Weekly Column in English WINDOW SEAT | 1.11.2020

 

Window Seat | Mrinal Chatterjee | 1.11.2020

Baishnab Pani

Not many people outside Odisha may know Ganakabi Baishnab Pani.  He was one of the pioneers of Odia folk opera (called Jatra in Odia and Bengali). He not only wrote about 600 geeti-natya (musical play) but also directed and staged their performances. He was also a social reformer. He did not believe in casteism and walked the talk. Being a Brahmin, he married a girl belonging to a washer man community in spite of opposition from his family members and people of higher caste.

Baisnab Pani

He was born on the night of Kumar Purnima in 1882 (his 138th birth anniversary fell on October 30 this year) at Kothapada village in Cuttack district in a poor Brahmin family to father Sudarsan Pani and mother Chhaya Devi. He was named Satrughna. He was an ailing child. Unable to afford his treatment, as per the prevailing custom of that time, his parents dedicated him to great banyan tree of Matha Bada Chhata in Puri for his well-being and changed his name from Satrughna to Baishnab.

It so happened, that Baishnab survived. He was encouraged to study by Bholanath Mishra, the then headmaster of Kothapada Middle English School. However, poverty forced him to drop out while he was in Class VII. But gifted as he was, Pani became a popular ‘pala gayak’. He had a knack of reading and kept on enriching himself. Besides Odia literature, Pani had grasp over Sanskrit grammar and literature.

Baishnab Pani wrote about 600 books including 150 yatras, 19 satirical plays (called farce) and 65 anthologies of lyrics, poems, stories and other literary pieces. Some of his popular yatras include  Dronacharya Baddha (1928), Karna Arjuna (1929), Rangasabha (1930), Daksha Yajna  (1932), Karnadana Parikshya (1951). He also wrote yatras like Karna Baddha and Bijay Basanta. His satirical plays (Farce) include Abu Hassan Farce, Saudagara Farce, Natua Mohanty, etc.

Ironically his books and plays and hard work in popularizing this performing art did not bring him prosperity. Neither did it get him fame as a refined litterateur. His popularity was considered by the elite to be low-brow. Hard work and erratic life style took a toll on his health.

He died in 1956.

Baishnab Pani’s talent was not recognized in his lifetime. He was a popular writer-director. But he was not considered to be a high-class litterateur. However, it was after his death that his talent and contribution to Odia folk literature was recognized.

Recognising his contributions to the Odia yatra and literature, the Utkal Sahitya Samaj, a state-level elite association of litterateurs honoured  him with the title Ganakabi (People’s Poet) at a function held at Cuttack in the presence of a galaxy of prominent writers and poets- posthumously, a decade after his death.

Ravan-Dahan 2020

In the age-told story, Ram killed Ravan on the Dusehra evening. And to commemorate that, burning of the effigy of Ravan is organized. Now, here is a new version in the time of Covid-19: Ravan died because he did not wear mask.

Madhubani Painting by Vinita Jain.

Marxist twist to the story: Ravan, being a poor king could not afford to buy masks for his ten heads. He came to fight Ram without mask. So in a way Ram did not kill Ravan. The unequal social structure did.
Capitalist twist: Ravan died because he lived in a uber-sanitised place called Lanka and therefore lacked the immunity to fight the corona virus.
Web-series type twist: Ravan did not die. He goes into coma. He'll reappear next year.
Conspiracy Theorist Twist: Ravan wore nine heads of blown up Corona virus. Sri Ram and Laxman threw arrows that spewed liquid soap. Hanuman sprayed sanitiser with 100% alcohol. However, Ravan administered antidote to one head. So though it seemed Ravan died, actually he survived.
Morale of the story: Ravan always survives so that the war between good and evil can continue.

Tail-piece: CV of Corona

If Corona had to make a CV, here's how it would read: 

1. Responsible for Global Digital Transformation and fast-tracking. 

2.Reduction of Global CO2 emission. 

3.Five million job "restructuring". 

4.Global Hygiene initiatives: 

Ensured 100% compliance on washing hands... leading to collatrally reduction of other communicable diseases. 

5. Made global industry shift to WFH - saved exposure and costs. 

6. Reduction in global noise pollution by making everyone keep their mouth shut (masked). 

7. Taught cooking, vegetable shopping, housekeeping to many 

8. Highlighted the importance of governance, adaptability and long term planning, by all sectors 

9. Spiritual contribution- Provided ample time to all egoistic and self centered people to contemplate on their mortal nature. 

10. Provided a big boost to the Pharma sector and brought back small utility stores back into the limelight. 

Corona’s CV would look better than that of many CEOs! 

Tail-piece: Maa 

Santa: Aaj mere paas paisa hai, bangla hai, gaadi hai.... tere paas kya hai ? 

Banta: Mere paas bhi paisa hai, bangla hai, gaadi hai.... 

Santa: O teri ! Phir hamari Maa kiske paas hai ??!

*** 

Journalist turned media academician Mrinal Chatterjee lives in Dhenkanal, Odisha. He also writes fiction and translates poetry from Urdu and Hindi to Odia and Bengali. mrinalchatterjeeiimc@gmail.com

This column is published every Sunday in Gangtok based English daily Sikkim Express and www.prameyanews.com

 

 

On-line Radio and Television Anchoring Training Programme

 

E-Panel discussion on 4 Nov. at 4 pm | What Good Journalism Can Do.

