Kazi Nazrul Islam: Rebel and Lover

Kazi Nazrul Islam, the national poet of Bangladesh is known as the ‘Rebel Poet’ for his fierce resistance to all forms of repression. His poetry, with its vibrant rhythms and iconoclastic themes, forms a striking contrast to other contemporary poets. Though he 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. Through literature, journalism and political activism, Nazrul fought against foreign rule, communalism, imperialism, colonialism, fundamentalism and exploitation. In response, the British colonial government proscribed 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 against the harassment. In support of him, Rabindranath dedicated one of his books to him.

Nazrul used subjects and vocabulary never used in Bangla poetry before. He became immensely popular for portraying in his poems contemporary political and social phenomenon. Some fundamental conflicts of human civilisation also formed the themes of his poems. Singularly non-communal, Nazrul drew upon his mixed Hindu and Muslim cultural traditions. 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, of his own country and of the world outside.

Nazrul nourished almost all the streams of Bangla songs and established them on the solid foundation of north Indian classical music. It was through the originality of his musical talent that the folk base of Bangla songs was linked to the subcontinental tradition of classical music. His music can be described as the quintessence of Bangla songs apart from their being the Bangla edition of north Indian classical music. Through a wide variety of themes and tunes Nazrul truly turned Bangla songs into the modern age.

National Poet of Bangladesh
The rebel poet Kazi Nazrul Islam was crowned in 1972 as the national poet of Bangladesh. He was living a seclusive life with no care in a shabby, nasty and crowded cottage in Calcutta. West Bengal government did not even arrange a bed in any convalescent home for the poet who was suffering from irreversible brain-damage and living nearly a vegetative life. 
Under the auspicious of Bangladesh government of Sheikh Mujibur Rahman, the poet was moved to Dhaka, capital of newly liberated Bangladesh situated 125 km west of Trishal a small township in Mymensingh district where Kazi Nazrul Islam spent several years during his boyhood. 

On December 15, 1929, Kazi Nazrul Islam was given a rousing reception led by the noted Bengali scientist Acharya Profulla Chandra Ray, an eminent litterateur S. Wazed Ali, and the legendary commander-in-chief of the Indian National Army, Netaji Subhas Chandra Bose at Calcutta Albert Hall, and was declared as our “National Poet.” 

In 1971, our patriotic freedom-fighters were inspired and invigorated by Nazrul’s rebellious poems and songs during the war of liberation. Nazrul’s inspiring patriotic poems and songs speak up against all sorts of tyrants and exploiters of the people.

After the independence of Bangladesh, most governments came to power with the solemn promise to give succor to the impoverished and war-torn people of Bangladesh, and to root out all evils in society to make it a corruption-free and exploitation-free state. 

But people’s sufferings increased to a great extent. Those people in power could hardly check the temptation of receiving kickbacks from different sources, whereas the people suffered in all respects. Bangladesh topped the list in the state of corruption as well as being a least developed country.

Till now, in political processions, Nazrul’s voice is echoed in chorus. Every citizen of a sovereign country must have his/her social, political as well as economic rights. The people without human rights are said to be no less than slaves. Nazrul raised his mighty voice against such slavery. 

The first Western scholar to study Nazrul
Professor Rafiqul Islam rightly termed Langley as the first Western scholar to study Nazrul. It would also not be wrong to state that he is the first critic who has ventured to examine Nazrul and his literature in a very novel perspective. He has evaluated how Nazrul’s work can be worthy even in the era of globalisation. In his own fashion, Langley has argued why Nazrul is not a nationalist, how Nazrul came across the borders of nationalism and extended his horizon worldwide that is termed as globalism today (Nazrul: The Global Citizen). In another essay Langley critically noted the aspects of development, i.e., “the gaining of capabilities which frees one to act” and comments that Nazrul understood that development “was not confined to economic matters”, “Nazrul saw development as broadly cultural, and that is why, whether he was pointing to the actions of literary or scientific intellectuals, or to the efforts of political leaders in their joint or several pursuit of development, he sought to emphasise that practices, tastes, and ways of life are a part of a people’s identity be respected”.

