Some Poems
Biography
Videos
Books
Kazi Nazrul Islam (24 May 1899 - 29 August 1976)
Kazi Nazrul Islam was a Bengali poet, musician and revolutionary who
pioneered poetic works espousing intense spiritual rebellion against fascism
and oppression. His poetry and nationalist activism earned him the popular
title of Bidrohi Kobi (Rebel Poet). Accomplishing a large body of acclaimed
works through his life, Nazrul is officially recognised as the national poet of
Bangladesh and commemorated in India.
Born into a Muslim quazi (justice) family in India, 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 serving in
the British Indian Army, Nazrul established himself as a journalist in Kolkata
(then Calcutta). He assailed the British Raj in India 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'). His impassioned activism in the Indian independence movement
often led to his imprisonment by British authorities. While in prison, Nazrul
wrote the 'Rajbandir Jabanbandi' ('Deposition of a Political Prisoner').
Exploring the life and conditions of the downtrodden masses of India, Nazrul
worked for their emancipation.
Nazrul's writings explore themes such as love, freedom, and revolution; 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 (including
gramophone records), collectively known as Nazrul geeti (Nazrul songs),
which are widely popular today. At the age of 43 (in 1942) he began
suffering from an unknown disease, losing his voice and memory. It is often
said, the reason was slow poisoning by British Government. It caused
Nazrul's health to decline steadily and 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.
Early Life
Kazi Nazrul Islam was born in the village of Churulia near Asansol in the
Burdwan District of Bengal (now located in the Indian state of
Paschimbanga).He was born in a powerful Muslim Taluqdar family and was
the second of three sons and a daughter, Nazrul's father Kazi Faqeer Ahmed
was the imam and caretaker of the local mosque and mausoleum. Nazrul's
mother was Zahida Khatun. Nazrul had two brothers, Kazi Saahibjaan and
Kazi Ali Hussain, and a sister, Umme Kulsum. Nicknamed Dukhu Mian (Sad
Man), Nazrul began attending the maktab & madarsa ; the local religious
www.PoemHunter.com - The World's Poetry Archive
school run by the mosque & dargah where he studied the Qur'an and other
scriptures, Islamic philosophy and theology. His family was devastated with
the death of his father in 1908. At the young age of ten, Nazrul began
working in his father's place as a caretaker to support his family, as well as
assisting teachers in school. He later became the muezzin at the mosque,
delivering the Azaan and calling the people for prayer.
Attracted to folk theatre, Nazrul joined a leto (travelling theatrical group) run
by his uncle Fazl e Karim. Working and travelling with them, learning acting,
as well as writing songs and poems for the plays and musicals. Through his
work and experiences, Nazrul began learning Bengali and Sanskrit literature,
as well as Hindu scriptures such as the Puranas. The young poet composed a
number of folk plays for his group, which included "Chashaar Shong" ("The
drama of a peasant"), "Shakunibadh" ("The Killing of Shakuni a character
from the epic Mahabharata"), "Raja Yudhisthirer Shong" ("The drama of King
Yudhisthira again from the Mahabharata"), "Daata Karna" ("Philanthropic
Karna from the Mahabharata"), "Akbar Badshah" ("Emperor Akbar"), "Kavi
Kalidas" ("Poet Kalidas"), "Vidyan hutum" ("The Learned Owl"), and
"Rajputrer Shong" ("The drama of a Prince").
In 1910, Nazrul left the troupe and enrolled at the Searsole Raj High School
in Raniganj (where he came under influence of teacher, revolutionary and
Jugantar activist Nibaran Chandra Ghatak, and initiated life-long friendship
with fellow author Sailajananda Mukhopadhyay, who was his classmate), and
later transferred to the Mathrun High English School, studying under the
headmaster and poet Kumudranjan Mallik. Unable to continue paying his
school fees, Nazrul left the school and joined a group of kaviyals. Later he
took jobs as a cook at the house of a Christian railway guard and at the most
famous bakery of the region Wahid's/Abdul Wahid and tea stall in the town of
Asansol. In 1914, Nazrul studied in the Darirampur School (now Jatiya Kabi
Kazi Nazrul Islam University) in Trishal, Mymensingh District. Amongst other
subjects, Nazrul studied Bengali, Sanskrit, Arabic, Persian literature and
classical music under teachers who were impressed by his dedication and
skill.
