485:
compassion to Das's emblem of feminine mystery by characterising women as a destination by "alluding to different mythological and ancient persons, places and events". This characterisation is applied to women as a result of the narrator having "soothing moments" when near these women. This is emphasised by
Professor Papri Sengupta, who highlights a transition to women being referenced with emotion in poems such as Banalata Sen and Shemolee, where the narrator seeks comfort by sitting "face-to-face" with these women to "share his stories" at the end of the day when "days end evening crawls in like the sound of dews." Conversely, it is also highlighted that these female figures may be a representation of the spiritual comfort of a specific location. However, it has not been confirmed whether these women are real or figments of Das' imagination, as scholars have interpreted this volumes differently. Some have used Das' contextual influences to interpret his description/definition of love, while others have taken a subjective point of view.
397:, Das’ poetry in this volume have a distinct style of chitrarupmay (Bengali word for imagery), as the progressive element of turning and moulding images allows the reader to immerse themselves in the landscape and time Das is exploring. The transformation of distance into intimacy and the disorderly circumstances into order are imagistic patterns that contribute to Das' distinct modern style of poetry in this volume. According to Joe Winters, Das' distinct style stems from the personification of his surroundings and his use of "register from sophisticated usage to a village-dialect." As a result, the reader becomes acquainted with the landscape, time, and figures throughout this volume.
450:
of individual histories play hide-and-seek”. The contrast of light and shadow creates a passage of time, eliciting a nostalgic response from the reader and encouraging reflection on "history's ever-moving forces.". As the interpretation of Das' poetry is subjected to an individual's sense of self and human experiences, the nostalgic response allows Das' poetry to resonate among his audience(of all ages and demographic). In contrast to L.Celsius' exploration of the concept of time, Bengali scholar
476:. L.Ceciu raises this point in regards to Das context and key features as animals, plants and the ocean are commonly referred to among this volume of poetry. He specifically refers to "owls, rats and cats'', which are not perceived to be the defining animals of the beauty of nature. Thus, it goes to show how much love he has for nature by shaping ordinary/unlikable animals as a representation of our need for love and understanding.
417:. Das' childhood and later years in rural Bengal influenced his ability to explore aspects of people's lives through his exploration and admiration of the environment and living things. As Mary M. Lago suggests, the crowding of elements of country life such as wild geese, harvesting season, and owls throughout this volume emphasises the significant influence rural life had on Das' composition of Banalata Sen. Das' contextual
455:
poet "observes that Time continues to be awake when everyone's waking comes to an end...essentially Time as god;albeit a non-religious god." As a result, Chowdhury declares that Das' "preoccupation with time is essentially one about human existence," which is understandable given his varying perspectives on the concept of time throughout this volume.
471:
Das is described throughout this volume by Jebun Ara Geeti as loving "the things of nature sensuously" because his entire being is "immersed by nature." As a result, he incorporates the environment and living things from his childhood and later years in rural Bengal to explore the love and admiration
449:
Das is praised for creating a "universal drama of time" in this volume, in which he explores time through nostalgia and its omnipresence in man's life. According to Ramona L.Ceciu this volume serves as a “canvas with fluid lines, conceptual associations and contrasts among which the light and shadows
493:
The theme of loss is explored through Das' admiration for animals' sense of direction, as he refers to the unique abilities of the "owl" and "eagle" in terms of their sense of direction. Dr. Sauruv
Sengupta interprets this as Das' admiration for how animals can "manoeuvre through a maze of traumatic
454:
claims that "Jibananda Das does not pose any conceptual of time...but perhaps questions about time lost their fascination for twentieth century men." In his essay "Temporality in
Jibanananda Das' Poetry," he discusses how time is personified as an omnipresent observer in Das' later poems, as the
246:
caste woman. This poem is also included in all versions of this poetry volume. Prior to the publication of this volume it is thought that Das' younger sister
Sucharita had access to the poems as Das would let her read the poems when taking them out of his personal trunk to have them printed.
