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A Chronology of Life
Kazi Nazrul Islam (Bangla: কাজী নজরà§à¦² ইসলাম) (b. May 25, 1899 – d. August 29, 1976) was a Bengali poet, writer, musician, revolutionary and philosopher who is best known for pioneering works in Bengali expressing fierce rebellion against society, tradition, politics, injustice, intolerance and oppression. Popularly known as the Bidrohi Kobi – Rebel Poet – he is widely popular and revered in India and commemorated as the "national poet" of Bangladesh.
Born in a poor Muslim family, Nazrul received religious education and worked as a muazzin at a local mosque. He later joined the Indian Army and served in World War I. Whilst stationed in Karachi, Nazrul learnt Persian and the art of writing, and was exposed to Hindu religion, music and literature. Working as a journalist, Nazrul assailed the British Raj and emphatically preached revolution with his poetic works the Vidrohi (Rebel) and Bhangar Gan and his publication the Dhumketu (Comet). Imprisoned by police, Nazrul would write the Rajbandir Jabanbandi (Deposition of a political prisoner), intensifying his criticism of imperialism. Nazrul would also condemn Muslim religious fundamentalism and explore the lives of downtrodden masses in India. He would remain active in political organisations and literary, art and music societies.
Nazrul wrote poetic and literary works in Bengali, Persian, Sanskrit and Hindi, exploring the themes and philosophy of love, hardship, freedom, poverty, revolution, music and religion. He would write collections and anthologies of songs, short stories, novels, essays, poems and commentaries, as well as pioneer ghazals in Bengali. Nazrul also sang and composed music for his songs, which were broadcast by recording and radio companies and used in motion pictures. Following the death of his mentor Rabindranath Tagore in 1941, Nazrul began losing his voice and memory. For the remainder of his life, he would be taken to undergo medical treatment in India and abroad, but never regained his health and faculties. He was taken to Bangladesh in 1972 by the Government of Bangladesh.
Early life
Kazi Nazrul Islam was born in the village of Churulia in theBurdwan District in the province of Bengal (now located in the Indian state of West Bengal). Second of three sons and a daughter, Nazrul's father, Kazi Fakir Ahmed was the imam and caretaker of the local mosque and mausoleum. Nicknamed Dukhu Mia (Sad Man), Nazrul began attending the maktab – the local religious school run by the mosque – where he studied the Qur'an and other scripture, Islamic philosophy and theology. His family was devastated with the death of his father in 1908. At the young age of ten, Nazrul would begin working in his father's place as a caretaker to support his family, as well as assisting teachers in school. He would later become the muezzin at the mosque, leading the community prayers.
Attracted to folk theatre, Nazrul joined a leto – a travelling theatrical group – run by his uncle Bazle Karim. Working and travelling with them, learning acting, as well as writing songs and poems for the plays and musicals. Through his work and experiences, Nazrul began learning Bengali and Sanskrit literature, as well as Hindu scriptures, such as the Puranas. The young poet composed a number of folk plays for his group, which included Chasar San, Shakunibadh, Raja Yudhisthirer San, Data Karna, Akbar Badshah, Kavi Kalidas, Vidyabhutum, Rajputrer San, Buda Saliker Ghade Ron and Meghnad Badh.
In 1910, Nazrul left the troupe and enrolled at the Raniganj Searsole Raj School, and later transferred to the Mathrun High English School, studying under the headmaster and poet Kumudranjan Mallik. Unable to continue paying his school fees, Nazrul left the school and joined a group of kaviyals. Later he took a jobs as a cook at the house of a Christian railway guard, and at a bakery and tea stall in the town of Asansol. In 1914, Nazrul joined the Darirampur School in Trishal, Mymensingh District. Amongst other subjects, Nazrul studied Bengali, Sanskrit, Arabic,Persian literature and classical music under teachers who were impressed by his dedication and skill.
Studying up to Class X, Nazrul chose not to appear for the matriculation pre-test examination, and enlisted in the Indian Army in 1917. Attached to the 49th Bengal Regiment, he was posted to thecantonment in Karachi. During his service, he rose from corporal to the rank of havildar, or quartermaster of his battalion. Nazrul also expanded on his study of poetry and writing, and was deeply influenced by the works of fellow Bengali poets Rabindranath Tagore and Sarat Chandra Chattopadhyay, as well as Persian poet Hafiz. He learnt Persian poetry from the regiment's Punjabi moulvi, practised music with other musical-minded soldiers to the accompaniment of local and foreign instruments and at the same time pursued literary activities in both prose and poetry. Nazrul's stories and poems written at Karachi cantonment were published in different journals: his first work of prose, the Baunduler Atmakahini was published in May, 1919 and his poem Mukti was published by the Bangla Mussalman Sahitya Patrika (Bengali Muslim Literary Journal) in July 1919.
