I am circulating a translation of a Nazrul poem that I did earlier
this year for the Puja issue of a small Bengali magazine (PRAGATI).
It is one of my favourite Nazrul works, reflecting his courage to
take on religious orthodoxy and prejudice (especially brave when not
that of his own religious community) and also propagating his social
vision of equality and reconciliation. My Bengali is not as strong
as it should be; I would welcome any comments or feedback.

Best wishes,
Udayan



AY ASHUCHI AY RE PATIT
by Kazi Nazrul Islam

Come hither, the "fallen", the "impure", the "outcastes"!
Let us all worship The Holy Mother together!

Only when all castes and all nations
Assemble at Her feet, side by side without fear;
Only where we are not bound by temple, priest or scriptures
Can we properly worship the Goddess

Only when brothers sit side by side, worshiping together
Will she embrace those who call Her by name
Descending from Her throne in the heavens,
Sitting amongst us on the dusty earthly ground.
The Goddess' altar will become sacred only when
Her holy water is blessed by the touch of us all.

Because we have ignored Her true message,
Brother has turned against brother
Today, upon seeing the Goddess in Her full splendor,
You will realize that we are all children of the same Mother

And heaven, earth and the entire universe will erupt in awe,
Awoken by our invocation to the Holy Mother
Fearlessly chanted by all in unison

Translation by Udayan Chattopadhyay © 2005

Much is often made about the supposed lack of respect for Nazrul or
neglect of his legacy by certain communities, political parties or
countries on the basis of stories like the one below.

It's an interesting piece of news, and it raises some questions
beyond the immediate issue. I wonder whether "Dukhu miyan" have even
wanted an extravagant mausoleum when there are those wandering
outside the mazar premises hungry, as he was so often throughout his
life?

His legacy has been tampered with so much already, this is just the
tip of the iceberg.


http://www.thebangladeshtoday.com/archive/August/27-08-2005.htm

Daud Md Isa

There is no progress in the implementation of a project undertaken
by Dhaka University six years ago to construct a mausoleum on the
mazar of national poet Kazi Nazrul Islam for want of funds.  According to
observers it is surprising that in a country where
misuse of public money is incredibly rampant, the state can not
arrange funds for such a noble purpose and the university
authorities have to look in vain for sponsors and donours. This
shows Nazrul was Dukhu Miah not in his lifetime alone but remains
the same after his death also.

The then Prime Minister Sheikh Hasina had laid the foundation stone
of the proposed Nazrul complex on May 25, 1999 (Jaistha 11, 1406) on
the occasion of the birth centenary of Kazi Nazrul Islam.

According to sources the design of the proposed complex was prepared
by noted architect Mazharul Islam comprising a monument and a museum
and it was approved by the DU authorities.

The university authorities then transmitted a file to the Cultural
Ministry demanding Tk two crores for the mausoleum. But, according
to a high official of the university, the Ministry did not show
enough interest in allocating that amount.

The authorities then made an appeal to the general people through
advertisement in daily newspapers requesting them to contribute
generously to "The Nazrul Complex Fund". A bank account number was
also given in the advertisement so that people can deposit money.
But the response from people was very poor compared to the total
amount needed.

DU Treasurer Prof Sayed Rashidul Hasan told Bangladesh Today that he
is looking for sponsors individually as the authorities are not
getting the required funds needed for the project.

But the surprising matter is that neither the DU authorities nor the
government is now interested in implementing the project.

According to sources the file of the project had been laying under
dust at the engineering department of the university for about three
years.

When contacted, Chief Engineer of the university Md Amir Hossain
told this correspondent that they could not start the construction
work due to lack of funds.

It may be mentioned that eminent artists and martyred intellectuals,
including Shilpacharya Zainul Abedin, Qamrul Hasan and former DU VC
Prof Abdul Matin were also laid to eternal rest on the Nazrul Islam
mazar premises.

Prof Rafiqul Islam known as Nazrul researcher told Bangladesh Today
that it is a matter of great sorrow that the construction of the
mazar complex of our national poet could not be started yet due to
lack of enough funds.

In response to:
http://groups.yahoo.com/group/Nazrul/message/163
=================================================

I have a strong feeling that Mr Pradip Ghose, a West Bengal Govt employee,
(probably retired now) may be able to help you.  He told me that he was a
personal friend of Kazi Sabyosachi.

Mr Ghose came to Florida 2 times ... first time in early 90s and second  time in
late 90s.  He recites poems & made a few cassettes which  are available in
Calcutta market.  It is possible that someone  at Banga Sammelan may know his
address or phone number, I don't.

Hope the above information will give you some lead.

Bangladesh singer's first solo album set for release in Dhaka

Courtesy: Gulf Times [29 October, 2005]
http://www.gulf-times.com/site/topics/article.asp?cu_no=2&item_no=58637&version=\
1&template_id=36&parent_id=16

THE first Nazrul Geeti solo album of Doha-based Bangladeshi singer
Rahat Sarita Shenjutee (pictured) will be released in Dhaka soon.
Nazrul Geeti's are works based on the writings of Bangladesh national
poet Kazi Nazrul Islam.

