Friday, 26 November 2021

Colours of India: poems

 Listimon 

By dibakar purkayastha

Listimon,

Do I remember your eyes are fresco of black and white clouds

Your hair  deep green pine

Those lips of your are red like sohiong

And your laughter?

Just Gargling  of Nohkalikai water.


Listimon,Oh dear! 

We had our those golden mid-day of hot May 

Your hair sway

With whipping wind of Lawsohtun

We had our promenade alone

Chrysanthemum and Rhododendron around 

Over the hilltop we found 

Menhir and dolmen 

Mawsongthait  even 

We lost our path in madding spring

And when we are back it was raining.


Listimon,

Oh  those soft shiny days of winter 

When we were together

Walking over fallen leaves 

Your jainpein covering our hips 

Is this only reminiscence of past 

That speaks our love robust ?    


Listimon,

 As all say still here,

 every year all flower blossom, tears they shed

Cloud shed tears over Nohkalikai cascade

Percolating water run though drain 

Umbrella is still handy during rainy days again 

Winter chill trudges with silent traverse

Trees shed barks and pine shed leaves at large

Every season still same here 

Significantly, only you are not there 

Still we have our jainsem and jainkup 

Summer and winter same we look

Shun and Kwai we are not bereft 

But Listimon, 

Where on earth have  you  left ? 













Colours of India: poems

 Pink festival : a sonnet 

By dibakar purkayastha

What is better than a pink winter 

When I have a festival of pink flower 

What is better than a pink fragrance 

Let me have here my pink romance.

All your swans and doves  in park and lake 

The best part of the year,I can undertake

The frost in morning and dew all over 

Tranquility with pink petels near and far.

All our women should love to don in pink 

Sky will shower the sunbream, I think 

Holy son of God will born here soon 

Pink city will celebrate with pink festoon 

Serenade carols will be played in night 

Surfiet pink love the city will celebrate.











Colours of India:poems

 Shillong solitude

By  dibakar purkayastha


Let the sky censor the cloud allow

soothing moon to beam

Let all tall pines lengthen their shadow 

upto percolating stream 

Oh the solitude !


Let the cry of night birds spread

over the distant moore 

Let the drizzling dew drops in the silence

fall on neighbours door

Oh the solitude!


Let the old Kong shut her dukan jadoh

and enjoy the warmth indoor 

Let the last drop of costly whiskey of uncle

shouldn't fall upon the floor

Oh the solitude!


Let the Shilong enwarp its cool nature

widespeard as Amazon 

Let  those  beauty of my childhood be

enshrined, and not bygone.

Oh the solitude!










Colours of India: poems

 How are you Shillong

I traversed  crisscrossing ten walls of clouds to  link up with you.


How are you doing, Shillong? 

By dibakar purkayastha


I have navigated through colonnade of vigilant eyes of hundred tall pines 

This time, to have my secret rendezvous, with you, 


my dear Shillong.


Enveloped the time with unwanted drizzle,

Shivering chill and whipping wind,

a sudden vintage adour.


Ten thousand of cold breeze I intersected, to endure you,  

I swam though maddening smell of your naval, and got tipsy; 


oh my hamlet, my Shillong.


Oh dear!

Arrange ten thousand of your meadow and Moore 

with manna dew and morning fog;

Decorate the welcoming garland 

with a new epic of sweet pines 

Welcome me again, my dear

let it be my second honeymoon.


How are you, Shillong?










Colours of India : Poems

 A glimpse of winter at Shillong 

By dibakar purkayastha


'Wait outside until I let you in'

I cothed. 

'Give some more time at least up to December 

when tall pines will shed their  barks, 

brown long leaves will fall and cover  

the sidewalks towards my village. 

When frost will cover the meadows and moore,

pears and plum trees will turn lifeless brown.

The shepherd will clad himself in old leather jacket

and his smelly hat and  go out in morning. 

His sqint eyes and uneven teeth will search for

fallen branches of pines that can be used as firewood in his home. 

His nosetip will get cold and frozen and fingers are almost numb.

