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Has been deleted!!! You might also like Chor O Sarmeo Somachar. Of Love And Other Demons. My Century. The Red and the Black. The way of love. We Have Always Lived in the Castle.
Thy letters have transported me beyond This ignorant present, and I feel now The future in the instant. Your face, my thane, is as a book where men May read strange matters. Hautboys and torches. The love that follows us sometime is our trouble, Which still we thank as love. We coursed him at the heels, and had a purpose To be his purveyor: but he rides well; And his great love, sharp as his spur, hath holp him To his home before us.
Fair and noble hostess, We are your guest to-night. By your leave, hostess. Enter a Sewer, and divers Servants with dishes and service, and pass over the stage. And wakes it now, to look so green and pale At what it did so freely? From this time Such I account thy love. Art thou afeard To be the same in thine own act and valour As thou art in desire? When you durst do it, then you were a man; And, to be more than what you were, you would Be so much more the man. Nor time nor place Did then adhere, and yet you would make both: They have made themselves, and that their fitness now Does unmake you.
Away, and mock the time with fairest show: False face must hide what the false heart doth know. Take thee that too. A heavy summons lies like lead upon me, And yet I would not sleep: merciful powers, Restrain in me the cursed thoughts that nature Gives way to in repose! This diamond he greets your wife withal, By the name of most kind hostess; and shut up In measureless content. Get thee to bed. Exit Servant Is this a dagger which I see before me, The handle toward my hand? Come, let me clutch thee.
I have thee not, and yet I see thee still. Art thou not, fatal vision, sensible To feeling as to sight? I see thee yet, in form as palpable As this which now I draw. Thou sure and firm-set earth, Hear not my steps, which way they walk, for fear Thy very stones prate of my whereabout, And take the present horror from the time, Which now suits with it.
Whiles I threat, he lives: Words to the heat of deeds too cold breath gives. A bell rings I go, and it is done; the bell invites me. Hear it not, Duncan; for it is a knell That summons thee to heaven or to hell. The attempt and not the deed Confounds us.
Didst thou not hear a noise? Did not you speak? Why, worthy thane, You do unbend your noble strength, to think So brainsickly of things. Go get some water, And wash this filthy witness from your hand. Why did you bring these daggers from the place? They must lie there: go carry them; and smear The sleepy grooms with blood. What hands are here? No, this my hand will rather The multitudinous seas in incarnadine, Making the green one red.
Knocking within I hear a knocking At the south entry: retire we to our chamber; A little water clears us of this deed: How easy is it, then!
Your constancy Hath left you unattended. Knocking within Hark! Get on your nightgown, lest occasion call us, And show us to be watchers. Be not lost So poorly in your thoughts. Knocking within Wake Duncan with thy knocking!
I would thou couldst! Knocking within. If a man were porter of hell-gate, he should have old turning the key. Knocking within Knock, knock, knock! Knocking within Knock, knock! Knocking within Knock, knock; never at quiet! What are you? But this place is too cold for hell. Knocking within Anon, anon! I pray you, remember the porter. Porter Marry, sir, nose-painting, sleep, and urine. Lechery, sir, it provokes, and unprovokes; it provokes the desire, but it takes away the performance: therefore, much drink may be said to be an equivocator with lechery: it makes him, and it mars him; it sets him on, and it takes him off; it persuades him, and disheartens him; makes him stand to, and not stand to; in conclusion, equivocates him in a sleep, and, giving him the lie, leaves him.
This is the door. Tongue nor heart Cannot conceive nor name thee! Ring the alarum-bell. Murder and treason! Banquo and Donalbain! As from your graves rise up, and walk like sprites, To countenance this horror!
Ring the bell. What, in our house? Dear Duff, I prithee, contradict thyself, And say it is not so. No man: The expedition my violent love Outrun the pauser, reason. Fears and scruples shake us: In the great hand of God I stand; and thence Against the undivulged pretence I fight Of treasonous malice.
ALL So all. ALL Well contented. Exeunt all but Malcolm and Donalbain. Here comes the good Macduff. ROSS Alas, the day! What good could they pretend? Lest our old robes sit easier than our new! ROSS Farewell, father. If there come truth from them— As upon thee, Macbeth, their speeches shine— Why, by the verities on thee made good, May they not be my oracles as well, And set me up in hope?
But hush! Sennet sounded. Hie you to horse: adieu, Till you return at night. Goes Fleance with you? Exit Attendant To be thus is nothing; But to be safely thus. Rather than so, come fate into the list.
And champion me to the utterance! Re-enter Attendant, with two Murderers Now go to the door, and stay there till we call. Exit Attendant Was it not yesterday we spoke together?
