Nazrul: The rebel with a cause
It was in 1919 that the creative titan stepped into the Bengali literary-cultural scene. However, even to this day, Bengali -- admirers no less than critics -- fail to make up their minds as to whether he was more distinguished as a poet, a musician, a lyricist or an author of fiery editorials, exquisite stories, wonderful fictions and captivating novels.
Nazrul was still a young man in his early 20s when he took the literary world of Bengal by storm with his fiery editorials and articles in the daily Nabajug. He had already drawn attention as a promising poet, but these valiant and bold prose works, which were unique in the history of Bengali language and literature, marked him out as a rebel of outstanding abilities. Rarely indeed had there been such a combination of rhetoric and eloquence, of wit and acumen, of courage and conviction, of biting sarcasm and lofty idealism. Had he not composed a single poem, the burning and inimitable prose works of Nazrul alone would have entitled him to the gratitude and admiration of his people for all time to come.
For all latest news, follow The Daily Star's Google News channel. Ever since he started his career as a writer and journalist and launched Nabajug, with the kind and active patronage of the great Sher-e-Bangla, his profound knowledge of religion, history, philosophy and literature was devoted to preaching the message of true patriotism and of the good life for the individual and the community regardless of race, caste or creed or exclusive geographical loyalties. His writings swept across the country, galvainsed the hearts and minds of the older as well as the younger generation and gave them hope, courage and confidence. He taught them to respect their own culture and history but did not encourage the attitude of only looking backward for inspiration. In a sense, he was a man way ahead of his times.
The success of Nabajug was phenomenal. The forceful words of Nazrul brought not only a new personality but also a new political temper into the land. The remarkable success of Nabajug can safely be compared to those of Maulana Abul Kalam Azad's Al Hilal and Maulana Mohammed Ali's The Comrade. The publication disturbed the government, which sought to curb it in various ways. But no curb, no threat, no hindrance could silence the fiery flute.
In Bandhonhara the letters reminded one of Azad's Ghubare Khatir, each letter as beautiful as the colours on the wings of a butterfly, unsurpassed in exquisite delicacy of phrasing and flawless artistry. In Byathar Dan, the nationalist Nazrul became international and comrade Muzaffar Ahmed could easily claim the influence of the Russian Revolution on the young poet.
However, it was through the bi-weekly Dhumketu that Nazrul startled the entire subcontinent. Even Tagore invited the 'Rebel Poet' to rise to the occasion, pierce the age-old darkness and wake up the Letheans. Nazrul accepted Kobiguru's clarion call with all the sincerity and devotion under the sun and it was in Dhumketu that he wrote in 1922, "Not an inch of India will remain under foreign subjugation. The whole responsibility of India, the duty to safeguard her independence, the administrative control will be in Indian hands. No foreigner will ever have any say or right to interfere." It was perhaps the first full-fledged written demand for the total independence of India.
The fame of Dhumketu spread far and wide and it attracted a wide readership. Even the renowned men of letters used to wait eagerly for the publication. In his memoirs, Achintya Kumar Sen Gupta testifies: "On Saturday evenings, we would, like many others, wait at Jagubabu's market for the hawker to come with his bundle of Dhumketu. As soon as he reached, scramble started to reach for the paper. Perhaps we thought that the editorial pen had been dipped in blood and not in ink. What a language! They were not written to be read alone or read once."
In 1925, Nazrul brought out a new weekly titled Langal (The Plough), which voiced the sentiment and views of those who were committed to the independence of India on the basis of equality of men and women in every sphere of activity. After publishing some 16 issues, Langal was changed into Gano Banee (Voice of the People) to resonate the views of the newly-emergent Peasants' and Workers' Party of Bengal. (The poet himself was an influential member of the Working Committee of this party).
Whether in verse or in prose, Nazrul never hesitated to call a spade a spade. He hated religious fanatics from the core of his heart. In Mandir O Masjid and Hindu-Musalman, published in his Rudra-Mongol, Nazrul criticises religious fanaticism vehemently and, upholding the eternal truth of all religions, underscores the need for communal harmony. All religions, says he, comes from the same source, all Messengers bring the same succour for the suffering humanity. Where as these two beautiful essays in Rudra-Mongol stand out as a supreme example of nationalism transcending religion, the exquisite articles entitled Fateha Yaz Daham and Muharram testify eloquently to his profound faith in Islam.
It is really unfortunate that although the entire nation honours and hails him as one of the brightest luminaries in the dazzling star-studded firmament of Bangla literature, a few cynics, shrouded by utter ignorance dare to claim that Nazrul's prose was a mere flashy brilliance -- like that of a lightning or a shooting star -- dazzling for the moment, but without leaving behind any permanent impression.
Nothing can be farther from the truth. Our very Independence gives the lie to it. The 'fiery flute's' uncompromising attitude towards the servitude and bondage was undoubtedly an important factor in keeping up the tempo of our struggle for independence at the right pitch. It was this clarion call which not only impressed and inspired Nataji Subhash Chandra Bose and his INA during the British Raaj but also rejuvenated the then 75 million Bengalis during the Pakistani regime and prepared their imagination for the glorious vision of a sovereign state of their own.
The prose works of Kazi Nazrul Islam are indeed extraordinary and remarkable. Our beloved national poet wrote both poetry and prose with words -- words palpitating with numerous allusive meanings and shades, throbbing with genuine emotions, pulsating with hopes and aspirations, always dreaming beautiful dreams of an oppression-free Bengal, a happier Bengal, a prosperous Bengal, an independent Bengal.
The rebel did not only mark a stage in the development of Bangla literature; he stood alone.