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পিউ দাশের "কবিতার অন্তরঙ্গ পাঠঃ জীবনানন্দের 'বেড়াল'"

আলোচনাটি ভালো এবং আদ্যন্ত সৎ। লেখক জীবনানন্দের 'বেড়াল'কে বর্ণনা করেছেন 'মিউজ', 'অন্তরাত্মার প্রতিনিধি' ইত্যাদি। আমি আর একটি যোগ করি - অলটার ইগো। কবি যেন নিজের বাইরে দাঁড়িয়ে নিজেকেই দেখছেন। এভাবে দেখার মধ্যে কিছুটা অ্যাবস্ট্রাকশন থাকে। কবি যতটুকু দেখতে চান ততটুকুই দেখেন, বাকিটা প্রচ্ছন্ন থাকে।

সারাদিন সূর্যের পিছনে পিছনে চলার মধ্যে মানুষের জন্ম থেকে মৃত্যু পর্যন্ত পরিক্রমার কোথাও যেন মিল আছে। কবিতার শেষে সমস্ত পৃথিবীর ভিতর অন্ধকার ছড়িয়ে মৃত্যু নেমে আসে। সফলতার খোঁজ নেওয়া জীবনের মত মৃত্যুর অন্ধকারও সত্য। কবি তাকে অস্বীকার করেন না। আমার এমনই মনে হয়েছে। নিরাশাবাদ বলে মনে হয়নি।

সিদ্ধার্থ (pub Jan 17 2017)


Clinton Seely's translation "The Scent of Sunlight"

Until my recent correspondence with Nirupam Chakraborti via a reading of his book 'Enchantress' and its magical collection of poems. I had not for many years read any poems by Jibanananda Das nor any of the other great Bengali poets. This has now been rectified by reading some of the splendid translations made by Clinton Seely and Bhismadev Chakrabarti. This opportunity to write a few paragraphs about Jibanananda's poetry is for me an unexpected pleasure.

Unexpected seems the perfect word for Jibanananda's poems. One moment we are in a modern city street the next we are in the marketplace of a thousand years ago. We encounter beautiful women imaginary and real. Wild animals, birds and flowers and trees, blue seas, and even bluer skies. Light and shadow, life and death. Despair and hope.

And the so-called 'everyday objects' all around us he describes in such unusual ways it makes us want to look at them more closely the next time we experience them. And what of the way Jibanananda places together combinations of words that seem not to be the right match but somehow they work in a way only a master wordsmith could do.

He projects into our minds eye, a rich imagery leaving its imprint that we understand in some mysterious way. We read the poems, and our love for the man and his wonderful creations fill the nights and days with the power of Nature as the soul of all.

My very best wishes,

Lewis Oakwood, UK (pub 4 July 2016)


Clinton Seely's translations never appear as translation. They are as original and alive as moon-light or sunshine or a paddy field roamed by field mice as Jibanananda depicted in his poems. Clinton is a poet himself of very high order.

One also must read his book, 'A poet apart'. It is filled with his translation of Jabananda's poems as well as a fascinating description of his time in Kolkata and Bengal (the Kallol yug). A must read for lover of Bengali poetry and an aficionado of the history of early-mid twentieth century Bangla literature.

I should also mention the high quality of illustrations accompanying these translations.

Rahul Ray, Boston (pub 6 May 2015)


সুমিতা চক্রবর্তীর নিবিড় পাঠঃ "'অনন্য জীবনানন্দ' : মূল গ্রন্থের পরিপূরক একটি অনুবাদ"

আমার অনূদিত 'অনন্য জীবনানন্দের' ওপর শ্রীমতী সুমিতা চক্রবর্তীর দীর্ঘ আলোচনাটা পড়ে তাঁকে ধন্যবাদ জানাই। তিনি যে নিরংকুশ প্রশংসায় বইটির আলোচনা করেছেন তা আমার মতো স্বল্প পরিচিত একজন লেখকের জন্য অনেক সম্মানের বিষয়। বাংলাদেশের কেউই এরকম বিস্তারিত আলোচনার অবতারণা করেননি। কেউ কেউ একটিমাত্র বাক্যে অনুবাদকের নামটি উল্লেখ করেছেন মাত্র। এখানে একটি বিষয় ব্যাখ্যা করা দরকার। উৎসর্গপত্রটি অনুবাদ করে দিয়েছেন স্বয়ং সিলি, তাঁর অনুবাদকর্মটিতে আমি আর হাত দেইনি। বহুবছর পর হয়তো তাঁর মনে হয়েছে যে “কোনো কোনো ক্ষেত্রে তার চেয়ে ভালো করে” বাক্যাংশটি যোগ করা উচিত। সবশেষে বলি আমার কাজটিতে আরো অনেক খামতি ছিল, সুমিতা দি’ হয়তো আমার প্রতি স্নেহবশত সে সব এড়িয়ে গেছেন।

ফারুক মঈনউদ্দীন (pub July 8, 2013)


Arunima Ray's essay "Understanding Jibanananda’s Different Poetic Sensibility"

