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Abstract:

The “estate culture” initially evolved within the framework of the feudal systems of Russia and Bengal, which largely determined the lifestyle of the nobility. The estate became the centre for economic, cultural and daily activities of the place. Discussions on literature and politics were reguarly organized in the estate; so were evenings devoted to music and dance; they functioned as a kind of school for grooming and nurturing the noblemen. The collapse of the feudal system in Russia at the last quarter of the 19th century, and in Bengal at the beginning of the 20th century, largely was responsible for the decline of the “estate culture” in these countries, which was difficult to accept for the nobles — the owners of the estates.

The aforementioned traits are reflected in the literary works of writers from Russia and Bengal, namely Anton Chekhov (1860–1904) and Tarasankar Bandyopadhyay (1898–1971). In their works, the writers draw attention to the degradation of the once stable estate culture and the desperate attempts of the nobility from the last generation to preserve its glory. The feeling of bitterness, as experienced by the nobles due to the loss of their respective family estate, is revealed through the approach of the protagonists towards the various “estate topos” in the works, namely, the garden and the music hall. The two writers from Russia and Bengal focus, in particular, on the issues related to the advent of the new influential bourgeoisie class and their role in society. The study employs a comparative approach for analysing Chekhov’s play “The Cherry Orchard” (1903) and Bandyopadhyay’s story “The Music Hall” (1932). This approach, the first of its kind, enables the identification of both, common characteristics between the Bengali and Russian renditions of the “estate topos”, and their unique features. Additionally, the Indian researcher’s perspective on the plays’ dynamics is presented.