Gajoner BAJNA BAJA, Bhang RE OI Lauha Kapat! BLACK OUT and POWER SHOCK!
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| Calcutta without power on a day temperature touched 41.2°C | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Nearly the whole of Calcutta blacked out on its hottest April evening in years, thanks to a massive power failure reminiscent of the dark days of the '80s in the run-up to elections. ... | Read..
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CESC snag cripples city
KOLKATA, April 19: Normal life in several parts of the city was crippled from this afternoon after power went off due to a technical snag that crashed the entire CESC system. The system was restored around 6.30 p.m, but collapsed again soon after and power cuts continued till late into the night.
Extensive areas including Park Street, JL Nehru Road, Shakespeare Sarani, Jadavpur, Bagha Jatin and other parts of South Kolkata, Kankurgachi, and different parts of central and north Kolkata remained in darkness till late tonight.
The entire CESC generation came to a halt around 4.30 p.m. following a breakdown of 132 KV CESC sub station at Howrah and a circuit which connects Howrah to Lilua tripped. Later in the evening, after restoring the emergency services, CESC managed to restart generation at Titagarh and Cossipore. But till late at night CESC failed to start generation at Budge Budge which supplies power to major part of the city and its adjoining areas.
Protesting against the power-cuts, residents of Manicktala, Sealdah, Howah and Behala staged demonstrations and put up road blockades for several hours tonight. An aggrieved mob also ransacked a private nursing home near Park Circus.
The examinees of Joint Entrance Examination also faced a harrowing time because of the intermittent power cuts in the city. Commuters of metro services and those travelling in trains also faced trouble as the services were affected for some time.
With the mercury level almost touching 40 degree Celsius, patients of various state run medical colleges had to face a testing time.
This has come at a time when the state power minister, Mr Mrinal Banerjee, had promised that there would be no power cuts during the examination season. Moreover one unit of DVC, Mejia power plant and one unit of DPL was closed down a few days back, which has only aggravated the power crisis in the state.
NSC Bose Airport suffered power cuts for about half an hour in the afternoon, and again for another half-hour at around 8:55 p.m in both the international and domestic terminals. Emergency services, including operation of instruments to help run flight operations were run by the stand-by power unit of the Airports Authority of India.
http://www.thestatesman.net/page.news.php?clid=1&theme=&usrsess=1&id=251562
If you ask me my most favourite line of Indian poetry, I would quote two lines:
KARAR OI LAUHA KAPAT
and GAJONER BAJNA BAJA
It is an UNIQUE Chemistry of Aboriginal Indegenous Nationality which inspired Anti Imperialism Resistance in COLONIAL India! It was in 1905 that Rabindranath Tagore wrote the song Amaar Sonar Bangla Ami Tomai Bhalo Bashi. Since the song later became national anthem of Bangladesh it suited the purpose of NATIONALITY based on Language rejecting RELIGION very well. In the next two decades, because of socio-political reasons, patriotism was the riding sentiment in our songs. It was the era when songs like Bangladesher Hridoy Hotey Kokhon Aponi.....and.....Karar Oi Louho Kopat.....and Bhoi Ki Moroney...came to inspire the people to join the anti-British movements. It was also the first time when Nazrul introduced Bengali Ghazal songs.
My childhood witnessed the RITUALS of GAJAN so popular amongst the Partition victim Dalit Bengali refugees.
The Purohits, as called SANYAASEE have to be chosen from the DALITS which rejects the BRAHAMINICAL manusmriti rule.
Even in oldest bengali Prose like, HUTOM PENCHAR NAKSHA, Graphic details of GAJAN amuse us as it is written with caste Hindu Humour!
In Basantipur, gajan was an annual Afair. The rituals related with FIRE PLAY and Jump on the THORN Beds would make us COURAGEOUS associated with GAJAN DANCE.
I had forgotten the tradition as the GENERATION Next in Bengali Refugee colonies disassociate from the Folk roots. I watched the GAJAN DANCE in Guahati beach festival in 2003. I watched it in tripura also.
Bengalies in West Bengal do love kazi Nazrul Islam, no doubt, but he is not considered as CLASSIC as RABINDRA NATH TAGORE. His poems are generally dismissed as LOUDY, kolahaler GAAN. Rather Bengalies are in LOVE with Nazrul GEETI, his songs as well as SHYAMA SANGGET. As India has lost the legacy of Hindustani Netaji Subhash Chandra Bose and his UNIFIED INDIA to beliberated, as the Bengalies ABHORE the Philosophy of Vivekanand about the SHUDRA LIBERATION, as TAGORE`s SUBALTERN literature is not discussed at all and the Bengalies have broke away with the legacy of POET Jaidev and Love philosophy of Chaitanya Mahaprabhu, as we do not bear the legacy of BUDDHISM and indigenous aboriginal Cultural Heritage and History, as we forgot the DREAMS of REVOLUTIONARIES led by Chandra shekhar AZaaD and Shaheedeaazam Sardar Bhagat Singh in FRESENESEX India, we also wiped out the memory of the ORIGINAL REBEL and his COMMITMENT!
It is quite a BLACK OUT and POWER SHOCK, literally faced by the residents of BENGAL lastday! It is virtually as DARK as we read IN THE DARK by Gajanan Madhav Muktibodh. We saw the Black Out in war Time but we constantly bear with the Power shock INFINITE!
I began my study of Poetry with Agnibeena, The Song of Destruction and The REBEL far away in Nainital Terai! It was, Of Course, Out of course! But I had to recite Rabindra and Nazrul as my family chose to associate us with the grand Bangla Nationality with the POETRY of TAGORE and Nazrul!
The poetry of Kazi Nazrul Islam (sometimes written Najrul Islam) is a fascinating combination of devotion, mysticism, cultural unity, and political exhortation.
When still a school student in his teens Nazrul joined the newly recruited Bengali regiment (1916) and was sent to Mesopotamia some months before the armistice. The regiment never got to face battle but Nazrul got his fill of the fighting gusto which later found expression in his poetry. His first two significant poems, Pralayollas (Exhilaration at the Final Dissolution) and Vidrohi (Rebellion)appared early in 1922 and his first book of poem Agnibina (The lute of fire) was out before the year was over. The book was received with an enthusiasm never experienced in India before or since. After this he was part of the Kollol group and wrote mostly deft and pungent verse and many songs.
Nazrul Islam wrote a good numbers of valuable poems, songs, novels, dramas. He had a good command on classic indian song. He could sing, recite and act with considerable proficiency.