Studying up to Class X, Nazrul did not appear for the matriculation pre-test
examination, enlisting instead in the Indian Army in 1917 at the age of
eighteen. He joined the British army mainly for two reasons: first, his
youthful romantic inclination to respond to the unknown and, secondly, the
call of politics. 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. During this period, Nazrul read
extensively, and was deeply influenced by Rabindranath Tagore and Sarat
Chandra Chattopadhyay, as well as the Persian poets Hafez, Rumi and Omar
Khayyam. He learnt 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.
His poem "Mukti" ("Freedom") was published by the "Bangla Mussalman
Sahitya Patrika" ("Bengali Muslim Literary Journal") in July 1919.
Rebel Poet
Nazrul started a bi-weekly magazine, publishing the first "Dhumketu"
(Comet) on August 12, 1922. Earning the moniker of the "rebel poet”, Nazrul
also aroused the suspicion of British authorities. A political poem published in
"Dhumketu" in September 1922 led to a police raid on the magazine's office.
Arrested, Nazrul entered a lengthy plea before the judge in the court.
"I have been accused of sedition. That is why I am now confined in the
prison. On the one side is the crown, on the other the flames of the comet.
One is the king, sceptre in hand; the other Truth worth the mace of justice.
To plead for me, the king of all kings, the judge of all judges, the eternal
truth the living God... His laws emerged out of the realization of a universal
truth about mankind. They are for and by a sovereign God. The king is
supported by an infinitesimal creature; I by its eternal and indivisible
Creator. I am a poet; I have been sent by God to express the unexpressed,
www.PoemHunter.com - The World's Poetry Archive
to portray the unportrayed. It is God who is heard through the voice of the
poet... My voice is but a medium for Truth, the message of God... I am the
instrument of that eternal self-evident truth, an instrument that voices forth
the message of the ever-true. I am an instrument of God. The instrument is
not unbreakable, but who is there to break God?"
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.
Kazi Nazrul Islam became a critic of the Khilafat struggle, condemning it as
hollow, religious fundamentalism. Nazrul's rebellious expression extended to
rigid orthodoxy in the name of religion and politics. Nazrul also criticised the
Indian National Congress for not embracing outright political independence
from the British Empire. He became active in encouraging people to agitate
against British rule, and joined the Bengal state unit of the Congress party.
Nazrul also helped organise the Sramik Praja Swaraj Dal, a political party
committed to national independence and the service of the peasant masses.
On December 16, 1925 Nazrul started publishing the weekly "Langal”, with
himself as chief editor. The "Langal" was the mouthpiece of the Sramik Praja
Swaraj Dal.
During his visit to Comilla in 1921, Nazrul met a young Hindu woman,
Pramila Devi, with whom he fell in love and they married on April 25, 1924.
Pramila belonged to the Brahmo Samaj, which criticised 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, which
attacked social and religious dogma and intolerance. Despite controversy,
Nazrul's popularity and reputation as the "rebel poet" rose significantly.
"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."
Mass Music
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 classes, a sphere of his work known as
"mass music." Nazrul assailed the socio-economic norms and political system
that had brought upon misery. From his poem 'Daridro' (poverty or pain):
"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?]
www.PoemHunter.com - The World's Poetry Archive
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. Nazrul
became the first person to introduce Islam into the larger mainstream
tradition of Bengali music. The first record of Islamic songs by Nazrul Islam
was a commercial success and many gramophone companies showed
interest in producing these. A significant impact of Nazrul was that it drew
made Muslims more comfortable in the Bengali Arts, which used to be
dominated by Hindus. Nazrul also composed a number of notable
Shamasangeet, Bhajan and Kirtan, combining Hindu devotional music.
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 enlisted/attached with the Indian
Broadcasting Company.
