Author, Journalist of Bangladesh, Poet

A Biography of Shamsur Rahman

Biography of Shamsur Rahman

Bangladeshi poet, columnist and journalist 

(23 October 1929 – 17 August 2006)

There is a saying that if the Irish city Dublin is ever lost, it can be rebuilt all over again from James Joyce’s short story compilation, “Dubliners”. The same can be said of Shamsur Rahman’s poetry. If any evil force destroys the history of nationalist and democratic struggle of Bangladesh, it is possible to conjure it up from his outstanding poems. His creations have been tangled with the country’s history so strongly that they have given this nation a poetic identity.

In the true sense of Bangla poetry, in attire and hope, in temperament and contemplation, there are individuals who, with modernity in hand, have excelled in the relentless pursuit of poetry; one such poet is Shamsur Rahman. He stands alone as a poet, unblemished and unchallenged. 

With the aim of creating a synthesis of both national and global dimensions in modern Bengali poetry, his verses have touched the expansive sky of Bengali creativity. In his era, Bengali poetry has reached such heights that every poetry enthusiast would acknowledge – Bengali poetry now stands at par with the most enriched poems of other languages worldwide. 

Early life & Background

On 23rd October, 1929 Shamsur Rahman was born to Mukhlesur Rahman Chowdhury and Amena Khatun at 46 Mahut-Tuli, Dhaka, in his grandfather’s house. His family’s ancestral home is located on the banks of the river Meghna in a village called Paratoli, near the Raipura thana of Narsingdi district. He was the third child among thirteen siblings. 

In 1945, Shamsur Rahman completed his Matriculation from Pogose School in Old Dhaka. In 1947, he passed the I.A. examination from Dhaka Intermediate College. Although he enrolled in English at the University of Dhaka, he did not take the final examinations. He completed his B.A. in the pass course and secured the second position in the second division in the M.A. (Preliminary) examination in English literature. However, he did not participate in the final part of the examination. 

In his leisure time following matriculation, Shamsur Rahman delved into Rabindranath Tagore’s collection of short stories, Golpoguchchho. These narratives captivated him, unveiling the extraordinary world of Bengali literature. Already engaged in poetry since the age of eighteen, Shamsur Rahman saw his poem ‘Unissho Unoponchash’ (Nineteen Forty-nine) published in Sonar Bangla (Golden Bengal) in 1949, edited by Nalinikishore Guha at that time. While still a university student, five of his poems found a place in Natun Kavita (New Poems) in 1950, an anthology featuring thirteen young poets, edited by Ashraf Siddiqui and Abdur Rashid Khan. This marked the initiation of his poetic prowess, drawing the attention of literary intellectuals

While writing about his school days and friends from childhood, Shamsur Rahman mentioned, “Among a total of eight students in the school, there were not more than ten Muslim students.” Many of them, including him, lost their way during adolescence, scattering across different parts of the country. Later in college, he became acquainted with Zillur Rahman, who would become a popular leader and eventually the President of Bangladesh Awami League. Zillur Rahman approached Shamsur Rahman and asked, “Do you write?” Surprised, Shamsur Rahman replied, “No.” Zillur Rahman sat beside him and said, “Seeing you, it seems like you engage in writing. Why don’t you write?” Zillur Rahman took Shamsur Rahman to his dormitory, and from that moment, the idea of writing started lingering in Shamsur Rahman’s mind. Before that, he had never thought about writing.

In 1953, a literary festival took place in Santiniketan, where a five-member team of litterateurs represented East Bengal, and Shamsur Rahman was among them. A detailed account of the festival revealed that it provided a unique experience for the young poet. The festival drew inspiration primarily from Annadashankar Roy, with pioneers such as Vice Chancellor Rathindranath Tagore, Ashokvijoy Raha, Surojit Dasgupta, and Gouri Dutta (later Gouri Ayub). Other notable attendees included Buddhadev Basu, Protiva Basu, Ajit Dutta, Ammlan Dutta, and Naresh Guha. The friendship and warmth among these literary figures deeply impressed Shamsur Rahman. In 1955, a literary conference titled ‘Purba Pakistan Sahitya Sammilan’ took place in Dhaka. This conference featured several poets from West Bengal, including Narendra Dev, Radharani Devi, Subhash Mukhopadhyay, Debiprasad Chattapddhay, and Shantiranjan Bandyopadhyay, as well as Jasimuddin. 

