Tuesday, December 28, 2021

ମାର୍କସ ଅରିଲସଙ୍କର 'ବିଚାରମାଳା'

ଦ୍ୱିତୀୟ କାଣ୍ଡ: ତୃତୀୟ ଓ ଚତୁର୍ଥ ଅଧ୍ୟାୟ

ଅନୁବାଦକ - ଶୈଲେନ ରାଉତରାୟ


ପରିବାର ସହ ମାର୍କସ ଅରିଲସ ବଳି ପ୍ରଦାନ କରୁଥିବାର ଦୃଶ୍ୟ
ଫଟୋ କ୍ରେଡ଼ିଟ୍ - ୱିକିମିଡିଆ କମନ୍ସ୍

ତୃତୀୟ ଅଧ୍ୟାୟ


ଯାହା ଦିବ୍ୟ, ତାହା ବିଧିନିର୍ଦ୍ଦିଷ୍ଟ । ପ୍ରକୃତିରେ, ଅର୍ଥାତ ଦଇବର ଅଧ୍ୟାଦେଶର ଗୂଢ଼ ବୁଣାଟରେ, ନିର୍ଘାତ ସଞ୍ଜୋଗଗୁଡ଼ିକର ମଧ୍ୟ ସ୍ଥାନ ଅଛି । ଦଇବ ହିଁ ସମସ୍ତ ପଦାର୍ଥର ପ୍ରବାହର ଉତ୍ସ । ଏହା ସହିତ ଆବଶ୍ୟକତା ତଥା ବ୍ରହାଣ୍ଡର ମଙ୍ଗଳ ଜଡ଼ିତ । ତୁମ୍ଭେ ନିଜେ ଏହି ଅଖିଳ ବିଶ୍ୱର ଅଂଶ । ଯାହା ସମଷ୍ଟିର ଧର୍ମ ଓ ଯାହା ତାହାକୁ ରକ୍ଷା କରେ, ତାହା ସମସ୍ତ ପ୍ରକାରର ବ୍ୟଷ୍ଟି ପାଇଁ ମଧ୍ୟ ମଙ୍ଗଳଦାୟକ । ସମସ୍ତ ବ୍ରହ୍ମାଣ୍ଡ ପରିବର୍ତ୍ତନ ଦ୍ୱାରା ହିଁ ରକ୍ଷିତ, ସେହି ବଦଳ ମୂଳଭୁତ ପଦାର୍ଥରେ ହେଉ, କିମ୍ବା ସେମାନେ ଗଢ଼ୁଥିବା ବୃହତ୍ତର ସଂରଚନାରେ ହେଉ । ଏହି ଅବଧାରଣାକୁ ତୁମ୍ଭେ ଦୃଢ଼ତାର ସହ ଧରି ରଖ, ଏହା ହିଁ ତୁମ୍ଭର ସିଦ୍ଧାନ୍ତ ହେଉ । ଗ୍ରନ୍ଥମାନଙ୍କ ପାଇଁ ନିଜର ତୃଷ୍ଣା ତୁମ୍ଭେ ପରିହାର କର । ତାହା ହେଲେ ତୁମ୍ଭର ମୃତ୍ୟ ସମୟରେ କୌଣସି ତିକ୍ତତା ଅବଶେଷ ରହିବ ନାହିଁ । ତଥା ତୁମ୍ଭେ ମରଣକୁ ହୃଦୟରେ ଦେବତାମାନଙ୍କ ପାଇଁ ନିରୁତା କୃତଜ୍ଞତାର ସହ ସୁଶୋଭନ ଭାବରେ ଭେଟି ପାରିବ । 

ଚତୁର୍ଥ ଅଧ୍ୟାୟ


ନିଜର ଦୀର୍ଘସୂତ୍ରିତାର ନାନାଦି ବର୍ଷ, ତଥା ଦେବତାମାନେ କିପରି ତୁମ୍ଭ ଉପରେ ଯୁଗ ପରେ ଯୁଗ କୃପା କରି ଚାଲିଅଛନ୍ତି, ଯାହାର ତୁମ୍ଭେ କେବେ ବିନିଯୋଗ କରିନାହଁ, ତାହାର  ସ୍ମରଣ କର । ବର୍ତ୍ତମାନ ଏହି ସମୟ ଉପସ୍ଥିତ ଯେ, ତୁମ୍ଭେ ଯେଉଁ ବ୍ରହ୍ମାଣ୍ଡର ଅଂଶ, ସେହି ବିଶ୍ୱର ସତ୍ତ୍ୱ ଓ ତୁମେ ଯେଉଁ ନିୟନ୍ତ୍ରଣକାରୀ ଶକ୍ତିର ସନ୍ତାନ, ତାହାଙ୍କୁ ଅନୁଭବ କର । ଏକଥା ମଧ୍ୟ ଅନୁଭର କର ଯେ, ତୁମ୍ଭର ସମୟ ସୀମିତ । ଏହାକୁ, ଏଣୁ, ନିଜର ମୁକ୍ତି ପାଇଁ ବ୍ୟବହାର ନକଲେ ଏହି କାଳ ଅତିବାହିତ ହେବ, କେବେ ଲେଉଟିବ ନାହିଁ 

ଅନୁବାଦକୀୟ ଟୀକା - ଗ୍ରୀକ ଓ ବିଶ୍ୱ ଦର୍ଶନ କ୍ଷେତ୍ରରେ ପ୍ରାଚୀନ ରୋମର ଚିନ୍ତକ ୧୬ତମ ସମ୍ରାଟ ମାର୍କସ ଅରିଲସ (୧୨୧-୧୮୦ ଖ୍ରୀଷ୍ଟାବ୍ଦ) ଙ୍କର ଗ୍ରନ୍ଥ ମେଡିଟେସନସ ର ଏକ ଗୁରୁତ୍ୱପୂର୍ଣ୍ଣ ସ୍ଥାନ ରହିଛି । ଷ୍ଟଇକ୍ ଦର୍ଶନ ପରମ୍ପରାର ଏକ କ୍ଲାସିକ୍ ଭାବରେ ଏହାକୁ ଗଣାଯାଏ । ପୃଥିବୀସାରା ଏବେ ଷ୍ଟଇକ୍ ଦର୍ଶନ ପରମ୍ପରାର ପୁନରୁତ୍ଥାନ ଘଟୁଅଛି । ଗ୍ରନ୍ଥଟିର ଅନୁବାଦଟି ମୂଳ ଗ୍ରୀକ ଭାଷାର ଦୁଇଟି ଭିନ୍ନ ଭିନ୍ନ ଇଂରାଜୀ ଭାଷାନ୍ତରର ସାହାଯ୍ୟ ନେଇ କରାଯାଇଅଛି ।

Wednesday, December 22, 2021

'I want the thunder and the lightning to come in’

A Conversation Between Jayanta Mahapatra and Sailen Routray

Jayanta Mahapatra (On the left)
Photo Credit - Wikimedia Commons/Suman Pokhrel

If you want to reach Jayanta Mahapatra, it is enough to mark the epistle to ‘Jayanta Mahapatra, Cuttack’ for it to find him, standing testimony to the reputation and web of friendships, he has built over the foundation of more than half a century’s prodigious creative output. For this grand old man of Indian literature, more conventional recognition has also always come his way, the most recent of which is when in the May of this year, he was made a Fellow of the Kendra Sahitya Akademi, which has also recently published the ‘Jayanta Mahapatra Reader.’ Last year, in January, a Mumbai-based publisher released his 744-pages long, ‘Collected Poems.’ In this conversation, Jayanta Babu talks about his work as a bilingual poet and his ninety years’ long love affair with Cuttack . Excerpts:  

Sailen Routray [SR] – In the 25th of May this year, you were awarded the Fellowship of Kendra Sahitya Akademi at a special function organised in Cuttack. This is perhaps the highest literary honour ever bestowed upon an English poet in India? 