Over the years, the 17-year-old Shenjutee, a regular singer on Radio
Bangladesh, had won numerous admirers through her music.

Shenjutee shot to fame under the tutelage of Yacoob Ali Khan and
Mangol Chandra Mandol, two noted Bangladeshi music teachers.

A recipient of many prizes, Shenjutee has focused on the spirit and
feelings encapsulated in the words and lines of Nazrul's songs in her
album.

The singer said she is confident that the music lovers will get a new
taste of the musical treasures hidden in the works of Nazrul Islam.
Queried as to what she wanted to be in life, the singer said though
her ambition is to become an architect, Shenjutee said she is also
looking forward to a successful career in singing as well.

Shenjutee's father, Mofazzal Hossain, is a long serving employee at
the Ras Abu Fontas Power and Water Station-A, and said the first solo
audio cassette of his daughter's work will also be released soon in
Doha. – MAM

In response to:
http://groups.yahoo.com/group/Nazrul/message/160
================================================

   Dear Modaretor.

   Thanks for your kind information.
   I think that information will help me a lot...
   Thanks again.

   Ziaur
   Khulna, Bangladesh

In response to:
http://groups.yahoo.com/group/Nazrul/message/159
================================================

Dear Mr. Ziaur Rahman,

Salam.

As you will find in the "Index of Nazrul's poetry translated into
English"
[http://www.globalwebpost.com/nazrul/nazrul_works/poems/poetry-index.htm],
Manush poem has been translated by three persons: Kabir
Chowdhury, Abdul Hakim and Sajed Kamal.

These translations are not available online yet. You can obtain
these translations of Manush poem in the book, Mohammad Nurul Huda
(ed.) Poetry of Kazi Nazrul Islam in English Translation [Dhaka:
Nazrul Institute, June 2000].

We hope this will help.

Best regrads.

Moderation, Nazrul Forum

[From the Moderation Desk:
Nazrul forum welcomes one of our newest participants, Mr. Ziaur Rahman, from
Khulna, Bangladesh.]

Salam to all

   As I am one of the youngest member of this family, I hvn't get all the news of
this family. So may I dare to know to all my seniors of this family about the
poem"MANUSH". If there is any english translation of this great asset of Bangla
literature! If ithere is any, then please inform me where & how I can collect
that.

   Best of luck to all
   Johnnie
   From
   Khulna, Bangladesh.


---------------------------------
  Yahoo! FareChase - Search multiple travel sites in one click.

Salam and greetings.

There are several excellent translations of Nazrul's famous poem, Nari (woman). I know it is an amateurish attempt, but I wanted to do a rhymed translation for my own satisfaction. Because there are a lot of mythic and historical/geographical references in this poem, if there is any error, please do let me know.

Thanks and best regards.

================================
Dr. Mohammad Omar Farooq
http://www.globalwebpost.com/farooqm

Woman

Original: Nari by Kazi Nazrul Islam
Translation: Mohammad Omar Farooq
[8/14/99]

Everything that is great in the world
All the works, beneficial and good,
Half must be credited to the woman
And only half to manhood.

All the vice or bad in the world
And the pain or flowing tear,
For half, man should be blamed
The other half only woman should bear.

Who belittles you as woman
Connecting you to Hell's flame,
Tell him that for the first ever sin
Not woman, but man must carry the blame.

Or, it may be that sin or Satan
Is in reality neither man or woman;
Satan is gender-neutral, so
It flows equally in woman or man.

All the flowers blossomed in the world,
And all the fruit grown,
Isn't in beauty, nectar and fragrance of those
Woman's contribution?

Have you seen Taj Mahal's marble?
It's spirit, have you seen?
At the heart of it Momtaj, woman
Outside is Shahjahan, the King and lover so keen.

The fortune of knowledge, or of music,
Or, the fortune of all harvest,
Woman's grace has made it so worthwhile
Flowing from every home and nest.

In the hardship of day and its scorching heat,
You can see reflection of man,
In the soothing breeze
and in peace of night, who shines but woman?

During the day she is source of stength
She glows in affection at night,
When man needs comfort and love
Her grace and sweetness flow to make his life bright.

With man behind the plough
The crop field became bountiful, indeed;
The greenery was only more beautiful
As woman sowed the seed.

Man carries the plough, the woman carries the water
From soil and water mixed together,
The crop grows in abudance,
Ears of paddy like blooming heather.

Of course, the metals -
gold and silver: ordinary otherwise;
Those become fancy jewellery
With woman's touch that underlies.

In longing for woman, or in her communion
Man found where the poets' hearts belong,
As his words became poetry
And sounds turned into song.