To join send an email to iimcdkl25@gmail.com
The joining link will be sent to your mail.

 

Article in Odia | A Tribute to R.K.Laxman

Samadrusti, 16-31 Oct. 2020

 

Column in English | Window Seat 25.10.2020

 Window Seat | Mrinal Chatterjee | 25.10.2020

Gandhian Model of Environmentalism

Mahatma Gandhi never used the words environment protection, but his writings are replete with remarks on the excesses of industrial society, growing greed- leading to the possible destruction of human civilization.

Gandhi never used the word development. The word was first used by the US president Harry S Truman in 1949. Yes, people often talk of the Gandhian model of development. But if such a model is genuinely Gandhian then it is not about development. As sociologist and thinker Asish Nandy said in an interview, “All social change is not development. The fundamental aspects of development—for example unending industrialisation, unending urbanisation, unending consumption—are not justifiable according to the Gandhian way. Gandhiji strongly believed that hedonism associated with globalised capitalism is not conducive to human happiness”. 

Mahatma Gandhi’s critique of modernity reveals his concern about the emergence of a social order that exploits nature for short-term gains. Troubled by unrestricted industrialism and materialism, Gandhi had foreseen a time when the resources of the earth will not be enough to meet the growing demands of the people.  He had written widely about the need for human beings to exercise restraint with respect to the use of natural resources. His “counter-thinking” is now increasingly becoming a mainstream thought (he is referred to in all international environment summits) with greater awareness of the environmental problems.

When it comes to environmental sustainability, human greed is the major threat. Gandhi had famously said: “The Earth has enough resources for our need but not for our greed.” A market-driven capitalistic system fuels the greed in human beings and propels more and more consumption- more often than not at the cost of environment- loss of natural resources, bio-diversity, and ecological balance.

Population explosion, mass poverty, over-utilization of renewable resources, overuse of fertilizers leading to water pollution, rapid industrialization, global warming, desert formation, deforestation, emission of harmful substances causing air pollution, industrial and synthetic wastes, and nuclear hazards that are more man-made in nature are all causing irreparable damages to our planet. Many of these problems are attributed to uncontrolled industrialization. The air pollution has resulted in a wide spectrum of morbid conditions such as acute respiratory and eye-related problems to chronic respiratory, cardiovascular mortalities and cancers.

Gandhi in his seminal work, Hind Swaraj, written over a hundred years ago in 1909 warned of the dangers the world is facing today in the form of environmental destruction and the threat to the planet. The Gandhian idea becomes still more relevant when sustainable growth and development is to be achieved because he emphasized on production by the masses instead of mass production. According to him this will result in the development of an economic system that can minimize environmental degradation and achieve sustainable development. His idea of Swaraj or self-rule enables a practical sustainable development that can be implemented without compromising the quality of life.

Gandhi had emphasized the importance of natural resources and its conservation. This has a direct bearing on the man-and-environment relationship.

The importance of Gandhian philosophy is well-felt in the present period in which the lifestyle of human beings has been developed in a direction of high consumerism and generation of waste. This has a two-way impact on nature. Firstly, the rate of depletion of resources has increased tremendously, and secondly, the presence of toxicity in air, water and soil has increased.

Gandhi was influenced by Jainism, which looks at nature as a living entity and exhorts human beings to continually purify themselves by respecting diverse life forms. The Gandhian idea of satya and ahimsa can be useful to reduce the greed of the individual and society.

The concept of Sarvodaya is also similar to that of a sustainable development and forms a part of environmental ethics. Gandhi's vision of Sarvodaya, implies a healthy development and environment that can be evolved by man to ensure his harmonious existence with nature and other living beings. 

We need to heed the voices of Gandhi now, and act accordingly before it is too late- if we care about our children, and about the future of the planet.

Devi Durga in Thanjavur painting

Thanjavur (anglicised as Tanjore) painting is a classical South Indian painting style which draws its name from Thanjavur town, Tamil Nadu.

The art form draws its immediate resources and inspiration from way back about 1600 AD, a period when the Nayakas of Thanjavur under the suzerainty of the Vijayanagara Rayas encouraged art—chiefly, classical dance and music—as well as literature, both in Telugu and Tamil and painting of Hindu Gods and Goddesses in temples. It is distinguished by its famous gold coating.

However, it can safely be surmised that Thanjavur painting, as we know it now, originated in the Maratha court of Thanjavur (1676–1855).

Thanjavur paintings are characterised by rich and vivid colors, simple iconic composition, glittering gold foils overlaid on delicate but extensive gesso work and inlay of glass beads and pieces or very rarely precious and semi-precious gems. In Thanjavur paintings one can see the influence of Deccani, Vijayanagar, Maratha and even European or Company styles of painting.

Although Thanjavur paintings usually have Hindu Gods and Goddesses as subjects, there are also many instances from the history when Jain, Sikh, Muslim, other religions and even secular subjects were depicted in Tanjore paintings.

Tail-piece: Lockdown laughs 

1. Having practiced lethargy for 8 months, I am ready for audition for the first season of "Indian Idle" 

2. I started a new hobby - gardening. 

I planted myself before the TV and I have grown noticeably 

3. The lockdown is like the movie Dabangg. 

Doesn't make any sense, but sequels keep getting made 

4. Without access to a barber, I look barbaric. 

The more I stay at home, the more homeless I look.