Rebel poet
Nazrul left the army in 1920, and settled in Kolkata (then Calcutta), which was at the time known as the "Cultural capital of India" and home to many of India's poets, writers, artists and intellectuals. He joined the staff of the Bangiya Mussalman Sahitya Samiti (Bengali Muslim Literary Society) as a writer and journalist and roomed at 32 College Street with colleagues. He published his first novel Bandhan-hara and his first collection of poems, including Bodhan, Shat-il-Arab,Kheya-parer Tarani and Badal Prater Sharab. Both works received critical acclaim, giving the young poet his first taste of fame.
Working at the literary society, Nazrul grew close to a rising generation of Muslim writers including Mohammad Mozammel Haq, Afzalul Haq, Kazi Abdul Wadud and Muhammad Shahidullah. He was a regular at theGajendar Adda and the Bharatiya Adda, which were social meeting groups and clubs for Calcutta's writers, poets and intellectuals. In October 1921, Nazrul went to Santiniketan with Muhammad Shahidullah and met Rabindranath Tagore. Nazrul would look to Tagore as a mentor, and despite having different political convictions, the two would remain in close association. In 1921, Nazrul was engaged to be married to Nargis, the niece of a well-known Muslim publisher Ali Akbar Khan, in Daulatpur, Comilla. But on June 18, 1921 – the day of the wedding – Nazrul suddenly left the place without explanation. However, many songs and poems reveal the deep wound that this experience inflicted on the young Nazrul and his lingering love for Nargis.
Nazrul rose to fame with the publication of Bidrohi in 1922, which has become his most famous work. Set in a heroic meter, this long poem invokes images from Hindu,Muslim and Greek mythology. Nazrul won admiration of India's literary classes by his description of the rebel whose impact is hard, fierce and ruthless even as its spirit is deep and philosophical:
"Proclaim Hero-
Proclaim: My head is held towering
Bows down the Himalayan peak, that at looking.
Say Hero-
Say: Tearing the firmament of the universe
Outstripping the Moon, the Sun and the Stars
Piercing the Earth and the celestial spheres
Penetrating through the Almighty's sacred throne
Risen have I, the wonder eternal of the God's universe.
With the mark of majestic might
The angry God on my forehead blazing bright!
Say Hero-
Say: My head is held ever towering!
I am irrepressible, imperious and brutal
I am the dancing lord of the great upheaval.
I am the cyclone, the devastation tremendous
I am terrible fear and the curse of the universe
I am turbulent, I crash everything
Wild I am, I trample under my feet all rules and binding.
I obey no law, but mine
I cause the loaded boats to capsize
I am torpedo, I am the dreadful floating mine.
I am the God Dhurjati-
The ill timed hair disheveled typhoon of disaster,
I am The Rebel the rebellious son of the global mother.
Say Hero-
Ever towering is my head!"
Published in the Bijli magazine, the poem caused a popular sensation. Nazrul stormed into Tagore's residence, jokingly declaring "Gurudev, I have come to kill you off." The rebellious language and theme found resonance with public consciousness and sentiments of the time, which correlated with the Non-cooperation movement – the first, mass nationalist campaign of civil disobedience against British rule. Nazrul explores a synthesis of different forces in a rebel, destroyer and preserver, spreading terror and expressing rage as well as beauty and sensitivity. Nazrul followed up by writing Pralayollas (Destructive Euphoria), and his first anthology of poems, the Agniveena (Lyre of Fire) in 1922, which enjoyed astounding and far-reaching successs. He also published his first volume of short stores, the Byather Dan (Gift of Sorrow) and Yugbani, an anthology of essays.
Nazrul started a bi-weekly magazine, publishing the first Dhumketu on August 12, 1922. Earning the moniker of the "rebel poet," Nazrul also aroused the suspicion of British authorities. A political poem published in Dhumketu in September 1922 led to a police raid on the magazine's office. Arrested, Nazrul was sentenced to one year's rigorous imprisonment. On April 14,1923 he was transferred from the jail in Alipore to Hooghly in Kolkata, he began a 40–day fast to protest mistreatment by the British jail superintendent. Nazrul broke his fast more than a month later and was eventually released from prison in December 1923. Nazrul composed a large number of poems and songs during the period of imprisonment and many his works would be banned in the 1920s by the British authorities.
