CHAPTER – VI

Nationalistic Thought in Ambikagiri’s Writings

Nationalism as a system of belief, an ideology and as a political movement has

been one of the formative process in the creation of the contemporary world.
Nationalism as a doctrine invokes the distinct culture and history of people. From its
origin in the late 18th century, nationalism evolving into the ideology as we recognize
today has spread across the whole world. Nationalism has served as an important,
essential component of state building and for the formation of a common identity and
consciousness within societies. Combined with the idea is the moral conception of
society, according to which each individual not only belongs to a nation, but also
owes the nation unquestioning obedience.

In the context of Indian nationalism emerged as a response to colonialism, a

component of the larger imperialistic design of the European nations. Also implied in
it is the formative stage of nation building based on concepts of loyalty, patriotism
identification with a shared history, culture and tradition. The process embodies an
increasing awareness of a common history, tradition and culture.

Emerging nationalism in India and various Asiatic countries led to a resistance

movement and finally to a decolonization process. The belief that national self-
determination should be guiding principle in international politics marked a
transformation of attitudes and values. Colonialism and the United Nations Chapter
was increasingly recognized as incompatible, though independence was often and
sometimes marked by prolonged conflict as in the emerging trend of nationalism in
India and other Asiatic and African countries. The pattern of decolonization in India
was diverse, reflecting the attitude of the colonial power and the nature of the local
nationalist or revolutionary movement. From the first stirring in 19th the century to the
final British withdrawal in 1947, the emergence and orientation of Indian opinion was
a long diverse process. Nationalism in other words became interwoven with local and
regional politics channeled in the direction of a greater nationalist urge. To obtain a
perspective of the multiplicity of what was happening simultaneously throughout the
sub continent is a complex task. The multiple conception of Indian nationalism brings

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to our attention the formal objectives, programs and pronouncement of organized
association and political leaders. The evolving Indian nationalism in relation to the
structures of social consciousness in society is a matter of serious study to understand
the phenomenon of Indian nationalism.

Prose & Poery:

A holistic understanding of the reality of Indian nationalism not withstanding

the plurality of its conception by detailing another dimension of the contribution
assiduously made by Ambikagiri Roy Chowdhury, a dimension that relates to his
literary patriotism. Roy Chowdhury’s literary pursuit dates back to the Swadeshi
movement, then a militant anti colonial activist. “The Swadeshi cult spread to
Guwahati and Ambikagiri became one of its loyal adherents.”1 Inspired by the
Swadeshi ideology of the period Roy Chowdhury wrote a play called ‘Bandini
Bharat’. It was aimed at reaching the people and developing consciousness among
them. The play was enacted on an auspicious occasion of Saraswati Puza based on
contemporary politics. i.e. nationalism.

Roy Chowdhury was an active literary figure in the contemporary Assamese

literature. Basically known as a poet lyricist Roy Chowdhury appears in many forms
visionary, industrious, radical, anarchist, revolutionary who sees a vision and straight
way begins to work in that direction. Bani Kanta Kakati a doyen of Assamese
language & Literature rightly points out that in the context of contemporary Assamese
social thinking Roy Chowdhury was the most original talented individual.2 A spirit of
living patriotism and an inimitable style of prose is another dimension Roy
Chowdhury’s literary contribution. Vigour and a tremendous force of energy, a
firmness and matter of fact attitude to things is clearly visible in most of his prose
works. His rich evocative prose is sometimes made poignant with poetic expressions.
Contemporary political situation his own political vision i.e. vision of a vibrant
Assamese society as a strong component of a federal Indian polity all are passionately
expressed in his prose works.

1. Birendra Kumar Bhattacharyya, Ambikagiri Raichowdhury, Makers of Indian Literature, p.3.

2. Bani Kanta KaKartik, “Ambikagiri Roy Chowdhury”, in A. K. Mishra, and G. Das (ed.), Asom
Kešarî Ambikágirî, p.6.

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 One of the most interesting men of the history of Assam Roy Chowdhury’s
literary career must be seen in the light of an environment shaped by an ongoing
transitional phase. Hence an intense feeling is replete in most of his prose work. He
uses a model of political harangue entirely different from others which he used to
rouse an unthinking Assamese public. His originality as a political thinker and activist
are clearly manifested in the prose works he composed. Subject matter and objectivity
of the prose most of the time replenished with a national feeling also had a universal
appeal having a greater faith in man.

That Roy Chowdhury is one of the most original writers of his time, and one
of the greatest masters of Assamese prose is undeniable. Directness, vigour, unending
flow of energy and vitality mark every page of his prose work. Keeping his object
steadily before him, he drives straight on to the end with a convincing power giving it
an edge over others. Even in his most grotesque creation the reader never loses the
sense of reality, so powerful and convincing is Roy Chowdury’s prose. He wrote
continuously for more than thirty years, as editor and essayist and his chief object
seems to make people aware of an evolving political reality. “He wrote his journalistic
essays with the specific aim of educating and informing the public he did not write to
entertain.”3

A deep sense of social commitment is another aspect of Roy Chowdhury’s

prose. Some of his remarkably forceful and convincing essays appeared in Cetanā and
subsequently Dekā Asom, a vigourous and independent spirit, maintaining his
radicalism throughout his life. These sparking and brilliantly argued essays provide a
clue to the understanding of the concept of nation and nationality.

Sometimes he conducts his argument like a debater then his style might be
called the apotheosis of the debating style. But with all the weakness admitted his
style with its sharp contrast and deft balances and comparison its exaggeration and
simplification and its rhetorical black and white surface, for all its obvious weakness,
a noble prose style full of life and energy evolves that is never languid or
merelyexhibitionist. It is a style admirably suited to Roy Chowdhury’s temperament
and to the tone, mood and purpose of his writing.

3. Op cit, Birendra Kumar Bhattacharyya, p.39.

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 Along with his poetry his prose works are also note worthy even being less in
quantity.4 But if we go through Cetanā and Dekā Asom there are numerous essays of
great historical significance lesser known and discussed. Rup Konwar Jyoti Prasad
highly appreciated the bold and brilliant prose style of the editorials of Dekā Asom.5
His acute sense of history often led him to organize his subjects in a historical
manner. His interpretation may sometimes be unsatisfactory, but his facts are
generally accurate. The prevailing conditions in Assam confronting varied socio-
political problem, came more and more to haunt the consciences of humane and and
thoughtful people like Ambikagiri as he attempted to place the confronting issues in
the socio-political framework of the time. Here we see his energetic persuasive style
projecting the blue print for a better future.

His enthusiasm led him to compose essays concerning significant political

issues like Asomot Jātiyā Samashyā (National Problems in Assam)6, Swaraj7,
National Language8, National Education9, Non-Cooperation and Co-operation10 etc.
The essence of a doctrine of universalism is proclaimed in one of his essays called
Jagatbyāpi Shāntir Pratham Khoj (First step towards universal peace)11. Ahuti and
his other prose works are brilliant illustration his intense patriotism.12

His approach to contemporary socio-political problems sometimes seemed

utopian defying practical solution, but on the whole it speaks of his political
endeavour in the changing contours of colonial political society and economy. Let us
examine some of the remarkable passages of Roy Chowdhury as it will reveal his
thinking his philosophy an awareness of the general nature of the socio-political
problems and the ideas that were being mooted as remedies for them. We have
already referred to his notion of the Assamese as a Jāti (sub-nation) within the great

4. Atul Chandra Hazarika, “Asom Kesarir Upakhyan”, in Jogesh Das & Others (ed.), Ambikagiri
Roy Chowdhury, p.14.
5. Ibid.
6. Chetana 1st Year, 2nd Issue, Cited in Dr. Satyendra Nath Sarmah, (ed.) Ambikagiri Roy
Choudhury, pp.869-871.
7. Chetana, 2nd Year, 6th Issue, Op cit, Dr. Satyendra Nath Sarmah, (ed.) pp -899-900.
8. Cheatna, 5th Year, 6th Issue, Op cit, Dr. Satyendra Nath Sarmah, (ed.) pp. 919-921.
9. Ibid, pp. 898-899.
10. Ibid, pp.893-894.
11. Op cit, Dr. Satyendar Nath Sarmah, pp.921-923.
12. Nanda Talukdar, Kabi Aru Kabitā, p.111.

