Ramnidhi Gupta and Cultural humanism in 18th Century Bengal Dr. Sumit Mukerji

Dean, Faculty of Arts & Commerce Professor, Political Science

University of Kalyani

One of the derogatory labels ascribed to the Bengalis by the British colonial masters was that they were a race of cowards. Many worthy sons of Bengal like Raja Rammohun Roy, Ishwar Chandra Vidyasagar, Swami Vivekananda, Col. Suresh Biswas, the firebrand revolutionaries like Khudiram Bose, Kanailal Dutta etc. Militant nationalists like Jatin Mukherjee Rashbihari Bose and Subhas Chandra Bose helped in the deconstruction of this false imperialist myth in their own inimitable ways. They proved that Bengalis were just the opposite of what Lord Macaulay had called them. Far from being cowards, they had the courage to swim against the tide and defy reactionary social conventions and malpractices and also display a spirit of adventure and dare devilry and were not actuated by irrational recklessness but creative imagination. Above all they were men of character who had the courage of conviction to pose as rebels and nonconformists in the face of extreme social persecution and obstruction. One such man who unleashed a revolutionary wave in the cultural domain of Bengal in the 18th century, was Ramnidhi Gupta popularly known as Nidhu Babu. An exceptionally gifted person possessing talent and genius and capability of innovation and improvisation, he represented a radical departure from the erstwhile cultural tradition of Bengal fighting against tremendous odds. Though the vanguard of a bloodless revolution, Ramnidhi Gupta was able to set an example of ingenuity by no means inferior to the romantic and idealistic adventurism of the revolutionaries of Bengal. Here was an adventurer ready to step out of the beaten track and embark on the quest for a new world in the sphere of Bengali music.

A) The Music World of Bengal; the Chains of Bondage: The world of music in Bengal was under the mystical spell of Bharat Chandra and Ramprasad Sen when Ramnidhi Gupta appeared on the scene. Music was dominated by

spirituality and images of traditional Hindu gods and goddesses were used freely by the lyricists of Bengal. There was a religious undercurrent in Bengali music which was dominated by divinities. No distinction was made between spiritual and physical love. The overlordship of Bharat Chandra was undisputed in the music world of Bengal. Ramnidhi Gupta was rarely eleven years old when the Annadamangal was composed. He was nineteen when Bharat Chandra left his mortal coil. It may be surmised that Ramnidhi in his teens, derived from the compositions of Bharatchandra, the inspiration to create something new, but there is no evidence to suggest that he composed songs in the days of his early youth because all his creations were the products of his mature age. Ramprasad Sen who was eighteen years older than Ramnidhi, was able to reach out to the masses with his renderings devoted to Goddess Kali. However while there was a touch of popular folk songs in his compositions yet at the same time he was well versed in classical music. Even after Ramnidhi introduced the Tappa culture in Bengal some of the songs of Ramprasad were cast in the mould of Tappa. However the songs of Ramprasad extended over a limited spectrum of application as it was compatible with the style of devotional music alone2. Ramnidhi Gupta realized that the basic desideratum of Bengali music was the human element. Chandidas had proclaimed man is above everything else. According to an expert on the subject, Bengal adopted the classical heritage of north India only in the structural sense. The Bengali mindset was not nurtured in the tradition of Hindusthani classical music of North India because the Bengali sought some object in music when was related to his daily life. Joydevs Gitagovindam was based on human sensitivities rather than the intricacies of classical music. In Kirtan which is essentially devotional the human element did appear sporadically. Narottam Thakur who was the exponent of Padavali Kirtan was a connoisseur of classical music, did not apply its complicated nuances to the former. The Bengalis certainly revered classical music of Dhrubapad but did not accept it in their heart of hearts since it was not consonant with their basic human sensitivities. Dhrubapad was used by some for the propagation of their religious faith but it never obtained the status of an art in Bengal. Ramnidhi Gupta embarked on his path breaking

mission towards the end of the eighteenth century and initiated the age of Tappa in Bengal. He improvised a novel variety of art which represented an emphatic protest against the conventional literary tradition. He evolved an original line which was both courageous and ingenious and not imitative and derivative. In order to understand the significance of his lifes work or sadhana it is necessary to review the life of Ramnidhi within a short canvas because the achievements of a man can never be separated from his life.

B) Ramnidhi at Chapra: Beginning of the forward march: Ramnidhi Gupta was born at a time when Bengal was besieged by Maratha Bargis. His family left Calcutta and took shelter in Champta village of Hooghly district. It was in his maternal Uncle Ramjoy Kabirajs house that Ramnidhi saw the light of the world4. When he was six years old he was brought to Calcutta for education. Here he became well versed in Sanskrit and Persian though at that time, natives were hardly inclined towards English education, yet his father Harinarayan appointed a missionary teacher for has son and Ramnidhi took his lessons in English from him. He was thus one of the oldest English educated Bengalis. When Ramnidhi was sixteen, the battle of Plessey took place and nineteen years latter he joined service at the Chapra Collectorate. This was the most important phase of his life spanning nearly two decades. Prior to his departure to Chapra, Ramnidhi did not get any opportunity for systematic training in music. Calcutta of his early days, was yet to develop into an epicenter of musical culture. Though Ramnidhi made it a point to attend musical programmes whenever they were held, their qualitative standard was not very high. The ground for classical music was yet to be prepared and the rich class which patronized music in western India was yet to crystallize in Calcutta. Dhrupad, Kheyal and Tappa were confined to the West and the handful of rich Bengalis of Calcutta did not witness the arrival of classical singers from the west at least in the years of Ramnidhis early youth. In 1773, when he was 32 years old the capital of the East India Company was transferred from Murshidabad to Calcutta. The Fort William was constructed in the same year. But rich Bengali families in Calcutta and Sutanuti could be counted on fingertips. Music was not a regular feature of life in the absence of an affluent patronizing class. Quite naturally,