Career in Journalism

Shamsur Rahman began his professional journey as a co-editor at the English daily Morning News in 1957. Subsequently, he left this position and joined the Dhaka center of Radio Pakistan. However, he returned to Morning News in 1960, remaining there until 1964. Following the liberation of Bangladesh, he contributed columns to the daily Dainik Bangla. In 1977, he assumed the role of editor for Dainik Bangla. Additionally, he served as the co-editor of Bichitra, a weekly publication since 1973. During President Ershad’s tenure, Rahman became entangled in internal conflicts at Dainik Bangla. A new position of ‘Chief Editor’ was introduced to strip him of his top executive role and executive powers. In protest against this injustice, he departed from the daily in 1987. Rahman also served as the editor of the monthly literary magazine Adhuna for two years starting in 1986, and as the chief editor of the weekly Muldhara in 1989. Furthermore, he had contributed as one of the editors for Kobikantha, an irregular poetry magazine, in 1956.



In the 20th century’s third decade, after the five great poets of the 1930s, he emerged as the foremost figure in modern Bengali poetry. Only in Bangladesh, poet Al Mahmud and in West Bengal, poet Shakti Chattopadhyay, towards the end of the 20th century, could be compared to the distinctive poetic talent that Shamsur Rahman exhibited. The encounter with modern poetry and the emergence of international-modern consciousness took place in 1949, and his first published poem appeared in the weekly “Sonar Bangla” in the same year. Shamsur Rahman has contributed to various newspapers with editorial and editorial articles, including Sindabad, Chokhushman, Lipikar, Nepatye, Janantike, and Mainak. Under the pseudonym “Majlum Adib,” he printed poems in a literary magazine in Kolkata under the control of the Pakistan government, which was criticized by prominent Bengali literary critic Abu Sayeed Ayyub. 

Rahman penned the poem “Aar Jeno Na Dekhi” much before the momentous day of 21 February 1952, yet it was included along with ten other poems in the historic compilation “Ekushey February” edited by Hasan Hafizur Rahman. The poem made a forecast about the Language Movement.

Shamsur Rahman expressed his dissent against the autocrat Ayub Khan in 1958 by ridiculing him. In 1958, he wrote the poem “Hathir Shur” in the contemporary magazine edited by Sikander Abu Jafar. When Sheikh Mujibur Rahman, the undisputed leader of Bangladesh, was imprisoned, Shamsur Rahman wrote an extraordinary poem titled “Telemecus” (1966 or 1967).

On June 22, 1967, when the then Information Minister of Pakistan banned the broadcast of Rabindra Sangeet on Radio Pakistan, Shamsur Rahman, who was then working for the government-controlled newspaper Daily Pakistan, signed a statement in favor of Rabindra Sangeet without expressing professional uncertainty, following the lead of other poets like Hasan Hafizur Rahman, Ahmed Humayun, and Fazl Shahabuddin.

In 1968, Ayub Khan proposed introducing different Roman scripts for all languages in Pakistan, and in response, 41 poets, journalists, writers, intellectuals, teachers, and cultural workers, including Shamsur Rahman, issued a statement against it. Infuriated, the poet wrote a heartbreaking poem titled “Barnamala, Amar Dukhini Barnamala.”

In January 1969, when a flag was made with the blood-soaked shirts of the martyred Asad in front of a gathering in Gulistan, Shamsur Rahman mentally reacted to the emotionally charged atmosphere, creating the poem “Asader Shirt.”

On November 28, 1970, amidst the devastating cyclone in the southern region, where countless people were facing distress and death, Shamsur Rahman wrote the poem “Asun Amra Aaj O Ekdin Jeley,” expressing deep empathy for the suffering.

