Relevance of Nazrul practice in BangladeshHasan Nashid

Introduction:
Poet Kazi Nazrul Islam is not an ordinary poet; he is a famous poet in Bangladesh. Although he is better known as a rebel’ poet, he is honoured as the National Poet. A poet of the time when the people of this country under the misrule of the British Empire were extremely oppressed and persecuted and were agitating for freedom to free the country from the yoke of subjugation. At that time, the poet composed the poems ‘Bidrohi’, ‘Pralyollas’, ‘Kheya Parer Tarani’, ‘Shikkal-para chhal moder e shikal-para chhal’, and ‘Durgam Giri Kantar Maru’, which inspired the freedom movement and later freedom fighters of Bangladesh. The poet Nazrul is a special blessing of Almighty Allah, along with the historical aspect of literary creation. A review of Bengali literature shows that Nazrul is a unique person as opposed to leaning more towards materialistic civilization. He was born on May 24, 1899, and died on August 29, 1976, at 10:00 a.m. at PG (now Sheikh Mujib Medical University) (11 Jaishtha, 1306 to 12 Bhadra, 1383 Bng). – He lived for seventy-seven years and three months before his death. In his long life, only twenty-three years (1919–1942) could match his literary practice. And that’s how he made his name in Bengali literature as an unforgettable and multifaceted talent. Indescribable creative power, wealth, and prosperity of life: by inserting his lifestyle in diverse and colourful similes, he absorbed the revolutionary hypnosis of literary art and the revolutionary hypnosis of life drama. Such a surprising arrangement of life art has made Nazrul reply in the context of the new wave of literary development and evolution, as a result of which Bengali literature has created a trend in the field of modern-age enrichment and has created a historical literary root. He has wandered in all branches of literature, breaking the prejudice of thousands of years in the recognition of his literary works. He brought revolution into action; he brought rebellion in youth; and in between, he brought Islam, equality, and the sophisticated nature of characteristic love. So he was able to contribute to a unique genre, irrespective of caste and religion. Due to which he has many qualities in his poetic identity. He was a poet as well as a lyricist, dramatist, prose writer, translator, children’s writer, composer, and lyricist. Although Nazrul carries so many identities, his main identity is that he is a poet—not only a poet but also a rebel poet, a poet of national consciousness. The people and nature of Bangladesh have a special role in the formation and development of Nazrul’s mind. I am presenting a discussion on how relevant Nazrulcharcha is in this motherland.
Nazrul Affiliation:
While analysing Nazrul in the context of Bangladesh, the details of the literature have been added to the discussion as an accessory. There has never been a comprehensive discussion about the impact of Bangladesh’s multifaceted reality, people, and nature on Nazrul’s life and work. Whatever happened was insignificant, scattered, and brief. Therefore, literary judgement, art value analysis, talent evaluation, or relevance did not become the main topic of discussion; only an attempt was made to determine how Nazrul’s creation in Bangladesh influenced or became an area of encouragement.
50 years ago, Bangabandhu Sheikh Mujibur Rahman brought the sick poet to this country on the orders of the Indian government to find the answer to the question of why Nazrul is relevant in Bangladesh today. He knew that one day Nazrul would become very relevant in Bangladesh because Bangabandhu considered him a dreamer of poetic ideals. Arriving in Bangladesh in his childhood, he became familiar with the people and nature of this country. Later, the poet came to Bangladesh on various occasions for various reasons and stayed in about 25 districts. In 1926, he came to Jaidevpur along with the poet Abdul Qadir and wrote ‘On the Way to Jaidevpur’, and the poem was later published in a newspaper called ‘Chandni Ratte’. On that day, in the inter-class room, he involved himself in various levels of joy and madness, sorrow and pain, because Nazrul was a poet of speed, a poet of emotions, a poet of youth, vitality, strength, and progress. A poet of love, humanity, beauty, and brotherhood. None of the contexts in which the poet was brought to this country as a visionary have been achieved to date. The reasons why Nazrul was relevant in the past are a thousand times more relevant today.
Field of sense of life:
It is the duty of every citizen to embody the basic ideals of the poem ‘Khokar Sadh’ when the country is in the grip of misrule. The poet says in his poem,
I will be the morning bird.
I will wake up first in Kusumba.
Now is the time to wake up at breakneck speed to form a non-exploitative state society. Irrespective of party affiliation, the poet’s voice should be chanted in harmony to stand up for the dream through national unity.
Where are Genghis, Ghazni-Mahmud, and Kalapahar?