Kazi Nazrul Islam's poetry and literary works expressed a fierce rebellion against established conventions. He became a critic of the Khilafat struggle led by Maulana Mohammad Ali and Maulana Shaukat Ali, condemning it as hollow, religious fundamentalism even as thousands of Muslims agitated for it. Nazrul was a fervent admirer of Mustafa Kemal, the leader of Turkey who abolished the caliphate and introduced radical modernisation initiatives for Turkey. Another aspect of Nazrul's deep-rooted and fierce sense of rebellion, he believed that medieval Islamic practices and religious conservatism were hurting Indian Muslims, and keeping them backward, intensifying social and sectarian challenges. Nazrul also criticised the Indian National Congress for not embracing outright political independence from the British Empire. He criticised Indian leader Mahatma Gandhi's conviction of ahimsa (non-violence) in mass civil disobedience, advocating outright rebellion by any means. Nevertheless, he became active in encouraging people to agitate against British rule, and joined the Bengal state unit of the Congress.
It was during his visit to Comilla in 1921, that Nazrul met a young Hindu woman, Pramila Devi. The two would continue to correspond, and falling in love, would marry on April 25, 1924. Pramila belonged to the Brahmo Samaj, which criticised her marriage to a Muslim. Nazrul in turn was condemned by Muslim religious leaders, and would continue to face criticism for his personal life and professional works. As a result, Nazrul's works began intensely attacking social and religious dogma and intolerance. His poems also spoke in philosophical terms of romantic love, and the complete equality of men and women, and attacking the social and religious traditions of the time that ruled otherwise. Nazrul came to identify the spirit of his thoughts and works as inherently rebellious:
"Weary of struggles, I, the great rebel, Shall rest in quiet only when I find The sky and the air free of the piteous groans of the oppressed. Only when the battle fields are cleared of jingling bloody sabres Shall I, weary of struggles, rest in quiet, I the great rebel."
"Mass music" and humanity
With his wife and young son Bulbul, Nazrul settled in Krishnanagar in 1926. His work began to transform as he wrote poetry and songs that articulated the aspirations of the downtrodden masses. Nazrul once again expressed a fierce rebellion against the socio-economic norms and political system that had brought upon poverty and misery. Several songs extol the quintessential unity of Hindus and Muslims, the songs giving voice to the aspirations of the masses has come to known as "mass music." His major poems include Darido (Poverty):
"O poverty, thou hast made me great. Thou hast made me honoured like Christ With his crown of thorns. Thou hast given me Courage to reveal all. To thee I owe My insolent, naked eyes and sharp tongue. Thy curse has turned my violin to a sword... O proud saint, thy terrible fire Has rendered my heaven barren. It has prematurely dried beauty. My feelings and my life. Time and again I stretched my lean, cupped hands To accept the gift of the beautiful. But those hungry ones always came before me. And did snatch it away ruthlessly, Now my word of imagination is Dry as a vast desert. And my own beautiful!...O my child, my darling one I could not give thee even a drop of milk No right have I to rejoice. Poverty weeps within my doors forever As my spouse and my child. Who will play the flute? Where shall I get the happy smile Of the beautiful? Where the honeyed drink, I have drunk deep the hemlock Of bitter tears!... And still even today I hear the mournful tune of the Sanai.
In what his contemporaries regarded as one of his greatest flairs of creativity, Nazrul began composing the very first ghazals in Bengali, transforming a form of poetry and songs written mainly in Persian and Urdu. His works made Nazrul the centre of controversy between religious conservatives and progressives. Hailed as a pioneer and epoch-making poet by progressives, who took inspiration from his works that attacked traditions, dogma and intolerance on behalf of the masses, he was derided as an irreligious influence on society. Arousing controversy and passions in his readers, Nazrul's works and ideas attained great popularity across India. In 1928, Nazrul began working as a lyricist, composer and music director for His Master's Voice Gramophone Company. The songs written and music composed by him were broadcast on radio stations across the country. He would also be recruited by th newly established Indian Broadcasting Company.
Nazrul also professed faith in the belief in the absolute equality of women – a view society and his contemporaries considered revolutionary. In his poem Naree (Women), Nazrul repudiates what he sees as the long-standing oppression and injustice against women, proclaiming their equality:
"Whatever great or benevolent achievements That are in this world Half of that was by woman The other half by man."