Ramnidhi did not get a congenial environment in Calcutta for formal lessons in music. However he did compose a song after the death of his first wife and son which does not compare with his subsequent Tappa creations. In this song he expresses the mortification of his lacerated earth saying,

My mind is lost from its abode. When shall I talk to?

Whom shall I blame? Who has snatched it? I do not know his name.

Then in a phlegmatic philosophical spirit he reconciles to his fate saying,

Oh Life ! If this is beneficial then you have done what is good. I dont seek it any more if you take care of me as you should5.

(Translation authors). Ramnidhi began his rendezvous with Tappa in Chapra. Chapra was at that time the epicenter of Hindusthani music where a number of Kalwats were prominent. Ramnidhi made their acquaintance and also sought their discipleship. Though his office work took a heavy toll of his time, he devoted his leisure hours entirely to music and soon acquired command over Tappa kheyal and ghazal. The Tappa was more condensed than Dhrupad and Kheyal. There is a view expressed by A. E. Strangway that the Tappa originated from the folk song of the camel drivers of Punjab. Ghulam Nabi Shori, Known as Shori Mian derived the Tappa by adding melodious ornamentations to the former. Shori Mian who was the soon of Ghulam Rasool Court singer of Nawab Asaf Uddoullah of Lucknow (1776-1797 A. D) was initially trained in Kheyal but was not satisfied with it. Thus he restlessly travelled in Punjab and found the songs of camel drivers suitable to his own style of singing and composed the Tappa using ornamentations with Taan, Jamjama, Khatka, etc. There is difference, of opinion as to whether Tappa originated from the song of camel drivers because there is a vast difference between the unsophisticated tremolo of camel drivers and the Tappa tradition of India. It is however likely that Shori Mian was inspired by the song of camel drivers and adapted some particular features of the same to this Tappa compositions with suitable improvisations. At the same time it is an

indisputable fact that Shori Mian was the progenitor of Tappa which became widely circulated in North India. Tappa with its uneven rhythmic accent has two main styles, the Gwalior and Benares Gharana. There are some structural differences like the use of Taal and style of improvisation but the fundamental principles are the same. One point to be noted in this connection, is that Ramnidhi stayed at Chapra from 1776 to 1794. The question that arises is whether it was possible for the Tappa tradition of Shori Mian to reach Chapra within such a short time? Alternatively it may be suggested that some different tradition prevailed at Chapra prior to the arrival of Ramnidhi who received his initiation to it. This is a valid question because while it is believed that Ramnidhi was taught by those who learnt the art of Tappa directly from the Shori Mian school, yet it is also true that in those days, the system of transport and communication was so undeveloped that it was very difficult to imagine any close and regular contact between Lucknow and Chapra. At the same time the suggestion of an expert that Ramnidhi received his lessons in Tappa in Gwalior, is untenable in view of the absence of supporting evidence. None of his biographies, contains even a passing reference to Gwalior6.

It was in Chapra that Ramnidhi mastered the tune of a number of kheyals, Gazals and Tappas. At this stage, the idea occurred to him that there were very few love songs in his mother tongue Bengali and he now began to compose songs and set tunes to them in imitation of Shori Mian. Much is not known about his teachers in Chapra but it is said that one of the Ustads refused to unveil to him, the secrets of his Gharana and Ramnidhi protesting against such selective and narrow outlook resolved to compose songs in Bengali translated from the original Hindi with the application of appropriate Ragas and Raginis7. However the narrow minded Ustad might have been at most a secondary cause behind this because Ramnidhi was by nature, extremely independent minded and his creative genius would have unfolded some way or the other. During Ramnidhis stay in Chapra, it is said that in the conflict between Nawab Mir Quasim and Elis the Kuthial of Patna, a Foujdar named Ramnidhi caused problems for the latter. However at this point of time Ramnidhi was 22 years old and it was not possible for

him to become Foujdar8. At the same time it is doubtful whether there was any other Bengali bearing the same name who opposed the representative of an alien power. This leads us to consider the nationalistic sensitivity of Ramnidhi which is of seminal importance despite its manifestation in one solitary, song.

C) The first linguistic Patriot: It is not known whether Ramnidhi composed his maiden patriotic song

Nanan Desher nanan Bhasha

Bine swdeshi Bhasha pure Ki asha in Kolkata or Chapra. The indications from the available source material lead one to conclude that it was at Chapra that he developed the resolution to comprise Bengali songs out of the original Hindi. The only song imbued with nationalistic fervor composed by him conveys the intensity of feeling nursed by an acutely sensitive heart typical of the representative of a subject race. The song reads as follows.

Many a language belong to many a land Without native mother tongue, what hope for a people to rise glorious and grand?