538:
painting “Banalata Sen” (adaptation) With reference to
Mikhail Bakhtin's essays in “Art and Answerability” Ramona L. CECIU highlights that Arpita Singh’s painting “Banalata Sen” is “an example of answerability and authorship as an exegesis puts Jibanananda’s text into a new embodiment and draws
484:
Dr. Sauruv
Sengupta investigates how romantic and spiritual love is communicated through his reference to the "eyes and breast," as they are metaphorical allusions to the vision and compassion that are essential in one's experience of love. L.Ceciu connects these essential elements of vision and
180:, patriotism in the form of admiring the land) and loss (death of loved ones and sense of direction after traumatic contortions) during the Post-Tagore period. This book has been named "Banalata Sen" after Das's most popular poem, which explored human fulfillment through the personification of a
531:
painting “Banalata”(adaptation) Ramona L. CECIU highlights that “the photographic paintings of Dinda is the depth of vision, combined with an elegance of lines, a rendition of the poetry of city woven in the poetry of womanhood, along with multiple cultural symbols (e.g. flower garland, peacock
224:
as Das intertwines love and nature to explore the critical and complex aspects of life. Although these poets have had a significant influence on
Banalata Sen, there is a unique modern style of poetry throughout the 31 poems as Das develops images by turning and molding the images. It is further
228:
The poems contained in the later version of
Banalata Sen (book) have been tied to Das' return to his alma mater throughout 1932 to 1946 after being let go from the Calcutta City College. During that period Das isolated himself as the controversy he dealt with after publishing
225:
explored how the elements of nature that are seen as rotten or revolting are incorporated when Das writes
Banalata Sen as he can see the beauty that underlines every aspect of nature. As a result, context is understood as having a significant influence in Das’ poetry.
502:
Banalata sen has had a profound impact upon the poetry world as it guided the path for modern poets. This is because Das' style of chitrarupmay (Bengali word for imagery) and element of turning and moulding images have been adopted by poets and artists like
494:
contortions." This is further emphasised by Das' use of the word "yet," which "serves as a bridge between his agony over the state of mankind at the moment and his firm faith in the ultimate freedom he obtains from it."
241:
Banalata Sen was the third of seven published poetry volumes during Das’ lifetime. This volume is named “” after Das’s most popular poem, which explored human fulfillment through the personification of a
421:
belief system has an impact on this volume, as Tarun Gupta's analysis of the protagonist's journey in
Banalata Sen evaluates that the traveler is travelling during “the reign of the Emperor Bimbishar…
751:
515:
Composers have set this volume of poetry to music and Bengali directors have sourced their film plotline from these poems. A variety of adaptation/appropriations are listed below:
803:
258:), in the same year as his father’s passing. This publication contained 12 poems and the cover was illustrated by Sambhu Shaha. The second publication was during
441:
According to Ramona L. Ceciu and the Journal of Asian studies, the Banalata Sen volume commonly explores the passage of time, love, liberty and loss.
176:(1899–1954). The volume reflects the contextual struggles experienced by the poet in terms of love (his partner, admiration of nature), liberty (
203:(1952 AD). There is a variation in the poems within the volume as the later version contains poems that were written from 1942 to 1946.
844:
L Ceciu, Ramona (2013). "The Architectonics of Corporeal and Textual Selves: From Durga Via Banalata Sen to the Virtual Indian Woman".
184:
caste woman. This pattern of progressively exploring human fulfillment through hyperbolising a character is common within this volume.
1104:
579:
Mehedi Hasan, Sheikh (2012). "Using Poems of Jibanananda Das and Rabindranath Tagore in Language Classrooms of Bangladesh".
1258:
1014:
Saurav, Sengupta; Sengupta, Papri. "Baudelaire and Jibananda Das: Consciousness of the 'Other' in Pain andContortions".
1243:
1233:
133:
463:
Das' admiration for nature and the symbol of feminine mystery explores the conceptual theme of love in this volume.
1268:
1097:
968:
Ara Geeti, Jebun (2009). "Reflecting poets of nature:A study between William Wentworth and Jibananda Das".
120:
1263:
1253:
1248:
250:
The volume has been formally published twice during Das’ lifetime. The first publication was during
1090:
605:
Mathai Karimpumannil, George (1992). "Modern Indian Literature, an Anthology: Surveys and poems".