While condemning social traditions of masculine superiority, Nazrul expressed a vision of humanity scorned by most of society. Credited for his sincerity in his belief of gender equality, Nazrul's poetry is criticised in modern times for not discarding traditional prejudices about the role of women and men in society. His descriptions of women do not exceed beyond gentleness and softness, and the roles of mothers, daughters, sisters and wives. His poetry retains long-standing notions of the differences of men and women in binary opposition to one another, and does not affirm gender similarities and flexibility in the social structure:
"Man has brought the burning, scorching heat of the sunny day; Woman has brought peaceful night, soothing breeze and cloud. Man comes with desert-thirst; woman provides the drink of honey. Man ploughs the fertile land; woman sows crops in it turning it green. Man ploughs, woman waters; that earth and water mixed together, brings about a harvest of golden paddy."
However, Nazrul's poems strongly emphasize the confluence of the roles of both sexes, and their equal importance to life and a thriving society. He stunned society and shocked conservatives with his poem Barangana (The Prostitute), in which he addresses a prostitute as "mother." Nazrul expresses no hesitation in accepting the prostitute as a human being, reasoning that this person was breast-fed by a noble, virtuous woman and belonging to the race of "mothers and sisters," and rejecting society's notions of prostitutes as impure and ignoble persons. However, Nazrul's emphasis does not exceed the basic roles of women in society. Nazrul explores a woman's feelings in one of his most popular songs, Mour Ghumghore Key Elay Monohour (Who is the beauty that traverses my dream?), at her separation from her husband. While vivid in his account of the woman's torment, Nazrul has been criticised in modern times for not exploring the possibility that a woman's life may reach beyond wifely duties. Nazrul elucidates the feelings of an ideal woman, devoted to her husband, and largely explores the fantasy and imagination of men in their idealization of a woman.
Musical and writing career
In 1928, Nazrul's mother died, and even as his wife gave birth to his second son Sabhyasachi a year later, his young son Bulbul died of small pox. Nazrul had sat up by his son's sickbed translating the works of the poet Hafiz from Persian. These tragedies had a deep impact on his life, though his wife gave birth to another son, Aniruddha in 1931. His works in these years would pioneer Islamic devotional songs to the mainstream of Bengali folk music. His songs explored and elucidated the Islamic practices of namaz (prayer), roza (fasting), hajj (pilgrimmage) and zakat (charity). This was regarded by his contemporaries as a significant creative achievement as the Bengali Muslim community had been strongly averse to religious expression through devotional music. Nazrul's creativity diversfied as he explored Hindu devotional music by composing bhajans and kirtans, and often merged Islamic and Hindu expression in many of his songs. Nazrul's poetry and songs explored the philosophy of Islam and Hinduism, as well as the heart and essence of their religious teachings.
In 1933, Nazrul published a collection of essays known as Modern World Literature, in which he analyzes and expounds on the different styles and themes of literature in different languages. Nazrul identifies two main trends in modern literature – one of passionate devotion and exploration of Earth, the origin and home environment of human beings, and the second of attempts to rise above and out of Earth to explore and reach the skies, or heavens. Between 1928 and 1935 he published 10 volumes of songs containing over 800 songs of which more than 600 were based on classical ragas, almost 100 were folk tunes after kirtans and some 30 were patriotic and other songs.
Nazrul's success as a composer of music, lyricist and poet soon brought him into Indian theatre and the nascent film industry. The film Vidyapati (Master of Knowledge) was produced based on his recorded play in 1936, and Nazrul served as the music director for the film adaptation of Tagore's novel Gora. Nazrul also wrote songs and directed music for Sachin Sengupta's bioepic play Siraj-ud-Daula. In 1939, Nazrul began working for Calcutta Radio, supervising the production and broadcasting of the station's musical programmes. He also produced critical and analytic documentaries on music, such as Haramoni and Navaraga-malika. Nazrul also wrote a large and diverse variety of songs inspired and founded on the raga Bhairav.
In these final years of activity, Nazrul worked with intense focus and determination, and his vast collection of works catapaulted his fame and success across India. However, Nazrul also condemned the adaptation of his songs to music composed by others, and insisted on the use of tunes he composed himself. His music programmes gained great popularity and reached a broad audience. Nazrul expressed complete opposition to Muslim separatism and the Two-Nation Theory. He returned to journalism the following year by becoming the chief editor for the daily newspaper Nabayug (New Age), founded by the eminent Bengali politician A. K. Fazlul Huq.