Jayanta Mahapatra [JM] -When a poet, a writer, keeps on doing his work seriously, awards will come his way. I have thought of awards as little flowers that fade the next morning. But what is strange is that, when I was given the Sahitya Akademi Puraskar almost forty years back, in 1981, I was the first Indian English poet to be so awarded; I am now also the first poet writing in English to become a Fellow of the Sahitya Akademi.

SR – Your poetic voice is an ambiguous one. In a  large number of your poems, the authorial voice and the voice that is narrating the poem, are not always in consonance. It is not a distraction though; in fact, it produces a startling intimacy. How is this achieved? 

JM – I would not be able to talk about what you pointed to me right now. You see, I have always tended to go back to those images, which have built my life. And these have always come from the place I have lived in. When I was a boy,  a child of five or six, my father had taken me to Puri and I  still remember being at the Narendra Tank – the fact that turtles were there, very very old turtles – with people shouting, ‘ekade ekade’ (‘this side, this side’). These images have made my life; it is the land that has made me, which has in turn shaped my poetry. So, yes, I am intimate with the land; I could not have lived elsewhere, nor could I have written poetry anywhere else. 

SR – Your poetry is suffused with the rains, both as a climatic event of which you provide descriptions, but also as metaphor. Increasingly you live in a climate where rains are decreasing in intensity. How do you relate to this shift? 

JM – The rains are tied to my inner longings; the inner longing that is always there and which my years of writing poetry has not been able to subdue or take care of. Rains are a metaphor, a correlation, for the life that I lead inside. 

SR – In your English poems the sentences are intricately crafted. But the Odia poems are simple. Also, sometimes you have ‘paired’ poems in both these languages, that are not translations of each other, but seem related to the same experience. 

JM – I do not know Odia that well. Writing in both English and Odia has been a complementary exercise for me. I have explored my innermost thoughts in English, which I have not been able to do in Odia, at least not deliberately. I want to be understood more generally by everyone when I write in Odia. Many years after I began writing in English, I started composing poems in my own tongue, because I wanted to be closer to my brothers, to my own people, to my neighbours. 

For example, the Odia poem ‘Aamba Gachha’ (‘The Mango Tree’) from the collection ‘Baayaa Rajaa’ has come directly from flesh and blood; it is more intimate. It has come straight from Jayanta Mahapatra who lives, who was there with his father - the father and the son who planted the tree - and that intimacy is not there in the English poem ‘Collaboration’ from ‘Lie of Dawns’, which is an altogether different poem, although somehow springing from the same experience. Influences of poems that I have read in English have contributed significantly to ‘Collaboration,’ whereas the Odia poem ‘Amba Gachha’ has come out of my own mind and experiences. 

SR – In your Odia autobiography ‘Paahini Raati’ (The Night is Yet to End’), we get lyrical descriptions of the dark in small town Odisha. At the same time you also mention the fear of the dark. How do you relate to darkness these days? 

JM – Darkness is a part of our world, a part of life. When I was a child, the house we lived in was located at the edge of the neighbourhood. It was surrounded by huge deodar trees. We had no electricity then. And the clamour of fruit bats and the wind howling through the leaves of the deodars, these brought some unknown fears to me. I still remember the shadows from the kerosene lamps that I used in my little room to study in. All this instilled in me a certain fear which took a long time to overcome. 

When I started writing poems, the Bombay poets had a big, big hold on Indian poetry in English; they had created their own lingo. The twist of the language that comes to play, the inherent mystery that emerges in a poem to provide different meanings to readers - it was totally absent in that tradition. But mystery has always fascinated me. 

SR – Descriptions of small town Odisha  – say of Cuttack or Sambalpur – in your poems, as well as in your autobiography, are populated by trees, creepers, birds and other aspects of the natural world. What has been your relationship with ‘urban nature?’ 

JM – Look at this house. In its yard I have planted bamboos. Many of the older mango and pear trees are now gone, felled by successive cyclones, but many still stand and their leaves often enter this house and make a mess. When it rains, I open my doors and windows. I want the thunder and the lightning to come in. I also want the dust to come in. I do not mind the dust of Cuttack. I do not mind the way of life of Cuttack. Now I feel really bad when I see everything changing so fast. All the trees in the city are gone. It has a couple of rivers on its two sides; sixty, seventy years back, you had water just besides the banks. Now the rivers have very little water. And that itself brings a pang to my heart. I can’t live like this. It is as if I am now living in a totally different environment. 

SR – If one imagines you at the head-spring of a particular tradition of Indian poetry in English, that is not over-intellectualised (and tries to directly deal and cope with the affects), who according to you, amongst the younger Indian English poets, have this approach towards writing poems? 

JM – Many poets from the North East write in this fashion. My friends Kynpham [Kynpham Sing Nongkynrih] and Robin [Robin S Ngangom], Nabanita [Nabanita Kanungo] - all of them write really well. And they are talking about their place; poetry can only emerge from the place you live in. I have had several chances to go and lead a life abroad. I do not know why, but I could not do so. I do not know what it is about the place, but I really love it here in Cuttack. And I continue to live here. That’s all. 

SR – Apart from the Kendra Sahitya Akademi publication ‘Indian Literature’ there is now no credible, regularly published, print magazine for creative writing in English in the country. But simultaneously there has been an explosion of English language media. What do you think of this phenomenon? 

JM – I have not been able to find out why there have not been good, standard, magazines or journals in English which would publish creative work. We write more and more in English and at the same time, are not able to sustain a print magazine in the language for creative literature. English language newspapers should devote a page a month, at least, for creative writing. 

SR – You have been a prolific translator from Odia to English. Of your translations, which ones do you like the most? 

JM – I liked translating parts of ‘Rudra Sudhanidhi’ [a fifteenth century Odia text in prose, composed by Narayana Abadhuta Swami]. I really love that text; the very fact that a mendicant, a sadhu, would do this kind of writing is amazing. It is a very difficult text and I thought it was beyond my powers. I did not find anybody who could explain things to me; so I could not complete the translation.

Note: A much shorter version of this conversation was first published as an interview in the Hindu Sunday Magazine on 28th July 2019. 