1238:
890:
451:
282:
The latest version of Banalata Sen includes the following poems and their translated name are:
706:
687:
558:
enlarged edition of Banalata Sen won an award at the Nikhil Banga Rabindra Sahitya Sammelan.
270:. This version was an enlarged version containing 31 poems and the cover was illustrated by
233:(At the Camp) in Sudhindranath Dutta's Porichoy magazine influenced him to turn to secrecy.
216:
Jibananda Das’s composition of Banalata Sen has been influenced by the quintessential poets
8:
1067:"Banalata Sen | Soumitra Chattopadhyay | Collection of Jibanananda Das's famous poetries"
545:
video recitation of poems from the Banalata Sen series titled “Banalata Sen”.(recitation)
542:
394:
217:
662:
263:
255:
221:
200:
192:
140:
128:
1133:
853:
654:
169:
161:
73:
1113:
173:
35:
931:
Chowdhury, Faizul Latif (2009). "Temporality in the Poetry of Jibanananda Das".
804:"Bengali poet Jibanananda Das took over Tagore's legacy by not trying 'too hard"
728:
645:
M Lago, Mary; Gupta, Tarun (1965). "Pattern in the Imagery of Jibanananda Das".
1066:
857:
1227:
1162:
528:
522:
504:
414:
1197:
1190:
555:
535:
286:
271:
267:
230:
116:
63:
24:
994:
The Argumentative Indian. Writings on Indian Culture, History and Identity
1211:
177:
147:
488:
666:
473:
406:
871:
Das, Sisir Kumar (2002). "Introduction". In Chaudhuri, Sukanta (ed.).
1204:
911:
Bakhtin, Mikhail (1990). Holquist, Michael; Liapunov, Vadim (eds.).
658:
539:
upon a notion of multiple narratives within a single visual text.”
426:
418:
410:
1082:
1071:
430:
405:
The major contextual influences of this volume are Das’ life in
913:
Art and Answerability. Early Philosophical Essays by M.Bakhitin
422:
259:
243:
196:
181:
1036:
Dalmia, Yashodhara (2001). "A Passion for the Human Figure".
950:. Translated by Stambaugh, Joan. University of Chicago Press.
251:
188:
141:
976:. Institute of Bangladesh Studies Rajshahi University: 7–15.
519:
Bengali short film, “Banalata Sen” by Box Office Creation.
808:
358:
Hajar Bochor Sudhu Khela Kore (playing for a 1000 years)
187:
During Das's lifetime Banalata Sen was published during
489:
Loss (sense of direction after traumatic contortions)
604:
466:
707:"Jibanananda Das: A journey through his literature"
373:Aghran Pranthorey (End of the month of Aghrahayan)
1038:The Making of Modern Indian Art: The Progressives
1225:
510:
168:) is a poetry volume containing 31 poems by the
970:Journal of the Institute of Bangladesh Studies
383:
206:
1098:
1018:. Tezpur: Kaliabor College. pp. 268–280.
355:Sheerisher Dalpala (branches of Shirish tree)
578:
274:. This is the latest version of the volume.
873:In A Certain Sense: Poems by Jibananada Das
726:
644:
1105:
1091:
1013:
525:painting “Kallolini Tilottoma”(adaptation)
479:
996:. London: Penguin Books. pp. 50–220.
967:
945:
930:
704:
352:Dhan kata hoi geche (The Harvest is Over)
277:
1050:
910:
843:
727:Begum Aktar, Kamal (October 28, 2018).
400:
1226:
1035:
1031:
1029:
1027:
1025:
992:Sen, Amartya (2005). "Women and Men".
963:
961:
959:
957:
888:
884:
882:
839:
786:
1086:
1009:
1007:
1005:
1003:
987:
985:
983:
926:
924:
922:
906:
904:
837:
835:
833:
831:
829:
827:
825:
823:
821:
819:
782:
780:
722:
720:
705:Al Mahmud, Hasan (October 23, 2019).
640:
915:. Austin: University of Texas Press.
