‡ii cÖvZ¨wnK w`bhvc‡bi M•vwb †g‡b wb‡Z cv‡iwb| cyi“lkvwmZ cyi“lwbqwš¿Z cwievi I mgv‡Ri AvkÖq †_‡K wehy³ nevi ¯úwa©Z B”Qv cÖKvk K‡i e‡j‡Q - Ò†Zvgv‡ì PiYZjvkÖqwQbœÓ| PiYZ‡ji AvkÖq Avm‡j c``wjZ I Acgv‡bi AvkÖq| GB Acgv‡bi I AeÁv †_‡K gyw³i evmbv g"Yvj‡K cÖwZev`x bvix wnmv‡e Dcw¯’Z K‡i‡Q| M‡íi †hLv‡b †kl †mLvb †_‡K ÔbvixÕ g„Yv‡ji bZzb Rxe‡bi c_ Pjv Avi¤¢| A‰ØZPi‡Yi msmv‡i Avmvi ci †_‡K †MvwK©, †eM©mu, Be‡mb, A‰ØZm¤cÖ`vq, gv‡Qi KPzwi I wewjwZ Avgovi PvUwbi Pv‡c c‡o Awbjvi e¨w³mËv Aj‡¶¨ bvwfk¦vm ZzjwQj| Rxe‡bi mnR ¯^vfvweK Q›` I ù~wZ© e¨vnZ nj| ¯^vgx wnmv‡e A‰Ø‡Zi e¨w³Z¡ I gvbwmKZvi `xbZv Awbjv‡K µgk Aš‘gy©Lx K‡i‡Q| †m cy‡ivwn‡Zi nvZ †_‡K Awbjv‡K †c‡jI Zvi weavZvi nvZ †_‡K Zv‡K MÖnY Kivi †Kv‡bv g~j¨B †m †`qwb| djZ: Zv‡ì `v¤úZ¨ m¤úK© A‰ØZPi‡Yi wbqš¿Yvax‡b hvwš¿K n‡q †M‡Q| Awbjvi Aw¯—Z¡ msmv‡ii MÛx‡Z G‡Kev‡i †nu‡kj e›`x| ¯^vgxi ûKzg cvjb Ki‡Z Ki‡Z †K‡U †M‡Q Rxe‡bi 8 wU eQi iuvavi ci LvIqv Avi LvIqvi ci iuvav| nVvr GKw`b cqjv b¤î evwo‡Z †`Lv †Mj wmZvsï‡gŠjxi cÖvYPÂj Dcw¯’wZ| Zuvi †jLv ¯§„wZfiv wPwV Ges fvB m‡iv‡Ri AvZ¥nZ¨v Awbjv‡K Ni msmvi †Q‡o †h‡Z eva¨ K‡i‡Q| †m KvD‡KB aiv bv w`‡q wbi“‡Ïk n‡q‡Q, Dfq‡KB cÖZ¨vLvb K‡i‡Q| wKš‘, †m Ni Qvovi Av‡M MnYv mn h_vme©¯^ GgbwK wmwK `yqvwbwU †i‡L †M‡jI maev bvixi wPý nv‡Zi kuvLv I †bvqv m‡½ wb‡q‡Q| g„Yvj Ô†gReDÕ gy‡Q †d‡j ¯^vgxi PiYZjvkÖqwQbœ n‡Z †c‡i‡Q| cvš—‡i Awbjv wK weevneë¯'v‡K ¯^xKvi K‡iI Ni †Q‡o‡Q? DËiUv Aby”QvwiZ I A¯úó †_‡KB hvq| †eva nq, cyi“‡li jyäZv I D`vmxbZvi wei“‡× mvwe©K cÖwZev` Rvwb‡q Awbjv Ni †Q‡o Avcb fvM¨Rq Kivi AwaKvi AR©‡b m‡Pó n‡Z †P‡q‡Q| cÖPwjZ weevn eë¯’vi g‡a¨ †h AmsMwZ, duvwK I bvix‡Z¡i Am¤§vb i‡q‡Q, Zvi wei“‡× ùvwo‡q g„Yvj, Awbjv Ni †Q‡o‡Q| Ab¨w`‡K AcwiwPZv M‡íi (1321, KvwZ©K) Kj¨vYx êevwnK cÖ_v‡KB A¯^xKvi I AMÖvn¨ K‡i‡Q| we‡qi Avm‡i MnYvi ¸Yv¸b I g~j¨gvb wePv‡i cvÎc‡i AgvbweK AvPiY k¤¢ybv_‡K P~ovš— wm×vš— MÖn‡Y eva¨ K‡i‡Q| we‡eKnxb, †jvfx cwiev‡i †g‡qi weevn bvKP K‡i w`‡q‡Qb we‡qi Avm‡i| Kj¨vYxI †mB c‡_ †nu‡U‡Q| †h mgv‡R weevn-eë¯’v Avw_©K †jb‡`‡b, cYcÖ_vi k„¶L‡j `ywU ü`q I cwievi‡K euva‡Z Pvq, †mB wbqg I eë¯’v‡K gvb‡Z cv‡iwb Kj¨vYxi mgvRwe‡`ªvnx gb| Avi cv‡iwb e‡jB Abyc‡gi m‡½ m¤^Ü †f‡O hvevi ci †m Avi †Kv‡bvw`b weevn-eÜ‡b Ave× nqwb| GgbwK, K‡qK eQi c‡i Abycg hLb Zvi gvgvZ‡š¿i wb‡l‡ai Rvj wQu‡o †ewi‡q G‡m Kj¨vYxi cvwY cÖv_©bv K‡i‡Q, ZLb †m Abyc‡gi AbyZß ü`‡qi Av‡e`b cÖZ¨vL¨vb K‡i‡Q| GB Abgbxq g‡bvfv‡e Kj¨vYxi ü`qa‡g©i cÖK…Z MwZwewa †evSv m¤¢e nq bv| Z‡e, GUv †ek Av›`vR Kiv hvq †h, †m cyi“‡li ev cyi"lkvwmZ mgv‡Ri B”Qv Awb”Qvi Dci wb‡Ri Rxeb‡K †Q‡o w`‡Z ivwR bq| Zvi wbR¯^ wPš—v fvebvi RMr 36 §y!•ï˛ƒ xDl ˘ meeefnl³e Debeieve / Sahitya Angan

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1. iex›`ªiPbvejx (myjf ms¯‹iY) Øv`k LÛ; wek¦fviZx MÖš’Y wefvM; 1397 2. iex›`ªel©cwÄ - cÖfvZKzgvi gy‡Lvcva¨vq; †`ÕR cvewjwks; 2007 3. iex›`ªbv_ I †bv‡ej cyi¯‹vi t mgKvjxb Z_¨ - msKjb I m¤úv`bv wewRZKzgvi `Ë; cwðge½ evsjv GKv‡`wg; 2005| 4. exiej I evsjv mvwnZ¨ - Ai“YKzgvi gy‡Lvcva¨vq; †`ÕR cvewjwks; 2003| 5. cÖeÜ msMÖn, cÖg_ †PŠayix; wek¦fviZx MÖš’b wefvM; 2013| §y!•ï˛ƒ xDl ˘ meeefnl³e Debeieve / Sahitya Angan 37

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37 38 §y!•ï˛ƒ xDl ˘ meeefnl³e Debeieve / Sahitya Angan

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(1313-75) ®mM¡…¢m qm Filocolo, Filostrato Hhw ®cL¡•jlZz A•eL f¢ä•al A¢ija HC ®k, ®cL¡•jlZC Bd¤¢eL •R¡•V¡N•Òfl fËbj Øj¡lLz naN•Òfl pwNËq "®cL¡•jl•Z' NÒfL¡l B•hN- LÒfe¡-e£¢a-Ef•c•nl plm-alm f•b e¡ Q•m n¡¢ea ®nÔo ¢j¢nËa i¡o¡u ¢hâ¨f-®L±a¥•Ll j¡dÉ•j p¡j¡¢SL œ¥¢V-¢hQÉ¥¢a-ApwN¢a…¢ml j§•m ¢ejÑj L¥W¡l¡O¡a L•l•Rez mrÉZ£u ¢hou, hZÑe¡l Q¡a¥•kÑ NÒflp ¢L¿¹¥ LM•e¡ HaV¥L¥J Bqa qu¢ez ®h¡L¡¢µQJ •k La hs j¡•fl Bd¤¢eL ®R¡VNÒfl a¡ J. M. Cohen-Hl hZÑe¡u dl¡ f•s•R HCi¡•h : “All the stories are short and there stings are all in the tail. Boccaccio is a master of the unexpected ‘denouement’. Caring less for character and motive than for the turn of event, he can afford to make his people behave arbitrarily. When they are serious they are mere eccentrics! When most lively they are broadly comical.”3 Hlfl ¢SJ•é Qp¡l (1340 ?—1400) ®R¡VN•Òfl ®rœ•L pjªÜ Ll•me "VÊum¡p AÉ¡ä ®œ²¢pX¡' "¢c ¢m•Sä AhÚ …X EC•je' Hhw Apj¡ç "LÉ¡¾V¡l•h¢l "VmpÚ' NË¿Û…¢m ¢m•Mz ay¡l ph•Q•u E‹Æm pª¢ø Apj¡ç "LÉ¡¾V¡l•h¢l ®VmpÚ'-H Bjl¡ S¡e•a f¡¢l Cwm•äl ¢h¢iæ ®nË¢Z J pj¡•Sl fË¢a¢e¢d ÙÛ¡e£u h¢œn S•el LÉ¡¾V¡l•h¢l e¡jL a£bÑcnÑ•el L¡•m k¡œ¡f•bl A¢i‘a¡l NÒfz Bd¤¢eL ®R¡VN•Òfl h¢mù pÇf¨ZÑ ¢hL¡n ay¡l N•Òf e¡ b¡L•mJ L¡¢q¢e-OVe¡- Q¢lœ pª¢øl Ap¡d¡lZ cra¡, p¤¤Ni£l fkÑ•hrZ n¢š², ®pC p•‰ pwú¡lj¤š² j¡e¢hL S£he•h¡d ay¡•L Hhw ay¡l pª¢ø•L Ajl L•l ®l•M•Rz nË•Üu lb£¾cÊe¡b l¡•ul j§mÉ¡uZ qm : ""LÉ¡¾V¡l•h¢l ®VmpÚ' L¡hÉ, ¢L¿¹¥ LÒfe¡¢hm¡p L¡¢q¢e…¢m•L BL¡n¢hq¡l£ L•l ®a¡•m¢ez Qp¡•ll fË¢ai¡l p•‰ KfeÉ¡¢pL h¡ NÒf¡L¡•ll fË¢ai¡l HL¢V B¢aÈL pÇfLÑ B•Rz R¾chÜ L¡•hÉ ¢a¢e fËL¡l¡¿¹•l ®R¡•V¡N•Òfl Ae¡Na pñ¡he¡lC C¢‰a L•l•Rez a£rÈ ¢h•nÔoZ rja¡, ¢ef¤Z fkÑ•hrZn¢š², NÒf hm¡l Ae¡u¡p-p¡hm£ma¡, pwú¡lj¤š² Ec¡l S£he cª¢ø "LÉ¡¾V¡l•h¢l ®VmpÚ’-®L p¡bÑL ®R¡VNÒf pˆm•el jkÑ¡c¡ ¢c•u•Rz''4 Cw•lS pj¡•m¡QL Ifor Evans h•m•Re : “His quick, sure strokes portray the pilgrims at once as types and individuals true to their own age and, still more, representatives of humanity in general.’’5 Bjl¡ CE•l¡•f ®l•epy¡•pl fcp’¡l öe•a ®fm¡jz ®l•epy¡•pl fËbj B•m¡ H•p f•s Ca¡¢m•az ®l•epy¡•pl B•m¡LRV¡ hÉ¡fL BL¡•l BR•s f•s gl¡p£ ®c•nz pjË¡V fËbj gy¡•p¡u¡l l¡SaÆL¡mC gl¡p£ ®l•epy¡•pl üZÑk¤Nz pjË¡V p•q¡cl¡ e¡i¡•ll l¡e£ j¡l…C•l (1492-1549) ®h¡L¡¢µQJl "®cL¡•jlZ'-Hl Bc•m p¡a ¢c•el h¡q¡šl¢V L¡¢q¢el pˆme "®qç¡•jlZ' lQe¡ L•lez ay¡l N•Òfl lQe¡ °nm£ d¡l Ll¡ q•mJ ¢houhÙ¹¥ ¢ehÑ¡Q•e ®j±¢mLa¡l R¡f Øføz pj¡S S£h•el m¡ÇfVÉ, el-e¡l£l EµR«´Mm S£he-k¡fe, k¡SL-pÇfËc¡•ul °e¢aL BcnÑq£ea¡ fËi«¢a ®R¡VN•Òf a¥•m d•l ¢a¢e BcnÑ p¡j¡¢S•Ll i¨¢jL¡ Ahmðe L•l•Rez ¢a¢e ®fÔ•V¡¢eL ®fËj-cnÑ•e BÙÛ¡ ®cM¡•mJ, h¡Ù¹h ®r•œl p•‰ HC BÙÛ¡l pwO¡a ®Q¡•M fs¡l j•a¡z hÙ¹a: j¡l…C•l•al B¢aÈL Ap£j lqpÉC ay¡l NÒf…¢m•a i¡o¡ ®f•u•R : “ She retains a good deal of the medieval amour courtois ideal; love can only exist outside marriage. At the same time she is enough of a realist to see that life is not like that, and the conflict that goes on in her own mind is dramatized in the members of the band, who each represent a different attitude.”6 Bh¡l gl¡p£ NcÉ p¡¢q•aÉl j¤¢š²c¡a¡ q•me ®l•epy¡p L¡•ml ¢hMÉ¡a ®mML éy¡•p¡u¡ lÉ¡•hm (1494-1553)z p¡l¡S£he d•l A•eL ¢e¾c¡l ®h¡T¡ hqe Ll¡ HC h•lZÉ ®mML °caÉ J 40 §y!•ï˛ƒ xDl ˘ meeefnl³e Debeieve / Sahitya Angan

°caÉf¤•œl L¡¢q¢e ¢e•u fy¡Q M•ä ®k NcÉ jq¡L¡hÉ ®m•Me a¡qm "N¡lNy¡a¥u¡ J fyÉ¡a¡ NË¥•um'z ay¡l fy¡Q¢V NË•¿Ûl fËbj Q¡l¢V L¥¢s hR•ll (1532-1552) p¡de¡l gpmz f’j AbÑ¡v ®no Mä¢V jªaÉ¥l fl 1564 p¡•m fËL¡¢na quz pñha AeÉ ®LE ay¡l Apj¡ç f¡ä¥¢m¢f pj¡ç L•lez lÉ¡•hm ¢e•S djÑk¡SL ¢R•mez a¡C hÉ¢š²Na A¢i‘a¡l ¢e¢l•M N£SÑ¡-j•Wl S£he•L ¢a¢e ¢ejÑj °ef¤•ZÉ a¥•m d•l•Re ay¡l pª¢øl j•dÉz L¡¢q¢eL¡l ¢q•p•h ¢a¢e hsC c¤hÑm ¢R•mez a•h pwm¡f lQe¡u k¡c¤Ll£ rja¡ fË•u¡•N ay¡l p¡¢qaÉ HL AeÉj¡œ¡ ®f•u•Rz ¢hnÄp¡¢q•aÉl Fo¡m•NÀ ay¡l HC …Z Aa¥me£uz ¢a¢e ®k gl¡p£ p¡¢q•aÉ fËbj Bd¤¢eL ®mML H•a ®L¡•e¡ p•åq ®eCz mrZ£u ¢hou qm, ®l•epy¡•pl B•m¡LcÉ¥¢a fËbj Ca¡¢m ®b•L CwmÉ¡ä, CwmÉ¡ä q•u é¡¾p, é¡¾p ®b•L a¡ p¡l•i•¿¹•pl (1547-1616) q¡a d•l R¢s•u fsm a¡j¡j ®Øf•ez ®Øfe£u Lb¡p¡¢q•aÉl ANËc§a p¡l•i•¿¹p c¤'M•ä ¢mM•me "Xe L¥CL•p¡V'z HR¡s¡ ay¡l ®R¡VN•Òfl pwLme qm “Exemplary Novels’'z HC NË•¿Û EáV ¢hm¡p£ R¡•œl L¡q¡¢e, ¢Sf¢p ®j•ul B•hNf§ZÑ N£¢a-djÑ£ fËZu L¡¢q¢e fËi«¢a lQe¡…¢m ay¡l pj¡S p•Qae hÙ¹¥¢eù cª¢øi‰£l f¢lQu hqe L•lz Bl p¡j¢NËLi¡•h ea¥e k¤•Nl Lb¡p¡¢q•aÉl h¢mù ®rœ °a¢l qm ®h¡L¡¢µQ•u¡l p¡hm£m L¡¢q¢e l©f¡u•Z, Qp¡•ll Ap¡d¡lZ Q¢lœ-pª¢øl jqv …•Z, lÉ¡•h•ml ®L±a¥L J pwm¡f pª¢øl k¡c¤l Øf•nÑ Hhw p¡l•i•¿¹•pl pqS-plm-p¡hm£m lQe¡l£¢al Efl il L•l cy¡¢s•uz H•Lh¡•l S•ml ja pqS i¡o¡ fË•u¡•Nl à¡l¡ S£h•el A¢SÑa A¢i‘a¡•L ay¡l pª¢øl j•dÉ a¥•m d•l•Re h•mC Bd¤¢eL L¡•mJ ay¡l Se¢fËua¡u HaV¥L¥ i¡V¡ f•s¢ez HM¡•eC p¡l•i•¿¹•pl a¥me¡ HLj¡œ p¡l•i•¿¹p ¢e•SCz Hlfl Cwm•äl ¢nÒf ¢hfÔh Hhw é¡•¾p gl¡p£ ¢hfÔ•hl ®fËr¡f•V j¡e¤•ol S¢Vm S£h•el h¡Ù¹h ¢Qœ p¡j¢NËL i¡•h ®R¡•V¡NÒf lQe¡u ®k f¢l•hn pª¢ø L•l Fe¢hwn na•L a¡ ®k±he¡•hN f¡uz Bd¤¢eL ®R¡VN•Òfl SeÈmNÀ Fe¢hwn na¡ë£z gl¡p£•c•nz Lb¡p¡¢q•aÉl AeÉaj n¡M¡ EfeÉ¡•pl SeÈ J fbQm¡ öl¦ Aø¡cn na•Lz ¢lQ¡XÑpe, ¢g¢ôw, ØV¡ZÑ, ®Se A•ØVe, úV fËj¤M ¢hM¡a KfeÉ¡¢p•Ll fË¢ai¡l Øf•nÑ Cw•lS£ EfeÉ¡•pl B¢cf•hÑl fË¡Z fË¢aù¡u Lb¡p¡¢qaÉ ®hn pjªÜ q•u¢Rmz ¢h¢Qœ fË¢ai¡l A¢dL¡l£ gl¡p£u hÉ¡mS¡LÚ (1799-1850) phÑ•c•n phÑL¡•ml Lb¡p¡¢q•aÉl BL¡•nl HL E‹Æm erœz ¢a¢e EfeÉ¡p J ®R¡VNÒf lQe¡u pj¡e cr ¢R•mez ay¡l ®hn¢LR¥ ®R¡VNÒf f§ZÑ EfeÉ¡•pl f§•hÑ ®mM¡ q•u•Rz ¢a¢e f¡WLhNÑ•L Efq¡l ¢c•u•Re ‘The Unknown Masterpiece’, ‘The Fatal Skin’, ‘An Episode of the Reign of Terror’, ‘A Passion in the Desert’ fËi«¢a ApwMÉ E•õM•k¡NÉ ®R¡VNÒfz Bh¡l ¢iƒl ý•N¡, j¤p•p (Musset), SSÑ py¡c (George Sand) fËj¤•Ml¡ ®R¡VNÒf ¢mM•mJ fË¢ai¡dl ®mML fËpÚf¡l ®j¢l•jl (1803-70) fË¢ai¡l flnj¢Zl Øf•nÑ ®pL¡•ml ®R¡VNÒfl©f ®m¡q¡Mä Aj§mÉ ®p¡e¡u f¢lZa quz ¢a¢eC q•me Bd¤¢eL ®R¡VN•Òfl BcnÑ ®L±n•ml SeÈc¡a¡z HL-HL¢V p¡j¡eÉ ¢hou•L Ahmðe L•l Ap¡d¡lZ NÒf•mM¡l rja¡ ¢Rm ®j¢l•jlz p¤¤d£ pj¡•m¡Q•Ll i¡o¡u : “Great as balzac and Hugo are in General literature, they have not so high a position in the special art of the short as prosper Merimee has.Merimee is the creator of modern Conte.’’7 ay¡l ‘Mateo Falcon’ N•Òf B¢cj pwú¡l fËhZa¡ J BaÈ•h¡•dl L¡•R f¤œ-®pÀ•ql q¡l j¡e¡l L¡¢q¢ez Bh¡l œ²£ac¡p-hÉhp¡l Ll¦Z ¢Qœ g¥•V E•W•R ‘Tamang’ N•Òfz ‘The Blue Room’, ‘The Game of Backgammon’, ‘Thr Etruscan Vase’ fËi«¢a N•Òf BcnÑ ®R¡VN•Òfl °h¢nøÉ…¢m c¡l¦Zi¡•h g¥•V E•W•Rz pj¡•m¡Q•Ll i¡o¡u : “He did, in fact, fix the form of the modern short story : a condensed plot; a sense of atmosphere §y!•ï˛ƒ xDl ˘ meeefnl³e Debeieve / Sahitya Angan 41 suggested by a selective choice of striking details; rapidity of action; sobriety of style; general economy.’’8 E¢en na•Ll B•lLSe ®R¡VNÒf¡L¡l q•me Theophile Gautier(1811-72)z ¢a¢e p¡¢qaÉ lQe¡u “ Art for Art’s sake’ e£¢a•a ¢hnÄ¡p£ ¢R•mez ¢Qœ¢nÒf£ Lb¡ p¡¢q¢aÉL ®N¡¢a•ul “The Mummy’s Fool’, ‘The Pavilion of the Lake’, ‘The Nest of Nightingales’ fËi«¢a ®R¡VN•Òf Lb¡¢c•u ¢a¢e ®k R¢h Hy•L•Re a¡•a C¢¾cÊuNË¡qÉ l©fpaÉC g¥•V E•W•R ALmˆ ®lM¡uz HC na•Ll ¢àa£u¡•dÑ ®R¡•V¡NÒf¡L¡l ®S¡m¡ (1840-1902) "eÉ¡Q¡l¡¢mØV ú¥m' e¡•j HLTy¡L ®mML ®N¡ù£•L ¢e•u fËL¡n L•le “ Les Soirees de Medan’’ e¡•j HL¢V NÒfpwLmez 1870 MË£ø¡•ël é¡•ˆ¡-f¤¢nu¡e k¤•Ül fVi¨¢jL¡u fË•aÉL ®k¡Ü¡l ®mM¡u pjªÜ HC pˆme NË•¿Ûl •nËø NÒf¢V qm ®j¡f¡py¡l “Build de suif ‘ (Q¢hÑl N¡c¡)z gÓ•h•ll ¢fËu ¢noÉ ®j¡f¡py¡ j¡œ cn hR•ll j•dÉ fË¡u ¢ae•n¡ NÒf ¢m•M ¢hnÄp¡¢q•aÉ B•m¡se pª¢ø L•lez ay¡l ®mM¡ ‘Miss Harriett’, ‘M. Parent’, ‘The Neclace ‘ fËi«¢a ¢hnÄp¡¢q•aÉl Aj§mÉ pÇfcz ®j¡f¡py¡l pjp¡j¢uL B•lLSe ®R¡VNÒf¡L¡l q•me Bmgyp ®c¡•c (1848-1897)z N•Òfl j•dÉ Ll¦Zlp pª¢ø•V ¢a¢e ¢R•me ¢pÜqÙ¹z ¢a¢e A¢a p¡j¡eÉ ¢hou•L ¢e•u Ap¡j¡eÉ NÒf ¢mM•a f¡l•aez ay¡l ‘Old Folks’ ®R¡VNÒf¢V Ll¦Zl•pl Bd¡•l N•s E•W•Rz ‘The Pope’s Mule’, ‘The Goat of Monsieur Seguin’, ‘The Two Inn’ fËi«¢a NÒf…¢m•a LM•e¡ p¡d¡lZ S£he¢Qœ, LM•e¡ k¤•Ül iu¡hq A¢i‘a¡l Lb¡, LM•e¡ LM•e¡ ®cn•fË•jl E‹Æm l©f h¢ZÑa q•u•Rz ph•n•o gl¡p£ ®R¡VN•Òfl d¡l¡•L H¢N•u ¢e•u k¡h¡l c¡¢uaÆ •ee Bm•a¡m gy¡p, ljy¡ lmy¡, B•ây ¢ScÚ, BmÚ•hl LÉ¡j¤ fËj¤M ¢hMÉ¡a ®mMLN•Zl q¡•az Bh¡l ®hn L•uLSe l¦n ®mML ®R¡VN•Òfl d¡l¡•L N¢an£m l¡M•a M¤hC B¿¹¢lL ¢R•mez Bd¤¢eL l¦n p¡¢q•aÉl SeÈc¡a¡ q•me B•mLS¡¾c¡l f¤nÚ¢Le (1799-1837)z üÒf¡u¤ h¡ulZ ¢noÉ f¤nÚ¢L•el S¥u¡¢s•cl L¡¢q¢e ¢e•u ®mM¡ ‘Queen of Spades’ ; AÉ¡X•i’¡•ll L¡¢q¢e ¢e•u •mM¡ ‘The Shot’’ ; iâ cpÉ¥•cl L¡¢q¢e ¢e•u ®mM¡ “Dubrovsky’ ; fËi«¢a N•Òf °h¢Q•œÉl TmÚL¡¢e•a f¡WL j¤‡z ay¡l ®R¡VNÒf…¢m l¦n p¡¢q•aÉl ph•Q•u j§mÉh¡e laÀz f¤nÚ¢L•el fl ¢e•L¡m¡C ®N¡•N¡m (1809-52) l¦n p¡¢q•aÉ ea¥e pw•k¡Sez ay¡l c¤'M•ä ‘Evening in a Firm House near Dikanka’-Hl Q¢lœ pª¢øl cra¡, a£rÁ fkÑ•hrZn¢š², në Q¡a¥kÑ ay¡l NcÉ °nm£•L S£h¿¹ L•l a¥•m•Rz "Ji¡l•L¡V' ®R¡VNÒf¢V•a c¤NÑa-f£¢sa j¡e¤•ol Ll¦Z A¢i‘a¡•L f¤nÚ¢Le i¡o¡l©f ¢c•u•Rez l¦n Lb¡p¡¢q•aÉl C¢aq¡•p ®R¡VNÒf¡l a¥•NÑ¢e•il (1818-1883) Ahc¡e ®hn E‹Æmz ay¡l ‘Bezhim Meadow’, ‘The Singers’, ‘The Living Relic’, ‘Ermolai and the Miller’s wife’ fËi«¢a NÒf…¢m •mM•Ll fË¢ai¡l c£¢ç•a i¡ülz AeÉ¢c•L L¡E¾V¢mJ amÙ¹u (1828-1910) ¢LR¥ ®R¡VNÒf ¢mM•mJ fËL«a A•bÑ ¢a¢e KfeÉ¡¢pLz ay¡l N•Òf paÉ, ¢nh J p¤¤¾c•ll h¾ce¡u f¡WL j¤‡ qez l¦n p¡¢q•aÉ hs j¡•fl ®R¡•V¡NÒfl q•me B¿¹e •QLi (1860-1904)z ¢hnÄ•R¡VNÒf p¡¢q•aÉ ay¡l Bpe AhnÉC ®j¡f¡py¡l f¡•nz ‘Albuni’ h¡ ‘The Horse Family’ N•Òf q¡pÉlp pª¢øl Ap¡d¡lZ cra¡l f¢lQu f¡Cz ay¡l ‘Word No.6' N•Òf q¡pf¡a¡•ml Ahpb¡l iuˆl ¢Qœ g¥•V E•W•Rz Bh¡l ‘The Black Monk’, ‘The man is a case’, ‘Grasshopper’ fËi«¢a ®R¡VNÒf…¢m ®mM•Ll ¢h¢Qœ A¢i‘a¡l üZÑgpmz AeÉ¢c•L ®fnLi Jl•g jÉ¡¢„j ®N¡¢LÑl (1838-1936) p¡l¡S£h•el jjÑ¡¢¿¹L A¢i‘a¡l ¢Rœ g¥•V E•W•R ‘Malva’, ‘Twenty six Men and a Girl’, ‘A Man is Born’ fËi«¢a 42 §y!•ï˛ƒ xDl ˘ meeefnl³e Debeieve / Sahitya Angan

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M : A History of Western Literature, pg. 64 4z l¡u, lb£¾cÊe¡b: "®R¡VN•Òfl Lb¡'/ f¤Ù¹L ¢hf¢Z; LmL¡a¡ / S¡e¤u¡l£, 1996/fªù¡-32-33 5z Evans, Ifor : A Short History of English Literature. (Penguin) pg. 14-15 6z A Short History of Frence Literature, pg. 37 :Laurence Bission. 7z Hammerton, J. 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˛õyòê˛#Ü˛y / 1ä Guha Ranajit/ An Indian Historiography of India, A Nineteenth Century Agenda and its Implications/ S. G. Denskar Lectures on Indian History/ 1987/ K. P. Bagchi & Co., Kolkata 2ä Desai A. R./ Social Background of Indian Nationalism/ Prologue, Page-1 & 2/ fifth edition Reprint 1981/ Popular Prakashan, Bombay 3ä Ó˚yÎ˚ xl%Ó˚yôy˘ Úí˛z!l¢ ¢ï˛ˆÏÜ˛Ó˚ ÓD#Î˚ Ó%!k˛ç#Ó#ˆÏòÓ˚ ÓyÇ°y G Ë˛yÓ˚ï˛ÛÈüüüÈ@˝ÃÓ¶˛˘ ÚÓy.y!°Ó˚ §yÇ§}!ï˛Ü˛ !òàhs˝Û˘ §¡õyòlyÈüüüÈí˛zIµ°Ü%˛ÙyÓ˚ Ùç!%ÙòyÓ˚˘ ˛õ,ÈüÈ141˘ xyà‹T 2001˘ ˆ§ylyÓ˚ ï˛Ó˚#ñ Ü˛°Ü˛yï˛yÈüÈ57 4ä Stamp Dudlay/'marked of by nature as a region of 'realm' by itself; í˛zÍ§ 'The Etymology of the Indian Nation\ Bratindranath Mukhopadhyay\ The Felegraph\ 19th August 1992 ã˛ˆÏRy˛õyôƒyÎ˚ Ó!B˛Ùã˛w˘xyl®Ùë˛ñ ≤ÃÌÙ á[˛˘Ó!B˛Ù Ó˚ã˛lyÓ°#ñ ≤ÃÌÙ á[˛ å§Ù@˝Ã í˛z˛õlƒy§ä˘ ˜ã˛e 1376˘§y!•ï˛ƒ §Ç§òñ Ü˛°Ü˛yï˛yÈüÈ9 ò¢Ù ˛õ!Ó˚ˆÏFSÈòñ ˛õ,/ 727 7ä Said Edward/ 'Yeats and Decolonization" ≤ÃÓ¶˛ Page 271/ Culture and Imperialism @˝Ãsi˘ Vintage edition 1994/ í˛zÍ§ xl%Ó˚yôy Ó˚yˆÏÎ˚Ó˚ ≤Ãy=_´ ≤ÃÓ¶˛ 8ä ï˛ˆÏòÓ˘ ~Ü˛yò¢ ˛õ!Ó˚ˆÏFSÈòñ ˛õ,/ 729 9ä ÚxyÙyˆÏÜ˛ !lÓ˚!ï˛¢Î˚ ÷!ã˛ ••zˆÏï˛ ••zˆÏÓ– xy!Ù §Ü˛ˆÏ°Ó˚ §ˆÏD §Ùyl Ë)˛!ÙˆÏï˛ òÑyí˛¸y•zÎ˚y ly•z– Ó¶%˛c xyÙyÓ˚ ˛õˆÏ«˛ ≤ÃˆÏÎ˚yçl#Î˚ §yÙ@˝Ã# lˆÏ•ñ lyÓ˚#Ó˚ §ˆÏD Îy•yˆÏòÓ˚ ˛õˆÏ«˛ ~Ü˛yhs˝ í˛z˛õˆÏòÎ˚ xy!Ù ˆ§•z §yÙylƒˆÏ◊î#Ó˚ Ùyl%£Ï l•zñ ˆòˆÏ¢Ó˚ •zï˛Ó˚§yôyÓ˚ˆÏîÓ˚ â!l¤˛ §•Óy§ xyÙyÓ˚ ˛õˆÏ«˛ §¡õ)î≈ Óç≈l#Î˚– ˘ ˆàyÓ˚yÈüÈÓ˚Ó#wlyÌ ë˛yÜ%˛Ó˚˘Ó˚Ó#wÈüÈÓ˚ã˛lyÓ°#ñ §ÆÙ á[˛ í˛z˛õlƒy§˘xy!Ÿªl 1392˘ ˛õ!Ÿã˛ÙÓD §Ó˚Ü˛yÓ˚˘ ˛õ!Ó˚ˆÏFSÈò 71˘ ˛õ,/ 909 10 ÚˆàyÓ˚y ˆÎ !eˆÏÓî#ˆÏï˛ flÿl Ü˛!Ó˚ˆÏï˛ §ÇÜ˛“ Ü˛!Ó˚Î˚yˆÏSÈ ï˛y•yÓ˚ Ü˛yÓ˚î ~•z ˆÎñ ˆ§áyˆÏl xlÜ˛ ï˛#Ì≈Îye# ~Ü˛e ••zˆÏÓ– ˆ§•z çl§yôyÓ˚ˆÏîÓ˚ §ˆÏD ˆàyÓ˚y !lˆÏçˆÏÜ˛ ~Ü˛ Ü˛!Ó˚Î˚y !Ù°y•zÎ˚y ˆòˆÏ¢Ó˚ ~Ü˛!ê˛ Ó,•Í ≤ÃÓyˆÏ•Ó˚ ÙˆÏôƒ xy˛õlyˆÏÜ˛ §Ù˛õ≈î Ü˛!Ó˚ˆÏï˛ G ˆòˆÏ¢Ó˚•*òˆÏÎ˚Ó˚ xyˆÏ®y°lˆÏÜ˛ xy˛õlyÓ˚ •*òˆÏÎ˚Ó˚ ÙˆÏôƒ xl%Ó Ü˛!Ó˚ˆÏï˛ ã˛yÎ˚– ˆÎáyˆÏl ˆàyÓ˚y ~Ü˛ê%˛Ùye xÓÜ˛y¢ ˛õyÎ˚ ˆ§áyˆÏl•z ˆ§ ï˛y•yÓ˚ §ÙhflÏ §ÇˆÏÜ˛yã˛ñ §ÙhflÏ ˛õ)Ó≈§ÇflÒyÓ˚ §ÓˆÏ° ˛õ!Ó˚ï˛ƒyà Ü˛!Ó˚Î˚y ˆòˆÏ¢Ó˚ §yôyÓ˚ˆÏîÓ˚ §ˆÏD §Ùyl ˆ«˛ˆÏely!ÙÎ˚y òÑyí˛¸y•zÎ˚y ÙˆÏlÓ˚ §ˆÏD Ó!°ˆÏï˛ ã˛yÎ˚ñ xy!Ù ˆï˛yÙyˆÏòÓ˚ ˆï˛yÙÓ˚y xyÙyÓ˚Û–Û ï˛ˆÏòÓ˘˛õ!Ó˚ˆÏFSÈò 6ñ ˛õ,/ 646 11– ï˛ˆÏòÓ˘˛õ!Ó˚ˆÏFSÈò 53ñ ˛õ,/ 829 12– ï˛ˆÏòÓ˘ ˛õ!Ó˚ˆÏFSÈò 75ñ ˛õ,/ 921 13– Úxy!Ù xyç Ù%_´ ˛õˆÏÓ˚¢ÓyÓ%ú xy!Ù ˆÎ ˛õ!ï˛ï˛ •Óñ Óyï˛ƒ•Óñ ˆ§ Ë˛Î˚ xyÓ˚ xyÙyÓ˚ˆÏl•zÈüüüÈxyÙyˆÏÜ˛ xyÓ˚ ≤Ã!ï˛ ˛õˆÏò ˛õˆÏòÏ Ùy!ê˛Ó˚ !òˆÏÜ˛ ˆã˛ˆÏÎ˚ ÷!ã˛ï˛y ÓÑy!ã˛ˆÏÎ˚ ã˛°ˆÏï˛ •ˆÏÓ ly–˘ ï˛ˆÏòÓ˘˛õ!Ó˚ˆÏFSÈò 76 ˛õ,/ 923 14– ï˛ˆÏòÓ˘ ˛õ!Ó˚ˆÏFSÈò 75ñ ˛õ,/ 923 15– ï˛ˆÏòÓ˘ ˛õ!Ó˚ˆÏFSÈò 76ñ ˛õ,/ 924 16– ï˛ˆÏòÓ˘ ˛˛õ!Ó˚!¢‹T 75ñ ˛õ,/ 925 17– ã˛ˆÏRy˛õyôƒyÎ˚ ¢Ó˚Íã˛w˘ ¢Ó˚Í Ó˚ã˛lyÓ°# çß√¢ï˛Óy!£Ï≈Ü˛ §ÇflÒÓ˚î ≤ÃÌÙ á[˛˘˛õ,/ 1ó ≤ÃÌÙ ≤ÃÜ˛y¢ çß√y‹TÙ#ñ 12 Ë˛yoñ 1382ó ¢Ó˚Í §!Ù!ï˛ Ü˛°Ü˛yï˛y 29 §y!•ï˛ƒ xDl ˘ meeefnl³e Debeieve / Sahitya Angan 51

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1z The literature of Bengal, Ramesh Chandra Dutta,1895. 2z "¢fa¡-f¤œ'h‰ i¡o¡l ®mML, AruQ¾cÊ plL¡l,1311,fª:-528 3z "ý•a¡j fyÉ¡Q¡l eLn¡' L¡m£fËpæ ¢pwq, h‰£u p¡¢qaÉ f¢loc pwúlZ,fª-94 4z "fõ£ NË¡jÙ¹ fËS¡•cl c¤lhÙÛ¡ hZÑe, AruL¥j¡l cš, ašÄ•h¡¢de£ f¢œL¡, ANËq¡ue,1772nLz 5z h¡‰¡m¡ p¡¢qaÉ, qlfËp¡c n¡Ù»£, h‰cnÑe,1287, g¡ÒN¥ez 58 §y!•ï˛ƒ xDl ˘ meeefnl³e Debeieve / Sahitya Angan ç#Ólyl® òyˆÏ¢Ó˚ ˆSÈyê˛à“ / xyˆÏÓ˚y ~Ü˛ !Ó˛õß¨ !ÓfløÎ˚ í˛z_Ù !à!Ó˚ Ë˛yÓ˚ï˛ÓˆÏ£Ï≈Ó˚ Ù,ï˛ Ó#Ó˚ˆÏçyÎ˚ylˆÏòÓ˚ ÙÓ˚ˆÏîy_Ó˚ ÚÓ#Ó˚ ˛õòÜ˛Û ˆòGÎ˚yÓ˚ Ó˚#!ï˛ ≤Ãã˛!°ï˛ xyˆÏSÈ– ~•z ˛õòÜ˛ G §¡øyl ˛õyGÎ˚yÎ˚ Ù,ˆÏï˛Ó˚ ˆÜ˛yl ˛˛≤Ãï˛ƒ«˛ °yË˛ •Î˚ ly ÓˆÏê˛ñ ï˛ˆÏÓ ~ˆÏï˛ ïÑ˛yÓ˚ ˛õ!Ó˚ÓyÓ˚ÈüÈ˛õ!Ó˚çˆÏlÓ˚y §¡øy!lï˛G •l– ÓyÇ°y §y!•ˆÏï˛ƒ ç#Ólyl® òy¢ ˆÓyô •Î˚ ˆ§•z ÚÓ#Ó˚Û ˆ°áÜ˛ó !Î!l Óƒ!_´ÈüÈç#ÓˆÏl §%áÈüÈ¢y!hs˝Ó˚ Ù%á ly ˆòáˆÏ°G Óy.y!° ˛õyë˛Ü˛ˆÏòÓ˚ §%á# Ü˛ˆÏÓ˚!SÈˆÏ°ló xÓ¢ƒ•z ÙÓ˚ˆÏîy_Ó˚ Ü˛yˆÏ°– ç#!Óï˛Ü˛yˆÏ° ïÑ˛yÓ˚ Ü˛!Óï˛yˆÏÜ˛ ≤Ã!ï˛!lÎ˚ï˛ §ï˛#ˆÏcÓ˚ x!@¿˛õÓ˚#«˛y !òˆÏï˛ •ˆÏÎ˚ˆÏSÈ– ˆ§•z ˛õÓ˚#«˛yÓ˚ Ê˛°yÊ˛° ˆây!£Ïï˛ •ˆÏÎ˚ˆÏSÈ ïÑ˛yÓ˚ Ù,ï%˛ƒÓ˚ ˛õÓ˚– ~Ü˛yˆÏ° xyàyÙ#ˆÏòÓ˚ Ü˛yˆÏSÈ Ü˛!Ó Úç#Ólyl® Ùye Óƒ!_´ Ü˛!Ó llÈüÈ!ï˛!l ~Ü˛!ê˛ •zl!fiê˛ê%˛¢l–Û1 xÌÓy Úç#Ólyl® ~Ü˛ ˛õ,!ÌÓ#Ó˚ §ï˛ƒ x¶˛Ü˛yˆÏÓ˚Ó˚ñ x!lÓ≈ã˛l#Î˚ xyˆÏ°yÛ2 ÈüüüÈ•zï˛ƒy!ò lyly ÓˆÏí˛¸y ÓˆÏí˛¸y ï˛Ü‰˛Ùy Ü˛yÓƒˆÏ«˛ˆÏe ç%ê˛ˆÏSÈ xÌã˛ Ü˛Ìy§y!•ˆÏï˛ƒ ç#ÓlylˆÏ®Ó˚ Ü˛˛õyˆÏ° xyçG ˆï˛Ùl ˆÜ˛yl Úˆ•!Ë˛GˆÏÎ˚ê˛Û ï˛Ü‰˛Ùy ˆçyˆÏê˛!l– ~Ó˚ Ü˛yÓ˚î !ï˛!l !lˆÏçó ˆ§ ˛õ!Ó˚¢#!°ï˛ Ùllñ §)- xl%Ë)˛!ï˛ G ˆÓyˆÏôÓ˚ ã˛ã≈˛y !ï˛!l ÓyÇ°y Ü˛!Óï˛yÎ˚ Ü˛ˆÏÓ˚!SÈˆÏ°lñ ï˛y •çÙ Ü˛Ó˚ˆÏï˛•z Óy.y!° Ü˛yÓƒÈüÈ˛õyë˛ˆÏÜ˛Ó˚ ˆÜ˛ˆÏê˛ ˆàˆÏSÈ ˆì˛Ó˚ §ÙÎ˚ñ ï˛yÓ˚ í˛z˛õÓ˚ Ü˛Ìy§y!•ˆÏï˛ƒ ˆ§•z ã˛ã≈˛yÓ˚ Ú!í˛ˆÏê˛°Û Ó%ˆÏV˛ Gë˛y §ÙÜ˛yˆÏ°Ó˚ à“ˆÏáyÓ˚ Óy.y!°Ó˚ ˛õˆÏ«˛ ò%/§yôƒÈüüüÈ~ê˛y !ï˛!l Ó%ˆÏV˛!SÈˆÏ°l– §%ï˛Ó˚yÇ ~Ü˛ˆÏ¢yÓ˚G Ü˛ySÈyÜ˛y!SÈ ˆSÈyê˛à“ ≤ÃyÎ˚ ˆï˛Ó˚!ê˛Ó˚ ÙˆÏï˛y í˛z˛õlƒy§ ˆ§ §ÙˆÏÎ˚Ó˚ çlƒ ÓˆÏí˛¸y ÓˆÏí˛¸y Ü˛yˆÏ°y ê˛∆yˆÏB˛ Ü˛ÓÓ˚fli •°ó x¶˛Ü˛yˆÏÓ˚ Ù!ÙÓ˚ ÙˆÏï˛y•z ≤Ãyî !Ê˛ˆÏÓ˚ ˛õyGÎ˚yÓ˚ xy¢yÎ˚ §ÙˆÏÎ˚Ó˚ ≤Ã!ï˛«˛yÎ˚ ÓˆÏ§ ÌyÜ˛°– Ó›ï˛ ïÑ˛yÓ˚ Ü˛Ìy§y!•ï˛ƒ Ù)°ï˛ Óƒ!_´ÈüÈÙˆÏlÓ˚ ~Ü˛ x!lÓ≈ã˛l#Î˚ ˆÓyˆÏôÓ˚ xl%Ë)˛!ï˛ Ùy°y– Ü˛Ìy§y!•ˆÏï˛ƒÓ˚ ˆ§•z xï˛° á!l ˆÌˆÏÜ˛ ò%Û ~Ü˛ê˛y ˆSÈyê˛à“ !lˆÏÎ˚ !Ü˛S%È Ó°yÓ˚ í˛zˆÏjˆÏ¢ƒ•z Ü˛°Ù •yˆÏï˛ ˆlGÎ˚y– –– ~Ü˛ –– ç#ÓlylˆÏ®Ó˚ Ü˛!Óï˛yˆÏÜ˛ Î!ò ò%!ê˛ ˆÙyê˛y òyˆÏà Ë˛yà Ü˛ˆÏÓ˚ !l•zñ ï˛y•ˆÏ° ï˛yÓ˚ ~Ü˛ Ë˛yˆÏà xyˆÏSÈ !lÓ˚!Ó!FSÈß¨ ÓyÇ°yÓ˚ !l/§à≈ xyÓ˚ ~Ü˛Ë˛yˆÏà Ùyl%£Ï– ≤ÃÌÙ Ë˛yˆÏàÓ˚ ≤Ã!ï˛!l!ô fliyl#Î˚ Ü˛yÓƒ Î!ò •Î˚ ÚÓ˚*˛õ§# ÓyÇ°y å1957äñ !mï˛#Î˚ Ë˛yˆÏàÓ˚ xl%Ü˛“ ÚÙ•y˛õ,!ÌÓ#Û å1944äÈüüüÈˆÎáyˆÏl ÙylÓ ÙlflÒï˛y•z Ù%áƒ– ~Ó˚ ÙyˆÏl ~•z lÎ˚ ˆÎ ïÑ˛yÓ˚ Ü˛yÓƒ=!° ≤ÃÜ,˛!ï˛ xÌÓy ÙylÓ §yˆÏ˛õ«˛ó ≤ÃÜ,˛!ï˛ G Ùyl%£Ï !ÙˆÏ° !ÙˆÏ¢•z ç#ÓlylˆÏ®Ó˚ Ü˛yÓƒÈüÈ¢Ó˚#Ó˚– ç#ÓlylˆÏ®Ó˚ Ü˛yˆÏÓƒ Ùyl%ˆÏ£ÏÓ˚ ≤Ã§D ~ˆÏ°•z Úxyê˛ÓSÈÓ˚ xyˆÏàÓ˚ ~Ü˛!òlÛ Ü˛!Óï˛yÓ˚ ˆ§•z xy˛õyï˛ §%á# Ùyl%£Ï!ê˛Ó˚ Ü˛Ìy ÙˆÏl ˛õˆÏí˛¸ ÎyÎ˚ó ˆ°yÜ˛!ê˛Ó˚ Óƒ!_´ç#ÓlÈüüüÈÚlyÓ˚#Ó˚ ≤ÃîˆÏÎ˚ ÓƒÌ≈ •Î˚ ly•zÛ xÌÓy Ú•yí˛¸•yË˛yˆÏï˛ @’y!lÛ ï˛yˆÏÜ˛ flõ¢≈ Ü˛ˆÏÓ˚!l ˆÜ˛yl!òló xÌã˛ ˆ§•z Ùyl%£Ï!ê˛•z ˆ¢£Ï ˛õÎ≈hs˝ÈüüüÈÚ°y§Ü˛yê˛y âˆÏÓ˚˘!ã˛Í •ˆÏÎ˚ ÷ˆÏÎ˚ xyˆÏSÈ ˆê˛!ÓˆÏ°Ó˚ ˛õˆÏÓ˚–Û xq$ï˛ Óƒy˛õyÓ˚– ç#ÓlˆÏÜ˛ !lˆÏÎ˚ ~Ùl ˛õ!Ó˚•y§ Ü˛Ó˚ÓyÓ˚ ¢!_´ ˆÜ˛yÌyÎ˚ ˆ˛õ° ~ Ü˛!Óï˛yÓ˚ lyÎ˚Ü˛⁄ ÷ô% !Ü˛ ˛õ!Ó˚•y§⁄ ly xlƒ ˆÜ˛yl xò,¢ƒ ¢!_´ ~Ó˚ ˛õ!Ó˚î!ï˛ˆÏï˛ §!e´Î˚⁄ í˛z_Ó˚ê˛y Ü˛!Óï˛yÓ˚ ÙˆÏôƒ•z Ó˚ˆÏÎ˚ˆÏSÈó ˆÎáyˆÏl x§Ω˛Ó ˆÓyô§¡õß¨ Ùyl%£Ï!ê˛ xl%Ó Ü˛ˆÏÓ˚ˆÏSÈÈüüüÈÚxyˆÏÓ˚y ~Ü˛ !Ó˛õß¨ !ÓfløÎ˚˘xyÙyˆÏòÓ˚ xhs˝à≈ï˛ Ó˚ˆÏ_´Ó˚ !Ë˛ï˛ˆÏÓ˚ ˆá°y Ü˛ˆÏÓ˚ó ˘xyÙyˆÏòÓ˚ Üœ˛yhs˝ Ü˛ˆÏÓ˚ñÛ xÌ≈yÍ ~•z Üœ˛y!hs˝•z ï˛yˆÏÜ˛ ˆfl∫FSÈyÙ,ï%˛ƒÓ˚ ˛õˆÏÌ ã˛y!°ï˛ Ü˛ˆÏÓ˚ˆÏSÈÈüüüÈï˛y Ó%ˆÏV˛ !lˆÏï˛ xyÓ˚ x§!Óôy •Î˚ ly– xyˆÏ°yã˛ƒ Ü˛!Óï˛y!ê˛ à“Ü˛yÓ˚ ç#Ólyl® G ïÑ˛yÓ˚ lyÎ˚ˆÏÜ˛Ó˚ ã˛!Ó˚e Ó%ˆÏV˛ !lˆÏï˛ §y•yÎƒ Ü˛ˆÏÓ˚– ÷ô% ÙˆÏl áê‰˛Ü˛y ˆÌˆÏÜ˛ ˛ÎyÎ˚ lyÎ˚ˆÏÜ˛Ó˚ ~•z Ú!ÓfløÎ˚ˆÏÓyôÛ Ú!Ó˛õß¨Û !Ü˛ Ü˛yÓ˚ˆÏî⁄ ï˛y•ˆÏ° !Ü˛ Ü˛!Óï˛yÓ˚ lyÎ˚Ü˛ §ÙÎ˚ñ §yÙy!çÜ˛ï˛yÓ˚ ã˛e´Ó)ˆÏ•ƒ Ó®#⁄ÈüüüÈxyÓ˚ ˆ§•z Ó®# ò¢y•z ï˛yÓ˚ !Ó!FSÈß¨ï˛yÓ˚ xlƒï˛Ù Ü˛yÓ˚î– ÓyÇ°y §y!•ˆÏï˛ƒ ç#ÓlylˆÏ®Ó˚ xy!ÓË≈˛yÓ ≤ÃÌÙ Ù•yÎ%ˆÏk˛y_Ó˚ Ü˛yˆÏ°– Î%k˛ ÙyˆÏl•z ˆï˛y xÓ«˛ˆÏÎ˚Ó˚ •z!ï˛Ó,_– ˆ§•z Ù)°ƒˆÏÓyô=!° Îál ≤ÃyÎ˚ ¢#!°Ë)˛ï˛ñ xÌã˛ lï%˛l ˆÜ˛yl !fli!ï˛¢#° Ù)°ƒˆÏÓyô ï˛álG àˆÏí˛¸ GˆÏë˛!lñ ~Ùl ~Ü˛ x!fliÓ˚ §ÙˆÏÎ˚Ó˚ Ó%ˆÏÜ˛ òÑy!í˛¸ˆÏÎ˚ ≤ÃáÓ˚ Óƒ!_´fl∫yï˛sfƒˆÏÓyˆÏô xyeýhs˝ Ùyl%£Ï §ÙÎ˚ G §yÙy!çÜ˛ xÓfliyÓ˚ §ˆÏD áy˛õ áyGÎ˚yˆÏï˛ ˛õyˆÏÓ˚!ló ï˛yˆÏòÓ˚ ~•z Ùy!lˆÏÎ˚ ly ˆlGÎ˚yê˛y•z ˆï˛y §y!•ˆÏï˛ƒ Ú!Ó!FSÈß¨ï˛y ˆÓyôÛ lyˆÏÙ ˛õ!Ó˚!ã˛ï˛– xÌ≈yÍ

