In the dialogue that is going on in this poem, I am listening to the voice of the man and also the voice of the woman. Some may say wrongly, it is a man or a woman! In fact, it produces a mixed, double tone. There is a kind of philosophy in this double voice. If you think, this man and woman is actually a man – like Ardhanarishwar, who is both female and male at the same time!
Here is finding love through the body. Love is being explored again as a soul. Sometimes, it seems, the feeling of devotion, surrender, which is there in the love of Ruh, Ishaq or Bengal region, is also available. Interestingly, as in Sonali Kabin, love becomes a political affair, here it does not. Here our self-identity rears its head through a traditional romantic journey.
There is a kind of question and answer in the poems. One sonnet might be an answer, another some questions. The person asking the question may be answering back.
Then there is the relationship between nature and man. Nature itself is a character in Rupasi Bengali poetry. But we see a different form in Parana’s deep interior, where nature is being expressed through human desire in response to every moment’s thoughts, feelings, and attitudes.
All in all, we have a cultural product, called ‘Cultural Product’, inside the paranoid. Along with the folklore of Bengal, there is the everyday life of the rural people, reforms and beliefs, mythology and philosophy. They form the framework of our cultural identity. The book can be seen as a whole of cultural identity of Bangladesh. So if we list the five important poetry books of Bangladesh, Paran’s Gohin Bhit must be included in it.