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In these final years of activity, Nazrul worked with determination. His work catapaulted his fame across India. However, Nazrul condemned the adaptation of his songs to music composed by others and insisted on the use of tunes he composed himself. His music programmes gained great popularity and reached a broad audience. In this period, Nazrul expressed complete opposition to Muslim separatism and the ''[[Two-Nation Theory]]''.<ref name="heretic">{{cite web |
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Revision as of 02:27, 29 September 2006
![](https://upload.wikimedia.org/wikipedia/commons/thumb/a/a6/Nazrul.jpg/180px-Nazrul.jpg)
Kazi Nazrul Islam (Bangla: কাজী নজরুল ইসলাম) (b. May 25, 1899 – d. August 29, 1976) was a Bengali poet, writer, musician, revolutionary and philosopher who is best known for pioneering works in Bengali expressing fierce rebellion against society, tradition, politics, injustice, intolerance and oppression. Popularly known as the Bidrohi Kobi – Rebel Poet – he is officially recognised as the national poet of Bangladesh and commemorated in India.
Born in a poor Muslim family, Nazrul received religious education and worked as a muezzin at a local mosque. He later joined the Indian Army and served in World War I. Whilst stationed in Karachi, Nazrul learnt Persian and the art of writing, and was exposed to Hindu religion, music and literature. Working as a journalist, Nazrul assailed the British Raj and emphatically preached revolution with his poetic works the Vidrohi (Rebel) and Bhangar Gan (The Song of Destruction) and his publication the Dhumketu (Comet). Imprisoned by police, Nazrul would write the Rajbandir Jabanbandi (Deposition of a Political Prisoner), intensifying his criticism of imperialism. Nazrul would also condemn Muslim religious fundamentalism and explore the lives of downtrodden masses in India. He would remain active in political organisations and literary, art and music societies.
Nazrul wrote poetic and literary works in Bengali, Persian, Sanskrit and Hindi, exploring the themes and philosophy of love, hardship, freedom, poverty, revolution, music and religion. He would write collections and anthologies of short stories, novels, essays, poems and pioneer ghazals in Bengali. Nazrul also sang and composed music for his songs, which are collected as Nazrul Sangeet (Nazrul's Music), broadcast by recording and radio companies and used in motion pictures. Troubled by the death of his son and later of his mentor Rabindranath Tagore, Nazrul began losing his voice and memory. Probably suffering from neurosyphilis, for the remainder of his life he would undergo medical treatment in India and abroad, but would never regain his faculties.
Early life
Kazi Nazrul Islam was born in the village of Churulia in the Burdwan District in the province of Bengal (now located in the Indian state of West Bengal).[1] Second of three sons and a daughter, Nazrul's father, Kazi Fakir Ahmed was the imam and caretaker of the local mosque and mausoleum. Nicknamed Dukhu Mia (Sad Man), Nazrul began attending the maktab – the local religious school run by the mosque – where he studied the Qur'an and other scripture, Islamic philosophy and theology. His family was devastated with the death of his father in 1908. At the young age of ten, Nazrul would begin working in his father's place as a caretaker to support his family, as well as assisting teachers in school. He would later become the muezzin at the mosque, leading the community prayers.[2][3]
Attracted to folk theatre, Nazrul joined a leto – a travelling theatrical group – run by his uncle Bazle Karim. Working and travelling with them, learning acting, as well as writing songs and poems for the plays and musicals.[1] Through his work and experiences, Nazrul began learning Bengali and Sanskrit literature, as well as Hindu scriptures such as the Puranas. The young poet composed a number of folk plays for his group, which included Chasar San, Shakunibadh, Raja Yudhisthirer San, Data Karna, Akbar Badshah, Kavi Kalidas, Vidyabhutum, Rajputrer San, Buda Saliker Ghade Ron and Meghnad Badh.[2]
In 1910, Nazrul left the troupe and enrolled at the Raniganj Searsole Raj School, and later transferred to the Mathrun High English School, studying under the headmaster and poet Kumudranjan Mallik. Unable to continue paying his school fees, Nazrul left the school and joined a group of kaviyals. Later he took a jobs as a cook at the house of a Christian railway guard and at a bakery and tea stall in the town of Asansol. In 1914, Nazrul joined the Darirampur School in Trishal, Mymensingh District. Amongst other subjects, Nazrul studied Bengali, Sanskrit, Arabic, Persian literature and classical music under teachers who were impressed by his dedication and skill.[2]
