A versatile genius, Aswini Kumar Ghose produced plays of various types tragedy, comedy, tragi comedy, farces etc. His thematic choice was also wide that incorporated mythology, history, biography, social life in dramatic creations. He was quite popular with his audience for blending the religious elements with the supernatural ones, humanizing the divine and elevating man to a high moral and spiritual level. His straight forward language also easily impressed the common mass. He studied intimately the psychology of the average Oriya audience and gave them what they cherished most.
Dr Hemant Kumar Das (b.1938), the author of the present monograph, has written more than thirty six books in different genres, e.g., short stories, novels, literary criticism, children's literature. In the present book he has assessed Aswini Kumar's dramatic talent, philosophy of life and finally his success and failure as a dramatist.
During my childhood days I saw few of Aswini Kumar's plays on stage and later on while doing my research work on Oriya drama, I had a closer view of his plays. I was simply charmed by Aswini Kumar's versatile genius, which produced plays of all types-mythological, historical, social, biographical, devotional, tragedy, comedy, tragi-comedy, farces etc., a rare phenomenon found with any other dramatist. I was convinced that his popularity was due to the blending of the religious and the supernatural, the humanization of the divine and the elevation of man to a high moral and spiritual level, as also due to a direct appeal to the heart through a straight forward narrative language that easily impressed the common mass. Aswini Kumar intimately studied the psychology of the average Oriya audience and gave them what they cherished most.
This monograph, which has been written for the non-Oriya readers, tries to assess Aswini Kumar's dramatic talent, his philosophy of life and ultimately his success and failure as a dramatist. Today Aswini Kumar occupies a vulnerable position in the history of Oriya drama. But throughout his life, he had to struggle hard to find out a place in the Oriya dramatic arena. In this venture, I have tried to throw some light on some of the remarkable aspects of this genius, who dedicated himself, at the alter of Oriya drama. My labours shall be suitably rewarded, if my readers enjoy this work.
I convey my deep gratitude to Shri Basant Kumar Das, Joint State Editor, Gazetteers Orissa, Bhubaneswar for going carefully through the manuscript and suggesting valuable changes. I am also thankful to the Sahitya Akademi, New Delhi for giving me the opportunity of writing this monograph.
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