Nazrul professed faith in the belief in the equality of women — a view his
contemporaries considered revolutionary. From his poet Nari (Woman):
"I don't see any difference
Between a man and woman
Whatever great or benevolent achievements
That are in this world
Half of that was by woman,
The other half by man." (Translated by Sajed Kamal)
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.
Man ploughs, woman waters; that earth and water mixed together,
brings about a harvest of golden paddy."
However, Nazrul's poems strongly emphasise 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 accepts 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 negative notions of prostitutes.
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.
-"Barangana" ("Prostitute") Translated by Sajed Kamal)
Nazrul was an advocate of the emancipation of women; both traditional and
non-traditional women were portrayed by him with utmost sincerity. Nazrul's
songs are collectively called as Nazrul Sangeet Nazrul geeti.
Exploring Religion
Nazrul's mother died in 1928, and his second son Bulbul died of smallpox the
following year. His first son, Krishna Mohammad had died prematurely. His
wife gave birth to two more sons — Savyasachi in 1928 and Aniruddha in
1931 — but Nazrul remained shaken and aggrieved for a long time.
www.PoemHunter.com - The World's Poetry Archive
"Come back my birdie! Come back again to my empty bosom! Shunno e
bookey paakhi mor aaye! Phirey aaye phirey aaye!"
His works changed significantly from rebellious expositions of society to
deeper examination of religious themes. His works in these years led Islamic
devotional songs into the mainstream of Bengali folk music, exploring the
Islamic practices of namaz (prayer), roza (fasting), hajj (pilgrimage) and
zakat (charity). This was regarded by his contemporaries as a significant
achievement as Bengali Muslims had been strongly averse to devotional
music.
Nazrul's creativity diversified as he explored Hindu devotional music by
composing Shama Sangeet, bhajans and kirtans, often merging Islamic and
Hindu values. Nazrul's poetry and songs explored the philosophy of Islam
and Hinduism.
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.
The badnaa, a water jug typical in usage by Bengali Muslims for ablutions
(wazu) and bath (ghusl) and the gaaru a water pot typical in usage by
Bengali Hindus, meet and embrace each other under the peace of the new
pact (between the rioting Hindus and Muslims in Bengal during the British
Raj on certain politico-religious differences and disputes that had preceded
the said pact). There is no knife in the hand of the Muslim and also the Hindu
does not wield the bamboo any more! Bodna gaaru te kolakuli korey! Nobo
pact er aashnaai! Musholmaaner haatey naai chhuri! Hindur haatey baansh
naai!
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.
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 William Butler 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 Muhammad. His vigorous
assault on extremism and mistreatment of women provoked condemnation
from Muslim and Hindu fundamentalists.
In 1920, Nazrul expressed his vision of religious harmony in an editorial in
Joog Bani,
“Come brother Hindu! Come Musalman! Come Buddhist! Come Christian! Let
us transcend all barriers, let us foresake forever all smallness, all lies, all
selfishness and let us call brothers as brothers. We shall quarrel no more”.
In another article entitled Hindu Mussalman published in Ganabani on
September 2, 192 he wrote
‘’I can tolerate Hinduism and Muslims but I cannot tolerate the Tikism (Tiki is
a tuft of never cut hair kept on the head by certain Hindus to maintain
personal Holiness) and beardism. Tiki is not Hinduism. It may be the sign of
the pundit. Similarly beard is not Islam, it may be the sign of the mollah. All
the hair-pulling have originated from those two tufts of hair. Todays fighting
is also between the Pundit and the Mollah: It is not between the Hindus and
the Muslims. No prophet has said, ‘’I have come for Hindus I have come for
Muslims I have come for Christians.” They have said, “I have come for the
www.PoemHunter.com - The World's Poetry Archive
humanity for everyone, like light’’. But the devotees of Krishna says,
“Krishna is for Hindus”. The followers of Muhammad (Sm) says, “Muhammad
(Sm) is for the Muslims”. The Disciple of Christ is for Christian”.
Krishna-Muhammad-Christ have become national property. This property is
the root of all trouble. Men do not quarrel for light but they quarrel over
cattle.”