Studying up to Class X, Nazrul chose not to appear for the matriculation pre-test examination, and enlisted in the Indian Army in 1917. Some historians conjecture that Nazrul's exposure to a secretive revolutionary group encouraged him to obtain military training, with the aim of using it later in a war for Indian independence.[1] Attached to the 49th Bengal Regiment, he was posted to the cantonment in Karachi. During his service, he rose from corporal to the rank of havildar, or quartermaster of his battalion.[2] Nazrul also expanded on his study of poetry and writing, and was deeply influenced by the works of Rabindranath Tagore and Sarat Chandra Chattopadhyay, as well as Persian poet Hafiz. He learnt Persian poetry from the regiment's Punjabi moulvi, practised music and pursued literary work. Nazrul's stories and poems written at Karachi cantonment were published in different journals: his first work of prose, the Baunduler Atmakahini (Life of a Vagabond) was published in May, 1919.[1] His poem Mukti (Freedom) was published by the Bangla Mussalman Sahitya Patrika (Bengali Muslim Literary Journal) in July 1919.[2]
Rebel poet
Nazrul left the army in 1920 and settled in Kolkata (then Calcutta), which was at the time known as the "Cultural capital of India." 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 developed into a major and definitive work over the next 7 years.[4] His first collection of poems included Bodhan, Shat-il-Arab, Kheya-parer Tarani and Badal Prater Sharab. Both works received critical acclaim, giving the young poet his first taste of fame.[2]
Working at the literary society, Nazrul grew close to a rising generation of Muslim writers including Mohammad Mozammel Haq, Afzalul Haq, Kazi Abdul Wadud and Muhammad Shahidullah. He was a regular at the Gajendar Adda and the Bharatiya Adda, which were clubs for Calcutta's writers, poets and intellectuals. In October 1921, Nazrul went to Santiniketan with Muhammad Shahidullah and met Rabindranath Tagore. Despite many differences, Nazrul would look to Tagore as a mentor and the two would remain in close association.[2] In 1921, Nazrul was engaged to be married to Nargis, the niece of a well-known Muslim publisher Ali Akbar Khan, in Daulatpur, Comilla. But on June 18, 1921 – the day of the wedding – Nazrul suddenly left the place without explanation.
Nazrul rose to fame with the publication of Bidrohi in 1922, which has become his most famous work. At the time of publication, no other poem since Tagore's Shonar tori had met with such spontaneous acclaim and criticism for the radical approach. Set in a heroic meter, this long poem invokes images from Hindu, Muslim and Greek mythology.[2] Nazrul won admiration of India's literary classes by his description of the rebel whose impact is fierce and ruthless even as its spirit is deep:
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 glace of the veiled beloved,
I am her constant surreptitious gaze.
I am the gay gripping young girl's love,
I am the jingling music of her bangles!
I am the eternal-child, the adolescent of all times,
I am the shy village maiden frightened by her own budding youth.
I am the soothing breeze of the south,
I am the pensive gale of the east.
I am the deep solemn song sung by the wondering bard,
I am the soft music played on his lyre!
I am the harsh unquenched mid-day thirst,
I am the fierce blazing sun,
I am the softly trilling desert spring,
I am the cool shadowy greenery!
Maddened with an intense joy I rush onward,
I am insane! I am insane!
Suddenly I have come to know myself,
All the false barriers have crumbled today!
I am the rising, I am the fall,
I am consciousness in the unconscious soul,
I am the flag of triumph at the gate of the world,
I am the glorious sign of man's victory,
Clapping my hands in exultation I rush like the hurricane,
Traversing the earth and the sky.
The mighty Borrak is the horse I ride.
It neighs impatiently, drunk with delight!
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 the lightning with joy and profound,
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)
[5] (English translation by Kabir Choudhary)
Published in the Bijli magazine, the poem caused a popular sensation. Nazrul stormed into Tagore's residence, jokingly declaring "Gurudev, I have come to kill you off." The rebellious language and theme found resonance with public consciousness of the time, which correlated with the Non-cooperation movement – the first, mass nationalist campaign of civil disobedience against British rule.[2][6] 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 successs. He also published his first volume of short stories, the Byather Dan (Gift of Sorrow) and Yugbani, an anthology of essays.
