Ngugi wa Thiongo said that we should focus on the literature written in our vernacular and Rabindranath Tagore could get wide popularity while writing in in Bangla though he became more popular when his Gitanjali was translated into English. Many Indian scholars like Jaiwanti Dimri, S C Hajela, H S Randhawa have given their views on the presented in the light of New Education Policy-2020. The paper presents the importance of Bhasha Literature, the role of translator and the universal appeal with an example of a short story by Indira Goswami, the Assamese writer. As per the author's knowledge no latest literature was found for this paper.

The work of translation is a new phenomenon and since the ancient time. Indian society had been rich in the treasure of literature written in

vernaculars which needs the translation. This is not merely the translation but transcreation. It is the made by which we can attain our richness of literature written in different corners of our nation in different languages in our country.

Prof. Jaiswanti Dimri points out the importance of translation in the context of English literature.

The connect between the renaissance in England and other countries in Europe in the fifteenth and the sixteenth century and the large scale translation of the Greek and Latin classical texts into English and other European languages after the fall of Constantinople in 1453 is a well known fact ..... John Keats tribute to Chapman for his translation of Homer in English in the Sonnet "On First Looking into Chapman & Homer best qualities the importance of translation for all times-present or past. [1]

Bhasha literature is very useful at the national and international level for the purpose of communication and interaction. And this will help us in introducing the courses based on it to the coming generation of our students.

The biggest benefit of it is to break the hegemony of foreign literature and by breaking that hegemony we will be promoting our culture and tradition. We cannot forget the contribution of Ngugi Wa Thiong & contribution in studying their own literature to protect their country & culture and tradition in their own language.

It was Obi Wali who pulled the carpet from under the literary feet of those who gathered at Makerere Conference in 1962 by declaring in an article published in & Transition & (10 September 1963) that the whole uncritical acceptance of English and French as the inevitable medium for educated African writing is misdirected and has no chance of advancing African literature and culture, and that African writers accepted that any true

African literature must be written in African languages.. [2]

In the given lines Ngugi is talking that their literature should be written in African language to advance their literature and culture. Here the scholar wants to say that the treasure of our Indian literature should be translated into our Indian English to get it popularize at national and international level. We can not forget the name and fame of the books written in Hindi language and later on translated into Indian English. For instance This year Daisy Rockwell & translation of Geetanjali Shree's Hindi novel "Tomb of Sand" became the first novel translated from an Indian language to win the international Booker Prize.

It got the wide popularity because it succeeded in transfering the Indian spirit and treasure to the world. Our nation, India is veritable melting pot of different culture and tradition and myriad language has a rich treasure of literature which needs the scholarly attention.

In the same way we cannot forget the short stories of Rabindranath Tagore, Asia & first Nobel Laurate, who got a wide popularity when his short stories were translated into English from Bangla. Such other examples are Asha Purana Devi & The First Promise was translated from Bengli into English by

Indira Choudhary, Tamas of Bhisham Sahni was translated by Daisy Rockwell from Hindi into English, Gogu Shyamla's "Father May Be an An Elephant, Mother only a Basket, But, from Telgu by Diiya Rajan, K.R. Meera & Hangwoman, from Malyalam into English by J. Devika, Salma's Women

Dreaming has been translated by Meena Kandasamy from Tamil into English.

The English translation of Abhigyanshakuntalam by William Jones has increased the popularity of text of Indian origin. Tulsidas's Ramcharitmanas

excels the original Ramayana of Balmiki in Sanskrit in popularity of mass appeal. Six and Third Acres by Fakir Monhan Senapati has been translated by

K.K. Mohapatra from Odia into English. Vultures a Dalit writing in Gujrati by Dalpat Chauhan has been translated into English by Hemang Ashwin Kumar,

and soon. My meaning to say is that this is the new area on which we need to focus in our classroom teaching, learning and research in our universities and colleges. Since the independence the hangover of colonialism is influencing our decisions in the matters of our culture and literature. It can be seen in our daily life style as well as in our centres of learning. The arrival of globalization, the market policies prepared in developed countries has compelled us to live in a Neo-Colonialism. Dr. S.C. Hajela writely points out when he says-

A cursory view of the Syllabi in our universities all over the country in the departments of English makes it quite evident how English text popularized and canonized by the Western media and market forces have marginalized the texts of Bhasha Literatures in the domain of Indian English studies. While the best literary writers in the regional languages still struggle for adequate publicity and recognition. [3]

Therefore there is a persistent requirement to forge commonalties in Indian languages which celebrates God's plenty towards the idea of Bharat. Dr.

