Hutom Pyanchar Naksha: Difference between revisions
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'''Hutom Pyanchar Naksha''' (1862) a satire on the affluent society of Kolkata by [[kali prasanna singh]] (1840-1870). While there are diverse characters, the ''nouveau riche'' are the main targets of the writer. He reveals how they have indulged in forgery, gambling, tricks and deception in order to amass wealth. | '''Hutom Pyanchar Naksha''' (1862) a satire on the affluent society of Kolkata by [[Singh, Kali Prasanna|kali prasanna singh]] (1840-1870). While there are diverse characters, the ''nouveau riche'' are the main targets of the writer. He reveals how they have indulged in forgery, gambling, tricks and deception in order to amass wealth. | ||
The book is historically important as it depicts the contemporary life of Kolkata in the mid-19th century in a realistic manner. It is also significant for its use of the spoken language of Kolkata and its surrounding areas. The writer's use of the pseudonym 'Hutom' led to the language of the book being known as 'Hutomi Bangla'. This language is more refined than the ''Alali'' language of [[Mitra, Peary Chand|peary chand mitra]] (1814-1883) and there is no confusion of spoken and written forms. [Nurul Amin] | |||
[[bn:হুতোম পঁ্যাচার নকশা]] | [[bn:হুতোম পঁ্যাচার নকশা]] |
Latest revision as of 12:27, 14 July 2021
Hutom Pyanchar Naksha (1862) a satire on the affluent society of Kolkata by kali prasanna singh (1840-1870). While there are diverse characters, the nouveau riche are the main targets of the writer. He reveals how they have indulged in forgery, gambling, tricks and deception in order to amass wealth.
The book is historically important as it depicts the contemporary life of Kolkata in the mid-19th century in a realistic manner. It is also significant for its use of the spoken language of Kolkata and its surrounding areas. The writer's use of the pseudonym 'Hutom' led to the language of the book being known as 'Hutomi Bangla'. This language is more refined than the Alali language of peary chand mitra (1814-1883) and there is no confusion of spoken and written forms. [Nurul Amin]