Literary Life

 Early works (1849-1855)[5][9]

Dutt was greatly influenced by the works of William Wordsworth and John Milton. Dutt was a spirited bohemian and Romantic.

During his stay in Madras, he published such works as King Porus, The Captive Ladie (1849) – centered around King Prithviraj‘s elopement with the princess of Kannuaj– and Visions of the Past. The Hurkaru, a prominent periodical at the time gave the self-published The Captive Ladie unfavaorable reviews, and was in Madhusudan’s own words, “was somewhat severe“. John Elliot Drinkwater Bethune, the then President of the Council of Education, was full of praise for the octosyllabic in his letter to Bysack, and advised Dutt to “employ the taste and talents, which he has cultivated by the study of English, in improving the standard, and adding to the stock of the poetry of his own language.”

Under the pseudonym, Timothy Penpoem, he published his poems in the periodicals he edited.

Calcutta Years (1858-1862)[5][9]

The period during which he worked as a head clerk and later as the Chief Interpreter in the court, marked his transition to writing in his native Bengali, following the advice of Bethune and Bysack. He wrote 5 plays: Sermista (1859), Padmavati (1859), Ekei Ki Boley Sabyata (1860), Krishna Kumari (1860) and Buro Shaliker Ghare Ron (1860). Then followed the narrative poems: Tilottama Sambhava Kavya (1861), Meghnad Badh Kavya (1861), Brajagana Kavya (1861) and Veerangana Kavya (1861). He also translated three plays from Bangla to English, including his own Sermista.

Meghnad Badh Kavya, The Slaying of Meghnad, the story of the final fight and demise of Meghnad, the eldest son of Ravana, is unanimously hailed as his magnum opus, although his journey to publication and recognition was far from smooth. However, with its publication, he distinguished himself as a serious composer of an entirely new genre of heroic poetry, that was Homeric and Dantesque in technique and style, and yet so fundamentally native in theme. To cite the poet himself: “I awoke one morning and found myself famous.” Nevertheless, it took a few years for this epic to win recognition all over the country.

Final years (1866-1873)[5][9]

A volume of his Bangla sonnets was published in 1866. His final play, Maya Kannan, was written in 1872. The Slaying of Hector, his prose version of the Iliad remains incomplete.

Linguistic abilities

Madhusudan was a gifted linguist[10] and polyglot.[11] He studied Hebrew, Latin, Greek, Tamil, Telugu, and Sanskrit.[5][12]

Work with the sonnet

He dedicated his first sonnet to his friend Rajnarayan Basu, which he accompanied with a letter: “What say you to this, my good friend? In my humble opinion, if cultivated by men of genius, our sonnet in time would rival the Italian.”[13] His most famous sonnet is Kapatakkha River.

Always, o river, you peep in my mind.
Always I think you in this loneliness.
Always I soothe my ears with the murmur
Of your waters in illusion, the way
Men hear songs of illusion in a dream.
Many a river I have seen on earth;
But which can quench my thirst the way you do?
You’re the flow of milk in my homeland’s brea

sts.
Will I meet you ever? As long as you
Go to kinglike ocean to pay the tax
Of water, I beg to you, sing my name
Into the ears of people of Bengal,
Sing his name, o dear, who in this far land
Sings your name in all his songs for Bengal.

When Dutt later stayed in Versailles, the sixth centenary of the Italian poet Dante Alighieri was being celebrated all over Europe. He composed a poem in honour of the poet, translated it into French and Italian, and sent it to the king of Italy. Victor Emmanuel II, then monarch, liked the poem and wrote to Dutt, saying, “It will be a ring which will connect the Orient with the Occident.”[14]

 

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