The first thing needed is a literary revolution:
Some thoughts of
Abul Mansur Ahmad

Dr. Mohammad Omar Farooq
February 2000

[The following translation was done in the context of a Topic of the Month discussion on Shetubondhon]

Dear Shetubondhon Friends,

Salam and greetings.

In the context of the February Topic of the Month [TOTM] Here is another series of thoughts from Abul Mansur Ahmad. In this part the author argues that the greatness of contemporary Bangla literature is primarily based on the mark of the Hindu culture 
and heritage. Whether it is monotheistic or polytheistic in philosophy or outlook, this great literature centers around what is commonly perceived as the Hindu culture and heritage.

It is interesting that the title of the book is Bangladesher Kalchar, but it was written in 1966. He further articulates why Bangladesh (that is East Pakistan, as he identified) needs a distinctive literature to which the real inspiration of the language movement is related.

One does not have to agree with every aspect of his argument or the components of his thought, as I don't either. However, in the spirit of Shetubondhon, I am focusing on the thrust of his argument, that is, a nation can't be a nation without its clear distinctiveness. Mother tongue is a part of it, and that's why the Language Movement was intimately related to our pursuit of distinctiveness.

This in no way demeans the contribution, accomplishment, or heritage of others as is the case with the contemporary Bangla literature.

First needed is a literary revolution: Some thoughts of Abul Mansur Ahmad

"... What we understand as literature of East Pakistan - that is, generally of Bangla and Assam - is primarily the literature produced by those from Bidyasagar-Bankimchandra to Rabindranath-Sharatchandra. This is literature of preeminence. Indeed, Rabindranath has elevated this literature to the world's treasure.

Yet, this literature is not the literature of East Pakistan. Because it is not the literature of the Muslims of Bangla. Not only that there is not any significant contribution of Muslims to this literature, but also this literature has not made any meaningful contribution to which Muslims can relate to. Another word, the Muslim society has not derived and are not deriving any inspiration from this literature. There is a reason for it. It is the fact that this literature has not been produced with the contribution of Muslims, and also Muslims are not included in the primary subjects. Neither its spirit is Muslim nor is its language.

First, let us discuss the spirit of this literature, which is the creation of the great Hindu minds. It is only natural that the foundation of their literature is Hindu society and culture. This is quite legitimate. Otherwise that literature won't have had any connection with life - it won't have been a living literature. Hindu culture is the product of Hindu religion. Hindu religion is the religion of renunciation (tyag) and 
asceticism (bairaggobad) - it's the religion of Munis and saints (rishis). For the same reason, Hindu culture is the culture of renunciation, love, and devotionalism (bhoktibad). That is why the artistic mind of the Hindu is worshipper of beauty. That's why the soul of Bangla literature has evolved to be the pursuit of Satyam Shivam Sundaram. The object of that pursuit is: "Let my head drop under dust of your feet." This enamored beauty- and symbol-worshipping mind naturally has espoused the philosophy of "art for the sake of art." Symbol-worshipping, pleasure (rosh)-thirsty mind has vibrated with the "porokiya" (extramarital) love.

For the upliftment of the soul and to synthesize devotional and artistic pursuit, the creation of the love of Radha-Krishna has evolved. That's how Bangla literature is primarily centered around woman's love. Woman here is the symbol of beauty. In pursuit of female love, the female mind has been transformed into a deep, mysterious castle. In search of the magic stick that would awaken the sleeping female love of that impenetrable, mystical castle, the whole nation, young and old, has been inspired. Gradually, through the paint brush of the artist renunciation,  asceticism, 
devotion-love etc - the great premises of Hindu culture - have been portrayed around womanly love.

The ideal of renunciation, the ideal of asceticism, the ideal of devotionalism, the ideal of love - all these are preeminent ideals. On the foundation of these ideals and centering on the womanly love, the literature Hindu literary personalities have produced, they all are of classical quality, and like everyone else, enjoyment-seeking Muslims also have derived and continue to derive pleasure from that."

[Abul Mansur Ahmad, Bangladesher Kalchar, Ahmad Publishing House, 1966, pp. 
163-168.]

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