In 1971 during the freedom movement, Shamsur Rahman took his family and moved to Paratoli village in Narsingdi. His best-known poems, ‘Swadhinota tumi’ (“You, Freedom”), and “Tomake Paoar Jonyo, Hey Swadhinata’ (To win you, Freedom) were composed during the height of the war for independence from Pakistan.

Following the brutal assassination of Bangabandhu Sheikh Mujibur Rahman and most of his family members, Shamsur Rahman wrote a poignant poem titled “E Lash Amra Rakhbo Kothay”. Subsequently, the first poetry compilation protesting the assassination of the Father of the Nation was published in 1978 with the same title.

Moreover, his poem “Electrar Gaan”,” included in “Ikaruser Akash”, expressed mourning for Bangabandhu’s death from his daughters’ perspective, veiled in the grief of Electra following her father Agamemnon’s demise in Greek mythology.

In 1987, following the autocratic rule of Ershad, Shamsur Rahman resigned from the position of the Chief Editor of Daily Banglar Bani. In the subsequent four years, he wrote ‘Shrinkhol Muktir Kobita’ in the first year, ‘Shoiracharer Biruddhe Kobita’ in the second year, ‘Shampradayikotar Biruddhe Kobita’ in the third year, and ‘Shontraser Biruddhe Kobita’ in the fourth year.

In 1991, after Ershad’s fall, he wrote ‘Gonotontro’r Pokkhhe Kobita’ (Poems for Democracy). Shamsur Rahman’s writings were consistently imbued with non-communal consciousness and unending compassion for humanity.


  • Prothom Gan Ditio Mrittur Age (1960)
  • Roudro Korotite (1963)
  • Biddhosto Nilima (1967)
  • Niralokay Dibboroth (1968)
  • Neej Bashbhumay (1970)
  • Bondi Shibir Theke (1972)
  • Dusshom
  • Tableay Applegulo Heshe Othay (1986)
  • Obirol Jolahromi (1986)
  • Amra Kojon Shongi (1986)
  • Jhorna Amar Angulay (1987)
  • Shopnera Dukray Othay Barbar (1987)
  • Khub Beshi Valo Thakte Nei (1987)
  • Moncher Majhkhanay (1988)
  • Buk Tar Bangladesher Hridoy (1988)
  • Matal Hrittik
  • Hridoy Amar Prithibir Alo (1989)
  • Shay Ak Porobashay(1990)
  • Grihojudder Agae(1990)
  • Khondito Gourob(1992)
  • Dhongsher Kinare Bashay(1992)
  • Akash Ashbe Neme(1994)
  • Uzar Baganay(1995)
  • Asho Kokil Asho Shornochapa
  • Manob Hridoy Naibeddo Shajai
  • Hemonto Shondhay Kichukal(1997)
  • Chayagoner Shonge Kichukkhon
  • Meghlokay Monoz(1998)
  • Shoundorjo Amar Ghore(1998)
  • Ruper Probale Dogdho Shondha(1998)
  • Tukro Kichu Shonglaper Shako(1998)
  • Shopno O Dushshopnay Bachay Achi(1999)
  • Nokkhotro Bajate Bajate(2000)
  • Shuni Hridoyer Dhoni(2000)
  • Hridopodmay Jotsna Dolay(2001)
  • Bhognostupay Golaper Hashi(2002)
  • Bhangachora Chand Mukh Kalo Kore Dhukchay(2003)
  • Ak Phota kemon Onol(1986)
  • Horiner Har(1993)
  • Gontobbo Nai Ba Thakuk(2004)
  • Krishnopokkhay Purnimar Dikay(2004)
  • Gorostanay Kokiler Korun Aaobhan(2005)
  • Andhokar Theke Aloy(2006)
  • Na Bastob Na Dushshopno(2006)

Short stories

  • Shamsur Rahmaner Golpo 


  • Octopus(1983)
  • Adbhut Adhar Ak(1985)
  • Niyoti Montaz(1985)
  • Elo Je Abelay(1994)

Children’s literature

  • Alating Belating(1974)
  • Dhan Bhanle Kuro Debo(1977)
  • Golap Phote Khukir Hatay(1977)
  • Rongdhonur Shako(1994)
  • Lal Fulkir Chora(1995)
  • Noyonar Jonno(1997)


