Kazi Nazrul Islam

In this paper, I revisit Dr. R. C. Zaehner's claim, found in BVedanta in Muslim Dress^ in BHindu and Muslim Mysticism,^ that an early Sufi mystic, Abū Yazīd al-Bisṭamī (d. 874), was strongly influenced by a mysterious teacher called Abū 'Alī al-Sindī, who Zaehner claimed was a practitioner of Advaita Vedanta and taught al-Bisṭamī Bultimate truths^ that appear to be gleaned directly from the Upaniṣads. I revisit Zaehner's original claims and examine his conclusions in light of history and theology with special attention to al-Bisṭamī's shaṭḥiyāt, or ecstatic utterances, and his doctrine of fanā, or annihilation, alongside the teachings and writings of Adi Ṣankara. By demonstrating correlations in theology and situating them in the historical timeline, it becomes apparent that while it may be difficult to make absolute claims, the prospect of a transformative theological interchange is not only reasonably possible, but demonstratively likely, and has been ignored, glossed over, or denied by later biographers. By reclaiming this history, a door to further inquiry is opened, adding to the complexity and nuance of historical Muslim-Hindu encounters.

কাজী নজরুল ইসলাম আমাদের জাতীয় কবি। তবে বিদ্রোহী কবি হিসেবেই তিনি সমধিক পরিচিত। বিদ্রোহের মধ্য দিয়ে তার আবির্ভাব, বিদ্রোহের মধ্য দিয়েই তার জীবনের পথচলা এবং পরিশেষে জীবনের সমাপ্তি। বক্ষ্যমান নিবন্ধ কবির বিদ্রোহী চেতনার যে অভিব্যক্তি প্রকাশ পেয়েছে তারই কিঞ্চিত আলোকপাত।

বিদ্রোহী হয়ে ওঠা বা বিদ্রোহ প্রকাশের ধরণ যে কোন ব্যক্তির ব্যক্তি স্বাতন্ত্রবোধ থেকে উৎক্ষিপ্ত, একথা চেতনাসমৃদ্ধ মানুষের এক ধরনের মৌলিক চিন্তা। যে চিন্তার বহিঃপ্রকাশ জনে-জনে ভিন্নতর আবহ সৃষ্টি করে। মানবসত্তা বিকাশের জয়গান মূলত যে কোনো বিদ্রোহী সুরের সঙ্গেই একাট্টা হয়ে অনুরণিত হয় ব্যক্তিমানসে। যা থেকে প্রথমে দ্রোহ এবং পরবর্তীকালে বিদ্রোহী চেতনার জন্ম নেয়। চেতনা শব্দটি বহুলাংশে আপেক্ষিক হলেও এই চেতনাই দ্রোহের সঙ্গে যুক্ত হয়ে নজরুলের ভেতর বিদ্রোহী চেতনার জন্ম দিয়েছিল। নজরুল মানসে এই বিদ্রোহী চেতনা কীভাবে কাজ করেছিল এবং পরবর্তীকালে তাকে কিভাবে কোন প্রেক্ষাপটে বিদ্রোহী কবি হিসেবে আমরা প্রত্যক্ষ করলাম, তার একটা অনুসিদ্ধান্ত নজরুল জীবনী ও সাহিত্য সূক্ষèাতিসূক্ষèভাবে পর্যালোচনা করলে তার বিদ্রোহী চেতনার স্বরূপ আমাদের চোখের সামনে অত্যন্ত স্পষ্ট হয়ে উঠবে। অনেকের ধারণাÑনজরুল অনেকটা হঠাৎ করেই বিদ্রোহী কবিতা রচনা করে তার বিদ্রোহের স্বরূপকে আমাদের সম্মুখে উন্মোচিত করেছেন এবং কেবল বিদ্রোহী কবিতাই তার কবি বিদ্রোহকে বা বিদ্রোহসত্তাকে জাগ্রত করার একমাত্র মাধ্যম। কেবল বিদ্রোহী কবিতার আদ্যোপান্ত অনুপুঙ্খ বিশ্লেষণ করেই নজরুলকে পরিপূর্ণভাবে বিদ্রোহী হিসেবে চিহ্নিত করা উচিত নয়। নজরুলের মধ্যে বিদ্রোহী চেতনা কাজ করার ক্ষেত্রে কোন-কোন অনুষঙ্গ প্রাধান্য পেয়েছে এবং পারিবারিক আবহের পাশাপাশি তার ব্যক্তি চরিত্র এবং ব্যক্তি অভিজ্ঞতা কতখানি ক্রিয়াশীল ছিলÑতা আমাদের অবশ্যই ধর্তব্যের মধ্যে আনতে হবে। নজরুলের জন্মের পর থেকে সম্পূর্ণ প্রতিকূল পরিবেশের মধ্যে তার বেড়ে ওঠা এবং বহু বর্ণিল এবং বৈচিত্র্যময় বাধা সঙ্কুল আবর্তে ঘুরপাক খাওয়ার পরিপ্রেক্ষিতে তার ভেতর তিল-তিল করে দ্রোহ জমা হয়েছিল। এর পাশাপাশি পরাধীনতার গ্লানি থেকে দেশকে মুক্ত করার জন্য তার যে প্রাণান্তকর চেষ্টা এবং ইচ্ছা যুগপৎ কাজ করেছিল, যা তাকে অনিবার্যভাবে বিদ্রোহী করে তোলে।