Nazrul Institute
The Nazrul Institute, founded in February in 1985 in the compound of the Kabi Bhaban in Dhanmondi, aims to preserve the memoirs of the country’s national poet Kazi Nazrul Islam, to collect and publish his works, to fund research on him as well as to uphold the poet and his works in and outside the country.

Since its inception, the Institute has published a good number of books, including the works of the poet and some research-works on him. The research-works are also being published in the journals brought out from the Institute. It has also published audio cassettes and audio CDs on Nazrul Sangeet sung by noted singers. Recently two documentaries on Nazrul’s memoirs in Trishal and Comilla have been produced by the Institute.

The Institute has collected many pieces of the old Gramophone records, manuscripts of poems and lyrics, photographs and the complete recording of the film ‘Dhruba’.

Besides these, the Institute has also established a museum inside the compound preserving documents used by the poet.

 Among the Institute’s prime works, the authentic ‘swaralipis’ or notations have been published from the Institute. It has collected some 2,800 ‘swaralipis’ and some more are being scrutinised for publication. A team of noted Nazrul Sangeet singers and researchers has been working in this project at the moment.

To present Nazrul’s works in foreign languages, the Institute has also brought out some books in different languages, including, English, Spanish, Turkish and Chinese. Some books in Urdu will be published soon.
The Institute has brought out a photography book presenting different historical moments of the poet and the places where he visited during his staying in then East Bengal. The Institute has recently published two documentaries, titled ‘Trishale Nazrul’ (Nazrul in Trishal, 37 minutes) and ‘Comilla’ey Nazrul’ (Nazrul in Comilla, 41 minutes), and it is working on another two documentaries one titled ‘Dhaka’ey Nazrul’ (Nazrul in Dhaka) and the other ‘Chattagram’ey Nazrul’ (Nazrul in Chittagong).

Talking about the International Nazrul Conference recently held in Tehran, Sikder said that Iranian academics showed a great deal of interest in arranging an international conference where noted scholars from about eleven countries took part and discussed Nazrul and his work.

‘Recently almost all of the works of Nazrul has been published in the Chinese language where he is also gaining popularity for his revolutionary zeal.’

Siddiqur Rahman a famous literary critic spoke about the importance of  analytically viewing contemporary perspective of which Nazrul was a product. He said, “Nazrul’s contemporary social milieu was marked with the clash between vice and virtue; good and evil; justice and injustice all that is still prevalent in today’s society.” This very fact recommends Nazrul’s necessity and relevance to today’s society. “A versatile genius, Nazrul endured untold miseries throughout his life. He sustained sorrows extracted from his own life. Nazrul took part in the World War II towards its last phase. He fought in the Baghdad frontier hoping to experience sufferings and miseries of the toiling masses,” he cited some historical events in the relation. 

He added, “The great war being over, Nazrul began working for The Dhumketu and The Nabajug. His writings were full of revolutionary messages that stirred up the spirit of freedom amongst the grass roots level toiling masses. This made the British government cautious of Nazrul and to keep an intensive watch on him. The Bitish Government intelligence used to keep a record of their reports called ‘Bolshevic Diary’ in which they noted, “Nazrul Islam has formed a formidable organisation in Comilla,” hinting at his political activities there. He joined the Swaraj movement of Deshbandhu Chityaranjan and Subash Chandra Basu’s ‘Forward Block’ from where he contributed to anti-colonial movement. Interestingly enough, though Nazrul had no direct involvement with any separatist political movement, but he did the groundworked for a mass upsurge against the British colonial rulers in the British-India through his fiery writingsIn the recent times there has been more effort to bring Nazrul to the international arena, to share with the world this treasure trove of literature. Translations of Nazrul have been few and far between and not often rising above mediocrity, eclipsing the sheer intensity of the poet, the greatness of his spirit and expansiveness of his mind. However, a consciousness has grown among literary circles, a sense of duty to give back even a fraction of what the poet has given us -- his inspiration, passion and power. 