Nazrul was an exponent of humanism. Although a Muslim, he named his sons
with both Hindu and Muslim names: Krishna Mohammad, Arindam
Khaled(bulbul), Kazi Sabyasachi and Kazi Aniruddha.
Later Life and Illness
In 1933, Nazrul published a collection of essays titled "Modern 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 100 were folk
tunes after kirtans and some 30 were patriotic songs. From the time of his
return 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 lyric
with poetic beauty on the other. Nazrul also wrote and published poems for
children.
Nazrul's success soon brought him into Indian theatre and the then-nascent
film industry. The first picture for which he worked was based on Girish
Chandra Ghosh's story "Bhakta Dhruva" in 1934. Nazrul acted in the role of
Narada and directed the film. He also composed songs for it, directed the
music and served as a playback singer.
The film "Vidyapati" ("Master of Knowledge") was produced based on his
recorded play in 1936, and Nazrul served as the music director for the film
adaptation of Tagore's novel Gora. Nazrul wrote songs and directed music for
Sachin Sengupta's bioepic play "Siraj-ud-Daula". In 1939, Nazrul began
working for Calcutta Radio, supervising the production and broadcasting of
the station's musical programmes. He produced critical and analytic
documentaries on music, such as "Haramoni" and "Navaraga-malika". Nazrul
also wrote a large variety of songs inspired by the raga Bhairav. Nazrul
sought to preserve his artistic integrity by condemning the adaptation of his
songs to music composed by others and insisting on the use of tunes he
composed himself.
Nazrul's wife Pramila Devi fell seriously ill in 1939 and was paralysed from
waist down. To provide for his wife's medical treatment, he resorted to
mortgaging the royalties of his gramophone records and literary works for
400 rupees.
He returned to journalism in 1940 by working as chief editor for the daily
newspaper "Nabayug" ("New Age"), founded by the eminent Bengali
politician A. K. Fazlul Huq.
Nazrul also was shaken by the death of Rabindranath
Tagore on August 8, 1941. He spontaneously composed two poems in
Tagore's memory, one of which, "Rabihara" (loss of Rabi or without Rabi)
was broadcast on the All India Radio. Within months, Nazrul himself fell
seriously ill and gradually began losing his power of speech. His behaviour
became erratic, and spending recklessly, he fell into financial difficulties. In
spite of her own illness, his wife constantly cared for her husband. However,
Nazrul's health seriously deteriorated and he grew increasingly depressed.
He underwent medical treatment under homeopathy as well as Ayurveda,
but little progress was achieved before mental dysfunction intensified and he
was admitted to a mental asylum in 1942. Spending four months there
without making progress, Nazrul and his family began living a silent life in
India. In 1952, he was transferred to a mental hospital in Ranchi. With the
efforts of a large group of admirers who called themselves the "Nazrul
www.PoemHunter.com - The World's Poetry Archive
Treatment Society" as well as prominent supporters such as the Indian
politician Syama Prasad Mookerjee, the treatment society sent Nazrul and
Promila to London, then to Vienna for treatment.
Examining doctors said he had received poor care, and Dr. Hans Hoff, a
leading neurosurgeon in Vienna, diagnosed that Nazrul was suffering from
Pick's disease. His condition judged to be incurable, Nazrul returned to
Calcutta on 15 December 1953.
On June 30, 1962 his wife Pramila died and Nazrul remained in intensive
medical care. In 1972, the newly independent nation of Bangladesh obtained
permission from the Government of India to bring Nazrul to live in Dhaka
and accorded him honorary citizenship.
Despite receiving treatment and attention, Nazrul's physical and mental
health did not improve. In 1974, his youngest son, Kazi Aniruddha, an
eminent guitarist died, and Nazrul soon succumbed to his long-standing
ailments on August 29, 1976. In accordance with a wish he had expressed in
one of his poems, he was buried beside a mosque on the campus of the
University of Dhaka. Tens of thousands of people attended his funeral;
Bangladesh observed two days of national mourning and the Indian
Parliament observed a minute of silence in his honour.
