See discussions, stats, and author profiles for this publication at: https://www.researchgate.

net/publication/321786295

Nazrul's Contributions in Equality and Egalitarianism: Twenty First Century

Perspective

Article  in  SSRN Electronic Journal · January 2017

DOI: 10.2139/ssrn.3079968

CITATIONS READS
0 3,304

2 authors:

Dr. Nazrul Islam Md. Shamsul Arefin

Asian Institute of Technology Huazhong University of Science and Technology
171 PUBLICATIONS   346 CITATIONS    26 PUBLICATIONS   52 CITATIONS   

SEE PROFILE SEE PROFILE

Some of the authors of this publication are also working on these related projects:

Success Factors of Online Commodity Business in Bangladesh View project

5-Books of colleagues View project

All content following this page was uploaded by Dr. Nazrul Islam on 31 December 2017.

The user has requested enhancement of the downloaded file.

 Nazrul's Contributions in Equality and Egalitarianism: Twenty
First Century Perspective

Dr. Nazrul Islam

Professor & Dean, School of Business
Uttara University
Uttara, Dhaka, Bangladesh
E-mail: nazrulku@gmail.com
&
Dr. Md. Shamsul Arefin
Assistant Professor, School of Business
Uttara University
Uttara, Dhaka, Bangladesh
E-mail: arreefin@gmail.com

Abstract

Equality is one of the foremost areas where Poet Kazi Nazrul Islam has significant contributions. He is
also known as the poet of parity and equality in Indian sub-continent. Nazrul disliked unfairness, injustice
and oppression against humanity. He not only reviled inequality but also raised his voice against it. That
is why, Nazrul was known as Rebel Poet. This paper aims at identifying Nazrul’s contributions against
inequality and inegalitarianism in the society of 20th century which is also an important issue in 21st
century. This is an exploratory research that used secondary data and experience survey methods to
collect information on Nazrul’s contributions in equality and egalitarianism. The results show that
Nazrul's poems strongly emphasized the confluence of the roles of both sexes and their equal importance
to human life. He assailed fanaticism in religion and denounced it as evil. Nazrul raised his voice against
oppression and he subjugated people to seek freedom and dignity. Nazrul identified two main literary
trends - the first, passionate devotion to Earth with the exploration of the home environment of human
beings and the second, rise above and out of Earth to explore and reach the heavens. His egalitarianian
image emboldens with gender-egalitarianism, communal harmony and tolerance in the religion. His work
in literature and music reflected his unprejudiced utilization of cultural and religious traditions of both
major faiths of India like Islam and Hinduism. Nazrul’s work also represents global-belongingness that
saved humanity from its destructive forces. The context of his struggle was the British Colonialism that
he personally witnessed in India but his position was explicitly universalist. Nazrul invited all corners to
embrace the spirit of universalism that does not deny its root but feels and builds a bond with others. It is
a spirit that rises above parochial pettiness and upholds the human dignity in the society.

Keywords: Equality and Egalitarianism, Rebel Poet, Fanaticism, Universalist, Nazrul Sangeet,
Globalization.

Page 1 of 19
Nazrul's Contribution in Equality and Egalitarianism: Twenty First
Century Perspective
1. Background

The present world is full of fierce competitions for businesses and stern struggles for the nations in
gaining attention for trade, tourism, investment, culture, etc. Globalization is also a new phenomenon in
the 21st century that is a process of interaction and integration among the people, companies and the
governments. It is a process driven by international trade and investment and aided by information
technology and has effect on environment, culture, political systems, economic development and
prosperity and human physical well-being in the societies around the world1. To minimize the fierce and
negative, there is a need to bring resemblance and similarities among the people of the world in order to
bring peace and prosperity in the world. Nazrul being one of the top personalities in the national history
of Bangladesh and among the bangla speakers of the world who spoke against conflicts and decision and
emphasized equality in the 20th century. He was the main sculptor of the national literature and culture of
Bangladesh (Hussain, 2006). Nazrul was the most gifted genius working in almost all the known genres
of literature in the Indian subcontinent. He was one of the most remarkable poets of all time. However,
yet a wide and deep evaluation of his work is awaited to be realized offers an immense source of pride
and accomplishment for Bangladesh2.

Nazrul earned the title “Rebel Poet” following the publication of his poem “Bidrohi” in 1922 indicates his
challenging attitude. The language and imagery of the poem coincided with the non-cooperation
movement against British ruler, made Nazrul a household name among the rebellious youths of Bengal
(The Daily Star 2015)3. Nazrul is known as the ‘Rebel Poet’ for his fierce resistance to all forms of
repression and suppression. His poetry, with its vibrant rhythms and iconoclastic themes, forms a striking
contrast to other contemporary poets4. Though, Nazrul respected and admired the Rabindranath Tagore,
he wrote outside the sphere of Rabindranath’s influence and paved the way for the modern Bangla poems
of the post-thirties in the Indian subcontinent. Through literature, journalism and political activism,
Nazrul fought against foreign rule, communalism, imperialism, colonialism, fundamentalism, suppression
and exploitation. In response, the British colonial government banned his books and newspapers and put
him behind bars. Through his written Rajbandir Jabanbandi (a political prisoner’s deposition) and his 40-
day hunger strike, Nazrul protested the harassment and inhuman activities. In support of him,
Rabindranath dedicated one of his books to Nazrul in this regard (Momin 2015).

The Marxist ideas of equality and the divinity of man also influenced at that time. He wrote many poems
on Marxism such as, Sammabady (of Equality), Issar (God), Manush (Human Beings), Chor Dakkat
(Thief and Robber), Barnanghana (Prostitute), Nari (Woman), Paap (Sin), Coolie Majurs (Coollie and
Labourers) and many other (Tajuddin, 2015). Like Marx, Nazrul uplifted the dignity of human beings of
all classes in all ranks of the society.

1
http://www.globalization101.org/what-is-globalization/
2
http://www.123helpme.com/branding-bangladesh-through-kazi-nazrul-islam-view.asp?id=163888
3
http://www.thedailystar.net/arts-entertainment/its-true/kazi-nazrul-islam-86731
4
http://www.thedailystar.net/news-detail-235542

Page 2 of 19
In the poem, Manush (Human Beings) Nazrul wrote:

I sing of equality.
There is nothing greater than a human being,
Nothing nobler!
Caste, Creed, religion -there is no difference.
Throughout all ages, all places,
We are all a manifestations
Of our common humanity. (Lines:1-7: Manush)

Nazrul highlighted the futility of religiosity or piety of an individual when he had no love for the poor and
the destitute or the common humanity regardless of caste, creed and religion. In this regard, Nazrul wrote:

Who are they-hating human beings

Yet kissing the Quran, the Vedas, the Bible?
Snatch away those books from them.
The hypocrites pretend worshipping those books
By killing the human beings....