58 §y!•ï˛ƒ xDl ˘ meeefnl³e Debeieve / Sahitya Angan 59

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ˆï˛y lÎ˚Û•z– í˛zòy•Ó˚î !•§yˆÏÓ ïÑ˛yÓ˚ ÚÜ˛ƒyˆÏ¡õÛñ Ú!¢Ü˛yÓ˚Ûñ ÚÓ!°° xŸªa ˆ§•zÛñ Úxyê˛ÓSÈÓ˚ xyˆÏàÓ˚ ~Ü˛!òlÛñ Ü˛!Óï˛yÓ˚ Ü˛Ìy fløÓ˚î Ü˛Ó˚ˆÏï˛ ˛õy!Ó˚ñ ˆ§áyˆÏl Ü˛!Óï˛yÓ˚ ÙˆÏôƒ !ï˛!l ˆSÈyê˛àˆÏ“Ó˚ fl∫yò G §yÙÌ≈ ≤ÃÙyî Ü˛ˆÏÓ˚ˆÏSÈl– ò%ÛˆÏê˛y !Ó£ÏˆÏÎ˚ ç#Ólyl® §ÙÜ˛y!°Ü˛ˆÏòÓ˚ ˆã˛ˆÏÎ˚ §¡õ)î≈ fl∫ï˛sfó ˆ≤ÃÙ G Ù,ï%˛ƒË˛yÓlyÎ˚– ç#ÓlylˆÏ®Ó˚ Ü˛!Óï˛yÎ˚ ~ ò%ÛˆÏê˛y !Ó£ÏÎ˚ ÓyˆÏÓ˚ ÓyˆÏÓ˚ !Ê˛ˆÏÓ˚ ~ˆÏ§ˆÏSÈ– •Î˚ˆÏï˛y Ü˛!Ó ç#ÓlylˆÏ®Ó˚ ÙˆÏl •ˆÏÎ˚!SÈ° ~§¡õˆÏÜ≈˛ ïÑ˛yÓ˚ Ó_´Óƒ flõ‹T Ó˚*˛õ ˛õyÎ˚!l– §%ï˛Ó˚yÇ àˆÏ“Ó˚ ÙyôƒˆÏÙ ˆï˛y xyˆÏ°y!Ü˛ï˛ Ü˛Ó˚ˆÏï˛ •ˆÏÓ !lˆÏçˆÏÜ˛•z– lyÓ˚#Ó˚ ˆò•ç ˆ≤ÃˆÏÙÓ˚ˆÏã˛Ô•!jˆÏï˛ ç#ÓlylˆÏ®Ó˚ ˆ≤ÃÙË˛yÓly ˆÎ Ó®# lÎ˚ñ ï˛y xyÙÓ˚y Úxyê˛ÓSÈÓ˚ xyˆÏàÓ˚ ~Ü˛!òlÛ ˆl!ï˛Óyã˛Ü˛ í˛z!_´ˆÏï˛ Ó%ˆÏV˛ Îy•z– !Ü˛v Ü˛!ÓÓ˚ ˆã˛yˆÏá ˆ≤ÃˆÏÙÓ˚ fl∫Ó˚*˛õê˛y !ë˛Ü˛ !Ü˛ Ó˚Ü˛ÙÈüüüÈï˛y ˆÓyV˛y ÎyÎ˚!l– ç#ÓlylˆÏ®Ó˚ ˆ≤ÃˆÏÙÓ˚ flõ‹T !ã˛hs˝yÓ˚ ˛õ!Ó˚Óy•# ïÑ˛yÓ˚ ˆ°áy à“ í˛z˛õlƒy§=!° Ú!lÓ˚&˛õÙ ÎyeyÛ í˛z˛õlƒyˆÏ§Ó˚ ~Ü˛ çyÎ˚àyÎ˚ lyÎ˚Ü˛ ≤ÃË˛yï˛ ÓˆÏ°ˆÏSÈ / Úˆ≤ÃÙ Ó°ˆÏï˛ ˆï˛yÙÓ˚y lÓ˚lyÓ˚#Ó˚ lyly Ó˚Ü˛Ù §¡õÜ≈˛ ˆÓyV˛ÈüüüÈÜ˛# ÓˆÏ°y §Ù#Ó˚⁄ !Ü˛v xy!Ù ˆì˛Ó˚ !ç!l§ Ó%!V˛ÈüüüÈfl∫yÙ# flf#Ó˚ §¡∫¶˛•z ÷ô% lÎ˚ñ ˆòˆÏ¢Ó˚ Ùyë˛ñ ˛õÌñ ˆ§•z •zfl%ÒˆÏ°Ó˚ Óy!í˛¸ñ xŸªa àySÈê˛yñ ˆáyÜ˛y Óy ˆÜ˛ï%˛–Û ˆ≤ÃˆÏÙÓ˚ ~Ùl §yÓ≈çl#l !ÓhflÏyÓ˚ ç#ÓlylˆÏ®Ó˚ xyˆÏà ˆòáy ˆàˆÏSÈ ÓˆÏ° ÙˆÏl ˛õí˛¸ˆÏSÈ ly– ç#Ólyl® ˆ≤ÃÙ !lˆÏÎ˚ ~Ùl ~Ü˛ê˛y xyò¢≈y!Î˚ï˛ ï˛_¥ áyí˛¸y Ü˛Ó˚ˆÏSÈl xÌã˛ lyÓ˚# ≤ÃîˆÏÎ˚Ó˚ ≤Ã§D ˆ§áyˆÏl xˆÏlÜ˛ê˛y•z ˆàÔî– ~Ó˚ Ü˛yÓ˚î Ü˛!ÓÓ˚ ~Ü˛yhs˝•z Óƒ!_´àï˛– ˛õ)ˆÏÓ≈•z ˆçˆÏl!SÈñ lyÓ˚# ˆ≤ÃˆÏÙÓ˚ !ï˛_´ x!Ë˛K˛ï˛y ïÑ˛yÓ˚ ç#ÓˆÏl ˛õ%!OË)˛ï˛ •ˆÏÎ˚!SÈ° flf# °yÓîƒˆÏòÓ#Ó˚ §)ˆÏe– Ó›ï˛ ˆ≤ÃÙ §¡∫ˆÏ¶˛ ˆÜ˛yl !Ó!ôÓk˛ xyò¢≈ ôyÓ˚îy G ï˛yÓ˚ ÓyhflÏ!ÓÜ˛ Ó˚*ˆÏ˛õÓ˚ §¡õÜ≈˛ !lï˛yhs˝•z !Ó≤Ãï˛#˛õ– ï˛y•z ˆ≤ÃˆÏÙÓ˚ Úxy•z!í˛Î˚yÛ G ï˛yÓ˚ Ú!Ó˚Î˚y!°!ê˛ÛÓ˚ !Ù°l §Ω˛Ó lÎ˚ ˆÜ˛yl Ü˛yˆÏ°•z– ç#ÓlylˆÏ®Ó˚ ç#ÓˆÏlG ~Ó˚ Óƒ!ï˛e´Ù âˆÏê˛!l– xyò¢≈y!Î˚ï˛ ˆ≤ÃˆÏÙÓ˚ çlƒ Ü˛!Ó !ã˛Ó˚ê˛yÜ˛y° ¢CÙy°yñ §%!fløï˛yñ ¢ã˛#ñ í˛zÍ˛õ°yñ ˆÓ˚ÓyÈüüüÈ~ˆÏòÓ˚ ≤ÃˆÏï˛ƒˆÏÜ˛Ó˚ Ü˛yˆÏSÈ S%ÈˆÏê˛ ˆàˆÏSÈlñ !Ü˛v !Ó!lÙˆÏÎ˚ ˆ˛õˆÏÎ˚ˆÏSÈl ¢Ó˚#Ó˚# fl∫yòñ Ü˛yÙly à¶˛ó Ùyl!§Ü˛ ¢y!hs˝ lÎ˚– ï˛y•z Ü˛!ÓÓ˚ Ü˛yˆÏSÈ lyÓ˚#ˆÏ≤ÃÙ / Úï˛Ó% ~•z Ë˛y°Óy§y ô)ˆÏ°y xyÓ˚ Ü˛yòy–Û åˆÓyô˘ô)§ÏÓ˚ ˛õy[%˛!°!˛õä– ï˛ySÈyí˛¸y ç#ÓlylˆÏ®Ó˚ Ü˛yˆÏSÈ lyÓ˚# ˆ≤ÃˆÏÙÓ˚ xyÜ˛!fløÜ˛ fliyÎ˚# ˛õ!Ó˚Óï≈˛lG !SÈ° ïÑ˛yÓ˚ Ù•y!çK˛y§yÓ˚ !Ó£ÏÎ˚– ~•z ˛õ!Ó˚Óï≈˛l Ü˛yˆÏÓƒÓ˚ ˆã˛ˆÏÎ˚ àˆÏ“Ó˚ ~°yÜ˛yÎ˚ xˆÏlÜ˛ ˆÓ!¢ flõ‹T G í˛zIµ°– ç#ÓlylˆÏ®Ó˚ ≤ÃÌÙ ≤ÃÜ˛y!¢ï˛ à“ Ú@˝ÃyÙ G ¢•ˆÏÓ˚Ó˚ àˆÏ“ÛÓ˚ åÓ˚ã˛lyÜ˛y°ÈüÈ1936ä lyÎ˚Ü˛ ˆ§yˆÏÙˆÏlÓ˚ G ~Ùlï˛Ó˚ xl%Ë˛Ó / ÚˆÙˆÏÎ˚Ó˚y Îál ˛õ!Ó˚Ó!ï≈˛ï˛ •Î˚ñ ˆÜ˛í˛z ï˛yˆÏòÓ˚ lyày° ˛õyÎ˚ly– xy!Ù !lˆÏçˆÏÜ˛ Ó˚*˛õyhs˝!Ó˚ï˛ Ü˛Ó˚ˆÏï˛ ˛õy!Ó˚ÈüüüÈxï˛ƒhs˝ fliyÎ˚#Ë˛yˆÏÓñ ï%˛!Ù !ê˛∆ˆÏ˛õÓ˚ Ê%˛!ï≈˛Ó˚ çˆÏlƒ ÷ô%Û–7 §%ï˛Ó˚yÇ lyÓ˚#ˆÏ≤ÃˆÏÙÓ˚ ˆã˛ˆÏÎ˚ ˆòˆÏ¢Ó˚ Ùyë˛ñ ˛õÌñ xŸªfli àySÈñ ˆSÈˆÏ°ˆÏÓ°yÓ˚ •zfl%Ò°ñ ˆÜ˛ï%˛ˆÏÜ˛ å~Ü˛!ê˛ ˆl!í˛¸ Ü%˛Ü%˛Ó˚ä Ë˛yˆÏ°yÓy§y xˆÏlÜ˛ ˆÓ!¢ §•ç G §yÓ°#° ÓˆÏ° ÙˆÏl Ü˛ˆÏÓ˚ˆÏSÈlñ fl∫Î˚Ç Ü˛!Ó G ïÑ˛yÓ˚ ˛õ%Ó˚&£Ï ã˛!Ó˚ˆÏeÓ˚y– Óƒ!_´ÈüÈÙˆÏlÓ˚ ã˛Ó˚Ù §ÇÜ˛ê˛ xyô%!lÜ˛ ç!ê˛° ˛õ%Ñ!çÓyò# Ó˚yˆÏ‹T…Ó˚ §ˆÏD Gï˛ˆÏ≤Ãyï˛Ë˛yˆÏÓ ç!í˛¸ï˛– §%ï˛Ó˚yÇ ÓyÇ°y í˛z˛õlƒyˆÏ§Ó˚ §yÌ≈Ü˛ !lÙ≈yï˛y Ó!B˛Ùã˛wˆÏÜ˛G ~•z §ÇÜ˛ˆÏê˛Ó˚ ÙˆÏôƒ !òˆÏÎ˚ ˆÎˆÏï˛ •ˆÏÎ˚ˆÏSÈó ï˛y•z ïÑ˛yÓ˚ ˆl¢y@˝ÃhflÏ Ü˛Ù°yÜ˛yˆÏhs˝Ó˚ ÙˆÏl •ˆÏÎ˚ˆÏSÈ / Úxlhs˝ çlˆÏflÀyï˛ ÙˆÏôƒ xy!Ù ~Ü˛y–Û xÌÓy ÚÓ˚çl#ÛÓ˚ xÙÓ˚lyˆÏÌÓ˚ ˆ§•z !Óáƒyï˛ í˛z!_´ / Ú~ ç#Ól °•zÎ˚y !Ü˛ Ü˛!Ó˚Ó⁄Û !Ü˛v ~•z ç#Ól !çK˛y§y Ó!B˛Ùã˛ˆÏwÓ˚ ç#ÓlÈüÈÓ#«˛yÎ˚ ˛õ!Ó˚î!ï˛ ˛õyÎ˚!l– Ê˛ˆÏ° Ü˛Ù°yÜ˛yhs˝ Óy xÙÓ˚lyÌ ˆÜ˛í˛z•z xyd•lˆÏlÓ˚ ˛õˆÏÌ ˛õy Óyí˛¸yÎ˚!l– !Ü˛v ï˛yÓ˚y ˆï˛y í˛z!l¢ ¢ï˛Ü˛#Î˚ lyÎ˚Ü˛ó !Ó¢ ¢ï˛ˆÏÜ˛ñ !ÓˆÏ¢£Ïï˛ ˛Î%ˆÏk˛y_Ó˚ Ü˛yˆÏ° ï˛y xyÓ˚ §•ç lÎ˚– ˛õˆÏò ˛õˆÏò Ù,ï%˛ƒÓ˚ •yï˛SÈy!l ˆÌˆÏÜ˛ !lˆÏçˆÏòÓ˚ Ó˚«˛y Ü˛Ó˚y xyÓ˚ §Ω˛Ó lÎ˚– ï˛y•z ç#ÓlylˆÏ®Ó˚ àˆÏ“Ó˚ lyÎ˚ˆÏÜ˛Ó˚ ~Ü˛yhs˝ •zFSÈy / Ú!Ü˛v ï˛Ó%G xyÙyÓ˚ xyd•ï˛ƒy Ü˛Ó˚ˆÏï˛ •zFSÈy Ü˛ˆÏÓ˚–ÉÉÉÉˆã˛ÔÜ˛yˆÏë˛Ó˚ §ˆÏD ò!í˛¸ V%˛!°ˆÏÎ˚ !Ü˛ÇÓy !Ó£Ï ˆáˆÏÎ˚ ˆÎ ÙÓ˚îñ ˆ§ Ó˚Ü˛Ù Ù,ï%˛ƒ lÎ˚ñ xyí˛zê˛Ó˚yÙ âyˆÏê˛ ˆÓí˛¸yˆÏï˛ !àˆÏÎ˚ §¶˛ƒyÓ˚ ˆ§yly!° ˆÙˆÏâÓ˚ !Ë˛ï˛Ó˚ xò,¢ƒ •ˆÏÎ˚ ˆÎˆÏï˛ •zFSÈy Ü˛ˆÏÓ˚–Û8 Ë˛yÓˆÏï˛ xyŸã˛Î≈ °yˆÏà ˆÎ à“Ü˛ÌˆÏÜ˛Ó˚ ~•z •zFSÈy ˆÎl à“ flÀ‹Ty ïÑ˛yÓ˚ ç#Ól !òˆÏÎ˚ §!ï˛ƒ Ü˛ˆÏÓ˚ ï%˛ˆÏ°ˆÏSÈ– Ü˛yÓ˚îÈ àˆÏ“Ó˚ ÙˆÏï˛y•z ~Ùl ~Ü˛ê˛y ¢Ó˚ˆÏï˛Ó˚ fl∫î≈y!° !ÓˆÏÜ˛ˆÏ° Ü˛°Ü˛yï˛yÓ˚ Ê%˛ê˛˛õyˆÏï˛ ˆÓí˛¸yˆÏï˛ ~ˆÏ§•z 1954 §yˆÏ°Ó˚ 22ˆ¢ xˆÏQyÓÓ˚ ê˛∆yˆÏÙÓ˚ ôyE˛yÎ˚ ç#ÓlylˆÏ®Ó˚ ≤Ãyî•y!l âˆÏê˛!SÈ°– ~ˆÏÜ˛ ò%â≈ê˛ly ÓˆÏ° fl∫#Ü˛yÓ˚ Ü˛ˆÏÓ˚l!l Ü˛!Ó Ó¶%˛ §OÎ˚ Ë˛Ryã˛yÎ≈– ïÑ˛yÓ˚ ~Ü˛yhs˝ ôyÓ˚îy / ÚxyÙyÓ˚ ÙˆÏl •Î˚ 62 §y!•ï˛ƒ xDl ˘ meeefnl³e Debeieve / Sahitya Angan

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Ü˛!ÓÛ ÓˆÏ°ˆÏSÈl– !Ü˛v ç#Ólyl® §ÙÎ˚ G ÓyhflÏÓ §Ùyç §¡õˆÏÜ≈˛ Ü˛ï˛ê˛y í˛zÍ§y•# !SÈˆÏ°l ï˛y ïÑ˛yÓ˚ Ú1946ÈüÈ47Û Ü˛!Óï˛y!ê˛ ˛õyë˛ Ü˛Ó˚ˆÏ° ˆÓyV˛y ÎyÎ˚– Ú!Ó°y§Û à“!ê˛G ïÑ˛yÓ˚ ~•z §ÙÎ˚ G §Ùyç §ˆÏã˛ï˛lï˛yÓ˚ xlƒï˛Ù ò!°°– !Ü˛v ~Ó˚ çlƒ ç#Ólyl® ˆÓ!¢ °y•zl áÓ˚ã˛ Ü˛Ó˚ˆÏï˛ Ó˚y!ç ll– ò%ÛÈüÈ~Ü˛ê˛y ≤Ã§ˆÏDÓ˚ í˛zay˛õl Ü˛ˆÏÓ˚•z ˆÏÌˆÏÙ Îyl– à“ ˆÌˆÏÜ˛ Ü˛ˆÏÎ˚Ü˛!ê˛ °y•zl ï%˛ˆÏ° ˆòGÎ˚y ÎyÜ˛ÈüüüÈ ~Ü˛–– Ú!lˆÏçÓ˚ â!í˛¸ˆÏl•z– Ë˛yˆÏ°y •yï˛â!í˛¸ÈüüüÈx“ òyˆÏÙ xyç Ü˛y° ˛õyGÎ˚y Ü˛!ë˛lÛ ò%•z–– ÚˆÜ˛yÌyG ˆÜ˛yl Ü˛yç ˛õy!FSÈ ly– Ü˛!°Ü˛yï˛yÎ˚G ˆï˛y ÌyÜ˛ˆÏï˛ •ˆÏÓ–Û !ï˛l–– ÚÙß∫hs˝Ó˚ ˆà°ÈüüüÈ§y¡±òy!Î˚Ü˛ Ó˚_ýÓ˚!_´ñ ôyl xyÓ˚ Ó#çôyˆÏlÓ˚ á%ˆÏlyá%!l Ü˛yˆÏÎ˚!Ù˛ •ˆÏÎ˚ í˛zë˛° ≤ÃyÎ˚ÈüüüÈ•zÇˆÏÓ˚ç ˛õy•yÓ˚y !òˆÏFSÈ–Û ~ê˛y•zˆÏï˛y çyï˛ !¢“#Ó˚ ˛õ!Ó˚ã˛Î˚– ˆÎ §ÙÎ˚ G §Ùyç ˛õ!Ó˚!fli!ï˛ !lˆÏÎ˚ xˆÏlƒÓ˚y ÓˆÏí˛¸y ÓˆÏí˛¸y à“ ÊÑ˛yòˆÏï˛ ˛õyˆÏÓ˚lñ ˛õyï˛yÓ˚È˛õÓ˚ õyï˛y Óî≈lyÎ˚ Ë˛!Ó˚ˆÏÎ˚ ï%˛°ˆÏï˛ ˛õyˆÏÓ˚lñ ç#Ólyl® ï˛yÓ˚ çlƒ áÓ˚ã˛ Ü˛ˆÏÓ˚l Ùye !ï˛l!ê˛ °y•zl– !Ü˛ x§yôyÓ˚î ˛õ!Ó˚!Ù!ï˛ ˆÓyôó Îy ïÑ˛yÓ˚ Ü˛yˆÏ° §ï˛ƒ•z !ÓfløÎ˚Ü˛Ó˚– 1972 §yˆÏ° Ë˛yÓly ≤ÃÜ˛y¢l ˆÌˆÏÜ˛ ≤ÃÜ˛y!¢ï˛ Úç#Ólyl® òyˆÏ¢Ó˚ ˆSÈyê˛à“Û §ÇÜ˛°ˆÏlÓ˚ Ù%áÓˆÏ¶˛ §¡õyòÜ˛ ç#ÓlylˆÏ®Ó˚ àˆÏ“Ó˚ ã˛!Ó˚e ˆÓyV˛yˆÏï˛ !àˆÏÎ˚ ïÑ˛yÓ˚ à“=!°ˆÏÜ˛ Ú~Ü˛yhs˝ Ü˛yÓƒ¢Ó˚#Ó˚#Ûñ ÓˆÏ° Ùhs˝Óƒ Ü˛ˆÏÓ˚!SÈˆÏ°l– §¡õyòˆÏÜ˛Ó˚ xlƒylƒ ≤Ã§D=ˆÏ°y §ÙÌ≈lˆÏÎyàƒ ÙˆÏl •ˆÏ°G ïÑ˛yÓ˚ à“=ˆÏ°y !lï˛yhs˝ ÚÜ˛yÓƒ ~Ü˛Ìy fl∫#Ü˛yÓ˚ Ü˛Ó˚y ÎyÎ˚– ˛õ)ˆÏÓ≈•z ˆçˆÏl!SÈ ˆÎñ ç#Ólyl® òy¢ !SÈˆÏ°l !¢“ÛÈüÈ§ˆÏã˛ï˛l Ü˛!Ó– ~•z §ˆÏã˛ï˛lï˛yÓ˚ !lò¢≈l xyˆÏSÈ ï˛yÓ˚ Ü˛yÓƒ ¢Ó˚#ˆÏÓ˚– xÌã˛ ˆ§•z §ˆÏã˛ï˛l !¢“# ò%ÛˆÏê˛y !Ë˛ß¨ Úxyê≈˛Ê˛Ù≈Û ˆÜ˛ ~Ü˛ Ü˛ˆÏÓ˚ ˆÊ˛°ˆÏÓlÈüüüÈ~Ü˛Ìy !ÓŸªy§ •Î˚ ly– !ï˛!l §ÙÜ˛yˆÏ°Ó˚ xyô%!lÜ˛ à“ÈüÈí˛z˛õlƒyˆÏ§Ó˚ à!ï˛≤ÃÜ,˛!ï˛ G ã˛!Ó˚e !lˆÏÎ˚ •zÇˆÏÓ˚!çˆÏï˛ ò#â≈ ~Ü˛ê˛y ≤ÃÓ¶˛ !°ˆÏá!SÈˆÏ°lñ ï˛yÓ˚ Ü˛ˆÏÎ˚Ü˛ê˛y °y•zl ~•zÓ˚Ü˛ÙÈüüüÈ''The novel or the short story in Bengal today is, by and large, more careful and correct than what their great predecessors often came forward with and are invariably interesting and often highly absorbing these writers, like their English contemporaries, undoubtedly know how to write."12 Ó°yÓy‡°ƒ §ÙÜ˛yˆÏ°Ó˚ xlƒylƒ ˆ°áˆÏÜ˛Ó˚y Ú!Ü˛Ë˛yˆÏÓ !°áˆÏï˛ •Î˚Û ï˛y çylˆÏï˛lñ xÌã˛ !lˆÏç çylˆÏï˛l lyÈüüüÈ~Ü˛Ìy !Ü˛ §ÙÌ≈lˆÏÎyàƒ⁄ ï˛y•z !ï˛!l à“ !°áˆÏï˛ ÓˆÏ§ ÚÜ˛yÓƒÈüÈ¢Ó˚#Ó˚Û àˆÏí˛¸ ï%˛°ˆÏÓl ÓˆÏ° ÙˆÏl •Î˚ ly– ~•z ôyÓ˚îy ò#â≈fliyÎ˚# •Î˚ ïÑ˛yÓ˚ Ü˛!Óï˛yÓ˚ Ë˛y£Ïy xyÓ˚ àˆÏ“Ó˚ Ë˛y£Ïy !lÙ≈yˆÏîÓ˚ ˛õyÌ≈ˆÏÜ˛ƒ– ïÑ˛yÓ˚ Ü˛!Óï˛yÓ˚ Ë˛y£Ïy Îï˛ê˛y xl%Ë)˛!ï˛ !lË≈˛Ó˚ñ àˆÏ“Ó˚ Ë˛y£Ïy ï˛ï˛ê˛y•z Ó˚*ì˛¸ ÓyhflÏÓà¶˛#– xyˆÏ°yã˛ƒ à“!ê˛ ˆÌˆÏÜ˛ ò%Û ~Ü˛ê˛y í˛zòy•Ó˚î ˆòGÎ˚y ˆÎˆÏï˛ ˛õyˆÏÓ˚ñ ~Ü˛ / Úxy˛õlyˆÏÜ˛ ˆí˛ˆÏÜ˛!SÈñ í˛QÓ˚ ˆ§ˆÏlÓ˚ Ü˛yˆÏSÈ ˆÎˆÏï˛ •ˆÏÓÈüüüÈí˛QÓ˚ !ê˛É !Ó ˆ§l– !ê˛É !ÓÉ ÙyˆÏlÈüüüÈ•zˆÏÎ˚ ˙ !ê˛!˛õÜ˛ƒy° ÓyˆÏMÈ˛yï˛ê˛y–Û ò%•z/ ÚG Ùyñ Ü˛# ˆÎ ÓˆÏ°l xy˛õ!lú ˆÙyê˛ˆÏÓ˚Ó˚ xyÓ˚ áÑƒyˆÏê˛Ó˚ Ê˛yí˛z Ê%˛!ï≈˛ SÈyí˛¸y Ùyl%ˆÏ£ÏÓ˚ §ˆÏD Ùyl%ˆÏ£ÏÓ˚ !Ù° •ˆÏï˛ ˛õyˆÏÓ˚ ly–Û !ï˛l / ÚˆÏçƒë˛yÙ¢y•zˆÏÎ˚Ó˚ ÙˆÏï˛ !Ó°y§ ÙyˆÏl á%Ó §Ω˛Ó !Ó£ÏÎ˚ xy¢ˆÏÎ˚Ó˚ ÙyÎ˚y Ü˛y!ê˛ˆÏÎ˚ lƒy°y ˆË˛y°y !ç!l§ !lˆÏÎ˚ ˆË˛y§‰ •ˆÏÎ˚ ÌyÜ˛y–Û ÚÙy°ƒÓylÛ í˛z˛õlƒyˆÏ§Ó˚ ÙˆÏôƒG ç#ÓlylˆÏ®Ó˚ ¢∑ ≤ÃˆÏÎ˚yˆÏàÓ˚ !ÓˆÏ¢£Ï «˛Ùï˛yÓ˚ ˛õ!Ó˚ã˛Î˚ Ó˚ˆÏÎ˚ˆÏSÈ– í˛z˛õlƒyˆÏ§Ó˚ ~Ü˛!ê˛ çyÎ˚àyÎ˚ í˛zÍ˛õ°y ÓˆÏ°ˆÏSÈ ÚGˆÏòÓ˚ å˛õyÎ˚Ó˚y=ˆÏ°yˆÏòÓ˚ä ã˛y°ÈüÈ!ãÑ˛ˆÏí˛¸ !ò•zñ §Ó ˆáˆÏï˛ Ë˛yˆÏ°yÓyˆÏ§ñ ˆÙˆÏV˛Ó˚ G˛õÓ˚ SÈ!í˛¸ˆÏÎ˚ Ó˚y!áñ áyÎ˚ xyÓ˚ •yˆÏàñ •yˆÏà˛ xyÓ˚ áyÎ˚ñ Ùyl%ˆÏ£ÏÓ˚ ˆË˛ï˛Ó˚ ò%Ûã˛yÓ˚ çlˆÏÜ˛ ˆSÈˆÏí˛¸ !òˆÏ° ≤ÃyÎ˚ Ùyl%£Ï•z ~ˆÏòÓ˚ ˆã˛ˆÏÎ˚ ˆì˛Ó˚ áyÓ˚y˛õ Ü˛yç Ü˛ˆÏÓ˚–Û ç#ÓlylˆÏ®Ó˚ àˆÏòƒ ~Ó˚Ü˛Ù xˆÏlÜ˛ lï%˛l lï%˛l ¢ˆÏ∑Ó˚ §ˆÏD ˛õ!Ó˚!ã˛ï˛ •GÎ˚y ÎyÎ˚ÈüüüÈÎy xl%Ë)˛!ï˛¢#° ç#ÓlylˆÏ®Ó˚ ÓˆÏ° §ˆÏ®• •Î˚– ï˛y•z Ó°y ÎyÎ˚ Ü˛yÓƒ¢Ó˚#Ó˚ lÎ˚ñ ÓÓ˚Ç Ü˛yˆÏÓƒ Úxy•z!í˛Î˚yê˛y•z fliy!Î˚c ˆ˛õˆÏÎ˚ˆÏSÈ ïÑ˛yÓ˚ àˆÏ“Ó˚ §#ÙylyÎ˚– xyÓ˚ ~•z Úxy•z!í˛Î˚yÓ˚ ≤Ã!ï˛ !l/¢ï≈˛ §Ù˛õ≈î•z ã˛!Ó˚e=!°Ó˚ !lÎ˚!ï˛Û ÓˆÏ° ÙˆÏl Ü˛ˆÏÓ˚ˆÏSÈl xyô%!lÜ˛ xyáƒylï˛_¥!Óò Óá!ï˛l– xyˆÏ°yã˛ƒ àˆÏ“Ó˚ ¢y!hs˝ˆÏ¢áÓ˚ñ §ˆÏÓ≈l ˆây£Ïñ §%!fløï˛y G x˛õˆÏÓ˚¢ÓyÓ%ÈüüüÈ≤ÃˆÏï˛ƒˆÏÜ˛•z ˆ§•z xy•z!í˛Î˚yÓ˚ ˛õ!Ó˚ˆÏ˛õy£ÏÜ˛ Ùye– ÚV˛Ó˚y˛õy°Ü˛Û ~Ó˚ Ü˛yˆÏ° å1928ä Ü˛!Ó ˆây£Ïîy Ü˛ˆÏÓ˚ˆÏSÈl / ÚˆÜ˛í˛z Îy•y çyˆÏl ly•zÈüüüÈˆÜ˛yl ~Ü˛ Óyî# xy!Ù ÓˆÏ• xy!lñÛÈüüüÈÜ˛!ÓÓ˚ ~•z xyd≤Ãï˛ƒˆÏÎ˚ ˆÜ˛Ó° ÓyÇ°y Ü˛!Óï˛yÓ˚ ˆ«˛ˆÏe lï%˛l ÚÓyî#Û ≤Ãã˛y!Ó˚ï˛ •ˆÏÎ˚!SÈ° ~Ùl lÎ˚ñ ïÑ˛yÓ˚ à“ÈüüüÈí˛z˛õlƒyˆÏ§Ó˚ ˆ«˛ˆÏeG ~Ü˛Ìy §!ï˛ƒ •ˆÏÎ˚ í˛zˆÏë˛ˆÏSÈ– ï˛y•z ç#ÓlyˆÏl®Ó˚ Ü˛!Óï˛y ˆÎÙl xll%Ü˛Ó˚î#Î˚ñ àˆÏ“Ó˚ ˆ«˛ˆÏeG ï˛y•z– ï˛ˆÏÓ ˛õÓ˚Óï≈˛# Ü˛yˆÏ°Ó˚ ÓyÇ°y Ü˛Ìy§y!•ˆÏï˛ƒ §ï˛#lyÌ Ë˛yò%í˛¸#ñ Ü˛Ù° Ü%˛ÙyÓ˚ Ùç%ÙòyÓ˚ !Ü˛ÇÓy 66 §y!•ï˛ƒ xDl ˘ meeefnl³e Debeieve / Sahitya Angan

§®#˛õl ã˛ˆÏRy˛õyôƒyˆÏÎ˚Ó˚ Ó˚ã˛lyÎ˚ ç#Ólyl®#Î˚ Ùyl!§Ü˛ï˛yÓ˚ §yÙylƒ xÇˆÏ¢ !Ù° á%ÑˆÏç ˛õyGÎ˚y ÎyÎ˚– ç#ÓlylˆÏ®Ó˚ Ó˚ã˛lyÎ˚ ~•z xllƒ§yôyÓ˚î !Ó!¢‹Tï˛yÎ˚ ïÑ˛yÓ˚ ≤ÃáÓ˚ Óƒ!_´fl∫yï˛sfƒ ˆÓyô•z Ü˛yç Ü˛ˆÏÓ˚ ˆàˆÏSÈó ˆÎ Óƒ!_´ fl∫yï˛sf ˆÓyô ïÑ˛yˆÏÜ˛ Óƒ!_´ÈüÈç#ÓˆÏl !Ó!FSÈß¨ï˛yÓ˚ x¶˛Ü˛yˆÏÓ˚ ˆë˛ˆÏ° !òˆÏ°G ÓyÇ°y §y!•ï˛ƒ G Óy.y!° ˛õyë˛Ü˛ˆÏòÓ˚ lï%˛l ~Ü˛ê˛y ˆË˛yˆÏÓ˚Ó˚ ÜÑ˛yã˛y xyˆÏ°yÜ˛ í˛z˛õ•yÓ˚ !òˆÏÎ˚ˆÏSÈ– ï˛y•z ÚÙylÓ çˆÏß√Ó˚ âˆÏÓ˚Û Ùy!ê˛ ˛õ,!ÌÓ#Ó˚ ê˛yˆÏl ly ~ˆÏ° Ë˛yˆÏ°y •ˆÏï˛y xl%Ë˛Ó Ü˛Ó˚ˆÏ°G xÙyˆÏòÓ˚ ÚàË˛#Ó˚ï˛Ó˚ °yË˛ •ˆÏ°y ˆ§ §Ó Ó%ˆÏV˛!SÈ–Û å§%ˆÏã˛ï˛ly˘Ól°ï˛y ˆ§lä ï˛Ìƒ§)e / 1– àˆÏDy˛õyôƒyÎ˚ñ lyÓ˚yÎ˚î å§¡õyòlyä / ç#Ólyl® òyˆÏ¢Ó˚ Ü˛yÓƒ@˝ÃsiÈüüüÈ≤ÃÌÙ á[˛ åË)˛!ÙÜ˛y xÇ¢äñ 1417ñ ˆÓD° ˛õyÓ!°¢y§≈ñ Ü˛°Ü˛yï˛y– 2– ˆã˛Ôô%Ó˚#ñ ï%˛£ÏyÓ˚ / ç#Óly® òyˆÏ¢Ó˚ Ü˛yÓƒ@˝ÃsiÈüüüÈ≤ÃÌÙ á[˛ å§ÇˆÏÎyçl xÇ¢ä 1417ñ ˆÓD° ˛õyÓ!°¢y§≈ñ Ü˛°Ü˛yï˛y– 3– Ùyßÿlñ ˜§Î˚òñ xy∑%° / ÷k˛ï˛Ù Ü˛!Ó å!ÓÙylã˛w ˆây£Ï / Ü˛!Ó ç#Ólyl® òyˆÏ¢Ó˚ ç#Ól ò¢≈lä 1977ñ lˆÏ°çˆÏ•yÙñ ì˛yÜ˛yñ ˛õ,ÈüÈ225 4– Ùyßÿl ˜§Î˚òñ xy∑%[° / ÷k˛ï˛Ù Ü˛!Óñ 1977ñ ˆl°ç ˆ•yÙñ ì˛yÜ˛yñ ˛õ,ÈüüüÈ223 5– =•ñ Ë)˛ˆÏÙw / ç#Ólyl® òy¢ / ≤ÃÌÙ ≤ÃÜ˛y!¢ï˛ à“ñ å°yÓîƒ òy¢ / Ü˛!ÓÓ˚ à“äñ 2012ñ ày.!ã˛°ñ Ü˛°Ü˛yï˛yñ ˛õ,ÈüÈ204 6– ÓˆÏ®ƒy˛õyôƒyÎ˚ñ ÚˆòÓ#≤Ã§yò å§¡õyòlyä / ç#Ólyl® òyˆÏ¢Ó˚ ≤ÃÓ¶˛ §Ù@˝Ãñ å1946 §yˆÏ°Ó˚ 2Ó˚y ç%°y•z ≤ÃË˛yÜ˛Ó˚ ˆ§lˆÏÜ˛ ˆ°áy ç#Ólyl® òyˆÏ¢Ó˚ ˛õeyÇ¢ä 2000ñ Ó•z˛õeñ ì˛yÜ˛yñ ˛õ,É 249 7– =•ñ Ë)˛ˆÏÙw å§¡õyòlyä ç#Ólyl® òy¢ / ≤ÃÌÙ ≤ÃÜ˛y!¢ï˛ à“ñ 2012ñ ày.!ã˛°ñ Ü˛°Ü˛yï˛yñ ˛õ,ÈüÈ42– 8– Úxflõ‹T Ó˚•§ƒÙÎ˚ !§Ñ!í˛¸Û àˆÏ“ lyÎ˚ˆÏÜ˛Ó˚ í˛z!_´– 9– Ùyßÿl ˜§Î˚òñ xy∑%° / ÷k˛ï˛Ù Ü˛!Óñ å§OÎ˚ Ë˛Ryã˛yˆÏÎ≈Ó˚ ˛õeyÇ¢ä 1997ñ lˆÏ°ç ˆ•yÙñ ì˛yÜ˛yñ ˛õ,ÉÈüÈ222– 10– =•ñ Ë)˛ˆÏÙw / ç#Ólyl® G §OÎ˚ Ë˛Ryã˛yÎ≈ ~ÓÇó 2001ñ §,!‹T ≤ÃÜ˛y¢lñ Ü˛°Ü˛yï˛yñ ˛õ,É 114 11– =•ñ Ë)˛ˆÏÙw å§¡õyòlyä / ç#Ólyl® òy¢ / ≤ÃÌÙ ≤ÃÜ˛y!¢ï˛ à“ñ 2012ñ ày.!ã˛°ñ Ü˛°Ü˛yï˛yñ ˛õ,ÈüÈ33– 12– ÓˆÏ®ƒy˛õyôƒyÎ˚ñ ˆòÓ# ≤Ã§yò å§¡õyòlyä / ç#Ólyl® òyˆÏ¢Ó˚ ≤ÃÓ¶˛ §Ù@˝Ãñ (The Bengli Novel Today) 2000ñ Ó•z ˛õeñ ì˛yÜ˛yñ ˛õ,ÈüÈ102– §y!•ï˛ƒ xDl ˘ meeefnl³e Debeieve / Sahitya Angan 67 ¢∑ã˛Î˚ˆÏl xllƒï˛y / §%ô#wlyÌ ò_ ~ÓÇ !Ó£%è ˆò í˛É ≤ÃÜ˛y¢ Ü%˛ÙyÓ˚ Ùy•z!ï˛ñ ÙôƒÎ%ˆÏàÓ˚ 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Ë˛yÓFSÈ!Óó ê´ÔMÈ˛ñ Ü˛!Ó x!Ë˛ß¨ñ ÓyÜ˛–ÛÛ åË)˛!Ù / ò¢Ù#ä x≤Ãã˛!°ï˛ ¢ˆÏ∑Ó˚ ≤Ã!ï˛ §%ô#wlyˆÏÌÓ˚ !ÓˆÏ¢£Ï ò%Ó≈°ï˛y !SÈ°– ˆVÑ˛yÜ˛ !SÈ° §Çfl,Òï˛ ¢∑ !Ü˛ÇÓy lyÙôyï%˛Ó˚ ≤ÃˆÏÎ˚yˆÏàÓ˚ !òˆÏÜ˛G– Ê˛°ï˛ñ Ü˛‹TˆÏÓyôƒ ˛õÇ!_´ ïÑ˛yÓ˚ ÓyˆÏÜ˛ƒ ≤ÃyÎ˚•z °«˛ƒ Ü˛Ó˚y ÎyÎ˚– ˆÎÙlñ ÚÚxÌÓy !˛õ¢yã˛ ÷k˛ à,ô¯% •z!ï˛•yˆÏ§Ó˚ âyï˛Ü˛ó ~ÓÇ ˆ§ •z!ï˛•y§ !lï˛ƒ ï˛Ìy !ÓÜ˛“ fl∫Ó˚*˛õ– 67 68 §y!•ï˛ƒ xDl ˘ meeefnl³e Debeieve / Sahitya Angan

Ê˛°ï˛ñ Î!òã˛ ï˛yˆÏÜ˛ ˛õˆÏò ˛õˆÏò °yˆÏà x˛õÓ˚*˛õ ï˛Ó% ï˛y ≤ÃÜ,˛ï˛˛õˆÏ«˛ ˛õ!Ó˚îyÙ# ≤Ãy_´l âyï˛Ü˛–ÛÛ åçyï˛Ü˛ å2ä / §ÇÓï≈˛ä ~•z çyï˛#Î˚ ¢ˆÏ∑Ó˚ ≤Ãã%˛Ó˚ ÓƒÓ•yÓ˚ ïÑ˛yÓ˚ Ü˛yˆÏÓÓ˚ Îeï˛e ò,¢ƒÙyl– ~Ó˚ Ê˛ˆÏ° Ü˛!Óï˛yÓ˚ Ó˚§yÜ˛yA«˛# §yôyÓ˚î ˛õyë˛Ü˛ x˛õ!Ó˚ã˛ˆÏÎ˚Ó˚ Ó,ˆÏ_ xyÓ!ï≈˛ï˛ •lñ xyÓ˚ ¢∑=ˆÏ°y ˆÎl §Ó˚y§!Ó˚ xyâyï˛ Ü˛ˆÏÓ˚ Ü˛yˆÏlñ ÓyˆÏç áê˛yáê˛ fl∫ˆÏÓ˚– xÌ≈ á%ÑçˆÏï˛ !àˆÏÎ˚ ˛õÌ •yÓ˚yˆÏï˛ •Î˚– Ü˛!ÓÓ˚ §ˆÏD ˜ï˛Ó˚# •Î˚ ò)Ó˚c– ¢∑ã˛Î˚ˆÏlÓ˚ ~•z Ü˛y!ë˛ˆÏlƒÓ˚ xhs˝Ó˚yˆÏ° xÓ¢ƒ xlƒ ~Ü˛ §%ô#wlyˆÏÌÓ˚ ˆòáy ÙyˆÏV˛ ÙyˆÏV˛•z ˛õyGÎ˚y ÎyÎ˚ !Ó!FSÈß¨Ë˛yˆÏÓ !Ü˛S%È !Ü˛S%È Ü˛!Óï˛yÎ˚– ˆÎáyˆÏl ≤Ãyï˛ƒ!•Ü˛ Ü˛ÌlÓ˚#!ï˛Ó˚ ˆÓ¢ Ü˛yˆÏSÈ ˆ˛õÔÑˆÏSÈ Îyl !ï˛!l– ï˛ál ïÑ˛yÓ˚ ÓƒÓ•*ï˛ ¢∑ xˆÏ˛õ«˛yÜ,˛ï˛Ë˛yˆÏÓ §•çñ §Ó˚°ñ §%ˆÏÓyôƒï˛yÎ˚ •*òÎ˚flõ¢≈#G ˆÎÙlÈüüüÈ Ó‡ Ü˛ˆÏ‹T !¢ˆÏá!SÈ §Ñyï˛yÓ˚ó xhs˝ï˛ ˆflÀyˆÏï˛Ó˚ §ˆÏD ˆË˛ˆÏ§ ÎyGÎ˚y ¢∑ lÎ˚ xyÓ˚– lò#ˆÏï˛G lyly ÓÑyÜ˛ xyˆÏSÈó ˆ§=ˆÏ°yÓ˚ ˆÜ˛ylGê˛yˆÏï˛ ˆë˛ˆÏÜ˛ !àˆÏÎ˚ ÓÑyˆÏã˛ ~Ùl ˆ°yˆÏÜ˛G ÎyÓ˚y §Ñyï˛yˆÏÓ˚Ó˚ §%ÈüÈê%˛Ü%˛ çyˆÏl ly–ÛÛ åˆç§l / §ÇÓï≈˛ä !Ü˛ÇÓy í˛zˆÏÕ‘á Ü˛Ó˚y ˆÎˆÏï˛ ˛õyˆÏÓ˚ Úe´®§#Û Ü˛yˆÏÓƒÓ˚ Ú!ÓÓ˚yÙÛ Ü˛!Óï˛y!ê˛Ó˚– ˆ§áyˆÏlG Ü˛y!ë˛ˆÏlƒÓ˚ !ã˛Ó˚yã˛!Ó˚ï˛ Ü˛Ù≈ ï˛ƒyà Ü˛ˆÏÓ˚ á%ˆÏç ˛õyGÎ˚y ÎyˆÏÓ !Ë˛ß¨ §%ô#wlyÌˆÏÜ˛– xhs˝ï˛ §•ç §Ó˚° Ë˛y£ÏyÎ˚ ç#ÓˆÏlÓ˚ ã˛Ó˚Ù §ˆÏï˛ƒÓ˚ í˛zˆÏß√yã˛l âê˛yl Ü˛!Ó ~•zË˛yˆÏÓ–ÈüüüÈ ÚÚ§ï˛ƒ ˆÜ˛Ó° ÓÑyã˛yñ ˆÜ˛Ó° ÓÑyã˛yñ §ï˛ƒ ˆÜ˛Ó° ˛õ÷Ó˚ ÙˆÏï˛y ÙˆÏlÓ˚ Óy°y•z ˆV˛ˆÏí˛¸ ÓÑyã˛yñ ÓÑyã˛yñ ˆÜ˛Ó° ÓÑyã˛y–ÛÛ §Ù§yÙ!Î˚Ü˛ xyÓ˚ ~Ü˛ xl%ç Ü˛!Ó !Ó£%è ˆò å1909ÈüÈ1982ä xy˛õl fl∫yï˛sfƒ G fl∫Ü˛#Î˚ï˛yÎ˚ ˜ï˛Ó˚# Ü˛ˆÏÓ˚ !lˆÏÎ˚!SÈˆÏ°l !lçfl∫ Ü˛yÓƒÓ˚#!ï˛– !ï˛!lG á%Ó §•çˆÏÓyôƒ Ü˛!Ó !SÈˆÏ°l ly– ≤ÃÌÙ ˆÌˆÏÜ˛•z !SÈˆÏ°l fl∫ï˛sfñ §æyhs˝ G fl∫Ù!•Ù– ï˛y•z Ó˚Ó#wlyÌˆÏÜ˛G ïÑ˛yÓ˚ ≤ÃÌÙ Ü˛yÓƒ Úí˛zÓ≈¢#Û G xˆÏê≈˛!Ù§ ò%ÛÓyÓ˚ ˛õí˛¸ˆÏï˛ •ˆÏÎ˚!SÈ°– ˆÜ˛llyñ á%Ó §•ç §MÈ˛Ó˚î«˛Ù lÎ˚ ïÑ˛yÓ˚ Ü˛yÓƒ– ~Ü˛ê˛y flõ‹T ò%Ó˚*•ï˛yÓ˚ Ü˛ˆÏÙ≈ xyÓ,ï˛ !SÈ° ïÑ˛yÓ˚ Ü˛yÓƒË˛y£Ïy– !ÓˆÏò!¢ ~ÓÇ x≤Ãã˛!°ï˛ ¢ˆÏ∑Ó˚ ≤Ã!ï˛ !ÓÓ˚yê˛ ò%Ó≈°ï˛y !SÈ° !Ó£%è ˆòÈüÈÓ˚– Óƒ!_´àï˛ ç#ÓˆÏl !ï˛!l !SÈˆÏ°l •zÇˆÏÓ˚!ç §y!•ˆÏï˛ƒÓ˚ xôƒy˛õÜ˛– Ê˛°ï˛ñ ˛õyŸã˛yï˛ƒ §y!•ˆÏï˛ƒÓ˚ !Ó˛õ%° Ë˛y[˛yˆÏÓ˚Ó˚ §ˆÏD ï˛yÓ˚ â!l¤˛ §ÇˆÏÎyà ÌyÜ˛y•z fl∫yË˛y!ÓÜ˛– xyÓ˚ ï˛yÓ˚ Ê˛ˆÏ° ˛õyŸã˛yˆÏï˛ƒÓ˚ ç#Ól G §Çfl,Ò!ï˛Ó˚ lylyl ≤Ã§Dñ fliyl ~ÓÇ âê˛lyñ !ÓˆÏ¢£Ï !ÓˆÏ¢£Ï Ë˛yÓyl%§D xlyÎ˚yˆÏ§ fliyl ˆ˛õ° ïÑ˛yÓ˚ Ü˛!Óï˛yÎ˚– Ü˛!Óï˛yÓ˚ ¢Ó˚#Ó˚ §!Iï˛ •° x!Ë˛lÓ §yˆÏç– ~ÓÇ ~Ü˛ÓyÓ˚ Ùye ˛õˆÏí˛¸ ˆÓyV˛yÓyÓ˚ §#ÙyÎ˚ §Ü˛° x§#Ùy!Î˚ï˛– ï˛y•z Ó˚Ó#wlyˆÏÌÓ˚ ÙˆÏï˛y ˛õyë˛Ü˛ˆÏÜ˛G ò%ÛÓyÓ˚ ˛õí˛¸ˆÏï˛ •ˆÏÎ˚!SÈ° ïÑ˛yÓ˚ ˆÜ˛yˆÏly ˆÜ˛yˆÏly Ü˛!Óï˛y– ~•zÓ˚*˛õ ~Ü˛!ê˛ Ü˛!Óï˛y •°ÈüüüÈ ÚÚˆï˛yÙyÓ˚ ˆ˛õyfiê˛ Ü˛yí˛≈ ~ˆÏ°yñ ˆÎl SÈí˛¸yê˛yly ˆflÀyˆÏï˛ !˛õÍ!§Ü˛yˆÏê˛yÓ˚ xyÜ˛!fløÜ˛ â)!î≈ñ ˆÓ˚!í˛G ˙Ü˛ƒï˛yˆÏl !Ó!fløï˛ xyˆÏÓà– !òl Ü˛yê˛ˆÏ°y ˆÎl !ç°•y !Ó°!¡∫ˆÏï˛–ÛÛ åê˛ØyÈüÈë%˛Ç!Ó˚ £Ï ˆã˛yÓ˚yÓy!°ä Ú!˛õÍ!§Ü˛yˆÏê˛yÛ !Ü˛ÇÓy Ú!ç°•y !Ó°!¡∫ˆÏï˛Û ¢∑=!°Ó˚ !ë˛Ü˛ Ü˛# xÌ≈ Óy Ü˛# xl%§D ï˛y Ó%V˛ˆÏï˛ §%!¢!«˛ï˛ñ ˛õ!Ó˚¢#!°ï˛ ~ÓÇ !Ó!¢‹T ˛õyë˛ˆÏÜ˛Ó˚G âÙ≈yflÀyÓ âê˛ˆÏï˛ ˛õyˆÏÓ˚– ~Ùl xyˆÏÓ˚y xçflÀ Ü˛!Óï˛y !°ˆÏáˆÏSÈl !Ó£%è ˆò ÎyÓ˚ xÌ≈ á%ÑçˆÏï˛ ˆàˆÏ° ≤Ãã˛!°ï˛ x!Ë˛ôylG •yÓ˚ ÙyˆÏl– xyÓyÓ˚ !ÓˆÏò!¢ Óƒ!_´ G fliyl lyˆÏÙÓ˚ ≤Ãã%˛Ó˚ ÓƒÓ•yÓ˚ ïÑ˛yÓ˚ §y!•ï˛ƒ xDl ˘ meeefnl³e Debeieve / Sahitya Angan 69

