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Born in a poor Muslim family, Nazrul received religious education and worked as a muezzin at a local mosque. He learned of poetry, drama, and literature while working with theatrical groups. After a stint in the British Indian Army, Nazrul established himself as a journalist in Kolkata (then Calcutta). He assailed the British Raj and preached revolution through his poetic works, such as "Bidrohi" ("The Rebel") and "Bhangar Gaan" ("The Song of Destruction"), as well as his publication "Dhumketu" ("The Comet"). While in prison, Nazrul wrote the "Rajbandir Jabanbandi" ("Deposition of a Political Prisoner"), intensifying his criticism of imperialism. Nazrul condemned Muslim religious fundamentalism and explored the lives of downtrodden masses in India. He remained active in political organizations and literary, art, and music societies.
Nazrul's writings explore themes such as love, freedom, and revolution; he opposed all bigotry, including religious and gender. His impassioned patriotic stance against the oppressiveness of British rule often earned him prison time. He wrote short stories, novels, and essays but is best-known for his poems, in which he pioneered new forms such as Bengali ghazals. Nazrul wrote and composed music for his nearly 3000 songs which are collectively known as Nazrul Sangeet (Nazrul songs) and widely popular today. At the age of 43 (in 1942) he began showing the signs of an unknown disease, losing his voice and memory. Suffering from Pick's Disease, as later diagnosed by Dr. Hans Hoff in Vienna, Nazrul gradually yielded to incurable mental illness, which forced him to live in isolation for many years. Invited by the Government of Bangladesh, Nazrul and his family moved to Dhaka in 1972, where he died four years later.
Studying up to Class X, Nazrul did not to appear for the matriculation pre-test examination, enlisting instead in the Indian Army in 1917. Some historians have conjectured that Nazrul may have wished to obtain military training with the aim of using it later for pursuing Indian independence.[1]Attached to the 49th Bengal Regiment, he was posted to the cantonment in Karachi, where he wrote his first prose and poetry. Although he never saw active fighting, he rose in rank from corporal to havildar, and served as quartermaster for his battalion.[2]During this period, Nazrul read extensively, and was deeply influenced by Rabindranath Tagore and Sarat Chandra Chattopadhyay, as well as the Persian poet Hafiz. He learned Persian poetry from the regiment's Punjabi moulvi, practiced music and pursued his literary interests. His first prose work, 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]
Nazrul catapulted to fame with the publication of "Bidrohi" in 1922, which remains 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 its 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:
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 were banned in the 1920s by the British authorities.[2]
It was during his visit to Comilla in 1921, that Nazrul met a young Hindu woman, Pramila Devi. The two maintained regular correspondence. Falling in love, they married on April 25, 1924. Pramila belonged to the Brahmo Samaj, which criticized her marriage to a Muslim. Nazrul in turn was condemned by Muslim religious leaders and continued 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. 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.[4]
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. Nazrul assailed the socio-economic norms and political system that had brought upon misery. The songs of Nazrul giving voice to the aspirations of the masses have 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.
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?[8]
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. 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. 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 was also recruited by the Indian Broadcasting Company.
However, most of his descriptions of women do not extend beyond domestic roles.[10] 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.
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" ("Prostitute"), in which he addresses a prostitute as "mother." 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. 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 criticized 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 idealization of woman.[10]
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.[11]
Nazrul is considered to have been one of the most brilliant exponents of Shaktism, a form of Hinduism widely practised in Bengal and Assam.[5] 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. 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.[5]
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 and the life of Islam's prophet Muhammad. Nazrul has been compared to W.B. Yeats for being 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.[6] His vigorous assault on extremism and mistreatment of women provoked condemnation from religious Muslims, many of whom denounced him as a kaffir (heretic).[5]
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