Nazrul was an emotional soul, but his emotion was unstable and volatile. Those who came in personal contact with him were moved by his irresistible enthuasiasm and sincerity. But his literary output falls far short of his merit, except the early poems in Agnibina. After Agnibina his best known books of poems and songs are Dolonchampa(1923), Biser Bansi (The poisonous flute, 1924), Bhangar Gan (Songs of break-up, 1924), Puber Haoya (The east wind 1925) and Bulbul(1928).
Nazrul Islam, as his name implies, was Muslim, yet some of his poetry is Shakti poetry, poems addressed to Kali, the Mother Goddess of Bengali Hindus -- though he often refers to her more generically as Mother or Ma. Nazrul Islam composed his poetry during the time of British control of India and, in Bengal, the goddess Kali came to be viewed as a personification of the national identity and determination to be free of foreign domination. Poems addressed to Kali became poems addressed to Mother India, a divine image of a fiercely united nation.
In 1920, Nazrul expressed his vision of religious harmony in an editorial in Yuga Bani,
"Come brother Hindu! Come Musalman! Come Buddhist! Come Christian! Let us transcend all barriers, let us foresake forever all smallness, all lies, all selfishness and let us call brothers as brothers. We shall quarrel no more".[26]
In another article entitled Hindu Mussalman published in Ganabani on September 2, 192 he wrote -
''I can tolerate Hinduism and Muslims but I cannot tolerate the Tikism (Tiki is a tuft of never cut hair kept on the head by certain Hindus to maitain personal Holiness) and beardism. Tiki is not Hinduism. It may be the sign of the pundit. Similarly beards is not Islam, it may be the sign of the pundit. Similarly beard is not Islam, it may be the sign of the mollah. All the hair-pulling have originated from those two tufts of hair. Todays fighting is alos between the Pundit and the Mollah: It is not between the Hindus and the Muslims. No prophet has said, ''I have come for Hindus I have come for Muslims I have come for Christians." They have said, "I have come for the humanity for everyone, like light''. But the devotees of Krishna says, "Krishna is for Hindus". The followers of Muhammad (Sm) says, "Muhammad (Sm) is for the Muslims". The Disciple of Christ is for Christian". Krishna-Muhammad-Christ have become national property. This property is the root of all trouble. Men do not quarrel for light but they quarrel over cattles."[27]
Nazrul's poetry and songs explored the philosophy of Islam and Hinduism [23].
Let people of all countries and all times come together. At one great union of humanity. Let them listen to the flute music of one great unity. Should a single person be hurt, all hearts should feel it equally. If one person is insulted; it is a shame to all mankind, an insult to all! Today is the grand uprising of the agony of universal man.[24]
Song of Dawn
It's dawn,-
open the door,
wake up, Khukumoni!
The jasmine flowers
from their vines
are calling you to come running,
wake up, Khukumoni!
Uncle Sun
is crawling out
all dressed in a crimson shirt,
listen -- the gatekeeper
is singing
his song, "Rama hoi."
The birds
are leaving their nests
to fly in the sky,
listen to them
singing continuously,
filling the morning air!
The restless
Bulbul birds
whistle from flower to flower,
this time,
this time,
Khukumoni will open her eyes!
Setting the rudder,
hoisting the sail,
the boat begins its journey,
this time,
this time,
Khukumoni has opened her eyes!
Lazy
she's not--
she's an early-riser,
that's why
Brother Moon
gives a teep everyday for her!
Up
and running--
all the little boys and girls,
listen to them
babbling
about who woke up first!
Night's
wash up
wake up, Khukumoni!
With a hymn
let's begin
asking for a blessing from God!
Syama wakes on the cremation grounds
Syama wakes on the cremation grounds
to take Her child
at the final hour
to Her lap.
The peaceful Mother sits on the pyre
in fire hidden by Her sari of love.
To hold him on Her lap
She left the Kailasa of Her joy, and
with blessings and fearlessness in Her hands
made the cremation grounds Her home.
Why fear this place
when you'll sleep peacefully at the Mother's feet?
Who dies ignited by the flames of this world,
to him the Mother calls:
"Come to My lap, come to My lap."
To lull you to sleep, Oh Wearied by Life,
Ma takes you to Her lap
disguised as death.
Let's Meet Hereafter!
We will meet again in the life Hereafter;
Here, please, forget me with a simple laughter.
Anything that remained unsaid,
I won't say; Let you also keep silence;
If I offer my love, turn me away;
If I persist, hurt me, in pretense.
Dream is broken abruptly here,
The evening's bud sheds in the dawn;
The heart dries up before love is savored;
The ambrosia here has the taste of poison.
In separation here, heart longs in agony;
When together, quickly we go apart;
Where the fountain of love is never dry,
In that everlasting Garden, remember to seek my heart.
TV channel gets e-mail threatening blasts during LS polls
Mumbai After Hotel Taj and Air India headquarters, a private television channel in Mumbai has received an e-mail threatening to carry out blasts during the Lok Sabha election, police officials said on Monday.
They said the Internet Protocol address of the e-mail sent on Friday to the channel was same as the one sent to Air India headquarters on April 9.
"The email has been traced to a location near Islamabad in Pakistan and in this case the sender of the email has used the same e-mail ID as was used to send the threat e-mail to Air India," they said.
The e-mails were sent from internet connections provided by the Pakistan Telecommunication Company, they added
Kasab does a u-turn, now says can't follow English
Farzi Gandhigiri may get crowds but not votes: Maya
Lanka sets 24-hr deadline for LTTE chief to surrender
TV channel gets e-mail threatening blasts during LS polls
Pak confirms arrest of sixth suspect in Mumbai attacks
Taliban vow to enforce Shariah throughout Pak
India successfully launches surveillance satellite
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Kazi Nazrul Islam
Some popular songs and poems of Nazrul Islam
 |
 |
His mausoleum is situated near the Dhaka University.
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.[8]
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.
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?[13
I am the unutterable grief,
I am the trembling first touch of the virgin,
I am the throbbing tenderness of her first stolen kiss.
I am the fleeting glance of the veiled beloved,
I am her constant surreptitious gaze...
...
I am the burning volcano in the bosom of the earth,
I am the wild fire of the woods,
I am Hell's mad terrific sea of wrath!