Thursday, December 16, 2021

ଉନବିଂଶ ଶତାବ୍ଦୀର ପାଟଣା ରାଜ୍ୟରେ ପ୍ରାଥମିକ ପାଠପଢ଼ା

ଶୈଲେନ ରାଉତରାୟ


ପାଟଣାଗଡ଼ର ବ୍ରିଟିଶ ଅମଳର ଏକ ମାନଚିତ୍ର
ଫଟୋ କ୍ରେଡ଼ିଟ - ୱିକିମିଡିଆ କମନ୍ସ୍

ଭାରତଚନ୍ଦ୍ର ନାୟକଙ୍କର ଜୀବନ ଏବେ ଓଡ଼ିଶାର ସାମାଜିକ ଇତିହାସର ଏକ ପାଶୋରା ଅଧ୍ୟାୟ । ହେଲେ ସେପରି ହେବାର କିଛି କାରଣ ନାହିଁ । ତତ୍କାଳୀନ ପାଟଣା ଗଡ଼ଜାତ ରାଜ୍ୟର ପ୍ରଥମ ଗ୍ରାଜୁଏଟ ମାନଙ୍କ ଭିତରୁ ଜଣେ ଭାରତ ବାବୁ, ପରେ ଡେପୁଟି ମାଜିଷ୍ଟ୍ରେଟ୍ ବନନ୍ତି । ଚାକିରୀରୁ ଅବସର ନେଲା ପରେ ସେ ହୀରାକୁଦ ବନ୍ଧ ବିରୋଧୀ ଆନ୍ଦୋଳନରେ ଏକ ଗୁରୁତ୍ୱପୂର୍ଣ୍ଣ ଭୂମିକା ତୁଲାନ୍ତି । ଓଡ଼ିଶାରେ ନାରୀ ଶିକ୍ଷାର ପ୍ରସାରର ପ୍ରକ୍ରିୟାରେ ତାଙ୍କର ଅବଦାନ ମହତ୍ୱପୂର୍ଣ୍ଣ । ନିଜ ଝିଅମାନଙ୍କର ଶିକ୍ଷାକୁ ପ୍ରୋତ୍ସାହନ ଯୋଗାଇ, ତାଙ୍କୁ ସେତେବେଳେ ନିଜର ସମ୍ପର୍କୀୟ ତଥା ବୃହତ୍ତର ସମାଜର ବିରୋଧର ସମ୍ମୁଖୀନ ହେବାକୁ ପଡ଼ିଥିଲା । 

୧୮୮୭ ମସିହାରେ ଜନ୍ମିତ ଭାରତବାବୁଙ୍କର ଜନ୍ମ ତତ୍କାଳୀନ ପାଟଣା ରାଜ୍ୟର ଆଗଲପୁରରେ । ୧୯୦୫ ମସିହାର ଅକ୍ଟୋବର ମାସର ପନ୍ଦର ତାରିଖ ପର୍ଯ୍ୟନ୍ତ  ପାଟଣା ରାଜ୍ୟରେ ମଧ୍ୟପ୍ରଦେଶର ଶାସନ ଚାଲୁଥିଲା ।  ସେତେବେଳେ ପାଟଣା ସମେତ ସୋନପୁର, କଳାହାଣ୍ଡି, ବାମଣ୍ଡା ଓ ରେଢ଼ାଖୋଲ, ଏହି ପାଞ୍ଚଟି ରାଜ୍ୟ ଶାସନ ନିମନ୍ତେ ମଧ୍ୟପ୍ରଦେଶର ରାୟପୁରର ପଲିଟିକାଲ ଏଜେଣ୍ଟଙ୍କର ଅଧୀନରେ ଥିଲେ ।

ପାଟଣାରେ ସେତେବେଳେ ଉଚ୍ଚ ବିଦ୍ୟା‌ଳୟ ଆଦୌ ନଥିଲା; ବଲାଙ୍ଗୀରରେ ଥିବା ମଧ୍ୟ ଇଂରାଜୀ ବିଦ୍ୟାଳୟଟି ଛଡ଼ା ରାଜ୍ୟର ସ୍କୁଲଗୁଡ଼ିକ ଥିଲା ଉଚ୍ଚ ପ୍ରାଥମିକ ସ୍ତରର । ସେବେର ପାଟଣା ରାଜ୍ୟର ଉ.ପ୍ରା. ବିଦ୍ୟାଳୟଗୁଡ଼ିକରେ ଥିଲା ଚାରୋଟି ଶ୍ରେଣୀ । ପ୍ରଥମ ଶ୍ରେଣୀରେ ପାଠ ଆରମ୍ଭ ହେଉ ଥିଲା ବର୍ଣ୍ଣ ପରିଚୟ ସହିତ । ତାହା ସହ ସେହି ଶ୍ରେଣୀରେ ଷୋହଳକ ପର୍ଯ୍ୟନ୍ତ ପଣିକିଆ, କିଛି ଗଣିତ ଓ ସାହିତ୍ୟର ପ୍ରଥମ ପାଠ ପଢ଼ା ହେଉ ଥିଲା । ଦ୍ୱିତୀୟ ଶ୍ରେଣୀରେ ସାହିତ୍ୟ ଦ୍ୱିତୀୟ ପାଠ ସହ କିଛି ଗଣିତ ପଢ଼ା ହେଉ ଥିଲା । 

ତୃତୀୟ ଓ ଚତୁର୍ଥ ଶ୍ରେଣୀର ସାହିତ୍ୟ ପାଠ୍ୟକ୍ରମରେ ସୀତାନାଥ ରାୟଙ୍କ ପ୍ରଣିତ ଗଦ୍ୟାଂଶ ଓ ରାଧାନାଥ ରାୟଙ୍କର ନନ୍ଦିକେଶ୍ୱରୀ, ପ୍ରଭାତ ବର୍ଣ୍ଣନା, ଚନ୍ଦ୍ରଭାଗାର ସମୁଦ୍ରକୂଳରେ ସନ୍ଧ୍ୟା, ପାର୍ବତୀର ସର୍ବଗ୍ରାସୀ କାଳ, ଶିବାଜୀଙ୍କର ଉତ୍ସାହବାଣୀ, ତଥା ମହାଯାତ୍ରାର କିଛି ଅଂଶ ଆଦି ସଂଶ୍ଲିଷ୍ଟ ଥିଲା । ଏଗୁଡ଼ିକ ତୃତୀୟ ଶ୍ରେଣୀର ‘ସାହିତ୍ୟ ତୃତୀୟ ପାଠ’ ଓ ଚତୁର୍ଥ ଶ୍ରେଣୀର ‘ସାହିତ୍ୟ ଚତୁର୍ଥ ପାଠ’ ର ଅନ୍ତର୍ଭୁକ୍ତ ଥିଲା । ଏହା ଛଡ଼ା ଏହି ଦୁଇଟି ଶ୍ରେଣୀରେ କିଛି ଉଚ୍ଚତର ଗଣିତ ଶିକ୍ଷାର ପ୍ରଚଳନ ଥିଲା । ଚତୁର୍ଥ ଶ୍ରେଣୀରେ ମଧ୍ୟପ୍ରଦେଶର ଭୂଗୋଳ, ଭାରତର ଭୂଗୋଳ ବିଷୟକ କିଛି ପାଠ ଓ ସ୍ୱାସ୍ଥ୍ୟରକ୍ଷା ପଢ଼ା ହେଉ ଥିଲା ।