Those green tin roofs of houses will make

 onomatopoeia of  tam tam water droplets from one tin to other.

Car of my neighbour will not start with ignition key 

and he has to make repeated attempts.

Sky will be clear and deep blue ,

Will call me before you 

Into that land my father,

take me once  before you take me away.'


Sunday, 18 July 2021

Sylhet and Kadambari : An untold chapter of history

 


Introduction

In the year 1874 Sylhet district was bifurcated from the then Bengal province and incorporated with newly formed province of Assam. The greatest Bengali poet of contemporary period Rabindranath Tagore wrote with a heavy and sad heart this stanza as mentioned below:

মমতাবিহীন কালস্রোতে

বাংলার রাষ্ট্রসীমা হতে

নির্বাসিতা তুমি, সুন্দরী শ্রীভূমি I


It was definitely from him Sylhet has got this beautiful name. Sylhet, our own Sylhet has obtained a permanent place near to the heart of all of us whose ancestors are hailed from this place; although most of the people of present generation have not seen the place. Sylhet is geographically situated at 24°30’N latitude and 91°40’E longitude having present area of 12,298.4 sq. km and language spoken is Bengali of Sylheti dialect as well standard Bengali. The literacy rate is 39.18% 

 Sylhet had five divisions before 1947 including karimganj subdivision which was incorporated with India during partition of the country and other four subdivisions viz Maulabibazar, Habiganj, Sunamganj and Sylhet was merged with the then newly formed East Pakistan. 

No, I am here not to teach any geography of academic interest. I will tell our readers the untold facts of our Sylhet of yesteryears for that I bet all will feel goose bumps on your body. Your hair will be straightened with pride of our golden past.

Between 5th century to 14th century ACE 

Historically Sylhet was called ‘Surma Valley’ the plain land of Gangetic Bengal which reached in its pinnacle for rich art, culture and economy. In the famous ‘Asthadhyaye’ of great Panini we get mention of ‘Surmos’ as a rich and famous place. Dr Basudev Agarwala, the renowned researcher also mentioned Surma Valley as ‘Surmos’. The rich history of Sylhet is found mainly on two copper plates namely ‘Khalimpur’ and ‘Gunaighar.’ It is widely believed that Sylhet and its adjoining areas were under the sea during ancient time. This has been referred by Sir W Hunter in his ‘statistical accounts of Assam’ which reads 

Quote

The confirmation of some of the sandy hillocks and the presence of marine shells at the foot of the hills along the northern boundary, indicate that sea flowed at the base of the hills at a comparatively recent period.

Unquote  

Even in 14th century AD large areas of Sylhet was submerged under water. It is believed that Famous Muslim Saint Hazarat Shah Jalal reached Sylhet or Gaud in the 14th century AD. It is said at that at that time nearly all the land from Sadarghat to Dinapur of present Habhiganj sub-division was under water. (Ref: Copper plates of Sylhet by K K Gupta)

Even in 18th century AD many large water lands were seen in Sylhet area. Mr. Lindsay came to Sylhet town as the resident of Sylhet during the rainy season and he had to go through a vast tract of water between Dhaka and Sylhet and mariner compass had to be used en route. (Ref: Copper plate of Sylhet by K K Gupta)

This Sylhet was referred as ‘Ganganica’ between the periods 5th century AD to 12th century AD when this area reached to great height with all respects. It was well connected through road and water to different places and countries. The presence of harbour was there and name of ‘Indeshwar’ river harbour is mentioned in many copper plates.  Historians believe that Sylhet was an expanded commercial center since the ancient period, which explains its original namesake. During this time, Sylhet was probably inhabited by Indo-Aryan Brahmins, though ethnically the population would also include Mongoloids, Dravidians of Bengal, Arabs, Persians and Turks. It has also been suggested that the Ancient Kingdom of ‘Harikel’ was situated in modern Sylhet. Many ancient coins issued by king of Harikel have been found under the ruins in this area. There are reasons to believe that Sylhet area was economically very rich and the vast Gangaraid area had gold mine and gold coin in circulation. Anonymous writer has narrated a journey through Ganganica where he refers in his travelogue that Pearl, finest Muslins (those called genetic) available in this locality. It also mentions that there was gold mine and gold coin in use called ‘Caltis.’ In Nidhanpur copper plate a name of place referred as ‘Karnasubarna’ and in Kadambari of Banabhatta a place we find is named ‘Subarnapur’  Both the name has common word called ‘Subarna’ means golden and this is near to gold. (Ref: Classical accounts of India by R C Mazumder)

