Mamun Rashid: A snapshot of Durbar

Bengal shepherd

Amiya Chakraborty in his article ‘Critic’s Speculation’ says, ‘Identification work cannot be left out. Who is the man?—If it may be said that the button of his coat is unbearable; His father is not a good man; In the empty gaze of his eyes, — in the sense of ’empty’ Charbbak darshan—; I learned from reliable sources that the next day he dreamed of three Freudian horses…, then the question remained empty. I asked for his identity, not the oblique view of facts, nor theory.’ There is nothing wrong with human being. It is easy to understand the importance of relationships in old age if you know many people. It is difficult to say when and how he met the poet Mamun Rashid. However, before the person met Mamun Rashid, he may have known his name. But sometimes I get confused. Actually no Mamun Rasheed? A banker; A rhyme writer; Or poet, essayist and journalist Mamun Rashid? As a result, the reader has to get a little momentum to know the poet, essayist and journalist Mamun Rashid, that much can be said for sure. Mamun Rashid is a poet, apart from this identity he has written novels, essays, translations, children’s stories and biographies. Did a lot of editing work.

Mamun Rashid—whom I know as a poet. Mamun Rashid is one of the few poets who have been able to leave an important mark in Bengali literature through their works in the first decade of the twenty-first century. His poetry touches the mind of the reader. Moves the reader from the bottom of the heart. I see this poet as a lover—reading his poems makes it clear how romantic he is. Day after day he is just spreading the magic of love. An artist’s job is to awaken people’s minds. Poet Mamun Rashid is doing just that. Poems of the poet should be read only with fascination. Some lines of the poem also surprise me. It seems that this poet is really good at writing poetry. Mamun Rashid’s sense of beauty is also clear. He never exaggerates poetry while writing poetry. Let us, however, read some lines of his poetry—

Liberation, its ceremony with the stream
Comes down and floats here and there, Adiganta.
He is always called the Fountain of Joy
Nothing to call. that gives
The difference between the two is huge.
Why does the river always want to merge into blue,
Why running around, why the desire to be bound in sight.
Why make Sanko every day from inside the house
Would you like to play with a lot of hard work?
(Mukti: I am your rough book)

This evening is like a law and a fierce siren
Defy all rules and shake the whole city
The first kiss you painted on the cheek of Anavyas,
He also has to be removed by rubbing the nails.
(Memory: I am your rough book)

Poetry is not the hand of a boy who wished it; For this one has to do penance. You have to burn yourself to the embers and make yourself pure. Only then is it possible to catch the true love or philandering of this social state. Simple people called poets have to gain experience by poking around in every nook and cranny of society. That’s not the only way poetry is made. And there are signs of those signs in poet Mamun Rashid’s poetry. When he says in the poem, slogans are painted on the walls of division. It is this difference that tears us apart. What makes us different from one another. The society is also teaching loneliness today. The poet’s poems are like a real life document. He is not willing to say anything fabricated. The English poet Coleridge while defining the difference between prose and verse said, ‘Prose is the well-ordered arrangement of words and verse is the inevitable arrangement of well-suited words. Verbal vehicles, words are idiosyncratic, words are connotative, figurative and consonant. When these words are melted into emotion, the emotion vibrates in unalterable language in a fluent stream in lyrical swoon, then literature becomes poetic.’ Poet Mamun Rashid’s poetry has become a poem by capturing that beauty—

I looked at the alphabet, love or not, I didn’t understand.
The charm of the first sight was driven away and returned.
That ray, I didn’t want to be lost, touching you
It will be seen, in your endless vitality
Fountains of sorrow and joy
(Alphabet: I’m your damn book)

No matter how twisted the memory
Loudly break out of your attitude
Maybe a child running around with a book in hand
Will cover any gloomy afternoon.
(I’m supposed to remember you: I’m your rough book)

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I have become earthworms from bowing down
I have become a worm to lose
I was scared to death
After wearing the mask, I got goosebumps.
(Curse: I’m your damn book)

The poet always has to walk behind the poetry – he has to run into the face of the goddess of poetry. This poet’s instinct gives birth to poetry. The poet is stubborn, he will visit the face of the goddess of poetry. Why should the poet accept the control of life? He raised his sword against all injustice. Many seek God in different ways, in different ways. But the poet is directly looking for God in his poetry. This is how the poet gives birth to poetry with various pains in his heart. There is no doubt that poet Mamun Rashid is a worthy poet in all respects.

Mamun Rasheed, with his long writing experience, has been able to create uniqueness in essays. He always writes from a good point of view. Don’t write essays for someone’s pleasure or petty interests. He has written—and continues to write—a great deal about the literary works of the living and the dead. Today we work a lot to keep others happy but Mamun Rashid’s actions are self-motivated. In the last twenty-five years, he has made his position mature by writing on various topics in the main Bengali language dailies and small papers of Bangladesh and West Bengal, India. Fluency in both prose and verse helped him reach the reader. By regularly sub-editorial writing in newspapers on contemporary issues, he proved that even a poet-writer has something to say.

Mamun Rashid also writes on various topics. Through his columns, he also revealed the crisis and possibilities before the society and the state to the reader. As with the world of art and literature, he is easy and comfortable in the sub-editorial writing of newspapers. There is no doubt in his composition. The language and feel of his prose is simple. One does not have to be fast to understand. He is always working on something new. Mamun Rashid also worked on the liberation war. As he has done the work of writing the history of the liberation war at the district level, he has also shown sincerity in bringing out the history of the marginal stage of the liberation war. Realizing the importance of preserving the memory of the freedom fighters in order to complete the history of the liberation war, he has come forward to preserve the memoirs of the marginalized freedom fighters. He is not interested in doing any work without working hard and relying on other people’s information. He is always interested in finding the essence of people.

I once asked Mamun Rashid, ‘You have written biographies of many people – DeRozio, Nelson Mandela, Mother Teresa, Begum Rokeya, Hitler, Bangabandhu Sheikh Mujibur Rahman – what is the reason behind working on the biographies of these great people?’ In response, he said, ‘Since childhood, I like to read biographies of famous people. Interviews, autobiographies and history were later added to my reading preferences. I try to find biographies of famous people. Such books and writings are at the forefront of my favorite list. When I worked on writing a biography of a famous person; Then there was the interest and invitation of my publishing friends behind him, so was my liking, love, respect and, above all, interest in knowing about them. I have had the opportunity to read books written by people who have worked with them. I have learned unknown information, I have learned about the growth of a person, their education, sacrifice, love for people behind becoming an ideal.

Mamun Rashid writes essays with a kind of investigative thirst. This is possible because of his profession. Because journalists have to be thirsty; Otherwise they cannot discover the writings or any sources. That is why, with the desire to know the unknown or to know the unknown, Mamun Rashid has been writing day after day to know the unknown, to know or inform the unknown beyond his limits. This frenzy of creation will hopefully make him brighter and brighter. Mamun Rashid’s literary work is such a light, which guides us to find the light, not plunge us into the dark hole. He is a mirror of Durbar, the light that does not disappear but illuminates the surroundings and leaves its rays.