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Class 12 Alternative English Chapter 2 The Voyage
–Bhupen Hazarika
About the Author
Bhupen Hazarika (1926–2011) was a towering cultural figure from Assam—an accomplished singer, composer, lyricist, filmmaker, and public intellectual whose work bridged regional and global traditions. Born in Sadiya, he showed early artistic promise, writing and performing songs as a child and later studying at Banaras Hindu University. He went on to earn a PhD in mass communication from Columbia University, where exposure to international music and the ideas of artists like Paul Robeson deepened his commitment to socially engaged art.
Hazarika’s music is renowned for its lyrical depth, humanism, and political consciousness. Singing primarily in Assamese but also in Bengali and Hindi, he addressed themes such as inequality, migration, and dignity, often using the Brahmaputra as a central metaphor. Songs like Manuhe Manuhor Babe and Bistirno Parore became
enduring anthems of empathy and social justice.
Beyond music, he made significant contributions to cinema as a director and music composer, shaping Assamese film culture. His achievements were recognized with numerous honors, including the Dadasaheb Phalke Award, the Padma Bhushan, and posthumously the Bharat Ratna.
Bhupen Hazarika passed away in 2011, but his legacy endures through his music and message—an unwavering belief in humanity, cultural unity, and the power of art to inspire change.
Word Notes
Voyage: A symbolic journey representing human life, progress, and continuous movement through time and society.
River: Central metaphor (inspired by the Brahmaputra); signifies flow, change, and the witness to human history and suffering.
Journey: Not just physical travel, but moral and existential development of individuals and society.
Humanism: The belief that humans must care for and support one another; a core ethical principle of the voyage.
Solidarity: Unity among people, especially in times of struggle; necessary for meaningful progress.
Inequality: Social and economic imbalance highlighted as a major obstacle in the human journey.
Exploitation: The unjust use of people (often the poor or marginalized), criticized throughout the voyage.
Progress: Questioned concept—material advancement without moral growth is seen as incomplete.
Struggle: The hardships faced by individuals and communities; an inevitable part of the
journey Hope: Persistent belief in a better future despite suffering and injustice.
Collective Identity: The idea that humanity travels together, sharing a common destiny.
Change: Continuous transformation in society and life, symbolized by the flowing river.
Conscience: Inner moral awareness guiding human actions during the journey.
Destination: Not fixed; represents ideals like justice, equality, and human dignity rather than a physical endpoint.
Awareness: Understanding one’s role in society and responsibility toward others.
Migration: Movement of people from one place to another in search of survival, dignity, or better opportunities; a recurring aspect of the human journey.
Displacement: Forced removal of people from their homes due to social, economic, or natural causes; reflects suffering within the voyage.
Identity: The sense of self shaped by culture, history, and experience during the journey.
Culture: Traditions and shared values that guide and influence the direction of human life.
Heritage: The legacy of the past carried forward through generations along the voyage.
Resistance: The act of opposing injustice, inequality, and exploitation.
Oppression: Systematic control or suppression of weaker groups, highlighted as a barrier to true progress.
Justice: Fairness and equality in society; an ultimate goal of the voyage.
Freedom: The condition of being free from oppression; both a personal and collective aspiration.
Dignity: The inherent worth of every human being that must be respected.
Empathy: The ability to understand and share the feelings of others; essential for human unity.
Compassion: Deep concern for others’ suffering, leading to supportive action.
Conflict: Struggles arising from inequality, differences, or competing interests.
Unity: Coming together of people beyond divisions to achieve common good.
Division: Social, economic, or cultural separations that weaken collective progress.
Reflection: Deep thinking about one’s actions and society during the journey.
Awakening: Realization of social realities and moral responsibilities.
Transformation: Fundamental change in individuals or society toward better conditions.
Continuity: Ongoing flow of life and history without interruption.
Resilience: The ability to endure hardship and continue moving forward.
Voice: Expression of the marginalized and unheard within the journey.
Awareness of Reality: Recognition of true social conditions beyond illusion or superficial progress.
Moral Responsibility: Duty of individuals to act ethically within society.
Interconnectedness: The idea that all human lives are linked within the same journey.
Destiny: The shared future shaped by collective human actions.
Summary
If by “The Voyage” you mean the thematic or translated rendering of songs by Bhupen Hazarika (rather than a single fixed text), then it is best understood as a philosophical narrative of human journeying—rooted in his recurring imagery of rivers, movement, and collective destiny.
At its core, “The Voyage” presents life as an ongoing passage—individual and communal—across uncertain waters. The journey is not merely physical; it is moral, social, and existential. Drawing strongly from the landscape of Assam, especially the Brahmaputra, Hazarika frames the river as both witness and participant in human history: it carries stories of struggle, migration, suffering, and resilience. This symbolic river becomes a mirror of society, reflecting inequality, exploitation, and the distance between human ideals and lived realities.
A central concern in this “voyage” is human solidarity. Much like in Manuhe Manuhor Babe, the narrative insists that the journey can only be meaningful if people learn to stand for one another. The suffering of the marginalized—workers, displaced communities, and the poor—is not incidental but integral to the voyage. Their voices define the ethical direction of the journey, questioning whether progress without compassion has any value.