H.S. Randhawa has focused beautifully on the importance of Bhasha Literature in the following lines:

These native languages may not be able to establish the pan-

Indian identity unless they come out in a language easily understood in each nook and corner of India. Thus translation becomes a potent expression of regional identities, merging in Indian identity through revealing pan-Indian ethos. [4]

An Illustration of Assemes Literature: Assemes literature is excellent in poetry and short stories. The illustration of The Empty Chest a beautiful short story with universal appeal by Indira Goswami is very remarkable here. Indira Goswami is also known by the name of Mamoni Raisom Goswami particularly in Assam. This short story has been translated by Pradipta Borogohain. He is a professor of English in Guhati University. He is also a novelist and a translator. The Empty Chest is based on a real story of a coffin found in a cremation ground. The sight of the coffin made the writer brood and she created a life like personal. This is a story of Toradoi, the protagonist published first time in the nineties. The Empty chest symbolises the emptiness in protagonist & life.

Toradoi lives in a shack near a cremation ground. One day she finds a bloodstained empty chest lying in the ground. On coming to know that it had carried the dead body of her lover Saru Bopa, she retrieves it and takes it to her shak. Saru Bopa was the son of a Zamidar in whoose house Taradoi has

worked. Saru Bopa and Toradoi were in love with each other and he had vowed that he would marry her. But he did not marry her and they get separated.

She decorates herself in whatever meagre way she can and sleeps in side the empty chest in order to reliver her moments of love with her lover until

reality dawns upon her. She comes to know through her policeman brother that Saru Bopa was not faithful to her as she had thought him to be and he had planned to marry someone else. And as a proof he shows her the invitation cards that had been printed for the occasion. When this reality breaks upon, she is stunned. But she recovers in a few days and with the help of her two children she drags the empty chest outside and burns it down.

Her husband is in jail for rash driving and in her absence a firewood vendor Haibor has been pestering her to sleep with him, promising to look after her two children. Earlier she would find in variably him standing outside her door fruitlessly waiting two her. But when after the death of love for Saru

Bopa. Se comes out of her shack ready to do anything, there is no Haibor waiting for her.

The story portrays the death of the protagonist & love for the Zamidar & son. She works in Zamidar & house as a maid and she falls in love with his son. Her love for Saru Bopa is intense and passionate and she had given herself to him completely. But there was family opposition to the marriage. We are not given the full detail of the quarrel or what happed thereafter. We are only told that following the quarrel Saru Bopa was transfered to upper Assam. All that happed some twelve years back. We are left to assume that she had married a driver, who is now in jail for rash driving. Saru Bopa's dead body is brought to the very crematorium on the fringe of which Toradoi now lives along with her two children.

The appeal in the story is that even after separation from him and her own marriage, her love Saru Bopa has known no abatement. In fact her love for

him has been a source of strength for her through all these years of adversity and has helped her to hold her own and survive. She is living with her two

children in abject poverty and they are half starved. However faithful to him, she can rebuke the lusty advances of Haibor, the firewood vendor, who

promises a world of comfort. Her annoyance at the advances of Haibor can be felt in her words when she says :

What is left in this body to keep drawing you here. [5]

The point which I want to convey here that we have the rich treasure of Bhasha Literature which is needed to be the part and parcel of syllabi. The

story like & The Empty Chest & are in bundle which at any cost should be presented on the national and international level. Our National Education Policy-2020 stresses on promotion of Indian languages, arts and culture to bring the hidden treasure in the vernaculars. Let us see what is illustrates in the given para:

The promotion of Indian art and culture is important not only for the nation but also for the individual. Culture awareness and expression are among the major competencies considered important to develop in children in order to provide them with a sense of identity, belonging as well as appreciation of other culture and identities. It is through the development of a strong sense and knowledge of their own culture, history, arts, languages and tradition that children can build a positive cultural identity and self-esteem. Thus cultural awareness and expression are important contributors both to individual as well as societal well being.

And again The language of course, is inextricably linked to art and culture. Different languages see the world differently, and the structure of language, therefore determines a native speaker's perception of experience. In particular, language influence the way people of given culture speak with others, including with family members, authority figures, peers and strangers, and influence the tone of conversation. The tone perception of experience and familarity/apnapan' inherent in conversation among speakers of a common

language are a reflection and record of culture. Culture is thus encased in our languages. Art in the form of literature, plays, music films etc. cannot be fully appreciated without language. In order to preserve and promote culture, one must preserve and promote a culture's languages.

Teaching and learning of Indian languages need to be integrated with school and higher education at every level. For languages to remain relevant and vibrant, there must be steady stream of high quality learning and print material in these languages including text books, workbooks, videos, plays, novels, magazine, etc. Language must also have consistent officials updates to their

vocabularies and dictionaries, widely disseminated, so that the most current issues and concepts can be effectively discussed in these languages. Enabling such learning materials, print materials, and translations of important materials from world languages, and constantly updating vocabularies are carried out by countries around the world for languages such as English, French, German, Hebrew, Korean and Japanese. However India has remained quite slow in producing such learning and print materials and dictionaries to help keep its languages optimally vibrant and current with integrity. [6]