Criticism and Legacy
Nazrul's poetry is characterised by an abundant use of rhetorical devices,
which he employed to convey conviction and sensuousness. He often wrote
without care for organisation or polish. His works have often been criticized
for egotism, but his admirers counter that they carry more a sense of
self-confidence than ego. They cite his ability to defy God yet maintain an
inner, humble devotion to Him.
Nazrul's poetry is regarded as rugged but unique in comparison to Tagore's
sophisticated style. Nazrul's use of Persian vocabulary was controversial but
it widened the scope of his work. Nazrul's works for children have won
acclaim for his use of rich language, imagination, enthusiasm and an ability
to fascinate young readers.
Nazrul is regarded for his secularism. He was the first person to cite of
Christians of Bengal in his novel Mrityukhudha. He was also the first user of
folk terms in Bengali literature. He first printed the Sickle and Hammer in
any Indian magazine.
Nazrul pioneered new styles and expressed radical ideas and emotions in a
large body of work. Scholars credit him for spearheading a cultural
renaissance in Muslim-majority Bengal, "liberating" poetry and literature in
Bengali from its medieval mould. Nazrul was awarded the Jagattarini Gold
Medal in 1945 — the highest honour for work in Bengali literature by the
University of Calcutta — and awarded the Padma Bhushan, one of India's
highest civilian honours in 1960.
The Government of Bangladesh conferred upon him the status of being the
"national poet". He was awarded the Ekushey Padak by the Government of
Bangladesh. He was awarded Honorary D.Litt. by the University of Dhaka .
Many centres of learning and culture in India and Bangladesh have been
founded and dedicated to his memory. The Nazrul Endowment is one of
several scholarly institutions established to preserve and expound upon his
thoughts and philosophy, as well as the preservation and analysis of the
large and diverse collection of his works. The Bangladesh Nazrul Sena is a
large public organization working for the education of children throughout the
country.
Works:
Sanchita (Collected poems) ,1925
Phanimanasa (The Cactus) , poems,1927
www.PoemHunter.com - The World's Poetry Archive
Chakrabak (The Flamingo) , poems,1929
Satbhai Champa (The Seven Brothers of Champa) , juvenile poems,1933
Nirjhar (Fountain) , poems,1939
Natun Chand (The New Moon) , poems,1939
Marubhaskar (The Sun in the Desert) , poems,1951
Sanchayan (Collected Poems) ,1955
Nazrul Islam: Islami Kobita (A Collection of Islamic Poems; Dhaka,
Bangladesh: Islamic Foundation,1982)
Agni Bina (The Fiery Flute) , poems,1992
Poems and songs
Dolan Champa (name of a faintly fragrant monsoon flower) , poems and
songs,1923
Bisher Banshi (The Poison Flute) , poems and songs,1924
Bhangar Gan (The Song of Destruction) , songs and poems,1924 proscribe in
1924
Chhayanat (The Raga of Chhayanat) , poems and songs,1925
Chittanama (On Chittaranjan) , poems and songs,1925
Samyabadi (The Proclaimer of Equality) , poems and songs,1926
Puber Hawa (The Eastern Wind) , poems and songs,1926
Sarbahara (The Proletariat) , poems and songs,1926
Sindhu Hindol (The Undulation of the Sea) , poems and songs,1927
Jinjir (Chain) , poems and songs,1928
Pralaya Shikha (Doomsday Flame) , poems and songs,1930 proscribed in
1930
Shesh Saogat (The Last Offerings) , poems and songs,1958
Short stories
Rikter Bedan (The Sorrows of Destitute) , short stories,1925
Shiulimala (Garland of Shiuli) , stories,1931
Byathar Dan (Offering of Pain) , short stories,1992
Aladin
Novels
Bandhan Hara (Free from Bonds) , novel,1927
Mrityukshuda (Hunger for Death) , novel,1930
Kuhelika (Mystery) , novel,1931
Plays and drama
Jhilimili (Window Shutters) , plays,1930
Aleya (Mirage) , song drama,1931
Putuler Biye (Doll's Marriage) , children's play,1933
Madhumala (Garland of Honeysuckle) a musical play,1960
Jhar (Storm) , juvenile poems and play,1960
Pile Patka Putuler Biye (Doll's Marriage) , juvenile poems and play,1964
Essays
Joog Bani (The Message of the Age) , essays,1926
Jhinge Phul (The Cucurbitaccus Flower) , essays,1926
Durdiner Jatri (The Traveller through Rough Times) , essays,1926
Rudra Mangal (The Violent Good) , essays,1927
Dhumketu (The Comet) , essays,1961
www.PoemHunter.com - The World's Poetry Archive
A Belated Call
Him whom I could not then love much
Why do I now remember thus at this late
hour, a Mother?