ସେ ସମୟରେ ଶିକ୍ଷକମାନଙ୍କୁ ଶିକ୍ଷକତା ବିଷୟରେ ପ୍ରଶିକ୍ଷିତ କରାଇବା ପାଇଁ ପାଟଣା ରାଜ୍ୟରେ କୌଣସି ବ୍ୟବସ୍ଥା ନଥିଲା । ଉ.ପ୍ରା. ବିଦ୍ୟାଳୟରୁ ଉତ୍ତୀର୍ଣ୍ଣ ହୋଇ ସାରିବା ପରେ ଦୁଇ ବର୍ଷ ମଧ୍ୟ ଓଡ଼ିଆ ବିଦ୍ୟାଳୟରେ ପଢ଼ା ସାରି ଜଣେ ଶିକ୍ଷକ ଭାବରେ କାମରେ ବାହାଲ ହୋଇ ପାରୁ ଥିଲେ । ପ୍ରଧାନ ଶିକ୍ଷକଙ୍କର ଦରମା ଥିଲା ୮-୯ ଟଙ୍କା । ସହକାରୀ ଶିକ୍ଷକ ବିଚରା ପାଉଥିଲେ ପାଞ୍ଚଟି ଟଙ୍କା ମାତ୍ର । ଉ.ପ୍ରା. ଉତ୍ତୀର୍ଣ୍ଣ ମନିଟର ବାପୁଡ଼ା ପାଉଥିଲେ ଦୁଇ ଟଙ୍କା, ପିଲାଙ୍କୁ ଇସ୍କୁଲକୁ ଆଣିବା ପାଇଁ ଆଉ ନିମ୍ନ ଶ୍ରେଣୀମାନଙ୍କରେ ଶିକ୍ଷାଦାନରେ କିଛି ସହଯୋଗ ନିମନ୍ତେ । ଶିକ୍ଷକମାନଙ୍କର ଦରମା ନିଜ ବିଦ୍ୟାଳୟର ପାସ-ଫେଲ ହାର ଉପରେ ନିର୍ଭର କରୁଥିଲା ।

ପ୍ରାଥମିକ ପିଲାମାନଙ୍କ ପାଇଁ ଶିକ୍ଷା ସମ୍ପୂର୍ଣ୍ଣ ଅବୈତନିକ ଥିଲା । ଥରେ ନାମ ଲେଖାଇଲେ ସ୍କୁଲରେ ଉପସ୍ଥାନ ଥିଲା ବାଧ୍ୟତାମୂଳକ । ଯେଉଁ ଗାଁରେ ଇସ୍କୁଲ ଥିଲା, ସେଠାର ସବୁ ପିଲାଙ୍କୁ ବିଦ୍ୟାଳୟକୁ ନିୟମିତ ଆସିବାକୁ ଏକ ରକମ ବାଧ୍ୟ କରା ଯାଉଥିଲା । ଖରାଛୁଟିର ପ୍ରଚଳନ ସେ ସମୟରେ ନ ଥିଲା । ପାଟଣା ରାଜ୍ୟର ବିଦ୍ୟାଳୟଗୁଡ଼ିକରେ ଜୁଲାଇ ମାସରେ ଛୁଟି ହେଉ ଥିଲା । କାରଣ ସେ ସମୟରେ ପିଲାମାନେ ନିଜର ପରିବାରର ପାଇଁ କିଛି ଆବଶ଼୍ୟକୀୟ କୃଷିକର୍ମ କରି ପାରିବେ । 

ବଲାଙ୍ଗୀର ସହରରେ ଏହି ସମୟରେ ‘ଜୁଲାଇ ସଭା’ ବସୁଥିଲା । ଏଥିରେ ଶିକ୍ଷକମାନେ ପାଠ୍ୟକ୍ରମ, ଶିକ୍ଷାଦାନ ଓ ବିଦ୍ୟାଳୟର ସୁପରିଚାଳନା ବିଷୟରେ କିଛି ଉପଦେଶ ପାଉଥିଲେ । ଏହିପରି ଥିଲା ସେଇ ସମୟରେ ପାଟଣା ଗଡ଼ଜାତରେ ପ୍ରାଥମିକ ଶିକ୍ଷାର ଢାଞ୍ଚା । 

ଲେଖକୀୟ ଟୀକାଏହି କ୍ଷୁଦ୍ର ପ୍ରବନ୍ଧଟି ପ୍ରଥମେ ପାକ୍ଷିକ ପତ୍ରିକା ସମଦୃଷ୍ଟିରେ ଛପିଥିଲା । ଲେଖାଟିର ଉପାଦାନ ଭାରତଚନ୍ଦ୍ର ନାୟକଙ୍କର ଆତ୍ମଜୀବନୀର ୨୦୧୪ରେ ପ୍ରକାଶିତ ଦ୍ୱିତୀୟ ସଂସ୍କରଣରୁ ନିଆଯାଇଛି; ‘ମୋର ପୂର୍ବସ୍ମୃତି କଥା ଶୀର୍ଷକର ଏହି ବହିଟିର ପ୍ରକାଶକ ହେଲେ କଟକସ୍ଥ ସଂସ୍ଥା ଅଗ୍ରଦୂତ । ଗ୍ରନ୍ଥଟିର ପ୍ରଥମ ସଂସ୍କରଣ ୧୯୬୬ ମସିହାରେ ଛପାଯାଇଥିଲାଅଗ୍ରଦୂତ ଛାପିଥିବା ଦ୍ୱିତୀୟ ସଂସ୍କରଣର କପିରାଇଟ ପୃଷ୍ଠାରୁ ବହିର ପ୍ରଥମ ସଂସ୍କରଣ ବିଷୟରେ ବାକି କିଛି ପ୍ରକାଶକୀୟ ବିବରଣୀ ମିଳେନାହିଁ । ବହିରେ ଲେଖକ ଦେଇଥିବା ସୂଚନାରୁ ଜଣାପଡ଼େ ଯେ, ଏହାର ବହୁଳାଂଶ ପ୍ରଥମେ ମାସିକ ପତ୍ରିକା ନବଜୀବନରେ ପ୍ରାୟ ପାଞ୍ଚ ବର୍ଷ କାଳ ଧରି ଧାରାବାହିକ ଭାବରେ ସ୍ଥାନିତ ହୋଇଥିଲା ।     

Thursday, December 9, 2021

It is necessary

Akhila Nayak

Translated by Sailen Routray 

'Birds and Flowers' (1747; ink and colour on paper)
Hua Yan (1682 - 1756) – Chinese Artist
Photo Credit: Wikimedia Commons

It is necessary to explode bombs.
Otherwise, these days,
it is impossible to squeeze
a drop of tear
out from someone’s heart.
 
This tear is called a poem,
and the poem is called a joy,
immaculately fabricated
from a single grain of rice.
 
There are many types of bombs
that are being exploded.
Slingshots murder
the glass dolls of the baby girl.
The overwhelming smell
of fresh lies of jasmines and henna
wafts from the letters of one’s love.
The ladder melts into thin air
after one has climbed it almost by half.
A tiger hulks in the middle of the market.
 
A bomb has been exploded.
The desert hovers over this verdant valley
with its quivering wings.
When everyone is busy escaping,
someone raises a crowbar
and runs towards the tiger.
This crowbar is called war,
and the war is the name of life itself.
And, life
is necessary. 
 
Note: This poem was originally published in the collection titled 'Dhobapharaphara' - 'Stark White'. The work of Akhila Naik (1968-2021) has been at the forefront of a process of transformation of Odia poetry over the last three decades where the language and concerns of the common people have come to the fore. Although he is primarily known as a poet in his home state, with multiple poetry collections published to wide acclaim, to the wider literary field in India he is known as the writer of the the first Odia Dalit novel 'Bheda' (originally published in 2010), that was translated by the Delhi based academic Raj Kumar and published by OUP in 2017.