***

A journalist turned media academician Mrinal Chatterjee lives in Dhenkanal, Odisha. He has co-edited an anthology of essays titled Gandhi as A Journalist and Editor. The odia version of the book is being published shortly. mrinalchatterjeeiimc@gmail.com

 

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article on 100 years of R K Laxman

Odia daily Nitidina, 24.10.2020

 

Article in Odia | De-meaning of Words

 

Nirbhay, 19.10.2020 Monday

Article on the occasion of 100 years of 'Mooknayak'

 

Mooknayak @100

Mooknayak:  the paper that kick-started politics of assertion

Dr. Mrinal Chatterjee

Mooknayak (The Leader of the Voiceless) was a Marathi fortnightly newspaper published from Bombay on alternate Saturdays that Babasaheb Ambedkar started in 1920. He was 29 then. It was his first journalistic venture. The title of the newspaper was probably inspired by the quatrain written by 17^th century Marathi Bhakti poet, Tukaram(1608-1650). This particular quatrain also found place beneath the heading of the paper. 

Why should I feel shy?
I have laid aside hesitation and opened my mouth.
Here, on earth, no notice is taken of a dumb creature;
No real good can be secured by over-modesty.

Ambedkar’s aim in launching this journal was to put forward his own point of view on matters such as the evils of untouchability, the socio-economic status of ‘untouchables’, their position in the Hindu society, would swaraj bring about any change in their status, etc. These issues and questions had hitherto not found due representation in mainstream Hindi or Marathi journals. Ambedkar tried to bring forth these issues to the limelight. The tone was set from the very first editorial that he wrote in the opening issue published on 31 January 2020:

“The Hindu society is like a tower of many stories. It has neither a ladder nor a door to go out. And therefore there is no way to interchange stories. Those who are born on a particular storey die in that storey. Even if the lowest storey person is worthy deserving to be promoted to the upper storey he cannot move to that level. And if the person in the upper storey is most unworthy and undeserving still he cannot be pushed down” …….

In a way Mooknayak provided a forum to the marginalized classes of people in the society and laid the foundations of an assertive Dalit politics in India.

Interestingly, Ambedkar was never officially associated with the operations of Mooknayak, as he was in government service then. He worked as it’s ‘behind the scene’ de facto editor for at least six months, before leaving India to continue with his doctoral studies at the London School of Economics.

He is believed to have edited 12 issues in the span of six months. The first official editor of the Mooknayak, was Pandhurang Nandram Bhatkar. Bhatkar, an employee of the Bombay Port Trust was one of the known activists working in the Bombay based Dalit-non Brahmin activist circles.

Before his stint as an editor, Bhatkar, a graduate from Fergusson College Pune, came into limelight for his marriage to a Brahmin woman in Bombay. He, however, held a largely ceremonial position at the paper. In July 1920, he was replaced by Dnyandev Gholap, who also had experience of working for Mooknayak as a manager and accountant.

Gholap had assisted Ambedkar in 1919 to prepare a memorandum of demands to be submitted to the colonial government and played a vital role as its editor. He attained a unique reputation of becoming the first nominated member from the untouchable community to find place in the Bombay Legislative Council.

But due to the complaints of mismanagement of the periodical, ties between Gholap and Ambedkar got bitter in the later years. Subsequently, Ambedkar had to distance himself from the activities of Mooknayak from 1923 onwards. Soon, after a public spat with Ambedkar, Gholap left Bombay for his native village in Satara. It was here he restarted Mooknayak with a new title Abhinav Mooknayak. This periodical didn’t have a long life, mostly due to lack of finances and subscriptions. In the later years, Gholap joined the Congress.

The price of a single copy of the Mooknayak was 2.5 ānā, and the annual subscription was Rs 2.50. The circulation of the newspaper was limited to 700 subscribers in July 1920, with a marginal rise in later years. By July 1922, the circulation had risen to 1,000 subscribers.

But the paper faced serious financial and management problems since its inception. In the times of financial crisis, Ambedkar’s close Parsi friend Naval Bhathena provided vital funds. Bhathena, an entrepreneur himself, was a classmate of Ambedkar at Columbia University.

The friendship between Ambedkar and Bhathena was particularly interesting as despite being a Gandhi admirer and Congress supporter, Bhathena and Ambedkar remained lifelong friends. In Ambedkar’s absence, it was Bhathena who financially bailed out Mooknayak on several occasions. He also helped Mooknayak reach out to big businessmen like Godrej for advertisements.

The paper faced several hurdles and prejudices even before it was published. However, it was Ambedkar’s grit and determination and help from some persons that saw the paper through and kept it going. Chatrapati Shahuji Maharaj, the ruler of the erstwhile princely state of Kolhapur donated Rs 2500 for Mooknayak.

Though the paper closed down within three years primarily becauyse of mismanagement and internal quibbling- it left a lasting legacy. In fact as Prabodhan Pol writes in thewire.in “Mooknayak’s establishment in 1920 reflected the conspicuous shift in the socio-political discourse on caste and untouchability in India. Ambedkar’s newspapers, beginning with Mooknayak, a Marathi fortnightly, helped to inaugurate new politics of assertion that challenged the dominant social diseases.”