Man's present - the passion; woman's is affection -
With the communion that hungry loves entail,
Comes the children - all magnificent
From man the great that even angels hail.

All the great victory of the world
And all the grand voyages,
Gained grandeur and nobility from sacrifice of
Mothers, sisters, and wives, throughout the ages.

How much blood man has offered
Is recorded in annals of history;
How many women became widow -
No record of that - Is it a mystery?

How many mothers poured their hearts,
And how many sisters did serve?
The memorials of heroes - great or small
Do not show that - Do you not observe?

Victory hasn't kissed man's sword
Because of the valor of man alone,
The inspiration and pride woman brought
To men, that should also be known.

While king rules the kingdom
And queen rules the king,
The misery and sadness go away
Joy and happiness her grace does bring.

Man!
Heartless, like a stone;
To make human out of him
Woman gave half of her heart as loan.

All the great celebrities, immortal -
Whose fame knows no bound,
We celebrate in their memory
Regularly, every year around.

They came to this world
As at moment's passion they were fathered,
But Raam found shelter in jungle,
While all the care and nurture Shita gathered.

Wasn't it the woman who taught baby-"men"
Love mercy and compassion?
Didn't she touch their eyes with Kohl
As a shadow of her sad affection?

Man paid that debt off
In a very strange way,
Holding on lap she who kissed him,
Behind curtain and wall, she was put away.

Man the great;
Is he so, really?
Who cuts open his mother's throat
At the command of his Muni father, bending his knee?

In the world's bed, half the deity: woman
Just turned the side,
So far woman has taken enough,
Now man will be confined.

Gone
Is that age,
When man was the master
To enslave woman in his wish's cage.

This age is of empathy, of being human,
Of equality is this new time,
No one would be the other's prisoner -
Don't you hear that chime?

If man imprisons woman,
Then the turn will come sure,
In the same prison he built
He will rot and die without a cure.

Take this lesson -
A wisdom always right and true,
If you make suffer someone,
Suffering will catch up with you.

Listen!
You the creature of this earth!
The more you oppress others,
Your humannes? gradually, there will be dearth.

In the dungeon of treasure
With jewellery of silver and gold,
Who confined you, O woman,
Who is that animal with heart so cold?

No more agitation or bewilderment
To express yourself any more,
Now you are timid, vulnerable
Speak only from behind the wall or door.

You can't look eye to eye, and still wear
Bracelet and anklets - the prisoner's symbol,
Tear off the veil of yours,
Unchain yourself, it has taken enough toll.

The veil that made you timid,
Let that go away,
All those ornaments and symbols of servitude,
Throw away, throw away.

Woman!
To this world precious you really are!
Don't roam in jungle or
To sing to trees you wander afar.

When did the Regent of Death come
Flying on the wing of night's shade,
Snatched you to captivity
In its dungeon where nobody can raid.

In that bondage of old time,
You are still living dead,
From that time world's light is stolen
And our vision is obscure in dread.

Come like a lightening, O mother,
Breaking away from that pit,
Your broken grass bracelets
Will keep your path lit.

The animal, that is man's hunger -
At the fling of your leg,
Will drop dead at your feet, and
Together, with smashed undertaker, will earnesly beg.

Your ambrosia all of us enjoyed,
Now different is the need,
The hand that offered ambrosia before
To the monsters must now offer hemlock, indeed.

Not very far
is that cherished day,
When with homage to man,
To woman also homage, the world will pay.

This is news of a Nazrul biography published in India in English.
It is from the publisher's general e-mail announcement.


Kazi Nazrul Islam: Freedom’s Poet
by Sumanta Sen. Rupa, New Delhi. Pages 72. Rs 195.

This is the story of a Bengali poet whose popularity and general acceptance come
next only to Tagore’s. While Tagore’s poetry has a romantic tinge laced with
appreciation of nature, Nazrul became popular as a poet of the people who raised
his voice on behalf of the deprived masses. No wonder, he had to face
persecution, even imprisonment.

Even at the peak of his popularity, this poet of the people had to face want and
indigence, which remained part of his life right from his childhood. His father
died a pauper when he was a child and he had to fend for himself at an early
age. In and out of school through the kindness of different people, young Nazrul
joined the Army at the age of 18. As a Havildar, he wrote his first published
poem, Mukti, which appeared in a Bengali journal of Calcutta (now Kolkata). At
the end of World War I, the Bengal Regiment, which he had joined, was disbanded.
When he started his own journal, Dhumketu, Tagore, realising Nazrul’s power to
influence the masses, sent a message urging the publication to "shock those into
awakening who are still unconscious". But it was as the editor of Nabajug (New
Age), a publication started with help
from A.K. Fazlul Huq, who later became Chief Minister of Bengal, that Nazrul
voiced the plight of the workers and peasants. The paper was banned. After that
he did a fair amount of creative writing, which earned him fame but not fortune.
It was in this period that he launched Dhumketu and for the first time raised
the demand for ‘full freedom’. He was sent to jail for a year,
charged with sedition.