Nazrul Institute, the apex body for research and study of Nazrul in Bangladesh, brings out the Nazrul Institute Journal, an official periodical of the institute. Sadly, the journal does not come out regularly as it should. Rashid Haider, Executive Director of Nazrul Institute, explains that one of the reasons for this irregularity is the lack of good articles. Perhaps the institute could have a cell dedicated to this task -- assigning writers for articles, collecting relevant work, etc. Professionally handled, this journal could become one of the most important contemporary sources of information on Nazrul. It could expose readers at home and abroad to the poet and his works. 

Describing Nazrul’s treatment of women in his novels, Niaz Zaman writes: “A study of women in Nazrul Islam’s novels helps to complement his attitude to women in his poems. Woman is not only the enigma in Kuhelika, not only the muse who inspires poetry and art, she is also a victim of conservative society, of social conventions and patriarchal prejudices. She is discriminated against, suppressed, rendered mute, unable to voice her emotions. However, she is also occasionally a strong woman who rises above her circumstances, above her personal tragedy, to voice her feelings and to improve the lot of others around her. Specifically in Bandhon Hara and Mrittyukshudha, Nazrul Islam portrays woman as both victim and victor. In Kuhelika, however, despite the women revolutionaries -- young and old -- women remain victims of man’s ideals, his fears, or his lust.” 

Sajed Kamal is well-known for his translations of Nazrul Islam’s poetry and his contribution to this journal is the article On Translating Nazrul: A Journey and a Tribute. He speaks of how he was impelled to translate Nazrul, given the existing vacuum in the field. In 1999 he published his translations in the form of Kazi Nazrul Islam: Selected Works. 

Sajed Kamal describes the significance of translation well: “Translation is a bridge. The task of translating, which aims to simultaneously preserve and communicate the universal elements as well as the originality of the poems -- each unique poem -- beyond their own linguistic-literary-cultural milieu, is one of awesome responsibility, humility and care.” 

The article includes two lengthy poems translated by Sajed Kamal, Nazrul’s immortal Samyaadi [I Sing of Equality] and Bidrohi [The Rebel]. 

Rachel Fell McDermott of the Department of Asian and Middle Eastern Cultures, Barnard College, Columbia University, writes What Motivates a Poet? Kazi Nazrul Islam (1899-1976) on Religious Tolerance and Human Dignity. “What first attracted me to Nazrul,” writes McDermott, “was the shock I received when I discovered that he is one of the best composers of Syama Sangit... I was creating an anthology of Syama Sangit for Oxford University Press, and found that along with Ramprasad Sen and Kamalakanta Bhattacharya, Nazrul was consistently praised for the beauty and inspiring devotion of his padas to Kali... What is a Muslim poet doing writing poetry to a Hindu goddess, I wondered? And thus I stepped into the world of Nazrul... I discovered Nazrul’s Islamic-themed poems and songs... They too are beautiful, moving, and full of emotion and tenderness.” Perhaps she sums Nazrul up best when she writes: “There is a multi-vocality to Nazrul that is impressive and awe-inspiring.” 

Nazrul Jeeboni, the biography of Kazi Nazrul Islam, is perhaps one of the greatest contributions made by Professor Rafiqul Islam, who is a renowned authority on the poet. Herself an exponent of Nazrul, Professor Nashid Kamal reviews Nazrul Jeeboni in this journal. Her review would compel one to avail a copy of the book for its comprehensive coverage of the poet’s life. 
She writes, “The book offered an in-depth view of Nazrul’s life and his works which can be considered a text book for those aspiring to be Nazrul researchers. I once had the opportunity to ask writer Sunil Gongopadhay why he named his book Ordhek Jeebon (Half Life). He replied, ‘One can never divulge the entire life, it is always half that one writes about.’ I feel that if Nazrul himself was to write his own life history, he would also do the same, whereas in Prof. Islam’s work, I would say it encompasses almost eighty percent!” 

Incidentally, Nashid Kamal has translated this book in an impressive volume brought out by Nazrul Institut- Biography of Kazi Nazrul Islam. 