I ride on the wings of lightning with joy and profundity,
I scatter misery and fear all around,
I bring earth-quakes on this world! "(8th stanza)" I am the rebel eternal,
I raise my head beyond this world,
High, ever erect and alone! "(Last stanza)"[8] (English translation by Kabir Choudhary)
List of works of Kazi Nazrul Islam
From Wikipedia, the free encyclopedia
Nazrul Geeti or Nazrul Sangeet, literally "music of Nazrul," refer to the works of Kazi Nazrul Islam, national poet of Bangladesh and active revolutionary during the Indian Independence Movement. Nazrul Sangeet incorporate revolutionary notions as well as more spiritual, philosophical and romantic themes. This is a complete listing of the works by Kazi Nazrul Islam, in the Bengali language.
Contents[hide] |
[edit] Poetry
- Sanchita (Collected poems), 1925
- Phanimanasa (The Cactus), poems, 1927
- Chakrabak (The Flamingo), poems, 1929
- Satbhai Champa (The Seven Brothers of Champa), juvenile poems, 1933
- Nirjhar (Fountain), poems, 1939
- Natun Chand (The New Moon), poems, 1939
- Marubhaskar (The Sun in the Desert), poems, 1951
- Sanchayan (Collected Poems), 1955
- Nazrul Islam: Islami Kobita (A Collection of Islamic Poems; Dhaka, Bangladesh: Islamic Foundation, 1982)
- Agni Bina (The Fiery Lute), poems, 1992
[edit] Songs
[edit] Poems and songs
- Dolan Champa (name of a faintly fragrant monsoon flower), poems and songs, 1923
- Bisher Banshi (The Poison Flute), poems and songs, 1924
- Bhangar Gan (The Song of Destruction), songs and poems, 1924 proscribe in 1924
- Chhayanat (The Raga of Chhayanat), poems and songs, 1925
- Chittanama (On Chittaranjan), poems and songs, 1925
- Samyabadi (The Proclaimer of Equality), poems and songs, 1926
- Puber Hawa (The Eastern Wind), poems and songs, 1926
- Sarbahara (The Proletariat), poems and songs, 1926
- Sindhu Hindol (The Undulation of the Sea), poems and songs, 1927
- Jinjir (Chain), poems and songs, 1928
- Pralaya Shikha (Doomsday Flame), poems and songs, 1930 proscribed in 1930
- Shesh Saogat (The Last Offerings), poems and songs, 1958
[edit] Short stories
- Rikter Bedan (The Sorrows of Destitute), short stories, 1925
- Shiulimala (Garland of Shiuli), stories, 1931
- Byathar Dan (Offering of Pain), short stories, 1992
Aladin
[edit] Novels
- Bandhan Hara (Free from Bonds), novel, 1927
- Mrityukshuda (Hunger for Death), novel, 1930
- Kuhelika (Mystery), novel, 1931
[edit] Plays and drama
- Jhilimili (Window Shutters), plays, 1930
- Aleya (Mirage), song drama, 1931
- Putuler Biye (Doll's Marriage), children's play, 1933
- Madhumala (Garland of Honeysuckle) a musical play, 1960
- Jhar (Storm), juvenile poems and play, 1960
- Pile Patka Putuler Biye (Doll's Marriage), juvenile poems and play, 1964
[edit] Essays
- Jooga Bani (The Message of the Age), essays, 1926
- Jhinge Phul (The Cucurbitaccus Flower), essays, 1926
- Durdiner Jatri (The Traveller through Rough Times), essays, 1926
- Rudra Mangal (The Violent Good), essays, 1927
- Dhumketu (The Comet), essays, 1961
- "Rajbo
[edit] See also
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Kazi Nazrul Islam
From Wikipedia, the free encyclopedia
For the Bangladeshi politician, see Syed Nazrul Islam
| South Asia Modern era | |
 | |
| Full name | Kazi Nazrul Islam |
|---|---|
| Born | May 25, 1899 Burdwan District, West Bengal |
| Died | August 29, 1976 (aged 77) Dhaka, Bangladesh |
| School/tradition | Hanafi Sunni |
| Main interests | poetry, music, politics, society |
Kazi Nazrul Islam (Bengali: কাজী নজরুল ইসলাম Kazi Nozrul Islam) (25 May 1899–29 August 1976) was a Bengali poet, musician, revolutionary, and philosopher who pioneered poetic works espousing intense spiritual rebellion against orthodoxy and oppression. His poetry and nationalist activism earned him the popular title of Bidrohi Kobi (Rebel Poet). Accomplishing a large body of acclaimed works through his life, Nazrul is officially recognised as the national poet of Bangladesh and commemorated in India.
Born into a poor Muslim family, Nazrul received religious education and worked as a muezzin at a local mosque. He learned of poetry, drama, and literature while working with theatrical groups. After serving in the British Indian Army, Nazrul established himself as a journalist in Kolkata (then Calcutta). He assailed the British Raj in India and preached revolution through his poetic works, such as "Bidrohi" ("The Rebel") and "Bhangar Gaan" ("The Song of Destruction"), as well as his publication "Dhumketu" ("The Comet"). His impassioned activism in the Indian independence movement often led to his imprisonment by British authorities. While in prison, Nazrul wrote the "Rajbandir Jabanbandi" ("Deposition of a Political Prisoner"). Exploring the life and conditions of the downtrodden masses of India, Nazrul worked for their emancipation.
Nazrul's writings explore themes such as love, freedom, and revolution; he opposed all bigotry, including religious and gender. Throughout his career, Nazrul wrote short stories, novels, and essays but is best-known for his poems, in which he pioneered new forms such as Bengali ghazals. Nazrul wrote and composed music for his nearly 4,000 songs (including gramophone records) [1], collectively known as Nazrul geeti (Nazrul songs), which are widely popular today. At the age of 43 (in 1942) he began suffering from an unknown disease, losing his voice and memory. What was later diagnosed as Pick's Disease, caused Nazrul's health to decline steadily and forced him to live in isolation for many years. Invited by the Government of Bangladesh, Nazrul and his family moved to Dhaka in 1972, where he died four years later.
