Volume II,Issue IV, March 2026
Volume-II, Issue-IV, March, 2026 |
Received: 13.03.2026 | Accepted: 16.03.2026 | ||
Published Online: 31.03.2026 | Page No: | ||
DOI: 10.69655/atmadeep.vol.2.issue.04W. | |||
মার্ক্সীয়তত্ত্বের বীক্ষণে: মনোজ মিত্রের ‘নরক গুলজার’ সত্য দাস, অতিথি শিক্ষক, নিউ ইন্টিগ্রেটেড গভঃ স্কুল (ক্যানিং), পশ্চিমবঙ্গ, ভারত |
In the Perspective of Marxist Theory: Manoj Mitra’s Norok Gulzar Satya Das, Guest Teacher, New Integrated Government School (Canning), West Bengal, India | ||
ABSTRACT | ||
In Marxist philosophy, art and literature serve as the superstructure built upon an economic base. Although playwright Manoj Mitra was not a formal Marxist, his work Narak Guljar deeply aligns with these principles by championing the oppressed against systemic exploitation. The play reflects the simplified class conflict of the modern bourgeois era, dividing society into two primary groups: The Bourgeoisie: Represented by the landlord Ghorui and factory owner Batul Biswas. They own the means of production and maintain power by exploiting the labor and dreams of the working class. The Proletariat: Represented by Manik, Phullara, and their children. Lacking their own means of production, they must sell their labor to survive, caught between the crushing pressures of rural and urban life. A pivotal character, Sadhak Guibaba, functions as a tool for the capitalist regime, mirroring the religious-political manipulation seen in Tagore’s Raktakarabi. Despite the grim reality where the youth and vitality of the poor are ‘simmered away,’ the play ends on a note of revolutionary hope. Rather than surrendering to the bourgeois representatives, the protagonists choose to fight. By leaving the ‘heaven’ of the elite and entering a new world of struggle, they embody the classic Marxist sentiment: they have nothing to lose but their chains. Their journey is not just one of survival, but a definitive fight for liberation and the restoration of human dignity. | ||
Keyword:
|