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Indian Mahājāti (Nation). His political discourse had this aspect as one of the central
themes, where self assertion of a Jāti combining with it a sense of security by ensuring
full control of the Assamese over its land and resources, agriculture commerce and
industry, trade, language, literature, culture and ethos. All communities produce a
linguistic literary and artistic genre as well as beliefs and practices that characterize
social life. An awareness of a common language, ethnicity, history, religion and
landscape represent building blocks of culture. What Roy Chowdhury believed is and
enrichment of the distinctive Assamese culture comprising all these elements and an
expanding base for it. It is this explicit desire that he repeatedly expressed in his
writings. For instance while discussing the objectives of Cetanā he brings forth the
idea of Assamese sub-nationalism as a branch of the great Indian nation and then
embarks on a discussion of its present status and stressed on the need for the
enrichment of Assamese nationality with the help of politics, agriculture, industry and
commerce. The passage suggests an objectivity of stronger national existence.13

Another recurrent theme of his essays is human being. He had a very high
opinion of the human virtue, He conceived man as an individual and as a constituent
of society. He believed that man has an intrinsic tendency to elevate and enlarge
himself. Therefore his thoughts and actions should be directed towards this end. It
should lead to joyous realization of higher self.14This self consciousness should
inspire and accompany every work of man. To accomplish this task a sense of
belonging to his land of birth is a prerequisite. The land feeds him, quenches his thirst,
nourishes him allows him to breath and sustain his material and spiritual life. This
land is called territory. It ceaselessly calls upon man to tread the path of freedom and
elevate his individual and collective selves in stages to the ideal stage of universal
humanity.15 Man in the group has to pass through the stage of sub-nationalism to
realize the wider community self in the higher stage of nationalism. In course of time
man transcends this stage to arrive at the higher stage of sublime humanism. In
essence it speaks about the progression of nationalism dependent upon the peculiar
nature of the relationship existing between the state and the people. His idea was well
adapted to a form of nationalism in which the state was assumed to have the function

13. Chetana 1st Year, 1st Issue, Bhadra 1326, pp.2-4.

14. Op cit, S. N. Sarma, (ed.) p.600.
15. Ibid.

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of fostering every component comprising it as part of its general mission of extending
national power.

Nationalism in all its forms will in all probability remain part of the life of
each people. In case of India, a nation in the making itself created nationalism and
forged a sense of solidarity among its people. The projection and promotion of an
Assamese identity to a considerable degree gave expression to the concept of
nationalism among the Assamese people. Roy Chowdhury devoted considerable
energy for instilling a particular sense of identity, history, language into their people,
explicit in his promotion of Assamese Jāti, Assamese music, Assamese dress and to
tiding what had hitherto been a much less packaged sense of national tradition. In an
essay entitled Jāti Gathanat Śankardev’ (Sankar Dev in the construction of
Nationality), Roy Chowdhury delves into the issue of national growth.16 Here he
pinpoints the significance of the Neovaisnavite movement initiated by Sankar Deva in
15th – 16th century Assam one accomplishment being the social regeneration in
villages through change of values through personal example and institutional
discipline. In this essay Roy Chowdhury pays tribute to a man who brought about a
social revolution in Assam with his brilliantly modern ideas and laid the material
basis for the emergence of Assamese sub-nationalism.

The concluding statement of the essay, “For the Assamese who are forgetful
of their past traditions, the only way to attain full national vigour and to become truly
worthy is to follow the path shown by Sankar Deva in full spirits and with due
courage”17 is clearly bound up with Roy Chowdhury’s idea of nationalism and
culture.

Now a look at some of his profoundly political prose: combining his feeling
for moral judgment and hard work and developing a powerfully original rhetorical
style for capturing the mind and emotion of readers Roy Chowdhury embarked on a
mission of increasing public awareness on crucial issues as well as creating political
platform like Asom Jātiya Mahā Sabhā, these essays indicate how serious and
sustained was his interest in socio-political issues. His enthusiastic temperament was

16. Op cit, S. N. Sarma, ed. p.628.

17. Ibid.

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profoundly affected by contemporary social reality. In a number of such essays we see
him addressing issues of political significance, explaining and interpreting for public
awareness. Not going into literary value one can rightly conclude that these passages
were brought up with contemporary politics. In one of his articles published in Cetanā
he evaluates the significance of Gandhi’s leadership. According to him Gandhi was
indubitably one of the great social reformers of history who had succeeded in
arousing universal consciousness in mass mind. He states, “This is the Gandhian age.
The humiliated and exploited in India and the world as a whole have come to realize
man’s (essential) humaneness.”18 In men’s heart resides his innermost being (Atma
Purusa) with enormous strength. This being has a larger self, the great national being
(Jātiya Virāt Purasa) that has to be aroused. It is a revealation of his political
philosophy based on his optimism of the great national being and man’s innermost
being. He literally preached Gandhi as a great leader and philosopher guiding India in
a great national struggle.

Roy Chowdhury used the editorials and occasional articles in Cetanā and
‘Dekā Asom’ to discuss and explain issues confronting Assam. One such issue was the
census and in an article of 1941 he louded his voice against the confusing instruction
of the census hand book and shows with facts and figures how it was going to affect
the interest of indigenous Assamese people.”19

In another instance Roy Chowdhury replying to a letter of Gyana Nath Borah

(6th Year 14th Issue Dekā Asom 30th Agrahayan, 1862), once again reiterates that for
the continuous survival of Assamese sub-nationality, they must unite and work whole
heartedly to strengthen it, to preserve its past glory.20 Then he proceeds to define who
are the Assamese, a very complex and still contested issue, and suggests a plan of
action to enrich Assamese nationality that includes inculcating a sense of nationality
among all Assamese and an effort to establish control over the resources of Assam.
The whole discourse stresses on the assertion of Assamese sub-nationality. Here he
attaches a very high degree of importance to economic nationalism. More closely
associated with the social and political struggles of the age than any of is literary

18. Op cit, S. N. Sarma, ed. p.917.

19. Dekā Asom, 6th Year, 7th Issue, Saka 1862, 17th Aswin.
20. Ibid, 15th Issue, Saka 1862, 8th Paush.

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contemporaries; here Roy Chowdhury appears more as a practical man of affairs
rather than a literary man. Although we miss in this essay the immigration and
spiritual in sight which, stamp some of his brilliant essays like the ‘Final goal of man
and world peace’ we have the impression of a keen, practical honest mind which
looks at the present problem and offers remedies. In the highly individual style which
Roy Chowdhury forged in order to implicate his readers in the impression and
emotions he was continuously striving to communicate he retains remarkable control
over the narrative. An impulsive flow of energy, an energy which is not merely one of
style but communicates itself as bound up with his view of the whole cosmos as alive
and a persistent human endevour to control it and his grand principle of spiritual
living.

The stars and planets according to him are another manifestation of the
principle of infinity and they provide mankind with a legitimate field of human
endevours. Ambikagiri predicted that man’s nature could find true fulfillment not in
the abstract theories of the Universe but in crossing the terrestrial world in search of
new advancers in space. He put forward the idea of the conquest of outer space. Such
futuristic thinking on the part of man according to him might also compel him to
revolutionize his social and political relationship.21

His presidential address to the Assam Sāhitya Sabhā contained a few passages
in which he tried to define ideas of literature that is closely hound to define ideas of
literature that is closely found up with the idea of social responsibility of literature.
Here he refers to certain innate tendencies of the human mind that contribute towards
making of literature.22 There tendencies have something to do with his literary vision
which is intimately integrated with his humanistic world view.

His autobiography ‘Mor Jivan Dhumuhār Echāti’ (Gust of wind from life’s
storm as translated by Birendra Kumar Bhattacharyya) is a personal text with the
character of a testimony, indispensable to get inside the iron willed personality that
Ambikagiri forged for himself with the written word as his constant accomplice. Irony
and humour are interwoven with a deep perception of the land he belonged to,

21. Op cit, S. N. Sarma, (ed.) p.1021.

22. Op cit, Birendra Kumar Bhattacharyya, p.43.

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offering us a glimpse of his life imbued with thought and action. Chronologically not
well organized, but reconstructed topically after wards is full of youthful spirit. It
marks the prelude to his development as a full time activist. It could have been written
up at the time as a polished account, but that did not happen for reasons which nobody
would challenge. Instead it is a valuable historical bequeath in its own right, testifying
to crucial events of a very testing time in the history of Assam in particular.

It is not very difficult to grasp the full profundity of visionary Ambikagiri

reflective and conscientious tone, as he embarked on his future life forever linked
with the collective interest of Assam. His eagerness to study his surroundings in
depth, his passion for writing always had the strong element of love for Assam. His
philanthropy invariably gained a special luster and conquest of adverse circumstances
through sheer personal grit, determination and self-discipline, an uncompromising
humanism which made him look at the varied manifestation of life, all these are
lovingly narrated in the autobiography.23

In an editorial of ‘Cetanā’ Roy Chowdhury quite explicitly expresses the

middle class dilemma, lack of judgment and dedication. ‘India’s freedom depends on
them’ he states, ‘a population living in a country can be divided into three classes
depending on its mental makeup.24 These classified classes can be termed as the best,
the medium and the lowest. A society derives direct or indirect benefits from each of
these classes. The best class equipped with good knowledge and sound judgment
constantly works for the welfare of the country. The lowest class also serves the
country with its power on they are mostly charged by emotion. But the intermediate
class is neither inspired by knowledge and sound judgment nor sentimentalism. This
sort of classification reminds us of the platonic division of citizen in a state where the
most knowledgeable class serves the state as the Guardian (ruler) an others serve
according to their ability.25

23. Op cit, S. N. Sarma , (ed.), pp.650-656.

24. Cetanā, 2nd Year, 7th Issue, Saka 1842, Falgun.
25. Greek Philosopher Plato divided citizens of his ideal states i.e. Republic into three main divisions:
the guardian (ruling class) citizens for the military service and common citizen and he envisaged
elementary and higher education for different category of citizens.

