The Bright Star, Poet Kazi Nazrul Islam

Authored by: Mohammad Sheikh Shahinur Rahman, ORCID:

https://orcid.org/0009-0002-5025-6138
I. Introduction: The Bright Star Kazi Nazrul Islam
Kazi Nazrul Islam, an unforgettable figure in Bengali literature, is universally recognized as the
national poet of Bangladesh. His life and work are inextricably linked with Bangladesh's
independence, culture, and national identity. In 1972, the Government of Bangladesh invited him
to Dhaka, and in 1976, he was granted Bangladeshi citizenship. In the same year, he was
officially declared the national poet, a status considered effective from 1972. His literary works,
especially his poems and songs, deeply inspired the Bengalis of East Bengal during the
Bangladesh Liberation War.
Nazrul Islam is known as the "Rebel Poet" (Bidrohi Kobi) for his revolutionary activities and
active participation in the anti-British movement. He was the first to express intense spiritual
rebellion against fascism and oppression in his poetry. His famous poem "Bidrohi" ("The Rebel")
is the primary basis for this title. This title of "Rebel Poet" is not merely an honorary designation
but the core foundation of his art and philosophy. It symbolizes his unwavering stance against
oppression and signifies his deep connection with Bangladesh's national identity. His poetic
rebellion was directly against British colonial rule and later inspired Bangladesh's Liberation War
, establishing a causal relationship between his art and national consciousness. This continuity
establishes him as a pioneer for freedom and self-identity.
The presence of themes like "planetary crisis" in Nazrul's early works is a significant aspect of
his visionary thinking. In 1920, he predicted environmental degradation in his essay
"Roz-Kiyamat" (Doomsday), decades before climate change was globally recognized (1960s).
This foresight establishes him not only as a national figure but also as a global intellectual who
was far ahead of his time in terms of environmental awareness. This means he had profound
philosophical thoughts on the relationship between humanity and nature, which later became
globally important. This characteristic elevates his "bright star" status from a revolutionary to a
visionary figure.
II. Early Life and the Emergence of Revolutionary Consciousness
Kazi Nazrul Islam was born on May 25, 1899, into a poor Muslim family in Churulia village,
British India (now part of West Bengal). His childhood was marked by poverty, which earned him
the nickname "Dukhu Mia" (Sorrowful Boy). He worked as a muezzin at the village mosque and
also at a roadside tea stall. He received early religious education. While working with various
theatrical groups, he gained knowledge of poetry, drama, and literature. Nazrul's nickname
"Dukhu Mia" and his childhood poverty are not just biographical facts but profoundly influenced
his later literary themes. His poignant writings on poverty and his advocacy for the marginalized
and oppressed sections of society directly stemmed from his personal experiences. This
personal suffering and his "Rebel Poet" persona created a causal link, deeply connecting his
rebellion with the suffering of ordinary people. His poem "Poverty" explicitly links his experience
of poverty with his greatness, making his rebellion intellectual as well as deeply empathetic.
In 1917, at the age of 18, Nazrul joined the British Indian Army and served for nearly three
years, until March-April 1920. He was promoted to the rank of Battalion Quarter Master
Habildar. He continued his literary pursuits even while in the army. His first prose work,
"Baunduler Atmakahini" (Life of a Vagabond), was published in May 1919, and his first poem,
"Mukti" (Freedom), was published in July of the same year. When the 49th Bengal Regiment
was disbanded in 1920, Nazrul returned to Kolkata and began his career in journalism and
literature. His transition from military service to journalism highlights journalism not just as a
profession but as a deliberate platform for expressing his revolutionary ideas.
On July 12, 1920, he co-published the evening daily Nabajug with Muzaffar Ahmad. It served as
a platform for resistance against colonial rule and political activism. In Nabajug, he published an
essay titled "Roz-Kiyamat" (Doomsday), symbolizing the planetary crisis. The rapid success of
Nabajug and Dhumketu , despite limited journalistic experience, proves the power of his voice
and the public's yearning for his message. His "innovative headlines" further emphasize his skill
in strategically using mass media for political awakening, transforming his journalism into a
weapon of struggle.
