Muslim Poets in Modern Bengal

Political reasons caused a difference between the Hindu and Mahommedan communities in Bengal even in the manner and matter of educational development since the beginning of British rule. The Muslims did not take to English education as readily as the Hindus did–partly because of antipathy to a race who had robbed them of political power, and otherwise because of fear of loss of cultural integrity. English education, however, by the introduction of western ideas, definitely influenced the literary development of Hindus in a way not shared by Muslims, so that the latter were more or less cut adrift from the course of development of Bengali language and literature, except for some old-style writers such as the poet Kaikobad. The twentieth century, however, has witnessed a wonderful revival; and though not much of abiding value has yet been accomplished in the sphere of fiction and short stories, beginnings have been made and will doubtless lead to solid fruition. In the realm of poetry, however, not unnaturally according to the law of human self-expression, great results have already been achieved; and here a brief resume of the outstanding achievements is proposed.

Easily the first if also the senior-most among the modern Bengali Muslim poets is Nazrul Islam, once a soldier, who, by his ‘Poems of Revolt,’ as they were very aptly called, took the province about two decades ago literally by storm. His poems of nationalism greatly influenced the rising generation. Since then he has calmed down, and produced poems of nature and of love, much of which is of great inherent quality. Of late he has settled down to composing songs, introducing into Bengali music new tunes such as those improvised from Persian ‘Gazals.’ His contributions in both these spheres have been great indeed.

Jasimuddin, who is a Professor of Bengali at the University of Dacca, is a class by himself. He has been by far the first in Bengal to depict the lives of the village-folk in simple, enchanting poetry to which the importation of village phraseology has added reality. He has also done important pioneering work in getting village songs and tunes recognized and cultivated as a part, which they undoubtedly are, of our national heritage.

Both through prose and poetry, Mohiuddin portrays, in a vivid and pungent style, the lives of people whom the present socio-economic system has deprived of even the bare means of subsistence. He has also described the moral and cultural implications of that system in its wider range. He is a labour–and peasant-worker himself, and brings to his writings the reality of first-hand experience.

Benazir Ahmed, who has had a chequered and daring political career, has distinguished himself by writing revolutionary poetry–in prison he composed poems since published with the title ‘Bandir Banshi,’ meaning ‘The Flute of the Prisoner.’ To these he has recently been adding poetry of the abiding aspects of village life.

Abdul Quadir, a distinguished writer in prose, writes poetry with a natural serenity. Bande Ali Miah has written of village life and of love. Golam Mustafa is a poet of recognized merit. Humayun Kabir, a Professor of Philosophy at the Calcutta University, well known in politics, has also earned distinction as a poet, though he is considered to be considerably under the shadow of the master who of course leaves his mark on almost everything of his age–the great Tagore.

Mahmooda Khatun Siddiqua is a poetess of note, but the palm must be given to Mrs. Sufia N. Hussain who is very probably the leading poetess in present day Bengal. Mrs. Hussain’s poetry breathes a sweetness of pathos in a setting of varying and beautiful Nature, which immediately captures the reader’s imagination and leaves a resonance in his mind.

While these belong to the rising generation, signs of decided merit are visible in some very young poets including Farrukh Ahmed whose productions show great intuition and are of a high intellectual level; Ahsan Habib, who looks at facts in the face and knows how to tell them; and Shaukat Osman who observes the men and things around him in a historical perspective and gives cogent expression thereto.

The brilliant development of Bengali poetry by Muslim poets has been in the nature of a renaissance, indicative of the growth of national life by participation therein of sections of the people whom historical causes had until some time ago kept aloof. It has all the force of a resurgence; and it has a rural air born of the rural life that has come to find expression therein. It is nationalist to the core, and more thoroughly of the people than naturally the literature created by the middle-class Hindu has been. And its possibilities are immense.

Some controversy has centred round the importation of Arabic and Persian words into Bengali literature, and unfortunately, as it often happens in this hapless land, it has tended to assume a communal colour. The example in this respect had, however, been set by some prominent Hindu writers themselves; and it cannot be gainsaid that Arabic and Persian words have profitably added to the none-too-full Bengali vocabulary, and given Bengali literature a new emphasis, a new richness of tone. A deliberate and unnecessary use of foreign words has been condemned by prominent Muslim writers themselves; and it cannot be denied that such words as have been aptly used to develop the atmosphere of Islamic life and tradition, and generally for the sake of emphasis, have speedily naturalized themselves. This certainly has contributed to the fullness of national self-expression; and charges that have sometimes been made of danger to our cultural purity and integrity must be dismissed as absurd, having their origin in communal exclusiveness.