Ü˛!Óï˛yÎ˚ Ó˚ˆÏÎ˚ˆÏSÈ– ˆÎÙlñ ÚÙ!•ˆÏÙÓ˚ ˆ«˛ˆÏï •zÎ˚yÇ!ã˛ ˆÓyˆÏl ôyl ï%˛°§# í˛yDyÎ˚ !˛õˆÏÎ˚y!DÎ˚yÇ ÜÑ˛yˆÏò Ó˚!•ˆÏÙÓ˚ •yˆÏï˛ fiê˛y!°ˆÏly !Ü˛ÇÓy ˆàÔ!Ü≈˛Ó˚ Îsf §ã˛° ââ≈ˆÏÓ˚ ï˛yÓ˚ x!Ó§¡∫yò# xy¢#–ÛÛ å!òl=!° Ó˚yï˛=!° ≠ lyÙ ˆÓ˚ˆÏá!SÈ ˆÜ˛yÙ° ày¶˛yÓ˚ä x≤Ãã˛!°ï˛ ¢ˆÏ∑Ó˚ Óy‡°ƒÙÎ˚ xyˆÏÓ˚y ò%Û ~Ü˛!ê˛ Ü˛!Óï˛yÓ˚ í˛zˆÏÕ‘á Ü˛Ó˚y ˆÎˆÏï˛ ˛õyˆÏÓ˚– ˆÎÙlñ Úçy!l çy!l ~•z x°yï˛ã˛ˆÏe´ ã˛e´Ùló ˆ§yÍ≤Ãy§ ˛õyˆÏ¢ Ó!° lyˆÏÜ˛y Ü˛Ìy– ê´!§í˛yú xyÙyÓ˚ ≤Ãã˛[˛ xyÜ%˛°ï˛yÈüüüÈ !çç#!Ó£Ï% ≤Ãçy˛õ!ï˛Ó˚ !ÓºÙî–ÛÛ åê´!§í˛y ≠ ˆã˛yÓ˚yÓy!°ä !Ü˛ÇÓy fløÓ˚î Ü˛Ó˚y ˆÎˆÏï˛ ˛õyˆÏÓ˚ ~•z ˛õÇ!_´=!°GÈüüüÈ ÚÚÜ˛y§ywy â%!Ó˚ xï˛w ˆã˛yá ˛õˆÏÌ ˛õˆÏÌ Ó¶%˛Ó˚ñ {!lÎ˚y§‰ ÌyÜ‰˛ ˆ°yË˛l Ë˛!Ó£ÏƒˆÏï˛ú xˆÏçÎ˚ xyÙyÓ˚ xy°%!°ï˛ ˆÓî#ñ Î%àyˆÏhs˝ §Çà!ï˛–ÛÛ åÜ˛y§ywy ≠ lyÙ ˆÓ˚ˆÏá!SÈ ˆÜ˛yÙ° Óy¶˛yÓ˚ä ~•z §ÙˆÏÎ˚Ó˚ Ó‡ Ü˛!Ó•z ÙˆÏl Ü˛Ó˚ˆÏï˛l Ü˛!Óï˛yÓ˚ !lÙ≈yî Ü˛°yÎ˚ ¢∑ã˛Î˚l ~Ü˛ê˛y =Ó˚&c˛õ)î≈ Ùyey– fl∫ï˛sf !¢“Ó˚#!ï˛ xyÎ˚_ Ü˛Ó˚ˆÏï˛ ˆàˆÏ° ÷ô% Ë˛yˆÏÓÓ˚ x!Ë˛lÓˆÏc xyfliyÓyl •ˆÏ° ã˛ˆÏ° lyñ Ü˛!Óï˛yÓ˚ ¢Ó˚#ˆÏÓ˚ ã˛y•z lï%˛l ¢ˆÏ∑Ó˚ ò%ƒ!ï˛– ï˛ˆÏÓ "Poetry is written with words and not with ideas" ~ Ü˛Ìyê˛y •Î˚ˆÏï˛y x!ï˛ˆÏÜ˛y!ê˛Ü˛– !Ü˛v ï˛y•z ÓˆÏ° Ü˛Ìyê˛yˆÏÜ˛ á%Ó §•ˆÏç ˛õ!Ó˚ï˛ƒyàG Ü˛Ó˚y ÎyÎ˚ ly– ï˛yÓ˚ ≤ÃÙyî ç!í˛¸ˆÏÎ˚ Ó˚ˆÏÎ˚ˆÏSÈ !Ó¢ ¢ï˛ˆÏÜ˛Ó˚ Ó‡ Ü˛!ÓÓ˚ Ó˚ã˛lyÎ˚– ˆÎÙl ˛õy•z §%ô#wlyÌ ò_ !Ü˛ÇÓy !Ó£%è ˆòÈüÈÓ˚ Ü˛!Óï˛yÎ˚– ~•z çyï˛#Î˚ ≤ÃˆÏÎ˚yà •Î˚ˆÏï˛y xˆÏlÜ˛ §ÙÎ˚ ïÑ˛yˆÏòÓ˚ Ü˛!Óï˛yÎ˚ ò%ˆÏÓ≈yôƒï˛yÓ˚ ~Ü˛ê˛y xyí˛¸y° ˜ï˛Ó˚# Ü˛ˆÏÓ˚ˆÏSÈñ Ü˛‹T§yôƒ •ˆÏÎ˚ˆÏSÈ à!Ó˚¤˛ §ÇáƒÜ˛ §yôyÓ˚î ˛õyë˛ˆÏÜ˛Ó˚ Ü˛!Óï˛yÓ˚ ÙÙ≈ˆÏ°yˆÏÜ˛ ≤ÃˆÏÓ¢– !Ü˛v Ü˛yˆÏÓƒÓ˚ Ùyl !Ü˛ÇÓy Ü˛y°ç!Î˚ï˛y ˆï˛y ï˛yÓ˚ ˛õyë˛Ü˛ §ÇáƒyÓ˚ G˛õÓ˚ !lË≈˛Ó˚¢#° lÎ˚– ï˛yˆÏï˛ ã˛y•z ç#Ól §ˆÏï˛ƒÓ˚ §¶˛ƒylÈüÈˆÎÙl•z ˆ•yÜ˛ xyÓ˚ Ë˛y£Ïy !Ü˛ÇÓy ≤ÃÎ%_´ ¢∑ §¡õò– ï˛y•z ¢ï˛ x!Ë˛ˆÏÎyˆÏàÓ˚ ˛õˆÏÓ˚G xyÙyˆÏòÓ˚ •*òˆÏÎ˚ ˆÓÑˆÏã˛ ÌyˆÏÜ˛l !ÓŸª ¢ï˛ˆÏÜ˛Ó˚ lÓƒ˛õsi# Ü˛!Óï˛y– •*òˆÏÎ˚ Ë˛yˆÏ°y °yàyÓ˚ ò#˛õ ˆçµˆÏ° ˆçˆÏà ÌyˆÏÜ˛l Ü˛!Ó §%ô#wlyÌ ò_ !Ü˛ÇÓy Ü˛!Ó !Ó£%è ˆò– ˆÜ˛llyñ ïÑ˛yˆÏòÓ˚ §,!‹T Ù)ï≈˛ •Î˚ ˆ§•z !ã˛Ó˚•*òÎ˚ ˆÌˆÏÜ˛ ˆÎ xlyÎ˚yˆÏ§ Óƒ_´ Ü˛ˆÏÓ˚ ~Ü˛ lÓ˚Ù xÌã˛ í˛z£è xl%Ë)˛!ï˛ !ã˛Ó˚hs˝l xyÜ˛yA«˛yÎ˚ Ó˚y.yÈüüüÈ Úˆï˛yÙyˆÏï˛•z ÓÑy!ã˛ !≤ÃÎ˚y ˆï˛yÙyÓ˚•z âyˆÏê˛Ó˚ àyˆÏSÈ ˆÊ˛yê˛y•z ˆï˛yÙyÓ˚•z Ê%˛° âyˆÏê˛ âyˆÏê˛ ÓyàyˆÏl ÓyàyˆÏl ç° òyG xyÙyÓ˚ !¢Ü˛ˆÏí˛¸–ÛÛ åç° òyG ≠ x!ß∫‹Tä 70 §y!•ï˛ƒ xDl ˘ meeefnl³e Debeieve / Sahitya Angan ˆÓyô G x!hflÏˆÏcÓ˚ ï˛ê˛ˆÏÓ˚áyÎ˚ ¢!_´ ã˛ˆÏRy˛õyôƒyÎ˚ ˆ§yÙy Ù%áyç#≈ ç#Ólyl® ˛õÓ˚Óï˛#≈ ÓyÇ°y Ü˛yÓƒ çàˆÏï˛ ¢!_´ ã˛ˆÏRy˛õyôƒyÎ˚ §ÓˆÏã˛ˆÏÎ˚ ˆÓ!¢ !Óï˛!Ü≈˛ï˛ Ü˛!Óñ ÎyÓ˚ ˆ°á!lÓ˚ Ó‡Óî≈FSÈê˛yÎ˚ xyÙÓ˚y xyˆÏ°y!Ü˛ï˛ G !Ó!fløï˛ ••z– ïÑ˛yÓ˚ ˆÓyˆÏ•y!ÙÎ˚yl ç#Ól Îy˛õl G Ü˛!Óï˛y §yôly ï˛ÑyˆÏÜ˛ Ü˛ˆÏÓ˚ ï%˛ˆÏ°ˆÏSÈ ~Ü˛ !Ü˛ÇÓòhs˝# ã˛!Ó˚e– àË˛#Ó˚ Ü˛Ìy §•ç Ü˛ˆÏÓ˚ Ó°yñ ÓˆÏí˛¸y Ü˛!ë˛l Óƒy˛õyÓ˚– ¢!_´ ã˛ˆÏRy˛õyôƒyÎ˚ ~Ùl•z ~Ü˛ §•ç Ë˛y£ÏyÓ˚ Ü˛!Óñ ÎÑyÓ˚ Ó˚ã˛lyÓ˚ àË˛#Ó˚ï˛y xï˛°yhs˝– ˆ§•z xï˛°y!hs˝ˆÏÜ˛ xÓày•l Ü˛ˆÏÓ˚ ˛õyë˛Ü˛ §%flÿï˛ •Î˚– ò!«˛îÈüÈã˛!ÓÁ¢ ˛õÓ˚àÓ˚yÓ˚ Ó•í˛YˆÏï˛ òyòyÙ¢y•z §%ˆÏÓyô àˆÏDy˛õyôƒyˆÏÎ˚Ó˚ Óy!í˛¸ˆÏï˛ 1933 ÈüÈ~Ó˚ 25ˆ¢ lˆÏË˛¡∫Ó˚ ¢!_´ ã˛ˆÏRy˛õyôƒyˆÏÎ˚Ó˚ çß√– ÓyÓy !SÈˆÏ°l ‡à!°Ó˚ áylyÜ%˛ˆÏ°Ó˚ Ü,˛£èlàÓ˚ @˝ÃyˆÏÙÓ˚ Úê˛%ˆÏ°y ˛õ![˛ï˛Û– Ü˛!ÓÓ˚ ÓÎ˚§ Îál §yï˛ ÓSÈÓ˚ ï˛ál !ï˛!l ÙyÓ˚y Îyl– ~Ü˛yß¨Óï˛#≈ ˛õ!Ó˚ÓyÓ˚ ˆË˛ˆÏ. 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¢∑ ÓƒÓ•yˆÏÓ˚Ó˚ ÙyôƒˆÏÙ ˆ°áÜ˛ Ù%§°Ùyl §ÙyˆÏçÓ˚ !ã˛eˆÏÜ˛ !lá%Ñï˛ Ó˚*ˆÏ˛õ xB˛l Ü˛ˆÏÓ˚ˆÏSÈl– Úl#° lyÜ˛Ê%˛°Û ˆSÈyê˛ à“!ê˛ •° ÎsfîyÓ˚ Ê˛§°– ¢)lƒï˛yÓ˚ xyâyï˛ Ù•Í !ÓŸªyˆÏ§Ó˚ í˛z˛õÓ˚Ü˛Ó˚î=!°ˆÏÜ˛ ê%˛Ü˛ˆÏÓ˚y ê%˛Ü˛ˆÏÓ˚y Ü˛ˆÏÓ˚ ˆË˛ˆÏD !òˆÏÎ˚ˆÏSÈ– xyò¢≈ xyÓ˚ !ÓŸªyˆÏ§Ó˚ í˛zIµ° ˆÜ˛Ô!îÜ˛ ôyÓ˚yˆÏ°y á[˛=!°ˆÏÜ˛ ˆ°áÜ˛ !çK˛y§yÓ˚ ÙyôƒˆÏÙ l@¿ ï˛#«¯˛ï˛yÓ˚ §ˆÏD S%ÈÑˆÏí˛¸ !òˆÏÎ˚ˆÏSÈl xyˆÏ°yã˛ƒ àˆÏ“– à“!ê˛ !lï˛yhs˝ §•çÈüÈ§Ó˚° Ë˛!DˆÏï˛ !ÓlƒhflÏ– Ü˛y!•!l !Ólƒy§G §Ç!«˛Æ– ˆÜ˛yl ã˛!Ó˚ˆÏeÓ˚ ç!ê˛°ï˛y lÎ˚ ~ÓÇ ò«˛!¢“#Ó˚ ÙˆÏï˛y !l˛õ%î ï%˛!°Ó˚ xÑyã˛ˆÏí˛¸ ã˛!Ó˚e=!° Ê%˛ˆÏê˛ í˛zˆÏë˛ˆÏSÈ xyÙyˆÏòÓ˚ •*òÎ˚ÈüÈÜ˛ƒylË˛yˆÏ§– xyÓyÓ˚ˆÏÜ˛yl ˆÜ˛yl ã˛!Ó˚ˆÏeÓ˚ §yÙylƒ âê˛ly ã˛!Ó˚e!ê˛ §¡∫ˆÏ¶˛ ôyÓ˚îy ˜ï˛Ó˚# Ü˛ˆÏÓ˚– à“Ü˛ÌÜ˛ xy!ò° ˆÎË˛yˆÏÓ à“!ê˛ Óî≈ly Ü˛ˆÏÓ˚!SÈ° ˛õyë˛Ü˛àî ˛õí˛¸ˆÏï˛ ˛õí˛¸ˆÏï˛ Ë˛yÓˆÏÓl ˆÎl âê˛lye´Ù Ù•y!òàˆÏhs˝Ó˚ !òˆÏÜ˛ x@˝Ã§Ó˚ •ˆÏï˛ ã˛ˆÏ°ˆÏSÈ– G§ÙyˆÏlÓ˚ ÓyˆÏlSÈy xl%§¶˛yl ˛õÓ≈ Îál •yˆÏÙ¢ ã˛yã˛yÓ˚ x®Ó˚Ù•ˆÏ° ~ˆÏ§ ˆ¢£Ï •Î˚ñ ï˛ál ˆ°áÜ˛ à“!ê˛Ó˚ˆÏ¢£Ï Ü˛ˆÏÓ˚l– !Ü˛v ˆÌˆÏÜ˛ ÎyÎ˚ ~Ü˛ê˛y xï,˛!ÆÓ˚ fl∫yò– ÙˆÏl •Î˚ ~Ó˚˛õÓ˚ G§ÙyˆÏlÓ˚ ç#ÓˆÏl Ü˛# âˆÏê˛⁄ !Ü˛ÇÓy ÓyˆÏlSÈy Ü˛# G§ÙyˆÏlÓ˚ ˆ≤ÃÙ §¡õ)î≈Ó˚*ˆÏ˛õ Ë%˛ˆÏ° ÎyÎ˚⁄ à“Ü˛yÓ˚ ˛õyë˛Ü˛ÙˆÏl ˆÓ˚ˆÏá Îyl !ÓfløÎ˚ˆÏÓyô xyÓ˚ ≤ÃŸ¿ !ã˛•´– à“Ó°yÓ˚ ˆÙÔ!°Ü˛c G °«˛î#Î˚– ˆ°áÜ˛ xy!ò° ã˛!Ó˚ˆÏeÓ˚ Ù%á !òˆÏÎ˚ ˛õ%ˆÏÓ˚y Ü˛y!•!lÓ˚ e´Ù!ÓÜ˛y¢ â!ê˛ˆÏÎ˚ˆÏSÈl– ˆSÈyê˛àˆÏ“Ó˚ lylyl ˜Ó!¢‹Tàï˛ !òÜ˛ !òˆÏÎ˚ !Óã˛yÓ˚ÈüÈ!ÓˆÏŸ’£Ïî Ü˛ˆÏÓ˚ Ó°y ÎyÎ˚ñ Úl#° lyÜ˛Ê%˛°Û à“!ê˛ ~Ü˛!ê˛ §yÌ≈Ü˛ ˆSÈyê˛à“– Îy ÓyÇ°y ˆSÈyê˛àˆÏ“Ó˚ •z!ï˛•yˆÏ§ xÙ)°ƒ §¡õò– §•yÎ˚Ü˛ @˝Ãsi˛õ!O / 1– xy° Ùy•Ù%ò– Úà“§Ù@˝Ã˘1Û– xllƒñ 38˘2 ÓyÇ°yÓyçyÓ˚ ì˛yÜ˛yñ ˛õ!Ó˚Ùy!ç≈ï˛ §ÇflÒÓ˚îñ ˆÊ˛Ó&Î˚y!Ó˚ 2011– 2– xy° Ùy•Ù%ò– Ú!òlÎy˛õlÛ– ≤Ã!ï˛Ë˛y§ñ Ü˛°Ü˛yï˛yñ ~!≤Ã° 2006– 3– xy° Ùy•Ù%ò– Úˆ◊¤˛ ≤ÃÓ¶˛Û– xyò¢≈ñ ì˛yÜ˛yñ ˆÊ˛Ó&Î˚y!Ó˚ 2012– 4– §yIyò !Ó≤’Ó å§¡õy!òï˛ä– Ú§y«˛yÍÜ˛yÓ˚ xy° Ùy•Ù%òÛ– ˙!ï˛•ƒñ ì˛yÜ˛yñ ˆÊ˛Ó&Î˚y!Ó˚ 2003– 5– GÙÓ˚ !ÓŸªy§ å§¡õyòÜ˛ä– ÚÜ˛ˆÏÌy˛õÜ˛Ìl xy° Ùy•Ù%òÛ– Ü˛y!ÙÎ˚yÓ ≤ÃÜ˛y¢l !°!ÙˆÏê˛í˛ñ ì˛yÜ˛yñ ~Ü%˛ˆÏ¢ Ó•zˆÏÙ°y 2005– 6– lˆÏÓ®% ˆ§l å§¡õyòlyä– Ú˛õyŸã˛yï˛ƒ §y!•ï˛ƒï˛_¥ G §y!•ï˛ƒË˛yÓlyÛ– Ó˚byÓ°#ñ Ü˛°Ü˛yï˛yñ ≤ÃÌÙ ≤ÃÜ˛y¢ ç%l 2009– 7– lyÓ˚yÎ˚î àˆÏ.‰ày˛õyôƒyÎ˚– Ú§y!•ˆÏï˛ƒ ˆSÈyê˛ à“Û– !Ùe G ˆây£Ï ˛õyÓ!°¢y§≈ ≤Ãy/ !°/ñ Ü˛°Ü˛yï˛yñ ã˛ï%˛Ì≈ Ù%oî ◊yÓî 1416– 8– !¢!¢Ó˚ Ü%˛ÙyÓ˚ òy¢– ÚÓyÇ°y ˆSÈyê˛à“Û– ˆòÛç ˛õyÓ!°!¢Çñ Ü˛°Ü˛yï˛yñ ˛õMÈ˛Ù §ÇflÒÓ˚îñ !í˛ˆÏ§¡∫Ó˚ 2007– 9– ˆày°yÙ Ù%Ó˚!¢ò– ÚÙ%!_´Î%k˛ G ï˛yÓ˚˛õÓ˚/ ~Ü˛!ê˛ !lò≈°#Î˚ •z!ï˛•y§Û– ≤ÃÌÙy ≤ÃÜ˛y¢lñ ì˛yÜ˛yñ §ÆÙ Ù%oîñ çyl%Î˚y!Ó˚ 2013– 10– xÓ˚&î Ü%˛ÙyÓ˚ Ù%ˆÏáy˛õyôƒyÎ˚– Ü˛yˆÏ°Ó˚ ˛õ%_!°Ü˛y / ÓyÇ°y ˆSÈyê˛àˆÏ“Ó˚ ~Ü˛¢ ò¢ ÓSÈÓ˚ / 1891ÈüÈ2000Û– ˆòÛç ˛õyÓ!°!¢Çñ Ü˛°Ü˛yï˛yñ ï,˛ï˛#Î˚ §ÇflÒÓ˚îñ ~!≤Ã° 2004– 11– ÚÓyÇ°y §y!•ï˛ƒ ˛õ!eÜ˛yÛ– myò¢ÈüÈeˆÏÎ˚yò¢ Î%@¬ §Çáƒyñ ˛õÑ!ã˛ˆÏ¢ ˜Ó¢yá 1411– ≤Ã§D Ü˛Ìy §y!•ï˛ƒ– §¡õyòÜ˛ÈüÈˆçƒy!ï˛Ù≈Î˚ ˆây£Ï– Ü˛°Ü˛yï˛y !ÓŸª!Óòƒy°Î˚– 12– ÚÓyÇ°y !ÓË˛yà#Î˚ ˛õ!eÜ˛yÛ– ÓyÇ°y !ÓË˛yàñ ÎyòÓ˛õ%Ó˚ !ÓŸª!Óòƒy°Î˚– 2006ÈüÈ2007– 13– í˛QÓ˚ Ù%•¡øò ¢•#ò%Õ‘y• å≤Ãôyl §¡õyòÜ˛ä ÚÓyÇ°y ~Ü˛yˆÏí˛Ù# ÓyÇ°yˆÏòˆÏ¢Ó˚ xyMÈ˛!°Ü˛ Ë˛y£ÏyÓ˚ x!Ë˛ôylÛ– xá[˛– !mï˛#Î˚ ˛õ%lÙ%≈oî– ÓyÇ°y ~Ü˛yˆÏí˛Ù#ñ ì˛yÜ˛yñ ~!≤Ã° 2000– 14– Ü˛yç# Ó˚!Ê˛Ü%˛° •Ü˛ å§ÇÜ˛°l G §¡õyòlyä– ÚÓyÇ°y Ë˛y£ÏyÓ˚ xyÓ˚Ó# Ê˛yÓ˚‰§# ï%˛Ü˛#≈ !•®# í˛zò%≈ ¢ˆÏ∑Ó˚ x!Ë˛ôylÛ– ≤ÃÌÙ ≤ÃÜ˛y¢– ÓyÇ°y ~Ü˛yˆÏí˛Ù#ñ ì˛yÜ˛yñ ~!≤Ã° 2004– 15– ÚxyÜ˛yˆÏò!Ù Óylyl x!Ë˛ôyl–Û ˛õMÈ˛Ù Ù%oî– §y!•ï˛ƒ§Ç§òñ Ü˛°Ü˛yï˛yñ ˆ§ˆÏ≤Wz¡∫Ó˚ 2003– 78 §y!•ï˛ƒ xDl ˘ meeefnl³e Debeieve / Sahitya Angan Ú!ÙÌÛÈüÈ~Ó˚ Ü˛yÓƒÓ˚*˛õ ˛õ%ï%˛° ˜Óòƒ ˆÜ˛yl ÓÑyôy ôÓ˚y à[˛#Ó˚ §#ÙyÓk˛ï˛yÎ˚ xy° Ùy•Ù%ˆÏòÓ˚ Ü˛!Óï˛y xyÓk˛ lÎ˚– lyí˛¸yÓ˚ ò•ˆÏlÓ˚ í˛z_y˛õ àyˆÏÎ˚ ˆÙˆÏá Ü˛!ÓÓ˚ Ü˛!Óï˛yÓ˚ ˛õÌ ã˛°y– ïÑ˛yÓ˚ Ü˛!Óï˛y ˛õyë˛ Ü˛ˆÏÓ˚ Óy.y!° ˛õyë˛Ü˛ Ù@¿ •ˆÏÎ˚ ÎyÎ˚ñ ~ˆÏl ˆòÎ˚ lï%˛l Ë˛yÓly– í˛zFS¥È!§ï˛ •ˆÏÎ˚ GˆÏë˛ ˛õyë˛Ü˛ •*òÎ˚– ˛õˆÏí˛¸ˆÏSÈlñ ˆòˆÏáˆÏSÈlñ fl∫yò @˝Ã•î Ü˛ˆÏÓ˚ˆÏSÈlñ ï,˛Æ •ˆÏÎ˚ˆÏSÈlñ !¢«˛y !lˆÏÎ˚ˆÏSÈl ˛õyë˛Ü˛Ü%˛°– Ü˛álG ÙˆÏl •ˆÏÎ˚ˆÏSÈ !ï˛!l ≤ÃŸ¿!ã˛ˆÏ•´Ó˚ ÙyˆÏV˛ òÑy!í˛¸ˆÏÎ˚– xy° Ùy•Ù%ˆÏòÓ˚ Ü˛!Óï˛y ≤Ã!ï˛¤˛y ˆ˛õˆÏÎ˚ˆÏSÈ lyly xy!DˆÏÜ˛ñ xy!DˆÏÜ˛Ó˚ §%£ÏÙ ã˛ã≈˛yÎ˚ ~ÓÇ ˛õÓ˚#«˛yÈüÈ!lÓ˚#«˛yÓ˚ Ùôƒ !òˆÏÎ˚– ïÑ˛yÓ˚ Ü˛!Óï˛yÎ˚ ëÑ˛y•z ˆ˛õˆÏÎ˚ˆÏSÈ x§Çáƒ !ÙÌ– !ÙÌ ïÑ˛yÓ˚ Ü˛!Óï˛yˆÏÜ˛ ˆÎÙl ~Ü˛ê˛y !l!ò≈‹T xÓÎ˚Ó !òˆÏÎ˚ˆÏSÈ– xyÙyˆÏòÓ˚ !Ó!Ë˛ß¨ çy!ï˛Ó˚ ˙!ï˛•ƒ=!°ˆÏÜ˛ !ï˛!l ïÑ˛yÓ˚ Ü˛!Óï˛yÎ˚ ˛õ%l/≤Ã!ï˛!¤˛ï˛ Ü˛Ó˚ˆÏSÈl lï%˛lï˛Ó˚ xy!DˆÏÜ˛– Ü˛!Ó xy° Ùy•Ù%ˆÏòÓ˚ Ü˛!Óï˛yÓ˚ xy!DˆÏÜ˛ !ÙÌ ˆÎ ≤Ãã˛!°ï˛ à!ï˛ôyÓ˚yˆÏÜ˛ ˆË˛ˆÏ. ~Ü˛ lï%˛l Ó˚*˛õ ˆ˛õˆÏÎ˚ˆÏSÈ ï˛y ~áyˆÏl í˛z!j‹T– !ÙÌ ~•z ¢∑!ê˛ !lˆÏÎ˚ çl §ÙyˆÏçÓ˚ ÙyˆÏV˛ ~Ü˛ê˛y ≤Ãã˛!°ï˛ ôyÓ˚îy xyˆÏSÈ– ï˛Ó%G ≤Ãy§!DÜ˛ •ˆÏÎ˚ GˆÏë˛ ï˛yÓ˚ ï˛_¥àï˛ xyˆÏ°yã˛ly– Ú!ÙÌÛ Ü˛Ìy!ê˛Ó˚ xy!Ë˛ôy!lÜ˛ xÌ≈ •° ˛õ%Ó˚yîÜ˛y!•!lñ ˆòÓÈüÈˆòÓ#Ó˚ à“ñ x°#Ü˛ ˆÜ˛FSÈyñ xˆÏ°Ô!Ü˛Ü˛ ôÙ≈#Î˚ÈüÈ˙!ï˛•y!§Ü˛ Ü˛y!•!l– !ÙÌ §¡õˆÏÜ≈˛ !Ó!Ë˛ß¨ çl !Ë˛ß¨ !Ë˛ß¨ Ùï˛ ˆ˛õy£Ïî Ùï˛ ˆ˛õy£Ïî Ü˛ˆÏÓ˚ ÌyˆÏÜ˛l– ˆÜ˛í˛z ˆÜ˛í˛z ÓˆÏ°l !ÙÌƒy Ü˛y!•!l Îál ÙylÓ ç#ÓlÈüÈxyã˛yˆÏÓ˚ §!ß¨!Ó‹T •ˆÏÎ˚ Î%ˆÏàÓ˚ ˛õÓ˚ Î%à ≤ÃÓy!•ï˛ •ˆÏÎ˚ §ˆÏï˛ƒÓ˚ !ÓŸªy§ xç≈l Ü˛ˆÏÓ˚ñ ï˛ál ˆ§•z Ü˛y!•!lˆÏÜ˛ Ó°y •Î˚ !ÙÌ– !ÙÌ Ùyl%ˆÏ£ÏÓ˚ ç#ÓˆÏl xï˛#!wÎ˚ÙÎ˚ ÙyÎ˚yçy° !ÓhflÏyÓ˚ Ü˛ˆÏÓ˚ ~ÓÇ ÎyÓ˚ Ê˛°◊&!ï˛ Ó˚*ˆÏ˛õ ÙylÓ ÙˆÏl §%á xÌÓy ò%/ˆÏáÓ˚ xydyl%Ë˛Ó çyà!Ó˚ï˛ •Î˚– Ù•yÜ˛y° xyÓ˚ Ù•y!ÓˆÏŸªÓ˚ §ˆÏD ÙylÓ ÙˆÏlÓ˚ §%ò#â≈ Ü˛yˆÏ°Ó˚ x!Ë˛K˛ï˛y ï˛Ìy !ÓŸªy§ˆÏÜ˛ §ÇˆÏÎyà fliy˛õl Ü˛ˆÏÓ˚ ~•z !ÙÌ– ˆ§ê˛y ôÙ≈#Î˚ ˆã˛ï˛lyÎ˚ ˆ•yÜ˛ !Ü˛ÇÓy ˆ°yÜ˛ Ü˛y!•!l §Oyï˛ ˆ•yÜ˛ ly ˆÜ˛ÏlÈüüüÈ!ÙÌ xy§ˆÏ° ÙylÓÙˆÏlÓ˚ ˆË˛ÔˆÏày!°Ü˛ §#ÙylyˆÏÜ˛ Ù•yçyà!ï˛Ü˛ x˛õyÓ˚ Ó˚•ˆÏ§ƒÓ˚ §ˆÏD §ÇˆÏÎyà fliy˛õl Ü˛ˆÏÓ˚– xyÓ˚ ~•z x°#Ü˛ Ü˛“lyÓ˚ ÙyÎ˚y çàÍ ~ÓÇ xˆÏ°Ô!Ü˛Ü˛ Ü˛y!•!lÓ˚ §!ß¨ˆÏÓ¢ Ü˛yˆÏÓƒ ˛õ!Ó˚ˆÏÓ¢l Ü˛ˆÏÓ˚ Ü˛!ÓÓ˚y ïÑ˛yˆÏòÓ˚ !ã˛hs˝lˆÏÜ˛ Ü˛ˆÏÓ˚ ˆï˛yˆÏ°l xyÓ˚G ˆÓ!¢ ˆã˛ï˛ly≤ÃÓy•#ñ ÓƒOlyàË≈˛– xyÓyÓ˚ ˙!ï˛•y!§Ü˛ ã˛!Ó˚ˆÏeÓ˚ x!ï˛!Ó˚_´ÈüÈx!ï˛Ó˚!Oï˛ ˆ°yÜ˛ Ü˛Ìy •z!ï˛•yˆÏ§Ó˚ Ü˛B˛y°§yÓ˚ ˆã˛•yÓ˚yÎ˚ §ÇÎ%_´ Ü˛ˆÏÓ˚ ˆÙòÈüÈã˛!Ó≈ÈüÈÙyÇ§ÈüÈÓ˚_´≤ÃÓy•– ÙylÓÙˆÏl çyà!Ó˚ï˛ •Î˚ ˙!ï˛•y!§Ü˛ ã˛!Ó˚ˆÏeÓ˚ §yÌ≈Ü˛ï˛y xÌÓy ÓƒÌ≈ï˛yÓ˚ xyl®– ˙!ï˛•y!§Ü˛ Óƒ!_´ÈüÈã˛!Ó˚e §Ù)ˆÏ•Ó˚ x§yôyÓ˚î Ó!•ç≈yà!ï˛Ü˛ ¢!_´Ó˚ §ˆÏD §ÇˆÏÎyà fliy˛õˆÏlÓ˚ !ã˛e ÙylÓ ÙlˆÏÜ˛ xÜ˛“l#Î˚ x!ï˛≤ÃyÜ,˛ï˛ ò,¢ƒË)˛!ÙˆÏï˛ ~ˆÏl òÑyí˛¸ Ü˛Ó˚yÎ˚– ï˛ál Ú!ÙÌÛ lyÙÜ˛ Ü˛“Ü˛y!•!lÓ˚ âˆÏê˛ ã˛Ó˚Ù §yÌ≈Ü˛ï˛y– ~•z ≤Ãb≤Ãï˛#Ü˛ ï˛Ìy !ÙÌ ~ÓÇ ôÙ≈ G ≤ÃÜ,˛!ï˛Ó˚ §¡∫¶˛ ˆÓyV˛yˆÏï˛ !àˆÏÎ˚ ≤Ãáƒyï˛ ˆ°áÜ˛ Mark P.O. Morford ~ÓÇ Robert J. Lenardon !°!áï˛ "Classical Mythology" (Seventh Edition, New York oxford, Oxford university Press, 2003) @˝ÃˆÏsiÓ˚ 'Myth and Religion" xôƒyˆÏÎ˚ ÓˆÏ°ˆÏSÈlÈüüüÈ"Thus Mythology and religion are inextricably entwined. One tale or another once may have been believed at some time by certain people not only factu- ally but also spiritually; Specific creation stories and mythical conceptions of deity may still be considered true today and Provide the basis for devout religious belief in a Contemporary Society. Infact, any collection of meterial for the comparative study of world mythologices will be dominated by the study of texts that are, by nature, religious." §yÓ˚y !ÓˆÏŸª !Ó!Ë˛ß¨ ôˆÏÙ≈Ó˚ Ùyl%£Ï Ó§Óy§ Ü˛ˆÏÓ˚l– ~ˆÏòÓ˚ ÙˆÏôƒ ˆÜ˛í˛z ˆÜ˛í˛z ~ˆÏÜ˛ŸªÓ˚Óyò#ó xyÓyÓ˚ ˆÜ˛í˛zÈüÈÓy Ó‡ ˆòÓÈüÈˆòÓ#ˆÏï˛ !ÓŸªy§#– ~ˆÏÜ˛ŸªÓ˚Óyò#ˆÏòÓ˚ ôÙ≈ˆÏÜ˛ Ó°y •Î˚ ˆ§ˆÏÙ!ê˛Ü˛ xyÓ˚ Ó‡cÓyò#ˆÏòÓ˚ ôÙ≈ˆÏÜ˛ ll‰ÈüÈˆ§ˆÏÙ!ê˛Ü˛– ll‰ÈüÈˆ§ˆÏÙ!ê˛Ü˛ ôÙ≈=ˆÏ°yˆÏÜ˛ xyÓyÓ˚ xyÎ≈ G xlyÎ≈ ò%Ûˆ◊!îˆÏï˛ Ë˛yà Ü˛Ó˚y •Î˚– Ù)°ï˛ ˆ§ˆÏÙ!ê˛Î˚ ôÙ≈=!° •°ÈüüüÈ•z‡ò#ñ 78 §y!•ï˛ƒ xDl ˘ meeefnl³e Debeieve / Sahitya Angan 79

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•ˆÏ°l !Ó!Ó •yGÎ˚y– xyòˆÏÙÓ˚ ÓyÙ ˛õÑyçˆÏÓ˚Ó˚ •yí˛¸ ˆÌˆÏÜ˛ •yGÎ˚yÓ˚ çß√– •yGÎ˚y çß√yÓyÓ˚ ˛õÓ˚•z xyòˆÏÙÓ˚ flf# •l!l– ≤ÃË%˛ fl∫Î˚Ç ò%ÛçlˆÏÜ˛ !ÓÓy• !òˆÏÎ˚!SÈˆÏ°l– !l/fl∫ xyòÙ •z§°y!ÙÜ˛ Ó˚#!ï˛ xl%ÎyÎ˚# flf#ˆÏÜ˛ ˆòl‰ˆÏÙy•Ó˚ fl∫Ó˚*˛õ ˆÜ˛yl xÌ≈ !òˆÏï˛ ˛õyˆÏÓ˚l!l– ˛õ!Ó˚ÓˆÏï≈˛ !Ü˛S%È •z§°y!ÙÜ˛ Ó˚#!ï˛ ˛õy°l Ü˛ˆÏÓ˚!SÈˆÏ°l– !ÓÓyˆÏ•Ó˚ ˛õÓ˚ ïÑ˛yÓ˚y Úçyßÿï%˛° ˆÊ˛Ó˚òyí˛z§Û lyÙÜ˛ fl∫ˆÏà≈ §%ˆÏáÈüÈ¢y!hs˝ˆÏï˛ Ó§Óy§ Ü˛ˆÏÓ˚!SÈˆÏ°l– ≤ÃË%˛Ó˚ ï˛Ó˚Ê˛ ˆÌˆÏÜ˛ !lˆÏò≈¢ !SÈ° ˆÎñ ïÑ˛yÓ˚y fl∫ˆÏà≈Ó˚ ÙˆÏôƒ Îy •zFSÈy Ë˛«˛î Ü˛Ó˚ˆÏï˛ ˛õyˆÏÓ˚l !Ü˛v !l!£Ïk˛ Ó,ˆÏ«˛Ó˚ Ê˛° à®Ù Ë˛«˛î ˆÎl ly Ü˛ˆÏÓ˚l– xÌã˛ •zÓ!°ˆÏ§Ó˚ ≤ÃˆÏÓ˚yã˛lyÎ˚ ïÑ˛yÓ˚y à®Ù Ë˛«˛î Ü˛Ó˚ˆÏ°l ~ÓÇ fl∫ˆÏà≈Ó˚ ÙˆÏôƒ í˛zË˛Î˚•z Ó§l •y!Ó˚ˆÏÎ˚ í˛z°D •ˆÏÎ˚ ˆàˆÏ°l– ï˛ál ò%ÛçˆÏl•z ïÑ˛yˆÏòÓ˚ °Iyfliyl xyÓ,ï˛ Ü˛Ó˚yÓ˚ çlƒ xyÓ˚ ˆÜ˛yl Ó› á%ÑˆÏç ly ˆ˛õˆÏÎ˚ Ó,«˛ ˛õˆÏeÓ˚ myÓ˚y xD ì˛yÜ˛ÓyÓ˚ Ùl!fliÓ˚ Ü˛Ó˚ˆÏ°l– ~ˆÏÜ˛ ~ˆÏÜ˛ !Ó!Ë˛ß¨ Ó,ˆÏ«˛Ó˚ !lÜ˛ê˛ !àˆÏÎ˚ ˛õyï˛y ≤ÃyÌ≈ly Ü˛Ó˚ˆÏ°l– !Ü˛v ˆÜ˛yl Ó,«˛•zÈüüüÈï˛yˆÏòÓ˚ˆÏÜ˛ ï˛y ≤Ãòyl Ü˛Ó˚ˆÏï˛ Ó˚y!ç •° ly– xÓˆÏ¢ˆÏ£Ï ïÑ˛yÓ˚y xy!OÓ˚ xÌ≈yÍ ˆ˛õÎ˚yÓ˚y àyˆÏSÈÓ˚˛õyï˛y !òˆÏÎ˚ ì˛yÜ˛ˆÏ°l =ÆyD ~ÓÇ ã˛®ˆÏlÓ˚ ˛õe myÓ˚y xlƒylƒ §Ó≈yD xyÓ,ï˛ Ü˛Ó˚ˆÏ°l– ï˛y•z ≤ÃË%˛ xy!OÓ˚ˆÏÜ˛ §%fl∫yò% xyÓ˚ ã˛®lÓ,«˛ˆÏÜ˛ §%âyî ≤Ãòyl Ü˛Ó˚ˆÏ°l– xyòÙ G •yGÎ˚yÓ˚ ~•z ˆòyˆÏ£ÏÓ˚ ¢y!hflÏ Ó˚*ˆÏ˛õ ≤ÃË%˛ ïÑ˛yˆÏòÓ˚ˆÏÜ˛ ˛õ,!ÌÓ#ˆÏï˛˛ ≤Ãï˛ƒyÓï≈˛l Ü˛Ó˚ˆÏ°l ~ÓÇ !ï˛l¢Û ÓSÈÓ˚ ôˆÏÓ˚ x¶˛Ü˛yˆÏÓ˚Ó˚ ÙˆÏôƒ•z x!ï˛Óy!•ï˛ Ü˛!Ó˚ˆÏÎ˚!SÈˆÏ°l– Ü˛!Ó xyòÙÈüÈ•yGÎ˚yÓ˚ ~•z Ü˛y!•!lê%˛Ü%˛ @˝Ã•î Ü˛ˆÏÓ˚ˆÏSÈ– Î!òG ~ÑˆÏòÓ˚ Ü˛y!•!l xyÓ˚G !Óhfl,Ïï˛– ~•z !ÙÌ xy◊Î˚# Ü˛!Óï˛y Úl)ˆÏ•Ó˚ ≤ÃyÌ≈lyÛ– xy° Ùy•Ù%ò l)• ~ÓÇ xyòÙˆÏÜ˛ í˛z˛õç#Óƒ Ü˛ˆÏÓ˚ ~•z Ü˛!Óï˛yÎ˚ !ÙˆÏÌÓ˚ ≤Ãã˛!°ï˛ ÓƒyáƒyÓ˚ §ˆÏD !ï˛!l xydË˛yÓlyˆÏÜ˛ ~Ü˛yÜ˛yÓ˚ Ü˛ˆÏÓ˚ !òˆÏÎ˚ˆÏSÈl– l)ˆÏ•Ó˚ §ÙÎ˚Ü˛yÓ˚ !ÓŸª˛õ!Ó˚!fli!ï˛Ó˚ §ˆÏD Ü˛!ÓÓ˚ ç#ÓˆÏl ˆòáy !ÓŸª ˛õ!Ó˚!fli!ï˛ˆÏï˛ ~Ü˛yd Ü˛ˆÏÓ˚ˆÏSÈl Úl)ˆÏ•Ó˚ ≤ÃyÌ≈lyÛ Ü˛!Óï˛yÎ˚– Ü˛!Ó ˆòˆÏáˆÏSÈl x!Ë˛Ë˛_´ Ë˛yÓ˚ï˛Ó£Ï≈ˆÏÜ˛– ˆÎáyˆÏl !Ó!ê˛¢ !ÓˆÏÓ˚yô# xyˆÏ®y°lñ !mï˛#Î˚ !ÓŸªÎ%ˆÏk˛Ó˚ ≤ÃË˛yÓñ !§Çày•zÓ˚ !ÓˆÏ° ˆÓyÙy ˛õí˛¸yñ Î%ˆÏk˛Ó˚ ÙˆÏôƒ•z ˆï˛Ó˚¢Û ˛õMÈ˛yˆÏ¢Ó˚ ò%!Ë≈˛«˛ ly ˆáˆÏï˛ ˛õyGÎ˚y °«˛ °«˛ Ùyl%ˆÏ£ÏÓ˚ Ü˛B˛y°– ï˛yÓ˚˛õÓ˚ ˆò¢Ë˛yˆÏàÓ˚ xyˆÏ®y°lñ ˛õy!Ü˛hflÏyl– Ú°í˛¸ˆÏÜ˛ ˆ°ˆÏD ˛õy!Ü˛hflÏylÛ å§y«˛yÍÜ˛yÓ˚ xy°Ùy•Ù%òñ §yIyò !Ó≤’Ó §¡õy!òï˛ñ ˙!ï˛•ƒ 2003ä– xyÓyÓ˚ òyDy– ˆò¢ Ë˛yà– í˛zmy› •° Ùyl%£Ïçl– ~Ó˚˛õÓ˚ ˛õy!Ü˛hflÏyl– ày¶˛#ÈüÈ!çßÿ•Ó˚ •ï˛ƒy– í˛z!ß¨¢Û Óy•yß¨Ó˚ Ë˛y£Ïy xyˆÏ®y°l– xyÓ˚ í˛zß¨§_ˆÏÓ˚Ó˚ àî xyˆÏ®y°l– Ù%!_´Î%ˆÏk˛Ó˚ §Ç@˝ÃyÙ– Ü˛!Ó xy° Ùy•Ù%ò fl∫≤¿•#l ˛õMÈ˛yˆÏ¢Ó˚ ò¢ˆÏÜ˛Ó˚ Ü˛!Ó– l)• Îál ÓˆÏ°l / ÚÚï˛ál ˆÜ˛Ùl •ˆÏÓñ xyÓyÓ˚ Îál ï˛Ó˚° !ï˛!ÙÓ˚ !SÈÑˆÏí˛¸ Ë˛y§ˆÏÓ ~ ˛õ,!ÌÓ# ≤ÃÌÙ⁄ÛÛ Úï˛Ó˚° !ï˛!ÙÓ˚ÛÈüÈ~Ó˚ ï˛yÍ˛õÎ≈ •° l)ˆÏ•Ó˚ §ÙÜ˛y°#l ˆÜœ˛òy_´ ò%!lÎ˚y– ˆÎáyˆÏl Ù)°ï˛ ÙylÓ çy!ï˛Ó˚ xÓ«˛ˆÏÎ˚Ó˚ x!hs˝Ù ˛õÎ≈yˆÏÎ˚Ó˚ Ü˛Ìy Ó°y •ˆÏÎ˚ˆÏSÈ– ˆÎáyl ˆÌˆÏÜ˛ ≤ÃË%˛Ó˚ ôÁÇ§°#°y xyÓ˚ lï%˛l !ÓˆÏŸªÓ˚ §,!‹T– ~•z Ü˛y!•!lÓ˚ §ˆÏD Ü˛!Ó !lÇfl∫≤¿ñ xyï≈˛ñ ôÁÇ§≤ÃyÆñ í˛zmy› ÓyÇ°yˆÏòˆÏ¢Ó˚ lÓ !lÙ≈yˆÏîÓ˚ fl∫≤¿ˆÏÜ˛ !Ù!¢ˆÏÎ˚ !òˆÏÎ˚ˆÏSÈl– ÎyÓ˚ Ê˛ˆÏ° Ü˛!Óï˛y!ê˛ ˆÜ˛Ó°Ùye •z§°y!ÙÜ˛ !ÙˆÏÌÓ˚ Ü˛y!•!lˆÏï˛ !fliÓ˚ ÌyˆÏÜ˛lyñ ï˛y xyÙyˆÏòÓ˚ ò%/fl∫≤¿ÙÎ˚ flø,!ï˛=!°ˆÏÜ˛ ÙˆÏl Ü˛!Ó˚ˆÏÎ˚ ˆòÎ˚– ~•z Ü˛y!•!lÓ˚ §ˆÏD Ü˛!Ó ˆ≤ÃÙˆÏÜ˛G SÈ!í˛¸ˆÏÎ˚ !òˆÏÎ˚ˆÏSÈl ÙylÓÈüÈÙylÓ#Ó˚ •*òˆÏÎ˚ñ ˛õ,!ÌÓ#Ó˚ ˛õ%lç≈ß√ °ˆÏ@¿ ˛õ%îƒÓyl ˛õ%Ó˚&ˆÏ£ÏÓ˚ ˆã˛yˆÏá Ó˚Ùî#Ó˚y ˆÜ˛Ùl •ˆÏÓ⁄ ÚÚÎál xyÓyÓ˚ ˆ¢yly ÎyˆÏÓ ârê˛yôÁ!l í˛zˆÏê˛Ó˚ à°yÎ˚ÛÛ ~áyˆÏl ô) ô) ÙÓ˚&Ë)˛!ÙÓ˚ Ó%ˆÏÜ˛ í˛zê˛ ≤ÃyˆÏîÓ˚ ≤Ãï˛#Ü˛ñ ≤Ãyî §MÈ˛yˆÏÓ˚Ó˚ ≤Ãï˛#Ü˛– Ü˛!ÓG Ë˛yˆÏÓl ~•z ôÁÇ§≤ÃyÆ ÓyÇ°yˆÏò¢ Îál fl∫yô#l •ˆÏÓ ï˛ál !Ü˛ §!ï˛ƒ •*òÎ˚•#l ÙylÓÙˆÏl ˆ≤ÃˆÏÙÓ˚ í˛zò‰à#Ó˚î âê˛ˆÏÓ⁄ Ü˛!Ó ~áyˆÏl ˆË˛ÔˆÏày!°Ü˛ §#ÙylyÎ˚ xyÓk˛ ÓyÇ°yˆÏòˆÏ¢Ó˚ ÙylÓçy!ï˛Ó˚ •*òˆÏÎ˚Ó˚ ˆ≤ÃÙˆÏÜ˛ !ÓŸªyÎ˚l â!ê˛ˆÏÎ˚ˆÏSÈl– xyÓyÓ˚ ˛õÓ˚«˛ˆÏî•z §y!•ï˛ƒ xDl ˘ meeefnl³e Debeieve / Sahitya Angan 81

Ü˛!Ó §ï˛Ü≈˛ •ˆÏÎ˚ Îyl– ÙˆÏl Ü˛!Ó˚ˆÏÎ˚ ˆòl xyòˆÏÙÓ˚ Ü˛yˆÏ°y_#î≈ ˛õyˆÏ˛õÓ˚ Ü˛Ìy / ÚÚxyòˆÏÙÓ˚ Ü˛yˆÏ°y_#î≈ ˆ§•z ˛õy˛õ ˆÎl ˆ• ≤ÃË%˛ xyÓyÓ˚ Ü˛Ë%˛ SÈpˆÏÓ¢# §yˆÏ˛õÓ˚ Ùï˛l ˆày˛õl !˛õ!FSÈ° ˛õˆÏÌ ˆÓ!Ó˚ˆÏÎ˚ ly xyˆÏ§–ÛÛ xyòˆÏÙÓ˚ !l!£Ïk˛ àyˆÏSÈÓ˚ Ê˛° Ë˛«˛ˆÏîÓ˚ Ê˛ˆÏ° ﬂ∫à≈ã%˛ƒ!ï˛Ó˚ ˛õyˆÏ˛õÓ˚ Ü˛Ìy ~áyˆÏl Ó!î≈ï˛ •ˆÏ°G Ü˛!Ó ˆÓyV˛yˆÏï˛ ã˛yl xlƒ ≤Ã§D– §òƒçyï˛ ÓyÇ°yˆÏòˆÏ¢Ó˚ •*òˆÏÎ˚ ˆÎl çß√ ly ˆlÎ˚ ˆÜ˛yl •zÓ!°§– ˆÎ xyòˆÏÙÓ˚ ÙˆÏï˛y xlƒyÎ˚ÈüÈ˛õy˛õ Ü˛yˆÏç ≤ÃˆÏÓ˚y!ã˛ï˛ Ü˛Ó˚ˆÏÓ ÓyÇ°yˆÏò¢Óy§#ˆÏÜ˛– xyòˆÏÙÓ˚ ˆ§•z Ü˛yˆÏ°y_#î≈ ˛õyˆÏ˛õÓ˚ Ó#çyî% Î!ò ~•z !ÓˆÏŸª ˆÓ˚y!˛õï˛ •Î˚ ï˛y•ˆÏ° xyÓyÓ˚ ÙylÓ §Ë˛ƒï˛y Î%k˛ xyÓ˚ ôÁÇˆÏ§Ó˚ §¡ø%á#l •ˆÏÓ– ~Ó˚˛õÓ˚ Ü˛!Óï˛y!ê˛Ó˚ !mï˛#Î˚ ˛õÎ≈yÎ˚– lyÓ˚# ~ÓÇ ˛õ%Ó˚&ˆÏ£ÏÓ˚ Ü˛Ìl– lyÓ˚#Ó˚ Ü˛Ìl / ÚÚˆË˛ˆÏ§ ˆË˛ˆÏ§ ï˛yÓ˚˛õÓ˚ ~Ü˛!òl ò%Ó˚hs˝ Óyï˛yˆÏ§ Îál xyÓyÓ˚ ˛õyˆÏÓy ˛õ%Ó˚yˆÏly ˆ§ Ùy!ê˛Ó˚ §%Ó˚!Ë˛ xylˆÏ® í˛zÕ‘yˆÏ§ xy!Ù xyÙyÓ˚ ˆ§ ˛õ%Ó˚&ˆÏ£ÏÓ˚ •yˆÏï˛ xyâyï˛ ˆË˛y°yˆÏly ã%˛Ù% ~ÑˆÏÜ˛ ˆòˆÏÓy l#Ó˚Ó xyˆÏÓˆÏà–ÛÛ !Ü˛ÇÓyñ ÚÚ~ˆÏï˛y!òl ˆÎÔÓˆÏlÓ˚ lyˆÏÙ Îy !SÈˆÏ°y §!MÈ˛ï˛ ~•z §MÈ˛y!Ó˚ï˛ ¢Ó˚#ˆÏÓ˚Ó˚ ˆÜ˛yˆÏ£Ï– ˆ• l)• §hs˝yl ˆòˆÏÓyñ xy˛õlyˆÏÜ˛ ˛õ%e ˆòˆÏÓy xy!Ù–ÛÛ ~áyˆÏl ˆÎÔÓlyÓï˛# lyÓ˚#Ó˚ˆÏ≤ÃˆÏÙÓ˚ Ü˛Ìy Ó!î≈ï˛– ˆÎ lÓà!ë˛ï˛ !ÓˆÏŸªÓ˚ Ó%ˆÏÜ˛ ˆ≤ÃˆÏÙÓ˚ ï˛Ó˚D ≤ÃÓy!•ï˛ Ü˛Ó˚ˆÏï˛ ã˛yÎ˚– xlƒ Ë˛yÓlyÎ˚ §òƒçyï˛ ôÁÇ§≤ÃyÆñ «˛Î˚≤ÃyÆ ÓyÇ°yˆÏòˆÏ¢Ó˚ •*òÎ˚ÈüÈ«˛ˆÏï˛ Ë˛yˆÏ°yÓy§yÓ˚ xyâyï˛ ˆË˛y°yˆÏly ã%˛Ù% ~ÑˆÏÜ˛ !òˆÏï˛ ã˛yÎ˚ ˆ§•z lyÓ˚#– Î%k˛ !ÓôÁhﬂÏ ÓyÇ°yˆÏòˆÏ¢Ó˚ Ó%ˆÏÜ˛ ˆ≤ÃˆÏÙÓ˚ x@¿%Í˛õyï˛ âê˛yˆÏï˛ ã˛yl !ï˛!l– xyÓ˚ §MÈ˛y!Ó˚ï˛ ¢Ó˚#ˆÏÓ˚Ó˚ ˆÜ˛yˆÏ£Ï §hs˝yˆÏlÓ˚ çß√ !Ü˛ÇÓy l)ˆÏ•Ó˚ §hs˝yl ˆòÓyÓ˚ Ü˛Ìy ≤ÃÜ,˛ï˛˛õˆÏ«˛ lï%˛l ≤ÃçˆÏß√Ó˚ çß√ ˆòÓyÓ˚ Ü˛Ìy Ó°y •ˆÏÎ˚ˆÏSÈ– ˆÎ ≤Ãçß√ ˛õyˆÏ˛õÓ˚ ç#Óyî%ˆÏï˛ çß√yˆÏÓ lyó ÓÓ˚Ç Ë˛yˆÏ°ÏyÓy§yÓ˚ !l‹õy˛õÈüÈ˛õ!Óe çy!Ó˚ï˛ xÙ,ï˛ Ó˚ˆÏ§ ˆ§•z ≤ÃçˆÏß√Ó˚ çß√ •ˆÏÓ– x˛õÓ˚˛õˆÏ«˛ ˛õ%Ó˚&ˆÏ£ÏÓ˚ Ü˛ÌˆÏl ˛õy•z / ÚÚˆï˛yÙyˆÏÜ˛ çí˛¸yˆÏÓy Ó%ˆÏÜ˛ ˆ• ˆ≤ÃÎ˚§#ñ ˆï˛yÙyˆÏÜ˛ ˆÜ˛Ó° Ó˚ˆÏ_´Ó˚ í˛z_y˛õ ˆòˆÏÓyñ ˆ≤ÃÙ ˆòˆÏÓyñ àyl ˆòˆÏÓy ˆÓÑˆÏôñ ˆï˛yÙyˆÏÜ˛ Ê˛§° ˆòˆÏÓyñ à,• ˆòˆÏÓyñ ï,˛!Æ ˆòˆÏÓy lyÓ˚#– xy˛õlyˆÏÜ˛ ¢y!hs˝ ˆòˆÏÓy xyÓ˚ l)•ñ ¢!_´ ˆòˆÏÓy xy!Ù–ÛÛ Ü˛!Óï˛yÓ˚ x!hs˝Ù°ˆÏ@¿ ~ˆÏ§ Ü˛!Ó xy° Ùy•Ù%ò ˆ¢£Ï ˛õÎ≈hs˝ Ë˛yˆÏ°y Ùyl%ˆÏ£ÏÓ˚ çÎ˚ ˆây£Ïîy Ü˛ˆÏÓ˚l– ˛õ%Ó˚&£Ï!ê˛ ï˛yÓ˚ ˆ≤Ã!ÙÜ˛yˆÏÜ˛ Ë˛yˆÏ°yÓy§yÓ˚ í˛z_y˛õ ˆòÓyÓ˚ §ˆÏD ˆ≤ÃÙÈüÈç#ÓˆÏlÓ˚ àylñ È§hs˝yl xyÓ˚ à,• ˆòÓyÓ˚ Ü˛Ìy ˆây£Ïîy Ü˛ˆÏÓ˚– ≤Ãy§!DÜ˛e´ˆÏÙ ÙˆÏl ˛õˆÏí˛¸ Ó˚yÎ˚ =îyÜ˛Ó˚ Ë˛yÓ˚ï˛ã˛ˆÏwÓ˚ Úxß¨˛õ)î≈y G {ŸªÓ˚#˛õyê˛l#Û Ü˛!Óï˛yÎ˚ {ŸªÓ˚#˛õyê˛l# ˆòÓ#Ó˚ Ü˛yˆÏSÈ ≤ÃyÌ≈ly Ü˛ˆÏÓ˚!SÈ° ˆÎñ ÚÚxyÙyÓ˚ §hs˝yl ˆÎl ÌyˆÏÜ˛ ò%ˆÏô Ë˛yˆÏï˛ÛÛ– ~áyˆÏl §hs˝yl xÌ≈yÍ Ë˛!Ó£ÏƒÍ ≤ÃçˆÏß√Ó˚ Ü˛Ìy Ó°y •ˆÏÎ˚ˆÏSÈñ ï˛yˆÏòÓ˚ !l!Ÿã˛hs˝ ç#ÓlÈüÈÎy˛õˆÏlÓ˚ çlƒ ≤ÃyÌ≈lyÓ˚ Ü˛Ìy Ó!îï˛– xyˆÏ°yã˛ƒ Ü˛!Óï˛yÎ˚ G ˛õ%Ó˚&£ÏÏ!ê˛ ïÑ˛yÓ˚ ≤ÃË%˛Ó˚ Ü˛yˆÏSÈ ≤ÃyÌ≈ly Ü˛ˆÏÓ˚ xyàyÙ# ≤Ãçß√ ˆÎl ¢y!hs˝ÙÎ˚ ÙylÓ §Ë˛ƒï˛yÓ˚ çß√ ˆòÎ˚– ¢y!hs˝Ó˚ Óyï≈˛y ˆÎl ÓˆÏÎ˚ xyˆÏl !ÓˆÏŸªÓ˚ Ó%ˆÏÜ˛– ˛õ%Ó˚&£Ï!ê˛ Îál l)•ˆÏÜ˛ ¢y!hs˝ xyÓ˚ ¢!_´ ˆòÓyÓ˚ Ü˛Ìy ÓˆÏ° ï˛ál l)ˆÏ•Ó˚ ˆ§•z ¢y!hs˝ÙÎ˚ ˛õ,!ÌÓ# 82 §y!•ï˛ƒ xDl ˘ meeefnl³e Debeieve / Sahitya Angan