His marriage to a Hindu girl with the consent of her mother caused uproar among
the Hindus as well as Muslims. In the late twenties of the last century Nazrul
was attracted to the world of music. He sang his own songs, with music set by
him. He set to music more than 3,000 of his songs, many of which still remain
popular in Bengal as Nazrulgeeti. On July 9, 1942, in a radio programme, his
tongue twisted and he lost his voice, never to regain it. In 1972, he was sent
to Bangladesh on the request of the Bangladesh Government. On August 29, 1976,
this poet of the people died in a Dhaka hospital and was given a burial with
military honours.

While giving a gripping account of the poet’s life, the author regrets that not
much is being done in India to keep alive the memory of this remarkable man,
whose poetry remains a powerful element of Bengali literature.

Dear Nazrul enthusiast,

Peace and greetings.

Many of you may have watched Meher Nigar, a newly premiered movie in
Bangladesh by Impress Telefilm/Channel i.

The movie is based on one of the short stories of Nazrul.

If you have watched the movie, we can have some meaningful discussion
about the portrayal of Nazrul's work.

Also, after our forum level discussion, we can share these
observations in public to try to have some impact on future ventures.

You are invited to share your valuable feedback.

Nazrul Forum Moderation

Dear Nazrul enthusiasts,

Salam and greetings.

Kazi Nazrul Islam Page has reached another important milestone.

There is only one novel of Nazrul that has been translated into English to date:
Kuhelika. This remarkable novel has been translated by Prof. Kabir Chowdhury,
who hardly needs any introduction.

Nazrul.org deeply appreciates that Prof. Chowdhury has granted his
kind permission to add his translation of the novel to this site. It was quite a
bit of work, but being able to add it to the site is an important step forward
in bringing Nazrul to the world.

You can find the novel under Nazrul's Works. The novel has been added
from scanned pages. Therefore, despite some initial screening, errors
are bound to remain. Please do let us know if you find any error.

Best regards.

Webmaster, Kazi Nazrul Islam Page
http://www.nazrul.org

On Eid Day, November 4, 2005, Impress Telefilm
presented a new feature film, Meher Nigar, based on a
love story by Nazrul.

It also premiered the same day on Channel i.

=======================================================
Bdesh Bishwa is a news scanning service focused
on news and issues pertaining to Bangladeshi
readership
=======================================================

Meher Nigar premiered

Courtesy: Daily Star [October 2, 2005]
http://www.thedailystar.net/2005/11/02/d511021405113.htm

Meher Nigar, a film based on a story with the same
title, by our National Poet Kazi Nazrul Islam, was
premiered at Star Cineplex, Bashundhara City last
Monday.

This is the first time a literary work by Nazrul has
been adapted for the silver screen. Produced by
Impress Telefilm and presented by the Film and Media
department of Stamford University, the film has been
jointly directed by Gulzar and popular actor Moushumi.
Incidentally, Moushumi has also donned the role of
Meher Nigar. Ferdous plays the other lead character.
Irin Zaman, Prabir Mitra, Nader Chowdhury and Shahidul
Alam Sachchu are among other artistes of the film.

The film features several melodious Nazrul Sangeet.
The script of the movie has been written by Ahmad
Zaman Chowdhury, Ferdous Hasan and Geetali Hasan.
Ahmed Imtiaz Bulbul and Emon Shaha have directed the
music of the film.

Vice Chancellor of Stamford University, MA Hannan
Firoz, Managing Director of Impress Telefilm, Faridur
Reza Shagor, Moushumi and Ferdous attended the
premier.

The film will be released at Star Cineplex on Eid ul
Fitr and Channel i will telecast the world premier of
Meher Nigar on the same day at 2:30pm.




__________________________________
Start your day with Yahoo! - Make it your home page!
http://www.yahoo.com/r/hs

P.S. The subtitle The Tale of Tails is my addition.  

Dear Nazrul Enthusiasts,

On this occasion of Eid, Nazrul would have reminded us that eid is not
a self-centered celebration. It is an occasion to heighten awareness
about and the empathy for the humanity. Our hearts and thoughts should
be in tune with the humanity. We must not forget the needy and
deprived, and the victims of injustice, bigotry and hatred. It is an
occasion to reach beyond the circle of one's own faith - all the way
to humanity!

In the words of Kazi Nazrul Islam in "Eid Mobarok":

... Aji islami-donka goroje bhori' jahan,
nai boro chhoto - shokol manush ek shoman,
raja proja no karo keho.
Ke amir tumi nawaab badsha balakhanay?
Shokol kaler kolongko tumi; jagale hay
islame tumi shondeho!!