বাংলা অঞ্চলে গড়ে ওঠা সাহিত্যিক আধুনিকতার স্কুলটি মূলত ঔপনিবেশিক আধুনিকতার শস্য। নজরুল ছিলেন সেই স্কুলের অবাধ্য ছাত্র। কেন, কীভাবে তিনি অবাধ্য? কী তাঁর নন্দনতাত্ত্বিক অবস্থান? বুদ্ধদেব বসুদের ঘরানার সঙ্গে নজরুলের অবস্থান পার্থক্য কোথায়? এই সব প্রশ্নের জবাব খোঁজা হয়েছে লেখাটিতে। প্রবন্ধটি বেশ আগে লেখা, যদিও প্রকাশিত হয়েছে অনেক পরে।

The article attempts a comparative study on Bangladesh’s National Poet Kazi Nazrul Islam and Martinican poet Aimé Césaire, evaluating how root, resistance and revolution become the central themes in their poetry. Both Nazrul and Césaire were poet-activists and major figures of anticolonial movements in two different contexts. The main objective of the study is to show that both the poets possess resisting voices articulated powerfully in their poetry in the context of colonial occupation and oppression. The article also points out how they were committed to their cultural root and thus produced verses calling the respective colonised nations to come into being by constructing identity, e. g. Negritude in the case of Césaire and Bengaliness in the case of Nazrul. The methods of the new comparative literature outlined by Steven Totosy de Zepetnek are adopted in doing textual analysis, subverting the Eurocentric approach to comparative literature. As a whole, the article contends that a comparative study on the writers or poets from similar backgrounds, e. g. ex-colonies, is more nuanced than the study attempting to standardise the works of a third world poet in comparison with those of a first world/Western poet.

The Bengal Renaissance is an important period during the time of the 19th century. The "Renaissance" term here has been applied to show the similarity of the Italian Renaissance in Bengal during that time. Many historians believe that the Bengal Renaissance occurred and ended in the earlier period of the 19th century, but it is relevant to say that the Bengal Renaissance continued throughout that century and finally ended during the last quadrant of the 19th century. Kazi Nazrul Islam, who was a feminist, communist, romanticist and revolutionary poet of Bengal, had many similarities with the literary works which had been occurred during the Bengal Renaissance. Nazrul's revolutionary poems had many similarities with and influences of the Bengal Renaissance. Despite Kazi Nazrul Islam not being a poet of the Bengal Renaissance, his revolutionary poems have the influences of that era. Through my work, I intended to show that the connection between Nazrul's and the literary works which had been occurred during the time of the Bengal Renaissance. This is a literature review and I thought that it would help many students who will research the themes which are relevant to this topic.