Durga and Srikrishna Chaitanya (Hindu past)

Sylhet is also proud to have global Shakti Peethas, holy places of cosmic and enormous power, where Goddess Durga is worshipped. Of the fifty-one body parts of Sati, one form of Durga that fell on Earth, Her neck fell on the south side of Surma River across the Sylhet town and her left palm fell in Jayanti. In addition, Sri Krishna Chaitanya Mahaprabhu, the God of all Humanity and who will reappear during the kaliyug or end of time, visited his paternal family home in Thakur Bari, Dhakadakshin, Golapganj and his maternal family home in Joypur, Habiganj in Sylhet Division in the 16th century. Hindu temples, such as Shri Chaitanya Dev Mandir in Dhakadakshin, Kali Mandir of Jainpur, Narayan Shiva Mandir of Khasa Pundit Para of BeaniBazar, Sri Mahaprabhu Bigraha Akhra of Jaldhup in BeaniBazar, Shakti Piths temple of Kirit Devi Kamala, Bagala Matar Mandir of Habiganj, and Kalibari of Jaintiapur are popular.

Darga-e-ShahJalal.

A Muslim saint, Hazrat Shaikh al Mushaek Jalal Uddin, popularly known as Shah Jalal, arrived in Sylhet in 1303 AD from Mecca via Delhi, together with 360 companions and army generals such as Sikander Ghazi, Syed Nasiruddin and Khwaja Burhanuddin Qahafan, who defeated Govinda of Gaur. Sikander Ghazi was the nephew of Sultan Feroze Shah of Delhi. Under the spiritual leadership of Hazrat Shah Jalal and his 360 companions, the Muslims converted many local Hindus. He died in Sylhet in or around the year 1350 AD. His shrine is located inside the parameter of the mosque complex known as Darga-e-Shah Jalal. 

Kadambari by Banabhatta 

 Kingdom of Harikel is believed to be lasted for a long period. During that period kings and nobles of this region tirelessly worked for development of religion, culture and economy of this area and as such they regularly donated land to learned and wise to establish their research works. It is also known that ‘Chandrapur’ that falls near to present Karimganj was an ideal institution for imparting knowledge and learning. This information is contained in different copper plates discovered from ruins and it tells us the episode of golden past of Sylhet. It is believed in one of them that Banabhatta of Kadambari fame lived in ancient Sylhet. Banabhatta lived in 7th century AD since the same person wrote the Harshacharita also and king Harshavardhan reigned from 608 AD to 647 AD.As per the copper plate found in Nidhanpur, there are reasons to believe that Banabhatta lived in a place called ‘Mayur Shalmal’ and as per Khalimpur copper plate this place is mentioned as ‘Mada Shalmali’ . In the epic ‘Kadambari’ itself the words and names of the places used are very much familiar with those places which existed in that area during Banabhatta’s time. The descriptions contained in the epic have astonishing similarity with places and signage of that particular time of that area.

In the book Kadambari itself the name of Chandrapur is referred many times.  

ব্রম্হাপুরম্পবিকলোপ্য I ইত্ত্যেবং চতুসীমা পর্যন্তান শ্রীশ্রী চন্দ্রাপুরাভিধানং

এতস্মিনো শ্রীচন্দ্রপুরে I ব্রম্হনে I 

I have said in previous paragraph that Chandrapur was an ideal institution for wisdom and learning. It seems that Banabhatta used the name of the place in his book such as the illustrious Chandrapur of Ganganica and ‘Uddumbarivishaya’. Another place the author named is the large waterbed near the Ashram of Yabali as ‘Himakar Sarashi ‘. Himakar again means ‘Chandra’. So, the river or water near Chandrapur might have been referred as Himakar Sarashi.