Ü˛yÙlyˆÏÜ˛ §ÙÌ≈l Ü˛ˆÏÓ˚– ˛õ%Ó˚£Ï!ê˛ ï˛yÓ˚ ˆ≤Ã!ÙÜ˛yÓ˚ ¢Ó˚#ˆÏÓ˚ Ó#Î≈Óyl §hs˝yˆÏlÓ˚ Ó#ç ˆÓ˚y˛õl Ü˛ˆÏÓ˚ ˛õ,!ÌÓ#ˆÏÜ˛ xyŸªhflÏ Ü˛Ó˚ˆÏï˛ ã˛yl ˆÎ xyàyÙ# ≤Ãçß√ •ˆÏÓ !l‹õy˛õ ~ÓÇ ˛õ!Óe– ˛õ,!ÌÓ#Ó˚ xlhs˝ x¶˛Ü˛yÓ˚ˆÏÜ˛ ò)Ó˚ Ü˛ˆÏÓ˚ ˆ§•z ≤Ãçß√ lï%˛l §)ˆÏÎ≈yòˆÏÎ˚Ó˚ ˆË˛yÓ˚ §)!ã˛ï˛ Ü˛Ó˚ˆÏÓ– xyˆÏ°yã˛ƒ Ü˛!Óï˛y!ê˛ˆÏï˛ Ü˛!Ó xy° Ùy•Ù%ò ˆ§ˆÏÙ!ê˛Ü˛ ˆ§Ô®Î≈ ôyÓ˚îyÓ˚ §yˆÏÌ Óy.y!° ˆ§Ô®Î≈ ôyÓ˚îyÓ˚ §Ç!Ù◊î â!ê˛ˆÏÎ˚ˆÏSÈl §%®Ó˚ ~ÓÇ §yÌ≈Ü˛ Ó˚*ˆÏ˛õ– !mï˛#Î˚ Ü˛!Óï˛y!ê˛ Úˆ§yly!° Ü˛y!ÓlÛ §ˆÏlê˛=ˆÏFSÈÓ˚ ≤ÃÌÙ §ˆÏlê˛– ~•z Ü˛!Óï˛yÎ˚ xyòˆÏÙÓ˚ Ü˛y!•!l xDyxD#Ë˛yˆÏÓ ç!í˛¸ˆÏÎ˚ Ó˚ˆÏÎ˚ˆÏSÈ– !Ü˛v ~Ü˛ÓyÓ˚ G Ü˛!Ó xyòˆÏÙÓ˚ lyÙ ˛õÎ≈hs˝ í˛zFã˛yÓ˚î Ü˛Ó˚ˆÏ°l ly– ÷ô%Ùye ï˛yˆÏòÓ˚ Ü˛y!•!lˆÏÜ˛ §MÈ˛y!Ó˚ï˛ Ü˛Ó˚ˆÏ°l Ü˛!Óï˛yÓ˚ !¢Ó˚yÈüÈí˛z˛õ!¢Ó˚yÈüÈôÙl#ˆÏï˛– Ó°y ÎyÎ˚ Ü˛!Ó xyˆÏ°yã˛ƒ Ü˛!Óï˛yÎ˚ ˆ°Ô!Ü˛Ü˛ Ó˚•§ƒˆÏÜ˛ xˆÏ°Ô!Ü˛Ü˛ï˛yÎ˚ !Ù!¢ˆÏÎ˚ !òˆÏÎ˚ˆÏSÈl– Ü˛!Óï˛y!ê˛Ó˚ ≤ÃyÓ˚Ω˛ ≠ ÚÚˆ§ylyÓ˚ !òlyÓ˚ ˆl•zñ ˆòl‰ ˆÙy•Ó˚ ˆã˛ˆÏÎ˚y ly •!Ó˚î# Î!ò lyGñ !òˆÏï˛ ˛õy!Ó˚ Ü˛y!Ól !Ó•#l •yï˛ ò%Û!ê˛ñ xyd !Óe´ˆÏÎ˚Ó˚ fl∫î≈ ˆÜ˛yl Ü˛yˆÏ° §MÈ˛Î˚ Ü˛!Ó˚!l xy•ï˛ !Ó«˛ï˛ Ü˛ˆÏÓ˚ ã˛y!Ó˚!òˆÏÜ˛ ã˛ï%˛Ó˚ º&Ü%˛!ê˛–ÛÛ §)ã˛ly ˛õˆÏÓ≈•z Ü˛!Ó •z§°y!ÙÜ˛ !ÓÓy• Ó˚#!ï˛ Ü˛Ìy í˛zˆÏÕ‘á Ü˛ˆÏÓ˚l– !òlyÓ˚ xyÓ˚Ó ˆòˆÏ¢Ó˚ Ù%oyÓ˚ lyÙ– ˆòl‰ˆÏÙy•Ó˚ •° Ù%§!°Ù !ÓˆÏÎ˚Î˚ §ÙÎ˚ fl∫yÙ# flf#ˆÏÜ˛ ˆÎ xÌ≈ !òˆÏï˛ ≤Ã!ï˛◊&ï˛ •Î˚– xyÓ˚ Ü˛y!Ól Ü˛Ìy!ê˛Ó˚ xÌ≈ •° Ù%§!°Ù !ÓÓyˆÏ• Ü˛lƒyˆÏÜ˛ ˆòGÎ˚y ˆÙy•Ó˚yl– ˛õ,!ÌÓ#Ó˚ xy!ò !˛õï˛y xyòÙ !SÈˆÏ°l !lÇfl∫ !Ü˛v ˙ŸªÎ≈¢y°#– ïÑ˛yÓ˚ Ü˛yˆÏSÈ ˆ§ylyÓ˚ !òlyÓ˚ !SÈ° lyñ !SÈ° ly ˆÜ˛yl ˛õy!Ì≈Ó ˙ŸªÎ≈– !Ü˛v !SÈ° !láyò Ë˛yˆÏ°yÓy§y– Îy !òˆÏÎ˚ !ï˛!l •yGÎ˚yˆÏÜ˛ !ÓÓy• Ó¶˛ˆÏl xyÓk˛ Ü˛ˆÏÓ˚l– ï˛y•z •yGyˆÏÜ˛ ˆòl‰ ˆÙy•Ó˚ !•§yˆÏÓ ˆ§ylyÓ˚ Ù)°ƒÓyl !òlyÓ˚ !òˆÏï˛ ˛õyˆÏÓ˚l !l ÓˆÏê˛ñ !òˆÏÎ˚!SÈˆÏ°l ˆ≤ÃˆÏÙÓ˚ xòÙƒ ≤Ãyî¢!_´– xyÓ˚ Ü˛!ÓÓ˚ ÙˆÏlG ˆÜ˛yl Ó˚Ü˛Ù ÓƒÓ§y!Î˚Ü˛ ô)ï≈˛ï˛y !Ü˛ÇÓy ã˛ï%˛Ó˚ï˛y ˆl•z– Îy !òˆÏÎ˚ §•ˆÏç•z ë˛Ü˛yˆÏly ÎyÎ˚– !lˆÏçˆÏÜ˛ !Ó!Ü˛ˆÏÎ˚ !òˆÏÎ˚ ˆÜ˛yl Ü˛yˆÏ° !ï˛!l Ë˛yˆÏ°yÓy§yÓ˚ ˛õye Ë˛Ó˚yˆÏï˛ ã˛yl!l– !ï˛!l ïÑ˛yÓ˚ ˆ≤Ã!ÙÜ˛yˆÏÜ˛ xyòˆÏÙÓ˚ ˆ≤Ã!ÙÜ˛yÓ˚ ÙˆÏï˛y ÚÚÜ˛y!Ól !Ó•#l •yï˛ ò%Û!ê˛Û Óy!í˛¸ˆÏÎ˚ !òˆÏï˛ ã˛yl– xyË˛Ó˚î•#l Ü˛!Ó xyd!Óe´ˆÏÎ˚Ó˚ fl∫î≈ ˆÜ˛yˆÏlyÜ˛yˆÏ° §MÈ˛Î˚ Ü˛ˆÏÓ˚l!l– ~áyˆÏl xyòˆÏÙÓ˚ ˆ≤Ã!ÙÜ˛ §_yÓ˚ §ˆÏD Ü˛!ÓÓ˚ ˆ≤Ã!ÙÜ˛ §_yˆÏÜ˛ ~Ü˛yd Ü˛ˆÏÓ˚ˆÏSÈl Ü˛!Ó xy° Ùy•Ù%ò– ÓƒÓ§y!Î˚Ü˛ SÈ°ly çyˆÏll ly xyòÙ– !ï˛!l ÷ô% çylˆÏï˛l !Ó!Ó •yGÎ˚yˆÏÜ˛ Ë˛yˆÏ°yÓy§ˆÏï˛ / ÚÚˆò• !òˆÏ° ˆò• ˛õyˆÏÓñ ˆòˆÏ•Ó˚ x!ôÜ˛ Ù)°ôl xyÙyÓ˚ ˆï˛y ˆl•z §!áñ ˆÎ•z ˛õˆÏîƒ x°B˛yÓ˚ !Ü˛!l–ÛÛ Ü˛!Ó ~áyˆÏl ˜ò!•Ü˛ !Ù°ˆÏlÓ˚ §%áˆÏÜ˛ x!ï˛e´Ù Ü˛ˆÏÓ˚ x!ï˛w#Î˚ Ë˛yˆÏ°yÓy§yÓ˚ çÎ˚ˆÏÜ˛ ˆây£Ïîy Ü˛ˆÏÓ˚l– ˜ò!•Ü˛ §%áyl%Ë)˛!ï˛Ó˚ lyÙ ˆÜ˛Ó°Ùye Ë˛y°yÓy§y •ˆÏï˛ ˛õyˆÏÓ˚ ly– ˆ≤Ã!ÙÜ˛ ˆ≤Ã!ÙÜ˛yÓ˚ xy!dÜ˛ ê˛yl xl%Ë˛ˆÏÓÓ˚ lyÙyhs˝Ó˚ •° Ë˛yˆÏ°yÓy§y– ~Ó˚˛õÓ˚•z Ü˛!Ó xyÓyÓ˚ xyòˆÏÙÓ˚ ≤Ã§D Ü˛Ìy §%‹õ˛õ‹T Ó˚*ˆÏ˛õ í˛zˆÏÕ‘á Ü˛ˆÏÓ˚l / ÚÚ!ÓÓ§l •G Î!ò ˆòáˆÏï˛ ˛õyˆÏÓ xyÙyˆÏÜ˛ §Ó˚° ˆ˛õÔÓ˚&£Ï xyÓ,ï˛ Ü˛ˆÏÓ˚ ç°˛õy•zÓ˚ ˛õyï˛yG ÌyÜ˛ˆÏÓ lyó ï%˛!Ù Î!ò áyG ï˛ˆÏÓ xyÙyˆÏÜ˛G !òˆÏï˛ ˆ§•z Ê˛° K˛yˆÏl G xK˛yˆÏl ˆòÑyˆÏ• ˛õÓ˚flõÓ˚ •ˆÏÓy !ã˛Ó˚ˆÏã˛lyÓ˚ÛÛ– ~áyˆÏl Ü˛!Ó xy° Ùy•Ù%ò xyòˆÏÙÓ˚ !ÙÌˆÏÜ˛ ˆË˛ˆÏ. !lˆÏçÓ˚ ÙˆÏï˛y Ü˛ˆÏÓ˚ ˛õ%l/ ≤Ã!ï˛¤˛y Ü˛Ó˚ˆÏ°l– xyÓ˚ ~áyˆÏl Ü˛!Ó G Ü˛!Óï˛yÓ˚ ã˛Ó˚Ù §yÌ≈Ü˛ï˛y– ¢Î˚ï˛yˆÏlÓ˚ ≤ÃˆÏÓ˚yã˛lyÎ˚ !l!£Ïk˛ àyˆÏSÈÓ˚ à®Ù Ê˛° áyÓyÓ˚ ˛õÓ˚ xyòÙ G •yGÎ˚y !ÓÓ§l •ˆÏÎ˚!SÈ°ñ ~áyˆÏl ï˛yÓ˚ Ü˛Ìy Ó°y •ˆÏÎ˚ˆÏSÈ– xÓˆÏ¢ˆÏ£Ï xy!OÓ˚ xÌ≈yÍ ˆ˛õÎ˚yÓ˚y àyˆÏSÈÓ˚ ˛õyï˛y !òˆÏÎ˚ ˆÎÔlyD xyÓ,ï˛ Ü˛ˆÏÓ˚!SÈˆÏ°l ò%Ûçl– Ü˛!Ó !Ü˛v ~áyˆÏl ÓƒÓ•yÓ˚ Ü˛Ó˚ˆÏ°l ç°˛õy•zˆÏÎ˚Ó˚ ˛õyï˛y– ˆË˛ˆÏ. !òˆÏ°l !ÙÌˆÏÜ˛– àˆÏí˛¸ ï%˛°ˆÏ°l Óy.y°# ç#ÓˆÏlÓ˚ ˛õÕ‘#ÓyÇ°yÓ˚ !ã˛Ó˚˛õ!Ó˚ï˛ ˛õ!Ó˚ˆÏÓ¢ˆÏÜ˛– ˆ§áyˆÏl xyòÙ ˆÎl ˆÜ˛yl x˛õ!Ó˚!ã˛ï˛ Óƒ!_´ xyÓ˚ llñ !ï˛!l •ˆÏÎ˚ GˆÏë˛l xyÙyˆÏòÓ˚•z âˆÏÓ˚Ó˚ !ã˛Ó˚ˆÏã˛lyÈüÈˆ≤Ã!ÙÜ˛– xyÓ˚ Ü˛!Óï˛yÓ˚ ˆ¢ˆÏ£Ï Ü˛!Ó ˆ≤Ã!ÙÜ˛ §_yÓ˚ çÎ˚ §y!•ï˛ƒ xDl ˘ meeefnl³e Debeieve / Sahitya Angan 83

ˆây£Ïîy Ü˛ˆÏÓ˚l– ˆÎ !l!£Ïk˛ Ê˛° ˆáˆÏÎ˚ ïÑ˛yÓ˚y xlƒyÎ˚ Ü˛ˆÏÓ˚!SÈˆÏ°ló ÎyÓ˚ Ê˛ˆÏ°– òyÓ˚&î xy•ï˛ ÓˆÏê˛ xyï≈˛ xyç !¢Ó˚y í˛z˛õ!¢Ó˚y–Ú ï˛yÓ˚˛õˆÏÓ˚G Ú˛õÓ˚y!çï˛ l•z lyÓ˚#Û xÌ≈yÍ ˆ≤Ã!ÙÜ˛Ü)˛° ~ÓÇ Ú˛õÓ˚y!çï˛ •Î˚ ly Ü˛!ÓÓ˚yÛ xyˆÏ°yã˛ƒ Ü˛!Óï˛y!ê˛ ~Ü˛!ê˛ !láyò ˆ≤ÃˆÏÙÓ˚ Ü˛!Óï˛y– ˆÎáyˆÏl Ü˛!Ó ˆây£Ïîy Ü˛ˆÏÓ˚l xÌ≈àï˛ !òÜ˛ !òˆÏÎ˚ !l/fl∫ •ˆÏ°G !ÓˆÏŸªÓ˚ §ÙhflÏ ˆ≤Ã!ÙÜ˛àî •*òÎ˚àï˛Ë˛yˆÏÓ ≤ÃÓ° ˙ŸªÎ≈Óyl– xyÓ˚ ≤Ãy§!DÜ˛e´ˆÏÙ ~ˆÏ§ˆÏSÈ xyòÙ •yGÎ˚yÓ˚ •z§°y!ÙÏÜ˛ Ü˛y!•!l Îy Ü˛!Ó §yÌ≈Ü˛Ë˛yˆÏÓ ≤ÃˆÏÎ˚yà Ü˛ˆÏÓ˚ˆÏSÈl xyˆÏ°yã˛ƒ Ü˛!Óï˛yÎ˚– ~áyˆÏl•z Ü˛!Ó §ÙÜ˛yˆÏ°Ó˚ Ü˛!ÓˆÏòÓ˚ ˆÌˆÏÜ˛ fl∫ï˛sf– §•yÎ˚Ü˛ @˝Ãsi˛õ!O / 1– xy° Ùy•Ù%ò– ÚÜ˛!Óï˛y §Ù@˝ÃÛ å1ä xllƒyñ 38˘2 ÓyÇ°yÓyçyÓ˚ ì˛yÜ˛yñ Ó•zˆÏÙ°y 2000– 2– xy° Ùy•Ù%ò– Ú!òl Îy˛õlÛ– ≤Ã!ï˛Ë˛y§ñ Ü˛°Ü˛yï˛yñ ~!≤Ã° 2006– 3– x° Ùy•Ù%ò– Úˆ◊¤˛ ≤ÃÓ¶˛Û– xyò¢≈ñ ì˛yÜ˛yñ ˆÊ˛Ó&Î˚yÓ˚# 2012– 4– •zÙòyò%° •Ü˛ !Ù°l å§¡õyòÜ˛ä– Úˆ◊¤˛ xy°Ùy•Ù%òÛ– xÓ§Ó˚ñ ì˛yÜ˛yñ ˆÊ˛Ó&Î˚y!Ó˚ 2005– 5– GÙÓ˚ !ÓŸªy§ å§¡õyòÜ˛ä– ÚÜ˛ˆÏÌy˛õÜ˛Ìl xy°Ùy•Ù%òÛ– Ü˛y!ÙÎ˚yÓ ≤ÃÜ˛y¢l !°!ÙˆÏê˛í˛ñ ì˛yÜ˛yñ ~Ü%˛ˆÏ¢ Ó•zˆÏÙ°y 2005– 6– §yIyò !Ó≤’Ó å§¡õy!òï˛ä– Ú§y«˛yÍÜ˛yÓ˚ xy° Ùy•Ù%òÛ– ˙!ï˛•ƒñ ì˛yÜ˛yñ ˆÊ˛Ó&Î˚y!Ó˚ 2003– 7– í˛É Ê˛ç°%° •Ü˛ ï%˛!•l– Úxy° Ùy•Ù%ˆÏòÓ˚ Ü˛!Óï˛y / !Ó£ÏÎ˚ G !¢“Ó˚*˛õÛ– ÙyG°y Óyòy§≈ñ ì˛yÜ˛yñ ˆÊ˛Ó&Î˚yÓ˚# 2014– 8– ÓyÎ˚ï%˛Õ‘y•‰ Ü˛yˆÏòÓ˚#– ÚÓyÇ°yˆÏòˆÏ¢Ó˚ £ÏyˆÏê˛Ó˚ ò¢ˆÏÜ˛Ó˚ Ü˛!Óï˛y !Ó£ÏÎ˚ G ≤ÃÜ˛Ó˚îÛ– lÓÎ%à ≤ÃÜ˛y¢l#ñ ì˛yÜ˛yñ ~!≤Ã° 2009– 9– xyl% ˆ•yˆÏ§l– ÚÓyÇ°yˆÏòˆÏ¢Ó˚ Ü˛!Óï˛y ˆ°yÜ˛§Çfl,Ò!ï˛Ó˚ l®l ï˛_¥Û– ÓyÇ°y ~Ü˛yˆÏí˛Ù#ñ ì˛yÜ˛yñ ~!≤Ã° 2007– 10– ç#Ólyl® òy¢– ÚÜ˛!Óï˛yÓ˚ Ü˛ÌyÛ– 8Ù §ÇflÒÓ˚î– !§àˆÏlê˛ñ Ü˛°Ü˛yï˛yñ 1998– 11– !ÓÙ° =•– Úxyô%!lÜ˛ ÓyÇ°y Ü˛!Óï˛yÎ˚ ˆ°yÜ˛ç ˛í˛z˛õyòyl ç§#Ùí˛zò‰ò#lÈüüüÈç#Ólyl® òy¢ÈüÈ!Ó£%èÈüÈˆòÛ– ÓyÇ°y ~Ü˛yˆÏí˛Ù#ñ ì˛yÜ˛yñ ˆÊ˛Ó&Î˚yÓ˚# 2001– 12– !Ùçyl%Ó˚ Ó˚•Ùyl Ó%°Ó%° ~ÓÇ Ù%•y¡øò ˆÙyáˆÏ°S%ÈÓ˚ Ó˚•Ùyl å§¡õy!òï˛ä– Ú˛õ!Óe xy°ÈüÈˆÜ˛yÓ˚xyˆÏl Ó!î≈ï˛ ˛õÑ!ã˛¢çl lÓ#G Ó˚y§%°Û– xyÊ˛ï˛yÓ Óyòy§≈ñ ì˛yÜ˛yñ ~!≤Ã° 2007– 13– í˛/ çy!Ü˛Ó˚ lyˆÏÎ˚Ü˛– 'Concept of God in May or Religions' www. banglainternet.com 14– Levi-Strauss. 'The Structural Study of Myth'. Source : The Journal of Ameri- can Flok lore, Vol. 68, No. 270, Myth : A Symposium (Oct-Dec 1955), PP. 428-44. 15– Mark P.O. Morford & Robert J. Lenardon. 'Classical Mythology'. Seventh Edition, New York, Oxford university Press, 2003. 16– M. H. Abrams. 'A glossory of Literary Terms'. Seventh Edition. Thomson Learning, 1999, USA. 17– Ó˚y‡° §yÇÜ,˛ï˛ƒyl– Ú•z§°yÙ ôˆÏÙ≈Ó˚ Ó˚*˛õˆÏÓ˚áyÛ– !ã˛Ó˚yÎ˚ï˛ ≤ÃÜ˛y¢lñ Ü˛°Ü˛yï˛yñ www.amarboi.com. 18– ÚxyÓ•ÙylÛ– 1Ù Ó£Ï≈ 3Î˚ §ÇáÎkyñ ç%°y•zÈüÈˆ§ˆÏ≤Wz¡∫Ó˚ 2005ñ ì˛yÜ˛y– 19– Ú˜ÏÓ¢yá#Û– ˜Ó¢yá 1421ñ ÓyÇ°yˆÏò¢ í˛z˛õÈüÈ•y•zÜ˛!Ù¢lñ Ü˛°Ü˛yï˛y– 20– ÚÜ˛!Óï˛y ≤Ã!ï˛ÙyˆÏ§Û– Ü˛!Ó xy° Ùy•Ù%ò §Çáƒy– 1Ù Ó£Ï≈ 3Î˚ §Çáƒy– ≤Ã!ï˛Ë˛y§ñ Ü˛°Ü˛yï˛yñ ç%°y•z 2005 21– í˛QÓ˚ Ù%•¡øò ¢•#ò%Õ‘y• å≤Ãôyl §¡õyòÜ˛ä– ÚÓyÇ°y ~Ü˛yˆÏí˛Ù# ÓyÇ°yˆÏòˆÏ¢Ó˚ xyMÈ˛!°Ü˛ Ë˛y£ÏyÓ˚ x!Ë˛ôyl– xá[˛– !mï˛#Î˚ ˛õ%lÙ%≈oî– ÓyÇ°y ~Ü˛yˆÏí˛Ù#ñ ì˛yÜ˛yñ ~!≤Ã° 2000– 22– Ü˛yç# Ó˚!Ê˛Ü%˛° •Ü˛ å§ÇÜ˛°l G §¡õyòlyä– ÚÓyÇ°y Ë˛y£ÏyÎ˚ xyÓ˚Ó# Ê˛yÓ˚‰§# ï%˛Ü˛# !•®# í˛zò%≈ ¢ˆÏ∑Ó˚ x!Ë˛ôylÛ– ≤ÃÌÙ ≤ÃÜ˛y¢– ÓyÇ°y ~Ü˛yˆÏí˛Ù# ì˛yÜ˛yñ ~!≤Ã° 2004– 23– ÚxyÜ˛yˆÏò!Ù Óylyl x!Ë˛ôylÛ– §ÆÙ §ÇflÒÓ˚î– ˛õ!Ÿã˛ÙÓD ÓyÇ°y xyÜ˛yˆÏò!Ùñ ç%°y•z 2001– 24– Ú§Ç§ò ÓyÇ°y x!Ë˛ôylÛ– ˛õMÈ˛Ù Ù%oî– §y!•ï˛Î §Ç§òñ Ü˛°Ü˛yï˛yñ ˆ§ˆÏ≤Wz¡∫Ó˚ 2003– 25– 'Students Favourite Dictionary" (English to Bengali and English). Twenty Fifth Edition Edited by Jyotibhusan Chaki. Reprin July 2000. 84 §y!•ï˛ƒ xDl ˘ meeefnl³e Debeieve / Sahitya Angan Kwe †gvwnZ P‡Ævcva¨vq I Zuvi wbe©vwPZ KweZvi wbweo-cvV I we‡k•lY ¯îvR Kzgvi `vk

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å3ä xl%≤Ãy§ /ÈüüüÈÜ˛!Óï˛yÎ˚ ÓƒÓ•*ï˛ ◊&!ï˛Ùô%Ó˚ G ôÁ!lÙ![˛ï˛ x°ÇÜ˛yÓ˚ˆÏÜ˛ xl%≤Ãy§ ÓˆÏ°– xÌ≈yÍ ~Ü˛!ê˛ ôÁ!l Óy ôÁ!l=FSÈˆÏÜ˛ Îál ~Ùl ÓƒÓ•yÓ˚ Ü˛Ó˚y •Î˚ ÎyÓ˚ Ê˛ˆÏ° Ó˚ã˛lyÓ˚ ÙˆÏôƒ ◊&!ï˛Ùyô%Î≈ §,!‹T •Î˚ñ ï˛ál •Î˚ xl%≤Ãy§ x°ÇÜ˛yÓ˚– xl%≤Ãy§ xˆÏlÜ˛ ôÓ˚ˆÏlÓ˚ xyˆÏSÈ– ÓyÇ°yÎ˚ §yôyÓ˚îï˛ !ï˛l ôÓ˚ˆÏlÓ˚ xl%≤Ãy§ ˆòáy ÎyÎ˚ÈüüüÈ åÜ˛ä xhs˝ƒyl%≤Ãy§ åáä Ó,_yl%≤Ãy§ åàä ˆSÈÜ˛yl%≤Ãy§ åÜ˛ä xhs˝ƒyl%≤Ãy§ /ÈüüüÈÜ˛!Óï˛yÓ˚ ~Ü˛!ê˛ ã˛Ó˚ˆÏîÓ˚ ˆ¢ˆÏ£ÏÓ˚ ôÁ!l Óy ôÁ!l=ˆÏFSÈÓ˚ §ˆÏD Îál ˛õÓ˚Óï≈˛# ã˛Ó˚ˆÏîÓ˚ ˆ¢ˆÏ£ÏÓ˚ ôÁ!l Óy ôÁ!l=ˆÏFSÈÓ˚ !Ù° Ó˚ã˛ly Ü˛Ó˚y •Î˚ ï˛ál •Î˚ xhs˝ƒyl%≤Ãy§– ˆÎÙlÈüüüÈ Ü˛ä ÚÙ•yË˛yÓ˚ˆÏï˛Ó˚ Ü˛Ìy xÙ,ï˛ §Ùyl– Ü˛y¢#Ó˚yÙ òy§ Ü˛ˆÏ• ÷ˆÏl ˛õ%lƒÓyl–– ÈüüüÈ~áyˆÏl ≤ÃÌÙ ã˛Ó˚ˆÏîÓ˚ ˆ¢ˆÏ£Ï ÓƒÓ•*ï˛ ÚÙylÛ ôÁ!l=ˆÏFSÈÓ˚ §ˆÏD !mï˛#Î˚ ã˛Ó˚ˆÏîÓ˚ ˆ¢ˆÏ£Ï ÓƒÓ•*ï˛ ÚÓylÛ ôÁ!l=ˆÏFSÈÓ˚ xl%≤Ãy§ •ˆÏÎ˚ˆÏSÈ– xhs˝ƒyl%≤ÃyˆÏ§Ó˚ ~Ü˛!ê˛ ã˛ÙÍÜ˛yÓ˚ í˛zòy•Ó˚î Ó˚ã˛ly Ü˛ˆÏÓ˚ˆÏSÈl !ÓŸªÓ!®ï˛ Ü˛!Ó Ó˚Ó#wlyÌÈüüüÈÚxyˆÏ§ =!ê˛ =!ê˛ ˜ÓÎ˚yÜ˛Ó˚î˘ô%°y Ë˛Ó˚y ò%!ê˛ °•zÎ˚y ã˛Ó˚î–ÈüüüÈ~áyˆÏl ≤ÃÌÙ ã˛Ó˚ˆÏîÓ˚ Ú˜ÓÎ˚yÜ˛Ó˚îÛ ¢∑!ê˛Ó˚ ôÁ!lÓ˚ §ˆÏD ˛õÓ˚Óï˛#≈ ã˛Ó˚ˆÏîÓ˚ Ú°•zÎ˚y ã˛Ó˚îÛ ~•z §Ù@˝Ã xÇˆÏ¢Ó˚ xl%≤Ãy§ •ˆÏÎ˚ˆÏSÈ– åáä Ó,_yl%≤Ãy§ /ÈüüüÈ~Ü˛!ê˛ ÓƒOlôÁ!l Î!ò ~Ü˛y!ôÜ˛ ÓyÓ˚ ÓƒÓ•*ï˛ •Î˚ xÌÓy ÓƒOl ôÁ!l=FSÈ Î%_´Ë˛yˆÏÓ Óy xy°yòyË˛yˆÏÓ xˆÏlÜ˛ÓyÓ˚ ÓƒÓ•*ï˛ •Î˚ ï˛y•ˆÏ° •Î˚ Ó,_yl%≤Ãy§– ˆÎÙlÈüüüÈ Ü˛ä Úly!• ã˛y!• !lÓ˚y˛õˆÏò Ó˚yçˆÏË˛yà ï˛ÓÛ ÈüüüÈ~áyˆÏl Ú•Û ôÁ!l!ê˛ ò%ÓyÓ˚ ~ÓÇ ÚÓ˚Û ôÁ!l!ê˛ ò%ÓyÓ˚ ÓƒÓ•*ï˛ •ˆÏÎ˚ˆÏSÈ– áä ÚˆÜ˛ï˛Ü˛# ˆÜ˛¢ˆÏÓ ˆÜ˛¢ ˛õy¢ Ü˛Ó˚ §%Ó˚!Ë˛Û ÈüüüÈ~áyˆÏl ÚÜ˛Û ôÁ!l!ê˛ ˛õÑyã˛ÓyÓ˚ ~ÓÇ Ú¢Û G Ú§Û ôÁ!l ~Ü˛ˆÏe ã˛yÓ˚ÓyÓ˚ ÓƒÓ•*ï˛ •ˆÏÎ˚ˆÏSÈ– àä Úl®˛õ%Ó˚ ã˛wÓ#îy Ó,®yÓl x¶˛Ü˛yÓ˚Û ÈüüüÈ~áyˆÏl Ú®Û ôÁ!l=FSÈ ~ÓÇ Ú¶˛Û ôÁ!l=FSÈ ˛õÓ˚flõÓ˚ !Ù° ˆÓ˚ˆÏá ˆÙyê˛ ã˛yÓ˚ÓyÓ˚ ôÁ!lï˛ •ˆÏÎ˚ˆÏSÈ– åàä ˆSÈÜ˛yl%≤Ãy§ /ÈüüüÈò%!ê˛ ÓƒOllôÁ!l Î%_´Ë˛yˆÏÓ Óy xy°yòyË˛yˆÏÓ ˆÜ˛Ó°Ùye ò%ÓyÓ˚ ôÁ!lï˛ •ˆÏ° ˆSÈÜ˛yl%≤Ãy§ x°ÇÜ˛yÓ˚ •Î˚– ˆÎÙlÈüüüÈ Ü˛ä Ú~á!l x¶˛ Ó¶˛ Ü˛ˆÏÓ˚y ly ˛õyáyÛÈüüüÈ~áyˆÏl Ú¶˛Û ôÁ!l =FSÈ!ê˛ ˆÜ˛Ó°Ùye ò%ÓyÓ˚ ÓƒÓ•*ï˛ •ˆÏÎ˚ˆÏSÈ– ~•z ôÁ!l=FSÈ!ê˛ ò%!ê˛ ÓƒOlôÁ!lÓ˚ §Ùß∫ˆÏÎ˚ à!ë˛ï˛– áä Úˆ¢Ê˛y°# Ó˚yˆÏÎ˚Ó˚ §ˆÏD xyÙyÓ˚ ~Ü˛Ê˛y!°G ˛õ!Ó˚ã˛Î˚ lˆÏ•–ÛÈüüüÈ~áyˆÏl ÚÊ˛y!°Û ôÁ!l=FSÈˆÏÜ˛ ò%ÓyÓ˚ ÓƒÓ•yÓ˚ Ü˛Ó˚y •ˆÏÎ˚ˆÏSÈ– ˆÜ˛í˛z ˆÜ˛í˛z ÓˆÏ° ÌyˆÏÜ˛l fl∫Ó˚ôÁ!lÓ˚ xl%≤Ãy§ •Î˚ ly ~Ùl ÎÌyÌ≈ lÎ˚– ÓyÇ°y Ü˛yˆÏÓƒ fl∫Ó˚ôÁ!lÓ˚ xl%≤ÃyˆÏ§Ó˚ í˛zòy•Ó˚î xˆÏlÜ˛ ˛õyGÎ˚y ÎyÎ˚– xl%≤Ãy§ Ó˚ã˛lyÓ˚ ˆ«˛ˆÏe Ü˛!Ó §ˆÏï˛ƒwlyÌ ò_ G Ó˚Ó#wlyÌ x§yôyÓ˚î ò«˛ï˛yÓ˚ ˛õ!Ó˚ã˛Î˚ ˆÓ˚ˆÏá ˆàˆÏSÈl– §ˆÏï˛ƒwlyÌ ò_ Ó˚!ã˛ï˛ í˛zòy•Ó˚î / ÚV˛Ó˚îy V˛Ó˚îy §%®Ó˚# V˛î≈y ï˛Ó˚!°ï˛ ã˛!wÜ˛y ã˛®l Óî≈y– Ó˚Ó#wlyÌ ë˛yÜ%˛Ó˚ Ó˚!ã˛ï˛ í˛zòy•Ó˚î / Úò#!âÓ˚ Ü˛yˆÏ°y çˆÏ° §ÑyˆÏV˛Ó˚ xyˆÏ°y V˛ˆÏ°–Û ÈüüüÈ~Ùl!Ü˛ Ó˚Ó#wlyÌ ~Ùl ~Ü˛!ê˛ xl%≤Ãy§ Ó˚ã˛ly Ü˛ˆÏÓ˚ˆÏSÈl ˆÎáyˆÏl ˛õ)Ó≈Óï˛#≈ ã˛Ó˚ˆÏîÓ˚ ≤Ã!ï˛!ê˛ ¢ˆÏ∑Ó˚ §ˆÏD ˛õÓ˚Óï˛#≈ ã˛Ó˚ˆÏîÓ˚ ≤Ã!ï˛!ê˛ ¢ˆÏ∑Ó˚ xhs˝ƒ!Ù° Ó˚!ã˛ï˛ •ˆÏÎ˚ˆÏSÈ– ˆÎÙlÈüüüÈ 92 §y!•ï˛ƒ xDl ˘ meeefnl³e Debeieve / Sahitya Angan

ÚààˆÏl SÈí˛¸yˆÏÎ˚ ~ˆÏ°y ã%˛° ã˛Ó˚ˆÏî çí˛¸yˆÏÎ˚ ÓlÊ%˛°–Û ~•z ôÓ˚ˆÏîÓ˚ xl%≤Ãy§ˆÏÜ˛ xˆÏlˆÏÜ˛ §Ó≈yl%≤Ãy§ ÓˆÏ° ÌyˆÏÜ˛l– å4ä ÓˆÏeý!_´ /ÈüüüÈˆÜ˛yl Ü˛ÌyÎ˚ Ó_ý Îy Ó°ˆÏï˛ ã˛y•zˆÏSÈl ˆ◊yï˛y Î!ò ï˛y ly ôˆÏÓ˚ xlƒ xÌ≈ ÙˆÏl Ü˛ˆÏÓ˚l xÌ≈yÍ Ó_´ÓƒˆÏÜ˛ Ó_ý Î!ò §Ó˚y§!Ó˚ ≤ÃÜ˛y¢ ly Ü˛ˆÏÓ˚ ÓˆÏeý Óy ÓÑyÜ˛yË˛yˆÏÓ Óy â%!Ó˚ˆÏÎ˚ ÓˆÏ°l ï˛ál •Î˚ ÓÏe´!_´ x°ÇÜ˛yÓ˚– ~•z x°ÇÜ˛yÓ˚ ò%•z ôÓ˚ˆÏîÓ˚ÈüüüÈ å1ä ˆŸ’£Ï ÓˆÏeý!_´ ~ÓÇ å2ä Ü˛yÜ%˛ ÓˆÏeý!_´– ˆŸ’£Ï ÓˆÏeý!_´ /ÈüüüÈ~•z x°ÇÜ˛yˆÏÓ˚ ÓyˆÏÜ˛ƒ ÓƒÓ•*ï˛ ¢∑ˆÏÜ˛ ~ÙlË˛yˆÏÓ ÓƒÓ•yÓ˚ Ü˛Ó˚y •Î˚ ÎyˆÏï˛ ~Ü˛!ê˛ ¢ˆÏ∑Ó˚ ò%!ê˛ xÌ≈ •ˆÏï˛ ˛õyˆÏÓ˚– ˆÎÙlÈüüüÈ Ú≤ÃŸ¿ÈüüüÈ!Ó≤Ã •ˆÏÎ˚ §%Ó˚y§_´ ˆÜ˛l Ù•y¢Î˚⁄ í˛z_Ó˚ÈüüüÈ§%ˆÏÓ˚ ly ˆ§!ÓˆÏ° ˆÜ˛Óy Ù%_´ •Î˚–Û ÈüüüÈ~áyˆÏl §•ˆÏç•z xyÙÓ˚y Ó%V˛ˆÏï˛ ˛õy!Ó˚ ≤ÃŸ¿ Ü˛Ó˚y •° Óy·˛î •ˆÏÎ˚ ˆÜ˛l ÙˆÏò xy§_´– !Ü˛v í˛z_Ó˚ ~° §%Ó˚y§ˆÏ_´ Ù%!_´ ˛õyGÎ˚y ÎyÎ˚– Ó°y Óy‡°ƒ Ú§%Ó˚y§_´Û ¢∑!ê˛ˆÏÜ˛ ò%Ë˛yˆÏÓ Ë˛y.y •ˆÏÎ˚ˆÏSÈÈüüüÈ §%Ó˚y + xy§_´ = §%Ó˚y§_´ å§%Ó˚y xÌ≈yÍ Ùòä §%Ó˚ + xy§_´ = §%Ó˚y§_´ å§%Ó˚ xÌ≈yÍ ˆòÓï˛yä Ü˛yÜ%˛ ÓˆÏeý!_´ /ÈüüüÈÜ˛yÜ%˛ ¢ˆÏ∑Ó˚ xÌ≈ fl∫Ó˚Ë˛!D– ~•z x°ÇÜ˛yÓ˚!ê˛ Ó_ýÓ˚ Ó°yÓ˚ Ë˛!D Óy Ü˛t˛ôÁ!lÓ˚ Ë˛!DÓ˚ í˛z˛õÓ˚ !lË≈˛Ó˚ Ü˛ˆÏÓ˚– ~Ó˚ Ê˛ˆÏ° Ú•ÑƒyÛ xÌ≈yÍ •z!ï˛Óyã˛Ü˛ Ü˛Ìy ÚlyÛ xÌ≈yÍ ˆl!ï˛Óyã˛Ü˛ •ˆÏÎ˚ ÎyÎ˚– xyÓyÓ˚ !Ó˛õÓ˚#ï˛G •ˆÏï˛ ˛õyˆÏÓ˚– ~ÈüÈçyï˛#Î˚ ÓˆÏeý!_´ x°ÇÜ˛yÓ˚ˆÏÜ˛ Ü˛yÜ%˛ ÓˆÏeý!_´ ÓˆÏ°– ˆÎÙlÈüüüÈ Ü˛ä Úxy!Ù !Ü˛ í˛Ó˚y•zñ §!áñ !Ë˛áy!Ó˚ Ó˚yâˆÏÓÛÈüüüÈ~áyˆÏl !Ë˛áyÓ˚# Ó˚yâÓˆÏÜ˛ Ë˛Î˚ ly Ü˛Ó˚yÓ˚ Ü˛Ìy flõ‹TË˛yˆÏÓ Ó°y •Î˚ !lñ !Ü˛v Ü˛Ìy Ó°yÓ˚ Ë˛!DˆÏï˛ ˆ§•z ˆl!ï˛Óyã˛Ü˛ xÌ≈ ≤ÃÜ˛y¢ ˛õyˆÏFSÈ– áä ÚÓˆÏL ˆÎ çly ÙˆÏÓ˚ lÓâl ¢ƒyÙ ˆ¢yË˛yÓ˚ ï˛y!Ó˚Ê˛ ˆ§ ÓÇˆÏ¢ ˆÜ˛Óy Ü˛ˆÏÓ˚Û–ÈüüüÈ~áyˆÏl ÚˆÜ˛í˛z Ü˛ˆÏÓ˚ lyÛ ~•z xÌ≈•z ≤ÃÜ˛y¢ ˛õyˆÏFSÈ– xÌ≈y°ÇÜ˛yÓ˚ í˛z˛õÙy í˛z˛õÙy Ü˛Ìy!ê˛Ó˚ §yôyÓ˚î xÌ≈ ï%˛°ly– ò%•z !Óçyï˛#Î˚ ˛õòyˆÏÌ≈Ó˚ ÙˆÏôƒ Óy Ó›Ó˚ ÙˆÏôƒ ï%˛°ly Ü˛Ó˚y •Î˚– ï˛ˆÏÓ ï˛yˆÏòÓ˚ §yôyÓ˚î ôÙ≈ ~Ü˛– ~Ùl xÓfliyÎ˚ ï˛yˆÏòÓ˚ ÙˆÏôƒ Î!ò §yò,¢ƒ ˆòáyˆÏly •Î˚ ï˛y•ˆÏ° •Î˚ Úí˛z˛õÙyÛ x°ÇÜ˛yÓ˚– ˆÎÙlÈüüüÈ Úã˛MÈ˛° xyˆÏ°y xy¢yÓ˚ Ùï˛l ÜÑ˛y!˛õˆÏSÈ çˆÏ°–Û åÓ˚Ó#wlyÌä ÈüüüÈ~áyˆÏl ÚxyˆÏ°yÛ ~ÓÇ Úxy¢yÛ !Óçyï˛#Î˚ ¢∑ñ ~ˆÏòÓ˚ §yôyÓ˚î ôÙ≈ Ü˛¡õl– ï˛yˆÏòÓ˚ ÙˆÏôƒ ~Ü˛ê˛y §yò,¢ƒ àˆÏí˛¸ ˆï˛y°y •ˆÏÎ˚ˆÏSÈ– §%ï˛Ó˚yÇ ~Ü˛!ê˛ ~!ê˛ Úí˛z˛õÙyÛ x°ÇÜ˛yÓ˚– í˛z˛õÙy ≤Ãôylï˛ ˛õÑyã˛ ≤ÃÜ˛yˆÏÓ˚Ó˚ÈüüüÈ Ü˛ä ˛õ)î≈ í˛z˛õÙy– áä °%Æ í˛z˛õÙy– §y!•ï˛ƒ xDl ˘ meeefnl³e Debeieve / Sahitya Angan 93

àä ÙyˆÏ°y˛õÙy– âä Ó› ≤Ã!ï˛Ó›Ë˛yˆÏÓÓ˚ í˛z˛õÙy– .ä !Ó¡∫ ≤Ã!ï˛!Ó¡∫Ë˛yˆÏÓÓ˚ í˛z˛õÙy– åÜ˛ä ˛õ)î≈ÈüÈí˛z˛õÙy /ÈüüüÈˆÎ í˛z˛õÙyÓ˚ ï%˛°ly Ü˛Ó˚yÓ˚ ã˛yÓ˚!ê˛ xD xÌ≈yÍ í˛z˛õÙylñ í˛z˛õˆÏÙÎ˚ñ §yôyÓ˚îôÙ≈ ~ÓÇ ï%˛°lyÓyã˛Ü˛ ¢∑ §%‹õ‹TË˛yˆÏÓ í˛z!Õ‘!áï˛ •Î˚ ï˛yˆÏÜ˛ ˛õ)î≈ í˛z˛õÙy ÓˆÏ°– ˆÎÙlÈüüüÈ Ü˛ä Ú!ÓÓ˚!ï˛ xy•yˆÏÓ˚ Ó˚yDy Óy§ ˛õˆÏÓ˚ ˆÎÙ!ï˛ ˆÎy!àl# ˛õyÓ˚y–Û ÈüüüÈ~áyˆÏl ÚÓ˚yDy Óy§Û ˛õ!Ó˚!•ï˛ lyÓ˚#Ó˚ §ˆÏD ˆÎy!àl#Ó˚ ï%˛°ly Ü˛Ó˚y •ˆÏÎ˚ˆÏSÈ– ~ˆÏòÓ˚ §yôyÓ˚î ôÙ≈ ˜l!Ù!_Ü˛ ç#ÓˆÏlÓ˚ ≤Ã!ï˛ !ÓÓyà# •GÎ˚yñ ~áyˆÏl Úxy•yˆÏÓ˚ !ÓÓ˚!ï˛Ûñ ~ÓÇ ï%˛°lyÓyã˛Ü˛ ¢∑ ÚˆÎÙï˛Û– xÌ≈yÍ ÚÓ˚y!ôÜ˛yÛ í˛z˛õˆÏÙÎ˚ñ í˛z˛õÙyl ÚˆÎy!àl#Ûñ Ú˜ÓÓ˚yàƒÛ §yôyÓ˚î ôÙ≈ ~ÓÇ ÚˆÎÙ!ï˛Û ï%˛°lyÓyã˛Ü˛ ¢∑– í˛zòy•Ó˚î /ÈüüüÈáä Ú˛ll#Ó˚ Ùï˛ ¢Îƒy ˆÜ˛yÙ° ˛õyï˛yÛ– ÈüüüÈ~áyˆÏl Ú¢ÎƒyÛ í˛z˛õˆÏÙÎ˚ñ Úll#Û í˛z˛õÙylñ ï%˛°lyÓyã˛Ü˛ ¢∑ ÚÙï˛lÛ ~ÓÇ §yôyÓ˚îôÙ≈ ÚˆÜ˛yÙ°Û– åáÈä °%Æ í˛z˛õÙy /ÈüüüÈˆÎ í˛z˛õÙyÎ˚ í˛z˛õˆÏÙÎ˚ˆÏÜ˛ !ë˛Ü˛ ˆÓ˚ˆÏá Óy í˛z˛õˆÏÙÎ˚ˆÏÜ˛ Óï≈˛Ùyl ˆÓ˚ˆÏá í˛z˛õÙylñ ï%˛°lyÓyã˛Ü˛ ¢∑ ~ÓÇ §yôyÓ˚îôÙ≈ÈüüüÈ~•z !ï˛l!ê˛Ó˚ ÙˆÏôƒ ~Ü˛!ê˛ñ ò%!ê˛ xÌÓy !ï˛l!ê˛ °%Æ xÓﬂiyÎ˚ ÌyˆÏÜ˛ ï˛y•ˆÏ° ï˛yˆÏÜ˛ °%ÆÈüÈí˛z˛õÙy ÓˆÏ°– ˆÎÙlÈüüüÈ Ü˛ä ÚÜ˛Ù° ò° ç° ç#Ól ê˛°Ù°Û– ÈüüüÈ~áyˆÏl ï%˛°lyÓyã˛Ü˛ ¢∑ °%Æ •ˆÏÎ˚ˆÏSÈ– áä ÚÜ˛rê˛Ü˛ àyí˛¸# Ü˛Ù° §Ù ˛õòï˛°–Û ÈüüüÈ~áyˆÏl §yôyÓ˚î ôÙ≈ ÚˆÜ˛yÙ°ï˛yÛ °%Æ– àä Úï˛!í˛¸ï˛ ÓÓ˚î# •!Ó˚î ˛lÎ˚l#ñ ˆò!ál% xy!.ly ÙyˆÏV˛–Û ÈüüüÈ~áyˆÏl í˛z˛õÙylñ ï%˛°lyÓyã˛Ü˛ ¢∑ ~ÓÇ §yôyÓ˚î ôÙ≈ !ï˛l!ê˛•z °%Æ– ˆÜ˛Ó° Úï˛!í˛¸ï˛ ÓÓ˚îÛ G Ú•!Ó˚î ˛lÎ˚l#Û ~•z í˛z˛õˆÏÙÎ˚ˆÏÜ˛ ˛õyGÎ˚y ÎyˆÏFã˛– åàä ÙyˆÏ°y˛õÙy /ÈüüüÈˆÎ í˛z˛õÙy x°ÇÜ˛yˆÏÓ˚ ~Ü˛!ê˛ í˛z˛õˆÏÙˆÏÎ˚Ó˚ §ˆÏD xˆÏlÜ˛=!° í˛z˛õÙyl ÌyˆÏÜ˛ñ ï˛yˆÏÜ˛ ÙyˆÏ°y˛õÙy ÓˆÏ°– ˆÎÙlÈüüüÈ Úˆï˛yÙyÓ˚ ˆ§ ã%˛° çí˛¸yˆÏly §%ˆÏï˛yÓ˚ Ùï˛l !l!¢ˆÏÌÓ˚ ˆÙˆÏâÓ˚ Ùï˛l–Û ÈüüüÈ~áyˆÏl í˛z˛õˆÏÙÎ˚ ~Ü˛!ê˛ ÈüüüÈÚã%˛°Ûñ !Ü˛v í˛z˛õÙyl ò%!ê˛ Úçí˛¸yˆÏly §%ˆÏï˛yÛ ~ÓÇ Ú!l!¢ˆÏÌÓ˚ ˆÙâÛ– åâä Ó› ≤Ã!ï˛Ó›Ë˛yˆÏÓÓ˚ í˛z˛õÙy / ÈüüüÈí˛z˛õÙyˆÏlÓ˚ §ˆÏD í˛z˛õˆÏÙˆÏÎ˚Ó˚ ï%˛°lyÓ˚ §ÙÎ˚ Î!ò §yôyÓ˚î ôÙ≈ˆÏÜ˛ ò%Ë˛yˆÏÓ !Ó!Ë˛ß¨ Ë˛y£ÏyÎ˚ ≤ÃÜ˛y¢ Ü˛Ó˚y •Î˚ ï˛y•ˆÏ° ï˛yˆÏòÓ˚ ~Ü˛!ê˛ˆÏÜ˛ Ó°y •Î˚ ÚÓ›Û x˛õÓ˚!ê˛ˆÏÜ˛ Ú≤Ã!ï˛Ó›Û– ~•z ôÓ˚ˆÏîÓ˚ í˛z˛õÙyˆÏÜ˛ Ó›≤Ã!ï˛Ó›Ë˛yˆÏÓÓ˚ í˛z˛õÙy ÓˆÏ°– ~•z ôÓ˚ˆÏlÓ˚ x°ÇÜ˛yˆÏÓ˚ ï%˛°lyÓyã˛Ü˛ ¢∑ xÓ¢ƒ•z ≤ÃÜ˛y¢ Ü˛Ó˚ˆÏï˛ •Î˚– ˆÎÙlÈüüüÈ Ú!l¢yÜ˛yˆÏ° ÎÌy Ù%!òï˛ Ü˛Ù°òˆÏ° ÌyˆÏÜ˛ =ÆË˛yˆÏÓ ˆ§ÔÓ˚Ë˛ ~ ˆ≤ÃÙñ ÓÑô%ñ xy!SÈ° •*òˆÏÎ˚ xhs˝!Ó˚ï˛–Û ÈüüüÈ~áyˆÏl í˛z˛õˆÏÙÎ˚ Úˆ≤ÃÙÛñ í˛z˛õÙyl Úˆ§ÔÓ˚Ë˛Û– §yôyÓ˚îôÙ≈ ò%Ë˛yˆÏÓ !Ó!Ë˛ß¨Ë˛y£ÏyÎ˚ ≤ÃÜ˛y!¢ï˛ •ˆÏÎ˚ˆÏSÈÈüüüÈ Ú=ÆË˛yˆÏÓ ~ÓÇ Úxhs˝!Ó˚ï˛Û– ï%˛°lyÓyã˛Ü˛ ¢∑ ÚÎÌyÛ– 94 §y!•ï˛ƒ xDl ˘ meeefnl³e Debeieve / Sahitya Angan