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 One of his best known essays is the “Final Goal of Man and World Peace”.
Disturbed by the large scale destruction and devastation of the World War I he wrote
this essay in 1914 and was translated into English in 1960 by Mahendra Bora and
printed as a booklet. This booklet was sent to many international leaders of thought
like Bertrand Russell, Dr. Radhakrishnan and C. Rajagopalchari inviting their
comments.26 Dr. Radhakrishnan wrote, It is “well written and will be useful.”27 Others
too appreciated the basic idea of the booklet. A passage in the essay states, “Impulses
are at the root of élan vital. If that life is to be fully realized then there must be a union
of the world of senses and the world of inferences. The realm of eternity is packed
with millions of stars and galaxies. They are full of rich treasure and beauties. They
are only to be enjoyed by mankind or such higher creature.”28

Roy Chowdhury insistently communicates his sense of the nature, the

significance, the representative quality and the inner reality of the events he is
describing, but his ideas expressed in this essay needs elaborations and it sounds little
utopian. Reflecting on its literary value S. K. Bhuyan writes, “Though the present
leaflet is in prose it seems to represent the effusion of poetic dreams.”29

Another nationality feature of his prose is the enthusiasm for the subject an
enthusiasm which we gladly share for the moment as we follow the breathless
narrative.

Perhaps the most characteristic feature of his prose is the unique style, which
is remarkably forceful. Dramatic projection of incidents, rhetorical out bursts
humorous sallies addressed to the reader, Selection of words, combines to make a
style at once compelling and exhausting, a style which brings into a single texture the
external reality of history and the inward reality of Roy Chowdhury’s personality.

26. Op cit, Birendra Kumar Bhattacharyya, p.42.

27. Op cit, S. N. Sarma , (ed.), p.1021.
28. Ibid, p.1019.
29. Ibid p.1022.

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Drama:
Now we move on to another genre of Roy Chowdhury creative work, his plays
mostly inspired by nationalist feeling and an earnest desire to firmly establish
Assamese drama in its cultural sphere. Discussion has already been made elsewhere
about the environment in which Roy Chowdhury literally launched a movement in the
field of drama and embarked on his dramatic venture. The whole episode is reflective
of buoyant spirit of Roy Chowdhury. As we have seen a dramatic mode persisted in
the cultural field of Barpeta bred by its socio-cultural condition and mostly prevent
was Bengali Ýatrās. Roy Chowdhury’s plays can be placed safely between his prose
work and poetry. Without delving into its literary value or dramatic technique our
focus will be on the response to this cultural movement and Roy Chowdhury’s
engagement as a playwright, director, musician and choreographer and the performing
part of these plays.

A quick glance of the dramaturgy of Roy Chowdhury shows some note worthy
things. 1) He was playwright as well as director. 2) He knew the stage and the
audience and accordingly planned and executed it.

All these are significant if we are to understand Roy Chowdhury as a play

right and director. He was a writer as well as a great worker and developed a genre of
performing art in which he involved most of the locally available cultural element.
The years Roy Chowdhury spent as intern at Barpeta witnessed a development of
drama which astonished people with its variety and rapidity. We shall better
appreciate Roy Chowdhury’s plays if we glance for a moment at the contemporary
cultural setting mostly dominated by Bengali Ýatrās. This was a period of
Renaissance for Assamese culture. Barpeta was the field where he displayed
multifaceted talent. Responding to the need of the hour he launched an attempt to
popularize Assamese drama.

Bengali drama that was the most popular and dominant in Barpeta was
replaced with the Assamese drama (dance drama) by Ambikagiri.30 Amongst his
dramatic works there are two full length mythological plays, one semi historical and
five short dramatic pieces.

30. Jugal Das, “Ambikagiri Roy Chowqdhury Devar Vaiyktiktva”, in Jogesh Das & Others (ed.),
Ambikagiri Roy Chowdhury, p.59.

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 Here we must also consider the fact that Roy Chowdhury is well known
basically as a poet, vigorous prose writer and revolutionary patriot. He is not much
familiar as a play right.31 He was not very much associated with the stage and never
aspired to earn fame as an actor. His dramatic venture was an expression of
nationalistic urge. Roy Chowdhury was a born patriotic and whatever he did, did it for
cultural, economic and political development of Assam and for that matter was
involved in many organization and himself initiated some. Establishing and enriching
a distinct identity for Assam as a component of greater India was his life long
struggle. His speeches, most of the poems, prose all reveals a burning patriotism.32 In
that sense his dramatic works are also manifestation of his patriotic feeling. Roy
Chowdhury as have already mentioned was prompted by an intense patriotic feeling
to compose Assamese play. A strong national spirit combined with youthful
exuberance becomes apparent in the whole episode of Roy Chowdhury’s dramatic
venture.

He himself mentioned at the introduction of his mythological play ‘Jayadrath

Badh’ (Slaying of Jayadrath) that “there was a national background of composing this
play. I was 23-24 years old, and it was the period of Swadeshi movement.”33 In this
long preface the contemporary cultural sphere, popularity of Bengali Ýatrā, and Roy
Chowdhury’s impulsive determination all are inter woven and we get an idea of the
environment in which he conceived and executed a cultural project i.e. enactment of
Assamese drama in the face of initial hindrances, but eventually well received by the
people.

His first dramatic work was ‘Bandini Bharat’ (Imprisoned India) a patriotic
play which had been confiscated by police, for its strong antigovernment element way
back in 1906, hey day of Swadeshi movement. Next and final stage of his dramatic
works started in Barpeta in 1910 and ended in 1914. In this discussion an attempt will
be made to bring out the spirit of nationalism as mentioned in Roy Chowdhury’s
dramatic works reference have already been in a previous chapter about the
background of the movement launched by Roy Chowdhury in Barpeta.

31. Ibid, p.43.

32. Ibid.
33. Op cit, S. N. Sarma, (ed.) p.3

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 Of all his dramatic works, Jayadrath Badh has a special importance in the
context of its composition and enactment which has been narrated in detail in Roy
Chowdhury’s autobiography ‘Mor Jibon Dhumuhar Esāti’. Ambikagiri directed the
first open air performance of the play in 1911 and used to the delight of the audience
elements of traditional music to give Ýatrā from an indigenous look.34 The dominant
sentiment of the play is bhakti (devotion) and the delineation of the plot and the
behaviour of the major characters are all directed towards establishing the supremacy
of Krishna.

A close look at the technical side of the drama makes it clear that it was not to
suited to western theatre stage. It was created for open air performance like Bengali
Ýatrā with all entertaining elements like long emotional speech like dialogue straight
simple narration with frequent musical interface. All these elements were
incorporated keeping in view the popular taste. Another feature of these plays is
Chokra dance for creating dramatic relief started writing play in unrhymed meter and
he was greatly influenced by Ýatrā. From the preface of Jayadratha Badh it becomes
clear that Roy Chowdhury started writing Assamese play in unrhymed meter
following Bengali Ýatrā style. Jayadrath Badh has a well knit structure. The
mythological story of Mahabharata was slightly modified to give coherence to the
plot.35 As composed in Ýatrā form Jayadratha Badh is a long play divided into 5 act
which are again subdivided into 16 scenes. Some scenes are prolonged for the
technical convenience of open air performance (First seen Act-2).36 This work won
instant favour with the public and the author rejoiced in his success.37

His second play Bhakta Gaurava is also based on a mythological plot taken
from Asvamedha Parva of the Mahābhārata. Here also Roy Chowdhury was seen as a
multi tusker, writer, director, choreographer and music director. Aimed at reaching
the common audience and popularizing Assamese play Bhakta Gaurava did receive
equal response and recognition from the audience. Plot wise the play has some loose
ends as it unfolds. Not withstanding this limitation Bhakta Gaurav was an equally

34. Op cit, S. N. Sarma, pp.633-665.

35. Op cit, Birendra Kumar Bhattacharyya, p.51.
36. Op cit, S. N. Sarma,, pp.46-66.
37. Ibid, p.666.

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successful venture where Krishna emerges as the principle of the infinity, manifesting
in the finite and concrete reality (4th Act scene 5).38 Divided into 4 act and 15 scenes,
Bhakta Gaurava contained very long scenes and will require four hours for a
complete performance. Author’s imagination has given a fresh look to the
mythological story. Most of the characters of the play except Tanradhawaj and
Sikhidvaj are imaginary for instance, Indumati, Pratibha, Kumudwati, Satyasil all
these are imaginary character. Through this mythological play author has portrayed
patriotism, Heroism and self scarifies as the main theme underlying the story.