  • Kaaler Dhuloy Lekha
  • Smritir Shohor

Collected columns

  • Akanto Bhaban

Poems in translation

  • Robert Froster Kobita(1966)
  • Robert Froster Nirbachito Kobita(1968)
  • Khawaja Farider Kobita(1968)

Drama in translation

  • William Shakespeare’s Hamlet
  • Uzein O’Neeler Markomilions


  • Uponnyash Shomogro
  • Noyonar Uddeshe Golap
  • Kobitar Shather Gerostali
  • Gorosthane Kokiler Korun Ahban
  • Nirbachito[SR] 100 Kobita
  • Noyonar Jonno Ekti Golap
  • Shera Shamsur Rahman
  • Rongdhonur Sako
  • Shamsur Rahman-er Sreshtha Kobita (1976)
  • Premer Kobita (1981)
  • Shamsur Rahmaner Sreshtho Kobita (from Kolkata) (1985)
  • Shamsur Rahmaner Rajnaitik Kobita (1988)
  • Shamsur Rahmaner Premer Kobita (1993)
  • Shonirbachito Premer Kobita (1993)
  • Nirbachito Chora O Kobita (1996)
  • Kabbyashombhar (1996)
  • Chorashomogro (1998)
  • Prem O Prokitir Kobita (2004)
  • Shera Shamsur Rahman (2004)
  • Shamsur Rahman Kobita Shongroho (2005)
  • Shamsur Rahman Goddo Shongroho (2005)
  • Kobita Shomogro Ak (2005)
  • Kobtia Shomogro Dui (2006)


Children’s Poet

As a poet, Shamsur Rahman was not only renowned for his literary contributions but also for his unparalleled affection towards children. He wrote numerous books specifically for children, totaling in the hundreds. In children’s gatherings, his presence was not just felt; it was a vital part of the event.

He served as the founding mentor of the national children and youth organization, ‘Bangabandhu Shishu Kishore Mela.’ Several years before his passing, he organized birthday celebrations at his residence in Shyamoli, featuring events for the ‘Bangabandhu Shishu Kishore Mela.’ On his birthday, children celebrated, reciting poems that he himself had composed. During these times, he joyously engaged with children, spending time in a lively atmosphere, listening to poems and singing, and even giving autographs. In essence, Shamsur Rahman was a person deeply connected with children.

It is noteworthy that since the establishment of the Bangabandhu Shishu Kishore Mela on August 3, 1990, he actively contributed to various organizational activities, providing guidance and participating in different events, elevating the organization to unparalleled heights.

Translated works

Shamsur Rahman’s translated works form a significant part of his overall poetical output. Among his translations are Eugene O’Neil’s Marco Millions (1967), Robert Frost’s Nirbachita Kavita (Selected Poems) (1968), Khwaja Farider Kavita (Poems of Khwaza Farida) (1969) and Tennessee Williams’ Hridoyer Ritu (Seasons of the Heart) (1971). He did these works at different times at the request of different people. His last work of translation—done after a lapse of nearly two decades—was Shakespeare’s Hamlet.


While the touch of youthfulness resonates with romanticism in his poetry, Shamsur Rahman, born and raised in Dhaka, the capital city, later emerged as a civic-conscious poet with global perspectives. In this direction, he became the first-generation poet of modern Bengali poetry, surpassing the tradition-bound approach of the poets of the 1930s.

Among the poets of the 1930s, Jibanananda Das was somewhat inclined towards tradition, but Buddhadeb Basu, Vishnu De, sudhindranath dutta, and Amiya Chakraborty, prominent poets associated with the contemporary movement, were civic-minded. Shamsur Rahman acknowledged the influence of the poets of the 1930s on his life, stating, “When I started writing poetry, I had no difficulty with Rabindranath’s poetic philosophy. I easily moved beyond Kazi Nazrul Islam too. The struggle that poets of the 1930s faced with Rabindranath, I also had to endure it, especially due to the staunch devotee of Jibanananda Das, although I was a staunch devotee from childhood. His influence, along with two other poets of the 1930s, made it challenging for me. To accept them, I had to go through many struggles.” (Source: “Amar Chaitanya Rabindranath,” Daily Ittefaq, Rabindra Jayanti Issue, 25 Baishakh 1411 Bengali).