å.ä !Ó¡∫ ≤Ã!ï˛!Ó¡∫Ë˛yˆÏÓÓ˚ í˛z˛õÙy /ÈüüüÈˆÎáyˆÏl í˛z˛õÙyl ~ÓÇ í˛z˛õˆÏÙˆÏÎ˚Ó˚ ò%!ê˛ ˛õ,ÌÜ˛ ôÙ≈ ÌyˆÏÜ˛ xÌã˛ ï˛yˆÏòÓ˚ ÙˆÏôƒ ~Ü˛!ê˛ §yò,¢ƒ xy!Ó‹ÒyÓ˚ Ü˛Ó˚y ÎyÎ˚ ï˛ál ˆ§•z ò%!ê˛ ôˆÏÙ≈Ó˚ ~Ü˛!ê˛ˆÏÜ˛ Ó°y •Î˚ Ú!Ó¡∫Û ~ÓÇ x˛õÓ˚!ê˛ˆÏÜ˛ Ó°y •Î˚ Ú≤Ã!ï˛!Ó¡∫Û– ~•zË˛yˆÏÓÓ˚ í˛z˛õÙyˆÏÜ˛ !Ó¡∫ ≤Ã!ï˛!Ó¡∫Ë˛yˆÏÓÓ˚ í˛z˛õÙy ÓˆÏ°– ˆÎÙlÈüüü Ú Ü˛yl%Ó˚ !˛õ!Ó˚ï˛ Ó!°ˆÏï˛ Ó!°ˆÏï˛ ˛õÑyçÓ˚ Ê˛y!ê˛Î˚y GˆÏë˛– ¢C Ó!îˆÏÜ˛Ó˚ Ü˛Ó˚yï˛ ˆÎÙ!ï˛ xy!§ˆÏï˛ Îy•zˆÏï˛ Ü˛yˆÏê˛––ÛÈ ÈüüüÈ~áyˆÏl í˛z˛õˆÏÙÎ˚ ÚÜ˛yî%Ó˚ !˛õ!Ó˚!ï˛Û ~ÓÇ í˛z˛õÙyl Ú¢C Ó!îˆÏÜ˛Ó˚ Ü˛Ó˚yï˛Û– ~ˆÏòÓ˚ ò%!ê˛ ˛õ,ÌÜ˛ §yôyÓ˚î ôÙ≈ÈüüüÈÚ˛õÑyçÓ˚ Ê˛y!ê˛Î˚y GˆÏë˛Û ~ÓÇ Úxy!§ˆÏï˛ Îy•zˆÏï˛ Ü˛yˆÏê˛Û– !Ü˛v í˛zË˛ˆÏÎ˚Ó˚ xÓfliy•z ˆÓòlyÙÎ˚– ~•z ôÓ˚ˆÏîÓ˚ x°ÇÜ˛yÓ˚•z •° !Ó¡∫ ≤Ã!ï˛!Ó¡∫ Ë˛yˆÏÓÓ˚ í˛z˛õÙy– ï%˛°lyÓyã˛Ü˛ ¢∑ ~áyˆÏl ÚˆÎÙ!ï˛Û– Ó˚*˛õÜ˛ /ÈüüüÈí˛z˛õˆÏÙÎ˚ G í˛z˛õÙyˆÏlÓ˚ ÙˆÏôƒ ï%˛°lyÓ˚ Ë˛yÓ!ê˛ xfl∫#Ü˛yÓ˚ Ü˛ˆÏÓ˚ ò%!ê˛Ó˚ ÙˆÏôƒ xˆÏË˛ò §¡õÜ≈˛ Ü˛“ly Ü˛Ó˚y ••zˆÏ° ÚÓ˚*˛õÜ˛Û x°ÇÜ˛yÓ˚ •Î˚– ˆÎÙlÈüüüÈ ÚÊ%˛ê˛yÎ˚ ÙˆÏl !Ü˛ Ùl ˆï˛yÓ˚ á%!¢Ó˚ ¢ï˛ò°–Û ÈüüüÈ~áyˆÏl í˛z˛õˆÏÙÎ˚ Úá%!¢Û ~ÓÇ í˛z˛õÙyl Ú¢ï˛ò°Û í˛zË˛ˆÏÎ˚Ó˚ ÙˆÏôƒ xˆÏË˛ò Ü˛“ly Ü˛Ó˚y •ˆÏÎ˚ˆÏSÈ– Ó˚*˛õÜ˛ x°ÇÜ˛yÓ˚ ≤Ãôylï˛ ã˛yÓ˚ ≤ÃÜ˛yÓ˚ Ü˛ä !lÓ˚D Ó˚*˛õÜ˛ áä fl∫yD Ó˚*˛õ àä ˛õÓ˚¡õ!Ó˚ï˛ Ó˚*˛õÜ˛ âä x!ôÜ˛yÓ˚*Ó˚ ˜Ó!¢‹Tƒ §¡õß¨ Ó˚*˛õÜ˛– !lÓ˚D Ó˚*˛õÜ˛ xyÓyÓ˚ ò% ≤ÃÜ˛yÓ˚ÈüüüÈÚˆÜ˛Ó°Û ~ÓÇ ÚÙy°yÛ– åÜ˛ä !lÓ˚D ˆÜ˛Ó° Ó˚*˛õÜ˛ /ÈüüüÈ~Ü˛!ê˛ í˛z˛õˆÏÙˆÏÎ˚Ó˚ §ˆÏD ~Ü˛!ê˛ í˛z˛õÙyˆÏlÓ˚ xˆÏË˛ò Ü˛“ly Ü˛Ó˚y •ˆÏ° ~•z !lÓ˚D ˆÜ˛Ó° Ó˚*˛õÜ˛ x°ÇÜ˛yÓ˚ •Î˚– ˆÎÙlÈüüüÈ Ú~Ùl ÙylÓ ç!Ùl Ó˚•z° ˛õ!ï˛ï˛ xyÓyò Ü˛Ó˚ˆÏ° Ê˛°ï˛ ˆ§yly–Û ÈüüüÈ~áyˆÏl í˛z˛õˆÏÙÎ˚ ~Ü˛!ê˛ ÚÙylÓÛ í˛z˛õÙylG ~Ü˛!ê˛ Úç!ÙlÛ ~ˆÏòÓ˚ ÙˆÏôƒ xˆÏË˛ò Ü˛“ly Ü˛Ó˚y •ˆÏÎ˚ˆÏSÈ– !lÓ˚D Ùy°yÓ˚*˛õÜ˛ /ÈüüüÈˆÎ !lÓ˚D Ó˚*˛õˆÏÜ˛ í˛z˛õˆÏÙÎ˚ ~Ü˛!ê˛ !Ü˛v í˛z˛õÙyl ~Ü˛y!ôÜ˛ ÌyˆÏÜ˛ ï˛yˆÏÜ˛ !lÓ˚D Ùy°y Ó˚*˛õÜ˛ ÓˆÏ°– ˆÎÙlÈüüüÈ Ü˛ä Úˆ¢Ê˛y°# ˆ§ÔÓ˚Ë˛ xy!Ù Ó˚y!eÓ˚ !lŸªy§ñ ˆË˛yˆÏÓ˚Ó˚ ˜Ë˛Ó˚Ó#–Û ÈüüüÈ~áyˆÏl í˛z˛õˆÏÙÎ˚ ~Ü˛!ê˛ Úxy!ÙÛ ~ÓÇ í˛z˛õÙy !ï˛l!ê˛ÈüüüÈÚˆ¢Ê˛y°#Ó˚ ˆ§ÔÓ˚Ë˛Ûñ ÚÓ˚y!e !lŸªy§Û G ÚˆË˛yˆÏÓ˚Ó˚ ˜Ë˛Ó˚Ó#Û– áä Úxy!Ù !Ü˛ ˆï˛yÙyÓ˚ í˛z˛õoÓñ x!Ë˛¢y˛õñ ò)Ó˚ò,‹Tñ ò%/fl∫≤¿ñ Ü˛Ó˚°@¿ ÜÑ˛yã˛y–Û ÈüüüÈ~áyˆÏl í˛z˛õˆÏÙÎ˚ Úxy!ÙÛ ~ÓÇ í˛z˛õÙyl ˛õÑyã˛!ê˛ ÈüüüÈÚí˛z˛õoÓÛñ Úx!Ë˛¢y˛õÛñ Úò)Ó˚ò,!‹TÛñ Úò%/fl∫≤¿Ûñ ÚÜ˛Ó˚°@¿ ÜÑ˛yê˛yÛ– fl∫yD Ó˚*˛õÜ˛ /ÈüüüÈˆÎ Ó˚*˛õÜ˛ x°ÇÜ˛yÓ˚ í˛z˛õÙyl G í˛z˛õˆÏÙˆÏÎ˚Ó˚ ÙˆÏôƒ xˆÏË˛ò Ü˛“lyÓ˚ §yˆÏÌ ï˛yˆÏòÓ˚ !Ó!Ë˛ß¨ xˆÏDÓ˚ ÙˆÏôƒG xˆÏË˛ò Ü˛“ly Ü˛Ó˚y •Î˚ ï˛yˆÏÜ˛ fl∫yD Ó˚*˛õÜ˛ ÓˆÏ°– ˆÎÙlÈüüüÈ Ü˛ä ÚÓ«˛ Ó#îyÎ˚ ˆÓòlyÓ˚ ï˛yÓ˚ §y!•ï˛ƒ xDl ˘ meeefnl³e Debeieve / Sahitya Angan 95

~•zÙï˛ ˛õ%l/ ÓÑy!ôÓ xyÓyÓ˚–Û ÈüüüÈ~áyˆÏl ÚÓ«˛Û í˛z˛õˆÏÙÎ˚ ~ÓÇ í˛z˛õÙyl ÚÓ#îyÛ– !Ü˛v ÚÓˆÏ«˛Ó˚ ˆÓòlyÓ˚Û ~ÓÇ ÚÓ#îyÓ˚ ï˛yˆÏÓ˚Ó˚Û xDy!D §¡õÜ≈˛ ˆòáyˆÏly •ˆÏÎ˚ˆÏSÈ– ï˛y•z ~!ê˛ ﬂ∫yD Ó˚*˛õÜ˛– áä Úˆ¢yˆÏÜ˛Ó˚ V˛í˛¸ Ó!•° §Ë˛yˆÏï˛ñ ˆ¢y!Ë˛° ˆã˛Ô!òˆÏÜ˛ §%Ó˚ §%®Ó˚# Ó˚*ˆÏ˛õ ÓyÙyÜ%˛°ñ Ù%_´ ˆÜ˛¢ ˆÙâÙy°yñ âl !l/Ÿªy§ ≤ÃÓ° ÓyÎ˚%ó x◊&Óy!Ó˚ôyÓ˚y xy§yÓ˚ñ ç#Ù%ï˛Ùw •y•yÜ˛yÓ˚ Ó˚Ó–Û ÈüüüÈ~áyˆÏl ˆ¢yˆÏÜ˛Ó˚ §ˆÏD V˛ˆÏí˛¸Ó˚ §yD Ó˚*˛õÜ˛ •ˆÏÎ˚ˆÏSÈ– ˆ¢yˆÏÜ˛Ó˚ xyôyÓ˚ ÚÓyÙyÜ%˛°Û ~ÓÇ ï˛yÓ˚ ≤ÃÜ˛y¢ ÚÙ%_´ ˆÜ˛¢Ûñ Úâl !l/Ÿªy§Ûñ Úx◊&Óy!Ó˚ ôyÓ˚yÛñ G Ú•y•yÜ˛yÓ˚ Ó˚ˆÏÓÓ˚Û §ˆÏD ÚˆÙâÙy°yÛñ Ú≤ÃÓ°ÓyÎ˚%Ûñ Úxy§yÓ˚Ûñ G Úç#Ù%ï˛ ÙˆÏwÓ˚Û xˆÏË˛ò Ü˛“ly Ü˛Ó˚y •ˆÏÎ˚ˆÏSÈ– ˛õÓ˚¡õ!Ó˚ï˛ Ó˚*˛õÜ˛ /ÈüüüÈÎál ~Ü˛!ê˛ Ó˚*˛õÜ˛ x°ÇÜ˛yÓ˚ xlƒ ~Ü˛!ê˛ Ó˚*˛õÜ˛ x°ÇÜ˛yÓ˚ §,!‹TÓ˚ Ü˛yÓ˚î •Î˚ ï˛ál ï˛yˆÏÜ˛ ˛õÓ˚¡õ!Ó˚ï˛ Ó˚*˛õÜ˛ ÓˆÏ°– ~áyˆÏl ò%!ê˛ Ó˚*˛õˆÏÜ˛Ó˚ Ü˛yÎ≈Ü˛yÓ˚î §¡õÜ≈˛ ÌyˆÏÜ˛– ˆÎÙlÈüüüÈ Ú¢ƒyÙ §%á ˛õy!á §%®Ó˚ !lÓ˚!á åÓ˚y•zä ô!Ó˚° lÎ˚l ÊÑ˛yˆÏò •*òÎ˚ !˛õOˆÏÓ˚ Ó˚y!á° ï˛y•yˆÏÓ˚ Ùl!• !¢Ü˛° ˆÓÑˆÏô–Û ÈüüüÈ~áyˆÏl Ú¢ƒyÙÛˆÏÜ˛ Ú§%á˛õy!áÛ ÓˆÏ° Ó˚*˛õÜ˛ Ü˛Ó˚yÓ˚ Ü˛yÓ˚ˆÏî•z ÚlÎ˚lÛñ Ú•*òÎ˚Û G ÚÙlˆÏÜ˛Û ÎÌye´ˆÏÙ ÚÊÑ˛yòÛñ Ú!˛õOÓ˚Û G Ú!¢Ü˛°Û ÓˆÏ° Ó˚*˛õÜ˛ Ü˛Ó˚y •ˆÏÎ˚ˆÏSÈñ ~ˆÏòÓ˚ ÙˆÏôƒ xDy!D §¡õˆÏÜ≈˛Ó˚ ÓòˆÏ° Ü˛yÎ≈Ü˛yÓ˚î §¡õˆÏÜ≈˛ xyˆÏSÈ– x!ôÜ˛yÓ˚*ì˛¸ ˜Ó!¢‹Tƒ §¡õß¨ Ó˚*˛õÜ˛ /ÈüüüÈí˛z˛õÙyˆÏl ˆÜ˛yl x§Ω˛Ó ôˆÏÙ≈Ó˚ Ü˛“ly Ü˛ˆÏÓ˚ åx!ôÜ˛yÓ˚*ì˛¸ä ï˛yÓ˚˛õÓ˚ ï˛yˆÏÜ˛ Î!ò í˛z˛õˆÏÙˆÏÎ˚Ó˚ §ˆÏD x!Ë˛ß¨ Ü˛“ly Ü˛Ó˚y •Î˚ ï˛y•ˆÏ° •Î˚ x!ôÜ˛yÓ˚*ì˛¸ ˜Ó!¢‹Tƒ Ó˚*˛õÜ˛ x°ÇÜ˛yÓ˚– ˆÎÙlÈüüüÈ ÚG ç°ôÓ˚ xD •z•!ÌÓ˚ !Óç%!Ó˚ ï˛Ó˚D–Û ÈüüüÈ~áyˆÏl ÚG xDÛ xˆÏÌ≈ ÚÜ,˛£èÛ ~ÓÇ Ú••zÛ xˆÏÌ≈ ÚÓ˚yôyÛ– !Ü˛v Ó˚yôyÓ˚ §ˆÏD !Óç%!Ó˚ xÌ≈yÍ !Óò%ƒÍ ï˛Ó˚ˆÏDÓ˚ xˆÏË˛ò Ü˛“ly Ü˛Ó˚yÓ˚ xyˆÏà !Óò%ƒÍˆÏÜ˛ !ﬂiÓ˚ ÓˆÏ° Ü˛“ly Ü˛Ó˚y •ˆÏÎ˚ˆÏSÈ Îy x§Ω˛Ó– í˛zÍˆÏ≤Ã«˛y/ÈüüüÈxï˛ƒ!ôÜ˛ §yò,ˆÏ¢ƒÓ˚ çlƒ Îál í˛z˛õˆÏÙÎ˚ˆÏÜ˛ í˛z˛õÙyl ÓˆÏ° §Ç¢Î˚ çyˆÏà ï˛ál •Î˚ í˛zÍˆÏ≤Ã«˛y x°ÇÜ˛yÓ˚– í˛zÍˆÏ≤Ã«˛y ò%Ó˚Ü˛ˆÏÙÓ˚ÈüüüÈ 1ä ÓyˆÏã˛ƒyÍˆÏ≤Ã«˛y G 2ä ≤Ãï˛#Î˚ÙyˆÏlyÍˆÏ≤Ã«˛y ÓyˆÏã˛ƒyÍˆÏ≤Ã«˛y /ÈüüüÈÙˆÏlÓ˚ §Ç¢Î˚ Îál ÚˆÙlÛñ ÚÎÌyÛñ ≤ÃË,˛!ï˛ §Ω˛ÓlyÓyã˛Ü˛ ¢ˆÏ∑Ó˚ §ˆÏD Î%_´ ÌyˆÏÜ˛ ï˛ál •Î˚ ÓyˆÏã˛ƒyÍˆÏ≤Ã«˛y x°ÇÜ˛yÓ˚– ˆÎÙlÈüüüÈ Ü˛ä Úxô≈Ù@¿ Óy°%ã˛Ó˚ ò)ˆÏÓ˚ xyˆÏSÈ ˛õ!í˛¸ñ ˆÎl ò#â≈ ç°ã˛Ó˚– ˆÓ˚ÔˆÏo ˆ˛õy•yÎ˚•zˆÏSÈ ÷ˆÏÎ˚–Û ÈüüüÈ~áyˆÏl í˛z˛õˆÏÙÎ˚ ÚÓy°%ã˛Ó˚Û ~ÓÇ í˛z˛õÙyl Úò#â≈ ç°ã˛Ó˚Ûñ ÚˆÎlÛ ¢∑!ê˛ ÚÓy°%ã˛Ó˚Û xÌ≈yÍ í˛z˛õˆÏÙÎ˚ˆÏÜ˛ Úò#â≈ ç°ã˛Ó˚Û ÓˆÏ° §ˆÏ®• çyàyˆÏFSÈ– áä Ú˛õí˛YÜ˛ ò%ˆÏÊÑ˛yê˛y x◊& çàˆÏï˛Ó˚ ˛õˆÏÓ˚ 96 §y!•ï˛ƒ xDl ˘ meeefnl³e Debeieve / Sahitya Angan

ˆÎl ò%!ê˛ ÓyÕ√#!Ü˛Ó˚ ˆŸ’yÜ˛–Û ÈüüüÈ~áyˆÏl Úò% ˆÊÑ˛yê˛y x◊&ˆÏÜ˛Û ÚÓyÕ√#!Ü˛Ó˚ ˆŸ’yÜ˛Û ÓˆÏ° §ˆÏ®• çyàyˆÏFSÈ– ≤Ãï˛#Î˚ÙyˆÏlyÍˆÏ≤Ã«˛y /ÈüüüÈí˛zÍˆÏ≤Ã«˛y x°ÇÜ˛yˆÏÓ˚ Îál ÚˆÎlÛ ÚÎÌyÛ ≤ÃË,˛!ï˛ §Ω˛ÓlyÓyã˛Ü˛ ¢∑ ÌyˆÏÜ˛ lyñ §Ω˛yÓlyÙÎ˚ Ë˛yÓ!ê˛ xî%Ùyl Ü˛ˆÏÓ˚ !lˆÏï˛ •Î˚ñ ï˛ál •Î˚ ≤Ãï˛#Î˚ÙyˆÏlyÍˆÏ≤Ã«˛y x°ÇÜ˛yÓ˚– ˆÎÙlÈüüüÈ Ú~Ü˛áy!l Ùyë˛ ˆ¢yˆÏË˛ ç°Ù@¿ ÙyˆÏë˛ àDyÙ,!_Ü˛yÓ˚ ˆÊÑ˛yê˛y ààl °°yˆÏê˛–Û ÈüüüÈ~áyˆÏl ÚˆÎlÛ ~•z §Ω˛ÓlyÓyã˛Ü˛ ¢∑!ê˛ ˆl•zñ !Ü˛v Úç°Ù@¿ ÙyˆÏë˛Ó˚Û @˝ÃyÙ!ê˛ ÚààˆÏlÓ˚ °°yˆÏê˛ àDy Ù,!_Ü˛y Óy àDyÙy!ê˛Ó˚ ˆÊÑ˛yê˛y ÓˆÏ° ÙˆÏl •ˆÏFSÈ– x!ï˛¢ˆÏÎ˚y!_´ /ÈÈüüüÈí˛z˛õÙyl Îál í˛z˛õˆÏÙÎ˚ˆÏÜ˛ §¡õ)î≈ xyFSÈy!òï˛ Ü˛ˆÏÓ˚ Óy @˝Ãy§ Ü˛ˆÏÓ˚ ï˛ál •Î˚ x!ï˛¢ˆÏÎ˚y!_´ x°ÇÜ˛yÓ˚– í˛z˛õÙy x°ÇÜ˛yˆÏÓ˚ í˛z˛õÙyl G í˛z˛õˆÏÙÎ˚ ò%•z•z ÌyˆÏÜ˛– Ó˚*˛õˆÏÜ˛ ~ˆÏòÓ˚ ÙˆÏôƒ xˆÏË˛ò Ü˛“ly Ü˛Ó˚y •Î˚– Óƒ!ï˛ˆÏÓ˚ˆÏÜ˛ ~ˆÏòÓ˚ ~Ü˛!ê˛ˆÏÜ˛ x˛õÓ˚!ê˛Ó˚ ˆã˛ˆÏÎ˚ í˛zÍÜ,˛‹T Óy !lÜ,˛‹T ˆòáyˆÏly •Î˚– ~ÓÇ x˛õ•´%!ï˛ˆÏï˛ í˛z˛õˆÏÙÎ˚ˆÏÜ˛ xfl∫#Ü˛yÓ˚ Ü˛ˆÏÓ˚ í˛z˛õÙyl ≤Ã!ï˛¤˛y ˆòGÎ˚y •Î˚– !Ü˛v x!ï˛¢ˆÏÎ˚y!_´ˆÏï˛ í˛z˛õÙyl í˛z˛õˆÏÙÎ˚ˆÏÜ˛ ~ˆÏÜ˛ÓyˆÏÓ˚ @˝Ãy§ Ü˛ˆÏÓ˚– ˆÎÙlÈüüü Ú§yàˆÏÓ˚ ˆÎ x!@¿È ÌyˆÏÜ˛ñ Ü˛“ly ˆ§ lÎ˚ñ ã˛ˆÏ«˛ ˆòˆÏá x!ÓŸªy§#Ó˚ •ˆÏÎ˚ˆÏSÈ ≤Ãï˛ƒÎ˚– ÈüüüÈ~áyˆÏl í˛z˛õÙyl Ú§yàÓ˚Û G Úx!@¿Û í˛z˛õˆÏÙÎ˚ Ú!Óòƒy§yàÓ˚Ûñ G ÚïÑ˛yÓ˚ ÙˆÏlÓ˚ ˆï˛çÛ !Ü˛v ~áyˆÏl ò%!ê˛ í˛z˛õˆÏÙÎ˚ˆÏÜ˛•z í˛z˛õÙyl Ú§yàÓ˚Û G Úx!@¿Û ˆì˛ˆÏÜ˛ ˆÓ˚ˆÏáˆÏSÈ– ~•z ôÓ˚ˆÏlÓ˚ x°ÇÜ˛yÓ˚ˆÏÜ˛ ÓˆÏ° x!ï˛¢ˆÏÎ˚y!_´ x°ÇÜ˛yÓ˚– fl∫Ë˛yˆÏÓy!_´ x°ÇÜ˛yÓ˚ /ÈüüüÈÜ˛!Ó Îál ïÑ˛yÓ˚ §)- ò,!‹TÓ˚ §y•yˆÏÎƒ ˆÜ˛yl Ó›Ó˚ !lçfl∫ °«˛î=!°ˆÏÜ˛ xy!Ó‹ÒyÓ˚ Ü˛ˆÏÓ˚ ~ÙlË˛yˆÏÓ ≤ÃÜ˛y¢ Ü˛ˆÏÓ˚l ÎyˆÏï˛ Ó›!ê˛ xy˛õl fl∫Ü˛#Î˚ï˛yÎ˚ §%®Ó˚ •ˆÏÎ˚ GˆÏë˛ ï˛ál •Î˚ fl∫Ë˛yˆÏÓy!_´ x°ÇÜ˛yÓ˚– ï˛y•z fl∫Ë˛yˆÏÓy!_´ˆÏÜ˛ Description of Nature Ó°y ÎyÎ˚ ly– ˆÎÙlÈüüüÈ ÚÜ˛ˆÏ˛õyï˛ ò¡õ!ï˛ Ó!§ ¢yhs˝ñ xÜ˛!¡õï˛ ã˛¡õˆÏÜ˛Ó˚ í˛yˆÏ° âl ã˛M%È˛ ã%˛¡∫ˆÏlÓ˚ xÓ§Ó˚ Ü˛yˆÏ° !lË,˛ˆÏï˛ Ü˛!Ó˚ˆÏï˛!SÈ° !Ó•¥° Ü)˛çlÛ ÈüüüÈ~áyˆÏl Ü˛!Ó ˆ≤ÃÙ !Ó•¥° Ü˛ˆÏ˛õyï˛ Ü˛ˆÏ˛õyï˛#˛ ˆÎ ã˛¡õˆÏÜ˛Ó˚ í˛yˆÏ° ¢yhs˝ ~ÓÇ xÜ˛!¡õï˛– Ü˛!Ó ò,!‹TÓ˚ ~•z §)-ï˛y fl∫Ë˛yˆÏÓy!_´ x°ÇÜ˛yˆÏÓ˚Ó˚ ˜Ó!¢‹Tƒ– x˛õ•´%!ï˛ /ÈüüüÈí˛z˛õˆÏÙÎ˚ˆÏÜ˛ xfl∫#Ü˛yÓ˚ Ü˛ˆÏÓ˚ Îál í˛z˛õÙylˆÏÜ˛ ≤Ã!ï˛¤˛y ˆòGÎ˚y •Î˚ ï˛ál •Î˚ x˛õ•´%!ï˛ x°ÇÜ˛yÓ˚ åx˛õ•´Ó Ü˛Ìy!ê˛Ó˚ xÌ≈ !lˆÏ£Ïô Óy xfl∫#Ü˛yÓ˚ä– ˆÎÙlÈüüüÈ ÚG lˆÏ• ààl §%l#° !§¶%˛ ï˛yÓ˚yÓ˚ ˛õ%O lˆÏ• G ˆÊ˛lyÓ˚ Ó˚y!¢–Û ÈüüüÈ~áyˆÏl í˛z˛õˆÏÙÎ˚ ÚààlÛ G Úï˛yÓ˚yÓ˚ ˛õ%OÛˆÏÜ˛ xfl∫#Ü˛yÓ˚ Ü˛ˆÏÓ˚ í˛z˛õÙyl ÚˆÊ˛lyÓ˚ Ó˚y!¢ˆÏÜ˛Û ≤Ã!ï˛¤˛y ˆòGÎ˚y •ˆÏÎ˚ˆÏSÈ– ~•z x°ÇÜ˛yˆÏÓ˚ ÚlyÛñ ÚlˆÏ•Ûñ ÚSÈˆÏ°Û •zï˛ƒy!ò xfl∫#Ü˛yÓ˚ Óyã˛Ü˛ xÓƒÎ˚ ÓƒÓ•yÓ˚ Ü˛Ó˚y •Î˚– Óƒ!ï˛ˆÏÓ˚Ü˛ x°ÇÜ˛yÓ˚ /ÈüüüÈí˛z˛õˆÏÙÎ˚ˆÏÜ˛ í˛z˛õÙyˆÏlÓ˚ ˆã˛ˆÏÎ˚ í˛zÍÜ,˛‹T Óy !lÜ,˛‹T Ü˛ˆÏÓ˚ ˆòáyˆÏ° •Î˚ Óƒ!ï˛ˆÏÓ˚Ü˛ x°ÇÜ˛yÓ˚– ~•z x°ÇÜ˛yˆÏÓ˚ ï%˛°lyÓyã˛Ü˛ ÚÙï˛Ûñ Úˆã˛ˆÏÎ˚Û •zï˛ƒy!ò ¢ˆÏ∑Ó˚ ÓƒÓ•yÓ˚ Ü˛Ó˚y •Î˚– ˆÎÙlÈüüüÈ ÚxÜ˛°B˛ Ù%á ï˛Óñ Ü˛°B˛# ã˛ˆÏwÓ˚ Ùï˛ lˆÏ•–Û ÈüüüÈ~áyˆÏl ÚÙ%áÛ í˛z˛õˆÏÙÎ˚ñ ÚãÑ˛yòÛ í˛z˛õÙylñ ÚÙ%áˆÏÜ˛ xÜ˛°B˛ Ó°yÎ˚ ï˛y Ü˛°B˛# ãÑ˛yˆÏòÓ˚ ˆã˛ˆÏÎ˚ í˛zÍÜ,˛‹T •ˆÏÎ˚ í˛zˆÏë˛ˆÏSÈ– §y!•ï˛ƒ xDl ˘ meeefnl³e Debeieve / Sahitya Angan 97

xˆÏlÜ˛ §ÙÎ˚ ï%˛°lyÓyã˛Ü˛ ¢∑ ÌyˆÏÜ˛ lyñ ï˛yÓ˚ ˛õ!Ó˚ÓˆÏï≈˛ Ú!ç!lÛñ Ú!l!®ï˛Û ≤ÃË,˛!ï˛ ¢∑ ÓƒÓ•yÓ˚ Ü˛Ó˚y •Î˚– xyÓyÓ˚ ~ çyï˛#Î˚ ˆÜ˛yl ¢∑ ÓƒÓ•yÓ˚ ly Ü˛ˆÏÓ˚ ˆÜ˛Ô¢ˆÏ° í˛zÍÜ,˛‹T Óy !lÜ,˛‹T ˆÓyV˛yl •ˆÏÎ˚ ÌyˆÏÜ˛– ˆÎÙlÈüüüÈ Ü˛ä Ú!ç!l xÜ˛°B˛ !Óô%Óòl í˛zÙyÓ˚Û– áÈä ÚÓy‡ ï˛yÓ˚ Ù,îy° !l!®ï˛–Û àä ÚÜ˛t˛fl∫ˆÏÓ˚ ÓL °Iy•ï˛–Û ºy!hs˝Ùyl x°ÇÜ˛yÓ˚ /ÈüüüÈí˛z˛õÙyl ~ÓÇ í˛z˛õˆÏÙˆÏÎ˚Ó˚ ÙˆÏôƒ Îál !l!Óí˛¸ §yò,¢ƒ ÌyˆÏÜ˛ ï˛ál í˛zË˛ˆÏÎ˚Ó˚ ≤ÃˆÏË˛ò !lî≈Î˚ Ü˛Ó˚ˆÏï˛ ly ˆ˛õˆÏÓ˚ Ë)˛° Ü˛ˆÏÓ˚ í˛z˛õˆÏÙÎ˚ˆÏÜ˛ í˛z˛õÙyl ÓˆÏ° ÙˆÏl Ü˛Ó˚y •Î˚– Ü˛yˆÏÓƒ ~•z ôÓ˚ˆÏîÓ˚ x°ÇÜ˛yÓ˚ˆÏÜ˛ ÓˆÏ° ºy!hs˝Ùyl x°ÇÜ˛yÓ˚– ˆÜ˛yl §yôyÓ˚î ºˆÏÙ ~ x°ÇÜ˛yÓ˚ •Î˚ ly– ˆÎÙlÈüüüÈ ÚÓ˚y!eˆÏï˛ ò!í˛¸ˆÏÜ˛ §y˛õ ÓˆÏ° Ë)˛° Ü˛Ó˚y–Û ÈüüüÈÙˆÏl Ó˚yáy ≤ÃˆÏÎ˚yçl Úºy!hs˝ÙylÛ G Úí˛zÍˆÏ≤Ã«˛yÓ˚ ÙˆÏôƒ ~Ü˛ê˛y flõ‹T ˛õyÌ≈Ü˛ƒ xyˆÏSÈ– í˛zÍˆÏ≤Ã«˛yÎ˚ í˛z˛õˆÏÙÎ˚ˆÏÜ˛ í˛z˛õÙyl ÓˆÏ° ˆÎ §Ç¢Î˚ •Î˚ ï˛y §ˆÏã˛ï˛lï˛y ≤Ã§)ï˛– !Ü˛v ºy!hs˝ÙyˆÏl í˛z˛õˆÏÙÎ˚ˆÏÜ˛ í˛z˛õÙyl ÓˆÏ° Ë)˛° Ü˛Ó˚y •Î˚– Ü˛yÓ˚î ï˛yˆÏòÓ˚ ˛õyÌ≈Ü˛ƒ §¡õˆÏÜ≈˛ ˆÜ˛yl §ˆÏã˛ï˛lï˛y ÌyˆÏÜ˛ ly– ˆÎÙlÈüüüÈ Úˆòá §ˆÏá í˛zÍ˛õ°y«˛# §ˆÏÓ˚yÓˆÏÓ˚ !lç x!«˛ ≤Ã!ï˛!Ó¡∫ Ü˛!Ó˚ òÓ˚¢ˆÏl çˆÏ° Ü%˛Ó°Î˚ ºˆÏÙ ÓyÓ˚ÓyÓ˚ ˛õ!Ó˚◊ˆÏÙ ô!Ó˚ÓyˆÏÓ˚ Ü˛!Ó˚ˆÏSÈ Îï˛l–Û ÈüüüÈ~áyˆÏl Úx!«˛Û í˛z˛õˆÏÙÎ˚ñ í˛z˛õÙyl ÚÜ%˛Ó°Î˚Ú ˆã˛yˆÏáÓ˚ §ˆÏD ˛õˆÏpÓ˚ !l!Óí˛¸ §yò,ˆÏ¢ƒÓ˚ çlƒ ˆã˛yáˆÏÜ˛•z Ú˛õpÛ ÓˆÏ° Ë)˛° Ü˛Ó˚y •ˆÏFSÈ– ˛õpy!- lyÓ˚# çˆÏ° ï˛yÓ˚ ˆã˛yˆÏá ≤Ã!ï˛!Ó¡∫ ˆòˆÏá ï˛yˆÏÜ˛ ˛õp ÓˆÏ° Ë)˛° Ü˛ˆÏÓ˚ ï%˛°ÓyÓ˚ ˆã˛‹Ty Ü˛Ó˚ˆÏSÈ– xÌ≈yhs˝Ó˚lƒy§ /ÈüüüÈ§yÙyˆÏlƒÓ˚ myÓ˚y !ÓˆÏ¢£Ï Óy !ÓˆÏ¢ˆÏ£ÏÓ˚ myÓ˚y §yÙylƒ xÌÓy Ü˛yˆÏÎ≈ƒÓ˚ myÓ˚y Ü˛yÓ˚î Î!ò §Ù!Ì≈ï˛ •Î˚ ï˛y•ˆÏ° •Î˚ xÌ≈yhs˝Ó˚lƒy§ x°ÇÜ˛yÓ˚ ˆÎÙlÈüüüÈ Úˆ•l §•ÓyˆÏ§ ˆ• !˛õï,˛c ÓÓ≈Ó˚ï˛y ˆÜ˛lly !¢!áˆÏÓ⁄ à!ï˛ ÎyÓ˚ !lã˛§ˆÏ• !lã˛ ˆ§ ò%Ù!ï˛–Û ÈüüüÈ~áyˆÏl Úl#ã˛Û Óƒ!_´Ó˚ §ˆÏD !ÙˆÏ¢ l#ã˛ •ˆÏÎ˚ ÎyGÎ˚y §yÙylƒ Óy §yôyÓ˚î !lÎ˚Ù– l#ã˛ ÚÓ˚yˆÏÙÛÓ˚ §ˆÏD ˆÌˆÏÜ˛ Ú!ÓË˛#£ÏˆÏîÛ Ó˚_ l#ã˛ •ˆÏÎ˚ ÎyGÎ˚y fl∫yË˛y!ÓÜ˛– ~•z xˆÏÌ≈ ~!ê˛ xÌ≈yhs˝Ó˚lƒy§ x°ÇÜ˛yÓ˚– ò,‹Tyhs˝ x°ÇÜ˛yÓ˚ /ÈüüüÈ~!ê˛ ~Ü˛!ê˛ ï%˛°lyÓyã˛Ü˛ x°ÇÜ˛yÓ˚– ~•z x°ÇÜ˛yˆÏÓ˚Ó˚ !ï˛l!ê˛ ˜Ó!¢‹Tƒ ÈüüüÈ 1ä í˛z˛õˆÏÙÎ˚ G í˛z˛õÙyl ò%!ê˛ ˛õ,ÌÜ˛ ÓyˆÏÜ˛ƒ ÌyˆÏÜ˛– 2ä §yôyÓ˚î ôÙ≈ ï˛yÍ˛õˆÏÎ≈ ~Ü˛ ly •ˆÏ°G Ë˛yÓ §yò,ˆÏ¢ƒ ~Ü˛ ÙˆÏl •Î˚– 3ä ï%˛°lyÓyã˛Ü˛ ¢ˆÏ∑Ó˚˛ ≤ÃˆÏÎ˚yà ÌyˆÏÜ˛ ly– ˆÎÙlÈüüüÈ Ú§Ë˛yçl ò%/á# Ó˚yçò%/ˆÏá– xÑyôyÓ˚ çàï˛ñ ÎyÎ˚ âl xyÓ!Ó˚ˆÏ° ò#llyˆÏÌ–Û ÈüüüÈ~áyˆÏl Ú§Ë˛yçlÛ í˛z˛õˆÏÙÎ˚ ~ÓÇ Úçàï˛Û í˛z˛õÙyl ò%!ê˛ ˛õ,ÌÜ˛ ÓyˆÏÜ˛ƒ Ó˚ˆÏÎ˚ˆÏSÈ– §yôyÓ˚î ôÙ≈ Úò%/á#Û G ÚxÑyôyÓ˚Û ¢∑ ò%!ê˛ˆÏï˛ Ë˛yÓ §yò,¢ƒ Ê%˛ˆÏê˛ í˛zˆÏë˛ˆÏSÈ– Î!òG ï˛yˆÏòÓ˚ ï˛yÍ˛õÎ≈ ~Ü˛ lÎ˚– xyÓyÓ˚ ÚÓ˚yçyÛ í˛z˛õˆÏÙÎ˚ ~ÓÇ ò#llyÌÛ í˛z˛õÙyl– §yôyÓ˚î ôÙ≈ Úò%/áÛ G Úåâl ˆÙâäÛ ¢∑ ò%!ê˛ ˆÌˆÏÜ˛ xyˆÏàÓ˚ Ùï˛•z ~Ü˛•z Ë˛yÓ Ê%˛ˆÏê˛ í˛zˆÏë˛ˆÏSÈ– xÌã˛ í˛zm,ï˛yÇ¢!ê˛ˆÏï˛ ˆÜ˛yl ï%˛°lyÓyã˛Ü˛ ¢∑ ˆl•z– 98 §y!•ï˛ƒ xDl ˘ meeefnl³e Debeieve / Sahitya Angan

!ÓˆÏÓ˚yôyË˛ƒy§ Óy !ÓˆÏÓ˚yô x°ÇÜ˛yÓ˚ /ÈüüüÈ ò%!ê˛ !Ó£ÏˆÏÎ˚Ó˚ ÙˆÏôƒ Îál xy˛õï˛ò,!‹TˆÏï˛ ~Ü˛ê˛y ˜Ó˛õÓ˚#ï˛ƒ Óy !ÓˆÏÓ˚yô xyˆÏSÈ ÓˆÏ° ÙˆÏl •Î˚ñ !Ü˛v ~Ü˛ê%˛ ˆË˛ˆÏÓ ˆòáˆÏ° ˆ§•z ˜Ó˛õÓ˚#ï˛ƒ Óy !ÓˆÏÓ˚yô xyÓ˚ ÌyˆÏÜ˛ ly ï˛ál •Î˚ !ÓˆÏÓ˚yôyË˛ƒy§ x°ÇÜ˛yÓ˚– ˆÎÙlÈüüüÈ 1ä ÚÓí˛¸ Î!ò •ˆÏï˛ ã˛yG ˆSÈyê˛ •G ï˛ˆÏÓÛÛ ÈüüüÈxÌ≈yÍ Óí˛¸ •ˆÏï˛ •ˆÏ° ˆSÈyê˛ •ˆÏï˛ •ˆÏÓ ~•z í˛z!_´Ó˚ ÙˆÏôƒ ~ê˛y xy˛õyï˛ !ÓˆÏÓ˚yô °«˛ƒ Ü˛Ó˚y ÎyÎ˚ !Ü˛v ~Ó˚ xyhs≈˝!l!•ï˛ xÌ≈G í˛zÂâyê˛l Ü˛Ó˚ˆÏ° ˆÜ˛yl !ÓˆÏÓ˚yô á%ÑˆÏç ˛õyGÎ˚y ÎyÎ˚ ly– Ü˛yÓ˚î ~áyˆÏl Ó°y •ˆÏÎ˚ˆÏSÈ Óí˛¸ xÌ≈yÍ Ù•Í •ˆÏï˛ ˆàˆÏ° ˆSÈyê˛ xÌ≈yÍ !ÓlÎ˚# •GÎ˚y ≤ÃˆÏÎ˚yçl– 2ä Ú~ˆÏl!SÈˆÏ° §yˆÏÌ Ü˛ˆÏÓ˚ Ù,ï%˛ƒ•#l ≤Ãyî ÙÓ˚ˆÏî ï˛y•y•z ï%˛!Ù Ü˛ˆÏÓ˚ ˆàˆÏ° òyl–ÛÛ åÓ˚Ó#wlyÌä 3ä ÚÚâ%!ÙˆÏÎ˚ xyˆÏSÈ !¢÷Ó˚ !˛õï˛y §Ó !¢÷Ó˚•z xhs˝ˆÏÓ˚–ÛÛ åˆày°yÙ Ù%hflÏyÊ˛yä 4ä ÚÚx§Çáƒ Ó¶˛l ÙyˆÏV˛ Ù•yl® ÙÎ˚ ˆ°y!Ë˛Ó Ù%!_´Ó˚ fl∫yò–ÛÛ åÓ˚Ó#wlyÌä §ˆÏ®• x°ÇÜ˛yÓ˚ /ÈüüüÈˆÎáyˆÏl í˛z˛õÙyl G í˛z˛õˆÏÙÎ˚ í˛zË˛Î˚ ˛õˆÏ«˛•z §Ç¢Î˚ Óï≈˛Ùyl ÌyˆÏÜ˛ ~ÓÇ ˆ§ §Ç¢Î˚ Ü˛yÓ˚ ≤Ã!ï˛Ë˛y ˆÌˆÏÜ˛ í˛z!aï˛ •GÎ˚yÎ˚ ã˛ÙÍÜ˛y!Ó˚ï˛ °yË˛ Ü˛ˆÏÓ˚ ï˛ál •Î˚ §ˆÏ®• x°ÇÜ˛yÓ˚– ˆÎÙlÈüüüÈ 1ä ÚÚˆ§ylyÓ˚ •yˆÏï˛Ó˚ ˆ§ylyÓ˚ ã%˛!í˛¸ ˆÜ˛ Ü˛yÓ˚ x°ÇÜ˛yÓ˚–ÛÛ ÈüüüÈ~áyˆÏl Úˆ§ylyÓ˚•yï˛Û G Úˆ§ylyÓ˚ ã%˛!í˛¸Û í˛zË˛ˆÏÎ˚Ó˚ ÙˆÏôƒ ˆÜ˛ Ü˛yÓ˚ x°ÇÜ˛yÓ˚– 2ä ÚˆÜ˛ ~•z l#°ÓÓ˚î#⁄ l#° x˛õÓ˚y!çï˛y ~!Ü˛⁄ !Ü˛ÇÓy Ü˛yò!¡∫l#ÛÉ ÈüüüÈ~áyˆÏl Ü˛y°#Ù)!ï≈˛ˆÏÜ˛ ˆòˆÏá §Ç¢Î˚ ˆçˆÏàˆÏSÈ ˆÎ •z!l !Ü˛ Úl#°ÓÓ˚î#Û ly!Ü˛ Úx˛õÓ˚y!çï˛yÛ ly ÚˆÙâÛ Ó°y Óy‡°ƒ ~áyˆÏl ~Ü˛ê˛y §ˆÏ®• Ùy°y Ó˚!ã˛ï˛ •ˆÏÎ˚ˆÏSÈ– !lŸã˛Î˚ x°ÇÜ˛yÓ˚ /ÈüüüÈx≤ÃÜ,˛ï˛ Óy í˛z˛õÙylˆÏÜ˛ !l!£Ïk˛ Óy xfl∫#Ü˛yÓ˚ Ü˛ˆÏÓ˚ í˛z˛õˆÏÙÎ˚ˆÏÜ˛ Óy ≤ÃÜ,˛ï˛ˆÏÜ˛ ≤Ã!ï˛¤˛y Ü˛Ó˚yÓ˚ lyÙ !lŸã˛Î˚ x°ÇÜ˛yÓ˚– Ó°y ≤ÃˆÏÎ˚yçl ~!ê˛ x˛õ•´%!ï˛ x°ÇÜ˛yˆÏÓ˚Ó˚ !Ó˛õÓ˚#ï˛– ~•z x°ÇÜ˛yˆÏÓ˚ í˛z˛õˆÏÙˆÏÎ˚Ó˚ í˛z˛õÙyl Ë˛yÓ ÌyÜ˛y ã˛y•z– lï%˛Óy x°ÇÜ˛yÓ˚ •Î˚ ly– Ü˛yÓ˚î í˛zË˛ˆÏÎ˚Ó˚ ÙˆÏôƒ §yò,¢ƒ ly ÌyÜ˛ˆÏ° í˛zË˛Î˚˛õˆÏ«˛ ≤Ã!ï˛¤˛y fl∫Ó˚*˛õ §Ç¢Î˚ çyˆÏà ly– ˆÎÙlÈüüüÈ Úx§#Ù l#Ó˚ò lÎ˚ G•z !à!Ó˚ !•Ùy°Î˚–Û ÈÈüüüÈ~áyˆÏl Úl#Ó˚òÛ ˆÜ˛ xfl∫#Ü˛yÓ˚ Ü˛ˆÏÓ˚ í˛z˛õˆÏÙÎ˚ Ú!•Ùy°Î˚Û ˆÜ˛ ≤Ã!ï˛¤˛y ˆòGÎ˚yÎ˚ !lŸã˛Î˚ x°ÇÜ˛Ó˚ •ˆÏÎ˚ˆÏSÈ– §y!•ï˛ƒ xDl ˘ meeefnl³e Debeieve / Sahitya Angan 99