Through Kalyanmoyee another play Roy Chowdhury shifted from mythology

to semi historical play apparently with an objective to evoke spirit patriotism and
sacrifice in view of an emerging nationalism in the contemporary political setting.
Although the play has been classified as semi historical, central character
Kalyanmoyee is not a historical figure portrayed as daughter of a Phukan. The play
only has a historical background, but the story is not based on historical facts and
chronologically also not well organized. Author Roy Chowdhury here attempts the
heroic portrayal of a character (Kalyanmoyee) taking to the battle field against the
mighty Mughals to save her country from the humiliation of becoming a Mughal
Province. She made king Chakradhavj take a vow to take arms against the Mughals.
Kalyanmoyee wanted Chakradhavaj to fight like a hero and only after defeating the
Mughals she can accept his love. Like his other plays Kalyanmoyee also reflects the
same intense patriotic feeling and emotion of Roy Chowdhury.39

Roy Chowdhury literally made that drama group learn like parrot and brought
to Guwahati for performance. Both the performance (J.K.) achieved huge audience
response. Prasannalal Chowdhury reminiscences about the success of Roy
Chowdhury’s Ýatrāgan’ (play) and his cultural accomplishment in the following
words, “he gave mesmerizing performance as a chokra dancer and harmonium player;
we enjoyed stage performance of Kalyanmoyee and were so engrossed in performance
that I did a night adventure coming through a secret way in our ceiling.”40 Besides

38. Op cit, S. N. Sarma, (ed.) pp.255-256

39. Satyendra Nath Sarmah, “Roy Chowdhurir Nātyaavadān”, in Jogesh Das & Others (ed.),
Ambikagiri Roy Chowdhury, p.52.
40. Ibid, p.32.

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these three major dramatic works Roy Chowdhury’s contribution also includes three
short plays 1) Biplabar Sesh (end of revolution) 2) Sri Ram Chandra Aru Tarā (Sri
Ram Chandra and Tara) and Visva-Nātya along with two short pieces Farāci Mahilār
Ekokti (Monologue of a French lady) and Dhun Pech (Sartorial Vanity).41

This discourse will only include Biplavar Sesh probably written during or after
non co-operation movement and under the influence of Gandhi’s non-violent
movement. It was published in Cetanā in the name of his nephew Ramesh
Chowdhury.42 One reason for publishing it in the name of his nephew was perhaps to
avoid police harassment. Roy Chowdhury has not given any explanation for it. It is an
one act play containing four scenes. (Not three as mentioned by Birendra Kumar
Bhattacharyya)43 The story revolves round the main theme of a people’s peaceful
resistance to injustice, the king being the antagonist. In the end the king realizes his
folly and accepts defeat. He also takes a vow to rule according to the wishes of the
people. Viewed in this light it is a symbolic representation of non-violent struggle
against the British, a eulogy of non-violent resistance. In a sense it was a political play
to show the then colonial reality we have no reference about its stage performance.

Roy Chowdhury’s stage plays were huge crowd pullers in his younger days.
Subsequently there was a decline of interest in mythological and historical plays. Roy
Chowdhury himself got more inclined to political activities and other organizational
work in his later years. Roy Chowdhury lamented that he could not carefully preserve
his drama scripts. “I almost forgot about the scripts in my busy political life.
Fortunately president of Sanatan Sangit Samaj, Haren Puzari returned the 50 year old
script of Jayadratha Badh and Bhakta Gaurav in a dilapidated condition.’44

Whatever is now left of Roy Chwodhury’s actual writings, we need to judge

him on that basis. First and foremost drama was not his sole medium of expression. It
was more of a mission with pronounced objectives of promoting Assamese drama.
After its accomplishment Roy Chowdhury moved on to other literary genre. He did
possess a dramatic sense as the success of his play proves.

41. Op cit, Birendra Kumar Bhattacharyya, p.49.

42. Op cit, Jogesh Das, (ed.), p.52.
43. Op cit, S. N. Sarma, (ed.), pp.268-274.
44. Ibid, Preface p.9.

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 Roy Chowdhury’s dramatic venture perhaps we can say, an experimental
work. But it served two historical purposes. Firstly his full length plays nourished the
incipient modern Assamese stage at a time when it did not as yet muster enough
strength to stand on its feet. Secondly and more significantly, he was the first writer
who made patriotic sentiment a subject matter of drama. The importance of the drama
written by Roy Chowdhury lies not in its literary quality or dramatic technique but in
the historical purpose it served.45

Poetry:
In the history of Assamese literature Ambikagiri Roy Chowdhury is better
known as a poet and his contribution in this genre is a much discussed matter. In our
discussion we will as far as possible not delve into the literary aspect of his poetry, his
poetic diction but will be more or less a generalized discussion covering the political
orientation of his poetry.

At the outset of the study of Roy Chowdhury’s poetic works it may be well to
record two things. First Roy Chowdhury’s poetry is not so much to be studied as to be
read and appreciated second we should by all means begin to get acquainted with his
life. It does have both instruction and inspirational element, in another word, fresh,
wonderful and inspiring. A man of unusual emotional vitality and vigour
Ambikagiri’s first poem ‘Tumi’ (a long verse) was written in his early impressionable
years at Barpeta, to be precise in 1907 and published in Dibrugarh Railway Press in
1916 (not 1915 as mentioned by B. K. Bhattacharyya) ‘Tumi’ earned wider reader
response and a good critical review from Dimbeswar Neog. Dr. Banikanta Kakat and
Sarat Ch. Goswami.46 Dr. Bani Kanta Kakati wrote the famous preface to its second
edition (1939) and urged upon Roy Chowdhury to concentrate more on poetry
considering the very high aesthetic quality of Tumi. The literary interpretation of Tumi
(as ultimate reality) helps us discovering its aesthetic.47 It is an exquisite poem of
love, a rhapsody, a rich and personal idiom that linked reflection to sensation in a new
organic way. Here love transcends from sensuous to spiritual, eternal level. Tumi was

45. Op cit, B. K. Bhattacharyya, p.56.

46. Op cit, S. N. Sarma,(ed.), pp.688-670.
47. Op cit, B. K. Bhattacharyya, p.20.

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also hailed as harbinger of a new trend in Assamese literature.48 ‘Tumi’ described as
one of the most enduring literary creation of Assamese literature established Roy
Chowdhury as a poet on a higher place.49 His second collection ‘Bina’ entirely
different in spirit was published in the same year (1916). An expression of tender
exquisite feeling of love, palpable and mystic Bina is an ode beauty. ‘Bina’ also won
instant favour with the public and the author was placed in the front rank of living
poets.

Roy Chowdhury belonged to the second generation of romantic Assamese

poets, who created a distinct style for his poetry.50 His contribution in this genre of
literature can safely be divided into two sections, Romantic and patriotic. Here our
classification is only a broad division not going into his spiritualism, humanism and
other aspects. Atul Ch. Hazarika51 states that “although politics dominated his entire
life, he was more of a man of literature. The Bina playing poet was the
Ambikacharan, not giri. He was blessed with an inborn poetic genius and people got a
glimpse of it in his first collection ‘Tumi’.52 For our convenience we may now move
on to the second stream of his poetry, that is revolutionary, reformist and patriotic in
spirit.53

Roy Chowdhury was basically a poet of love, who celebrated it, raised it to a
level of eternity. His later collections like ‘Sthāpan Kar Sthāpan Kar’ Bedanār Ulkā
and Deshei Bhagwan reveals a different spirit nationalistic and patriotic and it is not
our endeavour to go for a comparative study of two parallel but contradictory stream
of thought. Very rightly Nanda Talikdar a veteran critic of Assamese literature said,
‘his second stream of poetry had a definite objective, to fulfill the demand, rather than

48. Op cit, S. N. Sarma, (ed.), p.670.

49. Ram Goswami, “Roy Chowdhurir Sahitya Pratibhā, in Jogesh Das & Others (ed.), Ambikagiri
Roy Chowdhury, p.135.
50. The 19th Century Bengal renaissance opened the flood gate of romantic movement and brought
with it liberal humanism and patriotism. A group of Assamese students who went to Calcutta for
higher studies brought forth an organization called “Asamiyā Bhāsār Unnati Sādhini Sabhā”. In
1889 with the publication of Jonaki a literary magazine ushered into a new era in Assamese
literature and romanticism started flourishing in Assamese literature. Lkshminath Bezbaruah,
Chandrakumar Agarwala and Hemchandra Goswami came to be called as ‘romantic trio’ in
Assamese literature.
51. Atul Chandra Hazarika, Renowned litterateur and former president of Asom Sāhitya Sabhā.
52. Op cit, Atul Chandra Hazarika, in Jogesh Das and others (ed.) p.13.
53. J. Sharma, Sahitya Sanskritir Prabah, vol-3, p.77.

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the spiritualistic poetry of earlier years.54 So it appears that he was moved by an idea
of utilitarianism in the second phase.

A splendid and imperishable excellence of sincerity and strength is revealed in

these poems. We note an influence of time and his own mature thought and
expression. Some of his poetry of this period is less shallow and rhetorical. As we
have mentioned his poetry divides itself into two distinct moods. In his second mood
he is the reformer, humanitarianism revolutionary. His second stream of poetry is
none the less abounding in passages of stirring rhythm, for which alone there worth
reading. Some times we are also struck by unadorned simplicity. Leaving aside poetic
excellence we read his poetry and get a powerful impression of his unsurpassed
devotion to his ideal.