প্রধানত নজরুলের বিখ্যাত ‘মানুষ’ [সাম্যবাদী] অবলম্বনে, এবং গৌণত অন্য রচনা অবলম্বনে এ প্রবন্ধে দেখানো হয়েছে যে, যেভাবে নজরুলের ক্ষেত্রে ‘মানবতাবাদী’ কথাটা ব্যবহৃত হয়, তা ভ্রান্ত।
বরং ‘মানুষ’ কবিতায় হিন্দু-মুসলমান সম্পর্কের মতো ‘জাতীয়তাবাদী’ এবং বিশেষ ঐতিহাসিক বাস্তবতাই বড় হয়ে উঠেছে।

This is a paper on judging the Bengali rebel poet, Kazi Nazrul Islam, as a silent campaigner of the necessity of preaching Islam in the vernacular, in this case, Bengali, for which I have often used the other word, 'Bangla'. I've argued that though Nazrul is singularly famous for his rebellious voice against political and religious doctrines that facilitate the exploitation of the poor by the rich, he side side by pursued, rather silently, the objective of rendering the spirit of Islam, its universal humanitarianism, in the Bengali language, through his songs and poems, and also through his translation of the Kabya Ampara, a number of chosen verses from the Holy Qur'an. This he did with the strong conviction that a religion, whatever may be its language or place of origin,  is best understood in the follower's own mother tongue.

The National poet of Bangladesh Kazi Nazrul Islam (1899-1976), popularly known as Vidrohi Kobi (The Rebel Poet), was no less creative in his prose. He wrote nineteen short stories, three novels and five books of essays. Alongwith those we have got a good number of speeches by him that he delivered on different occasions and a total of seventy seven letters that he wrote to different people. In all these prose works Nazrul has proved his genius regarding their forms and contents. As his poetry does, his prose also exposes his rebellious attitude and protest against the established values and customs. His belief in the freedom of India, progressivism, liberalism,  women’s liberation and communal harmony has been delineated scatteredly through all his prose works.

Roland Barthes in his book “Mythologies” states that the dominant culture recreates pop culture and this recreation is done in a way that it works as a comfort blanket for the bourgeoisie. According to him, signs removed from a proper context give a different meaning. In the process of creating myth the dominant culture removes the historical and factual background of an artwork or discourse and establishes its own comfort zone. On the other hand, Stuart Hall in his essay “The Spectacle of the ‘Other’” critically analyzes how we (the dominant culture) see the other people (‘other’ stands for the minority in terms of culture, race, gender, disability etc.). Hall observes that the dominant discourse represents the ‘other’ through its own perspective and uses stereotyping as a tool to fix differences. In post liberation war Bangladesh, Kazi Nazrul Islam was made the National poet. But the irony is that Nazrul was not a nationalist and he never believed in borders. Moreover, his image has been built as a Muslim poet who praises the God and His Messenger in numerous poems and songs. But the truth is that Nazrul was not a practicing Muslim during his lifetime, rather he was more of a Kali (the other name of the Goddess Durga, the Goddess of strength) worshipper. Nazrul is established as a revolutionary poet but his songs and poems on love and devotion outnumber his revolutionary poems by a huge scale. Nazrul was fond of wine and women and Nazrul did not care about the law and religion, Nazrul married a woman from another religion and Nazrul never trusted the government, Nazrul was a living denial of norms set by the society, The society of his time disapproved of Nazrul’s lifestyle and thinking. But within a century the dominant culture has successfully accommodated Nazrul and reshaped him as a cultural icon, in other word, mythologized him. This essay is going to explore how Nazrul was reshaped and redefined as a cultural icon of this country from the perspective of Barthes and Hall.

[‘Amar Dhormo’ ( My Religion ) was first published in Dhumketu ( The Comet) on 01 Agrahayan of 1329 (AD 1922). After some months of his unsuccessful marriage with Nargis A’sar Khanam, Nazrul himself published this bi-weekly in which Afzalul Huq was the printer cum publisher and Shantipada Singha was the manager. The publication of this bi-weekly created much excitement among the readers especially the youths. It was simply a historic event in the socio-political milieu of the then Bengal. About Dhumketu Serajul Islam Choudhury says, “It approached the middle class youth of Bengal in a very direct manner, talking of revolutionary violence, though not of a social revolution. Nazrul Islam undertook to do in journalism what terrorists of his own age were doing is a more secret area of operation.” (Nazrul Islam: Poet and More, Nazrul Institute, 1994, P-53). In its 26 September issue of 1922 Nazrul wrote a poem Anandamayeer Agamane (On the Coming of the Goddess of Joy) for which at last the bi-weekly was prohibited and Nazrul was arrested. He was given a sentence of one year imprisonment.
‘Amar Dhormo’ was published in Dhumketu on 17 November, 1922. The essay helps a lot to evaluate Nazrul’s attitude to religion as well as to his ideas about humanity. It was later on included in the essay-book Dhumketu (1960). In the Nazrul Rochonavoli (Works of Nazrul) Vol-4 published by the Bangla Academy, Dhaka the essay has been published under the title ‘Probondho’ (Essays)]