HINDI VERSION 100 §y!•ï˛ƒ xDl ˘ meeefnl³e Debeieve / Sahitya Angan §y!•ï˛ƒ xDl ˘ meeefnl³e Debeieve / Sahitya Angan 101 laFkkyh Hkk"kk&lkfgR; vkSj thou dk bfrgkl lqjs'k flag eqaMk

laFkkyh Hkk"kk laFkky vkfnoklh dh ekr`Hkk"kk gSA laFkkyh Hkk"kk ;wjsf'k;k Hkk"kk ifjokj esa vkrh gSA ;wjsf'k;k Hkk"kk&ifjokj eq[;r% nks egkns'kksa esa cksyh tkrh gSA bUgha ds vk/kkj ij ;wjsf'k;k ¼;wjksi $ ,f'k;k½ iM+k gSA bl ifjokj ds vkLVªks,f'k;kfVd dh Hkk"kk dks vkfLVªd ;k vkXus; dgk tkrk gSA vkfLVªd 'kk[kk ds vkfnokfl;ksa dh Hkk"kk dh lcls cM+h 'kk[kk gSA ;Fkk laFkkyh] eqaMkjh] gks] [kfj;k] dqckM+] lcj] xqrhc] xks:e] jseks% xsr% fudksokjh] [kklh vkfnA bu Hkk"kkvksa dh dqN 'kk[kk,¡ nf{k.k&iwoZ }hi lewg esa cksyh tkrh gS] ftUgsa izksVksvkLVªkWyk;M dgk tkrk gSA laFkkyh Hkk"kk vkfLVªd Hkk"kk ifjokj dh egRoiw.kZ Hkk"kk gSA ;g Hkkjr ds >kj[k.M] fcgkj] if'pe caxky] mM+hlk] vle] e/;izns'k jkT;ksa ds fofHkUu Hkkxksa esa vf/kd la[;k esa cksyh tkrh gSA Hkkjr ds vykok usiky] caxykns'k vkfn ns'kksa esa Hkh cksyh tkrh gSA laFkkyksa dh viuh Lora= Hkkf"kd lkaLd`frd vkSj lkfgfR;d ijEijk gksus ds dkj.k laFkkyh Hkk"kk] lkfgR; ,oa laLd`fr dk ,d Lora= vfLrRo ,oa igpku gSA laFkkyh Hkk"kk lkfgR; ds bfrgkl esa 22 fnlEcj 2003 eaxyokj ,d Lof.kZe fnu ds :Ik esa ;kn fd;k tk;sxkA blh fnu laFkkyh Hkk"kk dks lafo/kku dh vkBoha vuqlwph esa 'kkfey fd;k x;k gS rFkk lafo/kku dh 22oha Hkk"kk ds :i esa ekU;rk feyhA laFkkyh lkfgR; ds bfrgkl dk dky foHkktu 1- o"kZ ;k dky ds vk/kkj ijA 2- uke ds vk/kkj ijA 1- o"kZ ;k dky ds vk/kkj ij laFkkyh lkfgR; ds rhu dky gSA vkfndky] e/; dky ,oa vk/kqfud dkyA vkfndky %&lu~ 1854 bZ0 ds iwoZ ds lkfgR; dks vkfndky ds lkfgR; ^gksM+* vorkj ;k yksd;qx dk lkfgR; gSA vkfndky esa laFkky yksx ^gksM*+ uke ls tkus tkrs FksA laFkkyksa ds iwoZt ^gksM+* uke ls ifjfpr FksA vkfndky dk laFkkyh lkfgR; ekSf[kd gSA blds ekSf[kd lkfgR; esa dgkuh] xhr] xkFkk] yksdksfDr] eqgkojs] dgkoras dqnqe vkfn feyrs gSaA ftlls geyksx lkfgR; uke ls ifjfpr gSA ekuo lekt ds vkfnyksd dh laLd`fr] ijaxijkxr fo'okl] fdoanfr;k¡] vkpkj&fopkj xhr rFkk dFkk,¡ feyrs gSaA fgUnh dk yksd 'kCn ^Qksd* dk i;kZ;okph ;Cn gSA Qksd ,aXyks lsDlu 'kCn gS] ftldk vFkZ gS tu ;k xzkeA laLd`r ,oa ikyh Hkk"kk esa ekuo lekt dk cks/k tu ls Hkh djk;k x;k gSA Qksdyksj dk 'kkfCnd vFkZ gS xzke ds yksxksa dk KkuA blh 'kCn dk okP;kFkZ yksd Kku ;k yksd fo/kk Hkh gSA fdlh& fdlh 'kCn dks'k esa tuJqfr ;k ykSfdd nar 101 102 §y!•ï˛ƒ xDl ˘ meeefnl³e Debeieve / Sahitya Angan dFkk dk iz;ksx Hkh feyrk gSA Qksdyksj ds fy, yksd lkfgR; ;k yksd okM-e; dk iz;ksx gksrk gSA laFkkyh yksd lkfgR; esa ekuo dh ijEijkxr Hkkouk,¡ ,oa psrukxr vfHkO;fDr;ksa dk ys[kktks[kk fufgr gSA izd`fr ds psru rFkk tM+ txr ds laca/k esa jgrs gSaA laFkkyh vkfn lkfgR; yksdthou ls tqM+k gqvk gSA laFkkyksa ds mnHk~o rFkk fodkl dh dFkk,Wa buds yksd lkfgR; esa feyrh gSaA laFkkyksa ds mnHk~o ,oa fodkl ds lac/k esa dgk x;k gsS fd laFkkyksa dk tUe fgfgMh+ esa gqvk gSA tgkWa euq";ksa ds iwoZt fiypw gkM+ke]fiypw cq<+gh fuokl djrs FksaA bu nksuksa dh mRifŸk gal ,oa galuh ds nks v.Ms ls gqbZ Fkh] vkSj mUgha nksuksa us ekuo oa'k dh uhao Mkyh gSA mnHk~o vkSj fodkl ds lkFk&lkFk laFkkyksa ds ioZ&R;ksgkjksa]u`R; 'kSfy;ksa rFkk thou n'kZu~ dk tUe ^fgfgM+h&fifiM+h*ns'k esa gqvk gSA tSls & ¼d½ tUe laLdkj xhr ls izHkkfor gksrk gS %& fgfgM+ fifiM+h js cksu tkuke ysu [kkst dkeku js cksu [kkst ysu gkjk jkjrk js cksu gkjk ysu lklkM+csM+k jscksu tkr rkykysuA vFkkZr~&gekjk tUe fgfgM+h fifiM+h esa gqvk rFkk [kkst dkeku esa] gekjk [kkstchu gqvk gkjkjkrk esa] ge cM+s gq, lklkM+ csM+k] gekjk tkr dk ifjp; gqvkA ¼[k½ fookg laLdkj xhr %& Rkksdk js tkuke ysu nksM+ nks /kq;lkM+ js cqlkM+ysu nksM+ nks fp# pkEpk nqxnu jkgsM+ js lksjksysu fgfgM+h nkM+ fifiM+h js vFkkZr~ & dgkWa tUe gqvk Fkk fookg xhr ^nksM+*] dgkWa izlo gqvk Fkk fookg xhr nksM+A fgfgM+ esa tUe gqvk fookg xhr] fifiM+h esa izlo gqvk fookg xhrA laFkky vkfn lkfgR; esa dbZ rjg ds ikSjkf.kd feFk ik, tkrs gSa ;Fkk rRo 'kkL=h; feFk] vkuq"Bkfud feFk]lkekftd feFk]vk[;ku feFk vkfnA laFkkyh vkfn dFkkvksa dh eq[; fo'ks"krk,Wa fuEufyf[kr gSA 1½ izkÑfrd rRoksa ds ekuoh dkj.kA 2½ ns'k] dky] ik= vkSj ?kVukvksa ds vuq#i dFkk lw= dk fodklA 3½ tknw ,oa tknqbZ 'kfDr;ksa dh izeq[krkA 4½ lans'kokgd i'kq ;k i{kh vkfnA vkfndky dk lfgR; vfyf[kr jgk gSA ftls vfyf[kr lfgR; dgk x;k gSA vfyf[kr lkfgR; ds dgkuh] xhr] xkFkk] dqnqe vkfn lqukus okys vyx&vyx gksrs §y!•ï˛ƒ xDl ˘ meeefnl³e Debeieve / Sahitya Angan 103 gSaA blfy, dgkuh] xhr] xkFkk] dFkk vkfn dbZ #iksa esa feyrs gSaAijUrq mudk lkjka'k ;k lkj vFkZ leku gSA dgkfu;kWa gkL;iw.kZ euksjatd vkSj min&'kkRed gksrh gSAvFkkZr~ vkfnlkfgR; yksd thou ls tqM+k gqvk gSA e/;dky & lu~ 1854 bZ0 ls lu~ 1945 bZ0 rd dk lkfgR; e/;dky ;k [ksjokM++ vorkj dk lkfgR; dgk tkrk gSA bl dky ls gh laFkkyh lkfgR; dks fyf[kr :i fn;k x;k gSA lu~ 1854 esa laFkkyh Hkk"kk ds egkdfo] /keZfon ek¡>h] MkW0 jkenkl VqMw jfldk] Mh- fyV~ dk tUe dky gSA e/;dky dk pj.k MkW- VqMw jfldk ls lacaf/kr gSA laFkkyh Hkk"kk lkfgR; ds :i esa lu~ 1882 bZ0 esa ckaXyk fyfi ds ek/ ;e ls izdkf'kr gqbZA blesa laFkkyh xhfrdkO; rFkk xkFkk vkfn lfEefyr gSA bu xkFkk rFkk xhrksa ls laFkkyksa dh ,sfrgkfld ,oa lkaLd`frd i`"BHkwfe dk ifjp; izkIr gksrk gSA bl dky esa lcls vf/kd fons'kh bZlkbZ fe'kufj;ksa }kjk laFkkyh yksdxhr] yksddFkk] yksdksfDr;k¡] eqgkojs vkfn dk ladyu rFkk izdk'ku gqvk gSA fjo- ikÅi vkyksd cksfMax lkgc us laFkkyh Hkk"kk vkSj lkfgR; ds fodkl ij vusd iqLrdsa fy[kh gSA laFkkyh lkfgR; esa e/;dky ds bfrgkl esa bZlkbZ fe'kufj;ksa }kjk xhr] dgkuh rFkk O;kdj.k ij vf/kd dke gqvk gSA mUgksaus laFkkyh yksdxhr] yksd dgkuh dk ladyu rFkk izdk'ku fd;k gSA Hkk"kk tkuus ds fy, laFkkyh O;kdj.k iqLrd dk fuekZ.k fd;k gSA laFkkyh f'k{kk lkfgR; dk ys[ku e/;dky esa gh vkjaHk gqvk gSA bl dky esa laFkkyh ys[kdksa }kjk gh jfpr dfork] dgkuh] ukVd vkfn dk izdk'ku gqvkA lcls igys dkO; lkfgR; esa ikÅy tq>kj lksjsu jfpr ^vksuksM+gs* ckgk Mkyok* ^Qwyksa dh Mkyh* iqLrd jkseu fyfi esa lu~ 1936 bZ0 esa ckaXyk fyfi esa izdkf'kr gqbZA flgjh eqewZ laikfnr izFke laFkkyh lkfgfR;d if=dk ^ekjlky ckaXyk fyfi ds ek/;e ls iwoZ flagHkwe jktnksgk xk¡o ls izdkf'kr gqbZ gSA vk/kqfud dky %& lu~ 1945 ls vcrd ds laFkkyh lkfgR; dks vk/kqfud dky ;k laFkkyh vorkj dk lkfgR; ekurs gSaA blh dky esa laFkkyh 'kCn dk vf/kd izpkj&izlkj gqvk gSA vk/kqfud dky esa laFkkyh lkfgR; dk dke rhu fn'kkvksa esa gqvk gSA igyk dke&laFkkyh ijEijkxr dgkuh] xkFkk] dFkk] igsfy;k¡] dqnqHk] eqgkojs rFkk yksdksfDr;ksa dk ladyu rFkk izlkj.kA nwljk dke&jpukRed ys[ku ;Fkk dfork] dgkuh] xhr] miU;kl] ukVd vkfn dk fuekZ.k rFkk izlkj.kA rhljk dke&vykspukRed ys[ku rFkk 'kks/k ys[ku ,oa izlkj.k gqvk gSA f'k"V lkfgR;& laFkkyh f'k"V lkfgR; dk ys[ku e/;dky ls gh 'kq: gqvk gSA f'k"V lkfgR; ds vUrxZr dfork] dgkuh] ukVd] miU;kl vkfn vkrs gSA vk/kqfud dky ds ys[kdksa }kjk jfpr fofHkUu fo/kkvksa dk lekos'k gS f'k"V lkfgR;A f'k"V lkfgR; ds jpukdkjksa dk uke Kkr gksrk gSA ysfdu yksd lkfgR; ds jpukdkjksa dk uke vKkr gSA 104 §y!•ï˛ƒ xDl ˘ meeefnl³e Debeieve / Sahitya Angan

laFkkyh dkO; lkfgR; %& dforkvksa esa ckSf)drk] jloŸkk] eeZLif'kZrk >ydrh gSA ftrus Hkh iqLrdsa fyf[k xbZ gSA mfYyf[kr iqLrdsa nsoukxjh] ckaXyk] vksyfpdh] vksfM+;k rFkk jkseu fyfi esa fyf[k xbZ gSA tgk¡ rd budh Hkk"kk dk laca/k gS] og ubZ dfork dh Hkk"kk] cksypky dh lkekU; Hkk"kk ls FkksM+h lh fHkUu gS ,oa dqN dforkvksa esa LFkkuh; Hkk"kk fgUnh] ckaXyk] vksfM+;k rFkk vleh dk izHkko fn[kkbZ iM+rk gSA laFkkyh ukVd lkfgR; & laFkkyh ukVd ;k jaxeap] ipkl n'kdksa ls fy[ks ,oa [ksys tkrs jgs gSA lFkkyha lkfgR; dh izxfr dk izfrfuf/kRo vf/kd ls vf/kd ukVd gh dj jgs gSA laFkkyh Hkk"kk ds ek/;e ls nsoukxjh] ckaXyk rFkk vksyfpdh fyfi esa dbZ ukVd izdkf'kr gq, gSA laFkkyh miU;kl & laFkkyh miU;kl dk ys[ku vk/kqfud dky ls gh izkjaHk gqvk gSA ns'k dks vktknh feyus ds ckn laFkkyh ys[kdksa us dbZ miU;kl fy[ks gS ftlls laFkkyh lkfgR; esa uohu ifjorZu vkSj foLrkj vk;k gSA laFkkyh lkfgR; miU;kl esa lu~ 1956 bZ0 izLFkku fcUnq gSA laFkkyh dgkuh & laFkkyh dgkuh dk izkjaHk lu~ 1942 bZ0 lsa inkiZ.k gksrk gSA tc êkjlky* uked if=dk iwohZ flagHkwe ls izdkf'kr gqbZA laFkky fuca/k & ukVd vkSj miU;kl ds leku laFkkyh fuca/k dk ys[ku Lora=rk ds ckn laFkky lekt esa ,d ubZ lkaLd`frd vkSj jktuhfrd psruk ds mn; dk dkj.k cuk] ftlls laFkkyh ys[kdksa us vusd fo"k;ksa ls lacaf/kr fuca/kksa dks i= i=&if=dkvksa esa izdkf'kr fd;kA [kkldj mUgksaus lekt lq/kkj] f'k{kk] izpkj&izlkj jktuhfrd xfrfof/k rFkk jk"Vªh; fuekZ.k ds iz.k;u dks egRo fn;k gSA O;kdj.k vkSj 'kCndks'k & laFkkyh O;kdj.k vkSj 'kCndks'k dk fuekZ.k rc gqvk tc bZlkbZ fe'kufj;ksa dk izos'k larky ijxuk {ks= esa gksus yxkA bUgksaus bZlkbZ /keZ izpkj&izlkj ds le; Hkk"kk dh leL;k dks >syk FkkA laFkkyh fofo/k lkfgR; & laFkkyh ds fofo/k lkfgR; esa ,sls lkfgR; vkrs gSa tks laFkkyksa ds bfrgkl] laLd`fr thou] /keZ] jhfr&fjokt rFkk ikSjkf.kd dFkkvksa ls ls lacaf/kr gSA if=dk,¡ & laFkkyh lkfgR; dh rjg laFkkyh if=dk,¡ Hkh izdkf'kr gqbZ gSA yxHkx 2000 if=dk,¡ izdkf'kr gqbZ gSA ftlesa ^gksM+* lksEokn 57 o"kZ] îf'pe caxky* 33 o"kZ] ^flyh* 23 o"kZ] ^,esu lkdok* 20 o"kZ rFkk ^fpfB lkdke* 10 o"kZ ls yxkrkj izdkf'kr gks jgh gSaA laFkky laLd`fr %&%&%& vkfndky ls gh laFkkyksa us iz-fr iwtk dks vius thou esa fo'ks"k LFkku vkSj egRo fn;k gSA Hkkjr dh izkphure lH;rk fla/kq?kkVh dh laLd`fr] fyfi] vL=&'kL=] vkHkw"k.k] d`f"k rFkk ?kjsyw midj.k esa lekurk gSA laFkkyh laLd`fr §y!•ï˛ƒ xDl ˘ meeefnl³e Debeieve / Sahitya Angan 105 dks tkuus ds fy, lFkkyksa dh lkekftd O;oLFkk rFkk iOkZ&R;ksgkjksa dks tkuuk vko';d gSA bl vkys[k esa ls{ksi #i esa] laFkky laLd`fr ij fopkj fd;k tk jgk gSA ¼d½ lkekftd O;oLFkk %& izR;sd laFkky xkWao esa ,d iz/kku êkWa>h* gksrs gSaSA mudh lgk;rk ds fy, ikSjkf.kd]xksMsr~ rFkk tksxekWa>h gksrs gSaA dbZ xkWaoksa dks feykdj ,d îjxuk* gksrs gSaA laFkky lekt esa oa'k ijaijkxr dze'k% tksxekWa>h] ekWa>h]eklekWa>h ijxuk]ns'k ijxuk gksrs gSaA ;s lc fopkj O;oLFkk dh ns[k&js[k djrs gSaA ûk;ds* xkWao ds iqtkjh gksrs gSaA ^ykscsj*] vfUre fopkj O;oLFkk gSA ^fcVykgk* O;oLFkk esa lekt ls yM+fd;ksa dks fu"dkflr fd;k tkrk gSA laFkky lekt fir`lÙkkRed gSA iSr`d lEifr dk vf/kdkjh iq#"k pxZ gh gksrk gSA EkkWa>h] uk;ds rFkk ijxuk in oa'kkuqdze ls pyrk gSA ¼[k½ /kkÆed O;oLFkk & /kkÆed Á/kku dks uk;d dgrs gSaA laFkky tkfr Ád`fr iwtd gS vkSj ^ljuk* /kekZoyach gSaA ljuk /keZ esa pkWankscksaxk ¼lw;Z½ ekjkM- cq# ¼nso½] tkgsj vk;ks ¼nsoh½ xksalk; ,jk ¼nsoh½]xksalk; ¼nso½ eksaM+sdks&rq#bdks ¼iap ijes'oj½ vkfn nso& nsfo;ksa dks loZ'kfDreku] loZO;kid ekudj iwtrs gSA ;s nso&nsfo;ksa fujkdkj gSA xksjke cksaxk ¼xkWao nsork½ rFkk fn'kkse cksaxk ¼ns'k nsork½ ikjkykSfdd 'kfDr;ksa ls cpko gsrq iwts tkrs gSa rFkk ekjkM- cq#] tkgsj vk;ks nso&nsoh lHkh dh HkykbZ ds fy, iwts tkrs gSA ¼x½ vkÆFkd O;oLFkk & laFkky vkfnokf'k;ksa dk eq[; is'kk JeÉÀf"k gSA ;s eq[; #i ls /kku dh [ksrh djrs gSaSA thfodk ds lk/kuksa esa i'kqikyu dk Hkh LFkku gSA ;s eqxÊ] lwvj] cdjh]xk; rFkk cSy vkfn ikyrs gSaSA eqxÊ] lwvj ]cdjh ]xk; rFkk cSy iwtk djrs gSa rFkk fookg ds le; xuiu ds #i esa ysu&nsu djrs gSaaaA laFkky vf/kdka'k dPpk edku cukrs gSaA budh vkÆFkd fLFkfr dkQh n;uh; gSA ¼?k½ ioZ R;ksgkj & laFkkyksa dk ioZ ÁR;sd ekg esa laiUUk gksrk gSA ;Fkk& ek?k esa ek?k cksaxk]Qkxqu esa ckgk cksaxk] pSr esa jksguh] oS'ke[k esa ,jks%cksaxk] tsB esa eqpjh] vklk<+ esa vlkf<+;k] lkou esa xksegk ;k dje cksaxk] Hkknz esa tkurkM+] vkf'ou esa nkalk;] dkÆrd esa lksgjk; cksaxk] ikS"k esa ldjkr ;kedj ioZ lEiUUk gksrk gSA ¼M-½ vkHkw"k.k & laFkky vkfnoklh ijEijkxr vkHkw"k.k igurs gSaA iqq#"k oxZ ik'ph/kwrh QqVk /kqrh] xkeNk/kqrh] nkgM+&ixM+h igurs gSaA efgyk,Wa lkM+h igurh gSaA laFkky efgyk,Wa vius twMs+ dks xksykdkj #i es fo'ks"k Vqax ls ckWa/krh gSa ftls jksr ;k lqr dgrs gSA vk/kqfud vkHkw"k.k Hkh Á;ksx esa ykrs gSaA ¼p½ laLdkj & laFkky lamJeÉÀfr esa O;fDr dks tUe ls ysdj e`R;q rd dbZ laLdkjksa esa xqtjuk iM+rk gSA laLdkjksa esa eq[;r% tUe laLdkj ]fpM+h laLdkj ]d.kZ Nsnu laLdkj] xksnuk laLdkj] fookg laLdkj rFkk e`R;q laLdkj gSA laLdkj O;fDr ds lokZfxa.k thou dks ÁHkkfor djrk gS] ftlls O;fDr dk fodkl rFkk thou lq[ke; gksrk gSA ¼N½ yksd laxhr & laFkksys laLd`fr dk loZJs"B i{k gS] yksd laxhrA ;gh yksd 106 §y!•ï˛ƒ xDl ˘ meeefnl³e Debeieve / Sahitya Angan laxhr laFkkyksa ds lq[k&nq[k dk lcls cM+k lacy gSA dfBu ls dfBu nq[kksa dss ,oa vkxr le; vkuan dks yksd laxhr ls gh vfHkR;O; djrs gSaA yksd laxhr ls thou es ÅtkZ Áokfgr gksrh gSA fnu Hkj dBksj ifjJe vkSj jf= esa laxhr ds y; esa]rky esa Mwc tkuk laFkkyksa dh fu;fr gS vkSj ;gh budk deZ gSAdeZ esa gh /kEkZ fufgr gSA laFkkyksa dk yksd laxhr vkfne ;qx ls pyk vk jgk gSA blesa buds cknu ]urZu ,oa xk;u dh cM+h laqnj e/kqj ,oa vkYgkndkjh ijaijk gSA xhr] u`R; ,oa ok| laxhr laFkkyksa dk thou ea= gSAyksd laxhr esa yksd laLd`fr] ioZ&R;ksgkj rFkk ljuk /keZ ls lacaf/kr gksrs gSA laFkkyh yksd laxhr dks dbZ vk/kkjksa ij oxÊd`r fd;k tk ldrk gSA tSls& 1- jkxA 2-laLdkjA 3-ioZ& R;ksgkjA 4- fofo/kA 1½ jkx & jkx ds vuqlkj] laFkkyh yksdxhrksa esa ijaijkxr jkxksa ls xhr xk, tkrs gSA yksd dfo;ksa us fofHkUu vuq"Bku] fofHkUu ioZ& R;ksgkj rFkk fofHkUu laLdkj esa xhrksa ds jkx rFkk u`R;] ok|;a=] vkHkw"k.k vkfn fu/kkZfjr fd, gSaA jkx ds vk/kkj ij fuEu Ádkj gS & ykWaxMs+] Mkgkj]ckgk] dje] fjatk] lksgjk;]nkalk;] ikrk]/kq#etk%] MkWaBk] fHkulkj ] lkjik]ekrokj] xqyokjh] fookg] f>adk] flaxjkbZ]nksM+ vkfn gSA 2½ laLdkj xhr & laFkky tkfr Ád`fr iwtd gSaA ^ljuk* /kekZoyEch gSaA ljuk /keZ esa]^pkanks cksaxk* ^lw;Z nsork*]êkjkM- cq#* ^cM+k nsork*^tkgsj vk;ks* êkWa nsork*] êksMs+dks&rq#bZ* dks iap ijes'oj] vkfn nso &nsfo;ksa dks loZ'kfDreku] loZO;kih] fujkdkj #i esa iwtrs gSaA laFkky laLd`fr esa euq"; dks tUe ls e`R;q rd dbZ laLdkjksa ls xqtjuk iM+rk gSA laLdkj O;fDr ds lokZaxh.k thou dks ÁHkkfor djrk gSA laFkky laLdkjksa esa eq[;r% tUe laLdkj] fookg laLdkj ,oa e`R;q laLdkj Áeq[k gSaA tUe laLdkj esa tUe ls lacaf/kr xhr NkV;kj xhr rFkk ukedj.k xhr xk;k tkrk gSA fookg laLdkj esa fookg ls lacaf/kr xhr xk, tkrsa gSaSA Vkdkpky xhr] fljhckjh xhr] flanqjnku xhr] fonk; xhr] ckyk; xhr rFkk nkSM+ xhr Áeq[k gSA vafre laLdkj e`R;q laLdkj gSA e`R;q ls lacaf/kr xhr xk, tkrs gSA buesa rsyugku] HkkMku] tkiyk vkfn Áeq[k gSA 3½ ioZ &R;ksgkj & laFkkyksa dk ioZ &R;ksgkj ekg ij fu/kkZfjr gSA ckjg ekg ij ckjg ioZ gksrs gSA ek?k ekg ls vkjaHk gksdj ikS"k lkdjkr esa lekIr gksrs gSaA buds vk/kkj ij Mkgkj] ckgk] dje] nkalk;]lksgjk;]lkdjkr Áeq[k gSA blds vfrfjDr fdlh vuq"Bku] esyk] ;k=k ij Hkh xhr ,oa u`R; gksrs gSaA laFkky lekt esa ykWaxM+s xhr ,oa u`R; vusd egÙoiw.kZ gSA 4½ fofo/k & laFkky lekt esa esyk] ;k=k] /kkfeZd vuq"Bku gksrsa gSA bu vuq"Bku esa ikrkxhr ,oa u`R; dk vk;kstu gksrk gSA xhr esa Áse] Lusg] lq[k] nq[k vkfn ls lacaf/kr gksrs gSa xhr lkewfgd #i ls gksrk gSA laFkky ifjJfe gksrs gSaA ifjJe osyk §y!•ï˛ƒ xDl ˘ meeefnl³e Debeieve / Sahitya Angan 107 esa ^ykWaxMs+ xhr xkrs gSaA ykWaxMs+ dk 'kkfCnd vFkZ gS ykWaxk $ ,Ms+A vFkkZr~ FkdkoV dks nwj djukA ;g xhr ,oa u`R; fd, tkrs gSaA u`R; xkWao ds vk[kM+k esa lkewfgd #i ls gksrk gSA eknkafiM }kjk tc ekanj ij mn~?kkVu ladsr rky ^rksM+ko* ÁkjEHk gksrk gS] rc ikWao /khjs&/khjs xfr esa vk tkrs gSaA urZd ,oa u`R;kaxukvksa ds ikWao vkSj cnu y;c} gksdj dHkh vkxs vkSj ihNs pyrs gSA laFkkyh u`R; esa lkewfgd #i ls ;qod &;qofr;kWa]gkFk idM+dj ukprs gSa ,oa lkFk feydj xkrs gSA laFkkyksa ds u`R; ds Ádkj] u`R; ds xq.k rFkk u`R; ds xhr] rhu Ádkj ds gSaA 1- /kkfeZd u`R; 2- ohj;qDr u`R; 3- lkekftd u`R;A 1- /kkfeZd u`R; & /kkfeZd u`R; fdlh nsoky; ;k fdlh ifo= o`{k ds lkeus fd, tkrs gSsA tSls& /kkfeZd Lo#i u`R; eq[;r% ckgk] Mkgkj] fjatk] djek vkfn gSaA 2- Okhj;qDr u`R; & ;g u`R; ohjJh u`R; gSA fofHkUu Ádkj ds gfFk;kj fy, gq, ukprs gSaA tSls& fQjdky] nksaxM+] ik;dk nklk; vkfnA;g u`R; dsoy iq#"k oXkZ }kjk gh gksrk gSA 3- Lkekftd u`R;& ;g u`R; lkekftd vkuq"Bkuksa esa fd, tkrsa gSaA ikrk u`R;] ;qod&;qofr;ksa }kjk lkewfgd #i ls gksrk gSA lkM+ik] Mkgkj u`R; dsoy yM+fd;ksa }kjk gh gksrk gSA ¼t½ laFkkyh ok| ;a= & vkt laxhr dh nqfu;k esa dbZ rjg ds ok| ;a=kaas dh Hkjekj gSA vf/kdka'k ok| ;a= ,sls gSa tks gkFk ls ctrs gSa ijUrq dqN ,sls ok| ;a= ,sls gSa tks Lor% ctrs gSaA laFkky yksx Ád`fr ÁnŸk oLrqvksa dk mi;ksx djrs gSaA tSlas& isM+] ckWal] ydM+h]tkuojksa ds lhax] cky] peM+k vkfnA bl Ádkj ls laFkky ok|;a= dks pkj Js.kh esa ckWaVk tk ldrk gSA 1- vuo} ok| & blds varxZr ekanj] <+kd] djgk] pksM+pqM+h] <+ksy vkfn vkrs gSaA 2- /kuo} ok| & blds varxZr djrky] Fkky ?kaVk] >kWa>] ?kqWa?kjk vkfn gSaA 3- lwf"k.k ok| & ckWalqjh]l[kok] flaxk vkfn vkrs gSaA 4- ok|;a= & blds vUrxZr dsanjh ] HkqokM+ lkM+ik vkfn vkrs gSA laFkky lekt esa yM+dh ;k L=h tkfr ^lkM+ik* ok|;a= dks NksM+dj vU; ok|;a= ugha ctkrh gSa rFkk iwtk LFky ^tkgsj Fkkuki* esa Álkn ugha p<+krs gSA lkewfgd u`R;] xhr] iwtk] ds jhfr&fjokt rFkk tkrh; xq.kkas ls laiUu ijEijk laFkkyksa esa ns[kus dks feyrh gSA bl Ádkj ge ns[krs gSa fd laFkkyh viuh lgksnjkvksa ;k ltkrh; Hkk"kkvksa esa lokZf/kd ÁUuksr vkSj Áxfr'khy gSA >kj[k.M jkT; esa ÁkFkfed d{kk ls ysdj mPpre 108 §y!•ï˛ƒ xDl ˘ meeefnl³e Debeieve / Sahitya Angan

,e- ,- oxZ rd rFkk if'pe caxky esa] ek/;fed fo|ky; Lrj rd laFkkyh Hkk"kk&lkfgR; ds v/;;u& v/;kiu dk Áko/kku gS tcfd vkdk'kok.kh ¼vkSj nwjn'kZu½ ds dksydkrk]jkWaph]te'ksniqj vkfn dsUnz ls laFkkyh dh jpukvksa vkSj lkrf;d oekpkjksa ds Álkj.k dh O;oLFkk Hkh gSA lanHkZ lwph 1- okfpd ijEijk o lkfgR; & ch0 ,l0 pVthZ o t;'kadj mik/;k; ¼vkd`fr izdk'ku½A 2- >kj[k.M ,UlkbDyksihfM;k & [k.M & 4 3- larkyh yksdxhr vkSj thou n'kZu & jes'k gsEcze ¼'kks/k vkys[k½A vkbZ0Mh0 ifCyf'kax] jk¡ph] >kj[k.MA 4- flnks vkSj dkUgw thou ,oa miyfC;k¡ & txUukFk nkl] latho dqekj tkudh izdk'ku] iVuk] ubZ fnYyhA 5- larkyh yksd dFkk ,d v/;;u & MkW0 tus'cj ek¡>h] I;kjk dsjdsV~Vk] QkmUMs'ku] jk¡ph] >kj[k.MA §y!•ï˛ƒ xDl ˘ meeefnl³e Debeieve / Sahitya Angan 109 lqHknzkdqekjh PkkSgku ds dFkk lkfgR; esa jk"Vªh; psruk MkW0 lat; dqekj flag] lgk;d izk/;kid]

lqHknzkth lu~ 1930 rd dfork djrh jgha rRi'pkr~ mUgksaus dgkuh ds {ks= esa inkiZ.k fd;kA mudh dgkfu;ksa dk le; lu~ 1930 ls 1947 rd dk gSA ;g dky Hkkjrh; Lora=rk laxzke dk pje dky FkkA egkRek xk¡/kh ds usr`Ro esa lkjk tuekul lefiZr gksdj ,d viwoZ lkekftd&jk"Vªh; psruk ls vkIykfor gks jgk FkkA bldk izHkko lqHknzkth ds dFkk lkfgR; ij iM+uk LokHkkfod FkkA ns[kk tk; rks muds lexz lkfgR; dk izsj.kk fcUnq xqykeh ls yM+kbZ gSA xqykeh ls mudk la?k"kZ tgk¡ ,d vksj mudh jk"Vªh; dforkvksa esa fo'ks"k :i ls izfrfcfEcr gksrk gS ogha nwljh vksj muds dFkk&lkfgR; esa Hkh ifjyf{kr gksrk gSA lqHknzkth us dFkk&lkfgR; dh vksj vius >qdko dks êqdqy* dh izLrkouk esa mn~èk`r fd;k gS& ^^vkt lalkj ds la?k"kZ.kksa ls mcdj esjs dfo ân; us foJke lk ys fy;k gSA**1 bl oDrO; esa mcdj 'kCn egÙoiw.kZ gSA mUgksaus jktuSfrd la?k"kZ ds Lrj ij fdlh izdkj dh mc eglwl ugha dh FkhaA ysfdu v¡/kh :f<+;ksa vkSj lkekftd ca/kuksa dh f'kykvksa ij jkst cfy p<+us okyh fujijk/k vkRekvksa dh gR;k dks os lg ugha ldha vkSj 'kk;n blhfy, mudh eukso`fÙk i| ls x| dh vksj gqbZA dgkuhdkj ds :i esa mudh jk"Vªh; psruk ls vuqizsfjr dgkfu;ksa dk oxhZdj.k fuEufyf[kr :i esa dj ldrs gSa& d& ns'k&izse] cfynku rFkk vkRefo'okl dh Hkkouk ls izsfjr dgkfu;k¡& îkih isV*] ^vejkbZ*] ^xqykc flag*] ^xkSjh*A [k& orZeku ifjfLFkfr;ksa esa vlarks"k dh Hkkouk ls izsfjr dgkfu;k¡& ^rk¡xsokyk*] ^lqHkkxh*A x& Lof.kZe Hkfo"; dh dYiuk ls izsfjr dgkfu;k¡& ^jkgh* ?k& fgUnw&eqfLye ,drk] ln~Hkkouk ;k 'kqf) dh Hkkouk ls izsfjr dgkfu;k¡& ^ghaxokyk*] ^,dkn'kh*A ikih isV bl dgkuh dk vkjEHk lHkk esa ykBh pktZ ls gksrk gSA ykBh pktZ gksus ds dkj.k lHkk frrj&fcrj gks tkrh gS vkSj iqfyl dh fot; gksrh gS] fdUrq bl fot; ds gksrs gq, Hkh muds psgjksa ij fot; dk mYykl u gksdj Xykfu Nk;h gqbZ FkhA ftu yksxksa us ykBh&pktZ fd;k Fkk muesa ls ,d gS&flikgh jkef[kykouA ?kj tkdj flikgh jkef[kykou ukSdjh ij ykr ekj nsrk gSA bruk cM+k ik'kfod ÑR; Lo;a djds 109 110 §y!•ï˛ƒ xDl ˘ meeefnl³e Debeieve / Sahitya Angan vk¡[ks [kqy tkrh gS] Xykfu vkSj O;Fkk ls mldk eu Hkj vkrk gS&^^flikgh jkef[kykou us viuh dksBjh esa tkdj vUnj ls njoktk yxk fy;k vkSj ykBh pwYgs esa tyk nhA mldh ykBh ds izgkj ls ,d lqdqekj ckyd dh [kksiM+h QV x;h FkhA ^^--- jke&jke ;g gR;k! fdlds fy,\ isV ds fy,\ bl ikih isV dks rks tkuoj Hkh Hkj ysrs gSa fQj ge vkneh gksdj bruk iki D;ksa djsa\---- ykur gS ,slh ukSdjh ijA**2 dgkuh esa ,d nwljk igyw gqDe nsus okyksa vf/kdkfj;ksa dk gS&^^Fkkusnkj cjdrmYyk ykBh pktZ ds le; fpYyk&fpYykdj gqDe ns jgs Fks êkjks lkyksa dks] vk;s gSa] LojkT; ysusA* ijUrq vius DokVlZ esa igq¡prs&igq¡prs mudk tks'k BaMk iM+ x;kA**3 mudh ykBh ls muds csVs dk fiz; nksLr xksiw ?kk;y gks tkrk gS] ftlls mudks ekufld ihM+k gksrh gSA blls cpus ds fy, os rhu ekg dh NqV~Vh ys ysrs gSaA dksroky c[rkoj flag dk Hkh gky cqjk FkkA ekjs jat ds mudk flj nq%[kus yxkA ysf[kdk ds 'kCnksa esa & ^^c[rkoj flag jktiwr FksA mUgksaus VkM dk jktLFkku i<+k FkkA jktiwrksa dh ohjrk dh dgkfu;k¡ mUgsa ;kn FkhaA--- esjs iwoZtksa us dHkh fugRFkksa ij 'kL= ugha pyk;sa] eSaus vkt ;g D;k dj Mkyk\ ,sls ekjus ls rks ej tkuk vPNkA**4 ukSdj'kkgh ds lcls cM+s lgk;d 'kkld eftLVsªV dqUnuyky ftuds gqDe ls fugRFkksa ij ykfB;k¡ pyh Fkh] vkSj ftlds ifj.kkeLo:i mUgsa jk; cgknqjh dk f[krkc feyus okyk FkkA mudk ân; Hkh bl ÑR; dks cqjk dgrk gS&^êkuk fd vkf[kj ;s yksx LojkT; ds fy, gh >xM+ jgs gSaA mudk dke ijekFkZ dk gS lHkh ds Hkys ds fy, gS] ij fd;k D;k tk;\ ukSdjh NksM+ nh tk; rks bl ikih isV ds fy, Hkh rks dqN pkfg,] gekjs eu esa D;k ns'k izse ugha gS\ ij [kkyh isV ns'k izse ugha gks ldrkA**5 îkih isV* dgkuh ds fo'ys"k.k ls Li"V gksrk gS fd ân; ls jk"Vªh; Lora=rk laxzke ds leFkZd gksrs gq, Hkh thfodksiktZu ds fy, ljdkjh deZpkjh vaxzstksa ds neu pØ dk lkFk nsrs gSaA vius HkkbZ;ksa ds d"V lgu vkSj R;kx dh Hkkoukvksa dk izHkko mu ij Hkh iM+rk gS] tkrh; xkSjo dk LQqj.k muds Hkhrj Hkh gksrk gS fdUrq os foo'k gSaA muds Hkhrj ns'k&izse dh fpaxkjh rks gS fdUrq vkRe fo'okl vkSj vkRe cfynku ds fcuk ml fpaxkjh dk dksbZ ewY; ughaA bl dgkuh esa ,d ckr fo'ks"k mYys[kuh; gS fd ykBhpktZ ds vekuqf"kd ÑR; ds i'pkr~ flikgh jkef[kyoku ukSdjh NksM+ nsrk gS] ogha mlds mPp vfèkdkjh Fkkusnkj cjdrmYyk] dksroky c[rkoj flag] eftLVsªV jk;lkgc dqUnu yky ân; esa nq"ÑR; ls yfTtr gksus ij Hkh bruk lkgl ugha cVksj ikrs gSa fd fons'kh xqykeh dk tqvk vius da/ksa ls mrkj QsadsA flikgh jkef[kyoku ds izfr ;g fo'okl ns'k dh lk/kkj.k turk] ns'k ds fdlku] etnwjksa ds izfr fo'okl gS] ftuds chp ls jkef[kyoku vk;k gSA vktknh dh vy[k txkus esa vkSj viuk loZLo leiZ.k dj nsus dh Hkkouk ftruh vke turk esa Fkh mruk vU; oxZ esa ughaA eè; ,oa mPp oxZ ds vf/kdkfj;ksa dk O;ogkj muds lkekU; oxZ pfj= ds vuqdwy gS tks vius drZO; dks tkurs gq, Hkh "kks'kd lRrk dk lkFk nsrs gSaA §y!•ï˛ƒ xDl ˘ meeefnl³e Debeieve / Sahitya Angan 111

îkih isV* dh dgkuh dk var ftruk nq%[kkUr gS mruk gh ns'k&izse dh fpaxkjh dks lqyxk nsus okyk HkhA jk;lkgc dqUnuyky dk bdykSrk csVk bl ykBh pktZ dh pisV esa vk x;k Fkk vkSj vLirky igq¡pk fn;k x;kA lqurs gh jk;lkgc ikxyksa dh Hkk¡fr Hkkxs vkSj muds igq¡pus ij fLFkfr ;g Fkh fd& ^^mlus ifgyh gh ckj vk¡[ks [kksyhA mlds eq¡g ij gYdh lh eqLdjkgV FkhA /kheh vkokt ls mlus dgk] oUns ek--- ê~* dh èofu ugha fudy ik;h] ê* ds lkFk gh mldk eq¡g [kqyk jg x;k] vkSj vk¡[ksa lnk ds fy, cUn gks x;haA**6 izLrqr dgkuh esa ns'k&izse dh mRdV >yd ckyd xksiw esa gSA xksiw mu reke ckydksa dk izfrfuf/kRo djrk gS] tks Lora=rk laxzke esa tku cw>dj viuh vkRecfy ds fy, vkxs c<+s rFkk ejrs&ejrs ftuds eq[k ij Lora=rk dh ped jgh] ekrk dh oUnuk jghA vU; ik= ftUgsa ge u`'kal vf/kdkfj;ksa ds :i esa ns[krs gSa] muds ân; Hkh ns'k&izse ls 'kwU; ugha gSA foo'krk dsoy ikih isV dh gSA vejkbZ îkih isV* dgkuh ds foijhr ^vejkbZ* dgkuh gS] ftlesa jk[kh ds fnu jk;lkgc dh vejkbZ esa cPps jk[kh dk R;ksgkj euk jgs gSaA cgusa Hkkb;ksa dks jk[kh ckaèkdj dgrh gSa&^^HkkbZ bl jk[kh dh ykt j[kuk] yM+kbZ ds eSnku esa dHkh ihB u fn[kkukA**7 ml vejkbZ esa NksVs&NksVs cPps vkSj cfPp;k¡ >wyk >wyrs gq, dtyh xk jgs FksA rHkh ,dk,d ,d NksVk ckyd xk mBk] ^^>aMk m¡pk jgs gekjkA** bl jk"Vªh; xhr dks xkus ds dkj.k vktUe jktHkDr jk;lkgc vkSj vkWujsjh eftLVsªV ds in vkfn dk fcuk fopkj fd, gq, iqfyl us cPpksa ij ykBh&pktZ dj fn;kA ykBhpktZ ds dkj.k lHkh cPpksa dks pksVsa vk;h fdUrq jk;lkgc ds ukrh fot; dks T;knk pksV vkrh gS] ftlds dkj.k og 'kghn gks tkrk gSA cM+s lkgc us jk;lkgc dks U;k;ky; esa muls tokc& ryc fd;k] fdUrq vc muesa ns'k HkfDr dh vkx èkèkd mBh Fkh vkSj mUgksaus ogk¡ tkdj bu 'kCnksa ds lkFk in ls R;kxi= ns fn;k& ^êsjk rks ;g fo'okl gks x;k gS fd bl 'kklu& fo/kku esa] tks iztk dks fgrdj ugha gS] vo'; ifjorZu gksuk pkfg,A gj ,d fgUnqLrkuh dk /keZ gS fd og 'kklu&lq/kkj ds dke esa iwjk&iwjk lg;ksx nsA eSa Hkh viuk /keZ&ikyu djus ds fy, foo'k gw¡] vkSj ;g esjh jk;lkfgch vkSj vkujsjh eftLVsªVh dk R;kxi= gSA**8 vkSj nwljs fnu ls gh Bkdqj lkgc dh vejkbZ jk"Vªh; vk;kstuksa dk vM~Mk cu xbZA blds pyrs 'kklu dh vksj ls Bkdqj lkgc ij ik¡p lkS :i;s ds tqekZus ds lkFk N% eghus dkjkokl dh ltk nh x;h vkSj ^vejkbZ* dks uhyke dj fn;k x;kA lkFk gh ,slk dksbZ vk;kstu u gks blds fy, ogk¡ iqfyl dk Fkkuk cuok fn;k x;kA ^vejkbZ* dgkuh ds ckjs MkW- fo".kqdkar 'kkL=h us fy[kk gS fd ^^vejkbZ dgkuh esa tkx`r r#.kkbZ ds cfynku ds dkj.k Bkdqj lkgc tSls o`)ksa esa Hkh nkSM+us okyh uohu psruk ,oa mRlkg dk fp=.k fd;k x;k gSA**9 dgkuh dk var Bkdqj lkgc dh 112 §y!•ï˛ƒ xDl ˘ meeefnl³e Debeieve / Sahitya Angan fxjQ~rkjh vkSj vejkbZ dh uhykeh ls gqvkA ckydksa ds >wyk >wyus dh vejkbZ esa tc iqfyl pkSdh curh fn[kkbZ iM+h gksxh rks ,d Bkdqj dh txg vusd Bkdqj ,sls 'kklu dks m[kkM+us ds fy, n`<+ ladYi fn[kk;h nsus yxs gksaxs] blesa lansg ughaA ;gk¡ NksVs&NksVs cPpksa esa ns'k&izse dh og >k¡dh n`f"Vxkspj gksrh gS tks lkef;drk dh ygjksa esa mRlkg ls cg x;sA Bkdqj lkgc ds ân; ifjorZu dk dkj.k muds cPpksa ds izfr dh xbZ funZ;rk ek= ugha gS cfYd 'kklu ds vekuqf"kd dk;ksZa dks vk¡[kksa ds lkeus ns[kdj mudh vk¡[ksa [kqy xbZA ;gk¡ orZeku fLFkfr ls mRiUu {kksHk dh Hkkouk dk jk"Vªh; rÙo iz/kku gSA ns'kHkfDr rFkk vkRe&fo'okl vkSj cfynku dh Hkkouk dgkuh ds lgk;d rÙoksa ds :i esa fo|eku gSA lcls cM+h ckr rks ;g gS fd ns'k&izse esa tc uUgsa eqUus ckyd ?kk;y gksus dks rRij gks x;s rc dkSu lh 'kfDr mUgsa Lora= gksus ls jksd ldrh gSA xqykc flag xqykc flag jk"Vªh; vkUnksyu ds ;qx esa tcyiqj ds ,d ohj ckyd ds cfynku dh dgkuh gSA HkkbZ&cgu esa ?kfu"V izse gSA fons'kh 'kklu us dkaxzsl dk >aMk ysdj tqywl fudkyus ij izfrcU/k yxk fn;kA os nksuksa HkkbZ&cgu ;g lqudj >aMk ysdj tqywl fudkyus ds fy, dfVc) gks tkrs gSaA cgu vks<+uh QkM+dj >aMk cukrh gSA HkkbZ cgu ls jksyh yxokdj rFkk iku ysdj >aMk mBkdj py nsrk gSA iqfyl okyksa us tc ml ij xksfy;k¡ pyk nh rc HkkbZ dks fxjrs ns[kdj cgu mlds ikl nkSM+h pyh x;hA HkkbZ us cgu dks >aMk nsdj lnk&lnk ds fy, mlls fonk ys yhA ;g dgkuh R;kx vkSj cfynku dh lkgfld dFkk gS tks jk"Vªh; tkx`fr dh mÙke O;kidrk dks izdV djrh gSA dgkuh ds izkjEHk esa lqHknzkth us Lo;a fy[kk gS fd ^^,d fnu ,slh gok cgh fd eqj>k;s gq, euksa esa Hkh u;h tku vk xbZA ,d gok ,slh gksrh gS tks eqj>k;s gq, ikS/ks esa rktxh yk nsrh gS] vkSj ,d gok ,slh gksrh gS] tks eqnkZ&eu euq";ksa esa u;h meax Hkj nsrh gSA ;g meaxksa okyh gok FkhA cM+k Hkkjh tqywl fudyk] dkSeh >aMs dk tqywl Fkk ogk¡A**10 vkxs mUgksaus Lo;a Li"V fd;k& ckyd xqykc flag Hkh bl gok ds lkFk mM+ pykA cgu us vks<+uh QkM+dj >aMk cuk;k] rhu jaxksa ls jaxk x;kA cgu ls Vhdk yxkdj og vkxs c<+k ihNs&ihNs cgu Hkh pyhA ^^cgqr nwj tkus ij ckn'kkg ds flikfg;ksa us >aMsokys dks jksdkA og u #dk] vkSj ckn'kkg ds flikfg;ksa us xksyh pyk nhA og fxjkA >aMk mlds gkFk esa FkkA**11 xksyh py tkus ij fdlh dh fgEer lM+d ij tkus dh ugha gqbZ fdUrq cgu us HkkbZ dks fxjrs gq, ns[kk] og nkSM+ iM+h vkSj iqdkjk HkS;k!--- ^^HkkbZ ds izk.k ekuks ;g ve`rok.kh lqudj ykSV iM+sA cksyk&rw vkbZ] ;g >aMk ysA cgu us >aMk ys fy;kA ij HkkbZ pyk x;kA cgu jksbZ ij >aMk gkFk esa fy, jghA**12 ^xqykc flag* dgkuh esa fons'kh 'kklu ds neu] vR;kpkj vkSj 'kks"k.k ds fo#) fonzksg dk >aMk [kM+k djus dh r#.kkbZ dh vej izfrKk pfjrkFkZ gqbZ gSA ;kSou dk §y!•ï˛ƒ xDl ˘ meeefnl³e Debeieve / Sahitya Angan 113

;g ikou ladYi lkoZdkfyd gS] lkoZnsf'kd gS] ns'k&dky dh lhek ls ijs gSA bl lkoZHkkSe Hkko dks ysf[kdk us fuEu 'kCnksa esa vfHkO;Dr fd;k gS& ^^;g dgkuh dgk¡ dh gS\ fdldh gS\ ge D;k crkosa! ;g Qzkal dh jkT;&ØkfUr dh gks ldrh gSA ;g :l dh jkT; ØkfUr dh gks ldrh gSA ;g fgUnqLrku dh lu~ 42 dh ØkfUr dh Hkh gks ldrh gS] D;ksafd ;g ?kVuk fpjaru gS] vuUr gSA ;g tSls isfjl esa] ekLdks esa] oSls tcyiqj esa Hkh gks ldrh gSA**13 okLro esa ns'k&izse dk ;g Hkko ns'k&dky ls ijs gSA ladV dky esa ns'k ds xkSjo dh ;g Hkkouk fpjUru gSA bl izdkj ds Hkko esa dsoy ?kVukvksa dk Lo:i cnyrk gS] O;fDr;ksa ds uke cnyrs gSa] 'ks"k lc rks ;Fkkor~ jgrk gSA ^xqykc flag* dgkuh esa cgknqj r#.k xqykc flag ns'k&izse dk izrhd gS] mldh cgu ns'k&izse vkSj izsj.kk dh izfrewfrZ gSA bl izdkj dk Hkkouk lqHknzkth ds dkO; esa Hkh ns[kk tk ldrk gS& ^^vk¡lw Nyds] ;kn vk x;h] jktiwr dh og ckykA ftlus fonk fd;k HkkbZ dks] nsdj fryd vkSj HkkykAA**14 Jh fo".kqdkar 'kkL=kh us bl dgkuh ds ckjs esa vius fopkj fuEu 'kCnksa esa vfHkO;Dr fd;k gS& ^^xqykc flag* dh cgu Hkh 'kghn&'kku ds lkFk HkkbZ dks fonk djrh gS vkSj mlds tw> tkus ij Lo;a mldk >aMk ys vkxs c<+rh gSA vkèkqfud ;qx esa HkkbZ&cgu ds Lusg esa QkSyknh n`<+rk vkSj cfynkuh o`fÙk Hkjus dk Js; lqHknzk th dks gh gSA**15 rkaxsokyk ^rkaxsokyk* dgkuh jk"Vªh; Hkkouk ls vksr&izksr ,d lR;fu"B] FkksM+s esa clj djus okyk LokoyEch Jfed dh dgkuh gSA rkaxsokyk ;kf=;ksa dks mudh lqfoèkkuqlkj muds ?kj igq¡pk nsrk gSA og ns'k&izse dk xhr xquxqurk gqvk >wek djrk gSA mls vius ns'kokfl;ksa dh QwV ij cgqr nq%[k gksrk gSA og fQjafx;ksa dk dV~Vj fojks/kh gS vkSj mUgsa vius rkaxs ij dHkh ugha cSBus nsrk rFkk Hkkjrh;ksa dh ,drk dks vkèkkj cukdj muls izfr'kks/k ysus ds fy, dfVc) jgrk gSA laHkor og Hkh lu~ 1857 ds xnj dk dksbZ izPNUu jRu Fkk] rkR;k Vksis dh ohjrk vkSj ekjh&ekjh fQjrh gqbZ ixyh csxe rd ls og ifjfpr Fkk rFkk tks Lo;a Jethoh cudj ns'k&HkfDr ,oa jk"Vªh; ,drk dk vy[k txk jgk FkkA izLrqr dgkuh esa lqHknzkth us oLrqr% ns'k ds vui<+ vkSj fuEuoxZ esa fxus tkus okys ,d rkaxsokyk dk ns'k&izse fpf=r fd;k gSA rkaxk gk¡drs&gk¡drs og xk mBk& ^^ge fQj ls oru viuk Lok/khu cuk ysaxsA**16 jkLrs esa ,d unh iM+us ij og rkaxs esa cSBs lTtu ls dgrk gS& ^^lu~ lÙkkou ds xnj esa rkR;k Vksis nq'euksa dh lsuk dks phjrs gq, ;gha ls unh ds ikj pyk x;k FkkA**17 fQj vius fo"k; esa mlus cryk;k& ^^gqtwj] tc ls lÙkkou ds xnj dk bfrgkl i<+k] vkSj fQjaxh dSls vk;s vkSj dSls 114 §y!•ï˛ƒ xDl ˘ meeefnl³e Debeieve / Sahitya Angan