By the rivers and lakes the thirst of the chataka is not quenched It is only when by the showers from above the earth is drenched.

(Translation authors). According to a connoisseur of Tappa, the above song which happens to be his most favourite patriotic song shows how far advanced Ramnidhi was for his age. The song was the embodiment of cultural nationalism. Without stepping into the shoes of narrow linguistic chauvinism, Ramnidhi was the precursor of the lyricists of a later age like Atulprsad Sen who wrote with fervent pride,

Moder Garab Moder Asha Ah mori Bangla bhasha

(Oh Bengali ! Our Pride, our hope). Ramnidhi along with Kali Mirza, Raghunath Roy and Ramshankar Bhattacharjee devoted his life to the mission of composing classical Bengali music on the basis of Tappa, Dhrupad, etc. They wanted to pay their homage to the rich heritage of Indian music

thorough the medium of the Bengali language. Significantly the tradition of Tappa initiated by Ramnidhi did not blindly imitate the Tappa tradition of the West as it was shorn of the superfluity of Jamjama and the application of Taan with a slower tempo. This resulted in the Bengalization of Hindusthani Tappa in the last half of the 18th century10.

At the outset, the spirit of nationalism expressed in the aforesaid song, may appear to be enclaved and narrow encompassing a limited region. On deeper analysis, it however follows that the song has a universal rather than regional significance. It transcends regional boundaries and extends into the wider world. Language has always been a vehicle of nationalism not only in India but the world over. February 21 has been recognized by the UN as the International Language day commemorating the deathless martyrdom of the linguistic nationalists of Bangladesh. Language is ones mother. Thus, for the people of all countries, mother tongue is the most precious treasure. In this sense

Ramnidhi Gupta was the inspirer not only of the heroes of February 21, but for all people fighting for the recognition of their mother tongue. It should however not be mixed up with separatist regional linguistic movements in India which disavow the greater Indian identity. Ramnidhi Gupta was a linguistic patriot without an iota of provincialism. There is no concrete evidence to prove that this particular song influenced Indias freedom movement but it does bear testimony to Ramnidhis spirit of freedom. It has been suggested by an expert that in the days of Ramnidhi, Tappa or Kheyal were sung in the gatherings at the houses of the wealthy Babus, but since they were not sung in Bengali, they appealed to the ear but not the mind11. This is where Ramnidhi made a path breaking intervention. According to a scholar the melancholy tune of Ramnidhis Tappa compares favourably with Italian poets of the pre-Rensissance era like Daniel Gabriel Rosetti, since at that time both India and Italy were under colonial domination it was the agony of a subject race which was reflected in the pangs of separation typical of the love songs. Thus it is likely that the new national consciousness had its origins in this consciousness of sadness12. This appears to be a farfetched extrapolation unsupported by facts. A line of demarcation must be drawn between the private and the public domains. The love songs

of Ramnidhi were addressed to the personal life and feelings of individuals and not the wide nationalist scenario. At the same time, the abovementioned song by Ramnidhi happens to be the first nationalistic song of India though according to an expert it was composed somewhat abruptly13. It was in Chapra that the seeds of his creative genius began to germinate and after his return to Kolkata, they blossomed in full bloom to proclaim the advent of the Shori Mian of Bengal.

D) Triumph in Kolkata: Chains burst asunder After returning to Kolkata in 1794, Ramnidhi devoted himself to musical pursuits,

with zest and buoyancy. He began to arrange for regular musical programmes near the region of Battala in Sovabazar. Later on it was shifted to Rasikchand Goswamis house in Baghbazar. The specialty of these programmes was that they were open to the general public. Surprisingly Nidhu Babu as he now came to be called never displayed any professional attitude and did not charge a penny for his public renderings. In view of the fact that the music loving affluent class was then well established in Kolkata, it appears that Nidhu Babu could have amassed a huge wealth but he never sang on a remunerative basis. At the same time he was acutely conscious of his dignity and honour and made it a point not to go to anybodys house to sing. However wealthy or famous one might be, he had to come to Nidhu Babus house to listen to his songs. At the same time, it may be noted that Nidhu Babu was never arrogant or rude and his behavior towards the wealthy and the poor alike, was impeccable. It is known that he was generous even to those who were inimical towards him. Despite encountering opposition from Jaganmohan Mukhopadhyay, Nidhu Babu steadfastly adhered to his promise of singing a song every year dedicated to the Goddess of learning composed by Jaganmohan. Flattery was alien to the nature of Nidhu Babu and even people of repute were dwarfed in his presence. At the same time, he was realistic enough not to antagonize his patrons. One song by him says that a grape tree does not grow without a supporting platform

Angur Gacher Kichu Kori Bibaran Macha bine Tarubar barena Kakhaon

It runs as follows,

If the tree is supported by some platform Leaves on its branches begin to blossom

If one is sheltered by the human tree All can improve their lot and live with glee.