Contents[hide] |
[edit] Early life
Kazi Nazrul Islam was born in the village of Churulia in the Burdwan District of Bengal (now located in the Indian state of West Bengal).[2] He was born in a Muslim family who is second of three sons and a daughter, Nazrul's father Kazi Fakeer Ahmed was the imam and caretaker of the local mosque and mausoleum. Nazrul's mother was Zaheda Khatun. Nazrul had two brothers, Kazi Shahebjan and Kazi Ali Hussain, and a sister, Umme Kulsum. 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 scriptures, Islamic philosophy and theology. His family was devastated with the death of his father in 1908. At the young age of ten, Nazrul began working in his father's place as a caretaker to support his family, as well as assisting teachers in school. He later became the muezzin at the mosque, leading the community prayers.[3][4]
Attracted to folk theatre, Nazrul joined a leto (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.[2] 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" ("The story of a Farmer"), "Shakunibadh" ("The Killing of a Vulture"), "Raja Yudhisthirer San" ("The story of King Yudhisthir"), "Data Karna" ("Philanthropic Karna"), "Akbar Badshah" ("Emperor Akbar"), "Kavi Kalidas" ("Poet Kalidas"), "Vidyabhutum" ("The Learned Owl"), "Rajputrer San" ("The story of a Prince"), "Buda Saliker Ghade Ron" ("Battered Old Bird") and "Meghnad Badh" ("The Killing of Meghnad").[3]
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 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 (now Nazrul University) 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.[3]
Studying up to Class X, Nazrul did not appear for the matriculation pre-test examination, enlisting instead in the Indian Army in 1917 at the age of eighteen. He joined the British army mainly for two reasons: first, his youthful romantic inclination to respond to the unknown and, secondly, the call of politics[5]. Attached to the 49th Bengal Regiment, he was posted to the cantonment in Karachi, where he wrote his first prose and poetry. Although he never saw active fighting, he rose in rank from corporal to havildar, and served as quartermaster for his battalion.[3] During this period, Nazrul read extensively, and was deeply influenced by Rabindranath Tagore and Sarat Chandra Chattopadhyay, as well as the Persian poets Hafez, Rumi and Omar Khayyam. He learnt Persian poetry from the regiment's Punjabi moulvi, practiced music and pursued his literary interests. His first prose work, "Baunduler Atmakahini" ("Life of a Vagabond") was published in May, 1919. His poem "Mukti" ("Freedom") was published by the "Bangla Mussalman Sahitya Patrika" ("Bengali Muslim Literary Journal") in July 1919.[3]
[edit] Rebel poet
Nazrul left the army in 1920 and settled in Calcutta, which was then the Cultural capital of India (it had ceased to be the political capital in 1911).[6] He joined the staff of the "Bangiya Mussalman Sahitya Samiti" ("Bengali Muslim Literary Society") and roomed at 32 College Street with colleagues. He published his first novel "Bandhan-hara" ("Freedom from bondage") in 1920, which he kept working on over the next seven years.[3] His first collection of poems included "Bodhan", "Shat-il-Arab", "Kheya-parer Tarani" and "Badal Prater Sharab" and received critical acclaim.[3]
Working at the literary society, Nazrul grew close to other young Muslim writers including Mohammad Mozammel Haq, Afzalul Haq, Kazi Abdul Wadud and Muhammad Shahidullah. He was a regular at clubs for Calcutta's writers, poets and intellectuals like the Gajendar Adda and the Bharatiya Adda. In October 1921, Nazrul went to Santiniketan with Muhammad Shahidullah and met Rabindranath Tagore. Despite many differences, Nazrul looked to Tagore as a mentor and the two remained in close association.[3] 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—upon public insistence by Ali Akbar Khan that the term "Nazrul must reside in Daulatpur after marriage" be included in the marriage contract, Nazrul walked away from the ceremony.
Nazrul reached the peak of fame with the publication of "Bidrohi" in 1922, which remains his most famous work, winning admiration of India's literary classes by his description of the rebel whose impact is fierce and ruthless even as its spirit is deep:.[7]
I am the unutterable grief,
I am the trembling first touch of the virgin,
I am the throbbing tenderness of her first stolen kiss.
I am the fleeting glance of the veiled beloved,
I am her constant surreptitious gaze...
...
I am the burning volcano in the bosom of the earth,
I am the wild fire of the woods,
I am Hell's mad terrific sea of wrath!
I ride on the wings of lightning with joy and profundity,
I scatter misery and fear all around,
I bring earth-quakes on this world! "(8th stanza)" I am the rebel eternal,
I raise my head beyond this world,
High, ever erect and alone! "(Last stanza)"[8] (English translation by Kabir Choudhary)
Published in the "Bijli" (Thunder) magazine, the rebellious language and theme was popularly received, coinciding with the Non-cooperation movement — the first, mass nationalist campaign of civil disobedience against British rule.[3]
Nazrul explores a synthesis of different forces in a rebel, destroyer and preserver, 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 success. He also published his first volume of short stories, the "Byather Dan" ("Gift of Sorrow") and "Yugbani", an anthology of essays.
[edit] Revolutionary
Nazrul started a bi-weekly magazine, publishing the first "Dhumketu" (Comet) on August 12, 1922. Earning the moniker of the "rebel poet", Nazrul also aroused the suspicion of British authorities.[2] A political poem published in "Dhumketu" in September 1922 led to a police raid on the magazine's office. Arrested, Nazrul entered a lengthy plea before the judge in the court.
I have been accused of sedition. That is why I am now confined in the prison. On the one side is the crown, on the other the flames of the comet. One is the king, sceptre in hand; the other Truth worth the mace of justice. To plead for me, the king of all kings, the judge of all judges, the eternal truth the living God... His laws emerged out of the realization of a universal truth about mankind. They are for and by a sovereign God. The king is supported by an infinitesimal creature; I by its eternal and indivisible Creator. I am a poet; I have been sent by God to express the unexpressed, to portray the unportrayed. It is God who is heard through the voice of the poet... My voice is but a medium for Truth, the message of God... I am the instrument of that eternal self-evident truth, an instrument that voices forth the message of the ever-true. I am an instrument of God. The instrument is not unbreakable, but who is there to break God?[9]
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 were banned in the 1920s by the British authorities.[3]
Kazi Nazrul Islam became a critic of the Khilafat struggle, condemning it as hollow, religious fundamentalism.[3] Nazrul's rebellious expression extended to rigid orthodoxy in the name of religion and politics.[10] Nazrul also criticised the Indian National Congress for not embracing outright political independence from the British Empire. He became active in encouraging people to agitate against British rule, and joined the Bengal state unit of the Congress party.[3] Nazrul also helped organise the Sramik Praja Swaraj Dal, a political party committed to national independence and the service of the peasant masses. On December 16, 1925 Nazrul started publishing the weekly "Langal", with himself as chief editor.[3] The "Langal" was the mouthpiece of the Sramik Praja Swaraj Dal.
During his visit to Comilla in 1921, Nazrul met a young Hindu woman, Pramila Devi, with whom he fell in love and they married 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 continued to face criticism for his personal life and professional works, which attacked social and religious dogma and intolerance. Despite controversy, Nazrul's popularity and reputation as the "rebel poet" rose significantly.[11][3]
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.[8]
[edit] Mass music
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 classes, a sphere of his work known as "mass music."[12] Nazrul assailed the socio-economic norms and political system that had brought upon misery. From his poem Daridro (Pain or 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.