Saturday, December 4, 2021

ପାଲି 'ଧର୍ମପଦ'ର ଓଡ଼ିଆ ପଦ୍ୟାନୁବାଦ

ଯମକ ବର୍ଗ ୭-୯

ଅନୁବାଦକ - ଶୈଲେନ ରାଉତରାୟ


ହଂକଂଠାରେ ସ୍ଥିତ 'ତିଆନ୍ ତାନ୍' ନାମକ ବୁଦ୍ଧ ପ୍ରତିମା (ୱିକିମିଡିଆ କମନ୍ସ୍)

ପଦ୍ୟାନୁବାଦ

କାମଗୁଣ  ଶୁଭରୂପେ ଦେଖି ଯେ ବିହରେ ।
ଅସଞ୍ଜତ ଅଟଇ ସେ ନିଜ ଇନ୍ଦ୍ରିୟରେ ।।

ଭୋଜନରେ ମାତ୍ରାଜ୍ଞାନ ତାହାର ଯେ ନାହିଁ ।
ଅଳସ ଓ ହୀନବୀର୍ଯ୍ୟ ନିଶ୍ଚେ ସେ ଅଟଇ ।।

ମାର ବଳାତ୍କାରେ ତା'ର ଉନ୍ମୁଳନ କରେ ।
ଯେପରି ମାରୁତ ଦୁର୍ବଳ ପାଦପେ ସଂହରେ ।୭।

କାମଗୁଣେ ଅଶୁଭକୁ ଦେଖି ଯେ ବିହରେ ।
ସଞ୍ଜତ ଭାବରେ ସ୍ଥିତ ନିଜ ଇନ୍ଦ୍ରିୟରେ ।।

ଭୋଜନରେ ମାତ୍ରାଜ୍ଞାନ ଯେବେ ଯଦି ଥାଇ ।
ଶ୍ରଦ୍ଧାଳୁ, ଉଦ୍ୟମଶୀଳ ନିଶ୍ଚିତ ଅଟଇ ।।

ମାର ନକରି ପାରଇ କିଛି ହିଁ ତାହାର ।
ପବନ ଯେପରି ହଲାଇ ନ ପାରେ ଅଚଳ ।୮।

ମନୁ କଷାୟ ଦୋଷ ନ କରି ଦୂରୀଭୂତ 
ଇନ୍ଦ୍ରିୟ ନ ଦମି ଯିଏ ସତ୍ୟରେ ରହିତ ।

କଷାୟ ବସନ ଯେହୁ କରେ ପରିଧାନ 
ଯୋଗ୍ୟତା ନାହିଁ ତାହାରେ କାନ୍ତ ଆଚ୍ଛାଦନ ।୯।

ମୂଳ ପାଲି ପଦ

ସୁଭାନୁପସ୍ସିଂ ବିହରନ୍ତଂ‌ ଇନ୍ଦ୍ରିୟେସୁ ଅସଂବୁତଂ ।
ଭୋଜନମ୍ହି ଅମତ୍ତଞ୍ଜୁଂ କୁସୀତଂ ହୀନବୀରିୟଂ ।
ତଂ ବେ ପସହତି ମାରୋ ବାତୋ ରୁକ୍ଖଂ'ବ ଦୁବ୍ବଳଂ ।୭।

ଅସୁଭାନୁପସ୍ସିଂ ବିହରନ୍ତଂ ଇନ୍ଦ୍ରିୟେସୁ ସୁସଂବୁତଂ ।
ଭୋଜନମ୍ହି ମତ୍ତଞ୍ଜୁଂ ସଦ୍ଧଂ ଆରଦ୍ଧବୀରିୟଂ । 
ତଂ ବେ ନ ପ୍ପସହତି ମାରୋ ବାତୋ ସେଳଂ'ବ ପଦ୍ଧତଂ ।୮।

ଅନିକ୍କସାବୋ କାସାବଂ ଯୋ ବତ୍ଥଂ ପରିଦହେସ୍ସତି 
ଅପେତୋ ଦମସଚ୍ଚେନ ନ ସୋ କାସାବମରହତି ।୯।

ଅନୁବାଦକୀୟ ଟୀକା: ଏହି ଅଧମ ଅନୁବାଦକକୁ ପାଲି ଜଣା ନାହିଁ । ଏଣୁ ଏହି ପଦ୍ୟାନୁବାଦଟି ପାଇଁ ତାହାର ମୂଳ ସହାୟ ହେଲା  ପ୍ରଫେସର ପ୍ରହ୍ଲାଦ ପ୍ରଧାନଙ୍କ ଦ୍ୱାରା ସମ୍ପାଦିତ 'ପାଲି ଧର୍ମପଦ' ଗ୍ରନ୍ଥଟି, ଯେଉଁଥିରେ ସେ ସଂସ୍କୃତ ରୂପାନ୍ତର ସହ ଓଡ଼ିଆ ଗଦ୍ୟାନୁବାଦ କରିଯାଇଛନ୍ତି । ଗ୍ରନ୍ଥଟିର ପ୍ରଥମ ସଂସ୍କରଣ ୧୯୭୮ ମସିହାରେ ପ୍ରକାଶିତ । କିନ୍ତୁ ଏହି ଅନୁବାଦକ ୧୯୯୪ ମସିହାରେ କଟକସ୍ଥ ପ୍ରକାଶନ ସଂସ୍ଥା ଫ୍ରେଣ୍ଡ୍‌ସ୍‌ ପବ୍ଲିଶର୍ସ ଛାପିଥିବା ଦ୍ୱିତୀୟ ସଂସ୍କରଣଟି ବ୍ୟବହାର କରିଛି । ଏହା ଛଡ଼ା ଏହି ପଦ୍ୟାନୁବାଦ କରିବା ପାଇଁ 'ଦି ସେକ୍ରେଡ଼୍ ବୁକ୍ସ୍ ଅଫ୍ ଦି ଇଷ୍ଟ୍' ସିରିଜ୍‌ରେ ମାକ୍ସ୍ ମ୍ୟୁଲର୍‌ଙ୍କ ଦ୍ୱାରା ସମ୍ପାଦିତ 'ଦି ଧମ୍ମପଦ' ଇଂରାଜି ଗ୍ରନ୍ଥଟିର ୨୦୧୩ ମସିହାରେ ରୁଟ୍‌ଲେଜ୍ ଛାପିଥିବା ସଂସ୍କରଣଟିର ମଧ୍ୟ ବ୍ୟବହାର କରାଯାଇଛି । 

Monday, November 29, 2021

Of Books and Volunteering

Sailen Routray


Photo Credit - Shivdat Tripathi

Over the last decade or so Satya Nagar in Bhubaneswar has morphed from a sleepy residential area to a commercial hub. When you go straight down the road from the brash, new Big Bazar in the area you hit a reasonably sized, unremarkable two storied house numbered 16 that is painted white and looks as boring as any other house on the lane. 

But you cannot miss a signboard that is essentially a piece of carved and painted wood that says ‘Bakul Sishu Paathaagaara’ (Bakul Children’s Library) in Oriya. A small gate leads you into a space that looks as unlike a library as you can imagine. Of course there are books all around; but you have pictures of joyous monkeys playing on the walls and every inch of the walls painted cheerfully with one motif or the other in soothing bright colours.

But the physical aspect of the library is perhaps the least unusual thing about it.  The Bakul library is one of the largest children’s libraries in the state of Orissa. It houses more than 8,000 books (primarily in Oriya and English, and some in Hindi) as well as multimedia and other educational material. There are no user charges for reading and referencing in the library, and there are no formalities involved in terms of becoming a member till now. Any child can drop in and read. Lending of books has not started, and a small fee might be levied as and when it starts.

