History of Bangla Literature

Introduction:

Bangla Literature dates back to the 7th century at least and it may be divided into three main
periods: ancient, medieval, and modern. The different periods may be dated as follows: ancient
period from 650-1200 medieval period from 1200-1800 and the modern period from 1800 to the
present. The medieval period may again be divided into three periods: early medieval also
known as the period of transition from 1200-1350 high medieval from 1350-1700 including the
pre-Chaitanya period from 1350-1500 and the Chaitanya period from 1500-1700 and late
medieval from 1700-1800. The modern period begins in 1800 and can again be divided into six
phases: the era of prose from 1800-1860, the era of development from 1860-1900 the phase
of RABINDRANATH TAGORE 1861-1941 from 1890-1930 the post-Rabindranath phase from 1930
to 1947 the post-partition phase from 1947 to 1970 and the Bangladesh phase from 1971 to the
present.

Old Bengali literature:

The first works in Bengali, written in new Bengali appeared between 10th and 12th centuries C.E.
It is generally known as the Charyapada. These are mystic songs composed by various Buddhist
seer-poets: Luipada, Kanhapada, Kukkuripada, Chatilpada, Bhusukupada, Kamlipada,
Dhendhanpada, Shantipada, Shabarapada etc. The famous Bengali linguist Haraprasad Shastri
discovered the palm leaf Charyapada manuscript in the Nepal Royal Court Library in 1907.

Early medieval:

Period of transition 1201-1350 The anecdotes, rhymes and sayings of dak and khana may be
dated to this period. The Apabhramsa of the Charyapada became more Bangla in character.
Among the specimens of this period is Ramai Pandit's narrative poem Sunyapurana 13th-14th
century. Another example of early Bangla is a collection of lyrical poems in Apabhramsa entitled
Prakrtapaingala. A Bangla song has also been found in Halayudh Misra's sanskrit book
sekhasubhodaya c 1203.

Middle Bengali literature:

The Middle Bengali Literature is a period in the history of Bengali literature dated from 15th to
18th centuries. Following Turkey's invasion of Bengal in the 13th century, literature
in vernacular Bengali began to take shape. The oldest example of Middle Bengali Literature is
believed to be Shreekrishna Kirtana by Boru Chandidas.The Middle Bengali Literature is divided
into three periods, named Pre-Chaitanya Era, Chaitanya Era, and Later Middle Age.

In the Later Middle Age, the tradition of Shakta Poetry or Shakta Padavali grows. The age of
Mangalkavya meets its end with the composition of Annada Mangal by Bharatchandra.
The Baul tradition emerges as an intellectual icon with Lalan Fakir. The most important
development is the rapid growth of Eastern Bengal Ballads and Muslim Ghazals are among the
most import aspects of this period, particularly the work of poets like Alaol and Daulat Qazi.

High medieval:

Pre-Chaitanya or Early Vaishnava literature denotes the literature of the time preceding the time
of Chaitanya Mahaprabhu, the founder of Gaudiya Vaishnavism. These include: Sri Krishna
Kritana by Boru Chandidas; lyrical poems, known as the Vaishnava Padavali of Vidyapati and
Chandidas; Sri Krishna Vijaya, the partial translation of Bhagavata Purana by Maladhar Basu
and Krittivasi Ramayana by Krittivas Ojha.

The patronage provided by the Muslim rulers, particularly Sultan Alauddin Hussein Shah, his
son Nasrat Shah and commander-in-chief, paragal khan, in promoting Bangla literature is
specially noteworthy. The 45-year rule of the Hussein Shah dynasty (1493-1538) in Bengal not
only led to political, social and cultural prosperity, but also nurtured bangla language and
literature. It was during the rule of Hussein Shah that some Bengali poets began composing
lyrics in brajabuli. It was also during his rule that Kanka wrote Vidyasundar Kahini in praise of
satyapir (c 1502).

Padavali or lyrical literature Padavali and other medieval lyrics were based on the story of Radha
and Krishna and were written by innumerable poets, Hindu and Muslim, including some women
poets. Among the padavali poets were Chandidas, jnanadas, Lochandas, govindadas, Raysekhar,
Sasisekhar, Balaram Das, Narottam Das, Narahari Das and Radhamohan Thakur.
Shrikrishna Kirtana:

asanta Ranjan Roy Bidyatvallava discovered the torn manuscript of the Sri Krishna Kirtana from
the cowshed of Debendranath Chatterjee's house at Kakinlya village, Bankura district in modern-
day Paschimbanga (West Bengal). Sri Krishna Kirtana was written by Boru Chandidasin the later
half of 14th century CE. It is considered as the second oldest work of Bengali literature
after Charyapada.
The Sri Krishna Kirtana of Boru Chandidas was deeply influenced by the Vishnu Purana, the
popular folk-literature of the period and the Gitagovindam by Jaydeva. The influence of
other Puranas like the Padma Purana and the Brahma Vaivarta Purana and the Vaishnava
scriptures is also substantial. There is a strong affinity of popular folk literature of the time in the
style of the verse.

Shrikrsnakirtan is a lyrical composition involving Radha and Krishna; its storyline is not based
on the Bhagavata Purana, but the popular erotic folk-songs, known as the dhamalis. However,
Baru Chandidas managed to add substantial originality, making it a masterpiece of medieval
Bengali literature. He gives the yearning of Radha a distinctly Bengali rendition, and in the
process captures much of the social conditions of the day.