Revolutionary
Nazrul started a bi-weekly magazine, publishing the first Dhumketu on August 12, 1922. Earning the moniker of the "rebel poet," Nazrul also aroused the suspicion of British authorities.[6] 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 realisation 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?"[7]
On April 14, 1923 he was transferred from the jail in Alipore to Hooghly in Kolkata, he began a 40–day fast to protest mistreatment by the British jail superintendent. Nazrul broke his fast more than a month later and was eventually released from prison in December 1923. Nazrul composed a large number of poems and songs during the period of imprisonment and many his works would be banned in the 1920s by the British authorities. [2]
Kazi Nazrul Islam became a critic of the Khilafat struggle, condemning it as hollow, religious fundamentalism even as thousands of Muslims agitated for it.[2] Nazrul's rebellious expression extended to Islam. He believed that medieval Islamic practices and religious conservatism were hurting Indian Muslims, and keeping them backward, intensifying social and sectarian challenges.[8] Nazrul also criticised the Indian National Congress for not embracing outright political independence from the British Empire. Nevertheless, he became active in encouraging people to agitate against British rule, and joined the Bengal state unit of the Congress.[2] Nazrul also helped organise the Sramik Praja Swaraj Dal. On December 16, 1925 Nazrul started publishing the weekly Langal, with himself as chief editor.[2] The Langal was the mouthpiece of the Sramik Praja Swaraj Dal, which aimed to eradicate class differences and discrimination and win full independence for India.
It was during his visit to Comilla in 1921, that Nazrul met a young Hindu woman, Pramila Devi. The two would continue to correspond, and falling in love, would marry on April 25, 1924. Pramila belonged to the Brahmo Samaj, which criticised her marriage to a Muslim. Nazrul in turn was condemned by Muslim religious leaders, and would continue to face criticism for his personal life and professional works. As a result, Nazrul's works began intensely attacking social and religious dogma and intolerance. His poems also spoke in philosophical terms of romantic love, and the complete equality of men and women, and attacking the social and religious traditions of the time that ruled otherwise.[9] Nazrul came to identify the spirit of his thoughts and works as inherently rebellious:
"Weary of struggles, I, the great rebel, Shall rest in quiet only when I find The sky and the air free of the piteous groans of the oppressed. Only when the battle fields are cleared of jingling bloody sabres Shall I, weary of struggles, rest in quiet,
I the great rebel."[5]
"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 masses.[9] Nazrul assailed the socio-economic norms and political system that had brought upon misery. Several songs extoll the quintessential unity of Hindus and Muslims, the songs giving voice to the aspirations of the masses has come to known as "mass music." His major poems include Daridro (Poverty):
"O poverty, thou hast made me great. Thou hast made me honoured like Christ With his crown of thorns. Thou hast given me Courage to reveal all. To thee I owe My insolent, naked eyes and sharp tongue. Thy curse has turned my violin to a sword... O proud saint, thy terrible fire Has rendered my heaven barren. It has prematurely dried beauty. My feelings and my life. Time and again I stretched my lean, cupped hands To accept the gift of the beautiful. But those hungry ones always came before me. And did snatch it away ruthlessly, Now my word of imagination is Dry as a vast desert. And my own beautiful!...O my child, my darling one I could not give thee even a drop of milk No right have I to rejoice. Poverty weeps within my doors forever As my spouse and my child. Who will play the flute? Where shall I get the happy smile Of the beautiful? Where the honeyed drink, I have drunk deep the hemlock Of bitter tears!... And still even today
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.[3] While hailed by many as a pioneer and epoch-making poet by progressives, who took inspiration from his works that attacked traditions and dogma on behalf of the masses, he was also derided by many as an irreligious influence on society.[9] 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 would also be recruited by the Indian Broadcasting Company.[9]
Nazrul professed faith in the belief in the absolute equality of women – a view his contemporaries considered revolutionary. In his poem Naree (Women), Nazrul repudiates what he sees as the long-standing oppression of women, proclaiming their equality:
"Whatever great or benevolent achievements
That are in this world Half of that was by woman
The other half by man."