Nidhu Babu attained fame and acclamation as he strode like a colossus on the cultural stage of Kolkata. Among those who were enamoured of has songs there was Tejchand, Maharaja of Burdwan and Mahananda Roy of Murshidabad who was the grandson of the legendary Maharaja Nanda Kumar. The former reportedly was able to persuade Nidhu Babu to sing before him in Burdwan something that was anathema to the former. Whether some stratagem was employed for the same, is not known for certain. Mahananda Roy was one of Nidhu Babus ardent admirers and so also his concubine Srimati who was both beautiful and intelligent. She had great affection for Nidhu Babu and the latter had respect for her. This had led many to suspect some kind of illicit relationship between the two but this is far from the truth. Srimati was undoubtedly an inspiration behind has life and work and this was reflected in some of his songs. Ishwar Gupta has categorically stated that Nidhu Babu was never a debauch but susceptible to affection and unadulterated love15. A few songs of Nidhu Babu which are supposed to have been inspired by Srimati, may be enumerated as follows.

1. Having made him the treasure of my love, I am forced by god to cry

I have to put up with this with a sigh.

(Piriti sukher nidhi koriye ekhon kandi Abala koriche bidhi sahite hobe)

2. The Treasure of the joy of love I receive from God above

If my life is to be sacrificed for this For me it means joy and bliss

(Pirit sukher nidhi anukule dilo bidhi

je jatane jay pran, seho barang bhalo). 3. Thou the ocean of virtue, Oh the treasure of my life in this world

Thy virtues I am unable to express For God has made me virtueless.

(Guner sagar he tumi gunanidhi Tomar jatek gun, kahite ami nirgun jane ki bidhi.)

It is however not possible to prove that these songs were inspired by Srimati. The influence of Srimati on Nidhu Babu should not be considered with reference to any particular song or songs. But that she had an overall influence and inspiration in his life is indisputable. There is a story that when he once met Srimati after a very long time, the latter emotionally asked have you suddenly remembered me and thus come to pay me visit ? Nidhu Babu at once composed his famous song,

I dont love you expecting you to love me It is my habit that I know no one else but ye

The sweet smile on thy moonlit face

Enchants me with its beauty and grace That is why I come to see you, not for you to see me

(bhalobashibe bole bhalobashine Amar swabhab ei toma boi ar janine

Bidhumukhe modhur hashi Dekhte boro bhalobashi Sei tomare dekhte ashi

Dekha dite ashine). This song was composed on slightly different language by Sridhar Kathak.

However Nidhu Babu is considered the original composer and Sridhar probably adapted it to his own composition with some changes. It is also significant to note that despite his infatuation for Srimati Nidhu Babu was deeply attached to his family. Once when he returned home after a long gap his wife emotionally alleged in the same vein as Srimati

that just because she was ugly her husband had deserted her. Nidhu Babu spontaneously composed his famous song

Thou art comparable to thyself alone, oh my life in this mundane sphere Even the full moon laments for its dark side after seeing you here.

(Tomari tulona tumi pran / E mahimandale Akasher Purnasashi, sheo kande kalanka chale ).

This shows that Nidhu Babu had the knack for instant creation not only with respect to Srimati but his better half as well there was a romantic streak in him and at the same time he had a very sensitive and passionate mind.

Apart from his wonderful innovation of Tappa which has made him immortal17, Nidhu babu made another significant contribution in the field of Akhdai songs. Akhdai songs in Bengal originated in the Nabadwip region of Shantipur. It had two parts, Kheud and Prabhati. However they lacked polish and refinement. Koluichandra Sen, the Court singer of Raja Nabakrishna Deb of Sovabazar who was a close relative of Nidhu Babu, refined and recast Akhdai songs in a different form with the result that it became popular in Kolkata. Nidhu Babu took up the mission of Koluichandra and imparted a new, sophisticated character to Akhdai songs. It was in 1804 that Akhdai songs were sung in the new way pointed out by him. Koluichandra was a master of tune but Nidhubabu had the power of creation of songs of a high order and he used it to raise Akhdai songs to an elevated pedestal. The songs which were originally almost pornographic now became purified. They were now rendered in three parts Bhavani which meant oblation to the Divine Goddess, Pronoy Sangeet which was a much more sober love song compared to its erstwhile counterpart Kheud and Prabhati lamenting the end of the night with the advent of the dawn signifying the end of love relation. Three such specimens of creation by Nidhu Babu may be cited below.

Bhavani : Twamaka Bhubaneshwari Sadashibe Subhankari, Niranande Anandadayinee

(Oh goddess of the Universe, thou symbol of the god of all the life partner of Shiva the Lord / Thou bestower of gladness to hearts burdened with sadness).

Pronoygiti : Moner je sadh monete rohilo Tomay sadhana kori sadh na purilo. (The yearning of my mind remains just where it was / pining for you, has brought

things to such a pass). Prahati: Nalini hasibe keno, kumudi Birashanan sukhe Ashukh tobe kore ki Arun. (The sun of the dawn turns the merriment of the lotus of the night into an ailment). After Nidhu Babu, his disciple Mohan Chand Basu started the tradition of half-