The river Ganges must have been near to the place Chandrapur that time because entire area was full of water and the entire area was named Ganganica or Gangaraid by Greek.

Moreover Betel leaf and Betel nut is common in Sylheti culture. In Kadambari chewing betel leaf is narrated many places. Like 

 “Her (Patralekha) thin lower lips were darken with the blackness imparted to it by their very much chewing the betel roll” (Ref: Kadambari Page 140).  Again 

“ He( Keyuraka) had a lower lip, soft like mango sprout and darkened by the colour of the betel, he chewed ceaselessly (ref: Kadambari Page-233)

We will now look at other kings who reigned in surrounding during contemporary period. To the west Magadh had its king Harshavardhan and Bhaskarvarman at Kamrup in the north. The copper plate of Nidhanpur contained the reign of Bhaskarvarman of Kamrup which has the similarity of language that is used in Kadambari. Interestingly this Sylhet region was originally inhabited by Dravids, Austic, Mon-Khems etc till 15th century AD. An interesting fact in this context, we should not forget that, Austic and Mon-khem language were widely spoken on those days in Sylhet and surrounding areas and as such the words and syllables of such languages might have been used in literatures of that time. Khasi tribe in Meghalaya believed to be the descendants of Mon Khems uses ‘U’ prefix for Masculine gender and ‘Ka’ for feminine. So, it is presumed that the word like ‘Vishaya’ was used for the word ‘district’ during those period and in one place referred in copper plate as ‘Uddumbarivishaya’ might be the conjuncture of Mon-khem and Sanskrit language as  U+ dumburivishaya and later on changed into Ka+uddumbari  and thus changed into Kadumbari and later on to Kadambari. There are many other reasons to support this theory those cannot be discussed at length here due to obvious reasons. (Ref: ‘Uttar Purba Bharater Longai Ababahika and Banabhatta Prachin Itihaser Bismoy by M Bhattacharjee) My request to our present generation that if they feel this part of discussion is not so interesting, they are only advised to feel proud that author of classic, Kadambari was none other than a Sylheti.

Banabhatta and Harshacharita 

Banabhatta wrote his ‘Harshacharita’ at the ripe age. It is believed that he was called by Harshavardhan to visit his kingdom and it took him two days to reach there. Now, one question arises here that generally those days distances were gauged in term of ‘Yojan’ and one Yojan is approximately three miles. So, how could he reach to Magadh from Sylhet in two days when the communication for ordinary persons was only through river route? This point again opens a line for discussion. However, it is genuine that the Banabhatta wrote Harshacharita is one and same person who wrote the epic Kadambari.


Conclusion

Sylhet has produced innumerable worthy sons and daughters who have jointly or severally made our country proud.  To name a few I will start with Hason Raja, Bipin Chandra Paul, Syed Mujtaba Ali, Dilwar Khan, Runa Laila, Hemanga Biswas etc and many noted singers and authors who have relocated after partition of the country. But, I am not here to discuss about all of them. I specifically concentrated on the great personality and epic author Banabhatta whose literary work is not much less than Kalidas and who has obtained a permanent place in the Indian literary all time giants. We all should feel proud to be descendant of such personality who was born in Sylhet. I will also like to quote Sri Manabendra Bhattacharjee to conclude 


তোমার কুত্কুট প্রিতিকুট, শাল্মলী তলে, মান্দার সীমান্ত রেখা পুড়ে 

সিঁদুর আগুনে I মাছ নেই, হাকে কুররা পাখি অর্জুন ডালে I ক্ষুধার আগুন -

ভাড়ার, ভরেনা বরো ধানে I শীর্ণ বুকে, মার চোখে আকন্দের রস ঝরে I ঘেটু 

ভাটেরা চলে গেছে দূর বাদারে বনে I 

পিতামহ! কাঁদে কাদম্বরী I এসে দেখো ঘরে I


  ----------------------0-------------------------


(I will pay my acknowledgement for writing this article to Sri Manabendra Bhattacharjee Late professor of department of Bengali Sankaradeva College Shillong and author of Bengali book ‘Uttar Purba Bharater Longai Ababahika and Banabhatta Prachin Itihaser Bismoy’ who is also a member of Bangiya Shahitta Parishad Shillong.)