In August 1922, Nazrul launched his own bi-weekly magazine Dhumketu, which was a fierce
critic of the British Empire. For a political poem titled "Anandamoyir Agomone" (On the Arrival of
the Blissful One) published in this magazine, the Dhumketu office was raided by police in
September 1922. On January 23, 1923, he was arrested on charges of sedition. While
imprisoned, he composed "Rajbandir Jobanbandi" (Deposition of a Political Prisoner). In protest
against mistreatment in prison, he began a 40-day hunger strike in April 1923. Rabindranath
Tagore sent a telegram requesting him to break his fast, but it did not reach Nazrul. He was
released in December 1923. In 1925, he became actively involved in political activities,
participating in rallies and meetings, and became a member of the Bengal Provincial Congress
Committee. He also played an active role in forming a workers and peasants party. In December
1925, he began publishing the weekly Langal and served as its chief editor.
III. Literary Works: The Message of Rebellion, Humanity, and Equality
Nazrul's literary works were a blazing torch of rebellion, humanism, and equality. "Bidrohi" (The
Rebel) is his most famous poem. It contains references to Hindu, Islamic, and Greek mythology
and glorifies the human capacity for valor. His other notable poetry collections include Agnibina,
Sanchita, Phanimanasa, Chakrabak, Sarbahara, and the banned Pralaya Shikha. Nazrul's
poetry is known for its "fiery rhetoric, poignant imagery, and impassioned calls for social justice".
He composed and set to music nearly 4,000 songs, collectively known as "Nazrul Geeti". He
revolutionized Bengali music by blending classical ragas, folk music, and contemporary themes.
He brought Islamic music traditions into the mainstream of Bengali music, which was previously
dominated by Hindu devotional music. At the same time, he composed over 500 Hindu
devotional songs (bhajans, kirtans, Shyama sangeet). His association with Gramophone
Company and HMV helped his songs be widely broadcast on national radio, bringing him
national recognition as a lyricist and composer.
Nazrul also left his mark on novels, short stories, and essays. His notable novels include
Bandhan Hara, Mrityukshuda, Kuhelika. Among his short stories are Byathar Daan, Rikter
Bedon, Shiulimala. His essay collections, Jug Bani, Dhumketu, Rudra Mangal , are particularly
noteworthy. His essays criticized the social system of his time and exposed systemic
inequalities.
Nazrul's literary themes and philosophical thoughts were multifaceted. He propagated the
message of rebellion against oppression, injustice, communalism, imperialism, colonialism,
fundamentalism, and exploitation. The poem "Bidrohi" became a national anthem of resistance.
His rebellion was not merely destructive but deeply constructive in its pursuit of humanism and
equality. His "fiery rhetoric" was always dedicated to establishing "human dignity" and a
"classless society". The coexistence of "rage as well as beauty, love, and sensitivity" in his
rebellion reveals his nuanced approach to social change.
The core of his philosophy was "man is the measure of all things" and "there is no truth greater
than humanity". He opposed all forms of bigotry, whether religious, ethnic, or gender-based. In
his poem "Manush" (Human Being), he spoke of equality. "Samyabadi" (Proclaimer of Equality)
is an example of this concept. His deliberate blending of Hindu and Islamic traditions in his
music and naming his sons with both Hindu and Muslim names were not merely artistic choices
but revolutionary acts against communalism. This directly challenged existing "religious bigotry"
and aimed to foster a "unified consciousness".
In his poem "Nari" (Woman), he made a strong statement in favor of women's equality, which
was considered revolutionary at the time. In "Barangana" (Prostitute), he challenged social
norms by portraying prostitutes as human beings. In "Daridro" (Poverty) and "Kuli-Mojur"
(Coolie-Laborer), he highlighted the lives of working-class and poor people. He pioneered
environmental reflection and predicted the "planetary crisis" in his essay "Roz-Kiyamat". He
warned about the dangers of indiscriminate use of destructive fuels (like coal) and also hinted at
new dangers from alternatives (like electricity). Nazrul's early warning about environmental
degradation is not just a theme but a "prophetic glimpse" into future global crises. It suggests a
deep, almost spiritual connection with the Earth, consistent with his broader humanist vision,
which extended beyond human-to-human relations to the relationship between humanity and
the planet.
