Banalata sen by jibanananda das biography

She has occurred with various names like "Shaymoli", "Sobita", "Suronjana", etc. The Poem The poem is self-narrated by an unnamed poet. Banalata Sen is a woman's name who the poem describes to be in the town of Natore. The poet describes seeing her after having wandered upon the earth over thousands of years. He proceeds by alluding to different mythologial and ancient persons, plcs and events.

He describes having wandered from the Ceylon ese ocean to the seas of Malayahaving travelled in Ancient India in the times of Emperor Bimbisaraand centuries later, in the times of Ashoka the Great. He describes having wandered in darkness in the ancient cities of Vidarbha and Vidishayet, for his tired soul, the only moment of peace in any age was with Banalata Sen of Natore.

Das proggressively develops these same four images throughout the poem, metamorphosing these from remoteness to intimacy, dimness to distinction and from separation to union. Banalata Sen is a recurrent theme in Jibanananda Das's work. Contextual influence [ edit ]. Themes [ edit ]. Time [ edit ]. Love [ edit ]. Love for nature flora and fauna [ edit ].

Loss sense of direction after traumatic contortions [ edit ]. Legacy [ edit ]. Appropriation and adaptations [ edit ]. Awards [ edit ]. References [ edit ]. Language in India. New Delhi: Sahitya Akademi. The Journal of Asian Studies. JSTOR The Independent BD. Author World. Poet and Poem. April 10, Bela Obela Kalbela in Bengali. Dey's Publishing.

Jibanananda Das - Naked Lonely Hand. There Banalata, a young maiden, happens to be the neighbour of the protagonist. In a certain sense, Banalata Sen is akin to " To Helen ". However, while Helen's beauty is the central theme in Poe's work, for Jibanananda, Banalata Sen is merely a framework to hold his anxiety for apparently endless human existence on earth since primordial time.

She has occurred with various names like ShaymoliSobitaSuronjanaetc. However, one can see that while Poe has ended by appreciating the beauty of a woman, Jibanananda has gone far deeper and on the landscape of a woman's beauty has painted the expanse of human existence both in terms of time and topography, drawing attention to the ephemeral existence of human beings.

Unlike the poetry of many others, Jibanananda's poetry is the result of filtered interaction between emotions and intellect. In the endless tumultuous continuum of 'time' Banalata Sen is a dot of quietude and tranquillity. Banalata Sen is a feminine emblem that Jibanananda created in his virtual world and faced on many occasions with wonder and questions as embodied in different poems.

In sum, although popularly regarded a romantic lyric, the poet's historical sense of human existence is unmistakably the underlying essence. Starting with poet Jibanananda Das himself, Banalata Sen has been translated into English by many hands. They include Martin Kirkman, one with the initials S. A comparison of the translations reflect difference in understanding and interpretation as perceived by the translators.

In certain points, interpretation by the translator differs from that of the poet himself, as reflected in his own translation. There is one instance where all translators, except one, have decidedly diverted from the temporal sense of the text. The first line haajaar bochor dhore aami banalata sen by jibanananda das biography haatitechi prithibir pothey is in present perfect continuous tense.

Most translations have rendered this either into simple past tense or present perfect tense. Oblivious of the continuity of the act Martin Kirkman translated : A thousand years I have wandered upon the earth. Amitabha Mukerjee translated : A thousand years I have walked these paths. Sukanta Chaudhuri rendered : I have walked the roads across the earth's breast for a thousand years.

Ananda Lal also used present perfect tense : I have walked the paths of earth for thousands of years. Now the translation by Joydeep Bhattacharya : I have walked earth's byways for millennia. Fakrul Alam followed suit by writing : For a thousand years I have walked the ways of the world. On the contrary, Clinton B. Seely used simple past tense : For thousands of years I roamed the paths of this earth.

Joe Winter translated : For thousands of years Earth's path has been my path. This is in line with Jibanananda Das himself who translated like : Long I have been a wanderer of this world. Jibanananda scholar Clinton B. Indeed, Jibanananda Das's poetry is sometimes an outcome of profound feeling painted in imagery of a type not readily understandable.