Authored by: - dibakar purkayastha

 For any information regarding this article please contact at dibakaranima@gmail.com 


Monday, 14 June 2021

History of Sylheti Nagri Script

 Sylheti  Nagri

ꠍꠤꠟꠐꠤ ꠘꠣꠉꠞꠤ

History of  Sylheti Nagri script



Origin

                

Sylheti Nagari or Syloti Nagri (Silôṭi Nagôri) is the original script used for writing the Sylheti language.It is an almost extinct script, this is because the Sylheti Language itself was reduced to only dialect status after Bangladesh gained independence and because it did not make sense for a dialect to have its own script,its use was heavily discouraged. The government of the newly formed Bangladesh did so to promote a greater "Bengali" identity. This led to the informal adoption of the Eastern Nagari script also used for Bengali and Assamese. The Sylheti-Nagari Script is more older than The Bengali Language ,which history is just 1000-1200 years old.

The traditionally story of the origin of the Syloti-Nagri alphabet is about 5000 years back. In the time of Mahabharata,when Sylhet or Sreehatta was a part of  Bhagadatta's Kingdom  and also traces of Sylheti-Nagari Script can be found in Puranas.According to a late text, Kalika Purana (c.7th–8th AD), the earliest ruler of Assam was Mahiranga Danav of the Danava dynasty, which was removed by Naraka who established his the Naraka dynasty. The last of these rulers, also Naraka, was slain by Krishna. Naraka's son Bhagadatta became the king, who, it is mentioned in the Mahabharata, fought for the Kauravas in the battle of Kurukshetra with an army of kiratas, chinas and dwellers of the eastern coast.In the late 17th century, Persian became the official language of

the Delhi Sultanate and the Perso-Arabic script was used in all official documents. 

According to  Professor Clifford Wright, the script descends from Kaithi script, a script predominantly used in Bihar.

The specific origin of the script is debated. Though most popular in Sylhet, the script was historically also used in Greater Mymensingh, Northeast India and West Bengal. One hypothesis is that the Muslims of Sylhet were the ones to invent it for the purpose of mass Islamic education, which is thought to have taken place during the 15th-century, when Bengali Hindus led by Krishna Chaitanya, started a Sanskrit and Vaishnavist reawakening movement. On the other hand, Ahmad Hasan Dani believes that it was invented by the Afghans during their rule of Bengal, since Nagri letters resemble Afghan coin symbols and the large number of Afghan inhabitants in Sylhet at the time. Another theory dates the script's origin as late as the seventeenth—eighteenth century; claiming that it was invented to facilitate the Muslim sepoys coming from the joint state of Bihar and other immigrant Muslims.

Though almost solely used by Muslims, there are other theories which point the script's origins to Buddhists and Hindus who later converted to Islam. A popular theory is that it was brought to the region via Nagar Brahmins. This is a Hindu caste known for travelling and settling across the subcontinent, adopting the local language but writing in their own Nagari-variant of Kaithi instead.The Brahmins converted to Islam though retained the practice of the Nagri script for poetry.This is also the case in other parts of South Asia such as Sindh, Multan and Varanasi. Baitali Kaithi was a former script used to write Hindustani at a similar time, and it was identical to Sylhet Nagri with the exception that the latter had a matra (upper horizontal line used in Brahmic scripts). Others say that the script was invented by immigrant Bhikkhus (originally Buddhist in faith) from neighbouring countries such as Nepal.


