biography Of Kazi Nazrul Islam

KaziNazrul Islam ( কাজী নজরুল ইসলাম ), the national and radical writer of Bangladesh, is the name of a reverendpersonality in Bengali writing whose commitment to Bengali writing is remarkable. Heenriched various wings of writing with his significant manifestations. He didn't leave any type of writing immaculate. Moreover, he was a model political figure during his time and yettoday. He saw our poignancy, watched the inconsistencies existing in our general public and attempted todispel all foreboding activity out of our general public. He likewise attempted to reshape our alleged autocraticsystem and imagined an idealistic world. For a mind-blowing duration, he committed himself to set up aworld free from all wrongs through his detonating compositions and in this way he turned into an idealperson in the political field. In light of his guerilla development he was offered witha title 'BIDROHI KOBI (The Rebel Poet). He made a decent number out of ballads, songs,essays, short stories, books throughout his life. The majority of his creations are exposed to build up andretain due privileges of low classes, and change the general public. Through his creations, heencouraged down and out individuals to take dynamic part in clearing out mismanagements of then autocraticauthority and that is the reason a portion of his sonnets, papers were restricted by the then Britishauthority. Right then he was additionally condemned to one year detainment. He made a recordnumber of tunes and it's said that just did Nazrul pioneer to include Ghazal (Love melodies), a newgenre of music, to Bengali music. He was credited for making an enormous number of affection songs,patriotic melodies, strict tunes, etc.Born into a poor family, KaziNazrul passed his initial life through absolute hardship. He wasborn on 24 May, 1899 (11 Jaishtha, 1306 Bengali year) at the town of Churulia in AsansulSub-division under the area of Bardwan, in West Bengal of India. His dad was Kazi Fakir Ahmed and mother ZahedaKhatun. It's realized that his progenitors were originated from Patna,capital of Bihar, a territory of India and settled in Churulia. The title 'Kazi' signifies 'judge of theMuslim' and the Kazis utilized principle a few pieces of Muslim stayed territory in India. When Kazi Nazul was brought into the world the title 'Kazi' was held however the leftover material properties were lost. OnMarch, 1908 Nazrul's dad passed away and the following year Nazrul achieved his lowerprimary instruction from a Moktab, a lower Islamic elementary school. After his dad's passingaway, the situation of his family transformed into progressively exasperated and to keep up his family Nazrulcouldn't proceed with his investigation and engaged in filling in as an educator and Muazzin, who calls forprayer, in the equivalent Moktab wherein he used to read.In 1911, joining the LETO gathering was a defining moment of Nazrul's life. LETO is stageperformance dependent on a graceful discussion on a specific subjectmatter by two writers before a group of people. It's a society musicalgroup.

Kazi Bazle Karim, Nazrul's uncle, was a pioneer of a Letogroup. He made melodies in Bengali just as Urdu and setthem into tune. Youthful Nazrul pursued his uncle with keenattention and before long realized how to make tunes, and settingthem into tunes. Watching his wonderful ability, numerous an individual atthat time urged him to form tunes for variouscontemporaryLeto gatherings. It was rousing for Nazrultodevote to making melodies since it harmonized with the verynature of his imaginative power which was idyllic and melodic at thesame time. Nazrul had the intensity of extemporaneous piece onthe theme of different topics. Consequently the vocation of agreat ever writer initiated with people melodic gathering, Leto.Nazrul didn't work with Leto for quite a while in light of the fact that thentoo he experienced budgetary emergency.

In 1911, he took confirmation in class six, in Nabinchandra Institute at the town of MathruninBardwan area. For the neediness stricken destiny, again he ended his examination and next yearhe worked in a pastry kitchen shop, at that point in the place of a railroad gatekeeper to go with him. Duringthe year 1912-13, a police Sub-Inspector KaziRafizullah orchestrated free investigation for him atDarirampur High School in Mymensingh region, Bangladesh. In the wake of finishing class VII hewent back to Churulia. Nazrul remained at Mymensingh not exactly a year. In the wake of coming back from Mymensingh, an inaccessible relative of NazrulKaziManjoorHossain took Nazrul to Searsol, a spot close Raniganj in Bardwan. There he got conceded himself into class VIII in Searsol Raj High School in 1915. Learning at Searsol put a huge effect onshaping the future course of Nazrul's life. SatishchandraKanjilal, an educator of SearsolSchool,excelled in traditional music, granted Nazrul a few exercises on old style music. That wasinspiring for Nazrul on the grounds that he could then repair his musicaltalent and gather more current ones. Aside from melodic parts of things, the effect on Nazrul during the hour of perusing atSearsol was increasingly critical and extensive on the grounds that the firstseed of governmental issues was planted in the flawless personality of youngNazrul there. It was the point at which he was recently familiar withpolitics and approached progressive mystery associations, andwas exceptionally intrigued with their idea of outfitted battle againstthe British pioneer rulers. NabinchandraGhatak, an instructor of Searsol School, was a functioning individual from such a progressive gathering, YUGANTAR. The goals of this gathering were to compelthe British rulers to leave India through a savage way.