Mooknayak went through many ups and downs. It remained in circulation just for three years. Despite its short life, Mooknayak laid the foundations of an assertive and organised Dalit politics. It announced the arrival of a newer generation of anti-caste politics that broke the confines of region, language and political boundaries and coincided with the larger developments on the nationalist scene. 

Ambedkar started three more newspapers after Mooknayak. In April 1927, he bought a printing press through donations. He named it ‘Bharat Bhushan Printing Press’ and launched a fortnightly newspaper Bahishkrit Bharat (Ostracized India). But Bahishkrit Bharat, too, faced financial difficulties and ultimately shut down in November 1929. In 1930, Ambedkar started another fortnightly titled Janta (Masses), and later in 1954, he relaunched it as Prabuddha Bharat (Awakened India) a weekly to coincide with his drive to mass conversion to Buddhism with his followers. All of its issues carried the line “Founded by Dr Ambedkar” below the masthead. Babasaheb ran this paper till his death in 1956. His son Yashwant tried to keep the newspaper afloat till 1960, but eventually, it shut down. Attempts were again made to revive the newspaper in the 1980s and 1990, but each time it could not be sustained beyond a few months. It was again revived as a fortnightly in end 2017.

Ambedkar had considered the press as a key tool in his quest to achieve social justice. With his over four-decade-long journey as a social reformer and a political thinker, he had started several newspapers. These newspapers propagated his revolutionary ideas and focussed on the issues faced by the oppressed and were run at a time when the nationalist movement was rife. His writings remained highly critical of both the prevalent caste system and the nationalist movement which, he felt, remained blind towards the issues of the servile classes – the shudras and the untouchables.

However, the lessons from the Mooknayak experiment not only changed Ambedkar’s perspective towards conducting newspapers but it was an instructive exercise for many forthcoming generations of Ambedkarite activists.

Mooknayak carried reports and opinions particularly dealing with western India. However, there were also insightful responses to pan-India concerns. One of the important components of Ambedkar’s newspapers (including Mooknayak) were the regular publication of the open letters which were sent by common Dalits, demanding immediate attention to their particular cases of caste oppression and violence. 

The advent of the Mooknayak was symptomatic of the rise of Dalits in the public sphere. Printed pamphlets, leaflets and periodicals became easiest vehicles to generate public activism amongst the masses.

The rhetoric of nationalism, according to Mooknayak, would not work in the long-term, unless social-religious discriminations and the institution of caste were completely annihilated. 

These are concepts which resonate particularly today.

***

 

Column | Pathe Prantare | 18.10.2020

 

ପଥେ ପ୍ରାନ୍ତରେ / ମୃଣାଳ  18.10.2020

ମହାମାରୀ ପୃଷ୍ଠଭୂମିରେ ସାହିତ୍ୟ

ମଣିଷର ସମସ୍ତ ପ୍ରକାର ଚେହେରାର ସଚ୍ଚା ଆଇନା ହେଲା ସାହିତ୍ୟ । ମଣିଷର ସୁଖ, ଦୁଃଖ, ଆନନ୍ଦ, ବିଷାଦ, ତା’ ସଂଘର୍ଷ କରିବାର ଶକ୍ତି, ପ୍ରତିକୂଳତା ବିରୋଧରେ ଲଢ଼ିବାର ସାହସ- ପୁଣି ତାର ଲୋଭ, ଈର୍ଷା, ଭୟ, କାପୁରୁଷତା - ଏସବୁକୁ ମାର୍ମିକ ଭାବେ ଆମ ପାଖରେ ପହଞ୍ଚାଏ ସାହିତ୍ୟ । ବିଜ୍ଞାନ ମହାମାରୀର ବୈଜ୍ଞାନିକ କାରଣ ଖୋଜି ବାହାର କରେ, ତା ସହିତ ସଂଘର୍ଷ କରିବାର ବାଟ ଦେଖାଏ, ବଞ୍ଚିବାର ବାଟ ଦେଖାଏ । ପରିସଂଖ୍ୟାନ ଦେଖାଏ ସଂଖ୍ୟାଗତ ଦିଗକୁ । କେତେ ଲୋକ ସଂକ୍ରମିତ ହେଲେ, କେତେ ବଞ୍ଚିଲେ, କେତେ ବଞ୍ଚିଲେ- କେଉଁ ବୟସର କେତେ ଲୋକ ମଲେ ବା ବଞ୍ଚିଲେ । ପରିସଂଖ୍ୟାନ ଗୋଟେ ଦିଗରୁ ବିଜ୍ଞାନକୁ ସାହାଯ୍ୟ କରେ, ଆଉ ଗୋଟେ  ଦିଗରୁ ଇତିହାସକୁ । ଇତିହାସ ଘଟଣା ଏବଂ ଏଥିରେ ସମ୍ପୃକ୍ତ ଲୋକମାନଙ୍କର ଭୌତିକ ଦଲିଲ ରଖେ । କେବେ ହେଲା ମହାମାରୀ, କିଏ କିଏ ଏଥିରେ ପ୍ରାଣ ହରେଇଲେ । ଆଉ ସାହିତ୍ୟ ମହାମାରୀ ଆକ୍ରାନ୍ତ ଏବଂ ମହାମାରୀରେ ପ୍ରଭାବିତ ଲୋକଙ୍କ ଆବେଗ, ଦୁଃଖ ଏବଂ ସଂଘର୍ଷର କାହାଣୀ ଲେଖିରଖେ । ତଥ୍ୟଗତ ଦୃଷ୍ଟିରୁ ଏହା ଇତିହାସ ଭଳି ସଠିକ୍‍ ହୋଇ ନ ପାରେ, କିନ୍ତୁ ଭାବଗତ ଦୃଷ୍ଟିରୁ ଏହା ଇତିହାସଠୁଁ ଅଧିକ ସତ୍ୟ ।

