Dipak Kurmi
(The writer can be reached at dipaknewslive@gmail.com)
Lakshminath Bezbaruah emerged as a formidable figure, embodying the creative and intellectual revival of modern India. His contribution mirrored the Assamese manifestation of a resurgence in emotions, thoughts, and imagination, echoing the developments in various parts of the country during the nineteenth century. Bezbaruah’s literary works served as a reflection of the contemporary Assamese mindset, catalysing a rejuvenation of the language, literature, culture, and society of Assam. His literary journey, spanning from 1890 to 1938, encompassed roles as a storywriter, poet, lyricist, novelist, playwright, biographer, essayist, and journal editor. This period, often referred to as the ‘Bezbaruah Yug’ (Bezbarua Era), marks his enterprising representation and dedication to the cause of self-assertion and establishment in Assam.
The Kamrupi dialect played a significant role in the early stages of Assamese literature. When the Ahoms arrived in Assam in 1228 A.D., they preferred the Kamrupi script and the Tai language for issuing their royal edicts. The Buranjis and their chronicles, although written in formal Assamese, stand as the most noteworthy literary contribution from the 600-year-old Ahom era. By the end of the thirteenth century, narrative poems in Assamese by Hem Saraswati and Harihar Bipra, alongside works by Rudra Kandali, Kabiratna Saraswati, and Madhab Kandali, dominated the literary scene of 14th-century Assam. The language used by these poets reflected that Assamese had not only attained a distinct identity but had also acquired the finesse for expressing sophisticated literature. Madhab Kandali’s poetic style showcased the inheritance of a rich literary tradition. The language reached its maturity in the hands of celebrated Vaishnavite poets Sankardeva (1449–1568) and Madhabdeva (1489–1596), with Ananta Kandali and Ram Saraswati following suit. Bhattadeva (Bhagawat Bhattacharya), born in 1558, translated the ‘Bhagavata’ and the ‘Gita’ into colloquial prose, leading to a significant shift in language preference. Bhattadeva’s prose influenced the textual language of Charitputhis (biographical sketches of saints) in the sixteenth century. Ajan Fakir (Shah Miran, b. 1610) composed jikirs and jaris with a spiritual tone, spreading messages of peace through the intimate flavour of the language. The philosophical depth encapsulated in seemingly simple lines, such as ‘Waters die of thirst, fires die of cold,’ represents poetry at its splendid best.
After the signing of the Treaty of Yandaboo in 1826, which brought Assam under British control, Baptist missionaries arrived with the primary goal of spreading their religion. Initially, they had the Bible translated into Assamese by Atmaram Sharma, but its quaint language failed to make the desired impact. Recognizing the need to connect with the masses effectively, they realized the importance of using the language prevalent among the local people. In 1846, they initiated the first Assamese journal, Arunoday, whose language captivated the attention of post-Ahom Assamese prose pioneers like Anandaram Dhekial Phukan, Gunabhiram Barooah, and Hemchandra Baruah. Besides this trio, many others consistently contributed to Arunoday. For ambitious and promising students in Assam, Kolkata became the most sought-after centre for higher studies, where they were exposed to Western literary trends reflected in Bangla literature. An intense nationalist spirit found powerful expression in the fervent and impassioned verses of Kamala Kanta Bhattacharya (1854–1936), who also commenced his literary career through Arunoday.
The dawn of modern Indian literature marked the convergence of oriental and occidental influences, emerging as the nation liberated itself from colonial rule. Hemchandra Baruah and Gunabhiram Barooah’s literary endeavours, along with contributions from figures like Chandra Kumar Agarwalla and Rajanikanta Bordoloi, played a pivotal role in establishing the foundation of this literary fusion in Assamese.
After completing his matriculation in 1886, Lakshminath Bezbaruah spent over thirty years in Kolkata. During this period, the profound influence of Bengal’s language, literature, culture, and society on him was evident, especially during his formative intellectual development and association with the Tagore family. This impact was heightened after his marriage to Pragyasundari Devi, the niece of the Kaviguru Rabindranath Tagore, in 1891. Despite these influences, Bezbaruah remained unwavering in his dedication to the development of the language and literature of his homeland. His enthusiasm and determination never faltered, and he continued to strive for the realization of his dreams. Despite being deeply involved in the timber trade business, he remarkably maintained a consistent and diverse literary output, characterized by a diction and dimension that would go on to set a trend for generations to come.
The Asomiya Bhasa Unnati Sadhini Sabha was established in Kolkata, and in 1889, Lakshminath Bezbaruah, along with his associates from the renowned triumvirate—Chandra Kumar Agarwalla and Hemchandra Goswami—launched the celebrated monthly literary journal, Jonaki. The journal had specific objectives, including elevating the status of the Assamese language, enriching Assamese literature with new thoughts, ideals, subjects, and forms, reforming Assamese society, and rediscovering the wealth and beauty ingrained in Assamese tradition and folklore.