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?[13]
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 written mainly in Persian and Urdu.[4] Nazrul for the first introduced Islam into the larger mainstream tradition of Bengali music. The first record of Islamic songs by Nazrul Islam was a commercial success and many gramophone companies showed interest in producing these. A significant impact of Nazrul's "Islamisation" of Bengali music was that it drew an audience amongst conservative Muslims, traditionally averse to music. Nazrul also composed a number of notable Shamasangeet, Bhajan and Kirtan, combining Hindu devotional music.[14] Arousing controversy and passions in his readers, Nazrul's 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 was also enlisted/attached with the Indian Broadcasting Company [15].
Nazrul professed faith in the belief in the equality of women — a view his contemporaries considered revolutionary.[16] From his poet Nari (Woman):
I don't see any difference
Between a man and woman
Whatever great or benevolent achievements
That are in this world
Half of that was by woman,
The other half by man. (Translated by Sajed Kamal[17])
His poetry retains long-standing notions 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.[17]
However, Nazrul's poems strongly emphasise the confluence of the roles of both sexes and their equal importance to life. He stunned society with his poem "Barangana" ("Prostitute"), in which he addresses a prostitute as "mother".[18] Nazrul accepts the prostitute as a human being, reasoning that this person was breast-fed by a noble woman and belonging to the race of "mothers and sisters"; he assails society's negative notions of prostitutes.[19]
Who calls you a prostitute, mother?
Who spits at you?
Perhaps you were suckled by someone
as chaste as Seeta.
....
And if the son of an unchaste mother is 'illegitimate',
so is the son of an unchaste father.
("Barangana" ("Prostitute") Translated by Sajed Kamal[20])
Nazrul was an advocate of the emancipation of women; both traditional and non-traditional women were portrayed by him with utmost sincerity.[21] Nazrul's songs are collectively called as Nazrul geeti.
[edit] Exploring religion
Nazrul's mother died in 1928, and his second son Bulbul died of smallpox the following year. His first son, Krishna Mohammad had died prematurely. His wife gave birth to two more sons — Savyasachi in 1928 and Aniruddha in 1931 — but Nazrul remained shaken and aggrieved for a long time. His works changed significantly from rebellious expositions of society to deeper examination of religious themes. His works in these years led Islamic devotional songs into the mainstream of Bengali folk music, exploring the Islamic practices of namaz (prayer), roza (fasting), hajj (pilgrimage) and zakat (charity). This was regarded by his contemporaries as a significant achievement as Bengali Muslims had been strongly averse to devotional music.[22] Nazrul's creativity diversified as he explored Hindu devotional music by composing Shama Sangeet, bhajans and kirtans, often merging Islamic and Hindu values. Nazrul's poetry and songs explored the philosophy of Islam and Hinduism [23].
Let people of all countries and all times come together. At one great union of humanity. Let them listen to the flute music of one great unity. Should a single person be hurt, all hearts should feel it equally. If one person is insulted; it is a shame to all mankind, an insult to all! Today is the grand uprising of the agony of universal man.[24]
Nazrul's poetry imbibed the passion and creativity of Shakti, which is identified as the Brahman, the personification of primordial energy. He wrote and composed many bhajans, shyamasangeet, agamanis and kirtans. He also composed large number of songs on invocation to Lord Shiva, Goddesses Lakshmi and Saraswati and on the theme of love of Radha and Krishna.[4]
Nazrul assailed fanaticism in religion, denouncing it as evil and inherently irreligious. He devoted many works to expound upon the principle of human equality, exploring the Qur'an and the life of Islam's prophet Muhammad. Nazrul has been compared to William Butler Yeats for being the first Muslim poet to create imagery and symbolism of Muslim historical figures such as Qasim, Ali, Umar, Kamal Pasha, Anwar Pasha and the prophet Muhammad.[9] His vigorous assault on extremism and mistreatment of women provoked condemnation from fundamentalist Muslims, many of whom denounced him as a kaffir (heretic).[25]
In 1920, Nazrul expressed his vision of religious harmony in an editorial in Yuga Bani,
"Come brother Hindu! Come Musalman! Come Buddhist! Come Christian! Let us transcend all barriers, let us foresake forever all smallness, all lies, all selfishness and let us call brothers as brothers. We shall quarrel no more".[26]
In another article entitled Hindu Mussalman published in Ganabani on September 2, 192 he wrote -
''I can tolerate Hinduism and Muslims but I cannot tolerate the Tikism (Tiki is a tuft of never cut hair kept on the head by certain Hindus to maitain personal Holiness) and beardism. Tiki is not Hinduism. It may be the sign of the pundit. Similarly beards is not Islam, it may be the sign of the pundit. Similarly beard is not Islam, it may be the sign of the mollah. All the hair-pulling have originated from those two tufts of hair. Todays fighting is alos between the Pundit and the Mollah: It is not between the Hindus and the Muslims. No prophet has said, ''I have come for Hindus I have come for Muslims I have come for Christians." They have said, "I have come for the humanity for everyone, like light''. But the devotees of Krishna says, "Krishna is for Hindus". The followers of Muhammad (Sm) says, "Muhammad (Sm) is for the Muslims". The Disciple of Christ is for Christian". Krishna-Muhammad-Christ have become national property. This property is the root of all trouble. Men do not quarrel for light but they quarrel over cattles."[27]
Nazrul was an exponent of humanism.[28] Although a Muslim, he named his sons with both Hindu and Muslim names: Krishna Mohammad, Arindam Khaled(bulbul), Kazi Sazbyasachi and Kazi Aniruddha.[29]
[edit] Later life and illness
In 1933, Nazrul published a collection of essays titled "Modern World Literature", in which he analyses different styles and themes of literature. Between 1928 and 1935 he published 10 volumes containing 800 songs of which more than 600 were based on classical ragas. Almost 100 were folk tunes after kirtans and some 30 were patriotic songs. From the time of his return to Kolkata until he fell ill in 1941, Nazrul composed more than 2,600 songs, many of which have been lost.[4] His songs based on baul, jhumur, Santhali folksongs, jhanpan or the folk songs of snake charmers, bhatiali and bhaoaia consist of tunes of folk-songs on the one hand and a refined lyric with poetic beauty on the other. Nazrul also wrote and published poems for children.[4]
Nazrul's success soon brought him into Indian theatre and the then-nascent film industry. The first picture for which he worked was based on Girish Chandra Ghosh's story "Bhakta Dhruva" in 1934. Nazrul acted in the role of Narada and directed the film. He also composed songs for it, directed the music and served as a playback singer.[3] 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 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 produced critical and analytic documentaries on music, such as "Haramoni" and "Navaraga-malika". Nazrul also wrote a large variety of songs inspired by the raga Bhairav.[30] Nazrul sought to preserve his artistic integrity by condemning the adaptation of his songs to music composed by others and insisting on the use of tunes he composed himself.