However, most of his descriptions of women do not exceed beyond homely roles.[11] 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."[11]
However, Nazrul's poems strongly emphasize the confluence of the roles of both sexes and their equal importance to life. He stunned society with his poem Barangana (The Prostitute), in which he addresses a prostitute as "mother."[11] Nazrul expresses no hesitation in accepting 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 notions of prostitutes as impure and ignoble persons.[11] However, Nazrul's emphasis does not exceed the basic roles of women in society. Nazrul explores a woman's feelings in one of his most popular songs, Mour Ghumghore Key Elay Monohour (Who is the beauty that traverses my dream?), at her separation from her husband. While vivid in his account of the woman's torment, Nazrul has been criticised in modern times for not exploring the possibility that a woman's life may reach beyond wifely duties. Nazrul elucidates the feelings of an "ideal woman," devoted to her husband and explores the imagination of men in their idealisation of a woman.[11]
Exploring religion
Nazrul suffered major personal losses with the deaths of his mother in 1928 and his son Bulbul the next year of small pox. Nazrul had sat up by his son's sickbed translating the works of Hafiz. These tragedies had a deep impact on his life, though his wife gave birth to two sons, Savyasachi in 1928 and Aniruddha in 1931. His works in these years would pioneer Islamic devotional songs to the mainstream of Bengali folk music. His songs explored the Islamic practices of namaz (prayer), roza (fasting), hajj (pilgrimmage) and zakat (charity). This was regarded by his contemporaries as a significant creative achievement as Bengali Muslims had been strongly averse to devotional music.[9] Nazrul's creativity diversified as he explored Hindu devotional music by composing bhajans and kirtans, often merging Islamic and Hindu values. Nazrul's poetry and songs explored the philosophy of Islam and Hinduism.[6]
"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."[12]
Nazrul is considered to have been one of the most brilliant exponents of Shaktism, a form of Hinduism widely practised in Bengal and Assam.[6] 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.[3] For many contemporary critics, Nazrul's works also reflect the universalism of the teachings of sages Kabir and Guru Nanak as well as the syncretism of Mughal emperor Akbar's Din-i-Illahi school.[6]
"Open your heart - within you dwell all the religions. All the prophets - your heart. Is the universal temple... Why do you search for God in vain. Within the skeletons of dead scriptures. When he smilingly resides in your immortal heart? I'm not lying to you, my friend. Before this heart, all nobility surrenders."[6]
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, the life of Islam's prophet Muhammad. Nazrul is compared to William Butler Yeats in his works where he became 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.[7] His vigourous assault on extremism and mistreatment of women provoked condemnation from religious Muslims, many of whom denounced him as a kaffir (heretic).[6]
Later career
In 1933, Nazrul published a collection of essays titled Modern World Literature, in which he analyzes and expounds on the different styles and themes of literature. Nazrul identifies two main trends – of passionate devotion and exploration of Earth, the origin and home environment of human beings; the second of attempts to rise above and out of Earth to explore and reach the skies, or heavens.[9] 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 songs. Since his return to Kolkata until he fell ill in 1941, Nazrul composed more than 2,600 songs, many of which are believed to have been lost.[3] 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.[3] He also wrote poetry, songs and stories for children, seeking to inspire the thirst for knowledge, the spirit of freedom and independent thinking.
Nazrul's success soon brought him into Indian theatre and the 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.[2] 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 also 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.[9]
In these final years of activity, Nazrul worked with determination. His work catapaulted his fame across India. However, Nazrul condemned the adaptation of his songs to music composed by others and insisted on the use of tunes he composed himself. His music programmes gained great popularity and reached a broad audience. In this period, Nazrul expressed complete opposition to Muslim separatism and the Two-Nation Theory.[6] He returned to journalism the following year by becoming the chief editor for the daily newspaper Nabayug (New Age), founded by the eminent Bengali politician A. K. Fazlul Huq.[9]
Illness and later life
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 would sell all of his property as well as copyrights and royalties he received for his works.[6] 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 was broadcast on 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. Embittered by the sudden loss of his active life, Nazrul wrote in a letter to his friend Zulfikar Haider on July 17, 1942:
"... I am bed-ridden due to blood pressure. I am writing with great difficulty. My home is filled with worries – illness, debt, creditors; day and night I am struggling.... My nerves are shattered. For the last six months, I used to visit Mr. Haque daily and spend 5-6 hours like a beggar.... I am unable to have quality medical help.... This might be my last letter to you. With only great difficulty, I can utter a few words. I am in pain almost all over my body. I might get money like the poet Ferdowsi on the day of the funeral prayer (janajar namaz). However, I have asked my relatives to refuse that money... Yours, Nazrul."[9]
Inspite of her own predicament his wife constantly cared for her husband. However, Nazrul's health seriously deteriorated and he grew increasingly depressed. It is believed that Nazrul was most likely suffering from neurosyphilis, which was not diagnosed at the time.[13] 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 poet travelled to London for treatment.[9] Eminent physicians in London and later Vienna stated that he had received poor medical care. His condition judged to be incurable, Nazrul returned to India in December 1953.