Nazrul encouraged to be non-communal. Hence, Nazrul drew upon his mixed Hindu and Muslim cultural
traditions among the people at his time. He used Sanskrit and Arabic metres as easily as he did traditional
Bangla ones. He referred to Persian archetypes with as much ease as he did ancient Hindu ones. He was
aware of history, both ancient and contemporary and outside world as well (The News Today, 2013)5.

In his poem, King and Subjects (Raja o Praja), Nazrul spoke for equality and celebrated the subjects not
the king:
I am the bard of equality.
At the crossroads I sing,
Where pity and sympathy
Have made us all comrades and brothers. (Lines: 1-4: Raja o Praja)
......................
But can you tell me
Why are some kings, rolling in luxury
And some subjects, starving in gutters?( Lines:5-8: : Raja o Praja)
.......................
It is the people who create kings
And not the kings the people. (Lines: 19-20: : Raja o Praja )

In the same poem Nazrul mocked and taunted at the incapability of people who could do nothing in
bringing up a change in India as if all people turned them to be slaves to the British King (Tajuddin,
2015). Nazrul write in this regard:

How can we smile friend?

We are only coolies and servants
In our home and land.
We have given up our manliness
Our strength, and power.
And what have you got?
Rendered eunuchs we are guarding today

5
http://mbarchives.blogspot.com/2005/12/kazi-nazrul-islam-and-mustafa-kemal.html

Page 3 of 19
 The lascivious harem of the tyrant king.

Keeping this in mind, this paper tries to identify the contributions of Kazi Narul Islam for bringing
equality and ensuring egalitarianism in the society from seven perspectives.

2. Objectives of the Study

The broad objective of the study is to identify and explore the contributions of Kazi Nazrul Islam in
equality and egalitarianism among the humanity which applicabale in the twenty first century. The
specific objectives of this study are outlined below.

i. To describe Nazrul’s life and struggles for survival;

ii. To describe equality and egalitarianism in Nazrul’s poems & lyric;
iii. To describe equality and egalitarianism in Nazrul’s politics;
iv. To describe equality and egalitarianism in Nazrul’s songs and musics;
v. To describe equality and egalitarianism in Nazrul’s novels;
vi. To describe equality and egalitarianism in Nazrul’s Bengali literature;
vii. To describe Nazrul’s contributions in society development;
viii. To describe Nazrul’s contributions in developing philosophy;

3. Research Methods

This research aims at identifying Nazrul’s contributions in equality and egalitarianism among the
mankind which is highly demanded in twenty first century due to severe caos, confusions and negative
competition among the people of the wotld. The study covers sieven important areas such as, poem and
lyric poem, songs and musics, politics, novels, literature, society, and philosophy in which Nazrul
contributed in twentieth century. A conceptual framework was developed for studying Nazrul’s
contribution in equality and egalitarianism through an extensive literature review (Figure 1).

Figure 1. Conceptual Framework on Kazi Nazrul’s Contributions in Equality and Egalitarianism.

Poem & Lyric Poem Songs & Musics

Society

Politics Novel
Nazrul’s Equality
& Egalitarianism
Literature
Philosophy

Page 4 of 19
This is an explorary research that used experience survey and secondary data sources. The secondary data
were collected from the writings of Kazi Nazrul Islam, research findings on Nazrul’s contributions,
journal articles, internet, etc. The collected information was analysed based on the conceptual framework
developed in the study.

4. Discussions

This section includes important areas of Nazrul such as, poems and lyric poems, songs & musics, politics,
novels, literature, society, and the philosophy. These are described in the following sections.

4.1. Nazrul’s Life and Struggles for Survival

Nazrul was born in a Muslim family and was educated as a "Muazin", at a local mosque. Through
the lslamic education he received in the early years, he became familiar with the principles and teaching
of lslam, reading the Quran, offering prayers, fasting, Hajj and Zakat. ln his later life, these experience
were used by Nazrul to translate lslamic traditions into Bangla writings. Nazrul was fascinated to folk
theatre, song and dance. He later joined a theatre group. He acted with the group and also learnt the art of
composing poems and songs at a short notice. Through his association with the theatre group, Nazrul
began to leam about Hindu "Puranas". After that he served in the British Indian Army, and later on
established himself as a joumalist in Kolkata. Nazrul preached revolution through his poetic work, such
as "Bidrohi" (The Rebel), 'Bhangar Gaan" (The Song of Destruction), and "Dhumketu" (The
Comet). His fervent activism in the lndian independence movement compelled British authorities to put
him in jail. He did not remain silent in jail. Nazrul wrote the "Rajbandir Jabanbandi' (Deposition of a
Political Prisoner).

Nazrul's writings explored themes such as, love, freedom, revolution and he opposed all bigotry,
including religious and gender. Throughout his career, Nazrul 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 4,000 songs collectively known as
Nazrul "Geeti", that are widely popular even today. At the age of 43, Nazrul began suffering from an
unknown disease, losing his voice and memory. lt is often said, the reason was slow poisoning by British
Government. lt caused Nazrul's health to decline steadily and forced him to live in isolation for many
years until death.

4.2 Nazrul’s Contribution in Poems & Lyrics6

Kazi Nazrul Islam was born on May 24, 1899 in a very poor family at the village of Churulia in Burdwan
district of West Bengal, India. He lost his father at his age of nine years. At the age of 10, after passing
through the lower primary examination, he started teaching in a religious school with a view to assisting
his family. He also served as the khadem of a mazar, the imam of a mosque and even as a mullah in his
early life. Nazrul is best known for his poems and especially lyrics.

Poetry is the reflection of human’s emotion, love and affection. According to Words Worth, “Poetry is
the spontaneous overflow of powerful feelings, where emotions recollect its tranquillity”. These lines are
thoroughly apt in the context of Kazi Nazrul Islam (Haque, 2016). Being a man of revolution, Nazrul had
the intense hatred towards the establishment of British Rule in India. Through his poetic work like
Bidrohi (The Rebel), Bhangar Gaan (The song of Destruction) and his famous publication Dhumketu
(The Comet), Nazrul showed the tireless endeavour to attack the British government in India. His aim was
to free the country from the grip of British colonialism which he thought was the right way to prosper and

6
Lyric poetry is a formal type of poetry which expresses personal emotions or feelings, typically spoken in the first person.