ବିଶ୍ୱ ଇତିହାସରେ ମହାମାରୀ କିଛି କମ୍‍ ଥର ହୋଇନାହିଁ । ଆଉ  ପ୍ରତ୍ୟେକ ମହାମାରୀ ବିପର୍ଯ୍ୟୟ ସହିତ ଇତିହାସର ଏକ ନୂଆ ମୋଡ଼ ଆସିଛି । ରାଜନୈତିକ ଶକ୍ତି ସନ୍ତୁଳନରେ ନୂଆ ଚେହେରା ଦିଶିଛି । ବିଜ୍ଞାନର ନୂଆ ଉଦ୍ଭାବନ ଏବଂ ନୂଆ ପ୍ରୟୋଗ ଆସିଛି । ଆଉ ସାହିତ୍ୟିକମାନେ ଗଳ୍ପ, କବିତା, ଉପନ୍ୟାସ ମାଧ୍ୟମରେ ଏହାର ମାନବିକ ବିଷୟଗୁଡି଼କୁ ଲିପିବଦ୍ଧ କରି ରଖିଛନ୍ତି । ମହାମାରୀର ବୈଜ୍ଞାନିକ ଦିଗଟି ବଦଳରେ ସାହିତ୍ୟରେ ଥାଏ ମହାମାରୀ ସମୟରେ ମଣିଷ କିପରି ତାକୁ ମୁକାବିଲା କଲା, କିପରି ଜୀବନକୁ ବଞ୍ଚିଲା, ମଣିଷର ଅନ୍ୟ ମଣିଷ ସହିତ ସମ୍ପର୍କରେ କଣ ଆଉ କିପରି କ୍ଷତିବୃଦ୍ଧି ହେଲା ତାର ମାନବିକ ଓ ମାର୍ମିକ ଦଲିଲ । ତେଣୁ ସାହିତ୍ୟ ପାଲଟିଯାଏ ମହାମାରୀର ସଚ୍ଚା ଦସ୍ତାବିଜ୍‍ । ଉଲ୍ଲେଖନୀୟ ବିଷୟ ହେଲା- ବିଶ୍ୱ ସାହିତ୍ୟରେ ମହାମାରୀକୁ ନେଇ ଏବଂ ମହାମାରୀ ପ୍ରେକ୍ଷାପଟରେ ଯେତେ କାହାଣୀ ଲେଖାଯାଇଛି- ତାର ଅନ୍ତଃସ୍ୱର ଊଣାଅଧିକେ ସମାନ ଏଥିରୁ ଗୋଟିଏ କଥା ସ୍ପଷ୍ଟ ହୁଏ: ସାହିତ୍ୟ ଭାଷା, ସ୍ଥାନ, ସଂସ୍କୃତିର ଘେରାଟୋପରୁ ଊର୍ଦ୍ଧ୍ୱକୁ ଉଠି ଏକ ବିଶ୍ୱଚେତନାର, ବିଶ୍ୱମାନବିକତାର କଥା କହେ ।

ଭାରତରେ ମଧ୍ୟ ବହୁ ମହାମାରୀ ତାର କରାଳ କାୟା ବିସ୍ତାର କରିଛି । ଆଉ ଭାରତୀୟ ସାହିତ୍ୟରେ ମଧ୍ୟ ମହାମାରୀକୁ ନେଇ ଅନେକ ଗଳ୍ପ, କବିତା, ଉପନ୍ୟାସ ଲେଖାଯାଇଛି ।

ରବିନ୍ଦ୍ରନାଥ ଠାକୁର(୧୮୬୧-୧୯୪୧)ଙ୍କର ଏକ ଦୀର୍ଘ କବିତା ‘ପୁରାତନ ଭୃତ୍ୟ’ର ପ୍ରେକ୍ଷାପଟ୍ଟ ହେଲା ପାଣିବସନ୍ତ ମହାମାରୀ । ଗୋଟେ ଘରର ବୁଢ଼ା ଚାକର ମହାମାରୀ ସମୟରେ ନିଜ ମାଲିକକୁ ସେବା କରି ବଞ୍ଚାଇଲେ, ଆଉ ନିଜେ ପ୍ରାଣ ହରାଇଲେ- ବିୟୋଗାନ୍ତକ ଏ କାହାଣୀ କୁହାଯାଇଛି ଏ ଦୀର୍ଘ କବିତାରେ ।