Dr. Gulshan Ara Kazi’s contribution to the journal is the article, Kazi Nazrul Islam: A Bengali Poet with a Universal Appeal. She speaks of his distinctive style and how he added a new dimension to Bengali literature. She also gives a brief comparative study with other writers. She sees the power and emotion of Nazrul’s Bidrohi in Maya Angelou’s poem Still I Rise: 

“Leaving behind nights of terror and fear I rise

Into a daybreak that’s wondrously clear
I rise
Bringing the gifts that my ancestors gave
I am the dream and the hope of the slave.
I rise.
I rise.
I rise.
[Maya Angelou]”

Dr. Gulshan Ara Kazi also draws parallels between Nazrul and Whitman, Nazrul and Martin Luther King Jr., and with Pablo Neruda. 

Mohammed Nurul Huda delves into the sufi side of Nazrul, his spiritualism, and writes in The Mystic in the Rebel: “And though Nazrul was not a practicing sufi so to say, he is undeniably a mystic diver searching out the fathomless bottom of the ocean of truth pervading human consciousness since prehistoric antiquity. This is how the rebel lives in a harmonious interaction with the mystic in the esoteric and aesthetic self of Nazrul.” How succinctly put! 

A Chronology of Life:
1899    
May 24, Kazi Nazrul Islam born at the village of Churulia in the district of Bardhaman, West Bengal, India. Mother, Zaheda Khatun; father, Kazi Fakir Ahmad, the Imam (the head of a mosque) and the custodian of the Haji Pahlwan’s mazar (a Muslim shrine) in his village; brothers, Kazi Shahebjan and
Kazi Ali Hussain, and sister, Umme Kulsum (three surviving out of the total of seven sons and two daughters of Fakir Ahmad).

1908    
March 20, Nazrul’s father dies at the age of 60.

1909    
Passes the Muslim lower primary education examination in a maktab (a Muslim primary school). 

1910    
Discontinues formal schooling due to financial hardship. Earns his livelihood as a teacher at a maktab, muazzin (a caller for prayer at a mosque), and a custodian of the village shrine, etc. 

1911    
Joins a leto group (folk musical troupe) with encouragement and help from his uncle, Kazi Bazle Karim, a singer-songwriter-composer, himself a Goda Kobi (the leading poet) of his troupe. Bazle Karim wrote songs in Bengali as well as Urdu and Farsi. Upon his death, Nazrul succeeded him as the Goda Kobi. Nazrul’s talent impressed many others, including the reputed, Sheikh Chokor Ali Goda, who also encouraged him to develop his leto career. During his four years or so with leto troupes, along with songs, Nazrul also wrote scripts for leto dramas. One of his scripts was based on the Bengali epic poem, Meghnad Badh (The Slaughter of Meghnad) by Madhusudan Dutt (1824-1873). Most of Nazrul’s writings for leto have been lost. 

1911    
Studies at Mathrun Nabinchandra Institution (class VI). 

1912    
Works in the household of a railway guard, in a bakery shop, etc. 

1913-14    
Meets Kazi Rafizullah, a police sub-inspector, who arranges for Nazrul to study free of charge at Darirampur High School in Mymensingh. Completes class VII, then returns to Churulia. 

1915-17    
Admitted to Searsol Raj High School in Raniganj, Bardhaman, in class VIII. Kazi Manzoor Hussain, a distant relative, helped making the arrangements for free schooling and accomodation. Studies through class X, until the pre-test examination required prior to the matriculation examination. At Searsol Raj meets Satish Kanjilal, a teacher with some mastery in classical music, who actively encourages Nazrul to continue to develop his musical talent. Also meets Nibaranchandra Ghatak, a teacher and member of an underground revolutionary organization committed to go as far as armed struggle against the British colonial government. Attracted by the thought of utilizing the training later for the freedom movement, Nazrul and his schoolmate Shailajananda Mukhopadhyaya (the latter day reknowned literateur) decide to join the army. They travel to Calcutta. Nazrul passes the recruitment examination, Shailajananda doesn’t. Nazrul joins the army in the 49th Bangali Paltan. Trains in Nawshera, stationed in Karachi.  