Mangalkavya:

Mangal-Kāvya a group of Hindu narrative poetry, composed more or less between 13 th Century
and 18th Century, eulogise the indigenous deities of rural Bengal in the social scenario of the
Middle Ages. Manasā Mangal, Chandī Mangal and Dharma Mangal, the three major genus of
Mangal-Kāvya tradition include the portrayal of the magnitude of Manasā, Chandī and
Dharmathakur, who are considered the greatest among all the native divinities in Bengal,
respectively. There are also minor Mangalkāvyas known as Shivāyana, Kālikā Mangal, Rāya
Mangal, Shashtī Mangal, Sītalā Mangal and Kamalā Mangal etc. Majore poets of Mangalkavya
tradition are Mukundaram Chakrabarty, Bijay Gupta, Rupram Chakrabarty etc.

Mangalkavya were used to describe the greatness of particular Hindu deities known as
"nimnokoti" by historians, because they were absent or unimportant in classical Hindu literature
such as the Vedas or Puranas. These deities were based on indigenous to Bengal who had
become assimilated in regional Hinduism. These deities are often depicted with unusually strong
human qualities and they engage in direct interaction with humans. They are also portrayed to
have flaws such as envy like other human beings.
Vaishnava lyrics by Vidyapati and Chandidas:
The 15th century is marked by the emergence of Vaishnava lyrical poetry or the padavali in
Bengal. The poetry of Vidyapati, the great Maithili poet, though not written in Bengali,
influenced the literature of the time so greatly that it makes him a vital part of Middle Bengali
literature. He flourished in the modern-day Darbhanga district of Bihar, India in the 14th century.
His Vaishnava lyrics became very popular among the masses of Bengal. The first major Bengali
poet to write Vaishnava lyrics was Chandidas, who belong to the modern-day Birbhum district
(or, according to another opinion, Bankura district), Paschimbanga in the 15th century.
Chandidas is also known for his humanist proclamation "Sabar upare manush satya, tahar upare
nai" "The supreme truth is man, there is nothing more important than he is."

Bankim Chandra Chattopadhyay:

Bankim Chandra Chattopadhyay (1838–1894) is considered one of the leading Bengali novelist
and essayist of the 19th century. His first novel Durgeshnandini, considered a benchmark in the
history of Bengali literature, was published in 1865.[5] He also wrote "Vande Mātāram", the
national song of India, which appears in his novel Anandamath (1882).[5] His other novels
include: Kapalkundala, Bishabriksha, Krishnakanter Will, Rajsingha, Devi Chaudhurani etc.[5]
Bankim Chandra has critically analysed the Bhagavat Gita and the problems of Krishnaism from
a historical perspective in his Dharmatattva (1888) and Krishna Charitra (1882).[5]
Kamalakanter Daptar (1875) is one of his best known humorous sketches.

Kazi Nazrul Islam

In the similar category is Kazi Nazrul Islam, who was invited to post-partition Bangladesh as
the National Poet (he had been suffering from dementia and aphasia since 1942) and whose work
transcends sectarian boundaries. Adored by Bengalis both in Bangladesh and West Bengal, his
work includes 3,000 songs, known as both as nazrul geeti and "nazrul sangeet". He is frequently
called the "rebel poet" mainly because of his most famous and electrifying poem "Bidrohi" or
"The Rebel", and also because of his strong sympathy and support for revolutionary activities
leading to India's independence from British Rule. His songs and poems were frequently used
during the Bangladesh Liberation War as well. Though he is acknowledged as the rebel poet,
Nazrul very effectively contributed in all branches of literature. He wrote poems that light the
fire against inequality or injustice and at the same time is known for his poignant romantic
poems as well. He wrote a lot of Islami Ghazals and in the same time wrote a number of Shyama
Sangeet (songs for the Hindu Mother Goddess, Kali). Nazrul was not only a poet, he was writer,
musician, journalist and philosopher. He was sent to jail for his literary works against the then
prevailing British rule.
Rabindranath Tagore:

Possibly the most prolific writer in Bengali is Nobel laureate Rabindranath Tagore. Tagore
dominated both the Bengali and Indian philosophical and literary scene for decades. His
2,000 Rabindrasangeets play a pivotal part in defining Bengali culture, both in West Bengal and
Bangladesh. He is the author of the national anthems of both India and Bangladesh, both
composed in Bengali. Other notable Bengali works of his are Gitanjali, a book of poems for
which he was awarded the Nobel Prize for Literature in 1913, and many short stories and a few
novels. It is widely accepted that Bengali Literature accomplished its contemporary look by the
writings and influence of Rabindranath.
In the fields of Drama and Satire, he influenced and created a very worthy posterity of him in
Natyaguru Nurul Momen. Nurul Momen was an educationist, playwright, director, humorist,
lawyer, broadcaster, philanthropist and essayist of Bangladesh. He is recognized as the pioneer
of modern Bengali drama,"acting as a bridge between earlier and later playwrights in terms of
content and style", and even referred to as the "Father of Bangladeshi Theater".

Bibliography:

 Muhammad Shahidullah, Bangla Sahityer Katha, Dhaka, 1976; MA Hai and SA Ahsan, Bangla
Sahityer Itibritta, Chittagong, 1968; Sukumar Sen, Bangala Sahityer Itihas, Eastern Publishers,
Calcutta, 1970-1976; Asitkumar Bandyopadhyay, Bangla Sahityer Itibritta, Calcutta, 1982-85;
Ahmad Sharif, Bangali O Bangla Sahitya, Dhaka, 1978, 1983; Dineshchandra Sen, Bangabhasa
O Sahitya, Asitkumar Bandyopadhyay ed, Calcutta, 1986.

Reference:
 Google
 Wikipedia
 http://en.banglapedia.org/index.php?title=Bangla_Literature
 https://en.wikipedia.org/wiki/Mangal-K%C4%81vya
 https://en.wikipedia.org/wiki/Middle_Bengali_literature