About five centuries after the composition of Srikrishnakirtan, regarded as the earliest specimen of medieval Bengali literature, folk poets began composing ballads that spread orally among the people. At that stage, Bengali drama had not yet developed into an independent literary form, but early signs of dramatic expression were already present within the ballads. Although the structure of a ballad is distinct from that of a full-fledged play, and thus cannot fully embody the dramatic genre, the ballads reveal a richness of dramatic elements in both form and spirit. For instance, Sundari Malua Pala concludes on a note of sorrow, carrying within it the seed of tragedy. Similarly, Dasyu Kenaramer Pala reveals both the external and internal conflicts of its characters. The advancement of the narrative often takes place through dialogues, lending a theatrical dimension to the ballads. Elements of suspense and tension, essential to drama, are vividly portrayed in both Sundari Malua and Dasyu Kenaramer Pala. While ballads cannot be equated with drama in their entirety, the Palas of Chandrabati’s ballads demonstrate a remarkable degree of dramatic quality. This makes them unique and significant in the broader history of Bengali drama. Thus, before the full emergence of drama as a distinct literary form in Bengali literature, its signs and seeds were already visible in Chandrabati’s works. The main finding of this essay is that Chandrabati’s ballads, especially those by medieval women poets, contain early dramatic elements. Using content analysis and comparative methods, the study emphasizes their role in the development of Bengali drama.
Kabir et al. (Sun,) studied this question.