Akhdai songs. He did this out of pragmatic consideration as Nidhu Babu was ageing and direct participation in Akhdai programmes was gradually passing out of his capacity. Moreover, the seriousness of the song no doubt added to their majesty and grandeur but also produced a discouraging effect on the audience. When half Akhdai songs were first sung in 1832 at the house of Ramsevak Mallick of Bowbazar. Nidhu Babu was in his nineties. He had initially taken has disciple to task for alleged vulgarization of the Akhdai tradition but ultimately blessed him for his new endeavour.19 For Nidhu Babu was not a diehard dogmatic and appreciated the need for adaptation of songs to the changing needs and realities of the age. It was a fact that Akhdai songs needed long preparation and the programmes were most expensive. Since Nidhu Babu was an amateur, therefore the success of Akhdai songs depended on the patronage of the affluent classes. Nidhu Babu realized that in the absence of such patronage Akhdai songs would be obliterated. Nidhu Babu took the initiative in organizing two rival groups of Akhdai singers from Sovabazar and Pathuriaghata. When the two groups competed Nidhubabu sided with the former group. Such was the massive impact of the Akhdai songs that Ghulam Abbas the reputed player of Pakhwaz was rapturous in his praise of Nidhu Babus wonder.20

Even at the ripe old age of 97, Nidhu Babu published his book of songs Gitaratna which shows that he was not emasculated by old age infirmities. On April 6, 1839, he left the mundane sphere and the noted daily Friend of India, paid homage to him saying that

his songs were very celebrated among his own countrymen. It is known that even a year before his death Nidhu Babu traveled outside his home at 20 Nandaram Sen Street and devoted his time to reading. Even in his twilight years he responded to the offer of Baradakantha Raibahadur of the Chanchol region of Jessore to complete a song whose first line had been written by the latter. Nidhubabu completed the song as follows,

Mone Kori Pirit na kori

Sakal Dukher mul pranaye chaturi I feel I shall not love any more

Trickery in love is at the root of all sadness which is bitter and sore. At the time of his death Nidhu Babu evergreen in his old age left an indelible mark

on the cultural landscape of Kolkata and acted as a veritable source of inspiration for succeeding generations.

E) Impact, Inspiration, Imprint: The Wonder that was Nidhu Babu The pioneering contribution of Nidhu Babu, was the relocation of Bengali

music in the domain of humanity. After Nidhu Babu, music in Bengal followed two directions, secular and devotional. Tappa was the musical medium of what may be called secular trend in Bengali music which signified liberation from sectarianism and embodied the humanist sprit of universal love. The theme of this secular universal humanism was

distinctly human and devoid of allegory and symbolism characteristic of Vaishnavite songs on Radha and Krishna in which pulsations of human love could be discerned. But Nidhu Babu had the courage to dispense with the allegory of divinities portraying all conceivable forms of human love. He made physical love the theme of Tappa crossing the border of waning metaphysical symbolism. Some of the composers of Kavigan in the 18th century nearly got out of it, but did not dare to bring in heroes and heroines of flesh and blood. The logic of Nidhu Babu was why should human beings take refuge under spiritualism and use it as a kind of faade for the expression of their intimate experience of personal love? In other words, why should humans enjoy their love relations through the visualization of divine love? He made human love independent and autonomous which existed in its own right and on its own merit and emancipated it from vassalage to divine

love. According to a connoisseur of Tappa, Nidhu Babu dealt a tremendous blow on Bengali literature posing the question why pine for divinities where there is no direct evidence of their existence? Why not human power which is tangible in place of esoteric divine power which is, beyond the grasp of ordinary mortals?21 Another expert on the subject remarks in the same vein that the growing stress on human love was due to the slow emergence of materialistic society where God was doubtless important but equally important was man.22 In a remote sense, a parallel may be drawn between the secularization of politics by Nicolo Machiavelli in 16th century Europe and the secularization of music in 18th century Bengal by Nidhu Babu. Like Machiavelli who distinguished the sphere of politics from that of religion, Nidhu Babu clearly demarcated the spheres of religion and music and erected an effective bulwark against intrusion of the former in the sphere of the latter. Machiavelli was the child of the European Renaissance of the 15th century which signified mans awakening about himself, about his autonomous sphere of authority and about his colossal power and ambitions. It was in other words, a movement resulting in a great discovery of man.23 Though Machiavellis mission was political as contrasted with the cultural mission of Nidhu Babu, yet the latter too was a product of the Bengal renaissance. According to an expert, even in the era of renaissance in Europe music was sought to be emancipated from the bondage of monarchy and the church. The legacy from Sebastian Bach to Beethoven represents the struggle for individualism. Bengali music too was inspired by a quest for self-discovery and unfoldment of the spirit in the 19th century.23 The precursors of those creative pursuits began their work in the 18th century and Nidhu Babu, the wonder child of the Bengal Renaissance was one of its shining apostles. It was he who brought a new refinement and polish to Bengali music and liberated it from vulgarity and cheap populism of Kheud and Akhdai songs.

According to one song My neighbors did not allow my raw love to ripen into fruit

It was just about to consolidate when they put down their foot. Amar Kancha pirit parar loke pakte dilo na

Pakbo pakbo hoyechilo, jomte dilo na According to Srikumar Chattopadhyay, his father the famous singer the late Ramkumar Chattopadhyay was ashamed to sing the second stanza because of its vulgar meaning.25

It is surprising that the songs of Nidhu Babu were condemned as vulgar and a stimulant to sexual excitement and animal instinct. Srikumar Chattopadhyay remarks sarcastically that Lovemaking in those days was blasphemous but suttee was not.26 A number of songs intended to disparage Nidhu Babu were written. One of them openly characterized his songs as songs of the brothel

Beshyar aloye jao, Nidhur tappa gao Konkhane panti khao, konkhane ba gardani.