In his poetic expressions, Shamsur Rahman successfully combines the depth of emotion with the natural flow of thoughts. This combination captivates the reader, providing an immersive experience. He provides ample room for expansive thoughts in his writings. 

In this manner, the fluidity of emotion is evident in his poems, creating a magnetic appeal that captivates readers. Shamsur Rahman’s poetry consistently features a dynamic pace and a connection with contemporary issues, making it accessible, relevant, and globally engaged. He is indeed a meaningful successor to the poets of the 1930s in modern Bengali poetry.

His poetry effortlessly captures the contemporary socio-political dynamics, echoing with readers. In the ever-changing flow of contemporary events, the poet’s mind remains active, addressing crucial national issues and incorporating everything around him. Shamsur Rahman’s active engagement with the spirit of his time is evident in his poetry, as he dynamically navigates through the intricacies of contemporary political events and uses the latent potential within the citizens to awaken societal consciousness.

Shamsur Rahman’s poetry is characterized by its dependence on nature and vivid imagery, with a central focus on urban life. The disarray of civic life, aspirations, celestial yearnings, and dreams-battles unfold in his poetry as a vibrant spectacle. He captures the hustle and bustle of the city and the essence of various locations, where those who bring words from the tumult of the city to give special meaning to poetry have been prominently led by Shamsur Rahman.

Although he is a leading figure among urban poets, there is no reason to confine his poetic talent within the walls of civic life. Despite being a poet of the city, his entire poetic ideology is universal. His poetry brings the beauty of the homeland and society closer to perfection. In his national and societal vision, he actively utilizes contemporaneity. It can be said that he is a torchbearer of contemporaneity.

Towards the end of the 1950s, a new genre of poetry emerged in the hands of the poets of the 50s, known as “Self-Biographical Proclamatory Poetry.” In this type of poetry, the poet establishes himself as the center of the poem and becomes the subject of the poem in a direct manner. This trend continues in Bengali poetry. While prominent poets of West Bengal, such as Shakti Chattopadhyay, Binoy Majumdar, Sunil Gangopadhyay, played a leading role in this, in Bangladesh, the poet Shamsur Rahman stands out in this regard. 

In the later part of poet Shamsur Rahman’s life, a significant transformation is observed in his poetry, marking a departure towards a more experimental era. During this period, he adopted the technique of “tana gadda” in the construction of his poems, emphasizing the physical aspect of poetry. Breaking free from the rigid constraints of meter, his poetry blossomed into a playful realm of words. Through skillful use of evocative phrases, he constructed the external structure of poetry, establishing himself in a position opposite to the established norms. However, even before this, a shift in the position of his poetry was noted in terms of poetic elements and the use of linguistic strategies.

Nevertheless, his poetry has a self-assuredness and self-creation that shines brightly in independence. Poetry, until its end, is considered an art form. Just as a canvas comes to life under the skilled touch of a painter, Shamsur Rahman’s poetry has emerged as a lively creation of imaginative possibilities, driven by the masterful touch of his creativity. Shamsur Rahman’s primary and unique association in his life was with poetry, and he was deeply committed to it. He elevated life through poetry. Shamsur Rahman’s evaluation has been articulated by the distinguished intellectual and professor Khan Sarwar Murshid as follows: “Any great poet transcends the established order, and whether society fully accepts him until the end is a question that arises. Despite the complex relationship of love and rejection by society, Shamsur Rahman is the poet whose voice resonates most deeply in the burning, restless hearts of the people of this land. He has raised himself above the pettiness and limitations of society. Shamsur Rahman’s life is closely connected with his poetry, and through it, he touches the hearts of readers most intimately. On the other hand, he accomplishes another significant task. He is a skillful creator and a sensitive, profoundly prophetic observer of society’s creation and destruction” 

In the words of Shahid Quadri, “There is no subject in human life that Shamsur Rahman has not touched.” Rashid Karim states, “In his writings, just as we find references to Chandidas, Vidyapati, Rabindranath, and Jibanananda Das, we also see explicit mentions of Ghalib, Mir, Daagh, and others. Occasionally, he immerses himself in the mystical temperament of Lalon Shah. For this universality, he is undoubtedly a great and profound poet.”