Third collection, Anubhuti altogether contains 61 poems from both pre and
post independence period and was published in 1954. On its preface Roy Chowdhury
himself admits that some of the poems in this collection may be lacking in poetic
excellence. Moreover he states about circumstantial influence in these poems. The
poems of Anubhuti are of a mixed sort. Political poems coexist with spiritual ones.
But the majority of the poems are mystical in tone. Some of these poems deal with
political freedom and social justice. For instance ‘Abbhudaya’ (advent), is an eulogy
of Gandhian non-violent movement aimed at inculcating fearlessness in the mind of
the oppressed of the earth eliminating exploitation and inaugurating a new era of all
round human creativity.55

Some of these poems are rich in new imageries adorned with a reformist
attitudes like Garhā Kari Mok Jhārudār (make me sweeper). Here the poet asks to
make him the world’s sweeper to sweep the accumulated dirts of the god’s world and
wants himself to become the container of these discarded filthy matter. 56 His poems
give us an insight into inner strength of a spiritual revolutionary who had to encounter

54. Op cit, Nanda Talukdar, pp.51-52

55. Op cit, S. N. Sarma, ed. p.415.
56. Ibid, p.414. Garha Kari Mok Jhārudār Herā Biswā Karmakār Tumār Rudra Rosh Haturire Piti Piti
Mok Bhāngi Tripitire Gardhi Tola Kari Biswar Jhārudār. ( Make me a sweeper, Oh Almighty
mould me as a sweeper hammer with your hammer)

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poverty, insecurity misjudgment, national dishonour and human frailty.57 Yet he did
not lose faith in himself and expressed ‘Morei Hobo Joy’ (Victory will be mine).58

In another poem ‘Moi Biplabi Moi Tāndavi’ (I am the revolutionary and

creative destroyer) written at the age of more than sixty contains a true revolutionary
spirit. It is a vigorous tirade against mounting corruption in public life, the arrest of
real progress schizophrenic behaviour, decline of humanism, rise of greed and
sensuousness and propagation of false and negative value.59 Most of the poems in
Anubhuti (feelings) contain the same rhythmic variation like ‘Tumi’ and ‘Bina’.60

Patriotism is another profoundly expressed emotion in Roy Chowdhury’s

poetry. He envisages Assam as a vibrant, resurgent land and in his poem ‘Ȃrohan’
(ascent) “Roy Chowdhury constructed the image of the great saint Sankardeva as a
symbol of social and cultural regeneration.61 A sense of responsibility an assertion of
challenging attitude reveals itself when he wrote the poem, ‘Moi ācho Moi ācho’ (I
exist) at the time of crisis of my motherland I am the truth, I am the Budha, I am the
eternity, I am the pearl that adorns my mother Crown (Kirti) yes I exist.62 When the
Chinese crossed the northern boarder and reached the Himalayan foot hills in Assam,
Ambikagiri raised his spiritual voice very high to proclaim the existence of Indian
nation and salvage its spirit.63 Commenting on the originality of his poetry Dr.
Maheswar Neog said that he is the original of our poets, who responded to the new
poetry movement started by Rāmdhenu when he wrote ‘Moi Biplabi Moi Tāndavi.’64

If Ambikagiri is placed in the background of nationalism an actively

revolutionary personality appears, one who resists imperialism through literature as

57. Op cit, B. K. Bhattacharyya, p.29.

58. Op cit, S. N. Sarma, ed. p.423.
59. Op cit, B. K. Bhattacharyya, p.27. Moi Kaal Bijoyee Biplobi Moi Kaal Bināshi Tāndavi ( I am a
revolutionary and a creative destroyer)
60. J. Sarma Sahitya Sanskritir Prabha, vol-3, Journal Emporium, Nalbari, 1989, p.77.
61. Op cit, B. K. Bhattacharyya, p.26.
62. Op cit, S. N. Sarma, ed. p.421. Moi Aso Moi Aso Moi Aso Moi Aso Asilo Thakim Chiro Kaal.
63. Op cit, B. K. Bhattacharyya, p.27. The Chinese invasion had a devastating and prolong impact
upon the mind of Assamese people. It is very lucidly depicted by Bhupen Hazarika when he sang
“Kota Jawanar Mrityu Hol” vide D. Dutta, Bhupen Hazarikar Geet Aru Jiban Rath, pp-253-254
64. Jugal Das, Gadar Desat Pashurāj, p-40

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well as active politics.65 His ‘Jāg Dekā Tej Jāg’ (1940), ‘Jāgrat Hoā Bhāi’ (1926),
‘He Janam Bhumi’ is full of revolutionary nationalistic spirit.

Like Kamala Kanta Bhattacharjya in the poems of Roy Chowdhury sub

nationalistic attitude is manifestly clear. In ‘Sthāpan Kar Sthāpan Kar’ (1958) poet
urged upon the people of Assam to give Assamese language its rightful position and
recognition.66 Roy Chowdhury’s ‘Jāg Dekā Tej Jāg’ is a clarion call to the youth, to
awake and erupt like volcano. He was very much moved by the Jaliwanalabag tragedy
of 1919, Roy Chowdhury is one of those rare poets whose poetry is an inseparable
identity of his life, his philosophy.67

The poems ‘Bedanār Ulkā’ written at a later stage of his life (1964) (Meteor of
Pangs) are didactic. As he pours out his feelings in these poems we see a man
disappointed and embittered in his expectation of the general transformation of
society. He is the most experience poet of his age voicing the discontent of a
multitude of people at the failure to produce an entirely new form of society. Some of
his poems here seem to depart from the purely artistic standard of art for art’s sake
and to be actuated by a definite purpose. Hence a tendency to over moralize is often
noticed. Moreover a mood of disillusionment and anxiety pervades these poems
caused by the socio-economic crisis of the period is evident in them.

Another long patriotic verse needs to be mentioned here is ‘Deshei Bhagwān’

(1965). It is a stirring call to his countryman to forge its spirits to fight the invaders.
This patriotic poem was written in the background of Indo-Pak war of 1965.68 His
poems were an outpouring of his spontaneous feelings and that spontaneity is
manifestly clear in all his poems. His choice of word is unique. When critiques
disapproved of his pre occupation with politics he asserted art can not be divorced
from life, from humanism. So he was never aloof from human interest. To him

65. Ibid, p.40.

66. Ambikagiri Roy Chowdhury, Sthāpan Kar Sthāpan Kar, preface p -2.
67. A. K. Mishra, (ed.) , Op cit, p.171.
68. S.N. Sarma, Op cit, pp.473-480.

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humanism was not only a self less service, but an unceasing quest for realizing the
infinite possibilities of man.69

The local, national, international and universal feelings were all integrated by
him in a wider spiritual vision. He however confessed that his patriotic feeling
sometimes hinders the smooth flow of rhyme in his poetry.70 He grappled with new
rhymes to express new contents dictated by socio-economic reality of his time.71 His
style can be called transparent and unobtrusive. He is one of the best Assamese poets
in expressing his feeling and emotion with such naturalness and apparent ease that,
without thinking of style we receive exactly the impression he means to convey.

Songs:
In the twentieth century two great movements may be noted in the complex
life of Assam. The first is the political that culminates in 1947 with the attainment of
freedom. It shows the growth of the Assamese national spirit within the ambit of the
pan Indian nationalism. In the rush of this great national spirit a parallel cultural
movement was also unfolding producing a national literature, songs, drama and other
performing arts. The second movement having a large social base was sometimes
quiet and strong arousing the conscience of people and sometimes making a ripple
effect in society. The age was one of unusual stir and the cultural movement of the
age clearly reflects the stirring life of the time. From this perspective the contribution
of Roy Chowdhury needs to be viewed and analyzed. The cultural movement of the
age clearly reflects the prevailing spirit of the time. There was a man voicing the
discontent, preaching the dignity of man and sharing in all the stirring of life of his
times and reflected it in his cultural endeavours.

Roy Chowdhury had a great sense of music internalized in his early childhood
from his mother Devaki Devi. “At the age of six-seven years my mother taught me
Bargit, Kirtan Ghosha, Namgosha and I attained a level of perfection in singing. I was
invited recite Kirtan Ghosha by all most all the families of Dakhin Hāti on occasions

69. S.N. Sarma, Op cit, p.368.

70. Ibid, p.398. Mor Prai Bilak Chandatei Doishik Aru Samajik Parishthitigata Ekuta Sparsho Ase
Gatike Hoito Iyat Paripustigata Kabyik – Chandik Jogasutra Bisari Uliowa Taan Kām.
71. Op cit, B. K. Bhattacharyya, p.32.

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of annual death anniversary (Tithi).”72 Roy Chowdhury hailing from a distinguished
cultural family from Barpeta honed his musical talent in the family itself.

