From Early Childhood Poetry [Charyapada app. From 10th AD] to the modern era (20th century-present), Bengali poetry has undergone a vast chronological evolution. In this changing literary pattern, Jibanananda das played a significant role in promoting the current of modernism in Bengali poetry. Although considered a "Ruposhi Banglar Kobi" poet, most of his works reflect the urban environment and experience. His works illustrate the real experience of urban life accompanied by surreal feelings of the human mind, deviating the conventional flow of romanticism-based literary practice in modern Bengali poetry. This essay aims to analyze his literary practice to explore the context and subject matter of his writings to construct a visualization of the experience of the colonial city of Bengal. Say no to plagiarism. Get a tailor-made essay on the topic "Why violent video games should not be banned"? Get an original essayKeywords: colonial city of Bengal, literature, city experience, modernist poet.Jibanananda Das (17 February 1899 – 22 October 1954) was a Bengali poet, writer, novelist and essayist. Vaguely recognized during his lifetime, today Das is recognized as the leading poet of the post-Tagore era in India and Bangladesh. Jibanananda scholars Seely, Clinton (1990) have called Jibanananda Das "Bengal's most beloved poet since Rabindranath Tagore". Regarding his poetic works, Sengupta and Dutta summarized that: "He is considered one of the forerunners who introduced modernist poetry into Bengali literature, in a period when it was influenced by romantic poetry." During his lifetime he published only 269 poems in various newspapers and magazines, of which 162 were collected in seven theologies. . . '(Sengupta & Dutta 2016, p06) Jibanananda remained exclusively a poet who occasionally wrote literary articles, mostly on request. Only after his death were a large number of novels and short stories discovered. By the second half of the twentieth century, Jibanananda's poetry became the defining essence of modernism in twentieth-century Bengali poetry. Experience of the colonial city through his literature Thematically, Jibanananda's literature is largely autobiographical. His time constitutes the perspective. While he subjugated his own life in the poem, he allowed it to be carried into his fiction. About his literary inspiration, Swarup Dey said that "It outlines the artistic consciousness of his soul which is illuminated by his lively spirit, mobile by his mind and emotions. Every poem of this composition is filled with a beautiful feeling of life" . -based on various word pictures. ' (Dey,p02,2015)Jibanananda Das began his teaching career as a tutor in the English department of City College, Calcutta. From that perspective of lonely city life, he wrote a poem titled "Nilima" and announced his entry into Bengali literature in 1926. This poem is based on the colonial city of Calcutta, where he spent much of his adulthood. He compared the city of Calcutta to a prison city filled with gray smoke. The houses looked like charcoal pits, smoking was an essential part of the city. He remembered the concrete of the buildings with the hot sand of the desert, people were running, pushing each other without knowing their destination, they were obsolete human beings. In this poem, he expressed his desire to escape from this smoke-filled prison city to Nilima, a distant place where he wants to merge with the cloudless blue sky. He wrote it: "nissohay nogorir karagar prachiler pare! ---- udbeliche hetha garo dhumrer kundoliugro ​​chullibohni hetha onibar uthiteche joli, ... Ogonon jatriker pran Khuje more onibar pay-nako pather sondhan" (Nilima, Das Jibanananda, 1927, p05- 06) During his childhood, Jibanananda witnessed a peaceful world, where people conveyed truth, beauty and the touch of humanity Barisal for a time, his compassionate relationship with nature grew during that period did not influence him the frequent use of urban examples in his poetry he described his perception of cities, both physical and moral basis of his literature. Although the emergence of automobiles, railways and trams facilitated urban industrialization. He could not celebrate it, rather he was suspicious about the speed it would bring to peaceful urban life unwanted and lifeless. In his poem “Unnissho choutrisher (1934)” he wanted to celebrate a breathing city enriched with natural elements, rather than this gloomy urban city that pushes and agitates. he wrote the verse: “ ekta motorcar er path – motorcar sob somoy ie amar kache khotkar moto mone hoyeche, ondhokarer moto. ami oto taratari kothaou jete chai na; amar jiban ja chay sekhane amar hete hete pouchabar somoy ache, pouche onekkhon bose opekkha korbar obosor ache…” (Das Jibanananda,1954 quoted in Syed mannan, 1994,p467)Jibanananda spent his entire personal life in torment, fought poverty and suffered misery throughout his life. The urban city experience was never a peaceful experience for him. Analyzing his most famous works like "Hajar bochor dhore", "Buno has", "Banglar rup ami dekhiyachi", "Bonolota sen" it is observed that he tried to escape from the harsh reality by memorizing the nature of beautiful rural Bangla. His composition not only outlines natural images, but also imparts an acute curiosity towards the image of sharp realism. In the later period of his life he witnessed the horrible Second World War, the partition of India, the great famine where he felt that not only his life but humanity was slowly losing the light of hope. But as a man outside his time, his space and his context, he felt that with time even the dream of a bigger world collapsed, he is only a bearer and took part in this torment. He wrote, 'manusher sovvotar morme klanti ase / boro boro nogorir buk vora betha ' (Das Jibanananda, 1948a quoted in shahadzzaman, 2017,p215)“kothay somaj,orthoniti?-shorgogami siri?Venge giye payer niche rokto nodor moto…”( Das Jibanananda, 1950 quoted in shahadzzaman, 2017,p216) A fundamental question about world progress, development, indiscriminate society and economic freedom haunted him. Are all these just tools to absorb power from the proletariat? When he looked back at the story, he found no significant chapter to answer his question --- “ manushera bar bar prithibir ayute jonmeche;nobo nobo itihas soikote vireche;tobuo kothao sei onirbochoniyoshopner sofolota nabinota shuvro manobikotar vor?” (Das Jibanananda, somoyer kache 1952 quoted in amitananda, 2006, p97) From this agony he wrote out of frustration “prithibir somosto rup omey timir mritodeher durgondher moto …” (Das Jibanananda, 1948b quoted in shahadzzaman, 2017, p217) Before his tragic death in 1954 by trams, he was deeply concerned about the poverty, shortage of work, corruption which were the common phenomenon of that period. Das in his poem “Odvut adhar ek, (1954)” laments how the cruel and ruthless have come to assume power, while the compassionate and virtuous face the accusation: “Odvut adhar ek esheche e-prithibite aj,jara ondho sobcheye beshi aj cokhe dekhe tara;jader hridoye kono prem nei-priti nei,korunar aloron.