QSy x;s lkjs fgUnqLrku esa ;g tkuk] rc ls gqtwj] cnys dh Hkkouk ls jkr&fnu tyrk jgrk gw¡A ljdkjh ukSdjh blhfy, ugha dhA esjk cki Mh-lh- dh vnZyh esa FkkA eq>s og txg fey jgh FkhA eSaus Bksdj ekj nhA**18 ;gk¡ rkaxsokyk ns'k ds mu Hkkoqd] izcq) r#.kksa dk izfrfuf/k gS tks fonsf'k;ksa dh pkdjh dh vis{kk Lo;a ifjJe dh dekbZ dks Js;Ldj le>rs gSaA vkxs iqu% rkaxsokys us ;k=h lTtu ls crk;k fd og fdlh Hkh fQjaxh dks vius rk¡xs ij ugha cSBkrk] tks ,d dh txg nl nsrs gSaA bldk dkj.k crkrk gqvk dgrk gS fd& ^^lkjs fgUnqLrku esa xnj ds le; bu fQjafx;ksa us D;k de tqYe fd;s gSa\ xk¡o ds xk¡o tyk fn;s] vkSjrksa dks csbTtr fd;k] fujijk/k yksxksa dks rksiksa ds eq¡g ls ck¡/k dj mM+k fn;kA vHkh dy dh ckr gSA iatkc esa mUgksaus D;k de fd;k gS\ ?kko rktk gS gqtwj! bu fQjafx;ksa dks ns[krs gh ml ij ued iM+ tkrk gSA blhfy, eSaus dle [kk;h gS] bUgsa rk¡xs ij dHkh u fcBkm¡xkA**19 xk¡o&xk¡o esa QSyus okyh vktknh dh Hkkouk vkSj fons'kh ljdkj ds izfr ?k`.kk dh Hkkouk dk fofo/k :iksa esa vusd dforkvksa vkSj dgkfu;ksa esa lqHknzk th us o.kZu fd;k gSA vius ;qx vkSj ns'k dh iqdkj dks mUgksaus Loj fn;k gSA ,slk izrhr gksrk gS] ekuksa rkaxsokys dh Hkkouk ds lkFk mudh mu iafDr;ksa ls lkE; gks jgk gS tc os fot;kn'keh ls dgrh gaS& ^îUnzg dksfV vlg;ksfxfu;ka] ngyk ns czãk.M l[khA Hkkjr&y{eh ykSVkus dks] jp nsa yadkdk.M l[khAA**20 vlg;ksx vkUnksyu esa tsy tkus okyh vkSj ckiw ds pj.kfpUgksa ij pyus okyh lqHknzkth ekuksa rkaxsokys ds fopkjksa ls iw.kZr% lger gS fd ,d ckj lu~ lÙkkou dk n`';] =srk dk yadk dkaM fQj ls nksgjk;k tk; fdUrq blds lkFk viuh vkUrfjd vO;oLFkk ls iw.kZr% vifjfpr ugha gSaA ns'k ds iru dk] ijk/khurk dk ewy dkj.k mudh lw{e cqf) ls fNik ugha gSA rk¡xs esa cSBs lTtu us dgk& ^^rc gekjs ikl gfFk;kj FksA vc rks ge yksx fcydqy iaxq dj fn;s x;s gSaA**21 izR;qÙkj esa rkaxsokyk ns'k dh ijra=rk dk lPpk ltho fp= [khaprk gS& ^^geus tcku [kksyh gekjs gh HkkbZ& cU/ kq gesa fxjQ~rkj djus igq¡psA gekjs gh esa ls gesa ltk lqukus okys vk;sA geha esa ls ge ij igjk j[kus yxsA vxj ;s gh lc ,der gksdj ,d lkFk dke djs rks gqtwj gfFk;kj mBkus dk Hkh dke ughaA gekjk LojkT; gekjh eqV~Bh esa tkfu,A ysfdu nl vxj lPps th ls dke djus dks rS;kj jgsa rks chl /kks[kk nsus dks rS;kj jgsaxsA vxj fgUnqLrkfu;ksa esa ,dk gh gksrk rks D;k eqV~Bh Hkj fons'kh ge ij 'kklu dj ldrs\**22 xkSjh izLrqr dgkuh esa lkekftd dqizFkkvksa rFkk ukjh thou dh leL;kvksa dk mYys[k gSA dgkuh esa dgha&dgha ekr`Ro vkSj okRlY; dh eksgd >kfd;k¡ Hkh gS fdUrq dgkuh dk izfrik| ns'kHkDr fo/kqj ds cPpksa ds fy, ,d dqekjh dk viwoZ lkgl rFkk R;kx gSA ^xkSjh* dk fookg lhrkjke tSls nqgktw vkSj lk/kkj.k O;fDr ls u djds mlds firk §y!•ï˛ƒ xDl ˘ meeefnl³e Debeieve / Sahitya Angan 115 mldk fookg uk;c rglhynkj ls r; djrs gSaA ;|fi lhrkjke ds fo"k; esa mudh /kkj.kk cgqr vPNh gS&^^vjs] ugha&ugha] og vkneh diVh ugha gSA mlds Hkhrj dqN vkSj ckgj dqN gks gh ugha ldrkA ân; rks mldk niZ.k dh rjg lkQ gSA ij mldk [kknh dk dqjrk] xk¡/kh Vksih] QVs&QVs pIiy ns[kdj th fgpdrk gSA---- blds vykok rhl #i;s dqy mudh ru[kkg gS] dk¡xzsl nQ~rj esa lsØsVjh dk dke djrs gSaA rhu ckj tsy tk pqds gSaA fdl fnu pys tkrs gSa] dqN fBdkuk ughaA**23 dgkuh ds eq[; mís'; dk chtkjksi.k ;gk¡ ls gks tkrk gSA ekrk&firk dh ckrphr dks dU;k xkSjh fNidj lqu ysrh gSA fdUrq& ftl O;fDr ds izfr mlds firk brus vlarq"V vkSj mnklhu Fks] mlds izfr xkSjh ds ân; esa vutkus dh dqN J)k ds Hkko tkxzr gks x;sA gksrk Hkh ;gh gSA b/kj xkSjh dk fookg r; gqvk uk;c rglhynkj ds lkFk] m/kj mlus i<+k& jktnzksg ds vijk/k esa lhrkjke th fxjQ~rkj dj fy;s x;sA xkSjh dqN iy ds fy, LrC/k jg tkrh gS fdUrq mlus rRdky viuk drZO; fuf'pr dj fy;kA og ek¡ ds ikl x;h vkSj cksyh& ^êk¡] eSa dkuiqj tkm¡xhA dkuiqj esa D;k gS\ vk'p;Z ls dqUrh us iwNkA xkSjh& ogk¡ cPps gaSA---- cPpksa dks rqe Hkh tkurh gksA muds firk dks jktnzksg ds ekeys lky Hkj dh ltk gks xbZA cPps NksVs gSaA eSa tkm¡xh ek¡A eq>s tkuk gh iM+sxkA**24 xkSjh dkuiqj pyh xbZ vkSj lhrkjke th lkyHkj ckn vkdj tc ns[kk rc os Bxs jg x;s] fQj tjk vkxs c<+dj mUgksaus dgk& ^^vki\ xkSjh us >qddj mudh in&/kwfy ekFks ls yxk yhA**25 bl izdkj bl dgkuh esa ns'k&izse dh izPNUu fdUrq iz[kj /kkjk ds n'kZu gksrs gSaA xkSjh ns'kHkDr lhrkjke th ds cPpksa dks laHkkydj viuh ns'kHkfDr dk lPpk ifjp; nsrh gSA lqHkkxh bl dgkuh esa ;|fi eq[; Hkko iqfyl dh u`'kalrk gS ftlesa O;fDrxr eueqVko ds dkj.k lqHkkxh ds ifr vkSj lqHkkxh nksuksa dks ljdkj ds fojksf/k;ksa ds :i esa idM+ fy;k x;k gSA lqHkkxh ls mldk ukS o"khZ; ckyd fueZerkiwoZd vyx dj fn;k x;k gSA Fkkusnkj dh uh;r lqHkkxh ij [kjkc Fkh] fdUrq lqHkkxh vius pfj= dh j{kk ds fy, vVy jgrh gS] rks Fkkusnkj mldks pksjh ds vkjksi esa Qalkdj tsy djk nsrk gSA ;gk¡ rd dgkuh esa iqfyl dh T;knrh&rkaMo dk fp=.k gS] fdUrq eftLVsªV ds dgus ij fd ;fn lqHkkxh ;g Lohdkj dj ys fd og dk¡xzsl dk dk;Z ugha djsxh rks dgkuh dh Hkko/kkjk ?kwedj orZeku ifjfLFkfr;ksa esa dk¡xszl ds vkUnksyu ls tqM+ tkrh gSA ;|fi lqHkkxh dk¡xszlh dk;ZdrhZ ugha gS fQj Hkh og dk¡xzsl ds lEeku ds fy, tsy esa jguk ilUn djrh gSA eftLVsªV us tc mlls dgk& ^^rqe ;g dg nks& vkxs ls dksbZ Hkh dkaxzsl dk dke u djksxh vkSj Fkkusnkj lkgc ds dgus esa jgksxh rks rqEgs NksM+ nsrs gSaA rks lqHkkxh dk mÙkj Fkk cfgu th! oSls rks eSa dHkh dk¡xszl dk dke ugha djrh ij ;g rks ekQh ekaxuk gks tkrk u\ vkSj blls dk¡xzsl dh cnukeh gksrhA**26 bl dgkuh dk izeq[k mís'; ml oxZ dh dk¡xszl ds izfr] egkRek xk¡/kh ds 116 §y!•ï˛ƒ xDl ˘ meeefnl³e Debeieve / Sahitya Angan izfr vVwV fu"Bk fn[kkuk gS ftlus dHkh Hkh dk¡xzsl dk dke ugha fd;k fdUrq fQj Hkh dk¡xzsl dh cnukeh mlds fdlh dk;Z ls gks] ;g mlds fy, vlg~; gSA ^lqHkkxh* esa tgk¡ ,d vksj ekr`Ro vkSj ukjh dh yTtk j{kk esa }U} gS ogh mldk var dk¡xzsl ds izfr lR;fu"Bk esa gksrk gS] tks dk¡xzsl ds izfr lqHkkxh ds ân; esa gSA jkgh bl dgkuh esa ,d L=h pksjh djus ds vijk/k esa tsy vkrh gS vkSj ns'kHkDr vuhrk ls pksjh dk dkj.k crkrh gS fd cPpksa dh Hkw[k u ns[kh x;h vkSj mlus vukt dh xBjh pqjkus dh dksf'k'k dhA blh izdkj dh pksjh djus ds vijk/k esa jkgh dk ifr Hkh tsy esa Mky fn;k x;k Fkk] fdUrq vf/kd ekj iM+us ls ej x;kA rc ns'k&HkDr vuhrk lksprh gS& ^^,d vksj rks ;g dSnh gS] tks tsy vkdj lpeqp tsy thou ds d"B mBkrh gS vkSj nwljh vksj gSa ge yksx tks viuh ns'kHkfDr vkSj R;kx dk fxM+rs gSaA gekjs ekFks ij usr`Ro dk lhy yx tkrh gS vkSj blds cy ij tsy ls NwVus ds ckn] dk¡xzsl dh jktdh; lÙkk feyrs gh ge fefuLVj] LFkkuh; laLFkkvksa ds esEcj vkSj D;k&D;k gks tkrs gSaA**27 ns'kHkDr vuhrk ns'k dh okLrfod vkSj lPph lsok dks bl fn[kkos ls vyx ns[kus yxrh gSA og fQj lksprh gS] D;k bUgha ns'k&HkDrksa ls ns'k dk okLrfod dY;k.k gks ldrk gS tks ns'k izse ls vf/kd izn'kZu ds yksHkh gSA voljokfn;ksa dk fp= mlds lkeus vk tkrk gS vkSj og lkspus yxrh gS& ^^dy rd tks [kn~nj Hkh u ifgurs Fks] ckr&ckr ij dk¡xzsl dk etkd mM+krs Fks] dk¡xzsl ds gkFkksa esa FkksM+h 'kfDr vkrs gh os dk¡xzsl HkDr cu x;sA [kn~nj iguus yxs ;gk¡ rd fd tsy esa Hkh fn[kkbZ iM+us yxsA okLro esa ;g ns'kHkfDr Fkk lÙkkHkfDr!**28 Xykfu ls vuhrk dk eu Hkj tkrk gS mldh vkRek cksy mBh fd& ^ôkLro esa lPph ns'kHkfDr rks bu xjhcksa ds d"V&fuokj.k esa gSA ;s dksbZ nwljs ugha gekjh gh Hkkjr ekrk dh larkus gSaA bu gtkjksa yk[kksa Hkw[ks&uaxs HkkbZ&cfguksa dh ;fn ge dqN Hkh lsok dj lds] FkksM+k Hkh d"V fuokj.k dj lds rks lpeqp geus vius ns'k dh dqN lsok dhA**29 vuhrk Lof.kZe Hkfo"; ds LoIuksa esa [kks tkrh gSA mlds eu esa u;s jk"Vª /keZ dk mn; gksrk gS tks ekuork ds fudV gS] ftlds fcuk Hkkjr ekrk dk lokZax J`¡xkj laHko ughaA fopkj/kkjk vkxs pyrh gS& ^^jkgh tSlh Hkksyh&Hkkyh fdUrq xqejkg vkRekvksa ds dY;k.k dh lk/kuk thou dh lk/kuk gksuh pkfg,A lR;kxzgh dh ;gh izFke izfrKk D;ksa u gks\ ns'kHkfDr dk ;gh ekin.M D;ksa u cusa\30 og viuh dYiuk esa tsy ls NwVdj og bUgha ek¡xjksjh yksxksa ds chp igq¡p tkrh gS& ^ôgk¡ mlus ,d NksVk lk vkJe [kksy fn;k gSA mlh vkJe esa ,d rjQ NksVs&NksVs cPps i<+rs gSa vkSj fL=;k¡ lwr dkrrh gSA nwljh rjQ enZ diM+k cqurs gSa vkSj :bZ /kqudrs gSaA §y!•ï˛ƒ xDl ˘ meeefnl³e Debeieve / Sahitya Angan 117

'kke dks jkst mUgsa /kfeZd iqLrdsa i<+dj lqukbZ tkrh gS vkSj ns'k esa dgk¡ D;k gks jgk gS ;g ljy Hkk"kk esa le>k;k tkrk gSA**31 Jh fo".kqdkar 'kkL=h fy[krs gSa fd ^^jkgh* esa mu ns'kHkDrksa dk ijnkQk'k fd;k x;k gS tks oLrqr% lÙkk HkDr gSa vkSj mlh ds fy, jk"Vªh; vkUnksyuksa esa Hkkx ysrs gSa vkSj tsyksa esa vkdj m¡ph Dyklksa ds fy, >xM+rs gSaA blesa bUgksaus xk¡o dh turk dh lsok djus dks gh lPph ns'k&HkfDr dk uke fn;k gSA ifrr ekuork dks thou nku nsus dh vis{kk Hkh dksbZ egrdj iq.; gks ldrk gS] ,slk os ugha ekurhA tc rd xk¡oksa esa tkdj jpukRed dk;Z ugha fd;k tk,xk rc rd Hkkjr dh lPph mUufr ugha gks ldrhA ;g dFku vkt Hkh viuh lR;rk izekf.kr dj jgk gSA**32 Lof.kZe Hkfo"; dh dYiuk esa dgkuh ysf[kdk vius lkeus ,d cgqr cM+h ;kstuk j[krh gSA xk¡oksa vkSj fiNM+s yksxksa dk lq/kkj fd;s fcuk ns'k dk m)kj gks ugha gks ldrk] ;g ckr lqHknzk th us vPNh rjg vuqHko dj yh Fkh blhfy, ^tsy tkuk*] ^lR;kxzg djuk* mudh n`f"V esa i;kZIr u FkkA mudk y{; Fkk& ^^fu/Zku gksa /kuoku] ifjJe mudk /ku gksA fucZy gksa cyoku] lR;e; mudk eu gksAA gksa Lok/khu xqyke] ân; esa viukiu gksA blh vku ij deZohj rsjk thou gksAA**33 ghaxokyk ^ghaxokyk* dgkuh fgUnw&eqfLye ,drk vkSj ikjLifjd Lusg] ln~Hkko dks fpf=r djrh gSA [kku is'kkoj dk iBku gS tks Hkkjr esa ghax dk O;kikj djus vk;k gqvk gSA uxj esa fgUnqvksa vkSj eqlyekuksa ds chp naxk gks x;k gS] fdUrq og fuHkhZdrkiwoZd fgUnw eqgYyksa esa vkrk tkrk gS vkSj viuk O;kikj djrk gSA fgUnw efgyk lkfo=h tks [kku ls ges'kk ghax ysrh gS] mlls naxk gksus dh ppkZ djrh gS rks [kku mÙkj nsrk gS& lquk] le> ugha gS yM+us okyksa esaA tc n'kgjk ds tqywl esa naxk gks x;k rc ogha dgha vlgk; voLFkk esa ukSdj }kjk NksM+ fn;s x;s lkfo=h ds cPps mls fey x;sA [kku mUgsa igpku dj ldq'ky lkfo=h ds ?kj NksM+ tkrk gSA ;gk¡ ij [kku }kjk ekuork dk mTToy i{k mn~?kkfVr gqvk gSA lqHknzkth fgUnw&eqfLye ln~Hkko dh fuf'pr :i ls leFkZd FkhaA ^ghaxokyk* dgkuh ds [kku dk naxs ds le; dh ekuork dk eaxye; :i bl dgkuh esa iznf'kZr gqvk gSA ghaxokyk ftl ?kj esa ghax nsrk gS] muds cPpksa dks fgUnw&eqfLye naxs esa fudkydj ys vkrk gSA cPps dgrs gSa& ^^[kku rks gekjk nksLr gSA [kku us MiVdj dgk& ugha nksLr ughaA ge rqEgkjk HkkbZ gS] HkkbZA**34 fgUnw&eqfLye vkil esa nksLr ugha] HkkbZ&HkkbZ ds leku gSA ;g izfrèofu bl dgkuh ds Hkhrj ls lqukbZ nsrh gSA bl ns'k esa jgus okys lHkh Hkkjr ekrk dh larku gS vkSj bl fj'rs ls lHkh tkfr;k¡ ,d nwljsds lkFk Hkzkr`Ro dh vf/dkfj.kh gSA dgkuh dk ;g ewyHkko vkt Hkh izklafxd gSA 118 §y!•ï˛ƒ xDl ˘ meeefnl³e Debeieve / Sahitya Angan

,dkn'kh ^,dkn'kh* fgUnw laxBu ,oa 'kqf) dh leL;k dks ysdj fy[kh xbZ dgkuh gSA ^,dkn'kh* dgkuh lqHknzkth dks mu jk"Vªh;rkokfn;ksa ls vyx dj nsrh gS ftudh le> gS fd eqfLye 'kks"k.k djuk vkSj fgUnqRo dks xkyh nsuk izxfr'khyrk dh fu'kkuh gSA blesa lansg ugha gS fd jk"Vª&fgr ds fy, fgUnw&eqfLye ,drk vko';d gS] fdUrq bldk rkRi;Z ;g ugha gS fd ge viuk vkRelEeku csp MkysA ^,dkn'kh* ds MkW- feJk fgUnw vkSj eqlyeku nksuksa dks gh leku le>rs Fks] rFkk 'kqf) laxBu muds fy, ek= vkMEcj FkkA dgkuh ds izkjEHk esa MkW- feJk dh HksaV fdlh le; ,d czkã.k iqtkjh dh foèkok ckfydk ls gksrh gS ftlus cPpksa ds >q.M esa feBkbZ ysuk vLohdkj dj fn;k Fkk] D;ksafd ml fnu ,dkn'kh FkhA dbZ o"kZ ckn MkW- feJk fo/kok czkã.k ckfydk dks ,d eqlyeku dh iRuh dh :i esa ns[krs gSa] vkSj eqlyeku ds ?kj esa Hkh ,dkn'kh dk ozr djrs ns[krs gSaA mlh fnu ls ysf[kdk ds 'kCnksa esa ^^MkW- feJk Hkh 'kqf) vkSj laxBu ds i{kikrh gks x;sA**35 okLro esa fgUnw&eqfLye ,drk ds fy, laxfBr vkSj cy'kkyh fgUnw lekt vko';d gS D;ksafd leku 'kkfy'khy esa gh fe=rk gksrh gSA fo".kqdkar 'kkL=h th ds 'kCnksa esa& ^^ekuork ds izse ds iqtkfj;ksa esa tkrh; ladh.kZrk ugha gqvk djrh] fdUrq viuh tkfr dh voufr ds dkj.kksa dks fuewZy djuk viuh tkfr dks fo'o&fgr dh n`f"V ls l'kDr ,oa laxfBr djuk Hkh ekuork izse gh gS] ladh.kZrk dnkfi ughaA blh n`f"V ls fgUnw tkfr ds laxBu dk leFkZu mUgksaus ,dkn'kh esa fd;k gSA**36 fu"d"kZ :i esa dgk tk ldrk gS fd lqHknzkdqekjh pkSgku th ds dFkk lkfgR; esa jk"Vªh; psruk ls vuqizsfjr dgkfu;ksa dh la[;k de gSA fdUrq la[;k esa de gksrs gq, Hkh jk"Vªh; psruk ls vuqizsfjr dgkfu;ksa esa jk"Vªh;rk dk iz[kj :i ifjyf{kr gksrk gSA bu dgkfu;ksa esa lqHknzkth us eq[; :i ls ns'k&izse] R;kx] vkRe cfynku] fgUnw&eqfLye ,drk vkSj orZeku ifjfLFkfr;ksa esa lR;kxzg] tu&vkUnksyu] dk¡xzsl&izse vkfn dk vkstLoh o.kZu fd;k gSA muds dFkk lkfgR; esa tks jk"Vªh; psruk izLQqfVr gqbZ gS mldk ,d&,d {k.k mUgksaus ft;k gS] Hkksxk gS] Lo vuqHko fd;k gSA dgha Hkh mudh dFkuh vkSj djuh esa varj ugha fn[kk;h nsrk gSA mudh jk"Vªh; psruk esa og 'kfDr gS tks gesa vkt Hkh ns'k ds fy, loZLo U;ksNkoj djus ds fy,] lR;ekxZ ij pyus ds fy, ,oa vR;kpkjksa ls yM+us ds fy, izsfjr djrh gSA lanHkZ&lwph 1- eqdqy & izLrkouk % lqHknzkdqekjh pkSgku] i`"B 5 2- lqHknzk lexz & ikih isV & i`"B 15 3- ogh] i`"B 16 4- ogh] i`"B 16 §y!•ï˛ƒ xDl ˘ meeefnl³e Debeieve / Sahitya Angan 119

5- ogh] i`"B 18 6- ogh] i`"B 19 7- lqHknzk lexz & vejkbZ& i`"B 89 8- ogh] i`"B 91 9- tuHkkjrh & vad 2 & MkW- fo".kqdkUr 'kkL=h] i`"B 95 10- lh/ks&lkns fp= & xqykc flag & lqHknzkdqekjh pkSgku] i`"B 63 11- ogh] i`"B 65 12- ogh] i`"B 65&66 13- ogh] i`"B 66 14- eqdqy & fcnk & lqHknzkdqekjh pkSgku] i`"B 111 15- tuHkkjrh lqHknzk fo'ks"kkad & vad nks & Jh fo".kqdkar 'kkL=h] i`"B 90 16- lh/ks&lkns fp= & rk¡xsokyk & lqHknzkdqekjh pkSgku] i`"B 23 17- ogh] i`"B 23 18- ogh] i`"B 24 19- ogh] i`"B 24 20- eqdqy & fot;kn'keh & lqHknzkdqekjh pkSgku] i`"B 93 21- lh/ks&lkns fp= & rk¡xsokyk & lqHknzkdqekjh pkSgku] i`"B 25 22- ogh] i`"B 25&26 23- lqHknzk lexz & xkSjh & i`"B 186- 24- ogh] i`"B 191 25- ogh] i`"B 192 26- lh/ks&lkns fp=& lqHkkxh & lqHknzkdqekjh pkSgku] i`"B 106 27- lh/ks&lkns fp=& jkgh & lqHknzkdqekjh pkSgku] i`"B 58&59 28- ogh] i`"B 59 29- ogh] i`"B 60 30- ogh] i`"B 60 31- ogh] i`"B 60 32- lqHknzkdqekjh pkSgku dh dgkfu;k¡ & Jh fo".kqdkUr 'kkL=h] i`"B 65 33- eqdqy & esjh Vsd & lqHknzkdqekjh pkSgku & i`"B 107 34- lh/ks&lkns fp=& ghaxokyk& i`"B 55 35- fc[kjs eksrh & ,dkn'kh & lqHknzkdqekjh pkSgku] i`"B 82 36- lqHknzkdqekjh pkSgku dh dgkfu;k¡ & Jh fo".kqdkar 'kkL=h] i`"B 87 120 §y!•ï˛ƒ xDl ˘ meeefnl³e Debeieve / Sahitya Angan lwjnkl ,oa uannkl ds lkfgR; esa cztHkk'kk dk Lo:i fuysss'k dqekj flag]

^czt* 'kCn dk laLd`r rRle :i ôzt* gS tks laLd`r ôzt* /kkrq ls fu'iUu gSAôzt* 'kCn dk loZizFke mYys[k rks _Xosn lafgrk esa feyrk gS] ij ogka og

/kkj eaxy lkt fy;sA* ;ed & ^Å/kkS ;ksx ;ksx ge ukghaA* 'ys'k & ^fcuq/kj og mijkx xg;ksA* miek & ^ykspu Vsd ijS fllq tSlsA* mRisz{kk & ^miek gfjru nsf[k ytkusA dksm ty esa dksm ou esa jgs nwfj dksm] xxu lekusA* :id & ^r: ck:u mipkj pwj] ty ijks ilan iukjhA*2 lwj ds dkO; dh Hkk"kk czt izns'k dh izfl) cksyh gS tks cztHkk"kk ds uke ls vfHkfgr gS] lwj us viuh iwoZorhZ ,oa ledkyhu foHkk'kkvksa ds vusdkusd 'kCn viuk;s gSa vkSj va/ks gksus ij Hkh Hkk"kk dk lkfgfR;d Ükàxkj fd;k gSA lwj dh Hkk"kk esa laLd`r] ikfy] izkd`r] viHkza'k vkfn ds vfrfjDr xqtjkrh] jktLFkkuh ,oa iatkch Hkk"kk ds Hkh 'kCn feyrs gSaA bruk gh ughaa [kM+hcksyh] vo/kh] dUukSth] cqUnsy[k.Mh vkfn cksfy;ksa ds vfrfjDr vjch] Qkjlh ,oa rqdhZ ds 'kCn Hkh fey tkrs gSa & laLd`r ds "kCn %& laLd`r ds rRle] v)Z&rRle vkSj rn~Hko 'kCnksa dh izpqjrk gS lwjdkO; esaA lwj dh jpukvksa esa laLd`r ds 'kq) rRle 'kCn i;kZIr ek=k esa fey tkrs gSa & nf/k] e/kq] ljl] e;wj] pfUnzdk] vkfe'k] :f/kj] vfLFk] fpcwd] f}t] diksy] iqjh'k] ukfHk] dke/ksuq] xt] dqatj] diksr] mywd] pØokd] dksd] x:M+] [k|ksr] e/kqi] ehu] edjkd`r] Hkzej] dYiuk] thfodk] =kl] =kfg] izfr"Bk] eq[kkjfoan] dqlqekatfy] :nzkfnd vkfnA ^lq[ka i;ZM~+d /kzqo nsf[k;r dqlqe dUn nzqe Nk;sA e/kqj efYydk dqlqfer dqatu naifr yxr lqgk;sAA*3 2- laLd`r ds v)Z rRle 'kCn %& lwj us jkx ,oa lqj dh n`f"V ls rRle 'kCnksa dk iz;ksx bl izdkj fd;k gS fd os v)Z rRle tSls gks x;s gSa & vfXkfu] vfer] vLFkku] njiu] ijtar ¼i;ZUr½] jru] inkjFk] ijrhfr] eje] fjf/k] vLrqfr] fugde] yNeh] ljoK] laokn] djrkj] d`r?ku] foldekZ] lwdj] ijcks/kr vkfnA 3- laLd`r ds rn~Hko 'kCn %& vaxwBk] va/;kjh] vkalw] vkpj.k] mNkg] dks[k] dkB] xkM+sa] pkSd] thHk] rkrh] ikgu] fuukjs] ikSjh] cSu] fg;] lfr;k] yjh] ikrh] vkSjkbZ] mugkj] vkx] m/kjh] mcVu] vuk[kkaSgh] vktq] eksrh] fcTTkq] fo;kgu] elku] yPNk] cNy] lka>] lfjl] fyykj vkfnA [k- xqtjkrh ,oa iatkch ds 'kCn %& lwj ds dkO; esa laLd`r ds vfrfjDr rRdkyhu izkarh; Hkk'kkvksa ds 'kCn Hkh feyrs gSa] ftuesa ls xqtjkrh] jktLFkkuh rFkk iatkch Hkk"kk,a izeq[k gSa ;Fkk& ^fiyk*] ^fo;kS*] vkfn xqtjkrh ds 'kCn gSa rFkk Î;kjh* 'kCn egaxh ds vFkZ esa iatkch ls vk;k gSA x- fgUnh cksfy;ksa ds 'kCn %& lwj dh Hkk"kk oSls rks cztHkk"kk gS] ijUrq lwj us ,sls vusd 'kCnksa dk iz;ksx fd;k gS tks fgUnh dh fofHkUu cksfy;ksa ds gSa ;Fkk & xk;k] §y!•ï˛ƒ xDl ˘ meeefnl³e Debeieve / Sahitya Angan 123 vk;k] y[kk;k] vks<+k;k] crk;k] yk;k gS] tk;k gS] ^pju dey fpr yk;k gS* vkfn 'kCn [kM+hcksyh ds gSaa] NkssV] cM+] vl] vkfg] bgka] mgka] dhu] nqckj] fo;kjh] eksj] rksj vkfn 'kCn vo/kh ds gSaA gqrks] gqrks] gqrh vkfn dUukSth ds 'kCn gSaA tkfuch] izxVch vkfn cqUnsy[k.Mh ds 'kCnksa dk iz;ksx fd;k x;k gSA ?k- fons'kh Hkk"kk ds 'kCn %& lwj us rRdkyhu cksfy;ksa] foHkk'kkvksa vkSj Hkk"kkvksa ds 'kCn ds vfrfjDr fons'kh Hkk"kkvksa ds 'kCnksa dks Hkh i;kZIr ek=k esa xzg.k fd;k gS rFkk muds }kjk vn~Hkqr peRdkj ds lkFk&lkFk Hkko&xkaHkh;Z dh l`f"V dh gS & vey] vehu] dybZ] d+lc] t+okc] eqt+jk] eqgd+e] eqgfjj] ekSt+] eqlkfgc] dkjx+j] [k+cj] [k+kyh] ryQ+] nx+k] eldr] fefyd] lQ+jh] el[k+jk] vkfn 'kCn vjch Hkk"kk ds viuk;s gSa] d+eku] xqeku] pqx+yh] nykyh] njckj] nhoku] esgekuh] ljnkj] jkg] vanslk] vkt+kn] vkokt+] vlokj] xqukgx+kj] x+jn] t+gj] t+ksM+] cslje] lksj vkfn Qkjlh 'kCn gS vkSj ^yhu lqjax dqeSr* dgdj ^dqeSr* rqdhZ Hkk"kk dk 'kCn xzg.k fd;k gSA M+- ns'kt 'kCn %& lwj ds inksa esa ns'kt 'kCnksa dh Hkh Hkjekj gS & xzkeh.k 'kCnksa dk lgt iz;ksx gS & >qxyh] >ke] qfx;ka] wed] Bqud] /kj&/kj] >dksj] :uqd& >quqd vkfnA cksypky ds 'kCn Hkko ds vuqdwy vkSj ek/kq;Z iw.kZ gSA 1- ^ykfn ^[ksi* xquX;ku tksx dh czt esa vk; mrkjhA*4 2- ^fprS fprS gfj pk: foyksdfr ekugqa ekaxr gSa êuvksy*A*5 p- fefJr 'kCn %& ns'kh ,oa fons'kh 'kCnksa ds feJ.k vFkok ns'kh izR;; ,oa fons'kh 'kCnksa ds ;ksx ls lwj us vusd 'kCnksa dk iz;ksx fd;k gS& vuyk;d] vukgd] QkStifr] csihj] csgky] ykSu] gjkeh tSls 'kCn mDr dFku ds izek.k gSaA lwjnkl us cztHkk"kk dks vFkZ& xkSjo iznku fd;k gSA vFkZ&xkSjo ls rkRi;Z vFkZ foLrkj ,oa vFkZ&xaHkhjrk ls gSA dfo us fuR; thou ds 'kCnksa dk iz;ksx lanHkZ fo'ks"k ds vFkZ esa fd;k gS ftlesa vusdkusd vFkZfufgr gSa & ^fojn le; dh gjr ydqfV;k iki iq.; Mj ukghaA* ;gka ^gjr* 'kCn ;'kksnk dh izkS<+koLFkk esa izkIr ,dykSrs iq= dh vØwj }kjk muls nwj gVkus] tTtU; ihM+k] NViVkgV] vkdqyrk vkSj dqN u dj ikus dh vleFkZrk ,oa vlkg;rk dks O;Dr djrk gSA ;gka ^gjr* dh lkfHkizk; iz;ksx gqvk gSA vFkZ&xkSjo ds vfrfjDr Loj&>adkj }kjk Hkk"kk esa laxhre;rk yk;h xbZ gSA izlaxkuqlkj ek/kq;Z] izlkn vkSj vkst xq.kksa dh vfHkO;fDr gS %& 1- ûoy fudqat uoy uoyk fefy uoy fudsrfu :fpj cuk;sA foylr fofiu foykl fofo/koj okfjt onu fodp lpqik;sAA*6 2- ^fufl fnu cjlr uSu gekjsA lnk jgfr ikol fjrq ge iS tc ls L;ke fl/kkjsA*7 124 §y!•ï˛ƒ xDl ˘ meeefnl³e Debeieve / Sahitya Angan

3- ^Hkgjkr] >gjkr nkokuy vk;ks A cjr cuikr Hkgjkr] >gjkr vjjkr] r: egk /kjuh fxjk;kSA*8 lwjnkl us fp=kRed Hkk"kk dk iz;ksx Hkh fd;k gS ftlesa uSlfxZdrk gS %& ^lksfHkr dj uouhr fy;sA ?kqVq:fu pyr jsuq ru eafMr eq[knf/k ysi fd;ksA*9 lwjnkl us y{k.kk vkSj O;atuk "kfDr ls cztHkk'kk dks le`) fd;k gSA ftlls Hkk"kk esa peRdkj vkSj vFkZ&xkaHkh;Z vk;k gS %& ^m/kkS ! tkgq] rqefg ge tkusA ';ke rqefga] g;ka ukfg iBk, rqe gkSa chp HkqykusAA*10 lwjnkl dh cztHkk"kk dks eq[; nsu mudh yksdksfDr;ka ,oa eqgkojs gSaA buds iz;ksx ls Hkk'kk esa lknxh vkSj lgtrk vkrh gS lkFk gh vFkZoÙkk Hkh c<+rh gS &uSu vkdk'k p<+k;kS] Vksuk flj Mkjfr] Nkag yS Nkag NqokoS] fcuk tksj tka/kfu ds fp= fy[kh dk<+h] ehaft dj iNrkgha vkfn mDr dFku ds izek.k gSaA Hkzejxhr esa iz;qDr yksdksfDr;ka iSukiu] laosnu'khyrk vkSj lVhd vfHkO;fDr ds fy, izfl) gS %& jkr dNq liukS Hk;kS] izkr HkbZ BdqjkbZ] dgkS dkSu iS d<+r duwdk gfB Hkqlh iNksjh vkfnA lwj us yksd miekuksa ls thoukuqHkwfr dks ekfeZdrk ,oa O;atdrk iznku fd;k gS & dkx gal dh laxfr] X;ku T;ksa ckl dh Hkkafr vkfnA mUgksaus yksd fo'ks"k.kksa dk iz;ksx Hkh fd;k gS & uojaxh] gjkeh] cM+Hkkfxfu] eqagpkgh vkfnA yksd izrhd & ekfud] dqEgkM+s] /kfu;ka] [kkjh] egh vkfn ds iz;ksx ls cztHkk"kk thoUr vkSj lkFkZd curh gSA lwjnkl ds dkO; esa iz;qDr cztHkk"kk ;qx Hkk'kk curh gSA MkW0 eueksgu XkkSre dk dguk gS fd ^^lwjnklth us cztHkk"kk dks tks Lo:i fn;k] og fLFkj :i ls ijorhZ lkfgR;dkjksa }kjk xzg.k fd;k x;kA blfy, mudks cztHkk"kk dk ^ckYehfd* dguk loZFkk mfpr gSA**11 lwj cztHkk"kk ds dfo lezkV gaSA mudh dfork esa eeZLi'khZ rhozrk] thounkf;uh lathouh 'kfDr] g`n;kd'kZd laxhrkRedrk] var%dj.k dks izHkkfor djus okyh mRd`'V dkO;&dyk rFkk foy{k.k mn~Hkkouk &'kfDr ds n'kZu gksrs gSa vkSj lwj us vius uSlfxZd laxhr }kjk cztHkwfe ,oa cztHkk"kk dks ^LoxkZnfi xjh;lh* ds in ij izfrf"Br fd;k gSA uUnnkl] d`".kdkO; & ijaijk esa egRoiw.kZ LFkku ds vf/kdkjh gSaA ^jkliapk/;k;h*] ^Hkaojxhr*] ^fojgeatjh*] ^jleatjh*] ^:ieatjh* vkfn mudh izeq[k d`fr;ka gSaA uUnnkl dk dkO; u dsoy HkkokRed psruk dh jlkfHkO;fDr dh n`f"V ls egRoiw.kZ gS] vfirq Hkk"kk iz;ksx ds fy, Hkh mudh egÙkk fufoZokn gSA muds dkO; esa Hkko ds vuq:i Hkk"kk& f'kYi dk lE;d~ iz;ksx feyrk gSA mudh dkO; Hkk"kk cztHkk"kk gS] ftldks mUgksaus ^Hkk"kk* uke ls vfHkfgr fd;kA uannkl ds dkO; esa Hkko vkSj Hkk"kk ,d nwljs ls gksM+ ysrs gq, fn[kkbZ nsrs gSaA §y!•ï˛ƒ xDl ˘ meeefnl³e Debeieve / Sahitya Angan 125

Hkko ftrus xaHkhj gSa] Hkk"kk mruh gh la"kfy"V vkSj izokge;hA izlaxkuqdwy Hkk'kk iz;ksx esa uUnnkl vR;Ur fuiq.k gSA bl lEcU/k esa vkpk;Z gtkjhizlkn f}osnh dk ;g er fcYdqy lgh gS fd ^^'kCn&vuqizklksa dh >adkj ls uUnnkl ,sls okrkoj.k dh l`f"V djrs gSa fd ikBd vfHkHkwr gks tkrk gSA 'kCnksa dh /ofu vkSj vFkZ dh xaHkhjrk ,d nwljs ls Li)kZ djrs gq, izdV gksrs gSaA v"VNki ds fdlh nwljs dfo us 'kCn xBu vkSj /ofu&fuekZ.k dh ,slh {kerk ughaa fn[kkbZA** uUnnkl dh dkO;&Hkk"kk Hkkouk vkSj vuqHkwfr ij ehukdkjh djrh gS & 1- ^fi; ds vax&vax flfefV feySa gSa jfld uSu rcA* 2- êan ijLij galh ylha frjNh vaf[k;u vlA :i mnf/k brjkfr jaxhyh ehu ikWfr tlAA*12 ^flfefV* vkSj ^brjkrh* nksuksa 'kCn vFkZXkfHkZr gSaA ^flfefV* dk O;atukiw.kZ vFkZ dsUnzhHkwr gS vkSj ^brjkrh* ls la;ksx&lq[k] izhfr dh n`<+rk vkSj meaxiw.kZ fouksn Hkko izdV gSA uUnnkl dh Hkk'kk dk nwljk y{k.k gS & Hkko Li"VrkA blds fy, mUgksaus dksey rFkk ifjfpr 'kCnkoyh dk iz;ksx fd;k gSA uannkl us ltkoV vkSj 'kksHkk ds fy, ^ckud*] yko.; ds fy, ^yqukbZ*] mUer us=ksa ds fy, ^vlr dqN /kwe /kqekjs* tSls ?kjsyw ,oa ljl 'kCnksa dk O;ogkj djrs gSaA rhljh ckr ;g gS fd uUnnkl us laLd`r ds 'kCnksa dks cztHkk"kk ds jax esa fHkaxks fn;k gSA ;ksx & tksx] lw{e & lwPNe] ifjfØ;k & ifjdyk] {kqf/kr & Nqfnr] ;kSou & tksou] O;Fkk & foFkk vkfn mDr dFku ds izR;{k izek.k gSaA pkSFkh ckr ;g gS fd uUnnkl us cztHkk"kk dh BsB 'kCnkoyh ds chp dgha&dgha iwohZ fgUnh ds nks& pkj :iksa dk iz;ksx fd;k gS & 1- ^bg cu nqyZHk vkbcks] bUnqefr lquh ckrA* cztHkk"kk esa ^bg* ds fy, ;k] X;k] tk gksrk gSA 2- ûhdkS jk/ks dq¡vfj L;ke esjks vfr uhdkSA* cztHkk"kk esa ûhdks* ds LFkku ij vPNk gSA 3- ^deZ /kwfj dkSa vkfu izse ve`r esa lkusA* cztHkk"kk esa ^vkfu* dh txg ij ^ykbdsa* gksrk gSA13 ik¡poh fo'ks"krk ;g gS fd uUnnkl dh Hkk'kk esa vjch&Qkjlh ds "kCn ughaa ds cjkcj gS] eqfLdy ls dqN 'kCn feyrs gSa & 1- ^tkdh japd jt xjt vt lsa efja ifp tkrA* 2- ^vgks foiz/ku yksHk u dhts] ;k yk;d uk;d dwa nhtSA*14 uUnnkl us eqgkojksa vkSj dgkorksa dk lVhd iz;ksx fd;k gS %& 1- îzse fcuk lc ifp eq;S fo"k;&okluk&jksxA* 2- ^gejs lqUnj L;ke izse dks ekjx lq/kkSA* 126 §y!•ï˛ƒ xDl ˘ meeefnl³e Debeieve / Sahitya Angan

3- ^?kj vk;ks ukx u iwft;s] ck¡ch iwtu tkfgaA*15 vkyadkfjdrk uUnnkl dh dkO; Hkk"kk dh eq[; fo"ks'krk gS & 1- ^xksih xaqu xkou yX;ks eksgu xqu x;ksa HkwfyA*&vuqizkl 2- ^rkfg crkogq tksx tksx m/kkS tsfg ik,SA* & ;ed 3- ^tks xqu muds ukfga vkSj xqu Hk;s dgka rsaA*&n`"VkUr*16 uUnnkl dh Hkk"kk esa izklafxdrk dh igpku gS & ûkfLrd gS ts yksx dgk tkuSa fut :iSA izxV Hkkuq dkSa NkWfM+ xgr ijNkbZ /kqiSAA*17 ^Hkkuq* vkSj ^/kwiS* dk yk{kf.kd iz;ksx gaSA opu fonX/krk uUnnkl dh Hkk"kk dh futh igpku gS & ^xksdqy esa tksjh dksm] ikbZ ufga eqjkfjA* euks f=Hkaxh vkiq gSa dfj f=Hkaxh ukfjAA*18 fp=kRedrk] laxhrkREkdrk vkSj /oU;kRedrk mudh Hkkf'kd dykRedrk dh fo"ks'krk,a gSa& ûwiqj dadu fdafdfu djry eatqy eqjyhA rky e`nax meax pax ,dS lqj tqjyhAA uannkl dh dkO;&Hkk"kk Hkko dks f"kfFky ughaa gksus nsrhA mudh iafDr;ksa esa u rks la;qDrk{kj gksrs gSa vkSj u yEcs pkSM+s lekl ghA muds 'kCn&fp= Hkh cM+s vkd"kZd vkSj e/kqj gksrs gSaA FkksM+s ls 'kCnksa esa cgqr dqN dg tkus dh mudh dyk vR;ar iz'kaluh; gSA mudh Hkk"kk esa 'kCnksa dh /ofu gh vFkZ dk funZs'k djrh gSA mDr xq.kksa ds dkj.k gh muds fo"k; esa dgk tkrk gS& ZlvkSj lc xf<+;k] uUnnkl tfM+;kA’ uannkl fgUnh ds izFke Nanksc) dks"k ys[kd gSA ^vusdkFkZekyk* vkSj ûkxekyk* mDr dFku ds izek.k gSaA 'kCn&Hk.Mkj ds vfrfjDr uannkl dk "kCn laLFkkiu Hkh egRoiw.kZ ,oa mYYks[kuh; gS&‘lqUnj dksey opu vuwBs] dgr lqur leq>r vfr ehBsA’ blh dkj.k ^jkliapk/;k;h* dks fgUnh dk ^xhrxksfoUn* vkSj uannkl dks HkfDrdky dk ^t;nso* dgk tkrk gSA lexzr% ,d tuHkk"kk ;k cksyh dks Hkk"kk ds Lrj ij izfrf'Br djus dk Js; d`".kHkfDr& /kkjk ds lHkh dfo;ksa dks tkrk gS] ftlesa lwjnkl ,oa uannkl dk fo"ks'k LFkku gSA ftUgksaus viuh jpukvksa ds }kjk cztHkk"kk dks ,d u;h ÅWpkbZ ,oa xfjek iznku dh gSA lanHkZ&lwph& 1- lwjnkl&vk0 lqDy] i`"B 176 2- lwjlkxj lkj& MkW0 /khjsUnz oekZ] i`'B 82 3- Lo.kZ dkO; eatw"kk& Jhd`".k dqekj flUgk] i`"B 133 4- Hkzejxhr lkj& vk0 lqDy] i`"B 12 5- Lo.kZ dkO; eatw"kk& Jhd`".k dqekj flUgk] i`'"B 131 §y!•ï˛ƒ xDl ˘ meeefnl³e Debeieve / Sahitya Angan 127

6- ogh] i`"B 129 7- Hkzejxhr lkj& vk0 lqDy] i`"B 123 8- lwjlkxj lkj& MkW0 /khjsUnz oekZ] i`"B 162 9- lwjnkl&vk0 lqDy] i`"B 12 10- Hkzejxhr lkj& vk0 lqDy] i`"B 50 11- lwj dh dkO;dyk& MkW0 eueksgu xkSre] i`"B 117 12- Lo.kZ dkO; eatw"kk& Jhd`".k dqekj flUgk] i`"B 117 13- ogh] i`"B 177 14- ogh] i`"B 178 15- v"VNki ds dfo& d`".knso] i`"B 232 16- ogh] i`"B 157 17- ogh] i`"B 132 18- Lo.kZ dkO; eatw'kk& Jhd`".k dqekj flUgk] i`"B 198 19- ogh] i`"B 100 128 §y!•ï˛ƒ xDl ˘ meeefnl³e Debeieve / Sahitya Angan vkseizdk'k okYehfd dh dforkvksa esa ;FkkFkZoknh psruk MkWŒ jktw jke

vkseizdk'k okYehfd viuh dforkvksa vkSj lkfgR; dh vU; fo/kkvksa ds ek/;e ls nfyr psruk rks tkx`r djrs gh jgs gSa] lekt dh vkilh nwfj;k¡ Hkh de djus dk vuFkd iz;kl djrs jgs gSaA mUgksaus ,d LFky ij fy[kk gS & *nfyr dfork lkekftd vkanksyu dk lkaL-frd izfrQyu gSA vU; dkO;/kkjkvksa dh vis{kk nfyr dfork dk lh/kk laca/k ekuo thou dh tehu ls gSA*1 dfo esa u;s lkekftd ewY;ksa dks LFkkfir djus dh NViVkgV gSA os ,d lalkj dh dYiuk djrs gSa] ftlesa Nwr&vNwr] }s"k] bZ";kZ dh txg ekuork gks] HkkbZpkjk gks vkSj lekurk dk Hkko gksA bl oSpkfjd vkanksyu dh og iwjh rjg odkyr djrs gSaA ^Bkdqj dk dqvka* 'kh"kZd dfork esa mudh mfDr gS & pwYgk feêh dk] feêh rkykc dhA rkykc Bkdqj dkA Hkw[k jksVh dh] jksVh cktjs dhA ctjk [ksr dk] [ksr Bkdqj dkA cSy Bkdqj dk] gy Bkdqj dk] gy dh ewB ij j[kh gFksyh viuhA Qly Bkdqj dh] dqvka Bkdqj dk ikuh Bkdqj dk] [ksr&[kfygku Bkdqj dsA xyh&eqgYys Bkdqj ds fQj viuk D;k\ xkao\ 'kgj\ ns'k\2 dfork ds 'kCn&'kCn esa pqHkrs gq, O;aX; gSaA ;s O;aX; lân; ikBd ds ân; esa lh/ks mrj tkrs gSaA ftl lekt esa thus dk gd Hkh viuk ugha gS] dfo ds 'kCnksa esa fQj viuk D;k gS\ MkWŒ jtr jkuh *ehuw* dks bl dfork ds lanHkksZa ij MkWŒ vacsMdj ds fopkjksa vkSj fl)karksa dk izHkkeaMy fn[kkbZ nsrk gSA ;g lp Hkh gSA muds 'kCn gSa & *dfo okYehfd us MkWŒ vacsMdj ds izHkko dks lkekftd lanHkZ esa xaHkhj nkf;Ro cks/k ds lkFk fy;k gSA Hkkoqd vkSj lrgh fopkjksa ds vacsMdjh dfo;ksa ls og ,dne fof'k"V gSaA MkWŒ vacsMdj us ftu iz'uksa dks lekt'kkL=h;

128 §y!•ï˛ƒ xDl ˘ meeefnl³e Debeieve / Sahitya Angan 129 i{k dh vksj /;kukdf"kZr djrh gSA*3 viuh dfork esa dfo us nfyr lekt dh okLrfodrk dh vksj ladsr fd;k gSA okLrfodrk ;g gS fd ihus ds ikuh vkSj vkRelEeku ds uke ij vkt Hkh nfyrksa dk 'kks"k.k cnLrwj tkjh gSA MkWŒ vacsMdj us egkM+ vkanksyu ds tfj;s ihus ds ikuh dk dwÝ rks rksM+ fn;k Fkk] f'k{kk vkSj la?k"kZ dk ea= Hkh fn;k Fkk ij ijaijkoknh lkearh o.kZ&O;oLFkk mlesa yxkrkj jksM+s vVdkrk jgk vkSj Mksfg;k rFkk >T>j tSls Øwj dkaM gksrs jgsA vkseizdk'k okYehfd lekt dh bl O;oLFkk ij lh/ks&lh/ks iz'u djrs gSa vkSj muls dgrs gSa fd lkQ lqFkjk jax rqEgkjk >qyl dj lkaoyk iM+ tk;sxkA [kks tk;sxk vka[kksa dk lyksukiu rc rqe dkxt ij ugha fy[k ikvksxs lR;e~! f'koe~!! lqanje~!!! nsoh&nsorkvksa ds oa'kt rqe gks tkvksxs ywys&yaxM+s vkSj vikfgtA tks thuk iM+ tk;s ;qxksa&;qxksa rd esjh rjg rc rqe D;k djksxs\4 nfyr dfo vkseizdk'k okYehfd gksa ;k t;izdk'k dnZe] daoy Hkkjrh gksa ;k ';kSjkt flag *cspSu*&lcus tkrh; na'k dk ;g iz'u [kM+k fd;k gS fd ;fn esjh txg rqe gksrs rks D;k gksrk\ blh ls vkxs os fQj iz'u djrs gSa & ;fn rqEgsa ejs tkuoj [khapdj dgk tk;s

ENGLISH VERSION 132 §y!•ï˛ƒ xDl ˘ meeefnl³e Debeieve / Sahitya Angan §y!•ï˛ƒ xDl ˘ meeefnl³e Debeieve / Sahitya Angan 133