On June 30, 1962 his wife Pramila died. Nazrul remained in intensive medical care. In 1972, the newly independent nation of Bangladesh obtained permission from the Government of India to bring Nazrul to live in Dhaka and made him a citizen of the new nation.[2] Despite receiving treatment and attention, Nazrul's physical and mental health did not improve. In 1974, his youngest son, Anirudda died, and Nazrul soon succumbed to his long-standing ailments on August 29, 1976. In accordance with a wish he had expressed in one of his poems, he was buried beside a mosque on the campus of the University of Dhaka. Tens of thousands of people attended his funeral. Bangladesh observed two days of national mourning and the Indian Parliament observed a minute of silence in his honour.[6] His last surviving son Sabhyasachi died in 1979.[9]
Criticism and legacy
While his career was active, Nazrul received intense criticism from religious Muslims for his assimilation of Hindu philosophy and culture with Islam in his works and for openly denouncing many Islamic teachings.[6] His rebellious nature has also earned him the addage of the "anarchist poet," as he criticised the main political parties and ideologies of the day.[11] While hailed for his sincere conviction in the liberation of women, Nazrul's poems did not explore the independence of a woman's mind and the ability to perform diverse roles in society.[9] Nazrul's poetry is characterised by an abundant use of rhetorical devices, which he employs to convey conviction and sensousness. He often wrote without caring for organisation or polishing his work. His works have been criticised often for egotism, but his admirers counter that they carry self-confidence. They cite his ability to defy God yet maintain an inner, humble devotion.[7] Nazrul's poetry is regarded as rugged but unique in comparison to his contemporary Rabindranath Tagore's sophisticated style. Nazrul's use of Persian vocabulary was controversial but it widened the scope of his work.[7] Nazrul's works for children have won acclaim for his use of rich language, imagination, enthusiasm and an ability to fascinate young readers.[7]
Kazi Nazrul Islam is acknowledged as one of the greatest Bengali poets of all time. He pioneered new styles and expressed radical ideas and emotions in a large collection of works. Scholars credit him for spearheading a cultural renaissance in the Muslim community of Bengal, "liberating" poetry and literature in Bengali from its medieval mould.[14] 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.[9] The Government of Bangladesh conferred upon him the status of being the "national poet." Many centres of learning and culture in India and Bangladesh have been founded and dedicated to his memory. The Nazrul Endowment is one of several scholarly institutions established to preserve and expound upon his thoughts and philosophy, as well as the preservation and analysis of the large and diverse collection of his works. The Bangladesh Nazrul Sena is a large public organisation working for the education of children throughout the country.
See also
Template:BengalRen Template:IndiaFreedom
Notes
- ^ a b c d Omar Farooq, Muhammad (2006-09-22). "Nazrul: An Enduring Voice, A Neglected Legacy" (HTML). Alochana Magazine (May 2003). Retrieved 2006-09-22.
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(help) Cite error: The named reference "Banglapedia" was defined multiple times with different content (see the help page). - ^ a b c d e Chaudhuri, Dilip (2006-09-22). "Nazrul Islam: The unparalleled lyricist and composer of Bengal" (HTML). Press Information Bureau, Government of India. Retrieved 2006-09-22.
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(help) - ^ Das, Subrata Kumar (2006-09-22). "Bandhanhara: Nazrul's Novelistic Exposition" (HTML). Retrieved 2006-09-22.
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(help) - ^ a b Kabir, Choudhary (2006-07-08). "Rebel" (HTML). Retrieved 2006-07-08.
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(help) Cite error: The named reference "QUOTE" was defined multiple times with different content (see the help page). - ^ a b c d e f g h i j k McDaniel, June (2006-09-21). "Kazi Nazrul Islam: A Voice for Progressive Islam" (HTML). Retrieved 2006-09-21.
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at position 20 (help) Cite error: The named reference "heretic" was defined multiple times with different content (see the help page). - ^ a b c d e Choudhury, Serajul Islam (2006-09-22). "The Blazing Comet" (HTML). Retrieved 2006-09-22.
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(help) - ^ Shahabuddin Ahmed, Daily Star (May 25, 1999) (2006-07-10). "Kazi Nazrul Islam" (HTML). Retrieved 2006-07-10.
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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)