গল্পসাহিত্যে কাজী নজরুল ইসলাম স্বল্প আলোচিত নাম। বিশ শতকের বাংলা ছোটগল্পের পরিণত পর্যায়ে গল্পকার নজরুলের আবির্ভাব। নজরুলের সমকালে অন্যান্য গল্পকারদের ধারা থেকে তাঁর গল্প লেখার পথ ও দৃষ্টিভঙ্গি দৃষ্টিগ্রাহ্যভাবে স্বতন্ত্র। তাঁর গল্প আদৌ গল্প হয়ে উঠেছে কিনা এ-নিয়ে যথেষ্ট আলোচনা হয়েছে; আরও আলোচনার সুযোগ আছে। বিষয় ও প্রকরণ দ্বিবিধ দিক সাহিত্যবিবেচনার নতুন নতুন প্রবণতা অনুযায়ী নজরুলকৃত গল্পগুলো পর্যালোচনা করে কথাসাহিত্য ও গদ্যচর্চায় নজরুল-মানসের অনুদ্ঘাটিত দিকগুলো অনুধাবন করা সম্ভব। প্রচলিত প্রকরণনিষ্ঠা থেকে বেরিয়ে নজরুলের গল্পপাঠ পাঠক-মানসে যোগ করে সাহিত্যপাঠের নবতর মাত্রা।

কাজী নজরুল ইসলাম সমগ্র বাংলায় খ্যাতি পেয়েছেন বিদ্রোহী কবির। অভিষিক্ত হয়েছেন বাংলাদেশের জাতীয় কবির মর্যাদায়। তার সৃষ্টিকর্ম বাঙালি মুসলমানদের জীবনে আজও যুগিয়ে চলেছে নিরন্তর প্রেরণা। ছোটগল্প, উপন্যাস, নাটক, প্রবন্ধ-নিবন্ধ লেখা এবং সাংবাদিকতা করলেও তিনি মূলত কবি হিসেবেই খ্যাতিমান। বাংলা কাব্যে তিনি এক নতুন যুগ সৃষ্টি করেন। বলা চলে, ইসলামী সঙ্গীত তথা বাংলা গজল রচনার পথিকৃৎ তিনি। নজরুল প্রায় তিন হাজার গান রচনা এবং সুর করেছেন। সঙ্গত কারণেই তার কবিতার বিশাল অংশজুড়ে স্থান পেয়েছে ইসলাম প্রসঙ্গও।

নজরুল তার প্রথম কাব্যগ্রন্থ ‘অগ্নিবীণা’ দিয়েই বাংলা সাহিত্যে স্থায়ী আসন করে নেন। এ কাব্যগ্রন্থের অর্ধেক কবিতাই ছিল ইসলামী কবিতা। এগুলোর মধ্যে উল্লেখযোগ্য হচ্ছে- ‘রণভেরী’, ‘খেয়াপারের তরুণী’, ‘মোহররম’, ‘কোরবানী’, ‘শাত-ইল-আরব’ ‘কামালপাশা’, ‘আনোয়ার’ প্রভৃতি কবিতা। এছাড়াও ‘বিশের বাঁশী’, ‘ফাতেহা-ই-দোয়াজদহম’ ‘জিঞ্জির, ‘ঈদ-মোবারক’, ‘আয় বেহেশতে কে যাবি আয়’, ‘চিরঞ্জীব জগলুল’, ‘খালেদ’, ‘ওমর ফারুক’, ‘সুবহে সাদেক’, ‘আমানুল্লাহ’ এবং হজরত রাসুলুল্লাহ (সা.)-এর জীবননির্ভর বিখ্যাত কাব্যগ্রন্থ ‘মরু-ভাস্কর’ ও ‘নবযুগ’ সহ বিভিন্ন পত্র-পত্রিকা এবং কাব্যগ্রন্থসমূহের আরো অনেক উজ্জ্বল কবিতা ইসলামী ঐতিহ্য, ইসলামী ভাব, ইসলামী জাগরণ, আল্লাহ ও রাসূল ভক্তি নির্ভর প্রচুর কবিতা রয়েছে।

