Page:History of Bengali Literature in the Nineteenth Century.djvu/421

 LOVE-LYBICS 897 unjust when he rejected these songs ae vulgar expression of sensual passion which is, to quote his words, ‘ arafaatera “age, Sicatet gas, corsferta কলুবিত, আহ্ুনুখান্থেষণে অপবিত্র “£ It cannot be denied indeed that there is a tendency, in these old-time songsters, of seasoning their songs with indelicacies and audacities of expression which were sometimes very enjoyable to their audience; but what we have already said on the moral tendency of the Kabiwalas in general and of Ram Basu’s /iraka in particular applies to a certain extent to the present question. Without entering into the problem of art for art’s sake or art for the sake of morality, the whole controversy over the alleged morality or immorality of these songs is somewhat irrele- vant or futile. We must take them for what they are worth and guard at once against reading rigid morals into them or condemning them for want of morals. In the first place, we need recall what এপ Batkim Chandra said with regard to sincerity. similar allegation on Iévar Gupta’s [০০৪৮ (“তখন লোকে কিছু মোট! কাজ ভাল- বাসিত ; এখন সরুর উপর লোকের অন্রাগ +) 47১৫ (518 11561750191) between gross and fine workmanship is essential and lies at the very root of certain definite aspects of ancient and modern Bengali literature. Inspite of all its faults this gross workmanship has one great advantage, ri:., that if it is savage, uncouth and grotesque it is at the same time trenchant, vivid, and full of nervous and muscular energy. Polished or refined embroidery has its charm, no doubt, but it is also factitious and artificial. It lacks the tone of easy, genuine and natural passion; it is something Babu’s tappas as Aecmtz Siesta করতোপ and even & critic like Bafikim Chandra could not resist the temptation of having a fling at them in his Bisabrikga,
 * In the same strain M.M. Haraprasid Sastri speaks of Nidhu