Ambikagiri’s first song was a sort of propaganda song composed in 1905 as

part of his play ‘Bandini Bharat’ (Imprisoned India), it was a forceful call for action
according to the terrorist code, as it said, ‘Do not be afraid to die’, ‘Bring them
captive and bind them in the noose.’73 Truly a reflection of the high spirit of Swadeshi
days. The play was confiscated while being enacted but the song survived as it might
have been practiced before the performance.

Then he composed a small number of spiritual songs, Ambikagiri is widely

known for his political songs numbering a total of 24. These songs were used
effectively to spread national consciousness among the people. The perceptions
disseminated through these songs were in no way different from the perceptions
embodied in nationalist plays and writings. However unlike the other forms songs and
poems were able to cover a wider spectrum of the national movement. One very
significant feature of these songs is its immense popularity. Music has its universality
and Roy Chowdhury combining his musical talent and poetic vision was able to
compose a genre of patriotic songs embodying the spirit of the time for example
Sunibi Bhāi Deshar Kathā Kou, Bukubharā Mur Bethār Bojā Namāi Pātal Hao.
(Brothers listen to the plight of our motherland and let me relieve of the despair
staring this country).

Another aspect of these songs are its high lyrical quality. The rhythmic
balance sometimes lacking in Roy Chowdhury’s poem is however best expressed in
his songs. A spontaneous flow of his spiritual or patriotic feeling runs through the
songs.

72. Op cit, S. N. Sarma, (ed.), p.662. Borgit is a classical devotional composition by Sankar Dev and
his disciple Madhab Dev. Every Borgit is based on a specific raga. is a priceless literary gem of
Assamese literature composed by great saint Sankar Dev and it is the first work of Sankar Dev
written with the objective of propagating the Vaishnava faith. A Kirtanghosā is for comminuting
singing consisting of two parts a ghosā or refrain and the number of padas, ordinary verses.
Namghuosā is the great literary work of Sri Sri Madhab Dev and it is a compilation of verses
about the devotion to Krishna. In Assam there is a great tradition of reciting Kirtanghosā and
Namghosa in annual sraddha ceremony instead of inviting a Bramhin. This tradition originated in
15th century when Maha Purush Sankardev initiated Naba Baishnab Movement in Assam.
73. Ibid, p.485. Jai Jaba Prān, Aan Dhari Aan, Phāndat Sumāi La.

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 In this context reference should be made to the cultural movement unfolded in
the two decade of the 20th century of which Roy Chowdhury was the central figure
shaping and directing it. In a previous chapter the different aspects of the movement
has been referred to that started with the staging of Assamese drama. All the plays
composed by Roy Chowdhury had a strong element of music. Songs were used to
give enhancer effect and some of these songs contained a strong patriotic element.
Roy Chowdhury being the music composer and director created mesmerizing music
for the plays. He recollects those creative moments in the autobiography, ‘Mor Jivan
Dhumuhār Esāti’.74 That was one of the most intensely creative period of his life. His
second song composed for the play Kalyānmoyee, replenished with a spirit of
patriotism. The first line of the song Mātise Mātise Milan Sankhe Mrytu Bhoroā
Mātere ( Listen the blowing conch calls us to unite. It is also a call for martyrdom).
Third song ‘Bolā Bhāi Aguwāi’ (Let us move forward) composed on the occasion of a
prize distribution ceremony in the Dibrugarh Government High School in 1915 (he
was then a teacher) envisages a better and developed Assam. The beauty of the song
inspires us with something of his own faith and hopefulness. Bani Kanta Kakati one
doyen of Assamese language and literature as well as a friend of Roy Chowdhury
writes. “Ambikagiri’s love towards the Assamese was complementary to his love
towards the Indian. These were not at all antagonistic. The songs he wrote in jail bear
ample testimony to this truth. His philosophy was live and let live. He would always
raise his voice on behalf of the oppressed humanity wether it is in Korea, Assam,
75
Bengal or some where else.” (Teor Asomiyā Priti Bhāratiya Pritirei Paripurak,
Paripanthi Nohoi. Teor Darshan Hol Bāsi Thākā Aru Anako Bāsi Thākiboloi Diā. Teo
Soshitā Mānabar Hake Maat Maatiboi, Sei Manuh Korea Assam Banga Jotei
Nāthākak Kiya.)

It should also be remembered that Roy Chowdhury is among the most musical
of poets, and there is melody in every line of his songs. His spirit and ambition is
never broken, a great combination of wonderful poetic gift and an indomitable spirit
render these songs as one of our most cherished possession. A beautiful harmony of
word and thought wonderfully woven in the songs as one listens to it like Jāg Jāg Jāg
Bhārat Santān Hindu Muslmān Jāg Mukti Sankha Bāje Gāje Bhedi Lakshya Bhratār

74. S. N. Sarma , Op cit, (ed.), pp.664-665.

75. Bani Kanta Kakati, Op cit, p.5.

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Hiyār Tejedi Ranjita Hoā Jaliwanalabag (awake Hindus Muslims the children of
mother India the conch shell of deliverance sounds piercing through the plains of
Jaliwanalabagh) composed verbally in Tezpur jail, this song earned immense
popularity among the volunteers of non-cooperation movement.76 The poet feels that
the hour of self immolation arrived, as with out this, the preservation of India and her
people was virtually impossible.

In this discourse another aspect of the nationalist songs should be referred to

that were widely practiced in those days that is the classification of songs into seven
divisions viz: 1) Flag Hoisting 2) Song for bringing down the flag 3) Inaugural song
4) Interlude song in meeting 5) Meeting ending song 6) Volunteer march song 7)
Miscellaneous.77 Benudhar Kalita78 eulogizes that after Agarwala (Jyoti Prasad) songs
of revolutionary poet Ambikagiri Roy Chowdhury are pillars of Assamese national
life. Inaugural Song of the Pandu session of India national Congress earned all India
reputation. He also categorized songs of Roy Chowdhury as follows. The full texts of
these songs are appended along with their translations:

1. Aji Bando Ki Chandere

In what verse shall I sing your welcome – Inaugural Song.
2. Toi Bhāngiba Lāgiba Sil
Stones thou wouldst have to break – volunteer song.

3. Bolā Bhāi Aguwāi

March on brother
March on towards that land
Which is high, elevated, beautiful

4. Aru ki Dekhābi bhoy Kārāgārar

We donot care for confinement in a prison.

76. S. N. Sarma, Loc cit, (ed.), p.494.

77. Benudhar Kalita, Swadhinatā Andolonar Git, collection pp.5-6. Ghy-1992.
78. Ibid, Benudhar Kalita is one of the great collectors of Assamese songs. He has compiled the
Assamese patriotic songs written during the time of the freedom movement. The collection is
called Swādhinatā Andolanar Git.

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5. Jāg Dekā Tej Jāg
Awake the youths of my mother land.
March Song

6. Jāg Jāg Bhārat Santān

Awake, awake, Hindu and Moslems
Children of Mother India.
March Song.79

Roy Chowdhury was closely associated with Assam Association and he

composed two songs for the inaugural session of the Assam Association in 1916.80
Assam Association was the most significant organization of Assamese middle class
before the formation of APCC in 1920. It is a eulogy of mother India and it is a sort of
prayer and sacrifice where her children pray to enable them to sacrifice their life for
her. It is pertinent to note here that this was the first chorus composed in the tune of
Bargit and performed publicly. The singers included Padmadhar Chaliha, Lakheswar
Barua, Kali Prasad Barua and Roy Chowdhury.81 Two other songs were composed by
Roy Chowdhury for the Assam Association with same fervour and sense of dedication
to the country. The first song, Hāi! Eyene Bhārat Dhām Vedopanishad, Purān Bhārat
Mukharita Jār Nām (is it really the land of Bharat) is an expression of lamentation of
the past glory of India. The second song, “Awake my suffering mother” was
addressed to mother Assam.82 Another song is a celebration of patriotism composed
for the Barpeta session of Assam Association 1917. It goes like this, “Aito Nohoi
Hāhi Tāmāshār Bhāgar Juroā Gān Ee Je Jivan Maran Ekākār Karā Agni Binār Tān”
(Mine is not a song of laughter and revelry, cooling weary limbs).