Page 5 of 19
develop. Nazrul also wrote Rajbandir Jabanbandi (Disposition of a Political Prisoner). All of his
revolutionary writings made him not only a freedom fighter but also a man of truth and inspiration
(Haque, 2016).

Nazrul brought the harsh reality of his life of the common man to literature. For the first time he
introduced a hitherto uncommon theme of identification of self-interest of the people through the mass
movement against all kinds of oppression in the social life. The most remarkable work was a large
number of songs, setting almost all of them to a tune and established himself as one of the greatest
lyricists and composers of the sub-continent. His creative life was spread over a period of a little over 22
years from March 1920 to July 1942. After a sudden attack of paralysis on July 10, 1942, he became
silent for ever. He remained silent for the rest 34 years of his life before he ultimately died on August 29,
1976 at the age of 77. The ten year span between 1910 and 1920 was the preparatory period for what he
was to be in future. Even during this period nothing in his life was well-ordained due to poverty and lack
of financial support.

In 1910, he joined Leto group that used to perform music, dance and drama for the recreation of the rural
people. At that time, Nazrul was studying in class five. After coming out of school in 1912-1913, he
joined the Kabi troupe of Basudeva for a short period, then served as the cook to a railway guard and was
an apprentice with a baker's shop. In 1914, under the guardianship of Kazi Rafizullah, a police sub-
inspector, Nazrul went to Darirampur in Mymensingh and got himself admitted in a school there in class
seven. He studied in Shiarsol Raj School from class eight to ten. During 1917-1919,when Nazrul was
supposed to take his matriculation examination, he escaped once again and joined the army as a recruit to
the Bengali Regiment and stayed in the army cantonments at Noushera and Karachi. Finally, he returned
to Calcutta in March 1920, only after the Bengali Regiment was disbanded. His fellow countrymen have
known Nazrul in many capacities during his very short creative life. He was a poet, short story writer,
speaker, newspaper editor, a film actor, a freedom fighter and activist. The single and the most important
aspect of his many-faceted genius which gave him widespread name and name was of a fine lyricist and a
musician with many new ragas and talas to his credit. Over the next 22 years after returning to Calcutta,
he wrote over 2,680 songs. Critics believe that a number of his songs are yet to be discovered and some
are totally lost.

The mainstream of Nazrul’s musical emotion was evidently classical. He was deeply engrossed and
inspired by the totality of the raga style. In 1940, Nazrul talked on the radio about his feelings on this
point. He said “It is not possible for the modern tunes with their monotonous frivolousness to create the
exquisite rasa which may be created by the classical music and which may carry away the mind of the
peopleto the world of an experience that is magnificent and superb”. From this thought, he transformed
the stream of classical music into a dominant one in the Bengali music world. Some of his songs based on
some well-known Hindustani bandish are replete with exquisite poetic beauty, being freed from
insignificant wordings of the original songs.

During the last phase of his creative life, he retrieved many lost and nearly-lost ragas and wrote Bengali
songs composed in these ragas. He created 17 new ragas and wrote songs based on them. Nazrul also
created 11 new talas. He composed six Lakshangeets with double meanings attributed to each by one
meaning, the song would appear to be a fine poetic piece, by another it is a description of the
characteristics of the raga. In the Bengali music world, no other lyricist or composer has used so many
ragas. Their number would run into about 200.

A special category of songs on awakening, patriotism and struggle for freedom from oppression was also
introduced by Nazrul. His songs on communal harmony, socialistic inspiration and economic freedom are
worth a special mention. His song 'Durgama giri kantara maru' written in 1926 still remains unparalleled

Page 6 of 19
in its lyric, tune, and aesthetic excellence among songs of this category written till now. Nazrul
successfully introduced Bengali ghazals which were readily accepted by the listeners.

In the category of devotional and religious songs, Nazrul has numerous compositions to his credit. The
first group consists of Islamic songs for which he was the pioneer. The deeply emotional and charming
tunes have made such songs the most adored ones not only to the Muslims but also to the Hindu listeners.
The second as well as the most dominant group consists of Hindu religious songs. Despite being a
Muslim by birth, he created several Bhajans, Shyamasangeets, Agamanis, Kirtans and also a large number
of songs on invocation to Shiva, Lakshmi and Swaraswati and on the theme of love of Radha and
Krishna.

Nazrul was one of the founders and the most important composers of Bengali modern songs. Modern
songs are composed in a free style which is not related to any of the specific genres like dhrupad, khayal,
tappa, thumri, ghazal, kirtan or even to western style. His songs based on baul, jhumur, Santhali
folksongs, jhanpan or the folk songs of snake charmers, bhatiali and bhaoaia consist of tunes of folk-
songs on the one hand and a refined lyric with poetic beauty on the other. This makes them a favourite
with the listeners. Nazrul's songs have not only elation or melancholy but also the theme of laughter and
merry-making.

Kazi Nazrul Islam had a strong confidence that even if there were no discussions on his contribution to
the music world in his lifetime, all would recall him in future. Nazrul raised his voice for the oppressed
and the subjugated. He wrote:

চির-অবনত তু চিয়াছে আজ গগছন উ”িচির।

বান্দা আচজছে বন্ধন ছেচি’ ছেছেছে োরা-প্রািীর।
এতচিছন তার িাচগয়াছে োছিা-
আোি বাতাস বাচিছরছত আছিা,
এবার বন্দী বুছেছে, মধুরপ্রাছের িাইছত ত্রাে।
মুক্ত-েছে স্বাধীন চবছে উঠিছতছে এেতান-
জয় চনপীচিত প্রাে!
জয় নব অচেযান! [ফচরয়াি]

The ever oppressed has raised his head today, walking so proudly tall,
breaking the shackle the slave has demolished the prison wall.
Now he has the taste of pride
of sky, wind and light outside!
The prisoner now understands, greater than life are freedom and choice,
the liberated world is joining in chorus in clarion voice!
Let the oppressed soul now rejoice!
Vive La new age! Vive La new voyage!
[Plea – Foriyad]

Page 7 of 19
Nazrul’s song Manush and Sammobadi tell us the human beings are equal and they do not have any
differences even they are in different religions.