Nazrul's wife Pramila Devi fell seriously ill in 1939 and was paralysed from waist down. To provide for his wife's medical treatment, he resorted to mortgaging the royalties of his gramophone records and literary works for 400 rupees.[31] He returned to journalism in 1940 by working as chief editor for the daily newspaper "Nabayug" ("New Age"), founded by the eminent Bengali politician A. K. Fazlul Huq.[32]
Nazrul also was shaken by the death of Rabindranath Tagore on August 8, 1941. He spontaneously composed two poems in Tagore's memory, one of which, "Rabihara" (loss of Rabi or without Rabi) was broadcast on the All India Radio. Within months, Nazrul himself fell seriously ill and gradually began losing his power of speech. His behaviour became erratic, and spending recklessly, he fell into financial difficulties. In spite of her own illness, his wife constantly cared for her husband. However, Nazrul's health seriously deteriorated and he grew increasingly depressed. 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. In 1952, he was transferred to a mental hospital in Ranchi. With the efforts of a large group of admirers who called themselves the "Nazrul Treatment Society" as well as prominent supporters such as the Indian politician Syama Prasad Mookerjee, the treatment society sent Nazrul and Promila to London, then to Vienna for treatment.[33] Examining doctors said he had received poor care, and Dr. Hans Hoff, a leading neurosurgeon in Vienna, diagnosed that Nazrul was suffering from Pick's Disease. His condition judged to be incurable, Nazrul returned to Calcutta on 15 December 1953.[34] 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 accorded him honorary citizenship.[3] Despite receiving treatment and attention, Nazrul's physical and mental health did not improve. In 1974, his youngest son, Kazi Aniruddha, an eminent guitarist 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.[35]
[edit] Criticism and legacy
Nazrul's poetry is characterised by an abundant use of rhetorical devices, which he employed to convey conviction and sensuousness. He often wrote without care for organisation or polish. His works have often been criticized for egotism, but his admirers counter that they carry more a sense of self-confidence than ego. They cite his ability to defy God yet maintain an inner, humble devotion to Him.[9] Nazrul's poetry is regarded as rugged but unique in comparison to Tagore's sophisticated style. Nazrul's use of Persian vocabulary was controversial but it widened the scope of his work.[9] Nazrul's works for children have won acclaim for his use of rich language, imagination, enthusiasm and an ability to fascinate young readers.[9]
Nazrul pioneered new styles and expressed radical ideas and emotions in a large body of work. Scholars credit him for spearheading a cultural renaissance in Muslim-majority Bengal, "liberating" poetry and literature in Bengali from its medieval mould. 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.[36] The Government of Bangladesh conferred upon him the status of being the "national poet". He was awarded the Ekushey Padak by the Government of Bangladesh. He was awarded Honorary D.Litt. by the University of Dhaka . 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 organization working for the education of children throughout the country.[37]
[edit] See also
| ||||||||||||||||||||||||||||
[edit] References
- Karunamaya Goswami, Kazi Nazrul Islam: A Biography, (Nazrul Institute; Dhaka, 1996)
- Rafiqul Islam, Kazi Nazrul Islam: A New Anthology, (Bangla Academy; Dhaka, 1990)
- Basudha Chakravarty, Kazi Nazrul Islam, (National Book Trust; New Delhi, 1968)
- Abdul Hakim, The Fiery Lyre of Nazrul Islam, (Bangla Academy; Dhaka, 1974)
[edit] Notes
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Learning resources from Wikiversity- ^ Hossain, Quazi Motahar (2000). "Nazrul Islam, the Singer and Writer of Songs". in Mohammad Nurul Huda. Nazrul: An Evaluation. Dhaka: Nazrul Institute. pp. 55. ISBN 984555167X.
- ^ a b c "Kazi Nazrul Islam: A Chronology of life". Biography/Bibliography. Nazrul Institute, Ministry of Cultural Affairs, Government of Bangladesh. http://www.nazrulinstitute.org.bd/bio_graphy_e.html. Retrieved on 2008-04-28.
- ^ a b c d e f g h i j k l m n o p "Kazi Nazrul Islam" (HTML). Banglapedia. http://banglapedia.search.com.bd/HT/I_0109.htm. Retrieved on 2006-07-08.
- ^ a b c d e Chaudhuri, Dilip. "Nazrul Islam: The unparalleled lyricist and composer of Bengal" (HTML). Press Information Bureau, Government of India. http://pib.nic.in/feature/fe0899/f1608991.html. Retrieved on 2006-09-22.
- ^ Bose, Buddhadeva (2000). "Modern Bengali Poetry and Nazrul Islam". in Mohammad Nurul Huda. Nazrul: An Evaluation. Dhaka: Nazrul Institute. pp. 80. ISBN 984555167X.
- ^ Hall, P (2002). Cities of Tomorrow. Blackwell Publishing. pp. 198–206. ISBN 0631232524.
- ^ Amin, Sonia (1996). The World of Muslim Women in Colonial Bengal, 1876-1939. pp. 106. ISBN 9004106421.
- ^ a b Kabir, Choudhary. "Rebel" (HTML). http://www.nazrul.org/nazrul_works/poems_lyrics/kabir_rebel.htm. Retrieved on 2006-07-08.
- ^ a b c d e Choudhury, Serajul Islam (2006-06-01). "The Blazing Comet" (HTML). New Age. http://www.newagebd.com/2006/may/26/may26/xtra_also1.html. Retrieved on 2006-09-22.
- ^ Rushd, Abu (2000). "Nazrul Islam's 'The Rebel'". in Mohammad Nurul Huda. Nazrul: An Evaluation. Dhaka: Nazrul Institute. pp. 100. ISBN 984555167X.
- ^ Chowdhury, Serajul Islam (2000). "The Blazing Comet". in Mohammad Nurul Huda. Nazrul: An Evaluation. Dhaka: Nazrul Institute. pp. 141. ISBN 984555167X.