Usage


The simplistic nature of the script inspired a lot of poets, though the bulk of Sylheti Nagri literature was born in the late 19th century. Abdul Karim, a munshi who was studying and completing his education in London, spent several years in the English capital to learn the printing trade. After returning home in  1869, he designed a woodblock type for the script and founded the Islamia Printing Press in Bandar Bazar, Sylhet in 1870.

Padmanath Bhattacharjee Vidyabinod, who wrote the first scholarly article on the script, is of the opinion that Abdul Karim's standardisation marks the start of the script's reawakening  period. Prior to Abdul Karim's intervention, not much is known about the popularity and usage of the script. The manuscripts were of prosaic quality, but poetry was also abundant.

Other Sylheti Nagri presses were established in Sylhet, Sunamganj, Shillong and Kolkata. Some include the Sarada Printing and Publishing in Naiyorpul, Sylhet; and Calcutta's General Printing Works in 16 Gardner Lane, Taltala as well as the Hamidi Press in Sealdah. It has been asserted from scholarly writings that the script was used as far as Bankura, Barisal, Chittagong and Noakhali. From the description of Shreepadmanath Debsharma:

The script in prior times was used in Srihatta. With the advent of printing the script now has spread to all of the Srihatta district, Kachar, Tripura, Noakhali, Chittagong, Mymensingh and to Dhaka, that is, to the Muslims of the entire region of Bengal east of Padma.

The script, never having been a part of any formal education, reached the common people with seeming ease. Although it was hardly used in comparison to the Bengali script, it was common for lower-class Muslims in eastern Sylhet to sign their names in this script. Many Sylheti Nagri presses fell out of use during the Bangladeshi Liberation War and Indo-Pakistani War of 1971, including Islamia Press in Sylhet town which was destroyed by a fire.


Present status 


This structure, namely "Nagri Chattar" (Nagri Square), built near Surma river in the city of Sylhet, Bangladesh consists of characters of this script.

Many Sylheti Nagri presses fell out of use during the Bangladeshi Liberation War and Indo-Pakistani War of 1971, including Islamia Press in Sylhet town which was destroyed by a fire. It gradually became very unpopular the script is used mainly by linguists and academics. Research on the script multiplied to its greatest extent in post-colonial Pakistan and independent Bangladesh. In the late 20th century, Munshi Ashraf Hussain, a researcher of Bengali folk literature, contributed immensely to Sylheti Nagri research.

In 2009, the publication of literature in the Nagri script recommenced in Bangladesh through the efforts of Mostafa Selim, who founded a publishing company called Utsho Prokashon based in Dhaka, and Anwar Rashid's New Nation Library in Puran Lane, Sylhet. By 2014, a collection of 25 manuscripts, known as Nagri Grantha Sambhar, was published by Utsho Prokashon's Muhammad Abdul Mannan and Selim. The government enabled free circulation of books about Nagri to be distributed to schools and colleges in Sylhet. The Bangla Academy, an institution funded by the Government of Bangladesh to serve as the official body regarding the Bengali language, has begun hosting Nagri bookstalls at the Ekushey Book Fair.The Sylhet City Corporation and Sylhet District Council funded the establishment of a circular mural at Surma Point known as the Nagri Chattar in 2018, which was designed by Shubhajit Chowdhury. The official building of Sylhet District's Deputy Commissioner has also installed Nagri signboards. Last, but, not the least

in the United Kingdom,] the New Testament was successfully transcribed into Sylheti Nagri by James Lloyd Williams and others on 2014 Christmas Day and titled Pobitro Injil Shorif.


Source : Different online  sources.

Sunday, 6 June 2021

Toru Dutt : Keats of India


   Toru Dutt:  Keats of India 


Toru Dutt or Tarulatha Dutt was an Indian poet born in the Bengal province in 1856 to the well-known Rambagan Dutt family. Her short life and unparalleled literary work earned her fame, postumously, to be compared with John Keats, the English poet. 

Short lived Toru Dutt although, started with prose in very early age,but later on it is her poetry that gave her worldwide recognition.