Break the locked doors of the temple!
God’s house: who puts the cupboard, who gives the lock?
Open all doors and throw a hammer and shovel!
As evidenced by Itisah, Genghis, and Ghazni-Mahmud, they did not hesitate to swing the hammer at the shrine of infidels, apostasy, and misrule, but Nazrul called upon them to break the locks on the cupboards of God’s house and crush those who attack Islam. Because the country and system that the poet has dreamed of have not been established in India-Bangladesh, the country and nation remain a dream in the poet’s dream. But he clearly sowed the seeds of the potential of the working people’s revolution. In the poem ‘Kulimjur’, while singing the song of the proletariat and awakening, the poet uttered in the language of struggle,
A good day has come.
The debt has increased day by day; it will have to be cleared!
The mountains that were broken by hammering,
Those whose bones fell on both sides of the mountain-cut road.
Those who serve you are labourers, mutts, and porters.
Those outside of you who put dust on the holy organ,
They are men, they are gods, and they are also songs.
In their painted chest, the new rise comes!
The ‘new rise’ is a new reflection and symbol of the revolution of the proletariat. Here, the poet describes the initiative to build a new society against the old, dilapidated social system. Standing on the ruins of a world of misrule, he speaks of the resolution of the image, revealing the merits of the great rise of a sophisticated ideal consciousness. For those who think that only movement will bring freedom in the way of life, the poet has spoken strongly about weapons, because liberation will never come without arms. In the poem ‘Abhiyan’ written in Narayanganj on July 26, 1926, he also called the travellers of the new freedom-seeking new path to carry out the campaign to establish the ideal society and to sing ‘Jai Nav-Utthan’ upon reaching the dawn.
You suffer so much injustice; you are great!
The oppressed man can no longer endure insults.
The poet has painted an unforgettable picture of the awakening, expedition, and rise of the oppressed human being. No poet in any literature has ever uttered the cry of victory for the oppressed so strongly, so sublimely, and so fearlessly. Although everything in the vast world is for enjoyment, most people are deprived of the right and pleasure of that enjoyment. So the poet is calling everyone and saying, ‘Who is there who will steal my grain of rice?’ He has described a wonderful picture of our basic and birthright rights. The sky and the green earth are the special blessings of the Almighty Allah; the sky and the beautiful earth are in the possession of terrorists. Having gone completely away from the idealised path and path of the Prophet (PBUH) and falling under the grip of bad governance, he is crying out ‘Fariade’.
Whose oppression-cheri binds your hand?
Whose law shackles my sense of freedom?
There is hunger and thirst; there is my soul.
I am human; I am great!
My rasna under me, this steep neck!
I have broken the chains of my mind; I am pulling on the chains of my hands.
The poet speaks here in a free voice about the eternal decline of the free world and the unity of the great triumph of the uprising of the oppressed. It is not possible for those who only have the name of Allah-Messenger written on their lips, because man is free by birth, but he is imprisoned every moment by the restrictions created by the cruel rule of the tyrant and is constantly crippled in the way of walking in God’s law. Whereas the poet has axed the Hindu-Muslim antagonism, as well as the Bolshevik revolution in Russia and the rise of nationalism in Turkey, it has been a constant source of inspiration for the libertarians. There, Nazrul, as a national poet, developed a deep sense of injustice and irregularity. Where a storm of protest is supposed to arise, only the secular assessment sings the song of equality, the epitome of colonial rule in post-independence Bangladesh.
Best Sense of Time:
Although the rebel ideology has been formalised in poetry and recitation, it is still felt today in the reality of assessment, and context is the best claim of the time. Nazrul was not enslaved to a particular political philosophy or ideology for those addicted to secularism—the poem ‘Qorbani’ (‘Moslem Bharat’, Bhadra 1327) and the essay ‘Aaj Eid’ by Tariqul Alam (Sabuz Patra, Shravan, 1327), compiled in ‘Agniveena’. A poem was written in response. Nazrul did not support the statement of Tariqul Alam’s essay in this poem, but at the same time, he tried to highlight the true significance of sacrifice in his poem in six-dimensional rhythm.