গাচি সাছমের গান-

মানুছের ছিছয় বি চেেু নাই, নছি চেেু মিীয়ান,
নাই ছিি-োি-পাছত্ররছেি, অছেি ধমমজাচত,
সবছিছি, সবোছি, ঘছর-ঘছর চতচন মানুছের জ্ঞাচত। [মানুে]

I sing the Hymn of Equality –

Nothing is higher than Man, nothing nobler!
There’s no distinction of clime, age,
and person, there’s one indivisible,
Universal Brotherhood.
[Manush]

গাচি সাছমের গান-

ছযখাছন আচসয়া এে িছয় ছগছে সব বাধা-বেবধান
ছযখাছন চমিছে চিন্দু-ছবৌদ্ধ-মুস্চিম-ক্রীশ্চান।
গাচিসাছমেরগান! [সামেবািী]

I sing the song

Of equality,
Where all status and class
Become triviality.
The Rendezvous of Hindu, Buddhist,
Muslim or those of Christianity,
I sing the song
Of equality!
[The Egalitarian – Shammyobadi]

Nazrul emphasized communal harmony of the people. He wrote:

অসিায় জাচত মচরছে ডু চবয়া, জাছননা সন্তরে,

োন্ডারী! আজ ছিচখব ছতামার মাতৃ মুচক্তপে!
“চিন্দু না ওরা মুসচিম?” ওই চজজ্ঞাছস ছোনজন?
োন্ডারী! বিডু চবছে মানুে, সন্তান ছমারমা’র! [োন্ডারীহুচিয়ার]

"The hapless nation drowns, for swim it cannot

O Captain! Today you shall be watched
For determination and love
'Hindu or Muslim?' Wait! Who asks?
Captain! Proclaim: My Mother’s children are drowning —Human all!"
[Captain, beware - Kandari Hushiyar]

Page 8 of 19
Nazrul raised voice against the male who insults female and undermine their contributions. He worte:

সাছমের গান গাই -

আমার িছে পুরুে-রমনী ছোছনা ছেিাছেি নাই।….
ছসচিন সুির
ূ নয়-
ছযচিন ধরেী পুরুছের সাছে গাচিছব নারীরও জয়! [নারী]

"I sing the song

of equality;
In my view gender difference
is essentially a triviality. ...
Not very far
is that cherished day,
when with homage to man,
to woman also homage, the world will pay."
[The Woman – Nari]

Stunning and solid in proclamation, his poem “Baarangana”, in which he addresses a prostitute as
“mother”, has an immediate intensity of arousing sense of conscience. Devouring the common notion of
hatred to a prostitute, Nazrul accepts them as a human being. He was also in favor of the socially
distressed women. He worte:

“Who calls you a prostitute, mother?

Who spits at you?
Perhaps you were suckled by someone
as chaste as Seeta.

And if the son of an unchaste mother is ‘illegitimate’,

so is the son of an unchaste father”
[Prostitute : Baarangana]

4.3. Nazrul’s Contributions in Politics

Nazrul was also a political activist at his time. He joined 49 Bengal Regiment and was posted to Karachi.
His life in the army lasted about two years and a half from the close of 1917 to March-April 1920. During
this time, from an ordinary soldier he rose to Havildar (Battalion Quartermaster). “Baunduler
Atmakahini”, his first short story was published in Saogat in May 1919 when he was in army (The Daily
Star 2015).

At the end of 1925, Nazrul joined politics. Apart from being a member of the Bengal provincial congress,
he played an active role in organising the Sramik-Praja-Swaraj Dal. He was the Chief Editor of the
Langal which was the mouthpiece of the Sramik-Praja-Swaraj Dal. The manifesto of the party demanded
full independence for India. In November 1926, Nazrul contested from East Bengal for a seat in the upper
house of the central legislative council (The Daily Star 2015). Nazrul himself continued to confront,
challenge, and combat capitalism, colonialism, communalism, racism in his political career.

Nazrul wrote many poems and articles to support the struggle against the British. He wrote against
injustice, oppression, exploitation and the violence that was carried out all over India. Nazrul was

Page 9 of 19
concerned about the landless farmers and workers and fought against social injustice through his writings.
In this matter, he was influenced by the socialist revolution in Russian.

During the court trial and prosecution, what Nazrul asserted in front of the judge as to the duty and
responsibility of him as a poet for his countrymen is remarkable and very insightful for poets and writers
of every age. Nazrul delivered his Rrajbandir Jabanbondi (Deposition of a Political Prisoner) which not
only expresses his commitment as a poet or writer to his countryman, but also relates his role in support
of truth and justice, a role which was followed by all prophets of God in human history.

Nazrul speaks out in front of Judge:

The charge against me: I am a rebel against the Crown. Therefore, I‘m now a prisoner, convicted by a
royal court... I am a poet, sent by God to speak the unspoken Truth, to give form to the formless creation.
God speaks through the voice of the poet. The message is the revelation of the Truth... My purpose is to
worship God; on behalf of the oppressed, distressed global humanity... I have not rebelled against a mere
king, I have rebelled against injustice...and so on (Kamal, 1999, pp. 213-214)7.

বি বীর -
বি উন্নত মমচির!
চির ছনিাচর আমাচর, নত-চির ওই চিখর চিমাদ্রীর!
……
মিা- চবছদ্রািী রে-ক্লান্ত
আচম ছসইচিন িব িান্ত,
যছব উৎপীচিছতর ক্রন্দন-ছরাি, আোছি বাতাছস ধ্বচনছবনা,
অতোিারীর খিগেৃ পােেীমরে-েূ ছমরচেছবনা -
চবছদ্রািী রে-ক্লান্ত
আচম ছসইচিন িব িান্ত! [চবছদ্রািী]

Proclaim, Hero,
proclaim: I raise my head high!
Before me bows down the Himalayan peaks! ...
...
I'll uproot this subjugated world
in the joy of recreating it.
Weary of battles, I, the Great Rebel,
shall rest in peace only when
the anguished cry of the oppressed
shall no longer reverberate in the sky and the air,
and the tyrant's bloody sword
will no longer rattle in battlefields.
Only then shall I, the Rebel,
rest in peace.
[The Rebel, trans. by Sajed Kamal]

Scholars and critics are unanimous in their assessment that Nazrul Islam’s contributions towards the
independence movement were in no way less than any other Muslim politician. He was directly or

7
http://archive.li/iIDwH

Page 10 of 19
indirectly involved in the cause of Pakistan in those days. As a renaissance poet Nazrul Islam successfully
generated confidence among Muslims through his fiery songs and poems and emboldened them to assert
their Islamic faith.