746:
744:
742:
682:
680:
678:
676:
638:
636:
634:
632:
630:
628:
626:
624:
622:
620:
600:
598:
596:
594:
574:
572:
123:, 2000. English translation edition)
1112:
1022:
1016:Comparative Literature: An Overview
991:
954:
879:
870:
801:
789:Jibanananda Das - Naked Lonely Hand
768:
13:
1000:
980:
919:
901:
816:
777:
717:
472:he has for the flora and fauna in
388:
298:Ami Jodhi Hotham (If I were to be)
14:
1280:
889:Luthra, Ramesh (March 18, 2007).
752:"Famous Poems of Jibanananda Das"
739:
673:
617:
591:
569:
467:Love for nature (flora and fauna)
292:Kuri Bochor Pore (After 20 years)
1174:Jibanananda Das - Kabya Sangraha
376:Poth Hatha (Walking on the road)
343:Shopner Dhwonira (Musical Dream)
1059:
1044:
939:
864:
802:Das, Tina (February 17, 2022).
795:
773:(in Bengali). Dey's Publishing.
875:(2 ed.). Sahitya Akademi.
762:
698:
688:"South Asian arts: Literature"
236:
211:
1:
791:. London: Anvil Press Poetry.
562:
511:Appropriation and adaptations
83:Love, nature, time, loss etc.
1055:. University of Texas Press.
647:The Journal of Asian Studies
119:1952 edition), 44 (Calcutta
7:
1259:Bengali-language literature
384:Analysis and interpretation
207:Composition and publication
10:
1285:
1040:. Oxford University Press.
946:Heidegger, Martin (2002).
607:New Delhi: Sahitya Akademi
364:Mithvarshon (Sweet rhythm)
1244:Indian poetry collections
1182:
1120:
1051:Bakhtin, Mikhail (1990).
933:Poetry of Jibanananda Das
858:10.4312/as.2013.1.1.65-90
549:
497:
436:
361:Suranjana (a female name)
325:Shudorshona (Goodlooking)
165:
139:
127:
111:
103:
95:
87:
79:
69:
59:
51:
41:
31:
21:
1234:Works by Jibanananda Das
769:Das, Asokananda (1957).
334:Shyamoli (a female name)
480:Romantic/spiritual love
458:
444:
346:Amake Tumi (You for me)
295:Hawar rat (Windy Night)
262:, 1952 AD (1359 in the
23:1952 cover designed by
1269:Bengali-language books
452:Faizul Latif Chowdhury
367:Sabita (a female name)
331:Kamalalebu (An Orange)
278:Contents of the volume
254:, 1942 AD(1349 in the
1053:Art and Answerability
543:Soumitra Chatterjee's
307:Buno hans (Wild Duck)
787:Winter, Joe (2003).
401:Contextual influence
337:Du-john (Two people)
1075:. 11 February 2017.
891:"Master of imagery"
395:Rabindranath Tagore
340:Abosheshe (Finally)
328:Ondhokar (Darkness)
304:Hai Chill (Oh Kite)
218:Rabindranath Tagore
99:Signet Press (1952)
42:Original title
18:
1169:Bela Abela Kalbela
771:Bela Obela Kalbela
711:The Independent BD
316:Shikhar (The Hunt)
301:Ghas (Grass)
16:
1264:1952 poetry books
1254:Bangladeshi books
1249:1942 poetry books
1221:
1220:
1152:Satti Tarar Timir
948:On Time and Being
758:. April 10, 2022.
613:: 71–95, 509–511.