Another major strand is interrogation of progress and civilization. Echoing the reflective tone of Bistirno Parore, the voyage asks: despite technological and social advancement, why do injustice and division persist? The journey becomes paradoxical— humanity moves forward materially, yet often remains stagnant or regressive in moral terms. This tension gives the narrative its critical edge.
The “voyage” also contains a strong sense of restlessness and search. There is no fixed destination; instead, the emphasis is on continuous striving—for dignity, equality, and understanding. The traveler is not a solitary hero but a collective human presence, moving through time, confronting failures, and renewing hope. The river’s flow suggests that stagnation is not an option; movement itself is necessary, even if the path is
uncertain.
Ultimately, “The Voyage” resolves not with closure but with a call to consciousness. It urges individuals to recognize their role within the larger human journey—to act with empathy, to resist injustice, and to reshape the direction of the collective passage. The meaning of the voyage, therefore, is not predetermined; it depends on human choices.
In summary, “The Voyage”—as drawn from Hazarika’s artistic vision—is a layered meditation on life as a shared journey marked by struggle, reflection, and the enduring possibility of humane transformation.
Comprehension: Textual Question-Answers
A. State whether these sentences are True or False.
Q1. Bhupen Hazarika had brought his Rolleiflex from home.
Ans: False. (He actually bought the camera at the port of Aden.)
Q2. The sight of the Egyptian pyramids enthralled Bhupen Hazarika.
Ans: False. (He mentions that he could not visit the pyramids because of limited time.)
Q3. Bhupen Hazarika’s companion on the flight from Guwahati to Dumdum was Bhaben Das.
Ans: False. (Bhaben Das met him at Calcutta Airport, while his family and friends, including Syed Abdul Malik, were present at Guwahati airport to see him off.)
Q4. Bhupen Hazarika had a weakness for Kalmou saak.
Ans: True.
B. Answer in one or two words.
Q1. What was the name of the airport situated in Guwahati in 1949?
Ans: Kanhikuchi Airport.
Q2. Who was the Governor of Assam during the inauguration of the airport in Guwahati?
Ans: Sir Akbar Hydari.
Q3. How much was the air fare from Guwahati to Dumdum in 1949?
Ans: 55 rupees.
Q4. In which country is the ‘Temple of the Tooth Relic’ located?
Ans: Sri Lanka.
Q5. What type of leave did the French sailor avail when he came to the shore?
Ans: Shore leave.
C. Answer in a few words each.
Q1. Name the two locations that Bhupen Hazarika reminisces about in The Voyage.
Ans: He recalls Bharalumukh and Uzan Bazar in Guwahati.
Q2. What did Hazarika consider to be his only aim?
Ans: He considered his sole aim to be moving ahead continuously, expressed through “charaiveti, charaiveti.”
Q3. The ship set sail later than the scheduled time. How late was the ship?
Ans: The ship departed one and a half days after the scheduled time.
Q4. Name the two places associated with Buddhism mentioned by Bhupen Hazarika in ‘The Voyage’.
Ans: Sarnath and Bodh Gaya.
Q5. Which two Indian states associated with dances, other than Assam, are mentioned by Bhupen Hazarika in ‘The Voyage’?
Ans: Gujarat (Garba) and Manipur (Raas).
D. Answer briefly in your own words.
Q1. Write a brief account of Hazarika’s stopover in Sri Lanka.
Ans: During his stay in Sri Lanka, Bhupen Hazarika experienced a strong sense of cultural connection. He visited Kandy and saw the Temple of the Tooth Relic, which reminded him of Indian Buddhist sites like Sarnath and Bodh Gaya. He was also impressed by a traditional dance performance, Yakuma Natum, as it closely resembled Assam’s deodhani nrittya, making him reflect on cultural unity beyond borders.
Q2. Briefly present your view about Hazarika’s experience of visiting a Sri Lankan family home.
Ans: His visit to a modern Sri Lankan household left him with mixed emotions. Observing Western elements such as a piano, a Madonna painting, and children singing English songs, he felt as if he were in Shillong rather than a different country. This made him question the diminishing presence of traditional Sri Lankan culture.
Q3. Present your views on the food and flavours mentioned by Hazarika in ‘The Voyage’.
Ans: The references to food highlight nostalgia and emotional attachment to home. While in Sri Lanka, Hazarika was reminded of Kalmou saak prepared by his grandmother and longed for familiar Assamese dishes like khar, tenga, and bamboo shoot. These memories show how deeply food is connected to identity and belonging.
Q4. How does Bhupen Hazarika recount his feeling about being an Indian as he moves forward in his journey? Give a brief description. (H S ‘22)
Ans: As he travels farther from his homeland, his sense of identity widens from being Assamese to Indian. He observes that distance from the country strengthens a broader national feeling, where regional distinctions fade and a unified sense of belonging to India becomes more prominent.
E. Answer in detail.
Q1. Present an overview of Bhupen Hazarika’s experience during the course of his journey abroad from your reading of ‘The Voyage’.