4.4 Nazrul’s Contributions in Songs and Musics

Nazrul Geeti or Nazrul Sangeet, literally "Music of Nazrul", refers to the songs written and composed by
Kazi Nazrul Islam, the national poet of Bangladesh and active revolutionary during the Indian
Independence Movement. Nazrul Geeti incorporate revolutionary notions as well as more spiritual,
philosophical and romantic themes. Nazrul wrote and composed nearly 4,000 songs including
gramophone records, which are widely popular in India and Bangladesh.

Nazrul showed the symptoms of keen poetic and musical talent at his tender age and started writing songs
when he was a member of a Leto group (Folk Musical Group). Following Kazi Bazle Karim, his uncle
and a leader of a Leto group, he became expert in composing songs and setting them to tunes. Joining
Leto group enhanced his musical career and put a significant impact on shaping his future musical life. At
very young age he was excelled in composing songs in different languages, apart from Bengali language.
He met Satish Kanjilal, a teacher of Searsol School who had interest in classical music and some mastery
over it. Observing Nazrul's irresistible inclination to music, Mr. Kanjilal imparted him some lessons on
classical music. Later Nazrul widened his knowledge on music when he was serving as a Havilder in
Karachi Barrack under Bengal Regiment. He learned a great deal of Persian language, literature and
music with the help of a religious teacher from Punjab attached with the regiment. He was a rare quality
poet and musician par excellence. He had a clear vision of gender equality and firmly believed that ‘art is
for the people’. Being egalitarian in approach, he launched a vigorous assault on extremism and
dogmatism. The styles of Nazrul’s songs are categorized as Revolutionary Mass Music, Shyama Sangeet,
and Ghazal.

Revolutionary Mass Music

The Mass music and poems of Kazi Nazrul Islam have been widely used during the Indian Independence
Movement and Bangladesh Liberation War. The music is highly motivational and revolutionary in nature
with strong and powerful words and captivating tunes. It talks about the extremities of everything. The
lyrics of those songs are provoking, as they talk against conservatism and about life on a broader
parameter of philosophy and spirituality. The beauty of Nazrul's mass music lies in the freedom of its
expression, which also drew immense criticism. However, those who understood its philosophy praised
the courage and straightforwardness.

Shyama Sangeet
Nazrul made valuable and rich contribution to Shyama Sangeet. He was thoroughly familiar with both
Islamic and Hindu tradition and culture, and also he deeply cared about the harmony between Muslims
and Hindus.

Ghazal
Nazrul's acquaintance with the tradition of Persian Ghazals, a form of love songs, was very significant in
the sense that it paved the base of his successful efforts in composing Bengali Ghazals which he
undertook by 1927–28. Bengali Ghazal is, it can be mentioned outright, an innovation by Kazi Nazrul
Islam alone. It served as the first mass-level introduction of Islam into the mainstream tradition of Bengali
music.

Bangladesh has always been rich in in its culture, literature, music, drama, and even art.
Bengali literature began long ago, and has a strong emphasis on the culture and tradition of the
country. The Bengali language has an extremely strong and rich literary heritage. However, Bengali
literature accomplished huge popularity and fame during the 19th century with the poets like

Page 11 of 19
Rabindranath Tagore, Michael Madhusudan Dutt, and Kazi Nazrul lslam. Bangla music, encompasses a
long convention of religious and nonspiritual song for almost over an era. A notable mark on Bangla
music is that of Kazi, Nazrul lslam, which is known as "Nazrul geeti". His songs are sung and well known
not only in our country but also in lndia and many more places.

Nazrul wrote innumerous kabyageet throughout his life. The main characteristics of his kabyageet is the
twin combination of the beauty of tunes and the beauty of lyrics. As if it can be told Ganges-Yamuna are
flowing side by side in these songs. That is neither the tune is suppressing the importance lyrics nor the
lyrics suppressing the importance of tunes. This combination is spontaneously expressed in these songs.
The life of the poet was full of pain but his lively feelings to every object were bounded by the language
and expressed in his songs. This gave a new beauty to his songs. Nazrul was also very much fond of
kheyal and Thumri so a large number of his kabyasangeet are based on ‘Raagas’ and ‘Raaginis' of Indian
classicalsongs.

4.5 Nazrul’s Contributions in Novels

Kazi Nazrul Islam was a Bengali Poet, Musician and rebolutionary and poetic works of intense
Parteisanship sporitual rebellion against fascism and oppression pioneers.His poetry and nationalist
activism earned him the coveted for his life, Nazrul the National poet of Bangladesh officially recognized
and remembered in India. During his career ,Nazrul wrote short stories,novels and essays, but best known
for his poems, which pioneered new forms of work such as Bengali ghazals. Nazrul wrote short stories
,novels and essys, but best khown for his poems,which pioneered new forms of work such as Bengali
Ghazals.

In a career spanning two decades he wrote several novels, short stories and dramas, numerous songs and
poems which exhibited his genius and poetic sensibility. At the time it was common for most of the poets
and writers to imitate Tagore’s linguistic and rhythmic styles. However, Nazrul Islam did not imitate
Tagore because he had a different sensibility to express, as manifested in his poetic and prose writings. A
collection of novels by the National Poet of Bangladesh Kazi Nazrul Islam are (i) Badhanhara – Free
from bonds, 1927 (ii) Mrittukhudha – Hunger for death, 1930 & (iii) Kuhelika – Mystery, 1932.

4.6 Nazrul’s Contributions in Society Development

Nazrul Islam turned into a rebel and chose the harsh reality around him as the theme of his verses. His
cause urged him to write a torrent of songs, poems and stories. He wanted to destroy the obsolete society
and build anew. He desired the power to level off inequity and injustice, and replace these with fairness
and dignity.

A critical survey of his works produced between 1921 and 1927 reveals three powerful themes: love,
Muslim renaissance and the awakening of the common man. He depicted human love in Vadhanhara
(Free of Bonds) which deals with frustration in love. In Vidrohi he voiced his reaction to the want of love
in society, and his desire to create a new society through destruction if necessary.

