[2] This book has been named "Banalata Sen" after Das's most popular poem, which explored human fulfillment through the personification of a vaidya caste woman.
The poems contained in the later version of Banalata Sen (book) have been tied to Das' return to his alma mater throughout 1932 to 1946 after being let go from the Calcutta City College.
[3] The transformation of distance into intimacy and the disorderly circumstances into order are imagistic patterns that contribute to Das' distinct modern style of poetry in this volume.
[9] According to Joe Winters, Das' distinct style stems from the personification of his surroundings and his use of "register [as he switches] from sophisticated usage[of language] to a village-dialect.
[3] As Mary M. Lago suggests, the crowding of elements of country life such as wild geese, harvesting season, and owls throughout this volume emphasises the significant influence rural life had on Das' composition of Banalata Sen.[3] Das' contextual Hinduism belief system has an impact on this volume, as Tarun Gupta's analysis of the protagonist's journey in Banalata Sen evaluates that the traveler is travelling during “the reign of the Emperor Bimbishar…Ashok … Vidarbha and Vidisha''.
[3] According to Ramona L. Ceciu and the Journal of Asian studies, the Banalata Sen volume commonly explores the passage of time, love, liberty and loss.
[12] According to Ramona L.Ceciu this volume serves as a “canvas with fluid lines, conceptual associations and contrasts among which the light and shadows of individual histories play hide-and-seek”.
[11] The contrast of light and shadow creates a passage of time, eliciting a nostalgic response from the reader and encouraging reflection on "history's ever-moving forces.".
"[17] As a result, he incorporates the environment and living things from his childhood and later years in rural Bengal to explore the love and admiration he has for the flora and fauna in Bangladesh.
[19] L.Ceciu connects these essential elements of vision and compassion to Das's emblem of feminine mystery by characterising women as a destination by "alluding to different mythological and ancient persons, places and events".
This is because Das' style of chitrarupmay (Bengali word for imagery) and element of turning and moulding images have been adopted by poets and artists like Sanatan Dinda.