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A poet breathing life into words

Sadya Afreen Mallick
As he looked out of the window of his Chrysler, Nazrul reflected on his new life. Driver Chanddi chauffeuring him through the busy Calcutta streets, his new office at 1IMV looming round the comer, film directors restlessly waiting for his arrival, and there was a small but nonetheless a home to look forward to once he finished work. It was a far cry from the life he had once lived, surviving on a paltry income, sweating over the hot furnaces of the bakery, out on the hot desert warfront... was this really him?
Smilingly, he noticed that even amidst all the change he still had his favourite gerua outfit, the bright yellow silk turban and his hair was still the same shock of curls. Nazrul's life had its ups and downs, but the one common thread throughout his different phases was his literary genius.
Nazrul appeared on the musical scene of Bengal as a composer of patriotic songs. 1 Ie wrote relentlessly against the colonial masters and poverty. 1 le was impulsive inspirational and tireless in creativity. 1 lis writings had brought him as much fame as misfortune. Because of his fiery compositions, time and time again he was harassed, arrested, jailed for indefinite periods, but rarely did it keep Nazrul away from his beloved writing.
Subhash Chandra Bose once said that he had travelled to many warfronts of India, but had never been so moved by a song as spirited as Nazrul's Durgomo Giri. He said that "whenever we will be at the war fronts or in jail, Nazrul songs would always be our true inspiration."
'though best known as the 'rebellious poet', Nazrul's ghazals were as masterful as they were works of delicate composition. In 1928, for the first time, two of Nazrul's finest ghazals were recorded. Legendary singer Angur Balasang Eto jol O kajal chokhey and Bhuli Kemone. Ihe songs proved to be an instant success and brought Nazrul further into the limelight.
Nazrul's entrance in the recording industry was however, very rocky. 'Ihe Gramophone Company in Calcutta-as the city was known then--did not initially record any songs of Nazrul since he was involved in anti-British activities. But as a result of popular demand, Nazrul was soon asked to record songs for the company.
Nazrul had always struggled for a living. 'Ihe meagre royalty from books was never enough. 'Ihe prolonged illness of his son Bulbul had put him into greater necessity of money. So the job offer at the company was a heaven sent opportunity. His association with the company marked an astonishing period of his creativity. He also recorded for Senoia, Pioneer, Regal and Twin.
Ihe Gramophone Company, better known as HMV, provided a platform for the talented lyricists, tuners, trainers and singers. So, once Nazrul joined the HMV as the chief trainer, it gave him the opportunity to work with the talented group of musicians of that period (1928-1932). 1 lis musical life truly flourished in the 1930's.
'this was also the time of the Talkies. Spectators were beginning to demand songs between sequences of the cinema. Thus far, Bengali poets had composed songs for a very narrow segment of the audience. But now the gramophone companies had to produce records for the masses. Nazrul took deep interest and worked tirelessly in directing and composing music for the stage and films.
Romanticism was the most dominant theme of this new musical trend. Nazrul directed the music of the filmed version of Tagore's famous novel Cora. Other
than this, he directed the music for countless classic films like Dhruba, Patalpuri, Sapurey, Vidyapati, Nandini, Chourangi Dikshul, Chattagram Astragar Lunthan and Shrishri Tarakeshwar. Apart from composing an astounding 18 songs for Dhruba, Nazrul also acted in the role of Narada in the film.
Nazrul, even though prolific was hardly ever stereotypical in his style Nazrul's hunger to be both original and artistic was legendary. In one particular film — Patalpuri that was based on the life of coal miners, Nazrul travelled all the way to Raniganj, his ancestral home to get a better understanding of the themes and tune typical to the region. Later, he lived amongst the Santa! tribes and returned with original tunes for his songs.
Of the 77 years of his life his creative period spanned only 22 years which ended after his sudden mysterious neurological illness. Ihe premature death of his son Bulbul, paralysis of his wife Asha Lata Sengupta, known as Promila, had shattered him. I lis health gave way and he lost vitality and mental capacity.
In his last memorable speech, he said, "If the flute doesn't play anymore-and I am not saying this as a poet, rather as a recipient of your love, please forgive me Believe me when 1 say, 1 did not come to this world to be a poet, or a leader, 1 came to offer my love and to receive yours in return. But disappointed and hurt, 1 silently bid goodbye to this loveless world forever." (Translated by Sajed Kamal).
Nazrul's works are a testament to his artistic genius. 'Ihe words he left behind are locked into unforgettable compositions of songs and poems, these writings continue to enthral) and inspire. Nazrul may have bid us farewell on that fateful day, but his philosophy, romanticism, and patriotism, woven so deep in our psyche remain immortal in our hearts.