Lalon, also known as Lalon Sain, Lalon Shah, Lalon Fakir or Mahatma Lalon (c. 1772 – 17 October 1890; Bengali: 1 Kartik, 1179),^[1] was a Bengali Baul saint, mystic, songwriter, social reformer and thinker. In Bengali culture, he is considered as an icon of religious tolerance whose songs inspired and influenced many poets, social and religious thinkers including Rabindranath Tagore,^[2][3][4] Kazi Nazrul Islam,^[5] and Allen Ginsberg^[6] though he "rejected all distinctions of caste and creed".^[7] He was both praised and criticized in his lifetime and after his death. Throughout the life, Lalon sang of a society where all religions and beliefs are in harmony. His disciples mostly live in Bangladesh and West Bengal. He founded the institute known as Lalon Akhrah in Cheuriya, about 2 kilometres (1.2 mi) from Kushtia railway station. He is also regarded as the founder of the Baul music and known as the Baul Shamrat (The king of Bauls)

Works  Lalon composed numerous songs and poems, which describe his philosophy. It is estimated that Lalon composed about 2,000 - 10,000 songs, of which only about 800 songs are generally considered authentic.^[22] Lalon left no written copies of his songs, which were transmitted orally and only later transcribed by his followers. Also, most of his followers could not read or write either, so few of his songs are found in written form.^[23] Rabindranath Tagore published some of the Lalon song in the monthly Prabasi magazine of Kolkata.^[24]

Among his most popular songs are

• Shob Loke Koy Lalon Ki Jat Shongshare,
• Khachar Bhitor Ochin Pakhi kyamne ashe jaay,
• Jat Gelo Jat Gelo Bole,,
• Ar Amare Marishne Ma,
• Tin Pagoler Holo Mela,
• Dekhna Mon Jhokmariay Duniyadari,
• Pare Loye Jao Amai,
• Milon Hobe Koto Dine, etc.

The songs of Lalon aim at an indescribable reality beyond realism. He was observant of social conditions and his songs spoke of day-to-day problems in simple yet moving language. His philosophy was expressed orally, as well as through songs and musical compositions using folk instruments that could be made from materials available at home; the ektara (one-string musical instrument) and the duggi (drum).

Songs of Lalon were mainly confined to the baul sects. After the Independence of Bangladesh, they reached the urban people through established singers. Many of them started using instruments other than the ektara and baya. Some started using classical bases for a polished presentation to appeal to the senses of the urban masses.

According to Farida Parveen, a renowned Lalon singer, the pronunciation of the words were also refined in order to make their meanings clearer, whereas the bauls' pronunciations are likely to have local influence.^[11]