Page:History of Bengali Literature in the Nineteenth Century.djvu/369

 KABIWALAS 345 শেষে এই হোলো! কাগারি পালালে! তরণী লাগিলে! ভাসিতে ॥ ধনোপ্রাণো মনো যৌবনো দিয়ে শরণো লইলাম যার তবু তার মন পাওয়া সখি আমারে হোলো ভার । না পুরিলো সাধো, উদয়ে বিচ্ছেদে, মিছে পরিবাদো জগতে ॥ Of Raghu-nath no trustworthy account remains. Some say that he was a sat-Sidra while . Raghunath Das, ° 1 eet others think that he was a blacksmith by caste.’ According toa third view he was a weaver.* Salkia and Guptipada, in turns, have been noted as the place where he lived. Of his composition it is difficult to say anything definite ; for although two or three fragments have come down to us, containing his own dhanita or signature, it is not perfectly clear that these songs were really of his own composition. The tradition is current that Haru, during his early His relation to Haru :. Toa: Thakur. years of pupilship under Raghu, used to get his productions corrected by his master and that, out of gratitude, he used to attach to them his master’s ¢hanita.* There is nothing to diseredit this tradition which relates to a phenomenon not rare or improbable in our literary history. The number of these songs, however, is limited* and all of them, rightly or wrongly, have been attributed to Haru Thakur. It may be quite possible, however, that some of these songs were the genuine works of Raghu. But the disciple’s kar, loc. cit. Kabioyaladiger Git, at pp. 73-75 and at pp. 91-93 in the collection of Haru Thakur’s songs. These are also similarly given as Haru’s in Sambad Prabhakar, Pous, 1261. 44
 * Bangabhagar Lekhak, p. 380.
 * Nabyabharat, B.S. 1131, p. 600.
 * Ibid, pp, 600-601 ; Kabioyaladiger Git (1862), p. 66; Satabad Prabha.
 * Besides the one quoted here, two such songs are given in