‘Sacrifice’ appeared to Nazrul not as killing but as ‘truth-planet’ and ‘opening of power’. Mahatma Gandhi started his non-violence movement and satyagraha in South Africa in 1912 to protest against the oppression of non-whites. 1919 in India against the Rowlatt Act in Champaran, Gujarat. During the movement of 1920–22 AD, the non-cooperation Satyagraha movement saw its greatest development. Nazrul adopted the word ‘Satya-graha’ in the poem ‘Korbani’ from that political movement of the time. Satyagraha is an interest in the truth or the determination to protect what is rightfully and religiously right. Mahatma Gandhi adopted this religious sentiment as a weapon of political struggle. Nazrul always hates cowards and cowards. Nazrul thought that Tariqul Alam’s article was an indirect condonation of cowardice and cowardice. Those who want to be loved by God and want to get infinite success by crying, the poet said,
“The sound of the queen” is far away.
Today’s murder victim! Dumba-shir room dweller
Shaheed Shi’s best Aji! Is Rahman not Rudra?’
Not only praying with hands, but also prayer is very much needed today. Because there is no need to cry, it will not have any effect, so the order again is ‘Vyas! Chup Khamosh Rodan!’ The Persian word ‘Khamosh’ is used to emphasise the command to silence the cry. That great commandment of sacrifice of the past echoes and resonates in today’s troubled times:Today my voice is loud, ‘Khun de, Jan de, Shir de, Vats de’ Shon.”
In Nazrul’s creation, the past is created not only for the merits of the past but also for energising the present, for the liberation of truth, and for the realisation of freedom. If there is a war, there is no fear in that war, even if it is bloody. Although this path is not so easy, why should we be afraid to sacrifice blood?
4.1 Biography of Prophet SAW:
An ancient and traditional land of desert, sea-ocean southwest AsiaÐ the holy city where there were many Chaldean, Semitic, Judeo-Christian idolatries and separate worship centres. In 570 AD, to be strong in his traditions, ignoring the inferiority of contemporary people, the angel of humanity, the soul of the world, Hazrat Muhammad (SAW), awakened the contemporary geographical and historical consciousness with joy. Contrary to the rigid practices of religion, Islam has become all-knowing and all-useful. Nazrul, through his poem ‘Fateha-i-Dawaz Daham’, has beautifully depicted the life of the Prophet (PBUH) from childhood to adolescence and youth to death.
No cap
No shame
O Muslim, you are dressed in palm-tops!
Today, those who are intoxicated with human sacrifice as representatives of gods and goddesses, and those who have enthroned them, are declaring war outside the God-given constitution under the guise of religious liberality. This poem is for them. The poet himself, being a Muslim, did not support the rigid approach of any religion; in the same way, he also opposed it when someone belittled his own religion. Through the poem ‘Blood of Misrule’, the poet has struck a direct blow against secularism, a bold and flamboyant foreign ruler and native cowardice. In ‘Pralayallas’, he expressed hope to the youth for a new sunrise, destroying the archetype of the fascist state. And in ‘Vidrohi’ echoed the reluctance to surrender to the great spirit, the strong surge of personality, the cry of the oppressed from the state structure, and the vow to wipe out the sword of the tyrant. In ‘Raktambardharini Ma’ there is an invocation of the Asura-Nashini form of the goddess and a call to thrash the tyrant. The poem ‘Agamani’ mentions the destruction of the demon-beast false demon-army and the victory of the deity Sat-army in the same emotion, tone, and demon battle. But here, Nazrul did not mean the gods, demons, or demons; he meant the people, who today are immersed in moral degradation through riots, terrorism, looting, disappearances, killings, and destroying the rights of others. In ‘Dhumketu’, ‘Kamal Pasha’, ‘Ranveri’, ‘Shat-il-Arab’, ‘Kheya Parer Tarani’, ‘Khorbani’, and ‘Agniveena’, the man of truth, the spiritual struggler in the freedom war of creation, has achieved a milestone and historical success. Evidence of the direction of change.
4.2 Replica Nazrul:
The storm is a very favourite symbol of Nazrul. So for all the calamities, storms, floods, droughts, famines, and pestilences that are victims of loss, Kabir was the servant of command. Injustice, tyranny, and misrule are only slaves to those who can change the shape of any storm in an instant. Still, the poet expressed the plight of the motherland through personal pain.
My oppressed country mother has provided twenty of these ‘poisonous flutes’
And the torture of all kinds of injuries from God on me.
So there is no doubt that the call of revolution on this day of trouble will be met with thrall.
No doubt, youth is a major feature of Nazrul. In various poems of ‘Sandhya’ (Bhadra 1306, 1929 AD) dedicated to the Kar-Shatdal of ‘Madaripur Shanti Sena’ and the heroic soldier, the special glory and glory of the poet’s youthful ministry have been revealed. Even after independence, the long darkness of subjugation has been revealed in the twilight form.