Another song took a dig at women who posed as puritanical housewives at day time, but sang Nidhubabus songs at night,

Jini mukh dekhan na kuler bodhu, Tini se ratre gaan Nidhu Rosher Chorar Khoi phute jay Mukhe.

This shows how Nidhu Babus songs emboldened Purdhanaseen women folk to dissolve social taboo and sing his songs. Dispassionate analysis would outweigh the allegation of vulgarity against Nidhu Babu. Surprisingly many distinguished persons of Bengal found his songs objectionable. Bankim Chandra Chattopadhyay portrayed a woman character in his novel Bishbriksha as shamelessly declaring at a public function that she would listen to Nidhu Babus Tappa alone and nothing else. Haraprasad Shastri has lamented the death of Bengali literature after Bharat Chandra and Ramprasad Sen and refused to place Nidhu Babu on the some pedestal as the former. Ramesh Chandra Dutta has deliberately omitted the name Nidhu Babu in his Literature of Bengal. Nabakanta Chattopadhyay, compiler of the book Bharatiya sangeet Muktabali has not included even one of his songs obviously because of their allegedly vulgar character.28 Nothing however could be further from the truth. Not even one song of Nidhu Babu compiled in his Geetaratna justifies the allegation of obscenity. On the contrary, his songs appear remarkably refined in comparison to counterparts which breathe the spirit of sensualism at every point. According to an expert

many composers of inferior quality labeled their own obscene creations under the name of Nidhu Babu to ensure their popularity. In those days, the name of the composer was not always specified due to inadequate printing system and performing artists were the medium for circulation of songs. Moreover artists of inferior status often rendered his songs in a degraded form which greatly damaged Nidhu Babus reputation.29 Nidhu Babu became aware of this disturbing trend in his lifetime and it prompted him to publish his authentic work Geetaratna. In its introduction, he has clearly revealed how his works were perverted without his knowledge. According to an expert, Nidhu Babu was most particular about avoiding obscenity which was rare in the 18th century. Perhaps if he glorified divine love in place of the human, he would have been spared at least some of the condemnation. Another reason which made Nidhu Babu the target of attack was his affair with Srimati. According to an expert had he not come in touch with her and drunk the cup of romance to the brim, neither his pen nor his voice would have unfolded fully. The Nidhu- Srimati combination is comparable to Dante and Beatrice, Chandidas and Rami etc. Ram Babu had his Jaggeshwari, Charu Dutta had his Basanta Sena. The love songs which Nidhu Babu composed were not inspired by his wives but by Srimati.31 Perhaps extramarital affair has a role to play in the flourishing of genius. Behind every successful man, is a woman and she may not necessarily be his wife. She can be a catalyst of inspiration without indulging in illicit relationship. One song addressed by Nidhu Babu to Srimati bears this out. One song says

What is on your mind? How can I know it?

I come because I love and our eyes meet. Ki ache tomar mone?

Janibo Taha Kemone? Bhalobashi Tai ashi

Dekha nayane nayane.

The critics of Nidhu Babu have overlooked another important side of his life that is the spiritual. While he dispensed with spirituality in his love songs he was never an atheist

in his personal life. Nabakanta Chakraborty, who ignored him in his aforesaid look, obviously did not know that Raja Rammohun Roy was avidly interested in Nidhu Babu who was his senior. Despite his Brahmo cult, Rammohun used to enjoy all kinds of musical programme in Kolkata and desired the help of Nidhu Babu for the circulaton of devotional songs that is Brahmasangeet which he wanted to elevate to the level of real lyric through a proper lyricist. According to Nidhu Babus son Jaigopal Gupta, Uchchabananda Bidyabagish, former Upacharya of Brahmosamaj asked Ramnidhi to compose a Brahmasangeet and he instantly composed a song addressed to the formless supreme Lord of the Universe who was the refuge of all.

Parambrahma Tatparapar Parameshwar Niranjan Niramoy, Nirbisesh sadasray

Vidyabagish was fascinated by the song the like of which he never heard before. He expressed his desire to have the song rendered in the samaj after showing it to Rammohun. Unfortunately he expired and the song never found its place in Brahmo Samaj. It goes without saying that Vidyabagish approached Nidhu Babu with the approval of Rammohun who wanted to enrich the lyrical quality of songs sung at the Samaj with the help of Nidhu Babu.33

It is notable that Swami Vivekananda who was a specialist in Dhrupad and averse to Tappa, nevertheless included four songs of Nidhu Babu in his compilation Sangeet Kalpataru edited jointly with Baishnabcharan Basak. One song included in Geetaratna was

Jeo Jeo Prannath Prem Nimantran

Nayanjale snan Korabo, Keshe muchabo Charan

(Please attend the lovers invitation, O lord of my life listen to my prayer I will bathe you with my tears and dry your feet with my hair).

The other was,

Tobe Preme ki sukh hoto Ami jare Bhalobashi se jadi Bhalobashito

(Oh! How happy would have been my love affair if only my lover had loved me as I loved her.)