Toru was born in a unorthodox Hindu Bengali family. As the youngest child of Govind Chandra Dutt and Khestramoni Mitter, she belonged to a family of writers. The father worked for government Was a linguist and published some poems of his own. Mother Khestramoni Mitter loved Hindu mythology and translated the book Blood of Christ in Bengali.

The family later converted into Christianity in the year in 1862 and baptized. At the age of six it was a major event in her life. Although from that onwards she was a devout Christian till her doomsday, but faith on her Hindu origin diprooted inside and that has reflected many of her works. 

Her literary genius first blossomed after 1869 when she shifted to France with her parents and other siblings. 

Toru Dutt was a natural linguist. Barring her mother tongue Bengali, she was proficient in English, French and later on Sanskrit. In 

France, she was educated in language, history, and the arts. Toru, along with her sister Aru, mastered the French language during their short stay in France. This fascination with the French language and culture would be sustained through Toru's life, and her favorite authors were the French writers Victor Hugo and Pierre-Jean de Béranger.

Toru started publishing her work when she was only 18.Her first published work, an essay on Henry Derozio and leconte de lstle in Bengal Magazine on 1874.

Her first novel Le Journal de Mademoiselle d’Arvers (The Diary of Mademoiselle D’Arvers) was written in French. She also started to write another novel, Bianca or The Young Spanish Maiden, which remains incomplete due to her young and untimely death. Both these novels were set outside of India with non-Indian protagonists. 


Despite of working on prose ab initio, she soon switched to the world of poetry and Her first collection, A Sheaf Gleaned in French Fields, was a volume of French poems that she and her deceased sister Aru translated into English. The first edition of her book was published in 1876 by the Saptahik Sambad Press, located in Bhowanipore, Calcutta. Although first her collection was not a hit, because it lacked a preface, was printed on low-quality paper, and the publisher was little known. However, in 1877 the poetry collection gained publicity after it was favorably reviewed in The Examiner by Edmund Gosse.


Sadly, Toru Dutt did not live to see her success. She, like her siblings, died from consumption in 1877, at the age of 21. Her book of poetry named Ancient Ballads and Legends of Hindustan, a collection of translations and adaptations from Sanskrit literature, was published posthumously in 1882. Edmund Gosse wrote the introductory memoir for the collection. He said, describing Toru, "She brought with her from Europe a store of knowledge that would have sufficed to make an English or French girl seem learned, but which in her case was simply miraculous." Her more popular poems include "Sîta," "The Lotus," "Lakshman," "Our Casuarina Tree," "The Tree of Life," and "Buttoo."


The story of Toru does not end after her untimely mortal death. She became immortal in twentieth century.

In the early twentieth century, author Harihar Das came across "Buttoo." He was so taken with the poem that he set out to find out more about Toru. After failing to discover much information about her, he decided to write a Toru Dutt biography himself. He got in touch with her remaining family, and with Mary Martin, who provided him with her letters from Toru. In 1921 he published her biography, "Life And Letters Of Toru Dutt."


In spite of her untimely death, Toru Dutt remains an exemplary poet, and her works are widely regarded as being among the best of Indian-English writings. She was a powerhouse of knowledge in French , English and also. Sanskrit. In particular, critics have paid much attention to Toru Dutt's lyric focus on the complexity of individual emotions, especially in light of her mixed religious heritage and her encounters with death from a young age. Much critical attention has also been paid to Toru Dutt's successful combination of European and Indian cultural influences, linking her identity as a cosmopolitan and multicultural figure to her poetic synthesis of English verse forms (such as the ballad) with Indian inspirations and legends.


Toru had made immence contribution in  Anglo French literature during her short stay in this world, that is truly compared with English poet of nineteenth century John Keats. Both has many similarities common. First, both are best known for their poetry. Work of both was not acclaimed during their life time. Both lived and worked in nineteenth century. Both received recognition after their death. And last the sad part both died in very tender age. Toru died at the age of 21 while Keats died at 25. Surprising similarity that both died of consumption.


Every Indian must read Toru's work parallel to John Keats. Hope, one day both name will be spelt in same bracket.