“For seven hundred years.”
At the east portico door, the sharvari wakes up.
Ranga drowned in shame at our cowardice.
He atones for great sin forever, alas…
Will you not spend the evening?
How much is the debt of one nation?
Will not cut the long darkness approaching in the evening here? The fate of Bangladesh will not be a new sunrise. Won’t someone break their pyramid against the arrogant tyrant with a novel strategy of adventurous youthful energy? Will definitely break! Because for those who have the history of breaking the ancient mummy pyramids of millions of years, it is not so difficult for those who have the history of breaking the ancient mummy pyramids to destroy all the wastes of the faith of the youth with the blow of the youth, the ceremony of flowers in the new concept, the impression of tranquillity in the pulse of life. Only a fearless youthful energy is needed to reform the supposed Shiva sitting like a rock, and this was the inspiration of the poet in his youth.
Today, those who wish for youth are fresh in their desires and are worshipping the so-called tide with themselves; the tide of the broken life is very weak. Because the name of life in flowers is not youth, youth is the name of a new direction of light. So the poet has sung the song of youth in the most beautiful simile. –
‘Break down the dam, the life-flow that flows around you.
Take it on your chest and swing; you are young and trembling.
May your two stone-filled bridges be swept away by the flood.
May it be fertile, may it smile, and may it blossom with fruit. ‘
In Nazrul’s life, youth is another name for Sushma’s fertile youth. And he desired this life because, in old age, wisdom can never be the likeness of youth. Youth has repeatedly been the catalyst for the creation of motion in the impulse of velocity with streams, waves, tides, floods, ebbs, etc. If youth is not a collector, then one of the elements of the ancient history of Egypt will be a scene like the drowning of the pharaoh in the Nile. However, the poet fell victim to Pralaya-Shikha in favouring a patriotic form here, as the poem ‘Pralaya-Shikha’ (1930) was written in reference to the terrorist revolutionary poets Jatindra Mukherjee and Jatin Das. As a result, the poem was confiscated, and another collection of songs named ‘Chandrabindu’ was confiscated by the government. But I am saying here that this was the last published work of poet Nazrul in healthy condition. However, after the illness, the poems ‘Natun Chand’ and ‘Maruvaskar’ came out, and the rebellion that started with them was the bloody end of the revolution.
In the creation of Nazrul, the spiritual consciousness of the Islamic tradition is developed, as well as the history and political consciousness of the Muslim world, which have been expressed with great importance. In the ‘Agni-veena’ poem, ‘Kamal Pasha’, ‘Anwar’, and ‘Ran Veri’ in Turkey and ‘Shat-il-Arab’ in Iraq express the pain of subjugation and the desire for freedom. In the poems ‘Kheya Parer Tarani’, ‘Muharram’, and ‘Qorbani’, the victory of truth is proclaimed in the spiritual resonance of Islam. In the poem ‘Poison Flute’ in the poem ‘Fateha-i-Dawaz Daham’, the birth and death of Prophet Muhammad (PBUH), the world-renowned prophet of mercy, and his life’s work, joys and pains, and great ideals, all of them are presented with utmost enthusiasm and thoroughness. . The poet has enlivened us with the life philosophy of Rasool (PBUH) by drawing pictures in the poem. In the ‘Shahidi-Eid’ poem of ‘Bhangar-Gan’, the call of all-out donation in the struggle for truth is echoed. Nazrul’s mentioned poems written about Islam and the Muslim world or the Middle East are a unique form of awakening to religious ideals, which are more effective in glorifying the present. In this case, however, ‘Zinjir’ has gained a lot of importance. As the picture of the awakening of various state powers is drawn, poems like ‘Khaled’, ‘Chiranjeeb Jaglul’, ‘Amanullah’, ‘Umar Farooq’, etc. are inspired by adopting the heroic traditions of the past state or army heroes of Islam. And that is why it is considered the best poem in Bengali poetry.
Conclusion:
Poet Kazi Nazrul Islam is a great development of Bengali Manisha and a great sign of Bengali creativity. It is only natural that his multidimensional talent will be the absolute age of his multidimensional talent. But for those who want to distort Nazrul’s secular identity without caring about his ideals, there is the Nazrul Edition initiative. Don’t be stingy with the opulence of the poet’s creations, because they are reliable. His outstanding contribution in the state, social, cultural, and political fields is also based on the culture of his own religion. It is not possible to publish this extraordinary, talented poet in the shortest possible time with his rich creative history. Let Nazrul practice be like the unveiling of freedom.