Shamsur Rahman wrote “Pratidiner Kobita” (Daily Poems). His poetry is not woven around classical metaphors, imaginative fantasies, or abstract forms. Instead, it is born from everyday activities – walking, wandering, returning to rest, or experiencing the pangs of life. Describing Shamsur Rahman’s poetry is somewhat akin to how one might speak about Robert Lowell’s poems, as in “Poetry as Confession”. His confessions revolve around politics, religion, love, sexuality, city life, employment, and family – encapsulating the entirety of human experience.


Poetic Diction

Shamsur Rahman predominantly composed his poems in free verse, frequently utilizing the rhythmic style known as Poyaar or Okhshorbritto. It is widely acknowledged that he adopted this form under the influence of poet Jibanananda Das. Additionally, Rahman explored two other significant Bengali rhythmic styles in his poetry—Matrabritto and Shwarobritto. 

Personal Life

On July 8, 1955, Shamsur Rahman married Johora Begum. The poet had three sons and two daughters. Their names are Sumaira Amin, Faiyaz Rahman, Fauzia Sabrina, Wahidur Rahman Matin, and Sheba Rahman.


On October 23, 2018, Google commemorated Shamsur Rahman posthumously with a Google Doodle on his 89th birthday.

Critical acclaim

Zillur Rahman Siddiqui, a friend and critic, characterizes Shamsur Rahman as someone “deeply rooted in his own tradition.” According to Siddiqui, Rahman “still soaks the language of our times, transcending the limits of geography. In his range of sympathy, his catholicity, his urgent and immediate relevance for us, Shamsur Rahman is second to none.”

Professor Syed Manzoorul Islam echoes similar admiration for Rahman, stating, “It is true he has built on the ground of the 30s poets, but he has developed the ground, explored into areas they thought too dark for exploration, has added new features to it, landscaped it and in the process left his footprints all over.”

Azfar Hussain also praises Rahman’s contributions, noting that “[…] he [Rahman] decisively shapes diction in post-Tagorean and post-Jibananandian Bangla poetry. Also, Rahman offers us the kind of poetry that effectively traverses a wide range of middle-class experiences, while making some politically significant inter-class connections in the interest of animating and inspiring broad-based struggles against oppression and injustice, although his perspective remains inflected by a progressive and robust version of liberal humanism.”

In 1983, renowned Bangladeshi writer Humayun Azad authored a book titled “Shamsur Rahman: Nisshongo Sherpa” (A Lonely Climber), offering a sustained critical analysis of Shamsur Rahman’s poetry.


In recognition of his noteworthy contributions to literature, journalism, and human rights advocacy, Mr. Rahman was honored with many prestigious National and International awards. Some include-

  • Adamjee Award (1962)
  • Bangla Academy Literary Award (1969)
  • Ekushey Padak (1977)
  • Swadhinata Dibosh Award (1991)
  • Nasiruddin Gold medal 
  • Mitshubishi Award of Japan (1992)
  • Ananda Puroshker from India (1994).
  • TLM South Asian Literature Award for the Masters, 2006
  • Jivanananda Award 
  • Abul Monsur Ahmed memorial award

He was honored with the D.Litt degree by Jadavpur University and Rabindra Bharati University in India.


Initially reserved in demeanor, he transformed into an outspoken liberal intellectual during the 1990s, actively opposing religious fundamentalism and reactionary nationalism in Bangladesh. Consequently, he found himself often targeted by both political conservatives and Islamists in the country.