Table 1: Notable Literary Works of Kazi Nazrul Islam
Category Notable Works (Publication Year)
Poetry Collections Agnibeena (1922), Sanchita (1925),
Phanimanasa (1927), Chakrabak (1929),
Satbhai Champa (juvenile poems, 1933),
Nirjhar (1939), Natun Chand (1939),
Morubhaskar (1951), Sanchayan (1955), Nazrul
Islam: Islami Kobita (1982)
Poems and Songs (Nazrul Geeti) Dolan Chapa (1923), Bisher Bashi (1924),
Bhangar Gan (1924), Chhayanat (1925),
Chittanama (1925), Samyabadi (1926), Puber
Hawa (1926), Sarbahara (1926), Sindhu Hindol
(1927), Jinjir (1928), Pralaya Shikha (1930),
Shesh Saogat (1958), "Notuner Gaan",
"Bangladesh", "Bidrohi", "O Mon Romzaner Oi
Rozar Sheshe", "Pralayollas"
Novels Bandhan Hara (1927), Mrityukshuda (1930),
Kuhelika (1931)
Short Stories Bathar Daan (1922), Rikter Bedon (1925),
Shiulimala (1931)
Plays and Musical Dramas Jhilimili (1930), Aleya (1931), Putuler Biye
(children's play, 1933), Madhumala (1960), Jhar
(juvenile poems and play, 1960), Pile Patka
Putuler Biye (juvenile poems and play, 1964)
Essays Jug Bani (1926), Jhinge Phul (1926), Durdiner
Jatri (1926), Rudra Mangal (1927), Dhumketu
(1961)
This table clearly highlights the breadth and depth of Nazrul's literary works. It shows that he
was not just a poet or a composer, but a versatile literary figure across various genres. The
publication years indicate the abundance of his creativity and specific periods, which helps the
reader understand his artistic evolution and the historical context of his creations. For example,
viewing "Bidrohi" (1922) alongside Dhumketu (1922) and his imprisonment (1923) establishes
an immediate connection between his art, activism, and the British response.
Table 2: Kazi Nazrul Islam's Literary Themes and Relevant Examples
Theme Relevant Examples
Rebellion and Freedom "Bidrohi" , "Bhangar Gan" , Dhumketu
Humanism and Equality "Manush" , "Samyabadi" , "Daridro" ,
"Kuli-Mojur"
Religious Harmony and Secularism Hindu and Islamic devotional songs ,
"Hindu-Mussalman" , naming sons with
Hindu-Muslim names
Women's Rights and the Working Class "Nari" , "Barangana"
Environmental Awareness "Roz-Kiyamat"
This table systematically categorizes the core philosophical and literary themes of Nazrul's
work. By providing specific examples of his poems, songs, or essays for each theme, it
demonstrates how these abstract concepts were embodied in his creative output. It helps the
reader grasp the essence of his message and the impact of his ideas, moving from general
statements to specific textual references. It also visually reinforces the multifaceted nature of his
thought.
IV. Social and Cultural Impact
Kazi Nazrul Islam's influence on Bengali language and culture was far-reaching. He
revolutionized Bengali music by composing nearly 4,000 songs, known as Nazrul Geeti. He
introduced Bengali ghazals, which were adapted from Persian and Urdu poetry. His works
feature the use of Arabic, Persian, and Sanskrit words, further enriching the Bengali language.
His compositions were widely broadcast on national radio and gained popularity, bringing him
national recognition as a lyricist and composer. He bridged the gap between high art and
popular culture, making his work accessible to all strata of society. Nazrul's influence on Bengali
culture was not limited to literary contributions; he actively participated in shaping a distinct
Bengali cultural identity through his syncretic music and linguistic experimentation. This cultural
foundation was later crucial for political awakening and the Bangladesh Liberation War. His
ability to "bridge the divide between high art and popular culture" meant his message permeated
all levels of society, making him a true cultural catalyst.
Nazrul Islam's writings deeply inspired the Bengalis of East Pakistan during the Bangladesh
Liberation War. His revolutionary songs, known as "Nazrul Geeti," became national anthems of
resistance during the Indian independence movement. His voice resonated with "songs of
religious, social, cultural, and national liberation". His writings played a crucial role in creating
the awakening necessary for the liberation struggle of the subjugated nation. His widespread
cultural impact, especially his ability to "bridge the divide between high art and popular culture" ,
meant his messages of freedom and equality were deeply embedded in popular consciousness.
This cultural foundation then served as a powerful basis for "national awakening" and the
"Bangladesh Liberation War" , establishing a clear causal link between his cultural work and the
formation of national identity.
There was mutual respect and admiration between Nazrul and Rabindranath Tagore. In 1923,
while Nazrul was in prison, Rabindranath Tagore dedicated his lyrical play Basanta to him.