Islam bole, shokoler tore mora shobai,
shukh-dukh shomo-bhag kore nebo shokole bhai,
nai odhikar schonchoyer.
Karo akhi-jole karo jhare ki re jolibe dip?
dujonar hobe bulond-nasib, lakhe lakhe hobe bodnasib?
E nohe bidhan islamer!!
...
Pothe Pothe aj hakibo, bondhu, id mobarok! Assalam!
Thhote Thhote aj bilabo shirni phul-kalam.
Biliye dewar ajike id!
Amar daner onurage-ranga idga' re!
Shokoler hate diye diye aj apnare,
Deho noy, dil hobe shohid!!

[Excerpted from "Eid Mobarok" Kobita]

EID MUBARAK/GREETINGS TO ALL!
Nazrul Forum Moderation

Prof. Rafiqul Islam
Translated from the original in Bangla by Dr. Shaukat Hossain 

Courtesy: Nazrul Album [Nazrul Institute, 1994], pp. 23-26

 
Kazi Nazrul Islam, known as the ‘Rebel’ poet in Bengali literature and the ‘Bulbul’ or Nightingale of Bengali music, was one of the most colourful personalities of undivided Bengal between 1920 and 1930. His role in freeing modem Bengali poetry from poor and unsuccessful imitations of Rabindranath Tagore was significant. He may be considered a pioneer of post-Tagore modernity in Bengali poetry. The new kind of poetry that he wrote made possible the emergence of modernity in Bengali poetry during the 1920s and 1930s. His poems, songs, novels, short stories, plays and political activities expressed strong protest against various forms of oppression- slavery, communalism, feudalism and colonialism- and forced the British government not only to ban many of his books but also to put him in prison. While in prison, Kazi Nazrul lslam once fasted for forty days to register his protest against the tyranny of the government.

In the 1000-year history of Bengali music, Nazrul was perhaps the most original creative talent. By fusing the elements of north Indian classical music with a tradition whose basis was primarily folk, and not merely because of the large number of songs that he wrote, Nazrul made Bengali music a part of the longer tradition of the music of the Indian sub-continent. His lyrics and melody freed Bengali music from its earlier medieval mould. Like modern Bengali poetry, Nazrul was a pioneer in modem Bengali music as well.

Kazi Nazrul Islam was born on May 24, 1899/11th Jaishthya 1306 (Bengali era) in Churulia village, Bardhawan in West Bengal, India. The second of three sons and one daughter, Nazrul lost his father Kazi Fakir Ahmed in 1908 when he was only nine year old. Nazrul’s nickname was “Dukhu” (sorrow) Mia, a name that aptly reflects the hardships and misery of his early years. His father’s premature death forced him, at the age of ten, to take up teaching at the village school and become the muazzin of the local mosque. This early exposure to the principles and practices of Islam was to have a significant impact on his later literary endeavors.

Later, Nazrul joined a folk-opera group inspired by his uncle Bazle Karim who himself was well-known for his skill in composing songs in Arabic, Persian and Urdu. As a member of this folk-opera group, the young Nazrul was not only a performer, but began composing poems and songs himself. Nazrul’s involvement with the group was an important formative influence in his literary career.

In 1910, at the age of 11, Nazrul returned to his student life enrolling in class six. The Headmaster of the school remembers him in the following words: “He was a small, good-looking boy, always the first to greet me. I used to smile at him and pat him on the back. He was very shy.” Again, financial difficulties compelled him to leave school after class six, and after a couple of months, Dukhu Mia ended up in a bakery and tea-shop in Asansole. Nazrul submitted to the hard life with characteristic courage. In 1914, Nazrul escaped from the rigours of the tea-shop to re-enter a school in Darirampur village, Trishal in Mymensingh district. Although Nazrul had to change schools two or three more times, he managed to continue up to class ten, and in 1917 he joined the Indian Army when boys of his age were busy preparing for the matriculation pre-test examination.

For almost three years, up to March-April 1920, Nazrul served in the army and was promoted to the rank of Battalion Quarter Master Havildar. Even as a soldier, he continued his literary and musical activities, publishing his first piece’ ‘The Autobiography of a Delinquent” (Saogat, May 1919) and his first poem, “Freedom” Bangiya Musalman. Sahitya-patrika, (July 1919), in addition to other works composed when he was posted in the Karachi cantonment. What is remarkable is that even when he was in Karachi, he subscribed regularly to the leading contemporary literary periodicals that were published from Calcutta like, Prabasi, Bharatbarsha, Bharati, Saogat and others. Nazrul’s literary career can be said to have taken off from the barracks of Karachi.

When after the 1st World War in 1920 the 49th Bengal Regiment was disbanded, Nazrul returned to Calcutta to begin his journalistic and literary life. His poems, essays and novels began to appear regularly in a number of periodicals and within a year or so he became well known not only to the prominent Muslim intellectuals of the time, but was accepted by the Hindu literary establishment in Calcutta as well. In 1921, Nazrul went to Santiniketan to meet Rabindranath Tagore.