The library is run by the Bakul Foundation (with Dr. Jatindra Nayak, Professor of English Literature, Utkal University as the President of the society),  and is managed by volunteers Sujit Mahapatra and Satyajit Puhan with help from Puspalata Sethi and others. 

A pledge campaign for building the library was launched by the trio of Satyajit Puhan, young development economist and one of the founders of the Film Society of Bhubaneswar, Sujit Mahapatra, Ph.D. scholar of English Literature at Delhi University, and Ayushman Sarangi computer engineer at ADOBE on the Orissa Day, 1st April 2006 with the launching of the online pledge campaign, "Donate Books, Build a Library"  at www.pledgebank.com/bakul-library

The goal was to mobilize a thousand people who would directly contribute (either with cash for a book or directly with a book) to set up a library, initially focusing on children and youth in Bhubaneswar. The deadline to get 1,000 supporters as well as to set up the library was the 1st of April 2007; by the time the deadline got over 1011 people had pledged support, and the library managed to start functioning. Around two thirds of those who signed up for the pledge were of Oriya origin, the rest being non-Oriya including some foreigners with significant proportions of both the groups being based out of Orissa. 

The goal was not merely to create a library but to tap the energies of volunteers; as Sujit Mahapatra puts it, ‘most people do not try to initiate change because they know that they can contribute only in small ways and do not see how their small contributions can bring about any change. As a result of which, they do nothing and only crib about things. They get cynical that things can never change. We are trying to tell people that change is possible and they can be the agents of that change. By coming together with our small little contributions, we can bring about a change in not only the lives of others, but also in ourselves.’

The inauguration date was marked by a small function and the library itself was inaugurated by three children including a child from a nearby slum. The Bakul pledge campaign is already being used as a case study in IIM Calcutta and in a Delhi University undergraduate textbook for using the internet for effective social mobilization tool for positive social change. 

But the size of the library and the use of the internet for mobilization are not the only things that make the library unique.  The entire collection has been built with the voluntary contributions of ordinary people without any funding from corporate or institutional sources. Apart from the help of the numerous individual supporters, drives for book collection for the library at educational institutions like the University of Waterloo, Canada, Duke University, USA, HP, Bangalore, and BITS Pilani have been important. Bakul plans to build an Online Library system that can help its users to check the availability of books and multimedia material, to place a request and to renew already borrowed books etc. 

The library has already met its target of a thousand footfalls, and has partnered with organizations working with disadvantaged children such as Khelaghara (a school for slum children) Anand Ashram (an orphanage), the B.B.C. School for the Differently Able, and the Thakkar Bapa Special Hostel for tribal students.  The library is involved in extending its services to as many disadvantaged children in the area as possible.  With the help of Mr Ramesh Swain, a prominent local architect, an amphitheatre is being built behind the library so as to facilitate storytelling sessions, theatre workshops etc. 

The library plans to promote a good reading culture, especially among the children and youth by promoting activities like storytelling sessions, film screenings educational workshops, creative writing workshops.  Many initiatives to such an effect have already been undertaken. On Gandhi Jayanti last year Sarbeswar Das, a noted Gandhian, talked to some tribal children from a local government school on Gandhi and Gandhism. On 14 November 2007 (Children's Day), children from 12 government and private schools from across the city volunteered to convert a public wall opposite the Bakul Children's Library into a children’s art wall by painting it up on the theme of "Bhubaneswar- Our City." 

Bakul has also participated at the Sishu Prativa Congress organized by UNICEF and the Education Department of the Government of Orissa on the occasion of Children's Day, 2007; it replicated itself at the venue of the Congress for 2 days and there was a parallel Bakul Children's Library at the playground of the Unit IX Boys High School in Bhubaneswar that was housing the Congress. Art charades, theatre and reading session were organised by Bakul for the children. All these activities took place in Oriya. But the most popular event was the Children's Community Storybook where children collectively wrote stories, primarily in Oriya. Over a period of two days, about seventy children ended up writing 14 stories. 

On 13 January 2008, 18 children from primarily fifth and sixth standards from four private schools performed an English adaptation by Roald Dahl of the story Snow White and Seven Dwarfs to a packed audience of children from various schools of the city, their parents and theatre enthusiasts in the auditorium of the Utkal Sangeet Mahavidyalaya. Bhubaneswar. It was the result of a month long theatre workshop conducted by Nicole Suchanek (director of the play and social work student from Germany, an intern at Bakul). 

Melissa Cornacchia and Melanie Eidecker, both international social work interns working at Orissa coordinated the dance and costumes and props respectively. The children were integrally involved with the planning of the play, and the emphasis was not so much on producing a brilliant show as to facilitate children’s learning and fun. This is only one instance of volunteers, in this case international volunteers, who are expanding the range of the organization’s activities by their own initiative. 

Bakul’s also plans to give a fillip to the production of children’s literature in Orissa as well as contribute towards scholarship on children’s issues. A public lecture titled "The Impact of Imagery in Picture Books for Young Children" by Professor Ellen Handler Spitz organized on 7 January 2008 at the Bakul Children's Library, was a step in that direction. Professor Ellen Spitz teaches at the University of Maryland, US, and is an eminent scholar on children’s issues and their imagination. 

The story of this lecture is also the story of how Bakul is slowly turning into a node for various kinds of volunteering.  Prof. Spitz had originally planned a trip to some other city in India for some academic work. She heard about Bakul’s work and offered to come down to Bhubaneswar at her own cost and deliver a lecture in English. It was open to all and was well attended by people from the development sector working in the fields of education and children.

But children are not the only constituency that Bakul is trying to address. It recently hosted a Film Festival on the ‘Great Masters of Contemporary Western Art’ from 20-23 December 2007 that was a relative success with around 50-60 people attending the festival every day with most of the viewers being students of the arts. The festival screened feature films on contemporary western masters such as Anish Kapoor, Allen Jones, Lucian Freud and Francis Bacon. The focus of the festival was on David Hockney, arguably the greatest living painter in the world with three films on him being screened.

The festival was open to all and was intended to provide exposure to the art students of the state to the work of the greatest artists of the world. This is another example of the culture of volunteerism that Bakul is trying to foster in the state. A promising Oriya artist, Birendra Pani, who was visiting London for work came across the films and thought that Bakul can organize a festival for young art students in the state, and got the movies to Bhubaneswar for screening.

As an example between the proposed synergy between art, culture and development strung together by volunteerism that is a part of the vision of Bakul, more than a dozen promising, young artists are having a show of their work in a major art gallery in Kolkata in the first week of March this year the proceeds from which will go towards strengthening the work of Bakul. The organization also sees this is as a first step towards building a people’s art gallery and cultural centre that will work towards the democratization of the ‘high’ arts in the state and beyond.

The principle guiding Bakul’s initiatives is as simple as it can get; neither let funding/funding agencies’ priorities determine work, nor push for what the organization sees itself as a need of the people it wants to work with, but to work as a node, a social space that acts as a catalyst to get people together to volunteer together for the betterment of a greater collectivity. In fact volunteerism lies at the heart of Bakul’s vision; apart from Puspalata none of the people working at the library take a salary from Bakul. Therefore, interns are increasingly seen as a major component of the organization’s work.

