Through defiant poetry, soul-stirring songs and justice-driven prose, Nazrul emerged as a symbol of resistance and unity. As we mark his 126th birth anniversary, his legacy still echoes — challenging injustice and stirring conscience
In the grand arena of India’s fight for freedom, Kazi Nazrul Islam’s voice roared like a tempest, shattering the stillness of colonial oppression. Known affectionately as the Bidrohi Kobi (the Rebel Poet), Kazi Nazrul’s verses, prose and melodies pulsed with an unyielding spirit of defiance, fervent nationalism, and profound humanism.
He transcended the role of a mere poet. He was a cultural luminary, a visionary who wielded his pen as a sword, igniting revolutionary fervour with every drop of ink. As Pulak Kumar Das of Kalinagar Mahavidyalaya, West Bengal, perfectly encapsulates, “Nazrul strives boldly to decolonise the territory of the Indian subcontinent through the voice in his rebellious poetry.”
Born into a humble Muslim family on May 24, 1899, in Churulia village, Asansol subdivision, Burdwan district of undivided Bengal, Kazi Nazrul Islam was the son of Kazi Fakir Ahmad and Zaheda Khatun. He fearlessly employed his powerful poetry as a tool for decolonisation across the Indian Subcontinent against the British Raj, through his literary works like ‘Jugobani’ (The Message of the Age), ‘Rudra Mangal’ (The Violent God), ‘Anandamoyir Agamone’ (The Advent of Coming of Joy,1922), and his publication ‘Dhumketu’ (The Comet).
Kazi Nazrul Islam’s literary power goes beyond mere words; it awakens the Bengali consciousness in general and societal consciousness per se — through time. His poetry, prose and music combine to form a rich expression of revolutionary thought and deep emotion, weaving together themes of social justice, equality, and nationalism with remarkable skill. His poetry resonates with a visceral intensity, channelling the collective pain and hopes of the oppressed.
His involvement in the Indian Independence movement drew the ire of the British authorities, leading to his imprisonment. But Nazrul’s revolutionary spirit remained unbroken, evidenced by his writing. ‘Rajbandir Jabanbandi’ (Deposition of a Political Prisoner) — is one such masterpiece that documents Nazrul’s experience and perspective. Further, his literary works delved into the lives and struggles of the marginalised masses in the undivided Bengal, championing their emancipation and thereby igniting a fire in millions of Indians, urging them to rise against all forms of socio-political and economic oppression.
One of Nazrul’s poems, Bidrohi (The Rebel), published in 1922, running into almost seventeen stanzas, marked a literary earthquake in Bengali poetry. It was unapologetically fierce, infused with mythic allusions, and defied the passive tone prevalent among poets of the time.
Nazrul did not merely write — he roared with defiance. Through poems like Bhangar Gaan (The Song of Destruction) and fiery writings in Dhumketu (The Comet), he scathingly attacked British colonial rule. His mission was India’s liberation. Pulak Kumar Das, in his June 2024 paper “Kazi Nazrul Islam — The Voice of Protest Against British Rule” (JETIR, Vol. 11, Issue 6), notes Nazrul’s arrest in 1923 for his fearless critiques. As Nazrul declared, “I am a poet, sent by God to speak the unspoken Truth... I have not rebelled against a mere King; I have rebelled against injustice.” Even books like Jugbani and Bisher Banshi were also banned.
In the area of songwriting, Kazi Nazrul composed nearly 4,000 songs, now collectively known as Nazrul Geeti. These compositions were (read are) far more than just melodies, they’re powerful expressions of justice and spirituality. Even today, they continue to be performed on various platforms around the world by artists dedicated to this unique musical genre. The rebel poet and writer masterfully fused folk, classical, and Sufi traditions, channelling, both divine yearning and revolutionary fervour. His songs, such as “Amar Shonar Bangla” (My Golden Bengal) and “Dolonchapa,” (swinging or undulating Jasmine), radiated lyrical grace and patriotic pride. As Abu Rayhan observes in his paper “Kazi Nazrul Islam and His Impact on Bengali Culture and Society,” “Nazrul’s music transcended barriers of class, caste, and creed,” becoming a unifying force in Bengal’s cultural identity. “His songs, imbued with themes of love, longing, patriotism, and spiritual devotion,” Rayhan writes, “resonated deeply with the masses,” weaving a timeless musical legacy that still stirs hearts across generations.
A similar sentiment echoes in Bidrohi Kobi’s essays and articles, where the author-poet critiques the unjust social order with a passionate call for equality. In his powerful piece ‘Samyabadi’ (The Communist), Nazrul envisions a classless society grounded in ‘socialism and human solidarity.’ With compelling rhetoric, he champions the cause of the working class and denounces capitalist exploitation. His prose becomes “a clarion call for revolutionary change,” urging readers to confront injustice and work towards a just future, embodying his lifelong commitment to social justice, dignity, and collective emancipation.
Kazi Nazrul Islam also transcended the conventional boundaries of his Muslim faith to compose a mesmerising collection of devotional songs, particularly those dedicated to Goddess Kali, popularly called ‘Shyama Sangeet’, that are not merely hymns, but profound expressions of a soul deeply immersed in the divine mother’s fierce yet compassionate embrace.
Rachel Fell McDermott, (Professor of Asian and Middle Eastern Cultures, specializing in South Asia, especially India and Bangladesh) observes in her work on “Encountering Kali” that, “Nazrul’s Kali songs are a remarkable example of how a poet from an ostensibly different religious background could not only understand but also profoundly articulate the devotee’s intimate relationship with the Goddess, imbuing his verses with a unique blend of passion, surrender, and a revolutionary spirit that saw in Kali the embodiment of liberation.” This fusion of fervent devotion with an inherent rebellious streak made Nazrul’s Kali songs resonate deeply with a diverse audience, solidifying his unique position in the pantheon of Bengali devotional literature.
These songs, suffused with intense emotion and raw surrender, reflect a unique confluence of bhakti (devotion) and rebellion, where Nazrul sees Kali not only as a divine Mother but also as a symbol of cosmic energy, justice, and transcendence.
The legacy of Kazi Nazrul Islam is multifaceted and enduring, continuing to inspire and influence Bengali culture, literature, music, and social discourse even after 126 years, as we celebrate his 126th birth anniversary on May 24. His designation as the ‘National Poet of Bangladesh’ underscores his monumental importance. As societies grapple with divisiveness and extremism, Nazrul’s call for humanism and interfaith harmony provides a powerful counter-narrative. Let we cleanse our hearts!
(The writer is Programme Executive, Gandhi Smriti and Darshan Samiti. Views are personal)