1919    
First publication, “Bounduler Atma-kahini” (Life Storey of a Vagabond), a short story, in Saogat magazine, Ist year, 7th issue, in Calcutta, Mohammad Nasiruddin, editor. The first article published, “Turki Mahilar Ghomta Khola” (The Unveiled Face of a Turkish Woman), in Saogat, 1st year, 12th issue. First poem published, “Mukti” (Freedom), in the Bangiyo Mussalman Sahitya Patrika (Bengal Muslim Literary Magazine). Nazrul a Havildar (seargent) in the army in Karachi. 

1920    
Returns to Calcutta, first staying in the same hostel with Shailajananda Mukhopadhyaya, then in a rented apartment with Comrade Muzaffar Ahmad. First song published, “Udbodhan” (Inauguration), in Saogat, 2nd year, 6th issue. April, Bandhanhara (Free from Bonds), a novel, begins its serialized publication in Muslim Bharat (Muslim India). July, appointed a joint-editor, with Muzaffar Ahmad, of Daily Navajoog (The Daily New Age, from the Sanskrit “nava”new, “yuga”age or era), founded by A. K. Fazlul Huq. 

1921    
Goes to Daulatpur in Comilla with Ali Akbar Khan (not to be confused with the present day sarod master). June 18, married to Syeda Nargis A’sar Khanam, a niece of Ali Akbar Khan. Disagreements between Nazrul and Nargis’ family on the night of the wedding. Nazrul leaves Daulatpur on June 19, never to see Nargis again. (Their only corespondence was through letters, one each way, in 1937Nargis’ letter to Nazrul and the latter’s reply. Divorce confirmed in 1937. Nargis remarried to Azizul Hakim in 1938.) October, visits Santiniketan with Mohammad Shahidullah and meets Rabindranath Tagore for the first time. December, writes “Bidrohi” (The Rebel). 

1922    
“Bidrohi” published in the January 6th issue of Shaptahik Bijli (Weekly Lightning). “Bidrohi” also published in Muslim Bharat. March, Nazrul’s first book, Byathar Dan (Offerings of Pain), a collection of short stories, published in Calcutta. August 11, a bi-weekly Dhumketu (The Comet) premieres, Nazrul is the editor. September 26, Nazrul’s poem, “Anandamoyeer Agamoney” (Coming of Goddess Durga), published in Dhumketu. October 13, India’s complete freedom from the British government demanded in Dhumketu. October 13, Agni Bina (The Fiery Bina), a collection of poems, published in Calcutta. Proscribed by the government. October 25, Jooga Bani (The Message of the Age), a collection of essays, published in Calcutta. Proscribed by the government. November 8, a warrant for arrest issued against Nazrul on charges of sedition. November 23, Nazrul arrested in Comilla. 

1923    
January 16, Nazrul delivers “Rajbandir Jabanbandi” (Deposition of a Political Prisoner) in the court of the Chief Presidency Magistrate Swinho, in Calcutta; sentenced to 1 year of hard labor imprisonment. January 27, “Rajbandir Jabanbandi” published in Dhumketu, the final issue, in Calcutta. February 22, Rabindranath Tagore dedicates his song-drama, Basanta (Spring) to Nazrul. Dolan Champa (name of a faintly fragrant monsoon flower), a collection of poems and songs, published in Calcutta. April-May, Nazrul goes on a hunger strike to protest the mistreatment of political prisoners by the jail authority. Revolutionary, populist novelist and short story writer Sharatchandra Chattapadhyaya visits Nazrul in jail, requesting him to end his hunger strike. Similar requests from many others, including the liberationist political leader Deshbandhu Chittaranjan Das. Rabindranath Tagore sends Nazrul a telegram from Shilong, “Give up hunger strike, our literature claims you.” Nazrul stays on hunger strike for 40 days. December, Nazrul released from jail. 

1924    
Married to Pramila (Duli), the only daughter of Giribala Sengupta. The couple settle in Hooghly. Their first son, Azad Kamal (also named Krishna Muhammad), is born. Azad dies the same year. Bisher Banshi (The Poison Flute) and Bhangar Gan (The Song of Destruction), both collections of songs and poems, published in Calcutta. Both are proscribed. 