First Murderer It was, so please your highness. Do you find Your patience so predominant in your nature That you can let this go? First Murderer We are men, my liege. MACBETH Ay, in the catalogue ye go for men; As hounds and greyhounds, mongrels, spaniels, curs, Shoughs, water-rugs and demi-wolves, are clept All by the name of dogs: the valued file Distinguishes the swift, the slow, the subtle, The housekeeper, the hunter, every one According to the gift which bounteous nature Hath in him closed; whereby he does receive Particular addition.
Second Murderer I am one, my liege, Whom the vile blows and buffets of the world Have so incensed that I am reckless what I do to spite the world. Both Murderers True, my lord. Second Murderer We shall, my lord, Perform what you command us. Both Murderers We are resolved, my lord. Exeunt Murderers It is concluded. Servant Ay, madam, but returns again to-night. Servant Madam, I will. But let the frame of things disjoint, both the worlds suffer, Ere we will eat our meal in fear and sleep In the affliction of these terrible dreams That shake us nightly: better be with the dead, Whom we, to gain our peace, have sent to peace, Than on the torture of the mind to lie In restless ecstasy.
Come, seeling night, Scarf up the tender eye of pitiful day; And with thy bloody and invisible hand Cancel and tear to pieces that great bond Which keeps me pale! So, prithee, go with me. Enter three Murderers First Murderer But who did bid thee join with us? Third Murderer Macbeth. Second Murderer He needs not our mistrust, since he delivers Our offices and what we have to do To the direction just. First Murderer Then stand with us. The west yet glimmers with some streaks of day: Now spurs the lated traveller apace To gain the timely inn; and near approaches The subject of our watch.
Third Murderer Hark! I hear horses. First Murderer His horses go about. Third Murderer Almost a mile: but he does usually, So all men do, from hence to the palace gate Make it their walk. Second Murderer A light, a light! First Murderer Let it come down.
Fly, good Fleance, fly, fly, fly! Thou mayst revenge. Rajendranath Mitra, writing about the times, iterates that lowly entertainments like jatra, kabi and kheur could no longer please the palate of refined gentlemen and that it was heartening to see affluent, educated and civilised men setting up a more tasteful modern theatre that would ultimately oust such obscene, coarse and common amusements B.
Bandyopadhyay 7. The demarcation between high and low culture with reference to new and old performing arts not only fostered a class divide and disjuncted urban from rural entertainment, but also aimed at the erasure of traditional forms, which fortunately survived the onslaught. Nineteenth-Century Shakespearean Negotiations: Macbeth The early native emulators of Shakespearean drama, therefore, were directing their efforts at a metropolitan theatre exclusive to the English educated Hindu upper and middle class.
Although Shakespeare had a profound impact on the contemporary dramatists — Madhusudan Dutt, Dinabandhu Mitra and Dwijendralal Roy7 — productions of Shakespeare, translated or adapted, only began in with a private performance of Prabhabati The Merchant of Venice at the Beniatola residence of Kartikchandra Bhattacharya Lal and Chaudhuri That there were more adaptations than translations in the initial stages testifies an awareness of the distinctive foreign-ness of the plays and the need for indigenisation in order to conform to the cultural and aesthetic parameters of the Bengali theatre which had begun to establish its own identity.
Dwijendralal Ray , a Fellow of the Royal Agricultural Society and a British civil servant, was known for his patriotic plays and songs, and Hindu devotional lyrics. The exuberance of Shakespearean language replete with verbal nuances, literary allusions, and the sheer abundance of figures of speech, idiomatic phrases and colloquialisms make inter-lingual translation seemingly impossible especially where the target language is primarily rhythmical, melodious and un-accented.
Bengali syntax is quite unlike English in its subject-verb arrangement and the construction of interrogatives and imperatives. For instance, sentences generally end with verbs while interrogatives frequently omit the subject altogether. Ajit Kumar Ghosh suggests incorporating Sanskrit words abounding in conjunct consonants to infuse a masculine effect but such words do not cohabit naturally with spoken Bengali Blank verse, intrinsic to Shakespearean plays, was alien to Bengali literature until Michael Madhusudan Dutt invented the amitrakshar chanda [unrhymed verse] for alienation effect in his poetic drama, Meghnadbadh, but its lofty rhetoric is unsuitable for dialogues.
Sanskrit aesthetics, to which Bengali literature written by Hindus traditionally adhered, discourage unhappy endings and therefore tragedy on philosophic grounds.
In the nineteenth century, Kali Prasanna Ghosh extolled the ethical and moral aspects of the tale and labelled Shakespeare a conscientious preacher apportioning just punishment for the villain Choudhury The first response exemplifies the reverential adulation that Macaulay anticipated in his Minute, while the second is a more complex instance of ideologically conscious appropriation for indigenous purposes: authored by the greatest English writer, Macbeth provides authentic proof of the habitual brutality of the British race for the colonised people.