- ^ Islam, Rafiqul (2000). "Nazrul". in Mohammad Nurul Huda. Nazrul: An Evaluation. Dhaka: Nazrul Institute. pp. 113. ISBN 984555167X.
- ^ ""Poverty"" (HTML). 2006-07-08. Archived from the original on 2007-06-10. http://web.archive.org/web/20070610003225/http://www1.worldbank.org/prem/poverty/povlit/povlit2p29.htm. Retrieved on 2006-07-08.
- ^ Islam, Rafiqul (2000). "Nazrul". in Mohammad Nurul Huda. Nazrul: An Evaluation. Dhaka: Nazrul Institute. pp. 115. ISBN 984555167X.
- ^ Haque, Asadul. 1999. Nazrul Jakhan Betare (A Study on various performance of poet Kazi Nazrul Islam in Radio with Documents. Bangladesh Shilpakala Academy, Dhaka. 1999. pp. 28-30
- ^ Amin, Sonia (1996). The World of Muslim Women in Colonial Bengal, 1876-1939. pp. 106. ISBN 9004106421.
- ^ a b The Daily Star. May 25, 2003
- ^ Huda, Mohammad Nurul (2000). "Nazrul's Personlore". in Mohammad Nurul Huda. Nazrul: An Evaluation. Dhaka: Nazrul Institute. pp. 314. ISBN 984555167X.
- ^ "The Courtesan", translation of "Barangana", page52-54, Google Books Preview from 'Rebel and Other Poems' by Basudha Chakravarthy, ISBN 8126006072
- ^ Huda, Mohammad Nurul (2000). "Nazrul's Personlore". in Mohammad Nurul Huda. Nazrul: An Evaluation. Dhaka: Nazrul Institute. pp. 314–315. ISBN 984555167X.
- ^ Huda, Mohammad Nurul (2000). "Nazrul's Personlore". in Mohammad Nurul Huda. Nazrul: An Evaluation. Dhaka: Nazrul Institute. pp. 314. ISBN 984555167X.
- ^ Kamrunnessa Azad. 2001. Dharmiya Chetonay Nazrul. Nazrul Institute, Dhaka. 1999. pp. 173-174
- ^ Kamrunnessa Azad. 2001. Dharmiya Chetonay Nazrul. Nazrul Institute, Dhaka. 1999. pp. 19-20
- ^ Chakravarthy, p. 72.
- ^ p 184, Google books preview from 'Offering Flowers, Feeding Skulls: Popular Goddess Worship in West Bengal' by June McDaniel, ISBN 0195167902
- ^ Moniruzzaman, Mohammad (2000). "Interaction of Cultures and Kazi Nazrul Islam". in Mohammad Nurul Huda. Nazrul: An Evaluation. Dhaka: Nazrul Institute. pp. 149. ISBN 984555167X.
- ^ Moniruzzaman, Mohammad (2000). "Interaction of Cultures and Kazi Nazrul Islam". in Mohammad Nurul Huda. Nazrul: An Evaluation. Dhaka: Nazrul Institute. pp. 153–54. ISBN 984555167X.
- ^ Moniruzzaman, Mohammad (2000). "Interaction of Cultures and Kazi Nazrul Islam". in Mohammad Nurul Huda. Nazrul: An Evaluation. Dhaka: Nazrul Institute. pp. 153–54. ISBN 984555167X.
- ^ Huda, Mohammad Nurul (2000). "Nazrul's Personlore". in Mohammad Nurul Huda. Nazrul: An Evaluation. Dhaka: Nazrul Institute. pp. 306–307. ISBN 984555167X.
- ^ Islam, Rafiqul (2000). "Nazrul Islam". in Mohammad Nurul Huda. Nazrul: An Evaluation. Dhaka: Nazrul Institute. pp. 117. ISBN 984555167X.
- ^ Kamal, Sajed (2000). "Kazi Nazrul Islam: A Chronology of Life". in Mohammad Nurul Huda. Nazrul: An Evaluation. Dhaka: Nazrul Institute. pp. 325. ISBN 984555167X.
- ^ Kamal, Sajed (2000). "Kazi Nazrul Islam: A Chronology of Life". in Mohammad Nurul Huda. Nazrul: An Evaluation. Dhaka: Nazrul Institute. pp. 325. ISBN 984555167X.
- ^ Kamal, Sajed (2000). "Kazi Nazrul Islam: A Chronology of Life". in Mohammad Nurul Huda. Nazrul: An Evaluation. Dhaka: Nazrul Institute. pp. 326. ISBN 984555167X.
- ^ Kamal, Sajed (2000). "Kazi Nazrul Islam: A Chronology of Life". in Mohammad Nurul Huda. Nazrul: An Evaluation. Dhaka: Nazrul Institute. pp. 326. ISBN 984555167X.
- ^ "References to demise of Heads of foreign States or eminent international personalities" (HTML). 2007-10-16. http://164.100.24.167/rajya/19/94/i5/94I50H02.htm. Retrieved on 2008-05-13.
- ^ Kamal, Sajed (2000). "Kazi Nazrul Islam: A Chronology of Life". in Mohammad Nurul Huda. Nazrul: An Evaluation. Dhaka: Nazrul Institute. pp. 326. ISBN 984555167X.
- ^ "Bangladesh Nazrul Sena" (HTML). http://www.nazrulsena.org/indexmain.htm. Retrieved on 2008-05-13.
[edit] External links
- Recitation of Nazrul Poems
- Banglapedia:Islam, Kazi Nazrul
- Kazi Nazrul Islam Page
- Nazrul Geeti - Songs of Kazi Nazrul Islam
- Kazi Nazrul Islam
| Persondata | |
|---|---|
| NAME | Nazrul Islam, Kazi |
| ALTERNATIVE NAMES | কাজী নজরুল ইসলাম (Bengali) |
| SHORT DESCRIPTION | Bengali writer, philosopher, and musician |
| DATE OF BIRTH | May 25, 1899 |
| PLACE OF BIRTH | Churulia, Burdwan District, Bengal (now West Bengal, India) |
| DATE OF DEATH | August 29, 1976 |
| PLACE OF DEATH | Dhaka, Bangladesh |
| The portrait of Kazi Nazrul Islam appears at the right hand side against a lemon yellow background on 15 Paisa stamp and a strawberry red background on 50 Paisa stamp. The portrait is hand engraved and printed in brown colour. The word "Pakistan" in English, Urdu and Bengali appears in reverse in the brown panel at the bottom. The words "Kazi Nazrul Islam Poet and Musician (b. 25th May 1899)" are printed in brown at the top. The denominations "15 Paisa" and "50 Paisa" are also printed in brown in the top right hand corner. The word "POSTAGE" appears at the left hand side just above the bottom panel. On the left hand side of the portrait the following verse from his works is printed in Bengali Script in brown.