Bezbaruah embarked on his literary journey with the light-hearted play titled ‘Litikai’ (The Aide) in 1890, showcasing his proficiency in various literary genres. He demonstrated skill as a novelist, poet, lyricist, playwright, essayist, biographer, translator, and editor. His literary works were marked by a remarkable sense of wit and humor, defining a distinct class of their own. His belles-lettres, particularly ‘Kripabor Baruar Kakator Topola’ (1904) and ‘Kripabor Baruar Ubhatoni’ (1909), brought both amusement and enlightenment to the readers. His satire and unique humour challenged the prevailing Assamese mindset.
Bezbaruah’s collection of verses titled ‘Kadamkali’ (Lotus Buds), published in 1913, attested to his poetic accomplishment. An edited version of his lyrics, ‘Mor Desh’ (My Motherland), has been universally accepted as the anthem of Assam. Noteworthy is Bezbaruah’s proficiency in the English language, evident in lines such as ‘Awful naughty that boy...’,’steal the flute, pay back in his own coin’, and ‘pray have no nonsense’ in the poem ‘Brinda-Chandrawali Sangbad,’ which adds a casual tone and flavour to the verse. Regardless of whether the verses carried serious or humorous content, there was no room for pessimism or lamentation. Bezbaruah advocated for the advancement of mankind amidst the joys and sorrows of life, celebrating human strengths and acknowledging foibles with hope for a brighter future.
In 1905, Lakshminath Bezbaruah published the novel ‘Padum Kunwari’ (Lotus Princess), narrated with a fragrant touch of lyricism and imbued with a strong patriotic fervor. His collection of stories, including the widely loved ‘Burhi Air Xadhu’ (Granny’s Tales), ‘Kokadeuta Aru Natilora’ (Grandpa and Grandson), ‘Surabhi’, ‘Junuka’, ‘Jonbiri’, etc., released between 1909 and 1913, continues to captivate both young and old audiences. These enchanting tales convey messages of peace and evoke feelings of compassion and empathy among readers.
His historical plays, ‘Joymati Kunwari,’ ‘Chakradhwaj Singha,’ and ‘Belimar,’ all published in 1915, exclusively depict glorious episodes from the history of Assam. Through compelling portrayals of moments of pathos, Bezbaruah convincingly illustrates the rise and fall of kingdoms and personalities. The first Assamese film, ‘Joymati,’ created by Jyotiprasad Agarwalla in 1935, is an adaptation of Lakshminath Bezbaruah’s play, ‘Joymati Kunwari.’
Bezbaruah’s biographies, ‘Sankardeva’ (1911) and ‘Sri Sankardeva Aru Madhabdeva’ (1914), emphasise the strong roots of Assamese culture and the contribution of socio-cultural and literary genius in unifying Assamese society. They bring about spiritual, cultural, and literary enlightenment through the medium of art and culture. Through these biographies, Bezbaruah sought to bring these luminaries out of supernatural confines and install them in every Assamese heart. He also penned a biography of his father entitled ‘Dangoria Dinanath Bezbaruah,’ published in 1909. His autobiography, ‘Mor Jivan Suwaran’ (Reminiscences of My Life), published in 1941, includes heart-touching illustrations of a 35-year span, capturing moments of elation and dejection. Apart from narrating his life and philosophy, the autobiography sheds light on the cultural tradition and natural ambiance of Assam.
Bezbaruah’s translated work, ‘Bharatbarshar Buranji’ (History of India), published in 1906, attests to his historical awareness and consciousness. He edited the journal ‘Banhi’ (The Flute) from 1910 to 1935, stirring the latent creative urge in the Assamese minds and hearts. The satirical and inspirational contents of the journal immensely contributed to creating awareness and cautioning people against idleness, which is a granary of perpetual despair. Bezbaruah’s presidential speech at the Asom Sahitya Sabha session in Guwahati in 1924 is filled with invaluable insights into language, culture, society, integration, and assimilation from his distinctive perspective. Additionally, he delivered a memorable speech on the philosophy of Vaishnavism at Baroda in 1933, invited by the Maharajah of Baroda. This speech was later published in book form in 1969 as ‘The Religion of Love and Devotion.’
Lakshminath Bezbaruah’s creative prowess, awareness, and foresight were deeply influenced by his immersion in a diverse range of literature, spanning from ancient Sanskrit to the latest Western output. His mind was consistently driven by the aspiration to firmly establish the language and literature of his homeland at a prestigious and admirable level, elevating the Assamese identity to a pedestal of pride. Bezbaruah possessed a keen understanding of the nuances and intimate characteristics of the Assamese language, allowing him to pioneer a new style of prose where emotion seamlessly merged with intellect. He held the belief that a region’s literature flourished more by delving into its folk roots than by relying on translations from foreign literature. Striving to set a trend with distinctive elegance and appeal, Bezbaruah delivered a historic legacy—a heritage that continues to inspire and invigorate succeeding generations.