Today I remember every night he lulled
me to sleep by kissing my eves,
Kisses followed kisses breaking my
early dawn sleep under their heavy load.
I felt then much distressed
And sought an early release.
The memory now fills my eyes with
. a flood of tears.
Me unfortunate! Under griefs
overwhelming weight vanity doors
now kiss the dust.
The over-flowing caress of the fuIlness
of his young breast
I trampled under foot, a Mother!
Why then this hankering today
These feet he pressed on his breast
And on them did print a thousand kisses,
While tears inundated his eyes,
With no response from me, so vain
was I, a Mother!
Thus awfully disgraced he had to go away.
Indeed I saw his breast with scars of neglect,
From pillar to' post went he disgraced,
He thought of mea a haven,
A protection from insult, an abode of peace.
A fool that I was I shut my door
upon my lord through ignorance.
In disguise of a beggar called at my door
my King of Kings.
He lost his way and came, he,
my welcome kingly beggar,
Me wretched! How could I recognize
him, O Mother?
So his offerings of worship,
His garland of pearls I refused,
My Lord himself worshipped me with
ample offerings,
Alas! I knew not the worshipper
amid the encircling dark smoke of
burnt incense.
Who knew he came to me last?
Nothing is left behind save farewell
message of the princely guest.
O my Love!
Where didst thou nestle,
When called at this door my King?
Earth now heaves a sigh: 'He is
www.PoemHunter.com - The World's Poetry Archive
not here, seek him in vain.'
He is an eternal traveller, free. of the
bonds of home.
From far afar comet the magic call
of the shady path
Beyond the heath, in the thick of the forest,
Hark, the amorous jingling of his
tinkling anklet?
He blossoms with the flower, wanders
over hills with the clouds,
Now here, now gone, I know not
whom he wants.
Mother, where should I get power
enough to hold this gypsy lover?
For him is not love, nor evening
lamp to call home.
So the doors of my heart
Responded not to his knockings,
I thought I then loved
some one else.
I pushed afar the homeless wanderer,
with his offended sentiment.
In loving embrace, he wanted to press
me closely to his bosom,
A wretch I was to run away in trembling fear.
The shade of kingly beggar's eyes
From a distance charmed me,
At his near approach the tearful depth of
his long hungry look,
Overwhelmed me with pain and the lyre
of my mind went out of tune,
Why then, Mother, do I hanger now
for him to come back,
And long for his touch of love and caress
I then disregarded?
Today, I feel I can bury my face
in his bosom in deep felicity,
And can easily weep out my soul
laden with sorrow.
Will my wails reach him across the dim
forest of his abode, O Mother?
Today, I understand, my whole wealth of
life's peace and happiness
My lover, the King of thieves, has stolen away.
O My King of Spring Season!
Come back and take my garland
as laurels on thy brow.
Today, my bosom bursts under the
load of grief and lamentation,
Come and see how heart-rending are
now the wails of that marble-hearted one.
Thy prophecy comes true, blood flows out of stone
www.PoemHunter.com - The World's Poetry Archive
The terrible conflagration of forest
burns today a mountain of stone
A stupendous flow-tide arises in my bosom,
Breaking barriers, breaking bulwarks,
In the breast of the dumb appears the
God of speech amid a tempestuous sea-
Now my bosom bursts, my mouth speaks
Whom can you stop, Mother?