୧୯୧୮ ସ୍ପାନିସ୍‍ ଫ୍ଲୁରେ ଭାରତର ବହୁ ଲୋକ ପ୍ରାଣ ହରାଇଥିଲେ । ଦିଲ୍ଲୀରେ ଜନ୍ମ ଏବଂ ପରେ ପାକିସ୍ତାନ ଚାଲିଯାଇଥିବା ଅହମ୍ମଦ ଅଲୀ(୧୯୧୦-୧୯୯୪)ଙ୍କର ‘ଟ୍ୱିଲାଇଟ ଇନ୍‍ ଦିଲ୍ଲୀ’(ଦିଲ୍ଲୀରେ ସନ୍ଧ୍ୟା) ଉପନ୍ୟାସରେ ଏହି କାଳଖଣ୍ଡର କଥା କୁହାଯାଇଛି । ଏ ସମୟରେ କେମିତି କବର ଖୋଳିବା ପାଇଁ ୪ଗୁଣ ଅଧିକ ଟଙ୍କା ଦାବି କରାଯାଉଥିଲା, କେମିତି ଲୋକେ କବର ଚାଦର ମଧ୍ୟ ଚୋରି କରି ନେଇଯାଉଥିଲେ- ତା’ର ମାର୍ମିକ ବର୍ଣ୍ଣନା ରହିଛି । ଟ୍ୱିଲାଇଟ୍‍ ଇନ୍‍ ଦିଲ୍ଲୀ ଥିଲା ଅହମ୍ମଦ ଅଲୀଙ୍କର ପ୍ରଥମ ପ୍ରକାଶିତ ଉପନ୍ୟାସ । ଏ ଉପନ୍ୟାସଟି ଇଂରାଜୀ ଭାଷାରେ ଲେଖା ଯାଇଥିଲା । ପରେ ତାଙ୍କ ସ୍ତ୍ରୀ ବିଲ୍‍କିସ୍‍ ଜାହାଁଏହାକୁ ଊର୍ଦ୍ଦୁରେ ଅନୁବାଦ କରିଥିଲେ । ନାଁ ଥିଲା: ଦିଲ୍ଲୀକି ଶାମ୍‍ ।

ପ୍ରଖ୍ୟାତ ହିନ୍ଦୀ ସାହିତ୍ୟିକ ସୂର୍ଯ୍ୟକାନ୍ତ ତ୍ରିପାଠୀ(ନିରାଲା, ୧୮୯୯-୧୯୬୧) ଙ୍କ ‘ସ୍ମୃତିଚାରଣ’(‘ଏ ଲାଇଫ ମିସପେଣ୍ଟ)ରେ ୧୯୧୮ର ସ୍ପାନିସ୍‍ ଫ୍ଲୁ ପ୍ରେକ୍ଷାପଟ୍ଟରେ ତାଙ୍କ ଜୀବନ କାହାଣୀ କୁହାଯାଇଛି । ଇନଫ୍ଲୁଞ୍ଜାରେ ନିଜ ସ୍ତ୍ରୀ ମନୋହରା ଦେବୀଙ୍କୁ ଖୁବ କମ ବୟସରେ ସେ ହରାଇଥିଲେ ।  ନିରାଲା ତାଙ୍କ ସ୍ତ୍ରୀଙ୍କୁ ଦେଖା କରିବା ପାଇଁ ଶ୍ୱଶୁର ଘରକୁ ଯାଉଥିଲେ । କିନ୍ତୁ ସେ ଭେଟିବା ପୂର୍ବରୁ ତାଙ୍କ ସ୍ତ୍ରୀ ଆରପାରିକୁ ଚାଲିଯାଇଥିଲେ । ତାଙ୍କ ଲେଖା ଓ କବିତାରେ ଏ ସମୟର ଅଶ୍ରୁଳ ବର୍ଣ୍ଣନା ରହିଛି । ଏତେ ସଂଖ୍ୟାରେ ଲୋକଙ୍କ ପ୍ରାଣ ହାନି ହେଉଥିଲା ଯେ ଅନେକ ଶବକୁ ଦାହ ନ କରି ଗଙ୍ଗା ନଦୀରେ ଫିଙ୍ଗି ଦିଆଯାଉଥିଲା । ଗଙ୍ଗାର ଗତି ଶବର ଭାରରେ ଯେମିତି ସ୍ତିମିତ ହୋଇଯାଇଥିଲା ।

ପ୍ରେମଚାନ୍ଦ(୧୮୮୦-୧୯୩୬)ଙ୍କ ‘ଇଦ୍‍ଗା’ ଗଳ୍ପର ପ୍ରେକ୍ଷାପଟ୍ଟ ହେଉଛି ମହାମାରୀ । ଅସ୍ପୃଷ୍ୟତା ଉପରେ ଏକ ସ୍ମରଣୀୟ ଗଳ୍ପ ‘ଦୁଧ୍‍କା ଦାମ’ରେ ଏକ ଚରିତ୍ର ମହାମାରୀରେ ପ୍ରାଣ ହରାଉଛି ।

ଫକୀର ମୋହନ ସେନାପତି(୧୮୪୩-୧୯୧୮)ଙ୍କ ‘ରେବତୀ’ ଗଳ୍ପରେ କଲେରା ମହାମାରୀ ଗଳ୍ପକୁ ଏକ ନାଟକୀୟ ମୋଡ଼ ଦେବାରେ ପ୍ରମୁଖ ଭୂମିକା ନେଇଛି । ରେବତୀ ଓଡ଼ିଆ ସାହିତ୍ୟରେ ପ୍ରଥମ ଛୋଟ ଗଳ୍ପର ମାନ୍ୟତା ପାଏ ।