The long term plans involve the setting up of a research and documentation centre that will do two things simultaneously; it will try and fill in the gaps in social science research in the state and the region, and act as the node for filling in gaps in undergraduate education in the surrounding area by having extension programmes as well by morphing into an alternative space for higher learning and research. Initial steps have already been taken in this direction.

Commitments from various prominent people from the state of Orissa such as historian Nivedita Mohanty, Padmashri D P Pattanayak (eminent linguist and educationist) and Dr. Kabi Mishra, (eminent cardiologist) have been received regarding the donation of their personal collections. The research and documentation centre will start with a library containing these personal collections, and by forming a researcher’s collective of scholars that have an academic interest in the state and the region.

Simultaneously, the aim is to strengthen the children’s library at Satya Nagar so that it can act as the nucleus of a children’s library movement in the state, and as a centre of innovation for practice and research in Oriya Children’s literature. So the next time you are in Bhubaneswar, please drop in at 16, Satya Nagar to see some robust volunteerism at work; the organization is new and there are both internal debates and critiques about the direction of work, but this is one young organization that needs to be watched out for.

The name Bakul refers to the grove of bakul trees near Sakhigopal in Puri district in coastal Orissa that was the site of the first alternative school in Orissa set up by the leaders of the nationalist movement. It remains to be seen whether the organization fulfils the promise that the name evokes; but the beginning looks auspicious.

Note: A slightly different version of this article was first published with a different title in the webzine 'India Together' on 25th of January, 2008. As it was written as a long report at the time, it remains substantively unchanged in its current form as a blog post. 

Thursday, November 25, 2021

୧୯୪୦ ମସିହାରେ ଗୋଟିଏ ଶୂନଗାଡ଼ିରେ ଛଅ ଜଣ ସାଙ୍ଗଙ୍କ ଭ୍ରମଣ

ଶୈଲେନ ରାଉତରାୟ


ବଲାଙ୍ଗୀରର ମଟଖାଇ ପର୍ବତ (ୱିକିମିଡିଆ କମନ୍ସ୍)

ଗତ ଶତାବ୍ବୀର ଚତୁର୍ଥ ଓ ପଞ୍ଚମ ଦଶକର ସନ୍ଧି । ସେତେବେଳେ ଓଡ଼ିଶାର ବିଶିଷ୍ଟ ଶିକ୍ଷାବିଦ ହରିହର ମିଶ୍ର ବଲାଙ୍ଗୀରର ପୃଥ୍ୱୀରାଜ ହାଇସ୍କୁଲ ରେ ଅଧ୍ୟୟନ କରୁଥାଆନ୍ତି । ସ୍ୱାଧୀନତା ପୂର୍ବ ସମୟର କଥା । ହଷ୍ଟେଲ୍ ରେ ରହି ପାଠପଢ଼ା ଚାଲିଥାଏ । ୧୯୪୦ ମସିହା । ୧୦ମ ଶ୍ରେଣୀର ପାଠ ଓ ପରୀକ୍ଷା ସରିଥାଏ ।

ସେ ବର୍ଷ ସ୍କୁଲ୍‌ର ରଜତ ଜୟନ୍ତୀ ଉତ୍ସବ ଆରମ୍ଭ ହେବାକୁ ଯାଉଥିବାରୁ କେବଳ ଶ୍ରେଣୀରେ ପ୍ରଥମ, ଦ୍ୱିତୀୟ ଓ ତୃତୀୟ ସ୍ଥାନ ଅଧିକାର କରିଥିବା ପିଲାଙ୍କର ନାମ ଘୋଷଣା କରାଗଲା । ବାକିସବୁ ପିଲାଙ୍କୁ ଉପର ଶ୍ରେଣୀକୁ ପଠାଇଦିଆଗଲା । ଏଥିପାଇଁ ସମସ୍ତଙ୍କ ମନ ବହୁତ ଭଲ ଥିଲା । ଏହା ପରେ ପରେ ବଡ଼ ଦିନ ଛୁଟି ମଧ୍ୟ ପଡ଼ିଲା ।

ଦଶମ ଶ୍ରେଣୀରେ ହର ବାବୁଙ୍କ କ୍ଲାସ୍‌ରେ ତ୍ରିବିକ୍ରମ ପଣ୍ଡା ନାମକ ସରାଧାପାଲି ଗ୍ରାମର ଏକ ମେଳାପି ଓ ଖେଳୁଆଡ଼ ପିଲା ପଢ଼ୁଥିଲେ । ସରଧାପାଲି ବଲାଙ୍ଗୀର ଠାରୁ କୋଡ଼ିଏ ମାଇଲ ଦୂରର ଏକ ଗାଁ । ସେ ତାଙ୍କର ସାଙ୍ଗମାନଙ୍କୁ ଗାଁକୁ ଯିବାକୁ ନିମନ୍ତ୍ରଣ କଲେ । ହରିହର ବାବୁ, ବେଣୁଧର ପଣ୍ଡା, ବଳରାମ ସ୍ୱାଇଁ, ତ୍ରିବିକ୍ରମ ପଣ୍ଡା, ଓ ଆଉ ଦୁଇ ଜଣ – ଏହି ପରି ଛଅ ଜଣ ସାଙ୍ଗ ଠିକ୍ କଲେ ଯେ, ସେମାନେ ମିଶି ସରଧାପାଲି ଗାଁକୁ ବୁଲି ଯିବେ ।

ଗୋଟିଏ ସାଇକେଲ ଠିକ୍ ହେଲା । ଲୁଗାପଟାତକ ଦୁଇଟି ଗଣ୍ଠିଲିରେ ବନ୍ଧା ହେଲା । ଗଣ୍ଠିଲି ଥୁଆ ହେଲା ସାଇକେଲ ଉପରେ । ସକାଳୁ ସକାଳୁ ଛଅ ବନ୍ଧୁ ବାହାରି ପଡ଼ିଲେ । ଜଣେ ସାଙ୍ଗ ଗାଡ଼ି ଚଲାଇଲେ । ବାକି ସବୁ ସବୁ ପଛେ ପଛେ ଚାଲିଲେ । କଥା ରହିଲା, ଦୁଇ ମାଇଲି ସାଇକେଲ ଚଲାଇ ଯାଇ ସାଇକେଲିଆ ଅପେକ୍ଷା କରି ରହିବ । ପଥଚାରୀ ଚାଲିଚାଲି ଯାଇ ତାଙ୍କ ପାଖରେ ପହଞ୍ଚିଲେ, ତାହା ପରେ ଆଉ ଜଣେ ସାଇକେଲ ଚଲାଇବ ।

ଏମିତି ସମସ୍ତଙ୍କର ପାଳିକେ ଲେଖାଏଁ ସାଇକଲ ଚଢ଼ା ସରିଲା ବେଳକୁ ବନ୍ଧୁଗୋଷ୍ଠୀ ଯାଇଁ ପହଞ୍ଚିଲା ସିଂହାଣିମୁଣ୍ଡା ଗାଁରେ । ସେ ଗାଁ ହେଲା ହରିହର ବାବୁଙ୍କର ମଉସା ବଳରାମ ଗୁରୁଙ୍କର ଗାଁ । ମଉସା ଅବଶ୍ୟ ବଲାଙ୍ଗିରରେ ରହୁଥାନ୍ତି । ଗାଁରେ ବସବାସ କରୁଥାଆନ୍ତି ମଉସାଙ୍କର ସାବତ ମାଁ, ଭାଈ ଓ ଭଉଣୀ । ଏତେ ଲୋକ ଥିବାରୁ ହରବାବୁ ସଙ୍କୋଚ କରି ଅନ୍ୟତ୍ର ଖିଆପିଆର ବ୍ୟବସ୍ଥା କରୁଥିବାର ଶୁଣି, ଆଈ ଡକାପକାଇଲେ ଓ ସମସ୍ତ ବ୍ୟବସ୍ଥା କଲେ ।
 