When Nazrul was on a 40-day hunger strike, Rabindranath sent him a telegram urging him to
break his fast. Nazrul composed music for Tagore's novel Gora and wrote an elegy in tribute to
Tagore after his death in 1941. Nazrul used quotes from Rabindranath's poetry in the headlines
of Nabajug. The mutual respect between Nazrul and Rabindranath Tagore is not just a historical
event but a powerful symbol of intellectual solidarity and artistic recognition across generations
and differing styles. Tagore, the established literary giant, recognized the imprisoned Nazrul,
which legitimized Nazrul's revolutionary art within the broader Bengali literary canon and
highlighted the profound impact of Nazrul's voice. This implies that Nazrul's revolutionary voice
was not an isolated phenomenon but an integral, respected part of Bengali literature. This
mutual respect symbolizes unity of purpose even amidst diverse artistic temperaments in the
larger struggle for national consciousness and freedom.
V. Later Life and Legacy
In 1942, at the age of 43, Nazrul suffered from an unknown illness. It was later diagnosed as
Pick's Disease, a rare neurological disorder. This disease gradually led to a loss of his speech
and memory, caused anxiety, and resulted in socially inappropriate behavior. He spent the
remaining 34 years of his life in silence. His wife, who became semi-paralyzed in 1939, cared for
him devotedly until her death in 1962. Nazrul had to spend time in mental asylums because his
disease remained undiagnosed for many years. The tragedy of his illness and 34 years of
silence creates a stark contrast with his earlier "fiery rhetoric". This silence, however, did not
diminish his influence; rather, it arguably amplified the power of his existing works, solidifying his
legacy as a voice that transcended physical limitations. His posthumous recognition as the
national poet underscores that his contributions were so immense that they endured despite his
prolonged incapacitation.
He passed away on August 29, 1976, at the age of 77. In 1972, the Government of Bangladesh
invited him to Dhaka. In January 1976, he was granted Bangladeshi citizenship. In 1976, he was
officially declared the national poet of Bangladesh , although this recognition is considered
effective from 1972. As per his wish, he was buried beside a mosque on the Dhaka University
campus. Bangladesh observed two days of national mourning after his death. Bangladesh's
invitation to Nazrul in 1972 and his declaration as national poet in 1976 were not merely
honorary gestures. They were profound acts of national self-definition, formally embracing the
"Rebel Poet" to embody the soul of the newly independent nation, especially given his direct
influence on the Liberation War. His burial on the Dhaka University campus carries symbolic
meaning, integrating him into the national fabric. It is a powerful testament to how a nation
honors its heroes, particularly those who embody its core values.
His "literary legacy lives on—a gift to the world". His messages "persist as guiding beacons for
social justice, cultural pride, and artistic expression". Efforts are being made to digitally preserve
and promote his vast and diverse works, with online platforms serving as repositories and
educational institutions incorporating his poetry into curricula.
VI. Conclusion and Recommendations
Kazi Nazrul Islam was a "seminal figure in Bengali philosophy and literature". He was a "symbol
of humanism, individual freedom, and rational thought". His works serve as a "beacon of light for
the emancipation of all humanity". He held an "unwavering commitment to justice and equality".
His "revolutionary literary works, music, and fervent activism" profoundly impacted Bengali
culture and society. His legacy "inspires resistance against oppression and promotes the ideals
of human love and harmony". His messages "persist as guiding beacons".
Nazrul's "bright star" status stems from his holistic vision for a modern, egalitarian society,
encompassing not only political freedom but also social justice, religious harmony, gender
equality, and even environmental foresight. This comprehensive vision makes his legacy
uniquely relevant to contemporary challenges. He envisioned a society free from all forms of
oppression—political, social, religious, economic, and even environmental. This comprehensive,
interconnected vision is what makes him a "bright star" and ensures his "eternal relevance" in
addressing multifaceted contemporary global challenges alongside historical ones.
Current efforts to digitally preserve and promote his works should continue, allowing online
platforms to serve as repositories for his work and educational institutions to include his poetry
in their curricula. Given his vast body of work and the tragic illness that silenced him , digital
preservation is not just a convenience but an imperative to ensure that his "literary legacy lives
on—a gift to the world". This step ensures that his "bright star" will continue to shine for future
generations globally, transcending the physical limitations of time and geography. Deeper
research is needed on Nazrul's multifaceted genius, especially on his environmental foresight
and other unconventional themes, which establish him not only as a national poet but also as a
global thinker. Multimedia adaptations and innovative cultural events can be organized to make
Nazrul's work more appealing to new generations.

যেসব কাজের উদ্ধৃতি যোগ করা হয়েছে

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