Illness and later life
Nazrul's wife Pramila Devi fell seriously ill in 1939, and was paralysed from waist down. Nazrul also was shaken by the death of Rabindranath Tagore on August 8, 1941. To provide for his wife's medical treatment, he would sell all of his property as well as copyrights and royalties he received for his works. He spontaneously composed two poems in Tagore's memory, one of which was recorded and broadcast. Yet within months, Nazrul fell seriously ill and gradually began losing his power of speech. His behaviour and thoughts became erractic, and spending recklessly, he fell into financial difficulties. Embittered by the sudden loss of his active life and friends, Nazrul wrote in a letter to his friend Zulfikar Haider on July 17, 1942:
"... I am bed-ridden due to blood pressure. I am writing with great difficulty. My home is filled with worries – illness, debt, creditors; day and night I am struggling.... My nerves are shattered. For the last six months, I used to visit Mr. Haque daily and spend 5-6 hours like a beggar.... I am unable to have quality medical help.... This might be my last letter to you. With only great difficulty, I can utter a few words. I am in pain almost all over my body. I might get money like the poet Ferdowsi on the day of the funeral prayer (janajar namaz). However, I have asked my relatives to refuse that money... Yours, Nazrul."
Despite the attention of his wife, who inspite of her own predicament cared for her husband, Nazrul's health seriously deteriorated and he grew increasingly depressed. It is believed that Nazrul was most likely suffering from syphilis, which was not diagnosed at the time. He underwent medical treatment under homeopathy as well as Ayurveda, but little progress was achieved before mental dysfunction intensified and he was admitted to a mental asylum in 1942. Spending four months there without making progress, Nazrul and his family began living a silent life in India, even as the partition of India took place. In 1952, he was transferred to a mental hospital in Ranchi, and due to the efforts of a large group of his fans and admirers who called themselves the "Nazrul Treatment Society," as well as prominent supporters such as the Indian politician Syama Prasad Mookerjee, the poet travelled to London for treatment. Eminent physicians in London and later Vienna stated that he had received poor medical care. His condition judged to be incurable, Nazrul returned to India in December 1953, and his condition did not improve.
On June 30, 1962 his wife Pramila died, and Nazrul remained in intensive medical care. In 1972, the newly independent nation of Bangladesh obtained permission from the Government of India to bring Nazrul to live in Dhaka, and made a citisen of the new nation. Despite receiving treatment and attention, Nazrul's physical and mental health did not improve. In 1974, his youngest son, Anirudda died, and Nazrul soon succumbed to his long-standing ailments on August 29, 1976. In accordance with a wish he had expressed in one of his poems, he was buried beside a mosque on the campus of the University of Dhaka. Tens of thousands of people attended his funeral. Bangladesh observed two days of national mourning and the Indian Parliament observed a minute of silence in his honour. His last surviving son Sabhyasachi died in 1979.
Criticism and legacy
Kazi Nazrul Islam has been acknowledged by his contemporaries and modern scholars as one of the greatest Bengali poets and literary figures ever. He pioneered new horizons in Bengali literature and poetry, expressing radical ideas and emotions in a large collection of works. Admired for his brilliance and productivity, Nazrul also enjoyed commercial success and a vast audience across India, and a large following of adoring fans. Scholars credit him for almost single-handedly spear-heading a cultural renaissance in the Muslim community of Bengal, encouraging education and newer forms of spiritual, intellectual and religious expression. He is credited for modernizing and even "liberating" poetry and literature in Bengali from its medieval mould.
However, Nazrul received intense criticism from religious Muslims for his assimilation of Hindu philosophy and culture with Islam into his religious and philosophical works and for openly denouncing some Islamic traditions regarding other religions and the role of women. His expression of rebellion have also earned him the addage of the "anarchist poet," as he criticised the main political parties and ideologies of the day. Contemporary scholars and feminists criticise Nazrul for not exceeding traditional stereotypes of women when denouncing their subjugation and oppression. While hailed for his sincere conviction in the liberation of women, Nazrul's poems and vision did not explore the independence of a woman's soul and mind, and the ability to perform diverse roles in society. Nazrul has also received criticism over his intellectual disagreements with the thinking and philosophy of Tagore and Mahatma Gandhi.
Nazrul was awarded the Jagattarini Gold Medal in 1945 – the highest honour for work in Bengali literature by the University of Calcutta – and awarded the Padma Bhushan, one of India's highest civilian honours in 1960. The Government of Bangladesh conferred upon him the status of being the "national poet." Many centres of learning and culture in India and Bangladesh have been founded and dedicated to his memory. The Nazrul Endowment is one of several scholarly institutions established to preserve and expound upon his thoughts and philosophy, as well as the preservation and analysis of the large and diverse collection of his works. The Bangladesh Nazrul Sena is a large public organisation working for the education of children throughout the country.
Source : http://en.wikipedia.org
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