Layered homogeneities: Madhusudan Dutt and the dilemma of early Bengali theatre

Owing to its colonial tag, Christianity shares an uneasy relationship with literary historiographies of nineteenth-century Bengal: Christianity continues to be treated as a foreign import capable of destabilizing the societal matrix. The upper-caste Christian neophytes, often products of the new wes...

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Main Author: Dhrupadi Chattopadhyay
Format: Article
Language:English
Published: University of Edinburgh Library 2015-04-01
Series:The South Asianist
Online Access:http://www.southasianist.ed.ac.uk/article/view/1073
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spelling doaj-b595b88b541347e18e6f9391896765f82021-09-13T09:04:34ZengUniversity of Edinburgh LibraryThe South Asianist2050-487X2015-04-01421073Layered homogeneities: Madhusudan Dutt and the dilemma of early Bengali theatreDhrupadi Chattopadhyay0Department of Post Graduate Studies and Research, SNDT University, MumbaiOwing to its colonial tag, Christianity shares an uneasy relationship with literary historiographies of nineteenth-century Bengal: Christianity continues to be treated as a foreign import capable of destabilizing the societal matrix. The upper-caste Christian neophytes, often products of the new western education system, took to Christianity to register socio-political dissent. However, given his/her socio-political location, the Christian convert faced a crisis of entitlement: as a convert they faced immediate ostracization from Hindu conservative society and even as a devout western modernized could not partake in the colonizer’s version of selective Christian brotherhood. I argue that Christian convert literature imaginatively uses Hindu mythology as a master-narrative to partake in both these constituencies. This paper turns to the reception aesthetics of an oft forgotten play by Michael Madhusudan Dutt, the father of modern Bengali poetry, to explore the contentious relationship between Christianity and colonial modernity in nineteenth-century Bengal. In particular, Dutt’s deft use of the semantic excess as a result of the overlapping linguistic constituencies of English and Bengali is examined. Further, the paper argues that Dutt consciously situates his text at the crossroads of different receptive constituencies to create what I call layered homogeneities.http://www.southasianist.ed.ac.uk/article/view/1073
collection DOAJ
language English
format Article
sources DOAJ
author Dhrupadi Chattopadhyay
spellingShingle Dhrupadi Chattopadhyay
Layered homogeneities: Madhusudan Dutt and the dilemma of early Bengali theatre
The South Asianist
author_facet Dhrupadi Chattopadhyay
author_sort Dhrupadi Chattopadhyay
title Layered homogeneities: Madhusudan Dutt and the dilemma of early Bengali theatre
title_short Layered homogeneities: Madhusudan Dutt and the dilemma of early Bengali theatre
title_full Layered homogeneities: Madhusudan Dutt and the dilemma of early Bengali theatre
title_fullStr Layered homogeneities: Madhusudan Dutt and the dilemma of early Bengali theatre
title_full_unstemmed Layered homogeneities: Madhusudan Dutt and the dilemma of early Bengali theatre
title_sort layered homogeneities: madhusudan dutt and the dilemma of early bengali theatre
publisher University of Edinburgh Library
series The South Asianist
issn 2050-487X
publishDate 2015-04-01
description Owing to its colonial tag, Christianity shares an uneasy relationship with literary historiographies of nineteenth-century Bengal: Christianity continues to be treated as a foreign import capable of destabilizing the societal matrix. The upper-caste Christian neophytes, often products of the new western education system, took to Christianity to register socio-political dissent. However, given his/her socio-political location, the Christian convert faced a crisis of entitlement: as a convert they faced immediate ostracization from Hindu conservative society and even as a devout western modernized could not partake in the colonizer’s version of selective Christian brotherhood. I argue that Christian convert literature imaginatively uses Hindu mythology as a master-narrative to partake in both these constituencies. This paper turns to the reception aesthetics of an oft forgotten play by Michael Madhusudan Dutt, the father of modern Bengali poetry, to explore the contentious relationship between Christianity and colonial modernity in nineteenth-century Bengal. In particular, Dutt’s deft use of the semantic excess as a result of the overlapping linguistic constituencies of English and Bengali is examined. Further, the paper argues that Dutt consciously situates his text at the crossroads of different receptive constituencies to create what I call layered homogeneities.
url http://www.southasianist.ed.ac.uk/article/view/1073
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