Gandhi’s visit to Assam in 1921 was an event of great significance. Roy

Chowdhury recollects the whole episode in an article entitled, ‘My first encounter
with Gandhi’. He was then the secretary of Guwahati Town Congress committee and
editor of an aggressive nationalist journal called Cetanā. Arrival of Gandhi created

79. Ibid.
80. S. N. Sarma, Loc cit, (ed.), p.489.
81. Ibid.
82. S. N. Sarma, Loc cit, (ed.), pp.487-489.

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great enthusiasm in Guwahati. He was so moved by the arrival of Gandhi that he
gives an emotional description of the event.83 On this occasion Roy Chowdhury
received the highest recognition as a lyricist. There was a big preparation to felicitate
Gandhi in Nabin Bordoloi’s residence, Roy Chowdhury was also present on the
occasion when Bordoloi introduced Roy Chowdhury in the following words, “he is
our rising national poet, he had predicted the efficacy of soul force in the battle of
freedom in his beautiful national songs few years before.”84

By this time Roy Chowdhury was already an established lyricist as well as

composer and his songs were very popular with the volunteers. In his song Roy
Chowdhury projected the basic contradiction with colonialism, brought to surface
popular grievances vis-a vis colonialism. His song inspired many of the volunteers of
the nationalist struggle. One such popular song Tor Janani Je Dasi Tathapi Tor Nāi
Chetanā (your mother is enslaved and but you are not aware) was very popularly sung
in 1920 by Swaraj volunteers parading the streets of Barpeta and Guwahati. In
Guwahati, main singers were Mahibuddin Ahmed, Umesh Ch. Bordoloi and Roy
Chowdhury himself.85

Most creative phase in Roy Chowdhury’s life as a lyricist was the days spent
in Tezpur Jail. While going through the ordeal suffering all the hardships prescribed

under the jail code, Roy Chowdhury was pouring out his rebellious spirit in the songs
that he composed in Tezpur jail. For instance Toi Bhāngiba Lāgiba Sil (stones thou
wouldst have to break) was not merely a battle song but projection of a mighty and

noble vision of unloosing the fetters by a heart languid to exhaustion and of uniting
the black with white.86 This he composed while he was given to break stone, since he
was serving rigorous imprisonment term.

83. Ibid, p.709.

84. Ibid. p.984.
85. Ibid, p.490.
86. B. K. Bhattacharyya,Op cit, p.35.

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Another song glorifies the suffering in jail.
Eai to nohoi jail diā bhāi
Eai to nohoi jail diā
Dukh Dhārāre Dhuli Moli
Dhui Niā Bhāi Dhui Niā
This is not the prison cell.
O brother this is not the prison cell
This is the great washing of the field and dirt with swelling agonies.87

In the song, ‘Awake Hindoos and Musalmans’ he recaptured the message of

freedom movement in its essence.

1926 Pandu Session of INC has already been discussed in a previous chapter
along with the involvement of Roy Chowdhury. It was this event of epic dimension
when Roy Chgowdhury manifests himself as a lyricist and performer per excellence.
He composed two songs for that occasion and both compositions were instant
favourite. In fact these timeless compositions touched the inner chord of every one
present on the occasion. His most well known and one of his classic composition ‘Aji
Bando ki Chandere’ (How do I welcome this great assemblage) when presented
before the vast gathering assembled at the annual session drew instant applause.88 Its
soulful rendering and the sense of devotion that singers felt while performing are
beautifully narrated in his autobiography.89

Second day of Pandu session was inaugurated by another Roy Chowdhury song,
“Aji Kar Ki Awahan
Seibabe Ai Bharat Bhangi Maha Agaman.”
(Whose binding is it that the whole of India has emptied itself here today)90
Prafulla Ch. Barua91 and Puspalata Das92 reminiscence those moments of Pandu
session and it is a revelation of their devotional involvement in the event. It is worth

87. S. N. Sarma, (ed.), Loc cit, p.495

88. B. K. Bhattacharyya, Op cit, p.36.
89. S. N. Sarma, (ed.), Loc cit, pp.672-673.
90. Ibid, p.672.
91. A. K. Mishra, (ed.), Op cit, p.92.
92. Ibid, p.54

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mentioning here that Roy Chowdhury was a member of the music committee, one of
the 11 subcommittees formed for smooth functioning of the Pandu session. It appears
that Roy Chowdhury has not been accorded due recognition as a lyricist and
composer. Atul Ch. Hazarika laments that All India Radio Guwahati has not been able
to offer Roy Chowdhury his rightful place, they only have a photograph of Roy
Chowdhury displayed in Guwahati radio center.93

Among his political songs published in a book form ‘Bando Ki Chandere’ in

1962 contains 25 songs. Another collection of his spiritual songs was published
posthumously 19 years after his death (1986). These songs are rich in emotional
content and a sort of dialogue of the self with the Lord. Gitar Sarai is a collection of
14 songs.

More than 100 of his song have been published till date,94 however only a few
of his tune has been preserved in record.95 Suratirtha, a cultural organization has
published a collection of his song called Cetanār Kantha (Voice of consciousness)
comprising 38 of his spiritual songs along with notation of 5 songs.96 He has another
collection to his credit called ‘Benu’ (Flute) containing 14 songs. The translated
version of Bando Ki Chandere and Aji Kār Ki Awāhan were printed and circulated by
Sadananda’s Free Press Agency throughout the country.97 Banikanta Kakati did an
enduring job by translating 15 of his songs. This collection entitled ‘songs of the cell’
(written in Tezpur jail) is dedicated to Pandit JawAsharlal Nehru. The collection
begins with a note that the author has the credit of having held oldest and the longest
active political life in Assam without any break.98

Lakshmi Narayan Sahu’s, (member of servants of India society) introduction

to ‘songs of the cell’ is truly reflective of the aesthetics of his songs. It says “there is a
serenity and sense of responsibility in the song’s of Sri Ambikagiri.” They are all
national songs. All the love of Sri Ambikagiri has been transmuted into the love of the

93. Jogesh Das, (ed.), Op cit, p.10.

94. Ibid, Preface p.19.
95. Ibid.
96. Ibid.
97. Ibid, p.672.
98. Ibid, p.1006.

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mother country.99 One is touched to the finest issues and sensibilities by reading this
book. “Imagine what the tremendous effect of it will be when sung to a guitar or
sarod.”100 His songs are no ivory gates. They are not escapist. They are introspective.
Sri Ambikagiri songs are soul reaching and at times soul piercing too.101 Keeping
aside the aesthetic qualities we also must remember the purpose these songs served at
a pressing time. Country was challenging and fighting domination and subordination
one could also see web of aspiration woven around Swarājya.

There is a reference that some efforts were made for selection of one of his
songs, ‘Bolā Bhāi Aguwāi’ as the national anthem of India. Hindi and English
translation along with its notations were sent for consideration to the advisory
committee of the constituent assembly on National Anthem. It is said that Roy
Chowdhury was invited for an instrumental performance of that song.102 But some
how Roy Chowdhury could not make it and “Jana Gana’ was finally selected.

This discourse could be summed up that Ambikagiri as a lyricist served a great

purpose with his political songs in a critical period of our history for never was there a
poet more devoted to his ideal entirely independent of success or failure. Aesthetically
also his songs of the cell could be attached the tag of ever green.

Political Concept:

There is not an iota of doubt that Roy Chowdhury was a political man. Being
involved in politics right from 1905 his thinking and perspective underwent
considerable changes with the emerging socio-political change. Living in an edgy
time Roy Chowdhury in fact was never detached from the political life. It is also seen
earlier that his nationalism is not a denial of great Indian nationalism. It was in fact an
assertion of sub nationalism (founding of Sangrakshini and Jātiya Mahā Sabhā)
enriched within the greater political entity i.e. India. The sense of his own freedom
and dignity, compatible with a federal political structure, as the idea he strove with
conviction.

99. Ibid, p.1030.

100. Ibid.
101. Ibid.
102. Arati Hazarika, Roy Chowdhurir, Jivan Sangram, Ghy-1968, pp.69-70.

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 The line of thought he followed since the anarchist phase, yielded a political
vision in which he transcends the boundary of not even Assam but India and a world
vision becomes apparent. It is not uncommon to impute the change from earlier to the
later from his thought, to the disillusionment he must have suffered as a consequence
of post independence happenings that he witnessed. It may well be said that the live in
experience brought home to Roy Chowdhury the actualities of political life in an
especially poignant fashion and these are reflection of this evolving thought process in
his writings. While dealing with the prose works of Roy Chowdhury reference has
been made to his political writings. In fact the editorials of the Cetanā and Dekā Asom
are nothing but political discourse smeared with a spirit of commitment and a
moralistic attitude.

