Kazi Nazrul Islam: The Voice of Rebellion and Humanity

Introduction

Kazi Nazrul Islam, often referred to as the “Rebel Poet” (Bidrohi Kobi), is the National Poet of Bangladesh. Known for his fiery spirit and unyielding resistance against injustice, oppression, and colonial rule, Nazrul's life was a testament to the power of words in inspiring change. His contributions to Bengali literature, music, and culture are immeasurable, but his life was marked by immense personal struggles and hardship. Through his poetry, prose, and music, Nazrul gave a voice to the voiceless and stood as a symbol of resistance, secularism, and humanity.

This article traces the journey of Kazi Nazrul Islam—from his painful childhood to his contributions to Bengali literature, his protest-filled youth, and his tragic decline into silence—culminating in his final years in Dhaka. We will explore how this icon of resistance and revolutionary zeal continues to influence and inspire generations.

Early Life: A Childhood Shrouded in Struggle

Kazi Nazrul Islam was born on May 24, 1899, in the small village of Churulia in the Bardhaman district of West Bengal, India. His father, Kazi Fakir Ahmed, was the caretaker of a local mosque and madrasa, while his mother, Zahida Khatun, managed their impoverished household. From a very young age, Nazrul faced the harsh realities of life. His father passed away when Nazrul was only nine years old, leaving the family in a state of extreme poverty.

Forced to become the breadwinner of his family, Nazrul had to discontinue his formal education. He began working as a Muezzin (one who calls for prayer) at the local mosque and took up various odd jobs, including teaching, working in a bakery, and serving in a theatrical troupe. Despite these hardships, young Nazrul’s curiosity for learning never waned. He immersed himself in poetry, folklore, and classical literature, while the songs and music he encountered shaped his innate artistic talents.

Protesting Youth: The Birth of a Rebel

Nazrul’s youth was marked by an intense hunger for knowledge and a desire to challenge the status quo. He joined the Leto troupe, a traditional folk-theater group, which played a crucial role in his creative development. The exposure to the troupe’s music, drama, and poetry gave him a platform to hone his skills as a lyricist and dramatist. However, his restless spirit pushed him beyond mere performance; he wanted to contribute to society, question authority, and fight against injustice.

After a brief stint at the Searsole Raj High School in Raniganj and later at the Darirampur School in Mymensingh (now in Bangladesh), Nazrul left formal education for good. It was during this period that his revolutionary thoughts started taking shape. He began composing poetry and songs that reflected his disdain for British colonial rule, religious orthodoxy, and social injustice.

Soldier Life: The Experience of War

In 1917, Nazrul joined the British Indian Army as a soldier, enlisting in the 49th Bengal Regiment. His experience in the army had a profound impact on his life and work. Serving as a soldier allowed him to see the horrors of war firsthand, and it intensified his revolutionary spirit. It was during this period that he began writing his earliest pieces of literature that critiqued war and oppression.

His time in the military also exposed him to a wide range of cultural and literary influences. Nazrul became proficient in Persian and Arabic, which later enriched his poetic language and imagery. Inspired by the military discipline and the regimented life, he wrote several powerful pieces that depicted the hardships and camaraderie of soldiers, such as “Kandari Hushiar” (O Captain, Be Aware) and “Chol Chol Chol” (March On, March On), which later became the national marching song of Bangladesh.

The Rebel Poet: Protest and Literary Brilliance

Nazrul left the army in 1920 and returned to Kolkata, where he embarked on his literary career. His first poem, “Mukti” (Freedom), was published in 1921, and it immediately captured the attention of the literary circles. However, it was the publication of his seminal poem “Bidrohi” (The Rebel) in the same year that catapulted him to fame. “Bidrohi” is a defiant and revolutionary work that embodies Nazrul’s fiery spirit and fierce call for freedom. The poem, with its powerful imagery and rhythmic intensity, declared:

“I am the rebel eternal! I raise my head high, I am the tempest, I am the storm, I am the cyclone, the flood, I am the end of all!”