ମଉସାଙ୍କ ଘରେ ରାଜଭୋଜନ ଓ ବିଶ୍ରାମ କରି  ପୁଣି ଗୋଟିଏ ସାଇକଲରେ ପୂର୍ବ ପରି ଛଅ ଜଣ ଯାକ ସାଙ୍ଗ ଯାତ୍ରା ଆରମ୍ଭ କଲେ । ସୁକତେଲ ନଦୀ ପାର ହୋଇ, ସରଗାଡ଼ ଓ ଗାଇସିଲଟ ଗାଁ ଦୁଇଟି ଦେଇ ସନ୍ଧ୍ୟା ପୂର୍ବରୁ ସରଧାପାଲି ଗାଁରେ ଯାଇ ପହଞ୍ଚିଲେ । ତ୍ରିବି ବାବୁଙ୍କର ପିତାମାତା ପୁଅଙ୍କର ସାଙ୍ଗମାନଙ୍କୁ ଦେଖି ବହୁତ ଖୁସି ହେଲେ । ବଡ଼ ବଖରାଟାଏ ସଫା କରିଦେଲେ । ସତରଞ୍ଜି, ସପ ଇତ୍ୟାଦି ବିଛାଇ ରହିବାର, ଶୋଇବାର ବ୍ୟବସ୍ଥା କଲେ । ରାତି ଆଠଟା ବେଳେ ଖାଇସାରି ହାଲିଆ ହୋଇଥିବାରୁ ଶୋଇଗଲେ ।

ତାହା ପର ଦିନ, ପାଖ ଗାଁରୁ (ତ୍ରିବି ବାବୁଙ୍କ ଶଶୁର ଘର ଗାଁ) ଆର୍ତ୍ତତ୍ରାଣ ଓ ଶଙ୍କର୍ଷଣ ନାମରେ ପୃଥ୍ୱୀରାଜ ହାଇସ୍କୁଲର ଦୁଇ ଜଣ ତଳ ଶ୍ରେଣୀର ପିଲା ଛଅ ସଙ୍ଗାତଙ୍କୁ ଭେଟି ନିମନ୍ତ୍ରଣ କରିବାକୁ ଆସିଲେ । ଏହି ଦୁଇ ଜଣ ତ୍ରିବିକ୍ରମ ବାବୁଙ୍କର ସମ୍ପର୍କୀୟ ଶଳା ମଧ୍ୟ ଥିଲେ । ଦିନ ବେଳା ସରଧାପାଲିରେ ଖାସି ବା ମେଣ୍ଢା ମାଂସ ଖିଆଯାଇଥିଲା । ରାତିରେ ମଧ୍ୟ ଆମିଷ ଭୋଜନ ସହିତ ଜୋଇଁ ଚରଚା ମିଳିଲା ।

ସେତେବେଳେ ନିମନ୍ତ୍ରିତ ଅଥିତିଙ୍କୁ ଆମିଷରେ ଚର୍ଚ୍ଚା କରିବା ଏକ ପ୍ରଥା ଥିଲା । ଲୋକେ ସେଥିପାଇଁ ଘରେ ଛେଳି ମଧ୍ୟ ରଖୁଥିଲେ । ଜୋଇଁ ଚରଚା ପରେ, ରାତିରେ ଶୋଇ, ସକାଳେ ଉଠି ନିତ୍ୟକର୍ମ ଓ ଜଳଖିଆ ଇତ୍ୟାଦି ସାରି, ସରଧାପାଲିରେ ପହଞ୍ଚି, ବଲାଙ୍ଗିର ଫେରିବାର ଯୋଜନା ତିଆର ହେଲା । ତ୍ରିବି ବାବୁ ଘରେ ରହିଗଲେ ।

ବାକି ପାଞ୍ଚ ଜଣ ଯାକ ବନ୍ଧୁ ଗୋଟିଏ ସାଇକେଲ ଚଢ଼ି ଇସ୍କୁଲକୁ ଫେରିବାର ଉପକ୍ରମ କଲେ । ତ୍ରିବିକ୍ରମ ଓ ତାଙ୍କର ପିତା ଖଣ୍ଡେ ବାଟ ବଳେଇଦେବା ପାଇଁ ଆସିଲେ । ଫେରନ୍ତାରେ ବନ୍ଧୁମାନେ ଭିନ୍ନ ବାଟ ଧରିଲେ । କଉତିକିଆ ଗପଟିମାନ କହିଶୁଣି ସମୟ କଟୁଥାଏ ।

ସରଧାପାଲିରୁ ସେମାନେ ଆସିଲେ ଗାଏସିଲଟ । ସେଥି ଉତ୍ତାରୁ ଲୋଇସିଂହା ଆଡ଼କୁ ପ୍ରସ୍ଥାନ କଲେ । ଲୋଇସିଂହାରେ ବସ୍ ଷ୍ଟାଣ୍ଡ୍ ରେ ପହଞ୍ଚି ସାଇକେଲକୁ ବସ ଉପରେ ରଖି, ପାଞ୍ଚଜଣ ସାଙ୍ଗ ବସ୍ ରେ ବସି ଘଣ୍ଟାକ ଭିତରେ ବଲାଙ୍ଗିରରେ ପହଞ୍ଚିଲେ । ଏମିତି ଥିଲା ଅଶି ବର୍ଷରୁ ଉର୍ଦ୍ଧ ସମୟ ପୂର୍ବର ଗୋଟିଏ ସାଇକେଲରେ ଛଅଜଣ ସାଙ୍ଗଙ୍କର ଭ୍ରମଣର ଅନୁଭୂତି ।

ବି.ଦ୍ର.: ଏହି ଲେଖାଟି ସାମାନ୍ୟ ଏକ ଭିନ୍ନ ରୂପରେ ପ୍ରଥମେ ପାକ୍ଷିକ ପତ୍ରିକା ସମଦୃଷ୍ଟିରେ ପ୍ରକାଶିତ ହୋଇଥିଲା । ଲେଖାଟିର ଉପାଦାନ ହରିହର ମିଶ୍ରଙ୍କର ଆତ୍ମଜୀବନୀ ସ୍ମୃତି ତ କଦାପି ନୁହେଁ ଫିଙ୍ଗିବାରରୁ ନିଆଯାଇଛି । ବହିଟି ୨୦୧୬ ମସିହାରେ ଭୁବନେଶ୍ୱରସ୍ଥ ପ୍ରକାଶନ ସଂସ୍ଥା ପଶ୍ଚିମା ପବ୍ଲିକେଶନ୍ସ୍‌ଙ୍କ ଦ୍ୱାରା ପ୍ରକାଶିତ ।

The Declaration of Emergency Manmohan Choudhury Translated by Sailen Routray Jayaprakash Narayan (1902-1979) Narayan was a key figure in the...