My heaven was lost with his departure,
Now I toss on my sleepless pillow alone
with no companion on this sad night-
He ill not come by my side up
To wake me up before peep of dawn
Never will he come at deep of night in the,
amorous pursuit of stealthy kisses,
His companion is doomed to weep out.
a stormy night across a forest.
Had I but found him today. I would,
O Mother, have fallen flat at his fear
Holding his lotus like feet on my breast
bathed them in my lake of tears
Seated him on one-half of my skirt,
The flood of dears appearing unbidden
I would have wiped out the wet collyrium
from his eyes, face and lip's corner,
With my disheveled hair wiped his feet
imprisoning him within my embrace.
Thou couldst see then, Mother, this
Wayward girl, this cause of all ills
Leaning her face on his generous bosom
and saying, 'I love you'
While thus unbosoming herself, a
pleasing bashfulness
Would make her blush and swear,
Her face would unwillingly descend from
his breast and roll unawares on his lap
I would see, Mother, how could he then
restrain himself on ground of
injured sentiment!
Thus now arises in me many a hope
and thirst for love,
From offended vanity, anguish, passion'
and attachment rolled into one.
Leaving me as a debtor of tears,
Has he crossed high seas for an
unknown island?
Is it far beyond rivers, Mother?
Is it that tempest itself cannot
reach that far-off land. O Mother?
If he now learns that I do love him,
In wild ecstasy will his sepulcher burst open?
His shouts will make
www.PoemHunter.com - The World's Poetry Archive
রুটির দোকানের কর্মচারী থেকে বিদ্রোহী কবি। কবি কাজী নজরুলের জীবন কাহিনী। Kazi Nazrul Islam Biography
কাজী নজরুল ইসলামের জনপ্রিয় ১০টি গজল ২০২০ Kazi Nazrul Islam best bangla gojol 2020 Islamic tune
Last Journey of Kazi Nazrul Islam
Kazi Nazrul Islam | কাজী নজরুল ইসলাম
KAZI NAZRUL ISLAM | Life | Literature | Information.
Sera Nazrulgeeti Sankolon | Kazi Nazrul Islam | Anjali Laho Mor Sangite | Shaon Raate Jodi
আল্লাহকে যে পাইতে চায় | Allahke Je Paite Chay | কাজী নজরুল ইসলাম | Kazi Nazrul Islam
কাজী নজরুল ইসলাম আঁকার সহজ পদ্ধতি | How To Draw Kazi Nazrul Islam
Kazi Nazrul Islam | কাজী নজরুল ইসলাম | পর্ব-২
Kazi Nazrul Islam All Islamic Songs।। কাজী নজরুল ইসলামের সব গুলো গজল।। Bangla gajol।। IDT_BD।।
নজরুলের ভক্তিগীতি । Devotional songs of Kazi Nazrul Islam I Bengal Jukebox
Kazi Nazrul Islam (Full Movie)
Best songs of Kazi Nazrul Islam I নজরুলের সেরা গান I Bengal Jukebox
Amay Nahe Go Bhalobaso Mor Gaan | Danrale Duare Mor | Firoza Begum | Kazi Nazrul Islam | Audio
Kazi Nazrul Islam I काज़ी नज़रुल इस्लाम | Storytel Original | भक्ति प्रेम विद्रोह
কাজী নজরুল ইসলাম : জীবনের শেষ অধ্যায় / Kazi Nazrul Islam : Last Period of His Life Story
Rajbondir Jobanbondi - Kazi Nazrul Islam রাজবন্দীর জবানবন্দী
Karar oi Louho Kobat | Lyrical Song | Nazrul Geeti
Karar Oi Louho Kapat
জাতীয় কবি কাজী নজরুল ইসলামের ১০টি সেরা গজল| 10 gojols of Kazi Nazrul Islam| ManStone Outsourcing BD
Qamliwala - Hera Hote Hele Dule | Kazi Nazrul Islam | Gazal by Mashrur Enan
বল বীর – বল উন্নত মম শির!... বিদ্রোহী কবিতার শ্রেষ্ঠ আবৃত্তি
প্রেমিক নজরুলের যত প্রেম | Kazi Nazrul Islam | Nazrul's Love | Nazrul Birthday | Somoy TV
হৃদয় স্পর্শী ইসলামীক নজরুল সংগীত | কাজী নজরুল ইসলামের সেরা ২৫টি গজল | Best of Kazi Nazrul Islam
Alga Korogo Khopar Badhon ft. Krakers | Kazi Nazrul Islam | Nazrul Geeti | Folk Studio Bangla 2019
কাজী নজরুল ইসলামের জনপ্রিয় ১০টি গজল ২০২০ | Kazi Nazrul Islam best bangla gojol 2020 | Islamic tune
Ma Amar Ma | Poet Kazi Nazrul Islam - Son's wife | কবি নজরুল ছেলের সহ ধর্মিণী । mytv
কবি কাজী নজরুল ইসলাম ও প্রমিলা দেবী। National Poet Kazi Nazrul Islam. Kazi Nazrul Islam Live video.