This paper offers a ‘chaotic’ reading of the presence of Persian imageries in the poetic oeuvre of Kazi Nazrul Islam, the national poet of Bangladesh. Tracing the spatiotemporal movements of Persian, or Farsi (endonym), language and literature in South Asia, the paper reads the aesthetics and the politics of Farsi imagery in Nazrul’s poetry.
. 
The paper unfolds in three sections. The first section, “‘Come, tell me what it is that I have gained’: Farsi Literature vis-à-vis Bangla Literature” offers in two sub-sections a short survey of the presence of Persian literature and language in South Asian Bangla language poetry. The first sub-section traces the influence of Persian literature, especially that of Jami, on medieval Bangla poetry, e.g. Shah Muhammad Sagir’s Yusuf Zulaikha, Daulat Uzir Bahram Khan’s Lailee-Majnu, and Alaol’s Padmavati. The second sub-section notes how several Muslim Bangalee poets including Farrukh Ahmed, the Poet of the Muslim Renaissance during British Raj, have made efficient use of Persian words and images. The second section, “‘So that their drunkenness was mine’: Farsi Poetics and Kazi Nazrul Islam” samples Farsi words as well as ‘sense’ imageries and metaphors, chiefly culled from Khayyam, Sa‘di, and Hafez (his Muse), that are abound in Nazrul’s poetry. On one hand, Nazrul shared the Farsi poets’ proclivity for visual imagery; on the other, in a bid to foreground acoustic pleasure, he risked transgressing poetic decorum and interspersing Farsi words that help enhance rhyme and rhythm. Taking cues from the preceding sections, the third section, “‘I will be the bulbul of dawn’: The Political Aesthetics of Farsi Imagery in Nazrul’s Poetry” demonstrates how Nazrul’s use of Farsi in Bangla poetry during Anglophone British colonization endorses ‘trialogic’ pluralism. The paper situates Nazrul in between the medieval Bangla poets who invested sufistic spiritualism with humanistic concerns and several modern Muslim poets who made use of Persian imagery to destabilize British colonization and to endorse Islamist nationhood with a view to underscoring how Nazrul in his deft use of Farsi words, images and metaphors promotes a poetics and a worldview that are both rooted and inclusive and globalectic also. 
. 
Gathering insights from Chaos Theory, the paper re-views Nazrul’s use of Farsi literary figures in Bangla poetry – frowned upon by many including Rabindranath Tagore – as a venture of chaotic imagination. Invested with inspired originality and monstrous spontaneity, Nazrul emerged as at once a gate-crasher and a town-founder who dared the ‘edge of chaos.’

Much has been written on Kazi Nazrul Islam in terms of his poetry, political activism, and depending on the author, his spirituality as either a Muslim mystic or his devotion to the goddess Kālī as a bhakta. There are also those that insist that he was only a Muslim, or only a Hindu, each side sometimes attempting to claim him as their poet. His involvement in both traditions is often explained away as poetic whimsy or a tool of political advantage. In this paper I examine Nazrul's life and poetry, exploring themes of belonging and spiritual complexity in order to elucidate the value of the liminal spaces formed by religious interchange and common purpose. Importantly, this essay examines Nazrul's religiosity as he expressed it and while I do not attempt a theological evaluation of his orientation, it does become clear that there is theological value in it that offers a meaningful contribution to the contemporary study of religion and interreligious engagement, interchange, and dialogue.