Through a vast number of songs, poems and articles he called upon Muslims to wake up, and urged the
people of British-ruled India to rise and fight for freedom. He yearned to inspire peasants and workers to
destroy the exploiters and establish their own rights. His writings roused the anger of the British
Government which sentenced him twice to rigorous imprisonment and proscribed his works on various
occasions and on different pretexts.

Kazi Nazrul Islam, was very much active against all sorts of injustice roaming in the society‟s threshold.
Through literature, journalism and political activism, Nazrul fought against the British colonialism,

Page 12 of 19
fundamentalism, communalism, society‟s prejudice and injustice towards poor people, women and the
outlawed people. The British government raided his books and newspaper and put him behind the prison.
But Nazrul didn‟t stop his revolutionary activities and has written Rajbandir Jabanbandi (A Political
Prisoner‟s disposition). After that he took 40 days hunger strike for protesting against the harassment.
Besides the image of being a revolutionary poet, Nazrul was very much concerned about social injustice
by the rich people. He was sad after seeing the issue of poverty in his society. He had a deep
contemplation regarding the people who was facing poverty and misery. Thus, all these significant affairs
got reflected in his writings. Daridro (Pain or Poverty) is one of the social awakening poem, where
Nazrul had depicted his pain for the people of his country. He wrote:

O poverty, thous 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 cursed 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 rejoice.
Poverty weeps within my doors forever
As my spouse and my child
Who will play the flute.

This poem has incredibly carried the social message, and the profound love and concern for the people of
his country. Like this poem, Nazrul has written another significant poem on women‟s right and showed
his proper respect to them. Nari (Women) is one of the effective poem to show the respect and his
thoughts to establish the parity between men and women‟s right. He wrote:

I don‟t see any difference

Between a man and a woman
Whatever great or benevolent
That are in this world achievements
Half of that was by a woman
The other half by man.

Nazrul’s ideologies were different than the other contemporary writers. He considered that every women
should be respected whether if she is a prostitute. His ideologies were relevant as he remarked that,
circumstances are responsible to make them prostitute. As nobody is a born spoiler such as murderer, so
in the same way no woman is born as prostitute. Nazrul’s fierce writings poured like assailed towards
society’s negative concepts about prostitute. His thoughts were appropriate regarding prostitute and he
has placed that instance to the world. Nazrul’s respect for prostitute was reflected through his poem
Birangona. He wrote:

Who calls you a prostitute, mother?

Who spits at you?
Perhaps you were suckled by someone
As chaste as seeta...
And if the son of an u chaste mother is “illegitimate‟

Page 13 of 19
 So is the son of an unchaste father.

This is the way of Nazrul’s respect and compassion towards the group called prostitute. He was surely an
advocate of the emancipation of women, which was clearly expressed through his poem. In the poem,
Amar Khaifiut (My Answer) Nazrul writes about the needy and poor when his heart aches seeing the
poverty:
But the hungry children do not want Swaraj
They want some rice and a bit of salt.
Day passes hour by hour their tender bellies are in fire from hunger.
I cry out madly!
.......................
I cry out in tears: ―O God, are you still there?
Why is not there a touch of embarrassment
In the faces of those
Who suck the blood of
these hungry children?
.............................
Mother is begging out
While her child lies dead at home.
My heart is burning with pain.
I have gone mad from seeing all these
And I say whatever comes to my tongue.
I cannot shed blood alone,
So I write all this down in bloody letters.

Nazrul reminds the Muslims of their duty to the poor and the needy. Few examples are given below:

Coming to this world for the poor, the downtrodden,

The destitute, Hazrat,
Despite your royalty, you choose the life of fasting.
You did not want that some shall be rich
And some be beggars in the streets,
That some have no place to live.

Today, there are not many people to think about human sufferings and their basic needs. The rich people
are constantly immersed in pleasures and luxury and they don’t care others. which has been addressed by
Nazrul. In another song Nazrul wrote:

Once again Hazrat, send from Heaven

I can no longer bear the sight of human beings
Fighting each other hatefully.
Tell them O Hazrat,
That those who are your royal followers
Love human beings as creatures of God, knowing that all a
re creatures of God. (Lines 1-8)

4.7 Nazrul’s Contributions in Bengali Literature

ln 1933, Nazrul published a collection of essays titled "Modem World Literature', in which he
analyses different styles and themes of literature. Between 1928 and 1935 he published 10
volumes containing 800 songs of which more than 600 were based on classical ragas. Almost

Page 14 of 19
100 were folk tunes after kirtans and some 30 were patriotic songs. From the time of his retum
to Kolkata until he fell ill in 1941, Nazrul composed more than 2,600 songs, many of which have
been lost. His songs based on baul, jhumur, Santhali folksongs, jhanpan or the folk songs
of snake charmers, bhatiali and bhaoaia consist of tunes of folk-songs on the one hand and a
refined lyrics with poetic beauty on the other. Nazrul also wrote and published poems for
children.

Kazi Nazrul Islam’s literary works began with the publication of his prose work, Baunduler Atmakahini
(Life of a Vagabond) in May 1919. Following the same year in July, Nazrul was accomplished his
another poem Mukti (Freedom) published in Mussalman Sahitya Patrica. In 1922, this poem was
published with the publication “Bidrohi” (The Rebel) which made him famous and perennial rebel poet.
Bidrohi was one of the greatest poem in Bengali literature, where the elements of revolution was the
consolidate subject. In the epoch of Nazrul, he was created a irrevocable situation of revolution against all
kinds of oppression. The writing pieces of Nazrul were based with fierce words which have been
exhibited in his poems. Some famous lines from Bidrohi has been smashed the readers forever. Nazrul
wrote:

I am the unutterable grief

I am the throbbing ten
I am the wild fire on the woods,
I am Hell‟s mad terrific sea of wrath!
I ride on the wings of lightening with joy and profundity,
I scatter misery and fear all around,
I will bring earth-quakes on this world! “(8th stanza)
Weary of struggles, I the great rebel,
Shall rest in quiet only when I find
The sky and the air free of piteous groans of the
Only when the battle fields are cleared of jingling bloody sabres
Shall I, weary of struggles, rest in quiet,
I am the rebel eternal,
I raise my head beyond this world and,
High, ever erect and alone!
“(Last stanza)”

Nazrul Islam, for the first time, effectively incorporated Urdu, Persian and Arabic words and expressions
in Bengali, the language which now ranks fifth among the languages spoken worldwide. After the
conquest of Bengal by the Muslims in 1201AD, Muslim immigrants of Turkish, Iranian and Arab descent
migrated to Bengal in large numbers and assimilated with the natives through intermarriages. A large
number of Turkish, Arabic and Persian words consequently entered the Bengali language.