ମାଲାୟଲମ ଲେଖକ ଠାକାଜି ଶିବଶଙ୍କର ପିଲାଇ (୧୯୧୨-୧୯୯୯)ଙ୍କର ଉପନ୍ୟାସ ‘ଫୋଟିୟୁଡେ ମକାନ’(ମେହେନ୍ତରର ପୁଅ)ରେ କେରଳର ଆଲାପୂଜା ସହରର ମହାମାରୀର ମାର୍ମିକ ଏବଂ କରୁଣ ବର୍ଣ୍ଣନା ରହିଛି । କକାନାଦନଙ୍କର ଉପନ୍ୟାସ ‘ଭାସୁରୀ’(ପାଣିବସନ୍ତ)ରେ କେରଳର ଏକ ସହରର ମାନବିକ ସମ୍ପର୍କ କିପରି ପ୍ରଭାବିତ ହେଉଛି ତାର ଚିତ୍ର ରହିଛି । ରେଣୁଙ୍କର(୧୯୨୧-୧୯୭୭) ଉପନ୍ୟାସ ‘ମଏଲା ଆଞ୍ଚଲ’ରେ ଜଣେ ଡାକ୍ତରଙ୍କର କାହାଣୀ କୁହାଯାଇଛି ଯିଏ ବିହାରର ଏକ ଗାଁରେ ରହି ଲୋକମାନଙ୍କ ହେଉଥିବା ବିଭିନ୍ନ ରୋଗର ଚିକିତ୍ସା କରୁକରୁ ନିଜ ଜୀବନକୁ ଉତ୍ସର୍ଗ କରିଦେଇଛନ୍ତି । କନ୍ନଡ ସାହିତ୍ୟିକ ୟ.ୁଆର. ଆନନ୍ଦମୂର୍ତ୍ତି (୧୯୩୨-୨୦୧୪)ଙ୍କ ଉପନ୍ୟାସ ‘ସମସ୍କାରରେ ଏକ ମୁଖ୍ୟ ଚରିତ୍ର ନାରାୟଣ ପଲଙ୍କର ପ୍ଲେଗ ମହାମାରୀରେ ମୃତ୍ୟୁ ହୋଇଯାଉଛି ।

ଅମିତାଭ ଘୋଷଙ୍କର(ଜନ୍ମ ୧୯୫୬) ‘ଦି କାଲକାଟା କ୍ରୋମୋଜନ’କୁ ଅନେକ ଏକ ମେଡିକାଲ ଥ୍ରିଲର ବୋଲି କହନ୍ତି । ଏ ଉପନ୍ୟାସର ପ୍ରେକ୍ଷାପଟ୍ଟ ହେଲା ମ୍ୟାଲେରିଆ ସମ୍ପର୍କୀତ ଗବେଷଣା । ଯଦିଓ ଏ ଉପନ୍ୟାସରେ ବିଜ୍ଞାନ, ରହସ୍ୟବାଦ ଏବଂ ଆଧ୍ୟାତ୍ମିକତା ରହିଛି, କିନ୍ତୁ ମହାମାରୀ ଏ ଉପନ୍ୟାସର ମେରୁଦଣ୍ଡ ।

ହିନ୍ଦୀ ଔପନ୍ୟାସିକ କମଳାକାନ୍ତ ତ୍ରିପାଠୀଙ୍କ ‘ପାହିଘର’ ଉପନ୍ୟାସର ପ୍ରେକ୍ଷାପଟ୍ଟ ହେଲା ୧୮୫୭ର ପ୍ରଥମ ସ୍ୱାଧୀନତା ସଂଗ୍ରାମ ବା ସିପାହୀ ବିଦ୍ରୋହ । ଏ ଉପନ୍ୟାସରେ କଲେରା ମହାମାରୀ ଏବଂ ଭୟଙ୍କର ବନ୍ୟା କେମିତି ଲୋକଙ୍କ ଜୀବନକୁ ପ୍ରଭାବିତ କରିଥିଲା, ତା’ର ବର୍ଣ୍ଣନା ରହିଛି ।

ଟିମେରୀ ମୁରାରୀ(ଜନ୍ମ ୧୯୪୧)ଙ୍କର ଉପନ୍ୟାସ ‘ଦି ବେଲିଭିଅନ ଟେକ୍ସ’ ୧୯୭୮ରେ ପ୍ରକାଶିତ ହୋଇଥିଲା । ସଂପ୍ରତି ଏହା ‘ଦି ଫାଇନାଲ କଣ୍ଟାଜିଅନ’ ନାମରେ ଆଉ ଥରେ ପ୍ରକାଶ କରାଯାଇଛି । ଏ ଉପନ୍ୟାସରେ ଜଣେ ସାମ୍ବାଦିକ ପିଅର୍ସ ସାତ୍‍ନେଲ ଆବିଷ୍କାର କରନ୍ତି ଯେ, ଲୋକମାନଙ୍କୁ ଚଳତଶକ୍ତି ରହିତ କରିବା ଏବଂ ହତ୍ୟା କରିବା ପାଇଁ ଏକ ମାରାତ୍ମକ ମହାମାରୀ ଭୂତାଣୁକୁ ଆବିଷ୍କାର କରାଯାଇଥିବା ସେ ଜାଣିପାରନ୍ତି । ଏ ଆବିଷ୍କାର ଫଳରେ ସାମ୍ବାଦିକ ସାତ୍‍ନେଲଙ୍କ ଜୀବନ ପ୍ରତି ବିପଦ ଦେଖାଗଲା । ସେ ଏଥିରୁ ବର୍ତ୍ତିବା ପାଇଁ କରିଥିବା ସଂଘର୍ଷ ଉପରେ କାହାଣୀ ଗଢ଼ିଉଠିଛି ।

