Once, while poet Nazrul sat idly in his prison cell, a book was handed to him—a play titled “Boshonto”, written by none other than Rabindranath Thakur. As he turned the pages, his eyes landed on a dedication, “Sreeman Kobi Kazi Nazrul Islam” and his heart swelled with joy. Just as it bridged the worlds of these two literary giants, the ‘rituraj’ spring has also woven itself into the verses of many Bangla poets. Some poets paint it as a season of romance, some as melancholy, and for many, it’s a symbol of revolution.
As the first day of the final season of the year unfolds, let’s explore the many shades of spring through the eyes of Bangla poets.
Boshonto as a muse of love
Whether it is romantic love or a love for nature, Bangla poets see spring as a time when emotions are at their peak. Rabindranath Tagore’s poetry book “Sphulinga” and his songs in “Gitabitan” celebrate spring as a time of joy and emotional awakening. His poems like “Aay Re Boshonto”, “Aji Boshonto Jagroto Daare” and songs like “Phagun Hawaye Hawaye”, “Ore Bhai Fagun Legeche Bone Bone” capture the season’s intoxicating charm, where love blossoms with the changing winds.
Similarly, in “Boshonto Mukhor Aji”, Nazrul portrays the season as lively and enchanting, filled with love and beauty in every corner. In “Khopay Shajay Laal Ful” and “Okaal Boshonto” Shamsur Rahman portrays spring as a season of love and creation, bringing bliss even in bleak settings, symbolising renewal and unexpected happiness even in the midst of despair.
Melancholic undertones of Boshonto
Yet, spring is not always about delightful celebration. For some, it is a reminder of what has been lost. In Jibanananda Das’s poetry, spring is shown as a quiet, melancholic presence. As depicted in “Kokhono Sonar Rod” and “Sabita”, nights of Falgun or the winds of Chaitra carry a sense of solitude and emptiness. Mahadev Saha’s spring is a season of contrasts as well—while it brings external beauty to the world, it deepens his inner sorrow and feeling of isolation, as seen in poems like “Ei Chaitre” and “Chaitrer Chithi”. “
In Nirmalendu Goon’s “Boshonto Bandona” and “Amar Boshonto”, colourful portrayal of spring is tied with nostalgia through unsettling imagery of blood, poison and so on. Sukanto Bhattacharya too, depicts spring as an untimely, almost cruel intrusion in his poetry “Aboidho”, contrasting its traditional joy with his life’s despair and unfulfilled dreams.
Boshonto’s spirit of revolution
For the people of Bangladesh, spring is not just a matter of love and loss, it is much more significant. Its flames of youthful defiance find their way into poetic verses. The rebel poet Nazrul in his poem “Falguni” adorns spring with a fiery, revolting force, showcasing the urge to rise against oppression. In “Fagun Raater Phooler Neshay”, Nazrul portrays the destructive yet necessary pursuit for freedom, where the flame represents the fight and hope for a better future.
In this land, spring is political as well. Humayun Azad, in his poem “Fagun Mash” depicted this month as a symbol of resistance, connecting it to the Language Movement of 1952 and the martyrs who ignited the flames of change. Similarly, Shamsur Rahman’s “February 1969” portrays spring as a recurring season of revolt, as its life-affirming spirit aligns with 1969 Mass Uprising. The blazing red petals of Krishnachura echoes the sacrificed blood in his poetry.
A special mention goes to Zahir Raihan’s “Arek Falgun”, though not a poem, but a narrative that echoed throughout the July Revolution, repeatedly offering strength and inspiration to revolutionaries during that period, fueling their resolve to fight for justice with its concluding lines – “Ashche Falgun, amra kintu digun hobo (We will be doubled by next spring).
Through these many voices, spring transcended mere seasons in Bangladesh, it has stitched itself to the very fabric of our identity. So, this year, let us celebrate the season not just for its outward beauty, but as a reflection of ourselves and the values we hold dear.