Earlier in 1920, the publication of his essay, “Who is responsible for the murder of Muhajirin?” in the new evening daily Nabayug, jointly edited by Nazrul and Muzafar Ahmed, was an expression of Nazrul’s new political consciousness and one that made him suspect in the eyes of the police.

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 the day of the wedding (18th June, 1921) Nazrul suddenly left the place. This event remains shrouded in mystery. However, many songs and poems reveal the deep wound that this experience inflicted on the young Nazrul and his lingering love for Nargis. Interestingly, during the same trip, Nazrul met Pramila Devi in the house of one Birajasundari Devi in Comilla. Pramila later became his wife.

On his way to Calcutta, Nazrul spent a fortnight in Comilla where he became involved in the non-co-operation movement against the British government. He composed and sang several memorable and inspiring patriotic songs; the amateur lyricist and composer had found a new voice to express his patriotic fervour. Later in Calcutta the same year (1921), an inspired Nazrul composed some of his greatest songs and poems of which “The Rebel” is perhaps the most well-known. The 22-year old poet became on overnight sensation, achieving a fame unparallel in the 1000-year history of Bengali literature.

In 1922, Nazrul published a volume of short stories Byather Dan (The Gift of Sorrow), an anthology of poems Agnibeena, an anthology of essays Yugbani, and a bi-weekly magazine, Ohumketu. A political poem published in Ohumketu in September 1922 led to a police raid on the magazine’s office, a ban on his anthology Yugabani, and one year’s rigorous imprisonment for the poet himself. On April 14, 1923, when Nazrul lslam was transferred from the Alipore jail to the Hooghly jail, he began a fast to protest the mistreatment by a British jail-superintendent. Immediately, Rabindranath Tagore, who had dedicated his musical play, Basanta, to Nazrul, sent a telegram saying: “Give up hunger strike, our literature claims you”, but the telegram was sent back to the sender with the stamp “addressee not found.” Nazrul broke his fast more than a month later and was eventually released from prison in December 1923. A number of poems and songs were composed during the period of imprisonment.

On 25^th Apri11924, Kazi Nazrul lslam married Pramila Devi and set up household in Hooghly. The Brahma Samaj of which Pramila was a member, frowned upon this marriage and started a campaign to vilify Nazrul through a column in the monthly magazine, Prabasi. An anthology of poems ‘Bisher Banshi’ and an anthology of songs ‘Bhangar gan’ were published later this year and both volumes were seized by the government. Nazrul soon became actively involved in political activities (1925), joined rallies and meetings, and became a member of the Bengal Provincial Congress Committee. He also played an active role in the formation of a workers and peasants party.

From 1926 when Nazrul settled in Krishnanagar, a new dimension was added to his music. His patriotic and nationalistic songs expanded in scope to articulate the aspirations of the downtrodden classes. His music became truly people-oriented in its appeal. Several songs composed in 1926 and 1927 celebrating fraternity between the Hindus and Muslims and the struggle of the masses, gave rise to what may be called “mass music”. Nazrul’s musical creativity established him not only as an egalitarian composer of “mass music”, but as the innovator of the Bengali Ghazal as well. The two forms, music for the masses and ghazal, exemplified the two aspects of the youthful poet: struggle and love. Nazrul injected a revivifying masculinity and youthfulness into Bengali music. Despite illness, poverty and other hardships Nazrul wrote and composed some of his best songs during his Krishnanagar period. While many others were singing and popularizing his songs in private musical soirees and functions and even making gramophone records, Nazrul himself had yet no direct connection with any gramophone company.

Throughout 1927 Nazrul was assailed on the one hand by non-Muslim members of the Brahma Samaj, and by conservative Muslims on the other. A couple of progressive, secular magazines came to his defense. Nazrul even became involved in an acrimonious controversy with Tagore regarding the use of a Persian word in Bengali. The monthly Mohammadi also adopted an anti-Nazrul stance which was strongly countered by writers in the weekly Saogat, foremost amongst whom were Ismail Hossain Siraji and Abul Kalam Shamsuddin. The latter hailed Kazi Nazrul Islam as a pioneer, an epoch-making poet and the national poet in Bengal.

From 1928 to 1932 Nazrul become directly involved with His Master’s Voice Gramophone Company as a lyricist, composer and trainer and a good number of records of Nazrul songs sung by some of the most well-known singers of the time were produced. The newly established Indian Broadcasting Company also enlisted Nazrul as a lyricist and composer and he remained actively involved with several gramophone companies and the Radio till his last working days. Nazrul songs were in great demand on the stage as well. He not only wrote songs for his own plays, but generously provided lyrics and set them to tune for a number of well-known dramatists of the time.

A colourful national reception accorded to Nazrul in 1929 in Calcutta and attended by the scientist Acharya Prafulla Chandra Ray, Barrister S. Wazed Ali, Subashchandra Bose and others was a demonstration of his rising fame and popularity.