Adaptation, more than translation, necessitates the homogenisation of the source text in a manner that neutralises foreign-ness while fostering an interest in the narrative. So the act of adapting Shakespeare into Bengali is not merely a literary exercise but a political engagement that simultaneously upholds and challenges the indigenous social codes.
It requires an iconoclastic cross-cultural approach that extends the margins of inherited tradition and homogenises alien components with the purpose of synchronising two very dissimilar socio-cultural systems bound in a hierarchic, exploitative relationship.
Macbeth lends itself amenably to such negotiations. The morally satisfying ending would be apposite in the depressing aftermath of the Great Uprising Thus mainstream orthodox readings that would be dismissed as conventional today were radicalised by the late nineteenth century colonial context.
His independent forays into the theatre include Karnabir, a hundred and seventy-six page, five act adaptation of Macbeth in prose and poetry, and Dharmavijay ba Shankacharya The Victory of Religion or Shankacharya based on the life of an eighth century Hindu guru and philosopher from Kerela Sen Vol.
III, , 51, There is no extant record of any of these plays being staged. As the titles suggest, Bose was infused with nationalist sentiments with a predominantly Hindu orientation. In many ways, Karnabir inhabits the borderline between the original and the derivative like the burgeoning nationalist organisations which grafted enlightened European ideas of freedom and democracy over nationalist aspirations. The geo-political re-situating of action in the text reveals significant efforts at domestic contextualisation.
It involves a shift in communities as well. The geographical equivalents of Norway and Scotland are respectively, Nisagarh, a fictional site, and Jaipur, a powerful Hindu kingdom in Rajasthan, a state south of Delhi.
The battle between Norway and Scotland is converted into a combat between Jabanraj a Muslim king and Jaipurraj a Hindu Rajput ruler , adding a religious angle to the political Unauthenticated Dunsinane hills become the Araballi ranch, leading to confusing geopolitical signifiers, but Bose is less concerned with historical or geographical accuracy than with contextualising the conflict from a Hindu perspective.
The available annals of the Hindu dynasties of Bengal are not overly scarred with evidences of treachery and regicide. So the gory mayhem of Macbeth, ill-suited to the Bengali locale, is transposed to the martial community of Rajasthan.
The Nawab and his loyal aide Mir Madan Hindu would have won but for the machinations of his trusted general, Mir Jafar Muslim , and treasurer, Jagat Seth Hindu , who assisted the British for their own vested interests. Relocation along these lines would have Duncan-ised a Muslim ruler and hinted at a nationalist discourse overriding the communal divide by aligning the shadowy British presence with the witches.
This is not problematic as Nisagarh, being a fictional state, can be situated anywhere south of Araballi although it cannot be then identified with Delhi located north of Jaipur. Conversely, if Nisagarh is envisaged as the Muslim kingdom of Bijapur, south of Araballi, then there are no instances of a direct battle between the Bijapur Sultanate and the Hindu Rajputs. Birbal, a principal courtier of Akbar, 12 is celebrated for his wit and cleverness, attributes not reflected in Menteth while Lady Macduff is no match for Padmini, the legendary queen of a medieval Rajput king of Chittor who preferred self-immolation to dishonour in the hands of Alauddin Khilji, the emperor of Delhi.
Being illegitimate, he had been disowned by his mother Kunti at birth and later befriended by Duryodhan, the leader of the Kauravas.
He learns of his true origins on the eve of the battle of Kurukshetra when Kunti comes to plead for the safety of her legitimate offspring.
Deeply hurt, Karna refuses to betray his friend and switch sides as urged but promises not to kill any of his brothers thus living up to the epithet of data generous ascribed to him for his legendary munificence. Unable to defeat him in a straight forward encounter, Arjun the third Pandava kills him unfairly with the assistance of Lord Krishna. Moreover, Karna is far more noble and large-hearted than Macbeth and is more sinned against than sinning.
Both, however, succumb to a prophetic death. The foreignness of the play is most effectively neutralised by replacing the witches with bhairabis, which also completes the total Hinduisation of the target text. The bhairabis are not supernatural beings but female devotees of Lord Siva and his consort, Goddess Kali.
Proficient in black magic, and vested with occult powers to raise the spirits, they are believed to be as unpredictable, vengeful and malevolent as the witches though not invariably so.
One important distinction is that they are not devil worshippers but legitimate and revered practitioners of the tantrik cult. Bose endeavours to replicate the aura of uncanny terror and eerie enchantment through the grotesque rituals and bizarre incantations and invocations of the bhairabis. Yet the mystery and amazement of the original is lacking partly because of the different religious contexts.
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