A magical young man came with a ragged and shabby suitcase in Dhaka on the stroke of auspicious midnight and turned into a poet. As time elapsed, everything in that suitcase flowed like poetry as if Pandora's box had just been opened. As long as the man lived, he kept on giving birth to poetry and thus became the doyen of Bangla poetry forever.
What did he carry in that little basket? According to his statement, he packed all the chirping birds, rivers, boats, trees, and the whole village in that magic container. Dhaka was regarded as a magic city then. The rapidly changing city was becoming cosmopolitan and offering the so-called luxuries and comforts of the 'Dhaka Dream.' Previously, Al Mahmud (11 July 1936 - 15 February 2019), at the age of ten to twelve, faced an arrest warrant (Hoolia) because of writing a poem on Ekushey February probably titled 'Ekusher Feriwala'.
Though lured by the charm of becoming a poet, he chose Dhaka as his poetic hub; he never bid farewell to the pastoral elements incorporating in his poetry. Accordingly, in the 1950s, he started to become known as a poet, and in1960s he was known by everyone in the poetic arena.
Though, at the onset of his poetic journey, he was moved by the emotional and passionate poetry of Kazi Nazrul Islam and Jasimuddin; gradually, the poetry of Jibanananda Das, Buddhodeb Bosu, and Shamsur Rahman impacted his life the most. Yet, as he was maturing, he studied epics like Mahabharata, Ramayana, and some Bengali epic romances that acquainted him with both different techniques and grandeur and fragility of life. But, as a budding poet, he got immense mentoring and inspiration from Ahsan Habib, Sikandar Abu Zafar, and Farrukh Ahmad.
Al Mahmud is famously known as the poet of 'Sonali Kabin'. At the very first sonnet of Sonali Kabin the poet declares the usher of a victorious poet like an injured Achilles. In 'Sonali Kabin-14' the poet announces the gravity and value of the soul in a very aphoristic style as he utters 'with that of the religion of heart no poet does fail'. Al Mahmud knew that he was writing something special and he became captivated and enthralled by his own writing while lettering.
Poet Mahmud created himself a poet in different ways. He, sometimes, chose to employ somewhat odd dictions and distinct word orders to de-familiarize a sentence. Besides, his conscious and dexterous use of Arabic and Parsi words adds queer flavour to his poetry. The exotic term 'Kabin' used in the title itself transports the resonance it creates in the mind of Bengali poem lovers.
On the one hand, Mahmud depicted the rural landscape in an urban tone and format where he does not sketch an idyllic life; rather a life that is full of inner quest and nuances, and on the other hand, he brings forth and introduces many local aspects, objects, and traditions before his valued readers. Unlike Jibanananda Das, his metaphysical images are not that farfetched, and symbols are not so peculiarly demanding; however, they kindle a very renewed and fresh insight.
Al Mahmud believed that poems should not be the outcome of philosophy; instead, ardent readers must squeeze out philosophy from poetry as a by-product. In many interviews, while asked about poet and poetry, he said that a poem is not all about presenting images rather a poet should also seek truth through poetry. Poetry not only talks about a dream, but it also advocates for truth and beauty as Keats famously states in his poem 'Beauty is truth, truth beauty.'
Al Mahmud resorts to defining and deciphering poetry in many of his poems. In his poem 'Obujher Somikoron' he laments that 'in Bengal nobody understands poetry anymore' even ' beautiful Rozena of that hamlet/whose whole body ripples, that girl too/ does not understand poetry'. Al Mahmud loves to portray the landscape of Bengal. In the canvas of his poems, women and nature are integrated intricately. About the content in his poetry, in his poem 'Kobir Bishoy', the poet declares that 'my subject matters are the subject matters of poor farmers...whose subject matter is women... a young full-breasted sweated woman who bends near the paddy of the yard.'
In 'Sonali kabin-10', the poet eloquently elicits and vows that 'our religion be it the equal distribution of wealth', naturally deduces the religious belief of Al Mahmud. Al Mahmud, is believed to be emerged as a 'Socialist' then turns into an ' Islamist' which he always denied. On many an occasion, he argued that he is neither a socialist nor an Islamist. He claims that he is egalitarian in nature and believes in the core spiritualism of Islam. Nonetheless, critics and his many fellow comrades bring forth many concrete examples to prove that. Many insinuate his close connection with the then autocratic president Ershad. But, the truth is that though controversial in his personal life, people from all strata do not doubt his poetic calibre and importance.
As a simple reader of poet Al Mahmud, I could not take my eyes away while delving deep into his poetry. His poetry is modern in outlook, but deep inside, the verses are as simple as a village girl. Lok Lokantor (1963), Kaler Kolosh (1966), Shonali Kabin (1973), Mayabi Parda Dule Utho (1976)--these earlier poetry books will make him immortal in the realm of Bangla poetry though, later on, he penned down many other poetry books. He was also very versatile in writing short stories, novels, and travelogues. I find his short storybook titled 'Pankourir Rokto' is a wonderful and captivating one to read, ruminate and contemplate. His story named 'Jolobesha' shows how brilliant Mahmud is as a storyteller in dealing with the subject matter, using imagery and crafty words.
I remember reading his poems in the school syllabus. His 'Ekusher Kobita' and 'Prottabortoner Lojja' stirred our soul and mind in our juvenile life. I know this article is an injustice to a personality like Al Mahmud and his poetry. Nonetheless, his unelaborated pieces of images tinged with wit and humour, a variety of themes, and his rustic canvas will always force all avid poetry lovers to savour his poetry. He is a poet who predicted and openly declared the 'upcoming victory in poetry' in a famous poem named 'Loklokantor'. It is my firm belief that his poetry will transcend and transgress the literal and metaphysical boundary of nation and imagination.
Ariful Islam Laskar is Assistant Professor, teaches literature in a private university