1925    
May, meets Gandhi in the Faridpur Congress. November 10, “The Labour Swaraj Party of the Indian National Congress” formed. Nazrul announces and publishes the Party pamphlet. December 16, the premiere issue of Langal (The Plough), the Party magazine, contains Nazrul’s set of poems on equality. 

1926    
The family moves to Krishnanagar. Langal’s name is changed to Gono-Bani (Voice of the People). May, writes and sings “Kandari Hushiar” (Helmsman Be Aware) for the inaugural song of the Krishnanagar Congress. Their second son, Arindam Khalid (Bulbul), born. Composes his first ghazal, “Bulbuli tui phul shakhate dis ne aji dol.” 

1927    
February, comes to Dacca to attend and speak at the annual conference of the “Muslim Sahitya Samaj” (Muslim Literary Society). Nazrul faces tremendous financial hardship, especially due to non-payment for his writings by several publishers; faces health crisis as well as growing threats and harassment by both the British government and the Hindu and Muslim conservative members of society; even subjected to physical attacks. March, Saogat sponsors a “variety performance” to benefit Nazrul and his family. Held at Albert Hall in Calcutta, attended by Nazrul. July, Sufia N. Hossain (later Sufia Kamal), a young poet of 16, moved by the news of Nazrul’s continual, even worsening, hardship and harassment, appeals “as his [Nazrul’s] mother, his sister” in a letter to Saogat editor Mohammad Nasiruddin to come to his rescue, to “tie him with affection.” Nazrul accepts Nasiruddin’s offer to join the salaried staff of Saogat, commuting from Krishnanagar. 

1928    
Mother dies. Two separate editions of Sanchita published. November, Nazrul honored by the “Haragachha Tarun Sanghya” (Haragachha Youth Organization) in Rangpur. For both financial and health considerations, Nazrul’s friends and well-wishers associated with Saogat help the family to move to Calcutta. On behalf of the family, Saogat rents an apartment in the same building until the family moves to Pan Bagan a few months later. December, Nazrul honored by the Rajshahi Muslim Club in Rajshahi. December, Nazrul attends the conference of the “Nikhil Bharat Krishak o Sramik Dal” (All India Farmers and Workers Party); sings the inaugural song. December, Nazrul sings the inaugural song at the meeting of the All India Socialist Youth Congress at Calcutta, presided by Pandit Jawaharlal Nehru.

1929    
Son, Kazi Sabyasachi, born. January, Nazrul attends the inaugural ceremony of the “Muslim Shiksha Samity” (Muslim Education Association) in Chittagong; honored by several organizations in Chittagong the same year, including the Bulbul Society. Honored by the Kushtia Municipality in Kushtia. Honored at the annual conference of the Bogra Akkelpur Youngmen’s Muslim Association. December 15, a grand National Civic Reception for Nazrul held at Albert Hall, Calcutta, organized by the “Saogat Sahitya Majlis” (Saogat Literary Society). Acharya Prafulla Chandra Ray, an eminent Bengali scientist, presiding; and Netaji Subhash Chandra Bose, the celebrated political leader and freedom fighter, the chief guest.

1930    
Son, Kazi Anirudhha, born. Pralayshikha (The Doomsday Flame) a collection of poems and songs, and Chandrabindu (The Nasal Mark), a collection of songs, published in Calcutta; both are proscribed. May 7, Bulbul dies of smallpox. Even by this early age of three and a half, Bulbul had shown signs of astounding musical talent. For a period lasting several years in the 30s, Nazrul’s career flourishes with a variety of roles, including as a recording artist with gramophone companies, a composer, music director, singer, song and story writer, actor, etc., in films, plays, and radio programs. Nazrul’s association with gramophone companies brought him a few years of financial success. It was difficult for Nazrul to get a recording contract because of the British authority who would not allow the recording of his songs on political grounds. Even the admirers of Nazrul were subject to scrutiny. Harendra Dutta sang and recorded a song of Nazrul but kept Nazrul’s name out of the label fearing that the British authority of the recording company (His Master’s Voice) would not permit the recording. But the recording companies finally gave in to the immense popularity of Nazrul and, sensing profit in it, started offering him contracts. Nazrul’s association with recording companies possibly began during 1928, flourishing during the 30s. Over the years, the recording companies which Nazrul associated with included Megaphone, Hindustan, Senola and His Master’s Voice (HMV). The chief trainer of HMV was Ustad Jamiruddin Khan, a reputed master of Hindustani classical and semiclassical music. Nazrul trained under him, and upon Ustad Jamiruddin Khan’s death in 1932, succeeded him as the chief trainer, in addition to his current position as the chief composer. Nazrul also associated himself closely with many other eminent musicians, including Ustads Kader Bux, Manju Saheb, Dabir Khan, Mastan Gama, Pandits Jnanendraprasad Goswami and Suresh Chakravarty. 