581:Language in India
313:Nogno Nirjon Haat
195:(1942 AD) and in
153:
152:
104:Publication place
60:Cover artist
1276:
1134:Dhusar Pandulipi
1107:
1100:
1093:
1084:
1083:
1077:
1076:
1063:
1057:
1056:
1048:
1042:
1041:
1033:
1020:
1019:
1011:
998:
997:
989:
978:
977:
965:
952:
951:
943:
937:
936:
928:
917:
916:
908:
899:
898:
886:
877:
876:
868:
862:
861:
841:
814:
813:
799:
793:
792:
784:
775:
774:
766:
760:
759:
748:
737:
736:
729:"Jibannanda Das"
724:
715:
714:
702:
696:
695:
684:
671:
670:
642:
615:
614:
602:
589:
588:
576:
393:As described by
319:Horninera (Deer)
264:Bengali calendar
256:Bengali calendar
201:Bengali calendar
193:Bengali calendar
167:
143:
121:Writers Workshop
19:
15:
1284:
1283:
1279:
1278:
1277:
1275:
1274:
1273:
1224:
1223:
1222:
1217:
1178:
1157:Sreshtha Kabita
1116:
1114:Jibanananda Das
1111:
1081:
1080:
1065:
1064:
1060:
1049:
1045:
1034:
1023:
1012:
1001:
990:
981:
966:
955:
944:
940:
929:
920:
909:
902:
887:
880:
869:
865:
842:
817:
800:
796:
785:
778:
767:
763:
750:
749:
740:
725:
718:
703:
699:
686:
685:
674:
659:10.2307/2051109
643:
618:
603:
592:
577:
570:
565:
552:
529:Sanatan Dinda’s
523:Sanatan Dinda’s
513:
500:
491:
482:
469:
461:
447:
439:
403:
391:
389:Style of poetry
386:
379:Tomake (To you)
289:(a female name)
280:
239:
214:
209:
174:Jibanananda Das
36:Jibanananda Das
27:
12:
11:
5:
1282:
1272:
1271:
1266:
1261:
1256:
1251:
1246:
1241:
1239:Bengali poetry
1236:
1219:
1218:
1216:
1215:
1208:
1201:
1194:
1186:
1184:
1180:
1179:
1177:
1176:
1171:
1166:
1159:
1154:
1149:
1144:
1137:
1130:
1124:
1122:
1118:
1117:
1110:
1109:
1102:
1095:
1087:
1079:
1078:
1058:
1043:
1021:
999:
979:
953:
938:
918:
900:
878:
863:
815:
794:
776:
761:
738:
716:
697:
672:
653:(4): 637–644.
616:
590:
567:
566:
564:
561:
560:
559:
556:Signet Press’s
551:
548:
547:
546:
540:
536:Arpita Singh's
533:
532:feather etc.)”
526:
520:
512:
509:
499:
496:
490:
487:
481:
478:
468:
465:
460:
457:
446:
443:
438:
435:
402:
399:
390:
387:
385:
382:
381:
380:
377:
374:
371:
368:
365:
362:
359:
356:
353:
350:
347:
344:
341:
338:
335:
332:
329:
326:
323:
320:
317:
314:
311:
308:
305:
302:
299:
296:
293:
290:
279:
276:
238:
235:
213:
210:
208:
205:
151:
150:
145:
137:
136:
131:
125:
124:
113:
109:
108:
105:
101:
100:
97:
93:
92:
89:
85:
84:
81:
77:
76:
71:
67:
66:
61:
57:
56:
53:
49:
48:
43:
39:
38:
33:
29:
28:
22:
9:
6:
4:
3:
2:
1281:
1270:
1267:
1265:
1262:
1260:
1257:
1255:
1252:
1250:
1247:
1245:
1242:
1240:
1237:
1235:
1232:
1231:
1229:
1213:
1209:
1206:
1202:
1199:
1195:
1192:
1188:
1187:
1185:
1181:
1175:
1172:
1170:
1167:
1165:
1164:
1163:Rupasi Bangla
1160:
1158:
1155:
1153:
1150:
1148:
1145:
1143:
1142:
1138:
1136:
1135:
1131:
1129:
1126:
1125:
1123:
1119:
1115:
1108:
1103:
1101:
1096:
1094:
1089:
1088:
1085:
1074:
1073:
1068:
1062:
1054:
1047:
1039:
1032:
1030:
1028:
1026:
1017:
1010:
1008:
1006:
1004:
995:
988:
986:
984:
975:
971:
964:
962:
960:
958:
949:
942:
934:
927:
925:
923:
914:
907:
