EXPLORING TARASHANKAR BANERJEE'S LITERARY LEGACY: REALISM, MYTHOLOGY, AND SOCIETAL TRANSFORMATION
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Introduction: Tarashankar’s Literary Foundation In Tarashankar's literature, the tragedy of the degenerate human being in the face of ever-changing times—the defeat of the dilapidated old in the competition with the new—is prominent. Tarashankar Banerjee (23 July 1898 – 14 September 1971) was the leading poet and lyricist of the sceptical and restless disbeliever era. Sharp observation power, sharp experience of time, real life's obstacles, and a resistant mentality are the foundations of Tarashankar's stories and novels, which span a period of forty-five years (1926–1971), marking a significant turning point in the history of modern India. Origins and Societal Observations : He was born and raised in the zamindar clan of Lovepur in Birbhum. Tarashankar witnessed firsthand the rise, fall, decline, and decay of the feudal system, which enriched him with diverse experiences. Thus, Tarashankar became Rajabanga's orator. Despite being self-reliant and devoted to life, this fiction writer is not entirely 'Kallole'; he is not a citizen writer. He is a simple talker about soil and people. Because of this, he didn't have to search for the materials needed for his creation. The source of the material was the people and nature rooted in Birbhum's village environment. Cultural and Religious Diversity : In the Perspective of Literature, Society, Art, and Tradition: The Heterogeneous Alchemy of Tarashankar's Creation, Shri Vinay Ghosh asserts in his 'Textbook of Culture of West Bengal' that 'the great region of Bengal' is dominated by the tribal chief. Tarashankar observed the existence of various religious groups such as Vaishnavas, Bauls, Tantrics, Fakirs, Vedas, and Ojhas. This explains why it's evident that "all the distinct forms and remnants of the primitive tribal culture and the folk culture of the foundation of the royal society are like pebbles embedded in all parts of the village society." (Literary and Social Environment of Tarashankar). The Artist’s Social and Natural Environment : In addition to the geographical and natural surroundings, the artist's mind also shapes the social and state environment. Whether the author is an objectivist or an artist is a matter of long-standing debate. But the fact is, no writer, poet, or artist can create without being aware of society. They write for people. Belinsky's belief is that "every work of art must be regarded as a product of the social struggle...every work of art is considered as a reflection of society." Just as Gustav Flaubert thinks that the heart and intellect are inseparable, Tolstoy says in his book What is Art?
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Tragic Conclusion : In the end, Pingla's love did not end. The self-deprecating Pingla chooses the path of self-immolation, following the cunning Shirved's tricks. In both Shabla-Pingla stories, love ends in blood and death. Conclusion: "Santali's story is over; Nagini Kanya's story is over. Let those who hear it shed two drops of tears!" Even after the maidens' transformation from deity to femininity, the hope of creating a new narrative remains dormant. The pulse of the new life-and-death struggle carries the promise of new questions and unquestionables in the tone of the author's final melancholy."