Ans: Bhupen Hazarika’s journey abroad in 1949 was a rich and transformative experience that deeply influenced his outlook. It began with a tense moment at Guwahati’s Kanhikuchi Airport, where he nearly forgot his passport, setting an unusual tone for the voyage. Instead of taking a direct route, he deliberately travelled through multiple countries by air, sea, and land to closely observe different cultures. In Sri Lanka, he noticed strong cultural parallels with India, particularly in dance traditions. His sea journey from Colombo to Marseille exposed him to varied experiences: he purchased a Rolleiflex camera at Aden, observed underdevelopment in Djibouti, and reflected on global events such as Mao Zedong’s Long March while in Cairo. Two striking experiences at sea—seeing a rare star above a crescent moon and witnessing the ocean glowing with phosphorescent fish—left a deep impression on him. As the journey progressed, his sense of identity expanded from regional to national, and he continuously reflected on culture, belonging, and the shared human spirit, guided by the idea of “charaiveti, charaiveti,” meaning to move forward without stopping.
Q2. ‘Bhupen Hazarika’s representation is not merely an account of a journey; it is also a narrative about the convergence of cultures in different locations.’ Comment on the statement based on your reading of ‘The Voyage’. H S ‘22
Ans: The statement is well-founded, as “The Voyage” goes beyond a simple travel narrative to explore cultural connections across regions. Hazarika consistently identifies similarities between diverse cultures during his journey. In Sri Lanka, he relates the Buddhist environment of Kandy to Indian centres like Sarnath and Bodh Gaya, creating a sense of spiritual continuity. The Yakuma Natum dance reminds him of Assam’s deodhani nrittya, while he also draws parallels between South Indian dance forms and traditions like Garba of Gujarat and Raas of Manipur. During his sea voyage, he feels a sense of familiarity with Indochinese passengers, whose appearance reminds him of people from Manipur and Ahom communities. These observations show his tendency to find connections rather than differences. Ultimately, he realises that culture transcends
geographical boundaries and unites people through shared artistic and human expressions. His narrative therefore presents the journey as a means to understand cultural harmony, where diverse traditions come together to form a unified human experience.
Additional Questions and Answers
A. Multiple Choice Questions (MCQs)
Q1. In which year did Bhupen Hazarika undertake his journey abroad?
(a) 1947
(b) 1948
(c) 1949
(d) 1950
Ans: (c) 1949
Q2. What was the name of the airport in Guwahati at that time?
(a) Borjhar Airport
(b) Kanhikuchi Airport
(c) Lokpriya Airport
(d) Palasbari Airport
Ans: (b) Kanhikuchi Airport
Q3. What almost did Hazarika forget at the airport?
(a) Ticket
(b) Passport
(c) Luggage
(d) Money
Ans: (b) Passport
Q4. From which place did Hazarika begin his sea journey?
(a) Mumbai
(b) Chennai
(c) Colombo
(d) Kolkata
Ans: (c) Colombo
Q5. Which city in Sri Lanka did Hazarika visit?
(a) Colombo
(b) Galle
(c) Kandy
(d) Jaffna
Ans: (c) Kandy
Q6. The Temple of the Tooth Relic is located in which country?
(a) India
(b) Nepal
(c) Sri Lanka
(d) Myanmar
Ans: (c) Sri Lanka
Q7. Which dance in Sri Lanka impressed Hazarika?
(a) Kandyan Dance
(b) Yakuma Natum
(c) Bharatanatyam
(d) Kathakali
Ans: (b) Yakuma Natum
Q8. Yakuma Natum reminded Hazarika of which Assamese dance?
(a) Bihu
(b) Sattriya
(c) Deodhani Nrittya
(d) Ojapali
Ans: (c) Deodhani Nrittya
Q9. Where did Hazarika buy his Rolleiflex camera?
(a) Cairo
(b) Aden
(c) Djibouti
(d) Marseille
Ans: (b) Aden
Q10. Which place did Hazarika describe as underdeveloped?
(a) Cairo
(b) Aden
(c) Djibouti
(d) Colombo
Ans: (c) Djibouti
Q11. News of which leader’s Long March inspired Hazarika?
(a) Mahatma Gandhi
(b) Jawaharlal Nehru
(c) Mao Zedong
(d) Ho Chi Minh
Ans: (c) Mao Zedong
Q12. What rare sight did Hazarika witness at sea?
(a) A rainbow at night
(b) A star above a crescent moon
(c) A solar eclipse
(d) A shooting star
Ans: (b) A star above a crescent moon
Q13. What caused the sea to glow at night?
(a) Moonlight
(b) Reflections of stars
(c) Phosphorescent fish
(d) Ship lights
Ans: (c) Phosphorescent fish
Q14. What does “charaiveti, charaiveti” mean?
(a) Stop and rest
(b) Keep moving forward
(c) Look back
(d) Stay calm
Ans: (b) Keep moving forward
Q15. How does Hazarika’s identity evolve during the journey?
(a) From Indian to Assamese
(b) From Assamese to global citizen only
(c) From Assamese to Indian
(d) It does not change
Ans: (c) From Assamese to Indian 0 0 0