To highlight the role played by the Rebel Poet and Composer, Kazi Nazrul Islam (b. 1899), as a fighter for freedom of the Indo-Pakistan Subcontinent, Pakistan Post Office is issuing a set of two stamps of 15 Paisa and 50 Paisa denominations in the "Poet Series" on the 25th of June,1968. Kazi Nazrul Islam popularly called 'Nazrul' hails from the Kazi family of Churulia in Asansol Sub-Division, of Burdwan District. His father was a man of moderate means and when he died, Nazrul was only eight years old. His uncle then took care of him and under his influence Nazrul started writing poetry early in life as the former was also a poet and well-versed in Persian. He also took to composing songs and dramatic pieces for the local "Letto" (rural opera) parties and made his mark in the art of writing and earning something for the family. "But the little bird in the family cage" felt suffocated, as he said later. The lure of life made the "child of light", as he used to be called by his family, slip away to Asansol where he took service as a page on a paltry pittance. Attracted by his musical and literary talents, Qazi. Rafizuddin, a sub-inspector of Police, sent Nazrul to his village home in Mymensingh district and got him admitted ihto the local High School where he studied for a year, and then went back to Asansol and joined the Raniganj Searsol Raj High School. Here he studied for three years till 1917 when he joined as an ordinary soldier the 49th Bengal Regiment formed during the First World War. He was then a student of Class X. That was the end of his formal academic career. The Regiment was quartered in the Abyssinia Lines of the Karachi City. And here began his outstanding literary career by the publication in some Calcutta Journals, of his prose and poetical contributions under the name of "Havildar" Kazi Nazrul Islam, the 49th Bengal Regiment, Karachi". While in Karachi, he also studied Persian and translated some of the Rubaiyats and Ghazals of Hafiz into Bengali. The following contributions of Nazrul from the Karachi Cantonment heralded the advent of a rising star in the firmament of Bengali literature, viz. (a) Boundeler Atmakahini—Autobiography of a Vagabond—in 'Saogat' of Jaistha, 1326 B.S.; The poem "Mukti" was a most remarkable performance for a youngster. Nazrul Islam is the only poet to whom Tagore dedicated a book of his—'Vasant', a song-drama. "Rikter Bedon"—a story book was admittedly written "on the sands of the Arabian Sea". The book contains eight stories and is woven round the author and his dream-2irl Meher Nagar. The last story in this book is entitled 'Duranta Pathik'— Traveller Desperate—in thrilling but somewhat mystified language. The depiction is of the Poet himself. The Traveller came across Terror on the way. Terror threatened: "Don't you know me ? I am Fetters, out to kill you whatever be your explanation. I am to fetter Salvation. You have to die". The Traveler stood stiff and said: "Well, beat me and chain me if you can. But you cannot fetter me unto death, for I have no death!". The story ends with the couplet  "Thy Trumpet ring, loud and deep, far and away; The heroic bond clustereth round thee thy command to obey " On his return in 1919, after disbandment of the 49th Bengal Regiment Nazrul jumped headlong into the field of Bengali Literature with a dash and dazzle all his own  The "VIDROHI" starts with the thrilling words The 'Vidrohi' is a long poem. Here are the translations of the lines quoted above, and some other typical lines: "Proclaim, Hero proclaim (Translated by Mizanur Rahman.) For sometime he served on the editorial staff of the "Nava Jug" started by the late Mr. A.K.Fazlul Huq and later brought out his bi-weekly Dhumketu, the Comet, in which he cast fire and brimstone against the foreign administration which could not stand it long. Nazrul was prosecuted on a charge of sedition and thrown into imprisonment for a year early in January, 1923. The Rebel Poet put up no defence except making a long statement explaining his standpoint, later published as 'Rajbandir Jabanbandi'. He said, inter alia: "It is out of my intense faith in myself that I have described wrong as wrong, oppression as oppression and untruth as untruth, without faultier or flattery. I have raised the standard of revolt against the King, as also against the society, nation and country, holding aloft the Sword of Truth in my hand.. . .1 am the lyre of Truth Divine in that I am a Poet with the Soul of a Seer.... In 1928, Nazrul lost his dear and talented son, Bulbul. By now the Rebel in hun mellowed down into a music composer. and seeker of inner light. He flooded Bengal with enchanting songs, ghazals, kirtans, etc. He holds the world's record 'of recorded music with more than three thousand to his credit. In 1938, his wife was attacked with partial paralysis of her body. In August, 1942, the Poet himself fell victim to a disease, making him senseless, speechless and motionless. The malady did not yield to treatment at home and abroad—in London and Vienna. The spell still continues. The Poet who did so much for our national freedom and renaissance is unconscious of what has happened to us since 1942. Nazrul Islam wielded a most facile pen. During his active literary life of about twenty-two years, he wrote over sixty books, of which the most outstanding ones are Agni-Vina (Flute of Fire), Binsher Banshi (Flute of Poison), Bhangar Gaan (Songs of Destruction), Zinzir, Chakrabak, Natun Chand, Maru Bhaskar, etc. (Poetry) ; Bulbul, pts. I & II, Zulflqar, Bon-Geeti, etc. (Songs and Ghazals); Rubaiyat-i-Hafiz, Umar Khayyam and Kavve Ampara (Translation) ; Byethar Dan, Rikter Bedan, Kuhelika and Mrita-Kshudha (novel and stories). He enriched the Bengali language by the apt use and introduction of many Arabic, Persian and Urdu words. Nazrul Islam also wrote poems, songs, ghazal on Islamic themes and the Muslim heroes of the world. His "Fatehai-Duazdaham" dealing with the birth and death of the Prophet (May peace be on him) is a masterpiece. A quotation from his poem CHIRA-NIRBHOY written in March 1942, would indicate the fiery temperament he possessed and the manner in which he exhorted his fellow Muslin-is to rise and break the shackles of bondage and slavery.  A soldier of Allah that I am, no obstacles for me, nor fear, (Translated by Mizanur Rahman). It is a pity that the greatest Muslim poet of the Bengali language and literature stricken by an incurable disease is still mute and inarticulate. But his songs, ghazals and kirtans and his musical compositions have already earned him a glory that will never fade and a name cannot be effaced from the face of the earth.
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