In general this essay is well written and quite sincere. It may initiate some readers to Parabaas who perhaps do not read Bangla, but are curious and would enjoy exposure to serious literature. Here are few observations:
The author makes a sincere attempt to analyze Jibanananda’s unique poetic style through an elaborate discussion of his three very well known poems, each from a different book of his earlier poetic phase. Therefore, the depiction of Jibanananda Das that we get by reading it is actually not the portrayal of his complete complex persona. Through overexposure 'Banalata Sen' has now become a cliché. The more we expose it to typical literary analyses, at least to me, the more the poem gets denuded from its serene subtlety. 'Before Death’s' elegant and carefully crafted lengthy meter though still remains one of my most favorites in the original Bangla, I think that a subset of his poems formed with just three random pieces of Banalata Sen, Gray Manuscripts, and Bengal the Beautiful really does not tell us the total story of one of the greatest poets of all times. Our comprehension of Jibanananda Das remains miserably incomplete until and unless we start very carefully reading the Darkness of Seven Stars, The Great Earth, and, finally, Time, Wrong Time, Ominous Time and certainly the last poem in that last book!

I for one do not accept that Jibanananda Das was a surrealist poet. He is no Guillaume Apollinaire. His poems are careful constructs, and certainly not at mercy of the subconscious. Even the travel through space and time, as mentioned in 'Banalata Sen' and for that matter in many other poems, is actually an effort to very consciously create a meta-world, the poet's own world, so to say, which contains all the essential elements gathered from a temporal Cartesian space over ages and over a vast expanse, but it is not exactly the world that surrounds us in our daily life. Jibanananda’s Natore therefore is the geographical place by the same name, but also it is not, and in his unique meta-world Bidisha, the town of antiquity merges into a contemporary allegory at natural ease.

Branding Jibanananda as a nature worshiper or something of that sort is actually seriously demeaning him! Beneath the apparently serene landscape of geographical Bangla, his is a world of 'spoilt cucumber and rotten melon' even during the days of Gray Manuscripts, which in his later poems effortlessly merges into the world of his strange beggars and lumpen earthlings. Again I would like to caution that these are all careful constructs of a secondary world: it is indeed a sort of super-realism but not in the surrealistic sense.

Indeed Jibanananda was drastically different from Premendra Mitra and Subhash Mukhopadhyay, who are mentioned in this essay, though at one point of time they all shared the same physical city and were quite sensitive to the pangs and tribulation of their own age. However, the ‘citizen’ poet on whom Premendra Mitra had composed his melancholic ode in Returning from the Sea, perhaps always remained an enigma. The Barishal boy who walks the Kolkata streets as a man and ultimately perishes in front of a streetcar near Deshapriya Park tells us a uniquely singular urban metaphor that Kolkata may not get to hear ever again! I expected little more analyses of that in the present essay.

Finally, I would like to commend the author on her efforts. Let Jibanananda studies grow further in Parabaas!

Nirupam Chakraborti (pub. December 2012)

The author's response:
Many thanks for reading my article thoroughly. I agree that this is not a complete portrayal of the poet since I have not included other poems and it is also difficult as I have mentioned in my essay to put him under any exclusive category even if his whole oeuvre is taken into account. Indeed I did not want the essay to be so in that sense. What I wanted to present was more of a synoptic view of the poet in terms of only three of his poems. The essay I believe succeeds in presenting the suggestion that I wanted to make about the poet's self.

I also would never call Jibananada a nature poet in the old simplistic sense. I wanted to show how he evokes his picture/spirit of Bengal with which he could identify himself. That spirit/persona he produces in terms of a different set of images that project the subconscious terrain. It is the collage of these images that produces the real which could be called in a sense 'surrealistic'. I only wanted to suggest as much.

So far as reference to Premendra Mitra and Subhas Mukhopadhyay is concerned, that was indeed a comment of Buddhadeva Bose. The necessary reference is given in the essay.


Life of Jibanananda Das

I was born in Bangladesh. Lived in U.K., U.S.A. and now I am settled in Melbourne, Australia for the last 25 years. I always had an eye for our "Ruposhi Bangla" poet Jibonananda Das. I bought his whole collectios of poems and am still hungry to get any new materials or articles on our beloved poet. Thanks Parabaas!

Faruk Hyder Choudhury (pub. July 2012)


ক্লিনটন সিলি-র অনুবাদ The Scent of Sunlight

কবিতার অনুবাদ, বিশেষ করে জীবনানন্দের কবিতার অনুবাদ প্রায় অসম্ভব। আর ক্লিন্টন সিলি সেই অসাধ্য সাধন করেছেন। এই অনুবাদ পড়ে মনেই হয় না যে এগুলো অরিজিনাল লেখা নয়। অন্য ভাবে বলতে হয় জীবনানন্দের কবিতা না পড়েও সিলি-র অনুবাদ অপূর্ব ও অরিজিনাল। আগে পড়েছি, এবারেও তার কোনো ব্যতিক্রম নেই। সুনীল গাঙ্গুলী 'অন্য দেশের কবিতা'-র মুখপত্রে লিখেছিলেন কবিতা অনুবাদ করলে তা অর্ধমৃত হয়ে দাঁড়ায়। ক্লিন্টন সিলি সত্য-ই অসাধ্য-সাধন করেছেন।

রাহুল রায়, বস্টন (pub. May 2012)