Spring in the soul
Dilwar Hasan needs no introduction. Since his teenage life he has been cultivating the cultural field of poetry, short story, recitation and acting. He is an artist of Bangladesh Betar and TV.
After the liberation of Bangladesh, it was Hasan who was the founder and general secretary of the recitation association, Abriti Sangsad, while studying at Dhaka University.
The radio magazine programme 'Darpan' produced by him evoked wide appreciation at home and abroad. His short story and poetry have been highly praised by no less an individual than Syed Ali Ahsan, a well-known intellectual and a connoisseur of criticism in Bengali literature. The late poet Shamsur Rahman eulogised Dilwar Hassan for the book of poem 'Dolaita Brikkher Shabuje'. Selim Al-Din, the prominent dramatist of recent memory, spoke highly of his drama Basanter Dinraat and all his cultural activities. Professor Mobashsher Ali, a renowned critic, was also an ardent admirer of his short stories, poetry and drama.
Drama is a form of art in which the artiste imagines a story concerning persons and incidents, without himself, describing, narrating or exploring what is happening. It is by using words alone that the dramatist creates his imagined characters, incidents in which they are involved in a shaped and purposeful plot and background of place and time in which everything is imagined as occurring.
Conflict is the real truth of drama. But conflict is not only personal criticism. Conflict of different thinking, conflict of opinions and ideals, conflict of interest, relation of individuals to society --- these also have been dealt with in this play.
Basanter Dinraat was first broadcast by Bangladesh Betar and was highly appreciated by all sections of listeners from every nook and corner of the country.
As with radio drama, the performance may be one which can only be heard and not seen; but even then the actors and actresses create the characters and create the incidents by expressing vocally the full significance of the words.
A distinction is sometimes made between drama for sheer entertainment and drama which expresses an insight into life and its problems, at the same time. We find both entertainment and instruction in this drama.
There is something of a lyrical quality about the monologue in this play. Dilwar Hassan has used soliloquy in different scenes with great subtlety and artistic style.
This drama, consisting of nine scenes, comprises six characters --- Bulbul, Bijoy, Sohel, Rumana, Naz and Bithi.
The stage is divided into four zones --- college garden, hostel room, university corridor and festival platform.
Bulbul is a reciter, orator, painter and poet as well as a rhapsodist (one who writes speaks or recites with great show of feelings and exuberance of emotion, full of life and vigour).
In the very first scene and the last one we come across an intense yearning for searching.
Naz, well-wisher and intimate friend of Bulbul, says in the very beginning of the drama, "Ah! I seek, but don't find anywhere." In the last scene our hero Bulbul's outpouring finds a sympathetic echo in every heart of the spectator:
"I hastened to the outskirts of the enemy, at the time of war, unprepared. I don't know whom I am seeking. If their bullet would strike the skull of my head, they would see my preserved memories, where everyone craves a bleeding heart".
Bulbul has fallen into profound love of Rumana. It is reciprocal love at first sight. But none admits it face to face. No sooner they had come nearer to each other than the war of liberation began. At the end of the war, Bulbul returns to the free country with great expectations. But Rumana does not recognise him at first.
In scene five, (college garden), Bulbul says to the heroine Rumana, "Rumana, I was looking forward to your coming, some day or other, I was thinking about telling you something. But the liberation war crowded in upon us. The whole country turned topsy-turvy. After liberation we came back to a free country, but you did not come and say anything." Rumana says, "I did not recognise you after your arrival at the end of the liberation war. I was scared at your sight, a long bearded stranger, long hair upon your head".
But at a point Rumana comes into close contact with Bulbul, and declares her courage of conviction in affairs of love. She is ready to embrace death for the sake of love.
Ever smiling, Naz in the long run longs for the love of Bulbul. After the complexity of the love episode, Naz, gets rid of her interest and goes far away. Rumana is at last compelled to face stern realities to go her own way. Thus the profound emotions of the trio in the face of tragedy explore their own identity and self existence.
In the last scene of the drama Bulbul, hero of the drama, says at the time of the spring festival; "Believe us, we want festival, we desire it ardently, we want to go forward in the re-invigorated atmosphere of spring. We long for the proximity of life."
The conflict of characters has been delineated in the drama. The conversation and dialogue express the very sentiment and feelings of the inmost core of the heart.
"Style is the man." The choice of words and style of the writer are thought-provoking, and full of similes, metaphors and pathos.
The songs in the interlude of this drama have added to the grand success of the spring festival and fulfillment of the climax of the drama.
In a nutshell, Shakespearean conflict, soliloquy and dynamism (movement and force) in dialogue have found expression in this drama. It is admitted on all hands that in Bengali drama dialogue has been very weak and slow. The story-telling method (kathakata) of dramatists and autobiographical element in this drama has left an indelible impression upon our minds.
Perhaps the title is intended to attract the younger generation who are as drawn to the term "spring" as to the blossoming youthfulness. This excellent play deserves much wider readership and publicity.
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