Atit Diner Smriti | Firoza Begum | Collection of Nazrulgeeti | Songs of Kazi Nazrul Islam
কাজী নজরুল ইসলামের বিদ্রোহী কবিতা - মিজানুর রহমান আজহারী
Top 20 Classical Songs Of Kazi Nazrul Islam | Arunkanti Ke Go Jogi | Pratham Pradip | Bhoriya Paran
নার্গিসকে লেখা প্রেমিক কাজী নজরুল ইসলামের অমর প্রেমপত্র || Kazi Nazrul Islam Letter to Nargis
Rajbondir Jobanbondi - Kazi Nazrul Islam | রাজবন্দীর জবানবন্দী - কাজী নজরুল ইসলাম | Shamsuzzoha
Kazi Nazrul Islam kobita Lichu chor kobita abritti লিচু চোর chotoder abritti আবৃত্তি। Tannistha।
তালগাছ | কাজী নজরুল ইসলাম | Taalgach | Kazi Nazrul Islam | Bengali poem recitation | Priti Pandit
কাজী নজরুল ইসলামের ৭টি জনপ্রিয় না'ত-ই-রাসুল(সাঃ)।। Seven Na'ts of Kazi Nazrul Islam।।
লিচু চোর - Lichu Chor Bangla Kobita By Kazi Nazrul Islam | Moople TV Bangla
Kabi Kazi Nazrul Islam er lekha kobita "Shishur Sadh" #Bengali Kobita #"Shishur Sadh"
কাজী নজরুল ইসলামের জীবনী। Kazi Nazrul islam biography in Bengali.
Hera Hote Hele Dule | Kazi Nazrul Islam | ABC Radio 89 2 FM
Kazi Nazrul Islam Biography in Bengali |কাজী নজরুল ইসলামের জীবনী |Nazrul Jayanti Speech-Abdur Rahman
কাজী নজরুল ইসলাম || পাঠ-১ || Kazi Nazrul Islam || জীবনী || JSC SSC HSC BCS Admission Job Exam
Hera Hote Hele Dule | হেরা হতে হেলে দুলে | Ishrak Hussain | Kazi Nazrul Islam | Bangla Islamic Song
Shyama Sangeet - Kazi Nazrul Islam | শ্যামা সঙ্গীত - কাজী নজরুল ইসলাম | Devotional Song | Vol 1
মানুষ | কাজী নজরুল ইসলাম | Manush | Kazi Nazrul Islam | Bengali Recitation | Bangla Kobita | Priti
কবি নজরুলের গান বিকৃতি! | A. R. Rahman | Kazi Nazrul Islam | Pippa Cinema | Bollywood | Somoy TV
বিদ্রোহী কবি কাজী নজরুল ইসলামের অমর বাণী | Quotes of Kazi Nazrul Islam | Sharif's Diary
সাম্যের গান গাই... | কাজী নজরুল ইসলাম ‘‘নারী” কবিতার শ্রেষ্ঠ আবৃত্তি | টিটো মুন্সী
Tumi Sundar Tai Cheye Thaki তুমি সুন্দর তাই চেয়ে থাকি - Nazrul Sangeet
Bolo Bir @ Kazi Nazrul Islam বিদ্রোহী কবিতা