1931    
June, travels to Darjeeling, accompanied by the Barshabani editor, Jahanara Chowdhury; meets with Tagore. 

1932    
Presides over the Sirajganj Bangiyo Muslim Tarun Sammelan (Sirajganj Bengali Muslim Youth Conference).

1936    
Presides over the Faridpur Muslim Students Conference.

1938    
Presides over the Bangiyo Mussalman Sahitya Sammelan (Bengali Muslim Literary Conference) in Calcutta. Pramila Nazrul afflicted with paralysis of the lower half of her body. Financial crisis re-emerging, compounded by Pramila’s medical expenses. Nazrul resorts to mortgaging the royalties of his gramophone records and literary works for a mere sum of 4000 rupees. 

1940    
Assumes the chief editorship of the republished Nabajoog. Attends the year-end celebration program of Dacca Radio.

1941    
March, presides over the annual conference of Bangaon Sahitya Sabha (Bangaon Literary Society). April 5 & 6, presides over the Silver Jubilee celebration of the Bangio Mussalman Sahitya Samiti; delivers his final address, “Jodi ar Banshi na baje” (If the flute doesn’t play any more). May 25, Nazrul’s 43rd birthday celebrated in Calcutta; Poet Jatindra Mohan Bagchi, presiding. August 7, Tagore dies in Calcutta. Nazrul reads his poem, “Rabihara” (Loss of Rabi) on All India Radio, Calcutta, soon afterwards.

1942    
July 10, while participating in a children’s program on All India Radio, Calcutta, Nazrul is struck by the loss of his power of speech. His mental capacities affected. July 19, taken to health retreat Madhupur for a change. October 7, admitted to Lumbini Park Mental Hospital, Calcutta, for three months. No improvements.

1943    
Nazrul Niramoy Samiti, a committee to care for Nazrul formed; Shyamaprasad Mukhopadhaya, president.

1945    
Calcutta University awards Nazrul the “Jagattarini Gold Medal.”

1947    
August, the end of British rule in India. India divided into India and Pakistan.

1952    
July, the Nazrul Niramoy Samiti sends Nazrul and Pramila to an asylum in Ranchi for treatment for four months. No improvements.

1953    
May, the Samiti sends them to London, then to Vienna for treatment. No improvements. Return to Calcutta on December 15.

1960    
Awarded the “Padmabhushan” title by the Government of India.
1962    
June 30, Pramila dies. Buried in Churulia.

1971    
March 25, Bangladesh’s liberation war against Pakistan’s colonial rule begins in the face of planned genocide of the Bengalis. December 16, the Pakistani military forces surrender to the joint command of the Bangladeshi Mukti Bahinithe freedom fightersand the Indian army. Bangladesh assumes its sovereignty.

1972    
May 24, Nazrul brought to Bangladesh under a state arrangement, accompanied by Uma Kazi, the wife of his son Kazi Sabyasachi.

1974    
Son Kazi Anirudhha dies.

1975    
Dhaka University confers an honorary D.Lit. on Nazrul. 

1976    
Bangladesh citizenship conferred on Nazrul. Awarded the “Ekushe Padak” by Bangladesh Government. August 29, Sunday, 10 A.M., Nazrul dies in P.G. Hospital in Dhaka. Buried in Dhaka.n