Attempted assassination

On January 18, 1999, there was an attempt on Shamsur Rahman’s life at his residence in Shyamali, Dhaka, by Harkat-ul-Jihad-al-Islami Bangladesh. The assailants, led by Hasan, a student of Dhaka College, tried to behead him with an axe, resulting in serious injuries to his wife. Despite the attempt, Rahman survived the assassination. Assistant Superintendent of Police Abdul Kahhar Akhand from the Criminal Investigation Department filed charges against seven individuals on July 8, 1999. However, on February 12, 2004, the accused attackers were acquitted by Dhaka’s Chief Metropolitan Magistrates Court due to a lack of witnesses. In 2016, there were considerations by Bangladesh police to reopen the case.


In the late 1990s, Shamsur Rahman experienced deterioration in his health, leading to two major cardiac surgeries. Unfortunately, he passed away on August 17, 2006, succumbing to heart and kidney failure after being in a coma for a period of 12 days. He was 76 years old at the time of his demise. According to his wish, he was laid to rest in the Banani Cemetery in Dhaka, beside his mother’s grave.


Shamsur Rahman’s poetry addresses themes of love, humanity, freedom, and human development. It stands against reactionism, religious blindness, and communalism. He actively participated in various movements, starting from the Language Movement in Bangladesh to the anti-autocracy struggle, consistently contributing with his pen and poetic prowess.


Even amid personal losses, such as the deaths of Asad and later Nur Hossain, he continued to create flowing verses. His poetry is simultaneously personal and universal, blending lyricism with epic grandeur. Shamsur Rahman is considered a symbol of modernity in Bengali poetry, embodying individualism, non-attachment, pluralism, and an undying enthusiasm.

Shamsur Rahman was not only a poet but also a journalist, essayist, novelist, columnist, translator, and lyricist. From the 1950s to well beyond the 1960s, he dedicated more than six decades to literature, journalism, and cultural activities. He is hailed as the “Poet of Independence” in Bengali literature.

In his poetry, he extensively engages with the idea of independence. He also addresses issues like fundamentalism and religious blindness. His themes include love, betrayal, and universality, which continue to resonate with people of all ages. Shamsur Rahman’s poems on the Bengali struggle for independence and the Liberation War still inspire people across all walks of life. He is regarded as one of the finest poets in the country.

In a world where English holds significant influence, individuals from diverse regions often discover authors and their works through translations. Unfortunately, many translators in our country predominantly focus on rendering the works of renowned figures like Nazrul, Tagore, and Jibanananda Das. It is crucial, however, to shed light on writers like Shamsur Rahman, who remains relatively underrepresented on the international stage. Rahman skillfully encapsulated the profound struggles of the Bangladeshi people, starting with the Language Movement of 1952. His poems vividly portrayed the pre-liberation hardships and post-liberation uncertainties. Beyond his exploration of nationhood, Rahman’s writings also espoused themes of love, beauty, brotherhood, and humanity. It is essential to recognize and promote the literary contributions of such figures who have eloquently captured the essence of historical and human experiences.


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শামসুর রাহমানের কবিতায় সমাজভাবনা : সময়ের ধূসরপট = Syed Taufiq Zuhori

শামসুর রাহমানের রাজনৈতিক দর্শনের সংস্কৃতি = আমিনুর রহমান সুলতান

অপরাজিত শুভবাদের কবি : খান সারওয়ার মুরশিদ। দৈনিক প্রথম আলো, ১৪ এপ্রিল ২০০৩

আমার চৈতন্যে রবীন্দ্রনাথ, দৈনিক ইত্তেফাক, রবীন্দ্র জয়ন্তী সংখ্যা, ২৫ বৈশাখ ১৪১১ বাংলা

দৈনিক ইত্তেফাক, শহীদ স্মৃতি সংখ্যা, ২১ ফেব্রুয়ারি ১৯৮৪

শামসুর রাহমানের রাজনৈতিক কবিতা, প্রথম প্রকাশ : ডিসেম্বর ১৯৮৮

সাহিত্য সাধনার পঁচিশ বছর/ শামসুর রাহমান

নিঃসঙ্গ শেরপা: শামসুর রাহমান/ হুমায়ুন আজাদ,_Shamsur