Towards the early 19th century, under British patronage, a campaign was carried out by the pundits,
appointed by Fort William College, Calcutta, in conjunction with missionaries to eliminate words
associated with the Muslims and use Sanskrit words as substitutes. Nazrul Islam, who had appeared on
the Bengali literary scene as a ‘Comet’, profusely used both new Arabic and Persian words, and words
already current in the Muslim society in prose and poetry. He succeeded because he could create a
wonderful poetic rhythm by the use of alliteration and assonance and thus get Bengali and non-Bengali
words to merge into a phonic synthesis. The impetuosity of his verse and feelings carried both words and
images like a huge torrent that swept away all rigid opposition. As an epoch-making poet, he had perfect
mastery over the rhythm of the language. His poetry is a world of miracles and beauty, primordial and
sophisticated, vigorous and subtle.

Page 15 of 19
He wrote and composed music for nearly 3,000 songs, collectively known as Nazrul Geeti (Nazrul songs),
which are popular across Bangla-desh, West Bengal, Russia and elsewhere even today. How-ever records
reveal that he also wrote around 4,000 poems and songs, many of which are still unretrieved.

4.7 Nazrul’s Contributions in Philosophy

Nazrul‘s struggle against poverty involves greater socio-economic reality along with people‘s larger
moral notions and social values. Thus his dealings with the issues of poverty and the poor take on a larger
spectrum. Nazrul Islam (1899-1976) is one of those millions of Muslims of the Indian subcontinent who
became victims of widespread poverty as a result of the British imperialism after the downfall of Nawab
Sirazuddullah, in the war of Palashi in 1757. Abul Asad, quoting historian W.W. Hunter, in his book Ekso
Bochorer Razniti (Politicsof Hundred Years), says, The Muslims not only lost their empire to the English
in 1757 but also lost everything. The Muslims, who had never thought of being poor earlier, became
wood-cutters and beggars (Tajuddin, 2015).

Enthused with Islamic egalitarian philosophy, he assailed fanaticism in religion and denounced it as evil
and inherently irreligious. He devoted himself to exploring the Quran and the sayings of the Prophet
(peace be upon him). He was perhaps the first Bengali Muslim poet to effectively assimilate and integrate
Muslim imagery and symbolism in Bengali literature. His poetic biography of Prophet Muhammad, and
the abundance of songs and poems on Muslim heroes, historical places and festivals eloquently testify his
deeply-entrenched faith in Islam and in its intrinsic values. His works are rightly summed up as ‘a
fascinating combination of devotion, mysticism, cultural unity, and political exhortations.’ His poems are
universally appealing to Muslims because of their referential context and traditional imagery.

Nazrul wrote about peasant or farmers who are producing food for all, but are themselves victims of
poverty and false social vanity. Nazrul reminds all, so called elite, for the contribution of farmers. He
wrote:

Do not call a peasant ignorant and scorn him so;

none of us survive if this farm-hand were to go.
Scorching in the sun, drenching in the rain,
Day and night-all the same,
He gives us food to feed our hunger
Yet never driven by fame.
[Peasant: Krisok]

In the poem, Krishaner Ghan (Song of Farmers), Nazrul raises the consequence of losing our freedom and
happiness due to the arrival of the western imperialism and commercialism by the East India Company.
He wrote:

Wake up farmer hold fast your plough,

We are dying-so die a well death, so move forward
Our yards were full with crops and land with smile until
Those merchant looters of the land
Came to create humiliation for us;
And to damage our fate. (Lines-1-6: Krishaner Ghan)

Nazrul always thought of the cause of poverty in this region as an outcome of the loss of people‘s
freedom under the tyrannical rule of the British Empire. So, Nazrul always attacked tyranny and despots.
Nazrul always believed that the despots by means of their misrule create oppressive political and
economic structures as means of exploitation that finally result in widespread poverty and miseries for the

Page 16 of 19
people. A short excerpt from - Anandamyeer Agamaney, a poem heavily stepped in allusions and
references to Bengali-Indian culture and history equally appealing to the local mass, can be read as
follows:

How much longer will you

Stay hidden behind a clay statue?
Heaven today is subjugated by merciless tyrants.
God‘s children are getting whipped,
Heroic youth-hanged.
India today is a butchery-when
Will you arrive, O Destroyer?
God‘s soldiers are serving terms of hard labor
Exiled to desolate island.
Who will come to the battlefield,unless you come with your sword in your hand?
[Anandamyeer Agamaney]

Nazrul calls the lower-level thief and dacoit as his friends who steal from those big thieves and dacoits
who steal from people‘s money and country‘s treasury with the aid of notorious indemnity or protection
of law. For Nazrul those corrupt people are the heinous frauds who steal from people‘s fund and create
poverty with their corruption (Chor Dakat: Lines 1-7).

ছি িাচরদ্রে, তু চম ছমাছর েছরে মিান্।

তু চম ছমাছর িাচনয়াে খ্রীছের সম্মান
েন্টে-মুকুটছিাো।-চিয়াে, তাপস,
অসছকািপ্রোছির িুরন্ত সািস;
উদ্ধত উিঙ্গিৃচে, বােী েু রধার,
বীো ছমার িাছপতবি’িতরবার! [িাচরদ্রে]

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.
[Poverty – Daridro]

5. Conclusions

Nazrul worked mostly between 1920 and 1942, when he explored himself as a journalist, novelist, and
lyricist in the Indian sub-c0ntinent. He was influenced by the disparity in the First World War happened
in 1914-1918. He joined the war as a soldier and spent in Nawshera and Karachi. He keenly observed the
incidences and wrote his feelings. After the Ottoman government collapse, some of the middle East
countries were captured and colonized by France, Britain, and Spain. The degradation of the Arab’s
sovereign status hurt Nazrul to a great extent and reflected in the early stage of Nazrul’s writings. He
came back to Kolkata and started writing against colonialism. In 1919, he came up with his first writings
“Bounduler Attokahini” (Autobiography of a Vagabond) in a literal journal of Liberal Bengali Muslim.
He published his first poem “Mukti” (Freedom) in “BangioMusolman Shahitto Potrika” owned by
Mujaffar Ahmed. He was influenced by the ideology, personality of Mujaffar Ahmed. Later he
inaugurated anevening daily newspaper named “The New Age”(Nobojoog) with the support of prominent