905:
896:
892:
885:
883:
874:
867:
859:
855:
851:
847:
846:Asian Studies
840:
838:
836:
834:
832:
830:
828:
826:
824:
822:
820:
811:
810:
805:
798:
790:
783:
781:
772:
765:
757:
756:Poet and Poem
753:
747:
745:
743:
734:
730:
723:
721:
712:
708:
701:
693:
689:
683:
681:
679:
677:
668:
664:
660:
656:
652:
648:
641:
639:
637:
635:
633:
631:
629:
627:
625:
623:
621:
612:
608:
601:
599:
597:
595:
586:
582:
575:
573:
568:
557:
554:
553:
544:
541:
537:
534:
530:
527:
524:
521:
518:
517:
516:
508:
506:
505:Sanatan Dinda
495:
486:
477:
475:
464:
456:
453:
442:
434:
432:
428:
424:
420:
416:
415:individualism
412:
408:
398:
396:
378:
375:
372:
370:Shor Chethona
369:
366:
363:
360:
357:
354:
351:
348:
345:
342:
339:
336:
333:
330:
327:
324:
321:
318:
315:
312:
309:
306:
303:
300:
297:
294:
291:
288:
285:
284:
283:
275:
273:
269:
265:
261:
257:
253:
248:
245:
234:
232:
226:
223:
219:
204:
202:
198:
194:
190:
185:
183:
179:
175:
171:
163:
159:
158:
149:
146:
144:
138:
135:
134:9788175957329
132:
130:
126:
122:
118:
114:
110:
106:
102:
98:
94:
90:
86:
82:
78:
75:
72:
68:
65:
62:
58:
54:
50:
47:
44:
40:
37:
34:
30:
26:
20:
17:Banalata Sen
1191:Banalata Sen
1173:
1168:
1161:
1156:
1151:
1147:Mahaprithibi
1146:
1141:Banalata Sen
1140:
1139:
1132:
1127:
1070:
1061:
1052:
1046:
1037:
1015:
993:
973:
969:
947:
941:
932:
912:
894:
872:
866:
852:(1): 65–90.
849:
845:
807:
797:
788:
770:
764:
755:
733:Author World
732:
710:
700:
691:
650:
646:
610:
606:
584:
580:
514:
501:
492:
483:
470:
462:
448:
440:
404:
392:
287:Banalata Sen
281:
272:Satyajit Ray
268:Signet Press
249:
240:
227:
222:Nazrul Islam
215:
191:1349 of the
186:
157:Banalata Sen
156:
155:
154:
117:Signet Press
64:Satyajit Ray
45:
25:Satyajit Ray
1128:Jhara Palok
895:The Tribune
322:Beral (Cat)
237:Publication
212:Composition
178:World War I
1228:Categories
692:Britannica
563:References
474:Bangladesh
349:Tumi (You)
310:Shonkomala
52:Translator
1205:Akashlina
166:বনলতা সেন
96:Published
46:বনলতা সেন
587:: 38–44.
427:Vidarbha
419:Hinduism
413:and his
411:religion
409:Bengal,
148:49538244
70:Language
1121:Volumes
1072:YouTube
667:2051109
431:Vidisha
170:Bengali
162:Bengali
80:Subject
74:Bengali
55:Various
665:
550:Awards
498:Legacy
437:Themes
260:Srabon
244:vaidya
231:Camp'e
197:Srabon
182:vaidya
91:poetry
32:Author
1198:Campe
1183:Poems
663:JSTOR
423:Ashok
407:rural
266:) by
252:Poush
199:1359
189:Poush
172:poet
112:Pages
107:India
88:Genre
1212:Bodh
459:Love
445:Time
433:''.
429:and
220:and
142:OCLC
129:ISBN
115:49 (
854:doi
809:MSN
655:doi
1230::
1069:.
1024:^
1002:^
982:^
974:32
972:.
956:^
921:^
903:^
893:.
881:^
848:.
818:^
806:.
779:^
754:.
741:^
731:.
719:^
709:.
690:.
675:^
661:.
651:24
649:.
619:^
609:.
593:^
585:12
583:.
571:^
507:.
425:…
164::
1214:"
1210:"
1207:"
1203:"
1200:"
1196:"
1193:"
1189:"
1106:e
1099:t
1092:v
935:.
897:.
860:.
856::
850:1
812:.
735:.
713:.
694:.
669:.
657::
611:1
160:(
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.