ସାହିତ୍ୟ କେବଳ ଘଟଣାର ବର୍ଣ୍ଣନା ନୁହେଁ, ସାହିତ୍ୟ ଦର୍ଶାଏ ଗୋଟିଏ ଘଟଣା ମଣିଷକୁ କିଭଳି ପ୍ରଭାବିତ କରେ ଏବଂ ମଣିଷ କିଭଳି ସେ ଘଟଣାର ମୁକାବିଲା କରେ । ସବୁ ପ୍ରତିକୂଳ ଅବସ୍ଥା ସତ୍ତ୍ୱେ ବଞ୍ଚି ରହିବାର ସ୍ପୃହା ଏବଂ ଅଦମ୍ୟ ସାହସ ମଣିଷକୁ ଏଯାଏଁ ବଞ୍ଚାଇ ଆସିଛି । ସାହିତ୍ୟ ଏଇ ଜୀବନୀ ଶକ୍ତିକୁ ବିଭିନ୍ନ ବାଟରେ ଆମ ଆଗରେ ଉପସ୍ଥାପନା କରେ ଏବଂ ଆମକୁ ବଞ୍ଚିବାର ରାହା ଦେଖାଏ । ମହାମାରୀ ପୃଷ୍ଠଭୂମିରେ ଲେଖା କାହାଣୀ ଓ କବିତା ଗୁଡ଼ିକରେ ଏହାହିଁ ଆମେ ପାଇବା ।

ସଂଜ

ବୟସ ବୁଝାଉଛି
ଏବେ ଜୀବନର
ସଂଜ ନଈଁ ଆସିଲାଣି ।
ହୃଦୟ କହୁଛି
ସାଂଗ, ଆସର ତ
ସଂଜରୁ ଜମେ ।

ମୂଳ ହିନ୍ଦୀ: ଅଜ୍ଞାତ

(ସୌଜନ୍ୟ: ସାମାଜିକ ଗଣମାଧ୍ୟମ)

 

ଡାକ୍ତର ଆଉ ନବଘନ କଥାବାର୍ତ୍ତା

ନବଘନ: ଆଚ୍ଛା ସାର୍‌, କରୋନା ଟେଷ୍ଟ୍‌ ନେଗେଟିଭ୍‌ ଆସିଲେ କଣ କରିବି?

ଡାକ୍ତର: ମାସ୍କ୍‌ ପିନ୍ଧିବେ । ସାମାଜିକ ଦୂରତ୍ୱ ରଖିବେ ।

ନବଘନ: ଆଉ ପଜିଟିଭ୍‌ ଆସିଲେ?

ଡାକ୍ତର: ସେଇଆ କରିବେ । ମାସ୍କ୍‌ ପିନ୍ଧିବେ । ସାମାଜିକ ଦୂରତ୍ୱ ରଖିବେ ।

ନବଘନ:ଆଚ୍ଛା, ଟେଷ୍ଟ୍‌ ନେଗେଟିଭ୍‌ ଆସିଲେ କଉଠି ରହିବି?

ଡାକ୍ତର: ଘରେ ରହିବେ ।

ନବଘନ:ଆଉ ପଜିଟିଭ୍‌ ଆସିଲେ?

ଡାକ୍ତର: ସେଇ । ଘରେ ରହିବେ ।

ନବଘନ:ଆଚ୍ଛା, ଟେଷ୍ଟ ଯଦି ନେଗେଟିଭ୍‌ ଆସେ, ତେବେ କଣ ଖାଇବି?

ଡାକ୍ତର: ଭିଟାମିନ୍‌ ବି, ସି ଆଉ ଗରମ କ୍ଷୀର କି ଚା ।

ନବଘନ:ଆଉ ପଜିଟିଭ୍‌ ଆସିଲେ?

ଡାକ୍ତର: ସେଇଆ । ଭିଟାମିନ୍‌ ବି, ସି ଆଉ ଗରମ କ୍ଷୀର କି ଚା ।

ନବଘନ:ଯଦି କିଛି ଫରକ ନାହିଁ, ତେବେ ଟେଷ୍ଟ୍‌ କାହିଁକି କରେଇବି?

ଡାକ୍ତର: ଆଚ୍ଛା କଥା! ଟେଷ୍ଟ୍‌ ନ କଲେ, ଜଣା ପଡ଼ିବ କେମିତି ପଜିଟିଭ୍‌ ନା ନେଗେଟିଭ୍‌?

ଗଣତନ୍ତ୍ରର କେତେଟା ସ୍ତମ୍ଭ

- ଇତିହାସ ଶିକ୍ଷକ ପଢ଼େଇଥିଲେ ନା, ଗଣତନ୍ତ୍ରର କେତେଟା ସ୍ତମ୍ଭ ହେବା କଥା?

- ହୁମମ୍‍‍, ଚାରିଟା ତ ହେବା କଥା । ହେଲେ ଏବେ ମିଳିମିଶି ଗୋଟେ ହୋଇ ଯାଇଛି ।

(ମୂଳ ବଂଗଳା: ମାନସପ୍ରତିମ ଦାସ)ା

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ସଂଚାର ମାର୍ଗ, ଢେଙ୍କାନାଳ ୭୫୯ ୦୦୧