Sometimes the connection between the sequential lines is not obvious. In fact, Jibanananda Das broke the traditional circular structure of poetry introduction-middle-end and the pattern of logical sequence of words, lines and stanzas. Consequently, the thematic connotation is often hidden under a rhythmic narrative that requires careful reading between the lines.

The following excerpt will bear the point out:. Lepers open the hydrant and lap some water. Or maybe that hydrant was already broken. Now at midnight they descend upon the city in droves, Scattering sloshing petrol. Though ever careful, Someone seems to have taken a serious spill in the water. Three rickshaws trot off, fading into the last gaslight.

Night — a poem on night in Calcuttatranslated by Clinton B. Though Jibanananda Das was variously branded at times and was popularly known as a modernist of the Yeatsian - Poundian - Eliotesque school, Annadashankar Roy called him the truest poet. Jibanananda Das conceived a poem and moulded it up in the way most natural for him. When a theme occurred to him, he shaped it with words, metaphors and imagery that distinguished him from all others.

Jibanananda Das's poetry is to be felt, rather than merely read or heard. Writing about Jibanananda Das' poetry, Joe Winter remarked:. It is a natural process, though perhaps the rarest one.

Banalata sen by jibanananda das biography

Jibanananda's style reminds us of this, seeming to come unbidden. It is full of sentences that scarcely pause for breath; of word-combinations that seem altogether unlikely but work; of switches in register, from a sophisticated usage to a village-dialect word, that jar and in the same instant settle in the mind. Full of friction, in short, that almost becomes a part of the consciousness ticking.

Nevertheless, the owl stays wide awake; The rotten, still frog begs two more moments in the hope of another dawn in conceivable warmth. We feel in the deep tracelessness of flocking darkness the unforgiving enmity of the mosquito-net all around; The mosquito loves the stream of life, awake in its monastery of darkness. One day eight years agotranslated by Faizul Latif Chowdhury.

For the land they will go to now is called the soaring river where a wretched bone-picker and his bone come and discover their faces in water — till looking at faces is over. Idle Momenttranslated by Joe Winter [ 24 ]. Also noteworthy are his sonnets, the most famous being seven untitled pieces collected in the publication Shaat-ti Tarar Timir "The Blackness of Seven Starswhere he describes, on one hand, his attachment to his motherland, and on the other, his views about life and death in general.

They are noteworthy not only because of the picturesque description of nature that was a regular feature of most of his work but also for the use of metaphors and allegories. For example, a lone owl flying about in the night sky is taken as an omen of death, while the anklets on the feet of a swan symbolises the vivacity of life. The following are undoubtedly the most oft-quoted line from this collection:.

Jibanananda successfully integrated Bengali poetry with the slightly older Eurocentric international modernist movement of the early 20th century. In this regard he possibly owes as much to his exotic exposure as to his innate poetic talent. Although hardly appreciated during his lifetime, many critics believe that his modernism, evoking almost all the suggested elements of the phenomenon, remains untranscended to date, despite the emergence of many notable poets during the last 50 years.

His success as a modern Bengali poet may be attributed to the facts that Jibanananda Das in his poetry not only discovered the tract of the slowly evolving 20th-century modern mind, sensitive and reactive, full of anxiety and tension, bu that he invented his own diction, rhythm and vocabulary, with an unmistakably indigenous rooting, and that he maintained a self-styled lyricism and imagism mixed with an extraordinary existentialist sensuousness, perfectly suited to the modern temperament in the Indian context, whereby he also averted fatal dehumanisation that could have alienated him from the people.

He was at once a classicist and a romantic and created an appealing world hitherto unknown:. For thousands of years I roamed the paths of this banalata sen by jibanananda das biography, From waters round Ceylon in dead of night to Malayan seas. Much have I wandered. I was there in the grey world of Asoka And Bimbisarapressed on through darkness to the city of Vidarbha.

I am a weary heart surrounded by life's frothy ocean. To me she gave a moment's peace — Banalata Sen from Natore. Banalata Sen. While reading Jibanananda Das, one often encounters references to olden times and places, events and personalities. A sense of time and history is an unmistakable element that has shaped Jibanananda Das's poetic world to a great extent.