Vivekananda was of the opinion that songs like Tappa were not conducive to the awakening of the morbid race from its slumber. It aroused the soft instincts, not the powerful ones. His master Sri Ramakrishna also tended to look down upon Nidhu Babu. He obviously did not know that Nidhu Babu had composed an Akhdai song dedicated to the Divine Mother of the Universe which addressed her as Twameka Bhubaneshwari, Sadashive Subhankari. In another song, he paid homage to Lord Shiva worshipping him as Paramadhita Dev, Dev Dev Mahadev. In yet another song, he invoked the Divine Mother as Sailendratanaya Shive. It would be no exaggeration to say that Nidhu Babu metamorphosed Akhdai songs. According to one expert, he sensitized it by a process of refinement.34

It is however strange that Vivekananda did not include Nidhu Babus sole patriotic song in the above mentioned book. Dr. Arup Ghoshal the noted singer describes the song Nanan deshe nanan Bhasha as the first swadeshi song of Bengal. To him, love of ones native country emanates from consciousness of native heritage and native language is the first promise of this. Nidhu Babus sentiments expressed in the song were later on echoed in Ishwar Guptas poem Mother tongue is like the Mother who s fulfils the yearning of the son. (Matrisamo Matribhasha purale Tomar asha)35. Actually pride for mother tongue was the symbol of the new national consciousness in India. Nidhu Babus song fell in line with Michael Madhusudan Duttas famous poems Bangabhasha and Bangabhumir Prati which glorified the Bengali language.36 Michael became acquainted with the songs of Nidhu Babu while composing his Music Drama Brajangana.37 Though Vivekananda was not much appreciative of Nidhubabu his disciple Nivedita was intensely enamored of him. From the testimony of Dinesh Chandra Sen, it is known that she praised Nidhu Babu more than even Ramprasad and Chandidas.38 It is significant to note that Sri Aurobindo in his early days was extremely attracted to the songs of Nidhu Babu. In the early days of his life in Baroda, he translated 20 songs of

Nidhu Babu which were published on his book Poems from Bengal. The song Bichchede je kshati, Tar adhik Milane was translated as follows

Nay though thy absence was a tardy fire, yet in such a meeting, was a worse derision, For never yet the passionate yees desire Drew comfort from such momentary vision.

Whoever heard of great hearts soon expended, Huge fire with a little burning ended? 39 Another translation of the song Kajal Nayane ar diyona kakhan was as follows :

Line not with these dark rings thy bright eyes ever! Such keen shafts are enough to slay unaided; To tip the barbs with venom why endeavor?

O then no heart could live thy glance invaded Why any live wouldst thou have explanation.

Three powers have their eyes of grievous passion.

The first is poison making them deaths portal. The second wine of strong intoxication

The third is nectar that makes gods immortal. The influence of Nidhubabu found its final culmination in the creative genius of Tagore. Many of Tagores songs were influenced by those of Nidhu Babu. The songs Holona lo Holona soi, Madhur Basanta eseche Modhur Milan Ghotate and O keno churi Kore Chay were derived from Nidhu Babus Amari Moner Dukhkha Chirodin mone Rohilo, Modhur Basanta Ritu He Kanto Jabe Kemone and Ke O jay Chahite, Chahite.40 His songs like E parabashe, Ke Boshile Aji and Hriday Basana Purno Holo were modeled on Tappa. Whether or not he adopted tunes from Nidhu Babu, is a matter of debate and in the songs he is said to have derived from the former, the similarity is more that of language rather than tune. The similarity of tune is coincidental. At the same time, it goes without saying that Tagore was intensely fascinated by Nidhu Babu. He was full of praise for the latters musical talents. Two of his songs composed in his mature age, bore the stamp of Nidhu Babus songs. They were Ami rupe tomay Bholabona and Ja hobar to hobe. In the twilight years of his life, Tagore told Maitreyee Devi that Nidhubabus song Ki Jatona Jatane touched the innermost chord of the heart with its simplicity of words and pathos of tune.42

Tagores family was nurtured in the tradition of classical music in which Tappa figured prominently. Nidhu Babu thus left a lasting imprint on his mind. His elder brother Somendra Nath was an expert in the songs of Nidhu Babu.43 Tagore never lined up with those who found Nidnu Babus songs obscene. It was because he himself had been subjected to the same kind of opprobrium and his songs like Keno jamini na jete jagale na were disparaged by conservative circles. Yet just as nobody, not even critics would ignore Tagore, no one could ignore Nidhu Babu. He maintained a constant and everlasting presence in the mind of music lovers and even in the new millennium his songs draw a huge audience. The captivating influence still lingers on. E) The Immortal Legacy: The legacy left behind by Nidhu Babu has inspired all succeeding generations. All the creators of Tappa were influenced by him either directly or indirectly. Not only Tagore, but lyricists like Dwijendralal Roy, Atulprasad Sen and Kazi Nazrul Islam composed songs based on Tappa. Even a number of devotional songs like Shyamasangeet have been cast in the Tappa mould.44 Srikumar Chattopadhyay cites two examples, Amar Shyama mayer kole chore and Eibela mon nere deke, dayamoyee Shyama ma ke 45. However it is as a pioneer of love songs that Nidhu Babu was able to entrench himself in the heart of music lovers of Bengal. He was the first to give expression to human sentiments and feelings that had nothing extra-terrestrial about them. According to the noted singer Dr. Anup Ghoshal, when Tagore began compose songs, Nidhu Babus songs were still popular in Bengal. Nobody could match his innovative genius till the third decade of the 19th century.46 He adds that it was from Tappa that the Bengali got the first taste of pure romanticism and individualism. The appeal of individual love which Nidhu Babus songs generated sprang from the inner self.47 By the application of Punjabi Tappa with necessary improvisations Nidhu Babu created a medium whereby the lover could outpour his emotions spinning webs of rare beauty. He was the pathfinder of Sridhar Kathak, Dasarathi Roy, etc. The seminal question is, will the legacy survive? According to Ramkumar Chattopadhyay, Nidhu Babus songs were confined to the feudal sections of society not the masses.49 It is time that Nidhu babus songs belonged to the realm of elite rather than mass