In the midst of these productive activities, tragedy struck twice in rapid succession: first, his mother died in 1928; a year later, his four-year son Bulbul died of small pox, five months after the birth of his second son Sabyasachi. By 1931, the bulk of Kazi Nazrul Islam’s literary works had been published; subsequent anthologies mostly included his songs. According to a contract with the Megaphone Record Company many Nazrul lyrics were set to music by others, and it became a practice adopted by the H.M.V. Company subsequently. Devotional songs with an Islamic content (Murshidi, Marfati, etc) were part of the tradition of Bengali folk music. By composing songs dealing with various aspects of Islam (Namaz, Roza, Hajj, Zakat, etc. ) Nazrul for the first time introduced Islam into the larger mainstream tradition of Bengali music. The first record of Islamic songs by Nazrul was a commercial success and many gramophone companies showed interest in producing these. But an even more significant impact of Nazrul’s ‘Islamicization” of Bengali music was that it forced a conservative Bengali Muslim community: averse to music, to turn a willing ear to listen to Islamic Bengali songs by the “Bulbul” of Bengal and others. One of the foremost exponents of this new music was the singer Abbasuddin Ahmed. Nazrul also composed a number of notable Shyamasangeet, Bhajan and Kirtan, combining Hindu devotional music. Between 1930 and 1933 Nazrul’s creative energy was devoted mostly to song-writing and music.

In 1933 Nazrul published one of his most important essays entitled “Modem World Literature”. This essay demonstrates his acquaintance with the literature of different languages. He draws a distinction between two trends in current literature. One trend is similar to that of Shelley’s “Skylark” reaching heavenwards above this dusty earth; the other clings to this earth with passionate devotion. In 1934 Nazrul first became associated with the film world. Right at the beginning he played an important role as song and music writer, music director and even actor. 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. Thus during the thirties, Nazrul established a firm classical foundation for the Bengali song.

In 1936 the film Vidyapati was produced based on Nazrul’s recorded play. In the same year Rabindranath Tagore’s novel Gora was filmed with Nazrul as its music director and included one of his own songs. In June 1936, Sachin Sentupta’s important play, Serajuddoula was staged. The songs and music were written and directed by Nazrul. The play and songs met with such unprecedented success that a gramophone recording was made, which at that time could be commonly heard in most households in Bengal.

In October 1939 Nazrul’s relationship with Calcutta Radio was formalized, and a large number of musical programmes were directly broadcast under his supervision. Worth mentioning are the critical and research oriented programmes such as “Haramoni” and “Navaraga-malika”. From 1939 to 1942 (the time of his illness), the music programmes broadcast on radio are an important chapter in the history of Bengali music. One novel development during this period which illustrates Nazrul’s originality are the songs based on the raga “Bhairav” whose diversity is remarkable.

During 1939 different recording companies issued a total of over 1000 records, 1648 of which were Nazrul’s songs. The total number of his unrecorded songs is perhaps twice as much. Nazrul’s songs were broadcast also from Dhaka Radio. During 1939-40 the richness of the music programmes of Calcutta Radio deriving from Nazrul’s prolific creativity defies comparison. This trend continued throughout 1941, with songs based on many different ragas and narrative ballads. Apart from these Nazrul occasionally took part in recitation and commentary of the Holy Ouran. From 1939, when he first joined Calcutta Radio up to his illness in 1942, an extraordinary development of his music took place through countless radio programmes. Nazrul had a bitter experience when someone else set his songs to music, and insisted that his songs be broadcast only with his own tunes. This was observed up to his illness in 1942.

At the beginning of 1941 Sher-e-Bangla Fazlul Huq commenced re-publication of the daily newspaper Nabayug (“New Age”). Nazrul was its Chief Editor returning to the world of journalism at the final stage of his active life. Interestingly enough he had started his journalistic career at the Nabayug. It was while he was staying in the College Street office of the “Bengal Muslim Literary Society” that he began his literary journalistic career. His farewell speech at the silver jubilee anniversary of the Society at which he presided is probably the most significant and important speech he ever made. Entitled “If the flute plays no more” the speech is like a swansong in which he bids farewell to a sorrowful world.

Four months later, on 8 August 1941, Rabindranath Tagore died. Nazrul spontaneously composed two poems in Tagore’s memory, of which one was broadcast and recorded on gramophone. Within a year Nazrul himself fell seriously ill and gradually lost his power of speech. Thereafter from July 1942 to August 1976, the poet spent 34 years in silence.