However, he lost sight of nothing surrounding him. Unlike many of his banalata sens by jibanananda das biography who blindly imitated the renowned western poets in a bid to create a new poetic domain and generated spurious poetry, Jibanananda Das remained anchored in his own soil and time, successfully assimilating experiences real and virtual and producing hundreds of unforgettable lines.

His intellectual vision was thoroughly embedded in Bengal's nature and beauty:. Amidst a vast meadow the last time when I met her I said: 'Come again a time like this if one day you so wish twenty-five years later. After that, many a time, the moon and the stars from field to field have died, the owls and the rats searching grains in paddy fields on a moonlit night fluttered and crept!

Yet it seems Twenty-five years will forever last. After Twenty-five Yearstranslated by Luna Rushdi. Thematically, Jibanananda Das is amazed by the continued existence of humankind in the backdrop of eternal flux of time, wherein individual presence is insignificant and meteoric albeit inescapable. He feels that we are closed in, fouled by the numbness of this concentration cell Meditations.

To him, the world is weird and olden, and as a race, mankind has been a persistent "wanderer of this world" Banalata Sen that, according to him, has existed too long to know anything more Before deathWalking alone or experience anything fresh. The justification of further mechanical existence like Mahin's horses The Horses is apparently absent: "So he had slept by the Dhanshiri river on a cold December night, and had never thought of waking again" Darkness.

As an individual, tired of life and yearning for sleep One day eight years agoJibanananda Das is certain that peace can be found nowhere and that it is useless to move to a distant land, since there is no way of freedom from sorrows fixed by life Land, Time and Offspring. Nevertheless, he suggests: "O sailor, you press on, keep pace with the sun!

Why did Jibanananda task himself to forge a new poetic speech, while others in his time preferred to tread the usual path? The answer is simple. In his endeavours to shape a world of his own, he was gradual and steady. He was an inward-looking person and was not in a hurry. I do not want to go anywhere so fast. Whatever my life wants I have time to reach there walking Of — a poem on the motor car, translated by Golam Mustafa.

In the poet's birth centenary, Bibhav published 40 of his poems that had been yet unpublished. Shamik Bose has translated a poem, untitled by the poet. Here is the Bengali original, with Bose's translation in English:. Under this sky, these stars beneath -- One day will have to sleep inside tiredness -- Like snow-filled white ocean of North Pole!

This night — this day — O this light as bright as it may! Had felt the fragrance of a body one day, -- By washing my body inside sea water -- Felt our heart so deep by falling in love! This visit! This conscious vigil that I see, I feel -- Yet will end one day -- Time only remains for us to ripe like a harvest in green soil -- Once so ripen, then the hands of death will be likeable — Will hold us in his chest, one by one -- Like a sleeplorn -- Fugitive lovelorn -- Inside tender whispers!

When that time will prosper to an end and he will come -- That savor will be Das was also known as a surrealist poet for his spontaneous, frenzied overflow of subconscious mind in poetry and especially in diction. During his lifetime Jibanananda remained solely a poet who occasionally wrote literary articles, mostly on request. Only after his death were a huge number of novels and short stories discovered.

Thematically, Jibanananda's storylines are largely autobiographical. His own time constitutes the perspective. While in poetry he subdued his own life, he allowed it to be brought into his fiction. Structurally his fictional works are based more on dialogues than description by the author. However, his prose shows a unique style of compound sentences, use of non-colloquial words and a typical pattern of punctuation.

His essays evidence a heavy prose style, which although complex, is capable of expressing complicated analytical statements. As a result, his prose was very compact, containing profound messages in a relatively short space. Translating Jibanananda Das JD poses a real challenge to any translator. It not only requires translation of words and phrases, it demands 'translation' of colour and music, of imagination and images.

Translations are a works of interpretation and reconstruction. When it comes to JD, both are quite difficult. However people have shown enormous enthusiasm in translating JD. Translation of JD commenced as the poet himself rendered some of his poetry into English at the request of poet Buddhadeb Bose for the Kavita. That was His translations include Banalata SenMeditationsDarknessCat and Sailor among others, many of which are now lost.

These have been published, home and abroad, in different anthologies and magazines. Obviously different translators have approached their task from different perspectives.