With “Bidrohi,” Nazrul established himself as the voice of the oppressed and the conscience of Bengal. His poetry, essays, and songs were charged with a rebellious energy that challenged both British colonial rule and social conservatism. He fearlessly criticized religious bigotry, caste discrimination, and gender inequality, earning the ire of both colonial authorities and orthodox society.

Imprisonment: The Poet in Chains

Nazrul’s outspoken stance against the British Raj led to his arrest in 1922. He was charged with sedition for his fiery writings in “Dhumketu” (The Comet), a revolutionary magazine he had founded. During his imprisonment, Nazrul began a hunger strike to protest the harsh treatment of political prisoners, which brought him widespread recognition as a symbol of resistance.

Despite being in prison, Nazrul continued to write prolifically. His collection of poems, “Agnibina” (The Fiery Lute), which he composed during his incarceration, became a cornerstone of Bengali literature. His prison poetry was filled with themes of freedom, rebellion, and human dignity. He challenged both British imperialism and religious orthodoxy, declaring in his poem “Kandari Hushiar”:

“Captain, be vigilant— The boat is caught in the storm!”

Literary Contributions: A Versatile Genius

Nazrul’s literary output was astonishingly diverse. He wrote more than 3,000 songs, countless poems, essays, short stories, novels, and plays. His songs, collectively known as Nazrul Geeti, reflect a vast array of emotions and themes, from love and devotion to patriotism and rebellion. He was a master of the ghazal, a genre rooted in Persian tradition, and infused Bengali music with a new vigor by introducing novel melodies and rhythmic patterns.

Nazrul’s poetry and songs are unique for their secular and inclusive nature. He drew from both Hindu and Islamic traditions, combining Sanskrit and Arabic-Persian vocabulary in a way that broke religious barriers. His poem “Anondomoyeer Agomone” celebrates the Hindu goddess Durga, while “Karbala” mourns the tragedy of Imam Hussain. This blending of cultural motifs underscored his vision of a society based on tolerance, unity, and respect.

Tragic Decline: The Loss of Speech

In the late 1930s, Nazrul began showing signs of a mysterious illness that gradually robbed him of his ability to speak, write, and function normally. Despite numerous attempts by his family and friends to seek medical help, the exact cause of his ailment remained undiagnosed for many years. Today, it is believed that Nazrul suffered from Pick’s disease, a rare neurodegenerative condition.

This tragic turn silenced one of the most powerful voices of Bengal. By the early 1940s, Nazrul had fallen into a state of near-complete mental and physical incapacity, leaving his followers devastated. The poet, who once roared like a lion, was reduced to a heartbreaking silence, unable to continue his relentless pursuit of truth and justice.

Brought to Dhaka: Post-Independence Honor

After the independence of Bangladesh in 1971, the newly formed nation sought to honor Nazrul as a national symbol of resilience and courage. In 1972, at the invitation of the Bangladeshi government, Nazrul and his family were brought to Dhaka from Kolkata. The government bestowed upon him the title of Bangladesh’s National Poet and provided him with a state residence.

Despite his debilitating condition, Nazrul’s presence in Bangladesh was symbolic. He represented the spirit of a nation that had fought for its own freedom, much like he had fought for the freedom of his people through his writings and activism. Though silent, he was a living emblem of the indomitable human spirit.

Death and Tombstone: A Legacy Eternal

On August 29, 1976, Kazi Nazrul Islam passed away at the age of 77. As per his wishes, he was laid to rest beside the Dhaka University mosque, a place he had chosen because of its proximity to the common people he so dearly loved. His epitaph reads a line from one of his own poems:

“Bhulbona bhulbona ei jibon kothay ami, Chiradin porey thakbe mor sur nai boroni.”

Translated, it means: "I shall not forget this life; My melody will remain forever, unforgotten."

Contribution to Bengali Literature and Culture

Nazrul’s contribution to Bengali literature and culture is unparalleled. He not only enriched Bengali poetry and music but also infused them with a revolutionary spirit and a call for equality. His themes of resistance, secularism, and humanity continue to resonate deeply in contemporary society.