Despite treatment Nazrul’s palsy and speech deficiency gradually increased. Two months of homoeopathic treatment at Madhupur, no results. Later, ayurvedic treatment yielded some initial results, but soon mental dysfunction set in and as a consequence he was admitted to a Mental Hospital in October 1942. There he stayed for four months without improvement. For the next 10 years his existence becoming gradually forgotten, though in 1945 he was awarded the “Jagattarini Gold medal” by Calcutta University. Then in 1952 he was transferred to the Ranchi Mental Hospital from where he was sent to London for treatment at the initiative of the “Nazrul Treatment Society”. Several eminent physicians in London including Sir William Sargent, were all of the opinion that his initial treatment had been inadequate and incomplete. Thereafter Nazrul was taken to Vienna where his condition was diagnosed as incurable. He and his family returned to India in December 1953. The rest of his life was spent in that condition. Earlier his wife had become ill in 1939 and though paralysed from the waist down, she spent the next 23 years of her life caring for her husband until her death at the age of 54 on 30 June 1962. At her wish she was buried at her husband’s birthplace, Churulia. Nazrul’s sons, Aniruddha died in 1974 at the age of 43, and Shabyashachi in 1979 at the age of 50.

Nazrul had come to Dhaka in December 1940 to attend the first anniversary of the Dhaka radio station. In 1971 the Government in exile of Bangladesh continued to pay the pension due to him by the Government of East Pakistan. After the liberation of Bangladesh, at the request of the Bangladesh Government the government of India agreed to allow Nazrul to be taken to reside in Bangladesh with his family. He arrived on 24 May 1972 as guest of the Government of Bangladesh and was accorded due honours. The President and Prime Minister paid their homage to him. In 1974 the Dhaka University awarded him the degree of Doctor of Literature. In 1976 the Government awarded him the “Ekushey Padak”.

On 22 July 1975 Nazrul was transferred to the Post Graduate Hospital for continuous medical supervision. He spent the remaining one year, one month and eight days of his life there. Towards the end of August 1976 his condition deteriorated, his temperature shot up to over 105 degrees, and on 29 August 1976 he breathed his last at 10:10 a.m.

As soon as Nazrul’s death was broadcast over Radio and T.V. the news spread like wild fire and plunged the Bengali nation in profound gloom. Life came to a standstill in Dhaka as thousands of men and women lined up to have a last glimpse of the rebel poet’s mortal remains in the Teacher-Students’ Centre of the University of Dhaka. At 5 p.m. Kazi Nazrul Islam was buried with full state honour beside the Dhaka University mosque. Now almost two decades after his death, Kazi Nazrul Islam lives on in the hearts of millions of Bangladeshis as their national poet. Emerging from the overall backwardness of the Muslims of Bengal in the 1920s Nazrul injected the community with a much-needed sense of self-confidence. Almost single handedly, Nazrul brought about a renaissance amongst Bengali Muslims, and led them into modernity. The genius of Nazrul achieved the impossible and the Bengali nation remains eternally indebted to him. Bangladesh honoured itself by honouring Kazi Nazrul Islam with the citizenship of the People’s Republic of Bangladesh.

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In response to:
http://groups.yahoo.com/group/Nazrul/message/142
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An excellent and lucidly translated piece. I haven't read the original, but I
very much enjoyed reading the translation nevertheless. Thanks to Dr. Farooq.
It's a renewed reminder of his amazing efforts in this field.

By the way, has anybody read the full version of the long essay
"Shongskreeti Kotha"* by the late Motaher Hossen Choudhury, a renowned BD author
& aesthete of early 20th century (d.1956)?

This is also an extremely well-written (albeit a bit too lengthy),
thought-provoking and rare piece , specially focusing on things like (as
mentioned in the Nazrul piece): beauty, the appreciation of beauty and art,
enjoyment, joy and happiness, etc.

Yet...when "juxtaposed" (perhaps a bit like "the Fair and Fowl" in a sense! )
with the Nazrul piece, the whole thing takes a new meaning (at least to me) and
reveals (perhaps unintended) a new/third dimension of and attitude towards this
whole issue regarding appreciation of beauty, art, enjoyment, joy, happiness,
justice, freedom, humanity, social/political/ethical responsibility etc,
especially when all considered together or in the same breath.

A comparison between the two articles should be a very interesting one to any
literature-minded interested person. I am not going write here anything more
about this though, except perhaps urging anybody interested to read both the
articles. I'm sure you'll not be disappointed.

* "Shongskritee-Kotha" (title of both the book and the lead essay ) by
Motaher Hossen Choudhury. Published by : Nowroz Kitabistan, Dhaka.

Thanks and regards,

Arif
Dhaka.

In response to:
http://groups.yahoo.com/group/Nazrul/message/142
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Thank you. It is a great reading. Appropriate also.

Naela Huq

[From the Moderation Desk:
Nazrul forum welcomes one of its newest subscribers, Mr. M. Ziaur Rahman,
Johnnie. He is living in Khulna and working with a business firm. He is an avid
fan of Nazrul. He heard about the site of Nazrul from a program on Channel I. He
took the initiative to introduce himself to the fellow subscribers of this
forum.]

Fellow members of Nazrul Forum,

HI..

I'm a very new member of this Nazrul enthusiasts family. Please accept my
regards.

Wish all of you every success in life.

Johnnie.