Page 17 of 19
politician A. K. Fazlul Haque and Mujaffar Ahmed. Nazrul’s language of protest blends the unique
metaphor drawn from both Muslim an Hiduism. In his newspaper, he articulated the rights of farmers and
workers and held his pen against oppression and inequality. The British government banned the
newspaper claiming Nazrul’s publication against the interest of the Government in January, 1921. In
August 1922, he brought out a bi-weekly newspaper named “Dhumketu”(Comet). In Dhumketu, he
emphasized the injustice against people, handicapped of humanity prevailed in the contemporary society.
His writings influenced workers and peasants to be organized and stand against the British Government.
On November 1922, the British Government banned Dhumketu and arrested Nazrul and sentenced in Jail
for a year’s rigorous inprison. Although he was in jail, he continued the writing and wrote a series of
poems, such as “Shikol Porar Chol”(The Guise of Being Enchained), “Sristi Shukher Ullashe”(The
Delight of Creation),“Karar Oi Louho Kopat”. After releasing from jail in December, 1923, Nazrul went
to Comilla and got married with Promila. He created a couple of egalitarianism related poems, like Nari
(Women). He resembled the independence of the sub-continent with Russian rabel, Irish Renaissance,
Kamal Atraturk’s new Turkey. In the newspaper, he wrote in favor of the rights of labors and farmers.
The Non-Cooperation Khelafat Movement was a significant phase of the Indian independence movement
from British rule. Being in Comilla, Nazrul participated in the movement and supported Mahatma Gandhi
and Mawlana Mohammad Ali. Nazrul wrote some provoking songs to promote the movement. In 1923,
Nazrul first articulated and urged for Indian independence in his newspaper “Dhoomketu”, whereas
Congress urged for the independence in 1929. Nazrul’s musical career was boosted in 1928, when the
British owned Gamophone company made a contract with him to record his musics. Nazrul’s Islamic
songs liberalized the acceptance of music in the tradition-bound Muslim family. In 1931, Nazrul joined in
the world of theater and films. Later he joined in Calcutta Radio, as story and script writer and music
director. In 1942, Nazrul felt the chances of loosing his power of speech along with his mental faculties.

The twentieth century was full of movement like anti-colonialism, anti-oppression, anti-invasion. The
controversy and battle were between nations to nations. In the twenty first century, the oppression,
invasion, and colonialism are prevailed everywhere, however, the strategy is different. Now the battle is
not between the nations, the battle is present among the same nation, mostly between people. Nazrul
emphasized the brotherhood. Nazrul was against all oppression, invasion and colonialism. He did not
allow cruelty, inhuman. Nazrul gave values to humanity irrespective of gender, race, religion. He was the
poet of not only humanity, but also Human-instinct (Monushotto).

Nazrul respected the contribution of the Nobel laureate poet Rabindranath Tagore in the Bengali
Literature. Although they were the contemporary, both of them contributed differently. Very few
contemporary writers were free from the influence of Tagore’s literature. Nazrul was one of the
prominent poets who diverted and promoted the Bengali literature from the influence of Tagore into a
new dimension by his noble poem “Bidrohi” (Rable). Even though Jibonanondo Dash admitted that his
early writings was influenced by the contribution of Nazrul. Following the Nazrul’s writings, a folk of
new poets had emerged in the Bengali Literature.

In the fist stage, Nazrul wrote songs of patriotism, class-consciousness song, folk song, battle/struggle
related song “Mass- Song”. He is the pioneer in writing Gono Shongeet. He created songs on animals,
birds, human being, countries and situations. He composed songs incorporating Arabic and Parsi
languages. In the second stage, Nazul devoted in developing Gazal, a mix of poem and song, following
the Urdu literature. Bengali literature is indebted to Nazrul, because he first introduced Gazal in the
literature. Gazal enriched the Bengali song and guided to a new world of rhythms and lyrics. In the third
stage, Nazrul introduced Islamic song, the songs of religion,in the Bengali literature and entered into the
tradition-bound Muslim family. Before that, the song was prohibited and neglected into the Muslim
family. The mix of Islamic song and Gazal added a new dimension in the Bengali song.

Page 18 of 19
 The above mentioned discussions show that the poet Kazi Nazrul Islam was a man of equality with
egalitarianism principles that he proved by his poems and lyrics, songs and musics, novels, literature,
involvement in politics, society development, and contribution in the area of philosophy. This was an
attempt to identify the contributions of Nazrul in equality and egalitarianism and to see the applications of
this fundamental truth in 21st century world. However, there is an ample scope to write more in depth and
precise contribution of Nazrul by including more research findings on Nazrul’s contributions on equality
and egalitarianism.

6. References

1. The Daily Star. Website: http://www.thedailystar.net/literature/10-key-events-kazi-

nazrul%E2%80%99s-life-133459
2. "Branding Bangladesh Through Kazi Nazrul Islam." 123HelpMe.com. 24 Aug 2017
<http://www.123HelpMe.com/view.asp?id=163888>.
3. Haque, F. (2016). Fierce Literary Works of Kazi Nazrul Islam: A Rebellious Identity in the
Domain of Bangla Literature, International Journal on Studies in English Language and
Literature (IJSELL), Volume 4, Issue 8, August 2016, PP 53-58 ISSN 2347-3126 (Print) &
ISSN 2347 - 3134 (Online), http://dx.doi.org/10.20431/2347-3134.0408007,
www.arcjournals.org
4. Momin, S. M. (2015). Kazi Nazrul Islam: Rebel and Lover. Website:
http://www.theindependentbd.com/post/1731
5. Tajuddin, M. (2015). Nazrul's Struggles against Poverty and His Love for the Poor: An
Analysis, International Journal of Humanities and Social Science Invention, ISSN (Online):
2319 –7722, ISSN (Print): 2319 –7714, www.ijhssi.org Volume 4, Issue 2ǁ February. 2015ǁ
PP. 36-49
6. The News Today. (2013). Kazi Nazrul Islam - The Meteor Born to Keep Shilling. Website:
http://www.newstoday.com.bd/?option=details&news_id=2364226&date=2013-12-13.
7. Professor Rafiqul Islam, Nazrul on the global stage - In conversation with
http://www.thedailystar.net/news-detail-235542

Page 19 of 19

View publication stats