[‘Bangla Sahitye Musolman’ (Muslims in Bangla Literature) is one of the editorials that Nazrul wrote in the evening daily Novojug (The New Era). Navojug, financed by Fazlul Huq, was first published on 12 July 1920 under the direct supervision of Kazi Nazrul Islam and Muzaffar Ahmed  (1889-1973), a senior Communist. The daily could not continue for long. Most of the editorials that Nazrul wrote for this newspaper were later on published in the book-form having a title Jugovani  (The Message of the Age) in 1922. Not long after its publication Jugovani was banned by the British Government in November 1922. The prohibition was withdrawn in 1947. ]

But if we take a look only at 'Bortomaan Bishwoshahityo' we will see that, there he not only mentioned about the literatures composed in various languages of Europe, but made a classification and simplification of those literatures and litterateurs also.

Kazi Nazrul Islam, the national poet of Bangladesh, popularly known as Nazrul-the rebel poet, is undoubtedly one who may rightly be called as one of the greatest “poets of people” of the world. He was the first poet in Bengali literature that used extensive Arabic and Persian words to express his views and to create a Muslim renaissance within the whole Bengali nation. He was a multi-lingual poet. That’s why we see huge Arabic, Persian, Hindi, Sanskrit and Urdu words, even sentences in almost everywhere of his literature. This article is about the Persian words that Nazrul had used in his poetry. Though the majority of his poems consists of more or less Persian words, in this article, we discussed five of his poems named Shat-il-Arab , Moharram , Kamal Pasha , Qorbani and the 12 th Fateha that has most Persian words comparatively.

Kazi Nazrul Islam, the national poet of Bangladesh, appears as a blazing comet in Bengali literature; his fiery pen earns him the title “Rebel Poet”. Nazrul as a rebel fights for the freedom of humankind from all forms of chains and strives to bring people to an even platform where privileges will be shared by equal distribution of wealth. Born in an orthodox Muslim family and married to a Hindu woman, Nazrul dismisses all institutional religions and spares no effort to bring Hindus and Muslims together. He fights not only for the unity and fraternity amid different communities but also for the absolute mélange of Hindu and Islamic civilization. He urges all to conquer the boundary of Hindu-Muslim identity by understanding the high values of Humanism. He believes that all are human beings before they are Hindus, Muslims, Sikhs, Christians, men, women, or black, white, rich, poor. His great concern is to establish peace and harmony driving away dogmatism and fanaticism. This paper is an attempt to show how Nazrul, influenced by humanism, seeks the abolition of communalism, and how he struggles to bring peace and harmony casting away dogmatism and bigotry.

Kazi Nazrul Islam (1899-1976) is mostly acclaimed and remembered for his poetical works though his prose is no less significant. Due to his huge popularity as a rebellious poet, he began to write a huge amount of poetry which resultantly deployed him in different social and literacy activities, even in politics. As a result his prose works went out of the sight of the literati of the then Bangali society. Along with his fictional works, his non-fictional writings are also very noteworthy. He wrote only three novels and nineteen short stories. If we have a close reading of his novels and stories, we will see that Nazrul imported a great many elements which were inconceivable in Bangla fiction till then.

Gītā is much more than a 'national book' to the Hindus. It need not be declared to be so, now. On the other hand, to the non-Hindus, it may or mayn't mean anything at all. Therefore it is unjustified to take any such step and make it a 'national book'. It is merely a book of a sect of Hinduism, although it enjoys a superior position among the Hindus in general. Whatever be the case, India is a secular country and such 'ati-bhakti' should be avoided at all costs.

As Nazrul did not get much opportunity for institutional education, there have been ample of controversies among many of us about his efficiency in English. But we should not forget that, at the age of about 21 only during the year 1920, Nazrul used to translate articles from an English magazine named The Englishman. It is a sorry saga that most of the critics opine that, Nazrul did not read or realize the literature composed in English or other European languages appropriately. Even mentioning his 'Bortomaan Bishwoshahityo' (Contemporary World Literature), many Nazrul experts comment that, his depth of study in foreign literature was insignificant. But if we take a look only at 'Bortomaan Bishwoshahityo' we will see that, there he
not only mentioned about the literatures composed in various languages of Europe, but made a classification and simplification of those litterateurs and litterateurs also.