Some recurrent themes of his writings are nationality, self establishment, self
defense, self identity, swaraj. In his prose work these elements are explicit. His
expression, some times stately, sometimes headlong, sometimes gorgeous, sometimes
musical but always carry a broader, inclusive attitude suited to his idealistic view, for
instance one editorial of Cetanā entitled ‘Mot Mili Joā’ (Merge with me) holds out
plan for a larger Assamese society inclusive of all those having a different cultural
identity.103

He also advocates a very strong sense of nationalism for self defense. National
consciousness is the basis of development for a nation and for that matter it has to be
strengthened. There is no other option but to arouse that nationalism for survival.104
Roy Chowdhury highlights the issue of provincial autonomy, still one of the highly
debated issues leading to appointment of commission like Sarkaria Commission,
wherein infringement by the center on the states domain and over centralizing attitude
is widely discussed. Never the less Roy Chowdhury raised the issue long back in 1920
stressing that provincial autonomy is not inimical to the growth of nationalism in fact
it is a normal political development. In this long essay Roy Chowdhury brings into
fore the cultural diversity that exists in India. In his own words, ‘Bhāratbarsha Ekhan
Mahādesh Nij Nij Deshar Bhāsha Sanskriti Aru Samaj Bandhanar Niyam Pranali
Anushare Pratyeke Ekotā Shukiyā Jāti, Aru Ei Jāti Shamuhar Sanmilanat Garhi Uthise
Bhāratiya Mahājāti, Gatike Bhāratbarsha Khan Bhāratiya Mahājātir Mahādesh’ (India

103. Cetanā, 2nd Year, 4th Issue, Saka 1842, Agrahayan.

104. S. N. Sarma, (ed.), Loc cit, p.582.

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is a great nation (MahaJāti) and it is a continent. This great nation has evolved and is
getting enriched by the cultural diversity of various nationalities living in India). Roy
Chowdhury raised a very pertinent political issue and offers a solution also by
advocating a federal political structure. Here his stresses on preservation of provincial
identity which is very much compatible in a federation.105 A life long revolutionary,
Roy Chowdhury did some political prediction, for instance rise of regionalism or
rather provincialism, and today it has been established as a fact if we look at the
contemporary Indian political scenario.106

Analyzing his writings right from 1919 to 1967, we have seen, a distinct
political pattern was conceived by Ambikagiri which may be divided into the
following points: 1) Propagation, enrichment, expansion and preservation of
Assamese nationality within the Pan Indian nationality. 2) Independent Panchyayati
Raj or a scheme for Indian federation. 3) Resist all sorts of exploitation and
colonialism, religious hatred, imperialism and colonialism and Universalism.107

Federalism as a political concept as well as a system has got wider

acceptability today if we look at the emergence of U.S. as a political entity and its
practical political system embodying the spirit of federalism. Roy Chowdhury pleaded
for a federal India even in his presidential address of Asom Sahitya Sabha held at
Margherita (1950). His idea of federalism gets well reflected in some statements of
“Ahuti” a prose collection.108

Roy Chowdhury prepared a detailed scheme of Panchayati Raj system on

behalf of Asom Jātiya Mahā Sabhā and it is a reflection of his matured political
thinking where in he made a futuristic plan for the ensuing political structure of India.
His endeavour was to prepare a village centric Panchayat system and like a true
Gandhian he was well aware of the importance of village for overall progress of a
country. Today we discuss about human development, U.N. prepares human
development index, but Roy Chowdhury’s political thinking had a strong element of
human development. Long back in 1942 talked about human development centering

105. Ibid, p.596.

106. Ibid, p.597.
107. Ajit Kumar Sharma, “Ambikagirir Rajnoitik Chintā Dhārā” in A. K. Mishra, (ed.), Asom Kesari
Ambikagiri, p.108.
108. S. N. Sarma, (ed.), Loc cit, p.595.

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round the villages and it would eventually help in the organization of national life in
the provinces.109 His seven tier Panchayati system envisages an Indian federation. In
fact Asom as a strong component of the federation has become a cliché in Roy
Chowdhury writings. Very frequently we come across this statement. “Our
Kamrup.Assam is an inseparable component in India”.110

Preliminary Plan of Independent Panchayati Raj :

Independent Panchayati Raj – formulated in 1942 (published in September) is
a reflection of the political ideas of Roy Chowdhury. Very enthusiastically this
scheme, that contained a very strong element of federalism, envisages a federal Indian
government comprising different provinces. 71st and 73rd amendment of Indian
constitution vindicates the idea of Panchayati Raj as propagated by none other than
Mahatma Gandhi and very strongly advocated by Roy Chowdhury in Assam.

It is a well thought out plan consisting of seven tiers.111 1) Independent

primary 2) Village 3) Jan (peoples) 4) Collective 5) General 6) National 7) Greater
National. Accordingly education, industry, commerce will be formed as different
branches. Rules are clearly laid out for the composition of Panchayatas from the
lowest to the highest level, i.e. greater independent national council.112 As the plan
unfolds it appears as a very loose federation and it will be formed on the basis of
language and culture, keeping in view the present territorial boundary. All Panchayats
will elect representative body. He also provided for powers and functions of the
president and secretary, treasurer and organizer of the administrative council which
will be at the top of the administrative structure. Besides for the proper functioning of
all the Panchayats powers, functions, jurisdictions are clearly defined.

While going through it appears as a utopian concept. For instance he talks

about a kind of election that is possible only in a much matured democracy like
Switzerland where there is a system of direct election. Roy Chowdhury states that, on

109. A. K. Mishra, (ed.), Op cit, p.111. On 7th September 1942 Ambikagiri on behalf of Asom Jātiya
Mahā Sabhā launched his preliminary scheme of the formation of Panchayat State centering
round with the villages. According to him human civilization and human progress is based on
villages. So his emphasis was on a solid village foundation of Panchayat State.
110. S. N. Sarma, (ed.), Loc cit, p.571.
111. Ibid, pp.533-540.
112. Ibid.

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a fixed date all the electorates of a village will assemble at a convenient place and
elect their representative. Before that all of them will take an oath to offer full co-
operation for the functioning of the Panchayat.113 This is highly idealistic and not
viable in a country like India where till today a big chunk of population can not even
read.

Nevertheless we can safely state Roy Chowdhury’s political ideas are far in
advance of his time. Sometime his plan is not very clear, because it has more than one
purpose and combines more than one principle sometimes too philosophical for the
common people to grasp.

Another reflection of his higher political philosophy is the “final goal of man
and lasting peace.”114 Originally written in Assamese in 1914 moved by the
devastation of the First World War and published from Dibrugarh railway press in a
booklet form, the essay contains a philosophical vision of the future.115 Later on it was
translated into English by Mahendra Bora in 1960. It was sent to thinkers and
philosopher like Bertrand Russell, Dr. S. Radha Krishnan, C. Raja Gopalachari.
inviting their comments and it was well appreciated.116 Mahendra Borah, eminent
writer and critic reminiscences that Ambikagiri one day received a letter of
appreciation from Bertrand Russell and he was so happy that Borah was invited for a
dinner with his wife.117 The Final Goal of Man and Lasting Peace begins with a quest
and dedication. In the quest for achieving lasting peace among the human race on the
surface of the earth presented to all thinkers, Philosophers, statesman and scientist of
the world.118 This dedication reveals how much importance is attached to this essay
by Roy Chowdhury. Poet, philosopher Ambikagiri Roy Chowdhury and thinker of
precious political thoughts could view a bleak future ahead of the human society
witnessing the wanton destruction of the Great War of 1914-1918. Roy Chowdhury
interpreted it in terms of the basic human instinct of competition and selfishness that
cause tension and internecine conflicts. He feels that greed for territory and wealth

113. Ibid, pp.535-537.

114. Ibid, Appendix p.1032.
115. Ibid, p.628.
116. B. K. Bhattacharyya, Op cit, p.41.
117. Mahendra Borah, Upalā Nadir Dare, p-225
118. S. N. Sarma, (ed.), Loc cit, p.1016.

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induces man to become selfish and unhealthy competition leads to conflict and war.119
Even after men’s passing through the crisis of the Second World War, the situation
remains uncharged. Thinkers all over the world are engaged in thinking a way out of
this impasse.120 But there is no possibility of finding a way out until human impulses
and spirit of competitiveness are not canalized towards the infinity.121 Such assault of
thought will awaken man to realize his dormant capacity to face the mightiest
challenges of history. Today human civilization has reached such a stage that
conquering space is a reality, scientists are in fact engaged for establishing colonies in
space. But the contemporary reality presents a very disturbing and confusing picture
and still guided by this impulse of selfishness and competitiveness are engaged in a
rat race for wealth, power and prestige necessitated by a globalized market reality.

Apart from the thought provoking political writings Roy Chowdhury also
made significant contribution in the field of culture to be précised writings on the
musical environment in Assam. Being a cultural activist Roy Chowdhury wrote two
articles ‘entitled, “cultivation of music in Assam” dealing with its history and
tradition.122 This article is also significant in the sense that grammatical aspect of
music like rāgās and rāginis, sthāyee, Antarā, tune, rhythm, tālas. Another article
entitled “Role of patriotic song in India’s freedom struggle” is a generalized
discussion of the contribution of eminent Assamese writers like Chandra Kumar
Agarwala, Tarun Ram Phukan, Radha Nath Phukan, Hemananda Goswami and a host
of others including himself.123

Concluding this discourse it can be stated that the political ideas at least some
put forward by Roy Chowdhury are utopian devoid of practical solution of problems,
but it has got relevance at the philosophical level, that man could strive for a better
future. To some extent his Panchayat scheme is workable. So far as the
implementability is concerned these ideas have been outlined without raising
questions about the discrepancies and difficulties that would be encountered if they
were brought into practice with the actual institution. It will be better valued if we
situate the author in that particular time frame when he formulated those ideas.

119. Ibid, p.1032.

120. Ibid.
121. Ibid.
122. Ibid, pp.967-970, Initially published in Tinidiniya Batori, Saka 1854, 2nd Ashar.
123. Ibid, pp.970-977. Initially published in Asom Bani, 17th January, 1958.

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