ROMANTIC TRADITION AND SHELLEY DR. GAGAN KUMAR PATHAK

Abstract :- "No poet, no artist of any art, has his complete meaning alone. His significance, his appreciation is the appreciation of his relation to the dead poets and artists. You cannot value him alone; you must set him, for contrast and comparison, among the dead. I mean this as a principle of aesthetic, not merely historical criticism." T. S. Eliot The Romantic Revival of the Nineteenth century is reminiscent of the flourishing of romanticism is the Elizabethan age. Shakespeare, the greatest poet-playwright of the Elizabethan age, was essentially a Romantic poet roaming in the Greenland of fauna and flora. But with maturity, we find a discernible change in his attitude as we find in case of Keats and Yeats. Early Keats and Yeats were also enamoured of Nature's intoxicating beauty. Shakespeare's early poems like those of Venus and Adonis and The Phoenix and Turtle, Keats' Band of Passions and of Mirth and Fancy and Yeats' Lake Isle of Innisfree and The Song of the Happy Shepherd, for instance, show their love for nature portraying its beauty. But we notice in them, a gradual progression towards maturity. Where Coleridge weaves and unweaves dreams, Wordsworth instinctively turns to the common man and common things leaving Thomas Moore in his Utopia. Because of their passion for reformation, Shelley and Byron find larger sympathetic audience - where Shelley stirred them with the oratory of a Brutus, Byron generated commotion among them through cool logic of a Mark Antony. Like the Elizabethan age, this was essentially an age of poetry. The young enthusiasts Wordsworth, Coleridge, Byron, Shelley, Keats, Moore and Southey took to poetry as naturally as a happy man turns to singing. Poetry was the mode of spontaneous outburst, the medium of expression chiefly being poetry. It was, however, not unalloyed. Gems of prose are studded in poetry by Charles Lamb, Jane Austen, De Quiency and so on. The age of Romanticism stood in sharp contrast with the 18th century neo-classicism, which was essentially an age of prose. It was an age of restraint and order; an age of polish and refinement in society and art. It was an age of cool logic and reason. The Romantics found themselves at loggers head with the conventionalism of the 18th century. Thus, in a way, it was the climax of reaction towards the neo-classical convention for which, the way was prepared by their precursors. It is under this background that the genius of the Romantic poets in 133 134 §y!•ï˛ƒ xDl ˘ meeefnl³e Debeieve / Sahitya Angan general deserves to be estimated with special reference to that of Shelley in particular. Keywords :- Optimism, Curiosity, Reformatory Zeal, Coveted Place, Unpremeditated Art, Creative Spark. Introduction :- On close reading of the works of Shelley one is apt to listen to his two voices. One is that of a violent reformer voicing a vain rebellion with Byron as manifested in Revolt of Islam, Queen Mab, The Witch of Atlas and so on and the other is the one as reflected in Alastor, Adonais and his wonderful lyrics. Here he looks like a wanderer "following a vague beautiful vision, forever sad and forever unsatisfied,"1 Shelley had a multifaceted personality. He was a visionary, an enthusiast, a radical and above all a revolutionary. He learnt rapidly and enthusiastically. He studied classics with devotion and absorbed them well. His essay A Defence of Poetry shows his study of the classical masters. He also looked towards Nature with awe and admiration so much so that: "While yet a boy, I sought for ghosts, and sped Through many a listening chamber, cave and ruin, And starlit wood, with fearful steps pursuing Hopes of high talk with the departed dead." --Hymn to Intellectual Beauty. Here it is clear that his curiosity and thirst for knowledge right from his childhood drew him to the unknown and mysterious. He was like a Faustus who had bartered away his soul for the sake of knowledge - unquenched in his zeal to catch a falling star. This inner flame of heart endures Shelley's reputation giving him a unique and enduring place in the history of English poetry in general and among his contemporaries in particular. Discussion :- Shelley directly inherited the tradition of the early Romantics of the 19th century which was completely soaked in romanticism. Wordsworth, Shelley, Keats, Byron and Coleridge were the chief poets of the Romantic Revival of the 19th century. Shelley had not to innovate or initiate the tradition but he got one. Thus, he perpetuated the tradition with enthusiasm and vigour to the farthest end. But so far his attitude to Nature and life was concerned; he was not a true descendant of his predecessors. We always discern in his poetry a sense of disquietude, eagerness to accomplish some task. He was haunted by the evil force in life. The French Revolution of 1789 which was an outcome of the exploitation and oppression of the have-nots by the aristocrats served as a powerful stimulus. He presented strongly the oppression let §y!•ï˛ƒ xDl ˘ meeefnl³e Debeieve / Sahitya Angan 135 loose on the humble and the meek. Influenced by this Revolution Shelley developed a kind of hatred towards authority. He rebelled against oppressive social, political, economic and even cultural institutions. Rousseau's precept "Man is born free but he finds himself everywhere in chains" also stirred the young mind of Shelley. It is this reformatory zeal that distinguishes him from most of his contemporaries. If Wordsworth was important for his sonnets and lyrics, Byron for his romantic satires, Keats for his Hellensism and sensuousness, Coleridge for creating twilight beauty in poetry, Shelley was important for his reformatory zeal betraying the cravings of a restless soul. He says "I am one of those whom nothing will fully satisfy, but who am I to be partially satisfied by all that is practicable."2 Therefore in the art of Shelley there is the sense of urgency. He wants to transmute his experience into art before his creative spark is extinguished. He hardly pauses to think how he can present his feelings and emotion in art form except what critical faculty goes implicitly with the process of creation. Perhaps it is on account of this that he has been criticized on the ground of art. However, if Wordsworth's maturity could be seen in his valuable Sonnets and Keats in his Odes, Shelley displays his adulthood in his plays. That he was gaining experience and wisdom was discernible even in his mature poems like Ode to the West Wind where he says: "Oh, lift me as a wave, a leaf, a cloud ! I fall upon the thorns of life, I bleed !"3 But then again a note of optimism is struck in the concluding lines "O Wind, If winter comes, can spring be far behind?"4 He says "Let us believe in a kind of optimism in which we are our own gods."5 And then again in To A Skylark where his oft-quoted line occurs: "Our sweetest songs are those that tell of saddest thought."6 Such powerful lines cannot be written by a third-rate or minor poet with any maturity at all. Thus to label Shelley as the one who altogether lacked in substance does not appear to be fair. In respect of subjectivity Shelley again shares his zeitgeist. It was an age in which there was strong under-current of subjectivism. One of the reasons for this might be the lack of objectifying the artistic experience or creating art out of experience not amenable to art. Here one may recollect Matthew Arnold's view when he censors Dryden and Pope as being the masters of poetry. He at best considered them to be great masters of prose. His argument that poetry deals with noble satires dealt generally with ignoble passions of life, like malice, jealousy, hatred, prejudice and so on they cannot be considered poets. But Matthew Arnold here gives vent to his own bias and prejudice. In fact, there is no water tight compartmentalization between subjects apt enough for poetry on the one hand and prose on the 136 §y!•ï˛ƒ xDl ˘ meeefnl³e Debeieve / Sahitya Angan other. Entertaining such a view is bound to prohibit proper appreciation. Despite Arnold's rejection Dryden and Pope remain great poets, and their satire stands as a 'noble trade.' Thus the latter view that Shelley's art, being an outcome of experience not worthy of artistic delineation, does not hold ground. Lack of objectivity, however, cannot be denied. The romantics in general were so preoccupied with self that they could look beyond their selves only at a later stage. At the early stage they looked at the world with coloured spectacles. Shelley was no exception. He was rather far more subjective than perhaps any of his contemporaries. The art of theatre, however, needs objectification of the artist's experience and thought. And because the age to which Shelley and Keats belonged was deficient in this respect, drama did not find favourable social milieu. The genius of a Shakespeare is a rarity. Shelley, however, has made a daring attempt to accommodate his essentially lyrical genius into the dramatic form. Shakespeare or even Ben Jonson accomplished this job with utmost perfection. They handled the theme, character and so on adroitly. It does not matter if Shelley could not do so with the degree of perfection Shakespeare or even Eliot did it. But the very attempt at drama by Shelley gives him a coveted place in the history of English drama. Herein lies his individual talent. Jai Shankar Prasad, a Hindi poet of the romantic tradition, occupies singularly coveted place in Hindi literature. He also wrote some Hindi dramas. But they are not very successful - not because he talked irrelevant but because his dramas were deficient from the point of view of stage craft. The footwork and scenic arrangements were so intricate and complicated that they defied theatrical norms. Shelley deserves to be classified with a playwright like 'Prasad' who despite his technical blemishes is widely read, if not staged, and appreciated. For want of having provided theatrical base the dramas of Prasad and those of Shelley are enacted in the mind. Prometheus Unbound has been termed as impressionistic perhaps in the modern theatrical sense. This brings Shelley's Prometheus Unbound on par with Eugene O'Neill's Emperor Jones for this too is impressionistic because here subjective moods, concepts and mental states are projected into dramatic visibility. Jones here is the archetype of humanity and he is put to death by 'Little Formless Fears.' Coming to Prometheus we find that he too stands for the agonized soul of every man seeking liberation from bondage and is tortured by his own mind. Thus Richard Harter Fogle does not appear to be far from the truth when he says: "Prometheus Unbound is a drama of the mind in a sense in which Keats' Hyperion for example, is not. Its characters are a step closer to the abstractions of allegory; they have less reality independent of the mind of their creator."7 "Shelley, however, does not find any inherent dichotomy between the §y!•ï˛ƒ xDl ˘ meeefnl³e Debeieve / Sahitya Angan 137 reality of the mind and that of the external world, meaning thereby that mental projection, at bottom, closely corresponds to the external reality. His method is reverse to the method and technique of Keats. Where the former begins with subjective ideas and expresses them with concrete imagery and so on, the latter begins with sensuous perception and goes on to build upon it. Elaborating his method Shelley points out "The imagery which we have employed will be found, in many instances, to have been drawn from the operations of human mind, or from those external actions by which they are expressed. This is unusual in modern poetry…."8 Let us for the time being go back to the age of Shelley when the modern psychological dramas, fiction and stories were not in vogue. The new psychological explorations were not known. The dramatic art was appreciated by the standard set by Shakespeare and his contemporaries. Under this background how could Shelley's dramas where action took place much more on mental than the real plane be appreciated? Shelley had to pay price for this. He was thought to have neglected the story element and that his characters did not come up to the expectation of the audience. There was no blood and thunder in drama. Nor was the drama enacted on the physical plane. These accounts for Shelley having been considered 'abstract' and 'expressionistic' are creating images of finite-infinite relationship. This cast a deep shadow on Shelley as a playwright. The poet in Shelley eclipsed the dramatist in him. His poetry abounds in rich images drawn mostly from Nature-light, sea, clouds, mountains and so on. This kind of imagery coupled with those "drawn from the operations of human mind" lends peculiar air to his poetry and it is this quality which is thought to have made his poetry vague and abstract. But Humphrey House rightly considers that "Vagueness, profusion, and complexity of the images are among the greatest attractions, it is indeed poetry not perfectly understood; but it is poetry loved with greater intensity and passion than any poetry afterward."9 Virginia Woolf has suggested that the artist is like an oyster, irritate him with a grain of sand, and then he will create pearls. This grain of sand in relation to an artist is the experience. The calm and quietude of his mind gets disturbed and it seeks expression in viable art form. Shelley's poetry is almost 'unpremeditated' whereas Wordsworth's is not. He lies upon his coach 'in vacant or in pensive mood' as the scene of the host of daffodils he has seen dancing and tossing their heads revive in his mind. To him "poetry is the spontaneous overflow of powerful feelings" to Shelley it is 'unpremeditated' art and that "the mind in creation is as a fading coal, which some invisible influence, like an inconstant wind, awakens to transitory brightness……."10 To Coleridge, however, it is like a burning coal. In this respect Shelley appears to be closer to Coleridge than to Wordsworth. It is this urgency on the part of Shelley to create art which has awakened to 'transitory brightness' in relation to some stimulus. In the process Shelley's 138 §y!•ï˛ƒ xDl ˘ meeefnl³e Debeieve / Sahitya Angan personality inevitably creeps in. In this respect he hardly conforms to Eliot's dictum, "poetry is not a turning loose of emotion, but an escape from emotion; it is not the expression of personality, but an escape from personality."11 Before Shelley wrote Prometheus Unbound and The Cenci he seems to have read the Greek masters of dramatic art apart from Shakespeare. His observations about them show that he was infected with their art. He speaks very high of them. "…. The Athenians employed language, action, music, painting, the dance, and religious institutions, to produce a common effect in the representation of the highest idealism of passion and power; each division of the art was made perfect in its kind by artist of the most consummate skill."12 And then again he laments: "We have tragedy without music and dancing; and music and dancing without the highest impersonations of which they are the fit accompaniment, and both without religion and solemnity."13 These passages from Shelley's most important essay A Defence of Poetry show how he admired the ancient masters of dramatic art. Where he appreciates them for their adroit handling of 'idealism of passion and power' achieved not only through action but also through music, painting and dance, he bemoans the lack of these characteristics in modern tragedy- modern in relation to Shelley. According to him religion and solemnity go well with music, painting and dance rituals. In the oriental world also music and dance have been deemed as essential complements of religious offering and rituals. These are the methods employed to please the deity. The Sun temple of Konark, for instance, abounds in amorous sculptures. The drummers and dancers are also inscribed on the temple showing the role they had in religious spheres. The use of chorus in the Greek plays serves this purpose. This explains why Shelley copiously used choruses in Prometheus Unbound and Hellas. T.S. Eliot in his poetic plays also uses the Greek device of chorus showing an affinity with the great masters of drama. Perhaps this is one of the links through which Eliot falls in the European line. He has pointed out that to acquire meaning and significance just perpetuating a tradition or modifying it is not enough. For him an artist has to develop European consciousness. Conclusion:- "The essence of Romanticism was that literature must reflect all that is spontaneous and unaffected in nature and in man, and be free to follow its own fancy in its own way …… In Coleridge we see this independence expressed in Kubla Khan and The Ancient Mariner, two dream pictures. One of the populous Orient, the other of the lonely sea, In Wordsworth this literary independence led him inward to the heart of common things." §y!•ï˛ƒ xDl ˘ meeefnl³e Debeieve / Sahitya Angan 139

Shelley was greatly influenced by the Roman masters. The very Roman locale instilled in him the sense of drama. He wrote to his wife "The charm of the Roman climate helped to clothe his thoughts in greater beauty than they had ever worn before." Adding further he says : "My Prometheus Unbound is just finished, and in a month or two I shall send it. It is a drama with characters and mechanism of a yet unattempted; and I think the execution is better than any of my former attempts." It is thus obvious that Shelley was not just a dreamer building his dome in an ivory tower where he sang to himself. Of course, he had come to terms with life. His artistic vision was broadened under Roman influence. References:- 1. William, J. Long : English Literature, Enlarged Edition, Kalyani Publishers, New Delhi, 1978, pp. 372-73. 2. Ibid., p. 412. 3. Shelley's Letter to Leigh Hunt, Nov. 1819, ed. F.L. Jones, Oxford, 1964. 4. Shelley's Letter to Maria Gisborne, Oct. 1819, ed. F.L. Jones, Oxford, 1964 5. G.M. Ridenour : Shelley : A Collection of Critical Essays, Prentice- Hall of India, New Delhi, 1980, p. 19. 6. Shelley : Preface to Prometheus Unbound, Shelley : Poetical Works, ed. Thomas Hutchinson, O.U.P., London, 1970, p. 205. 7. Humphry House : The Poet of Adolescence, 'Shelley : A Collection of Critical Essays', ed. George M. Ridenour, Prentice- Hall of India, New Delhi, 1980, p. 48. 8. Shelley : A Defence of Poetry : English Critical Eassys (19th Century), ed. Edmund D. Jones, O.U.P., London, 1965, p. 132. 9. Eliot, T.S. : Selected Essays, Faber & Faber, London, 1951, p. 21. 10. Shelley : A Defence of Poetry, op. cit., p. 114. 11. Ibid., p. 274. 12. Mrs. Shelley : Note on Prometheus Unbound, op. cit., p. 274. 13. Ibid., p. 274. 140 §y!•ï˛ƒ xDl ˘ meeefnl³e Debeieve / Sahitya Angan CHALLENGES IN TEACHING ENGLISH LANGUAGE AT UNDER- GRADUATE LEVEL IN JHARKHAND

VIJAY AIND

Hindi is the Official language of India and English has a status of associate language, but in fact it is the most important language of India. After Hindi it is the most commonly spoken language in India and probably the most read and written language in India. English in India is used not only for communicating with the outside world, but also for inter-state and intrastate communication. Because of the great ethnic and linguistic diversity found within our nation, English acts as an indispensable 'link' language. English symbolizes in Indians' minds, better education, better culture and higher intellect. Indians who know English often mingle it with Indian languages in their conversation. It is also usual among Indians to abruptly move to speak fluent English in the middle of their conversations. English also serves as the communicator among Indians who speak different languages. English is very important in some systems - legal, financial, educational and business in India. Thanks to the globalization in all the fields, it necessitates the learning of a language which is international. Undoubtedly, English has become a world language rather than the language of only the English speaking countries such as the UK and the USA because the number of the people who use English as a means of communication exceeds much more than the number of the people who speak it as their mother tongue. In the case of English in India, more than two centuries, India has been directly and indirectly had influence of the language, English on all the fields, such as Education, Medical Science, etc. Text materials relating to the subjects of Science, Engineering and Technology as also Medicine are available only in English. Moreover, all over India, there is no single language to unite the whole country. Since, in India, several languages are spoken and also one set of people are reluctant to learn one common Indian language, we have to borrow a new non-Indian language. Considering the above facts, learning English, the universal language, as a Second Language, becomes inseparable branch as also unavoidable in Indian education system. The liberalization of the Indian economy ushered in all kinds of reasons to learn the language. While earlier in the century students who had specialized in English joined either teaching or the civil services, now a whole new spectrum of job opportunities has opened up. There are now call centres, shopping malls and trade fairs that need trainers to equip their employees with communication skills, there are multinationals who have 140 §y!•ï˛ƒ xDl ˘ meeefnl³e Debeieve / Sahitya Angan 141 been recruiting marketing staff who needed to be taught spoken English, there are medical transcription centres which need efficient translators and reporters. Those desirous of immigration to the west needed professional help for clearing tests like the IELTS. Hence, the avenues where ELT came to be required in India are unlimited today. The change was first observed at the social, political and economic levels. Suddenly, English ceased to be the badge of status for the upper crust. Earlier, only the upper classes and a few limited size groups were seen using English in everyday life. The middle class reserved it for official purposes or those social occasions where they wished to leave an impression. The lower classes thought the use of English was beyond them and since the government schools of India made no effort to teach any kind of spoken English, this category of people had no exposure to it. However, around the year 1995, the whole paradigm began to change. The liberalization of the economy led to the advent of multinationals resulting in many developments like varied job opportunities that demanded a command of English, more English channels on the television, an increasing number of English publications and international lifestyles becoming a tempting option. The developments that have taken place in ELT methodology in the West took some time to reach Indian classrooms. The evolution of ELT in India, as in any other EFL country is linked with factors that are not pedagogic alone. Today, English cannot be termed a foreign language in the Indian context, but in times past, it was a foreign language and its teaching had to take cognizance of all factors, pedagogic or otherwise. The two figures tracing the growth of ELT given here are different because ELT pedagogy developed primarily in the West where political and social realities were different and the status of English was fixed whereas, in India, ELT pedagogy depends upon the subtle and not-so-subtle ways in which the status of English keeps changing. No diagrammatic representation can be complete without taking into account the fluid nature of the position of English in Indian society. In spite of the slower rate of evolution, English Language Teaching in India has been widening in its approach and methods. The result is that there is an increasing tendency, scope and intent of reaching the end of the ELT cone. At its own eccentric pace, ELT in India is today in step with the rest of the world today. Where the issue of methodology is concerned, ELT seems to be in three transient stages according to the different levels of the paradigm and its demands: 1. The first level is that of the institutions run by the government, mainly primary, secondary and high schools. Since the primary goal of these institutions is to provide education at affordable and subsidized levels to the public, ELT teaching cannot be placed at the widest end of the cone for the basic reason that the teachers there do not have much access to latest research and materials for reasons economic as well as geographic. Most of these institutions are the sole providers of education in rural and 142 §y!•ï˛ƒ xDl ˘ meeefnl³e Debeieve / Sahitya Angan remote settings where they can fulfill adequately the basic requirements alone. In the urban locales the planning bodies are now moving towards up gradation through teacher training, syllabus modification and improved resources. In another decade or so, this level of ELT should be more communicative in nature with language and literature fully integrated. 2. At the second level are those institutions that are semi-government or are run by private managing bodies, assisted through government funds. These also include undergraduate colleges and postgraduate universities. Growth and development can be seen here in spurts. In some classrooms, teachers have reached the widest end of the cone, are aware of learner needs and adjust methodology accordingly and use a judicious blend of interaction and communication in the class. In others, an observer feels caught in a time warp with pure talk-chalk lectures that are mostly teacher- centred. The positive observation is that there are practicing teachers between these two poles, who are trying to change their teaching practice and are looking at alternate methodology. Just as there is a mixed bag of teaching practice, the institutions also range from indifferent to proactive. While there are places where even a small audio player is not accessible, there are administrators who have invested heavily in state of the art, perfectly equipped language laboratories. 3. The third level comprises pure private sector academies (Spoken English Courses) that undertake to make learners proficient English users within a stipulated period, of course by charging a fixed amount of fee. Since time means money for them, they are equipped with the latest materials like interactive, multimedia software. Jobs in the academic area are few and far between, so an increasing number of qualified teachers find their way to these places. The teacher profile gets younger and younger, resulting in increasing amounts of innovation and experimentation where methodology is concerned. There are so many factors that affect the teaching-learning process in India. The students in India can be categorized into two; the one is having the regional language as medium of study from the primary level and the other is having English as the medium of study. Hence, the problem of teaching English as a second language, to the Indian students starts from the pre-schooling. 1. Little insight of the aims of teaching English : The aim of teaching English in India must be quite different from those which are considered necessary for an English child. Referring to the later L.A.C. Strong writes, "For us to speak English, English is everything, English is what we say and what we think. English is our relationship with other people, our friendship and our truth and untruth, our character, English is not a subject English is our life." What Strong says about the position of English is taught as a foreign language. Hence, the main aim of teaching should be to help children to acquire practical command of it so that it may be useful to them in everyday life. §y!•ï˛ƒ xDl ˘ meeefnl³e Debeieve / Sahitya Angan 143

There have been frequent changes in government policy towards the teaching and learning English in several states. "We have examples of more than one state where, only a few years ago, English was taught as a compulsory language and however low the competence attained, pass mark had to be secured in the English paper in order to get through the high school examination. Today, largely because of the mounting concern caused by an alarmingly high percentage of failures in the subject at different end- of-the year and school leaving examinations, the governments have decreed that success in English should no longer be considered essential for admission in under-graduate courses at the university."1 The primary aim of teaching English at this stage should be to concentrate on the fundamental skills of the language ability of the students namely listening, speaking, reading and writing. It is of paramount importance that the teacher should know what his task is and what he is trying to achieve by teaching English. In the syllabuses of colleges, we do not have a specific plan of what to teach and when to teach, as it is there in syllabus of school. It is for the teacher to decide how and when to teach a particular teaching item. Thus, they want to cover the whole course without reading its aims and objectives. They believe to go on with their job of teaching without knowing the difficulties of the learner. The teacher should be fully aware of the fact that his student's proficiency in English is not up to mark owing to the deteriorating standard of teaching in schools. Our objectives of teaching English should be practical and in keeping with the standard of proficiency achieved by our students. We should emphasize that the main aims of teaching English is to develop the ability of students to read and understand books, journals and reference material in English. 2. Dearth of competent Teachers : Apart from a One-year course in teacher training for schoolteachers, no formal teacher training is given to new recruits or practising teachers. There are orientation courses and refresher courses for teachers in general, but no course deals with ELT. It is only recently that the British Council has introduced CELTA and other such programmes; these are quite expensive, teachers do not want to spend money on them and their institutions rarely sponsor them. The teacher of English is incompetent to realize the need for and significance of English in the new perspective. They fail to revise their aims in the new setting and also to teach English most effectively within a short time. We Teachers should realize that a lot of responsibility rests on our shoulders T.P.Reddi in his presidential Address said in October 1977, "We, the teachers of English, are keenly alive to responsibility that rests on us. We have to see that English is taught at all levels and taught well and its standards are properly maintained".2 The teachers of English of colleges do not keep themselves abreast with the recent developments in the field of linguistics and theories of learning and teaching, without which they cannot teach their students 144 §y!•ï˛ƒ xDl ˘ meeefnl³e Debeieve / Sahitya Angan effectively. The problem of dearth of competent teachers arises due to the lack of teachers who are specialized in the method of Teaching English. 3. Defective textbooks and curriculum : The next important problem of teaching English in colleges is bad Textbooks. There is a mistaken idea that the standard of English is raised by the prescription of difficult books. Speed in reading can be achieved only through the provision of books which students can read with comprehension. Where books are beyond the ready comprehension of students, distaste for reading is created. This unfortunate attitude is one of the obstacles which the college teacher has to overcome. University syllabus does not fully satisfy the present objectives of the teaching of English. Books are often prescribed which reflect English life and culture and are less understood and appreciated by students. Books containing common vocabulary and common themes would have been more useful. The prose book about physical and social sciences may be more useful. The purpose of any prose book is to enable the students to develop the stock of words and thus such words can be used in our daily lives are certainly more useful. For e.g. the introduction of Shakespeare's plays at degree level is not practical, because to teach Shakespeare to the students who are not sound in linguistic skills is nothing but to try to make a super structure on the sandy foundations. 4. Traditional system of Examination : The examination system is more achievement oriented rather than performance oriented, leading to an emphasis on grades and positions rather than issues of fluency or proficiency. Indirectly, the teacher remains in many classrooms even today, the facilitator of examinations rather than of linguistic or communicative proficiency. One of the factors responsible for the deterioration is the pattern of question-setting. It is easy to predict what questions would be asked on what books in which examinations. The students simply have to memorize. The teacher also teaches only those aspects which are important for the examinations. Students, teachers are not given proper orientation and teachers are to be blamed for this. Students of English Honours are expected to be proficient in spoken English as well. They are unable to posses the ability to develop the power of written and oral expression in a classroom situation. Some marks should be reserved for internal tests also, which is also lacking in the evaluation system. It has been seen that such teachers who are engaged in private tuition or associated with coaching classes or institutions on commercial lines encourage the penetration of corrupt and dishonest practices into the academic life on the campus. It is mostly these teachers who reduce centralized evaluation of answer books to a state of farce. They can never be serious examiners. They even evaluate their part of answer books without caring for the merit and the demerit of the answer scripts. Such examiners should be debarred permanently from examination and evaluation work. §y!•ï˛ƒ xDl ˘ meeefnl³e Debeieve / Sahitya Angan 145

5. Obsolete Methods of Teaching : The methods and techniques used by the Teacher are faulty and out of date. The programme of teaching is carried out by inefficient methods in classroom. Of course, good teachers are more important than good methods, but an efficient teacher can improve remarkably the quality of teaching by applying good methods and techniques of teachings. Most teachers in Jharkhand use the grammar translation method. For e.g. A teacher comes to class, picks up a textbook of the prescribed syllabus, opens it and starts reading himself and then tells the meaning of some lines or all lines in Hindi. Everything cannot be translated as it is in Hindi. Some teachers are very conservative in their approach and they are not ready to learn any new methods and techniques of Teaching English. In other places we often witness teachers using the lecture method and they are very much comfortable using it and they ignore the other methods of teaching. 6. Insufficient provision of audio-visual aids : Many teachers are unable to teach English effectively because they face a lot of problems due to the lack of Teaching-Aids. There are very few audio-visual aids available and it is insufficient for the teachers to use it effectively. Some are so costly that the colleges can only afford to buy a few and the power cuts in the state makes the situation even worse. 7. Shortage of time : In most of the colleges, classes are not held due to the lack of adequate number of teaching staff. Sometimes teachers rush for the syllabus completion. They are in lack of time for doing other activities including different methods of teaching English like Role play, Play-way, Dramatization, etc. in the class. Most of the Teachers practice the Grammar Translation method and out of the 50 minutes of the period we discover half the time i.e. 25 minutes are gone in translation and students gets just 25 minutes or less to listen to English Language. There may be a better understanding of the passage being studied this way, but the students, in fact, learn less English then they would have done if the teacher had taught the passage by techniques which use questions, illustrations and simple practice drills. The teacher also doesn't have time to carry out the interaction with the students in English. Moreover teachers are engaged in the invigilation and evaluation works. 8. Unsatisfactory supervision : The next problem is due to the unsatisfactory supervision by the teachers. The teachers in most of the colleges are least bothered about the students. They only guide the clever students, who are always very active in the class, and for others they develop a negative attitude. Most of the teachers fail to supervise the student's homework or their potentials. The teacher should try to help the students who are weak and should try to sort out their learning disabilities by supervising them from time to time. 146 §y!•ï˛ƒ xDl ˘ meeefnl³e Debeieve / Sahitya Angan

9. Crowded classes : The size of the classes everywhere was considerably large and thus, student's participation in the class work was quite impossible. The ratio of students in relation to teachers was not proportional. This is one of the reasons why individual attention is not possible to the students. For individual attention, there is a provision of Tutorial classes but the number of students in Tutorials also is again very large, because most of the college can afford neither so many rooms for this purpose, nor so many teachers to conduct effective teaching of English. It should also be recognized that the practical work in the teaching of English demands that the number of students in the class be limited. 10. Inability of the Teacher to understand the difference between the teaching of literature and the teaching of language skills : One of the reasons for the declining standards of teaching English is the inability of teachers to understand the difference between the teaching of literature and the teaching of language skills. Everybody knows that the study of a language is not an end in itself, it is a means to develop one's power of expression and comprehension can be achieved by mastering stylistic elements of the language. According to A.K.Sharma: "English language teaching in India, you will agree with me, has suffered a lot - so much that our students who pass intermediate or degree examinations with English either as a compulsory or as an elective subject, can neither speak nor write correct English. May be, because the emphasis in our schools and colleges has always been on the conceptual content and the stylistic content has been neglected so far".3 11. Teacher's and student's Regional Dialect affecting proper pronunciation : This is a very crucial problem with most of the teachers teaching English. When the teachers try to speak English, they carry their own regional dialects into English. They have difficulty in pronunciations and are not cautious about the stress and intonation of their own speech. They teach incorrect phonetic transcriptions, pronunciations, stress and intonations to the students. Thus, there is much to be done to improve the standard of ELT in the state. The following are some of the suggestions and measures in this regard: The policy regarding the place and position of English in the school and college curriculum should be well defined, utilizing the different methods of Teaching in the classroom teaching-learning process: The teacher while teaching English should use the different methods of teaching English to the students. The different methods will make the teaching and the learning of the students effective. Some of the methods of teaching English are as follows: The Grammar Translation Method, The Direct Method, The Oral Approach/ Situational Language Teaching. The teacher should keep in mind the aims of teaching English: The teacher should always emphasize on the aims of teaching English. §y!•ï˛ƒ xDl ˘ meeefnl³e Debeieve / Sahitya Angan 147

These aims are : 1. To enable the students to understand English when spoken, 2. To enable him to speak English, 3. To enable him to read English, 4. To enable him to write English. Special efforts should be made to ensure that teachers get proper teaching facilities, including space, books, and teaching aids (audio-visual aids). The school and the college libraries should subscribe good journals which may enable them to know the latest developments in the field of linguistics and English Language Teaching. The number of students should be limited in the classroom so that individual attention can be given to each student. Text books should be introduced which cater to the need of the students. Last but not the least workshops and refresher courses in the field of ELT should be organized to make the teachers competent and up- to-date with the changes in the field of ELT. CONCLUSION The whole academic process is so unwieldy that it fails to respond to learner needs; learner response is too often ignored. The ELT cone of India is broadening at the base today because of factors that have little to do with the ELT classroom in academic institutions. The irony of the situation is that while academicians label these learning centres 'shops' or 'commercial institutes' it is these establishments that are a major influence behind the changing face of the ELT paradigm in India.

REFERENCE

1. Report of the study group of Teaching English, 1971, page 6. 2. Ram Kumar Sharma, Problems And Solutions Of Teaching English, New Delhi: Janaki Prakashan, 1999, p. 16 3. 4. See Ram Kumar Sharma, Problems And Solutions Of Teaching English, New Delhi: Janaki Prakashan, 66-67. 148 §y!•ï˛ƒ xDl ˘ meeefnl³e Debeieve / Sahitya Angan

HUMANITARIAN COMPASSION AND HUMANISTIC CONVICTION IN MULK RAJ ANAND'S NOVELS: UNTOUCHABLE AND COOLIE. MANTOSH KR. PANDEY

"For Arts sake, I shall not take a toil to write even a single sentence"- G.B Shaw in preface to 'Pleasant plays'. Mulk Raj Anand, a writer with deeper social commitment, shines as a luminary in the firmament of Indo- Anglian fiction. He has won the accolade as an undisputed champion, a messiah of the underdogs in Pre -Independence India. Anand vents out deep concern of the plight of the havenot in colonial India where the human are treated out of their economic and social identity and backdrop. A staunch socialist, Anand emerges with greater sense of respect for Rousseau's opinion- " Man is born free but every where he is in Chains" 1. He proves that the human predicament is not an inborn property but an outcome of social evil thrust upon by the materialistic, utilitarian society without values. "The 20th century is a great turning point in human history and through out main struggle remains the search for individual values, in so far they are increasingly open to reinterpretation and discussion, it is necessary to explore the sensibilities of all human beings whether in the factory, in the village squire, or in the drawing room.... 2. Anand became a novelist with a mission and his theory of novel is naturally in line with his commitment to his creed. Explaining his choice of his form in preference to others, Anand says––"The form of creating writing which is the novel, came to me much more naturally than any other form, because through this I could live through the experience of other people and realize the silent passions burst out in their hearts, what immediate and ultimate sorrows possess them, where they want to go and how they grapple in their ways, with their destinies". 3. Realistic portrayal of the wretched plight of the struggling and the suffering masses is the forte of Anand in his world of fiction. His fictional world abound with the essential human sympathy. Anand is a veritable humanist and his thorough knowledge of the suffering masses and their helplessness gives him enough space to paint a life of the deprived and unprivileged with vividness of description. None of the contemporary writers of fiction produced realistic or naturalistic fiction after the manner of a Balzac or Kafka or Zola. It was Anand's aim to stray lower still then even Sharat Chandra or Premchand, to show to the west that there was more in the orient then could be inferred from Omar Khayyam or Tagore. Anand seems to shower his sympathy with the down-trodden, those who are victims of the discriminatory socio-economic situation of colonial India. Anand's novels form a fictional Chronicle in which his eclectic humanism and his humanitarian compassion of the underdog are persistent 148 §y!•ï˛ƒ xDl ˘ meeefnl³e Debeieve / Sahitya Angan 149 themes. Both these themes receive perhaps their best fictional treatment in Anand's most compact novel, Untouchable (1935) where he describes an eventful day in the life young sweeper named Bakha. This particular day brings him his daily torments, humiliations but at the end it also offers three alternative solutions to his problem- the embracing of Christianity as suggested by missionary, social-reform as suggested by Gandhiji and a mechanized sanitation. The novels ends with Bakha thinking of everything he had heard, though he could not understand it all. The problem of caste and poverty, squalor and backwardness, ignorance and superstition, admits of no easy solution. In his two chronicles-Coolie (1936) and Two leaves and A Bud (1937) Anand turns to the fate of another class of the deprived. Coolie is the pathetic story of Munoo, an orphan from the Kangra hills who leaves home in search of a livelihood. Munoo's several roles as of a domestic servant, a coolie, a factory worker and rickshaw puller take him to various places from Bombay to Shimla until he meets his tragic doom. The novel is an indignant comment on the tragic denial to a peasant of the fundamental right to happiness. Munoo and many more of his likes deserve deep human sympathy for their being exploited by the evils of industrialism, capitalism, and colonialism. It is Anand's humanist conviction and humanitarian compassion that have fired his imagination and gives uncomfortable scenes such as Bhakha of Untouchable touching the caste Hindu and playing the penalty, Munno's traumatic realization that he is born to be exploited. The dilemma of the untouchables, whose causes Anand champions, can be beautifully epitomized in Arnold's poetic lines: "Wavering between two worlds, one dead, other powerless to be born With nowhere to rest my head Like these on earth I wait forlorn".4 Humanism, for Anand, is affirmation of Man, Man not as an ideal construct, an abstraction, but as the sum of his world. It is a humane approach to the human condition that constitutes the quintessence of Anand's artistic acumen and vision. All the novels of Anand depict his human sympathy for the unprivileged and oppressed. It is Anand's earnest human concern for the down and out that projects Anand as a supreme artist and undisputed doyen of Indo-Anglian fiction. In Anand's own words: "I hope I can teach even a few people of my generation that tenderness is our asset". This statement is self- explanatory to prove that Anand is replete with tender, compassionate feelings for humans without partiality of any sort. REFERENCES : 1. Rousseau, Jacques: Social contract 2. Anand ,Mulk Raj: Apology for Heroism (Bombay Kutub popular , 1957 pg.79) 3. Anand, MulkRaj : Apology for Heroism 1946 pg. 138. 4. Arnold, Matthew: Stanzas from the Grand Chartreuse. 150 §y!•ï˛ƒ xDl ˘ meeefnl³e Debeieve / Sahitya Angan

Dr. BHABANI BHATTACHAARYA AS A NOVELIST

KAMRUDDIN MIYAN

Dr. Bhabani Bhattacharya is one of the greatest Indo-Anglian novelists of the present times. He has attained world-wide renown and his books have appeared in twenty-six languages, sixteen of which are European .He has won the coveted Sahitya Academy Award for 1967 for his latest novel 'Shadow from Ladakh'which is a deserving and deserved honour done to the genius of Bhattacharya Speaking of the award,he remarks: "It is good to be known abroad, Even so, I must confess that I would like to be known to my countrymen too.The award redresses a balance. So far I have been better known in the U.S.and Europe than in my own country," It is a pity that Indians recognize the worth of Indian writers only after due recognition from the west. It has been our tradition to recognize talent only after it is vociferously applauded in other countries. All the novels of Bhattacharya present a true picture of India and its teeming millions surging with life and substance. He does not believe in the dictum of art for art's sake .All writing for him has social purpose.His outlook is highly constructive and purposeful.Smt. Lila Ray writes, "As we read his writing we hear the dialogue between man and his situation, between man and ideas he lives by." It is a strange coincidence to be a Bengali, born in Bhagalpur,a town in Bihar, writing in an alien language and living in Maharashtra (Godhuli', Nagpur) He is a doctorate from London University on historical research.He has worked for several years as press attaché to the Indian Embassy in Washington. Writing is his first love and full-time career.He has been ispired in his literary pursuits by wife, Salila, who is herself a short-story writer, He has recently joined the research centre of the University of Haweli. His works include Tagore's traslations entiled "The Golden Boat", "Indian Cavalcade",a collection of historical sketches, "Towards Universal Man" a commemoration volume published on the eve of the birth centenary of Tagore, "Steel-Hawk" a collection of fifteen short stories , 'Gandhi,the writer:His image as it grew', a highly stimulating and provocative study released on the occasion of the birth centenary of Mahatma Gandhi and five novels- "So Many Hungers" (1947), "Music for Mohini"(1952), "He who rides a Tiger"(1954), "A Goddess named Gold"(1960) and "Shadow from Ladakh"(1967).He is at present working on another political subject-the impact of China over Asia.It will be continuation of his 'Shadow from Ladakh' in theme and treatment. His wide range of experience in and around the world and his close 150 §y!•ï˛ƒ xDl ˘ meeefnl³e Debeieve / Sahitya Angan 151 association with men,manners and their personalaties have enabled him to grasp the innate significance of humanity and all this finds expression in the characters of his novels and short-stories,carved out with a pen that never wavers.The reader lives with the character of the stories and marvel at the author's keen observation of the day-to-day incident of life.Bhattacharya informal behaviour of the people,their rustic world and their small and simple viewsabput the great things that take place around them. He holds the view that "Indian writing in English has been a decisive factor in redressing the balance of false presentation by foreign story-teller who with their limited possibilities of true experience have seen only the surface of our way of life, failing to reach deeper into our spirit. His earlier novels have their root in rural Vidarbha.He remains an unequalled master in interpreting rural Indian. Particularly in the novel 'A Goddess named Gold' the worlds of fable and reality that delve deep in the minds of our rural folk are skilfully and artistically blended. It contains,lise his other novel 'He who rides a tiger', some superb description of rural folk. Sudhakar Joshi feels, "His novels have a penetrating and sympathetic analysis of the simple but unsurmountable problems in Indian life. His themes generally revolve round poverty, hungrer, pestilence, traditionalism, caste, Indian's strugglea gainst poverty,industrialization and the resulting controversy of Gandhian panacca versus rapid industrialisation ," In an interview with Joshi,Bhattacharya replies, "Most of my characters have shaped themselves from the real earth. The end of the story in my case is never the one in which I had in my mind in the beginning. Even the original plan itself gets modified due to certain which my characters develop during the course of events" L.N. Gupta writes; "Pure intellectuals watch the crowds but do not force themselves on them. They visit slums and absorb the misery of their dwellers in their being. They tour the famine-stricken areas. They look into the shriveled faces and sunken eyes of the sufferer. They share their distress. But they do not use amplifiers to blare their benefaction. They suffer quietly. The process involves a cycle of seething tensions. The end product is a major work,say a great novel in the case of a fiction writer. It is a monument to it's times. Such is the case with Bhabani Bhatacharya." Dr. C. Paul verghese rightly remarks that "Food is the primary requisite of human dignity: hunger debases and dehumanizes man. That is why hunger is the theme of a large nimber of Indo-Anglian novels.Bhattacharya has dealt quite forcefully with the theme of hunger and the concomitant theme of human degradation in the his novels ' So Many Hunger' and 'He who rides a Tiger" The Bengali femine which had so devastatingly swept his own orovince,Bengal,in 1943,was the background to his first novel 'So Many Hunger', He was so profoundly moved by the famine that he wrote it piecing the story together from newspaper clipping. It was published in 1947 and 152 §y!•ï˛ƒ xDl ˘ meeefnl³e Debeieve / Sahitya Angan became a best seller in various translation.L. N. Gupta states, " It was a terrible indictment of the British Raj for all their crimes which aggregated into the disastrous famine of Bengali in 1943." It was a man made famine that took a toll of too million innocent men,women and children. The story centres round the Basu family,the peasant family,the girl Kajoli, her mothet and her brother. Samarendra Basu thinks of organising the concern Bengal Rice Limited and the unscrupulous Sir Lakshiminath helps the company extend its branches to every far off corner of the province. It is this man's genius that has so well spread the grease of corruption and stored the accumulated foodgains. The wells of pity seem to have almost dried up and only the jackals and the vultures have been vigorous and jubilant. Bhattacharya paints the naked horror of it all with a pitiless precision and cumulative detail : Dr. Srinivasa lyengar states, "So many Hungers is no doubt an impeachment of man's inhumanity to man.but it is also a dramatic study of a set of human beings caught in a unique and tragic predicament." The story has been effectively told and the tragic pathos of the real mass-starvation described in the guise of fiction moves the reader deeply. The novel describes as the "Times Literary Supplement" puts it, "afactual and vivid account of one of the most shocking disasters in history." " His second novel, 'Music for Mohini', deals with caste distinction and poverty. L. N. Gupta remarks, 'Music for Mohini' blows up the citadel of old tradition and superstitions which menace India' progress." Reviewing this novel, The New York Times observed, It blends the story of an attractive girl's marriage with the eternal problems of that caste-ridden land and its divorcement from various kinds of imperial rele. And the main brick-bats are not hurled at Britain.' The Chicago Tribune showered its praise on this novel by stating that "India as presented by Rudyard Kipling Rabindranath Tagore and others has become to us a multiple image. Now these diverse pictures are brought into focus by a native son. In a splendid novel that may rank with Pearl Buck's 'The Good Earth,' Bhabani Bhattacharya gives us modern India." In this novel, a young girl of seventeen is married in the traditional manner after observing the auspicious sign and comparing the horoscope. Mohini goes to her new home. Jaydev the quiet scholar who lives in his ancestral village.and Mohini,the young city-bred wife of his, adapts herself very well to her new environment, are the two forces that put the village on the path of progress and modernization. The superstitious old mother of jaydev realises in the end her mistake and reconciles herself to the changing time. The character of Mohini and Jaydev and Heeralal are well drawn with sculpturesque precision and facile expression. The third novel 'He who rides a tiger' is an attack on both who profited on people's mistery during the famine and those who exploited them as caste tyrants. It is a legend of freedom, a legend to inspire and awaken. §y!•ï˛ƒ xDl ˘ meeefnl³e Debeieve / Sahitya Angan 153

Here he discusses a variation on the theme of hunger. It has a fascinating beginning. The story runs rapidly surging with emotion and agitation. Its sharp and vivid characterization and untained realism make this novel a very interesting one. It is a grim satire on Hindu orthodoxy. Dr. lyenger says, "The tempo of life in Calcutta-the complex of urban vices and urban sophistication, the pressure of mass movements and mass hysteria, the reign of superstition and mumbo jumbo-gives the novel an entire and piquant quality all its own." This novel is based on an ancient saying "He who rides a tiger cannot dismount." A humble village blacksmith, named Kalo takes his revenge on a rigid, caste-ridden society and makes a living for himself and his daughter by faking a miracle that begings as a fraud and ends as a legend-and passing himself off as a Brahmin priest. The story end with a note of triumph for the soul over flesh. Eventually, when the fraud is detected,other low caste people hail him as their brother. Reviewing this novel, Orville Prescott of The New York Times says, "He who Rides A Tiger is a skilful and entertaining and an illuminating fictional glimpse inside the corner of India. Bhattacharya writes of Indians and the social,cultural and religious world in which they live with an authority and understanding that no Western writer can hope to match." Meera's grandfather, a wandering minstrel, gives her an amulet and tells her that it will acquire the power to turn the base metals into gold, if she does an act of real kindness She rescues a child. Seth Samsunderji seeks to profit out of India's new found freedom and enters into a business deal with Meera on a fifty-fifty basis. Meera gets disgusted with it finally and throws the amulet into the river. The minstrel return soon and explain that freedom is the real touchstone. Bhattachrya's latest novel 'Shadow from Ladakh' tells an extremely gripping story of unsurpassed drama on a broad and revealing canvas. It tells what India needs for survival-a meeting point between Gandhian social ethics and tremendous forces of science and technology. It deals with India's conflict with China and her response to the challenge. The theme present a considerable amount of truth of a politically conscious Indian family. It provides an insight into the contrasting contemporary life of India symboliised by Satyajit who regards Indian village life as the ideal life and by the westernized American trained Bhaskar the forward-looking Chief Engineer in a steel plant,who feels India' future lies in industrialisation, ends on a week note of coexistences of these two ideologies, Bhaskar wants to dispossess Gandhigram, because it is a hindrance to India's industrialisation. He brings every pressure to bear,but to his surprise,the community of the believers in non-violence stands firm under its great leader Satyajit, and he himself falls in love with Satyajit's daughter, Sunita, a bare-foot white-saried girl…." 154 §y!•ï˛ƒ xDl ˘ meeefnl³e Debeieve / Sahitya Angan

Dr. Bhabani Bhattacharya, in his novel, present various kinds of hunger:hunger for food, hunger for wealth, hunger for power,hunger for sex etc. We can end with what Dr. C. Paul Verghese rightly feels -"Bhattacharya has the vision of a welfare society and his concerns are clear and unambiguous; they are political, economic and social. In other words, the dignity of man both in national and international contexts is uppermost in his mind. In this he follows thr tradition of European social realism as does Mulk Raj Anaand for his art is always the communication of certain social and political ideals and the artistic form,the means of winning over his readers to his views. But the lack of depth in his treatment of problems in human relations is a weakness of his art." REFERENCES :

1. BHAKHTIYAR, IQBAL. The novel in modern India : Symposium,with a general survey by K.R. Srinivasa Iyenger (1964} 2. CHATTERJI. SUNITI KUMAR. The languages and literature of modern India (1963) 3. FRAZER. R.W. Literary History of India (1998) 4. GORAK. V.K. (Ed) The Literature in the India languages (1954) 5. GUPTA RAMESHWAR (Ed) The Banasthali Patrika: Two Special Numbers on Indo-Anglian Literature (1969) 6. SANTHANAM. K. (Ed) An Anthology of Indian Literature (1970) 7. NARSIMHAN.C.D. (Ed) Indian Literature of past fifty years (1970) §y!•ï˛ƒ xDl ˘ meeefnl³e Debeieve / Sahitya Angan 155

ENVIRONMENTAL AWARENESS IN CLASSICAL SANSKRIT LITERATURE

RAJEEV PRADHAN

India is a land of rich classical heritage. It is a land of many great thinkers and writers. Sanskrit is one of the ancient languages of the world and also known as the mother of many languages. The collection of literature in Sanskrit is priceless and its contribution to preserve and promote the Indian-ness is remarkable. Its contribution to Philosophy, Psychology, Literature and almost all other discipline is irrefutable. It is a perennial river of knowledge catering to a variety of situation leading to the creation of an ideal society. The world today is facing a serious problem of Environmental pollution. The pressure of increasing population, growth of industries, urbanization, energy intensive life style, loss of forest cover, lack of environmental awareness, untreated effluent discharge from industries and municipalities, use of non-biodegradable pesticides/fungicides/ herbicides/insecticides, use of chemical fertilizers instead of organic manures, etc are causing pollution. The pollution which disturbs ecological balance is called Environmental pollution. The classical Sanskrit literature can contribute and help tremendously for the protection of environment. In the recent days, environmental science and ecology are treated as a discipline of modern science under which the study of environment and its constituents are done with minute details. As a modern science, environmental science is established in the 20th century but its origin can be seen long back in the Vedic and ancient Sanskrit literature. The concepts of environment differ from age to age because it depends upon the condition prevalent at that particular time. The Environment Protection Act, 1986 defines environment as which includes water, air and land and the inter- relationship which exists among and between water, air, land and human beings, other living creatures, plants and micro-organism. It is clear from above definition that environment consists of two components, biotic (living organism) and abiotic (non-living materials). The living organism can be grouped into three types as those living mainly on the land, in water and in air. The non-living materials of the environment are land, air, water etc. In the modern Sanskrit, the word Paryavarana is used for the environment, meaning which is all around in our surroundings. But in the Atharvaveda words Vritavrita, Abhivarah, Avritah, Parivrita etc. are used for the environment. Vedic view on environment is well defined in one verse of the Atharvaveda, referred as Chandamsi meaning covering available everywhere; therefore utilize wisely the three elements which are varied, visible and full of qualities. These are water, air and plants or herbs. It 155 156 §y!•ï˛ƒ xDl ˘ meeefnl³e Debeieve / Sahitya Angan proves the knowledge of Vedic seers about the basic elements of the environment because water, air and plants exist in the world from the very beginning. According to a theory established in the Upanishads the world constitutes from the five elements- Earth, Water, Air, Fire and Sky. Of these, the three elements, Earth, Water and Air are prone to pollution, while the rest remain unaffected. The nature has maintained a status of balance between and among these constituents and living creatures. A disturbance in percentage of any constituent of the environment beyond the certain limits disturbs the natural balance and as a result of that causes a lot of problems to the living creatures in the universe. Different constituents of the environment exist with a set of relationship with one another. The relationship of human being with environment is very natural as he cannot live without it. From the very beginning of creation a man wants to know about it for self protection and benefit. In the olden days man used to live harmoniously with the nature. He even treated the forces of nature as divine beings like Agni Deva, Varuna Deva, Vayu Deva etc. and glorified their existence and prayed for their intervention in nature's fury. But in the modern age man indulge in the over-exploitation of nature's bounties and began polluting natural elements in the name of development and modernization. As the present generation is a nexus between the past and the future generation, it is a duty of mankind to leave a good legacy to posterity. If the attitude of the modern man continues to be the same, the survival of humanity itself will become a big question. Therefore development should be healthy and at an affordable cost and it should not create obstacle in the healthy and prosperous development of future generation. So, in order to achieve sustainable development, one should give up one's greed and learn to live in peace with the nature. This is how our ancestors, even in the vedic times learned to live. Veda, the very first book of mankind is considered to be the greatest treatise on the environment teaches a healthy relationship between man and the nature. This relationship should be as sacrosanct as between mother and child. The earth was looked upon as a universal mother whereas all the living beings are treated as her children. In Vedic times rituals were encouraged and performed with a view to keep the environment pure and perfect. The flora and fauna were considered to be the two important facets of Mother Nature. The Vedas have glorified the greenery and identified with divinity. According to the sastra plantation is a sacred dharma and destruction of trees is a great sin. All the poets of Sanskrit literature, with no exception are great lovers of nature. They not only loved nature but also identified themselves with it. There are many instances in the Sanskrit literature where poets express their love for flora and fauna. In the 11 canto of raghuvamsa a lion speaks to Dilipa explaining the significance of a tree. Oh, King! The tree which you see yonder is a Devadaru Tree brought up by Siva like his son, his wife §y!•ï˛ƒ xDl ˘ meeefnl³e Debeieve / Sahitya Angan 157

Parvathi nourished it by providing pots of water as she nourished her own son Kumaraswamy with her breast milk. It established that there was a motherly affection towards the trees in the ancient time. In the Kumarasambhavam, Kalidasa went a step further by saying that even a poisonous tree should not be cut down by the person who raised it. Similarly the sage Kanva, while sending Shakuntala to her husband's house, reminds the tree about the service rendered by her to them and seeks permission from each for her departure. Our culture went to the extent of saying that no loss of trees under any circumstances should be permitted. Even in extraordinary circumstances the destruction of trees or plants should be compensated for. As an example the loss of plants occurring for a cremation should be replenished by cultivating the same number of saplings by the person who performs the funeral rites. The plantation of trees is highly encouraged in our culture. One should raise big trees which bear fruits. Even if it does not offer fruits it at least gives shade. Now let us see the other aspect of environment, Air pollution. The Vedic seers knew the importance of air for life. They understood all about air in the atmosphere and also about the air inside the body. The Taittiriya Upanishad throws light on five types of wind inside the body: Prana, Vrana, Apana, Udana and Samano Air resides in the body as life. Concept and significance of air is highlighted in Vedic verses. Rigveda mentions, O Air! You are our father, the protector. Air has medicinal values as medicated air is the physician that annihilates pollution and imparts health and hilarity, life and liveliness to people of the world. Hilly areas are full of medicated air consisted of herbal elements. Another verse describes characteristics of air as soul of all deities. It exists in all as life-breath. It can move everywhere. We cannot see it. Only one can hear its sound. We pray to air God. Ancient Indians, therefore, emphasized that the unpolluted, pure air is source of good health, happiness and long life. It is clear that classical Sanskrit literature teaches us to live in harmony with environment is not merely physical but is far wider and much comprehensive. From times immemorial the bond between man and nature has been extremely strong. Now it is our responsibility to maintain the equilibrium and see that nature is not disturbed or interfered. 158 §y!•ï˛ƒ xDl ˘ meeefnl³e Debeieve / Sahitya Angan

Address of Writers :

1. Dr. Sovana Ghosh, Asst. Prof., Dhrubachand Halder College, Barasat, South 24 Parganas, W.B. 2. Saugata Mukhopadhyay, Asst. Teacher., Bolpore, Birbhum, W.B. 3. Dr. Sharmila Banerjee, Asst. Prof., S. S. L. N. T. Mahila Mahavidyalaya, Dhanbad, Jharkhand 4. Swapan Kumar Ash, Asst. Prof., Fakirchand College, Diamond Harbar, South 24 Parganas, W.B. 5. Pijush Kanti Adhakari, Asst. Prof., Hazi Desarat College,South 24 Parganas, W.B. 6. Debasish Mallick, Associate Prof., Chandannagar Govt. College. Chandannagar, Hooghly. W.B. 7. Dr. Mistu Samanta, Asst. Prof., Bardwan Raj College, W.B. 8. Dr. Prakash Kumar Maity, Prof. & HOD, Department of Bengali, Banaras Hindu University, U.P. 9. Dr. Uttam Giri, Asst. Prof., Zakir Husain Delhi College, Delhi 10. Soma Mukherjee, Asst. Teacher, North 24 Parganas, W.B. 11. Nashiruddin Purkit, Asst. Prof.(Part time), Jamtala College, South 24 Parganas, W.B. 12. Putul Baidya, Asst. Prof.(Part time), Dhrubachand Halder College, Barasat, South 24 Parganas, W.B. 13. Swaraj Das, Asst. Prof. (Part time), Fakirchand College, Diamond Harbar, South 24 Parganas, W.B. 14. Dr. Jaygopal Mandal, Asst. Prof., R. S. P. College, Jharia, Dhanbad, Jharkhand. 15. Suresh Singh Munda, Asst. Prof., R. S. P. College, Jharia, Dhanbad, Jharkhand. 16. Dr. Sanjay Kumar Singh, Asst. Prof., P. K. R. M. College, Dhanbad, Jharkhand. 17. Dr. Nilesh Kumar Singh, Asst. Prof., R. S. P. College, Jharia, Dhanbad, Jharkhand. 18. Dr. Raju Ram, Asst. Prof., St. Columbas College, Hazaribag, Jharkhand. §y!•ï˛ƒ xDl ˘ meeefnl³e Debeieve / Sahitya Angan 159

19. Dr. Gagan Kumar Pathak, Asst. Prof., R. S. P. College, Jharia, Dhanbad, Jharkhand. 20. Vijay Aind, Asst. Prof., R. S. P. College, Jharia, Dhanbad, Jharkhand. 21. Mantosh Kr. Pandey, Asst. Prof., P. K. R. M. College, Dhanbad, Jharkhand. 22. Kamruddin Miyan, Asst. Prof., R. S. P. College, Jharia, Dhanbad, Jharkhand. 23. Rajeev Pradhan, Asst. Prof., P. K. R. M. College, Dhanbad, Jharkhand.