Observingthe soul of Nazrul, Nibaranchandra attracted Nazrul near himself and instilled in him a devoted inclination. The nearness to thispolitical figure left a profound imprint in whole existence of Nazrul. He composed anovel, KHUELIKA (The Misty), in light of the setting of hostile to development against the British rulers and depicted a character of a teacher in his novelwhich shadowed Nibaranchandra, the individual Nazrul adored best.In 1917, when the First World War was running, the then British authority made a DoubleCompany with the men from Bengal in its military, requiring more men to battle fronts.Later this Double Company was renamed and became 49th Bengalee Regiment. To get equipped preparing and with the incredible energetic inclination, Nazrul left his examinations in definite year of school coursein 1917 and enrolled himself in the Double Company. From the start he was posted in Nausheraandthen Karachi, the capital city of Pakistan. Remaining with the 49 th Bengali Regiment as aHavilder, a British-Indian authorized official, he went through most his sleeping enclosure time on earth in Karachi. Hisstay there with Bengali Regiment is very noteworthy from the purpose of his scholarly too asmusical discernment. When he was empower to accumulate encounters on music and literature,which had gone far in forming his life as an extraordinary manufacturer of Bengali writing andmusic.Nazrul's first story entitled BAUNDELER ATMA KAHINI (An Autobiography of a Vagabond) waspublished in SAOGAT (The Gift) altered by Mohammad Nasiruddin in its May-June issue, 1919.His first lyric MUKTI (Emancipation) was additionally distributed around the same time in BANGIYA MUSLIM SAHITYA PATRIKA (Bengali Muslim Literary Magazine) in July-August issue. Nazrulconsidered BANGIYA MUSLIM SAHITYA PATRIKA as a solid stage for his compositions. Two of his short stories entitled HENA (a name) and BYATHAR DAN (Offerings out of agony) came outin the progressive issue of it in the year 1919.The First World War found some conclusion by the center of 1919. Nazrul's regiment was abolishedearly in March 1920.

After the regiment being retired, he came back to Calcutta withoutfurther delay with the expectation of a chance to settle there. From the outset he stayed withShailajananda and afterward with Comrade Muzaffar Ahmad, who instilled in him the teaching of uniformity of man in regard of rights and obligations as a conceived free person. In the beginningof 1920 when Nazrul returned to Calcutta from Karachi, he stood resolved to remain on theside of masses, battle for opportunity and shape an artistic profession. During those days inCalcutta, he used to sing the tunes of Rabindranath Tagore and it was extremely a matter of enormous miracle that a decent number of Tagor's tunes he got by heart. Despite the fact that his musicalvoice was not really called resonant yet it was enthusiastic and with this voice he had the option to establisha well known picture of an artist when. He was welcome to sing in different family works andfunctions orchestrated by understudies. This is the manner by which, it might be said here, his genuine dynamic life started bythen in Calcutta at 21 years old. Nazrul couldn't gain his bread by composing alone. It wasdifficult in those days even today to get by composing. Nazrul was searching for work and later hetook calling as a columnist and was designated joint-editorial manager with Comrade MuzaffarAhmedof Daily NABAYUG (The Daily New Age) established by Sher-E-Bangla A. K. FazlulHaque, aveteran political pioneer of Bangladesh.In the workplace of Muslem Bharat (Muslim India) Nazrul met one Ali Akber Khan, an essayist andpublisher of kids' course books, and writer of some otherbooks. Bit by bit the private connection among Nazrul and Mr.Khan became further and reacting to a greeting of Mr. Khan hepaid a visit to the town home of Mr. Khan at DaulatpurinComilla. He remained there at around two months. During that timehe experienced passionate feelings for SayedaKhatun, Mr. Khan's niece. SayedaKhatun was otherwise called NargisAsarKhanam in eloquentlanguage. He got hitched to Nargis in June 1921.For some obscure explanation, not yet know obviously, NazrulleftNargis in the very night of marriage. After then he never kept intouch with Nargis and didn't acknowledge her as his better half. Later on inseveral times Nargis attempted to reestablish their lost connection throughwriting letters yet Nazrul, on his part, demonstrated hesitance torespond to the letters. Or maybe in 1937 just once he made asong and asked the woman to overlook him once for all. The songreads as pursues:

Why recall him Whom you couldn't give the wreath of your affection? Disregard me, overlook me once for all.I sing out of my distress Why do you come to remain before me?

Try not to welcome me like a nebulous vision Into the murkiness of night Take feel sorry for on me, do show compassion for me Don't play with me the savage game.The promising hour won't return Over restricted lamentation.I toll en route not to lament any one Why do you remain with eyes of weepy solicitation? I have never remained at your entryway even by mistake.Forget me, overlook me once for all.