The article argues that poetry as a literary and cultural production can be an effective tool for resistance and revolution against the backdrop of postcolonial or neo-colonial context since it directly communicates with the masses. In this regard, it is worth exploring Kazi Nazrul Islam as a self-proclaimed rebel in relation to his contribution as a poet-activist to the awakening of revolutionary spirit in world literature in general and Bengali literature in particular. The article demonstrates how Nazrul transcends the common binary of the colonised and the coloniser and dwells in a space in which his poetic spirit blooms with boundless force and ferocity. The study further claims that Nazrul, for the first time in the history of national independence struggle in British India, demanded complete independence of Indian subcontinent openly in a newspaper (Dhumketu) article. It also argues that Nazrul’s poetry poses a vital threat to both colonial and post-colonial or neo-colonial administrations in a global context. It, thus, points out the relevance of reading Nazrul and incorporating his message into national psyche in order to thwart neo-colonial practices and elements of discrimination, exclusion and oppression.

Kazi Nazrul Islam is the National Poet of Bangladesh who is well known through out the world for his non-compromising literary and other works for the greater interest of the mankind. He may be cited one of the top most persons whose works, philosophy and literary works can turn into the world as the most comfortable destination for all.

Commercial signs (signboards, billboards, banners, posters, and the like) are powerful tools for drawing attention of buyers, visitors and passersby at home and from abroad. They also reflect certain aspects of any society's values and structure. Therefore, choice of language or expression in them is of crucial importance. In one hand, catchy and right choice of language in signs magnetizes the buyers and viewers, and disgusts and de-motives them if they contain any faulty, puzzling and wrong choice of language on the other. As far our observation goes, the language of signs, particularly mistakes and errors of different patterns distinctly noticeable in them is relatively an unexplored area in the field of academic research in Bangladesh. Therefore, this paper aims at investigating into the patterns of errors and mistakes observed in the English texts of signs in Bangladesh. We think these mistake and errors mostly occur because of carelessness of the shop owners, business entrepreneurs and sign text writers. Therefore, being encouraged by our study, we hope the concerned authority will make them aware of these mistakes and errors. In order to obtain data, our study has taken snapshots of signs from several roads of Chittagong city in Bangladesh. The data have been analyzed descriptively using observation method and following the qualitative methodology.

Kazi Nazrul Islam (1899-1976) is mostly acclaimed and remembered for his poetical works though his prose is no less significant. Due to his huge popularity as a rebellious poet, he began to write a huge amount of poetry which resultantly deployed him in different social and literacy activities, even in politics. As a result his prose works went out of the sight of the literati of the then Bangali society. Along with his fictional works, his non-fictional writings are also very noteworthy. He wrote only three novels and nineteen short stories. If we have a close reading of his novels and stories, we will see that Nazrul imported a great many elements which were inconceivable in Bangla fiction till then.

the low-voltage transmitter and receiver interfaces between the modem digital signal-processing engine and the high-voltage hybrid circuitry for either the central office or the remote terminal ends of the subscriber loop, configurable by metal mask option. Extensive use of digital interpolation filters in the transmitter, decimation filters in the receiver, and oversampled data converters minimize the complexity of analog filters. On-chip filtering and 14-bit data converters support echo-canceling modems without requiring external filters. With additional external filters, frequency-division duplexing is also supported. The die area is 67.5 mm P. The power dissipation in the central office and remote terminal are 600 and 760 mW, respectively. Index Terms — Asymmetric digital subscriber loop (ADSL), analog-digital conversion, analog integrated circuits, broadband communication, CMOS analog integrated circuits, Codecs, digital-analog conversion, digital filters, mixed analog-digital ...

Abdul Quadir (1906-84) was a poet-prosodist, essayist, editor, journalist, literary critic, bibliophile and collector of literary works. He came from Araisidha-the village where I was born-in the district of Brahmanbaria, so I feel a special affinity with him. The homes where he and I spent our childhoods are within 200 metres of each other. I grew up with the pride that our village produced this great poet and writer. Unfortunately, much to the peril of our understanding of the history of twentieth-century Bengali literature, he is not widely known and is somewhat neglected in literary scholarship. Had he been born in a country like Britain and contributed to English literature the way he did to Bengali literature, I presume he would have been remembered as an outstanding literary figure both in his country and abroad-both during his lifetime and afterwards. It seems that we Bangladeshis have collectively failed to make adequate conscious efforts to preserve and promote the wealth of our creative cultural traditions. We have fallen short of making the most of our intellectual gurus and their works.