culture. In the new millennium where breathtaking changes have taken place in the world of culture the challenge of keeping the legacy of Nidhu Babu alive, will have to be taken up by connoisseurs of Tappa. It is a fact that people with refined tastes will always recognize the worth of good things. But unless there are singers of the best quality and training the appeal of these songs is bound to be reduced. Teachers will have to create a band of dedicated followers to preserve their inheritance and it is here that a big vacuum has been created. There are very few artists specialized in songs of Nidhu Babu. However, even in the era of globalization, the songs of Nidhu Babu are sure to have a booming market because long songs have always appealed to the human mind in all ages and climes. As long as love exists the legacy of Nidhu Babu will exist. For even in a fast moving and turbulent world, there must be some space for soft and tender emotions. It is here that the timeless relevance of Nidhu Babus songs can be discerned. Nidhu Babus songs resonated with the personal love relations of ordinary mortals and thus he is more close to human life than anyone else. Life without love , is inconceivable and no human being can be loveless. Since love is imperishable, the songs of Nidhu Babu can justifiably claim a legacy of deathless life.

Reference 1. Rajyeshar Mitra, Banglar Gitikar O Bangla Ganer nana dik. Jijnasha, Kolkata,

1973, p.22 2. Ibid, p. 19 3. Ibid, pp. 2-3. 4. Dilip Kumar Mukhopadhyay, Bangalir Rag Sangeet Charcha, Firma K. L. Pvt.

Lotd., Calcutta, 1976, Pp. 11-12. 5. Ibid, p. 14. 6. Ibid, p. 6. 7. Ibid,p. 7. 8. Ramakanta Chakravarti, Nidhubabu O Tar Tappa, Punascha, Kolkata, 2001, pp.

19. 9. Ramkumar Chattopadhyay, Puratani, Sahityam, Kolkata, 2010, Pp.155.

10. Mukhopadhyay n.4, p. 10. 11. See Chakravarti, n.8, p. 20.

12. Ibid, p. 53. 13. Sudhir Chakravarti, Bangla Ganer Sandhane Aruna Pranasani, Kolkata, 1992,

Kolkata, p.41.

14. See Chakravarti, n. 8, p. 21.

15. Ishwar Gupta, Kabijibani, p. 107. 16. See Mitra, n. 1, p. 27. 17. Ramakanta Chakrabarti, Songs of Nineteenth century Bengal in O.P. Joshi ed

Sociology of Oriental Music, A Reader ABD Publishers, Jaipur, 2004, p. 163. 18. Mukhopadhyay, n. 18, p. 18. 19. Ibid, p. 21. 20. Ibid. 21. Interview with Srikumar Chattopadhyay, January 20, 2011. 22. Chakravarti, n. 17, p. 161. 23. Amal. K. Mukhopadhyay, Western Political Thought, K.P. Bagchi and Co.

Calcutta, 1980, p. 87. 24. Chakravarti, n. 13, p. 2.

25. Chattopadhyay, n. 21. 26. Ibid. 27. Durga Das Lahiri, Bangalar Gan, Paschimabanga Rajya Pustak Parshad,

Kolkata, 2001, Pp. 15. 28. Mukhopadhyay, n. 4, p. 26. 29. Ibid. 30. Mitra n. 1, p. 28. 31. Lahiri, n. 27, p. 14

32. Rajyeshwar Mitra, Rammohuner Gan in Pulinbihari Sen et al ed Rammohun Smaran, Raja Rammohan Roy Smritiraksha Committee, Kolkata, 1989, p. 188.

33. Ibid, p. 188-9.

34. Sukumar Roy, Bharatiya Sangeet, Itihash O Padhdhati, Firma K.L, Mukhopadhyay, Kolkata,1975,p.113.

35. Dr. Anup Ghoshal, Ganer Bhubane, Debabrata Kar, Kolkata,2001,p.123. 36. Gita Mukhopadhyay, Bangla Swadeshi Gan, Delhi University, Delhi, 1983, p.4. 37. Mukhopadhyay, n.4, p.31. 38. Dinesh Chandra Sen, Gharer katha o Yugasahitya, jijnasha, Kolkata, 1969,

p.215. 39. Mukhopadhyay,n.4, p.31. 40. Ibid pp28-29. 41. Santideb Ghosh, Rabindra Sangeet, Kolkata,1949,p.74. 42. Moitreyee Debi, Mongpute Rabindra Nath, Prima Prakasan, Kolkata,1989,p.52 43. Ghosh,n.41

44. Roy n.34, p.113. 45. Chattopadhyay n.21. 46. Ghoshal n.35,p.133. 47. Ibid p.83 48. Chattopadhyay, n.9, p.156.