The divergence of philosophy of art:
Some thoughts of
Abul Mansur AhmadDr. Mohammad Omar Farooq
February 2000
[The following translation was done in the context of a Topic of the Month discussion on Shetubondhon]
Dear Shetubondhon Friends,
Salam and greetings.
This series of excerpt might be better understood in light of the one of recent, excellent article of Kaushik Sen, MD "Towards Shetubondhon: Some Reflections on our history and culture". He wrote: "Take a look at both divided and undivided Bangladesh of the second half of the last century, you will see the message of revolution written on every wall. Sometime there was the clamor of religious purity, and we fought. ... May be we made many mistakes, but our main heritage has merged with the main spirit and heritage of Islam: egalitarianism, simplicity, brotherhood and social justice. The bloody history of Bengal is the testimony to that fact." [Feb 2, 2000]
In this part "The Divergence of Philosophy of Art (shilpa)", Abul Mansur Ahmad articulates some of the reasons why a distinctive literatures is needed for Bangladesh (that is, the then East Pakistan) and why Nazrul was able to touch the chord of this nation in pursuit of its distinctivess.
Once again, one does not have to agree with every single aspect of his articulation, as I myself do not. However, one should focus on the main thrust of his articulation. Also, it might be a good idea to read the entire four parts of this series of excerpt to have better understanding and appreciation of the author's theme.
The divergence of philosophy of art: Some thoughts of Abul Mansur Ahmad
"Yet, the fact is that Muslims cannot regard that literature as their national literature. Because renunciation-asceticism-devotionalism-love (the way it's narrowly focused on romance) - howevermuch high ideals those are - cannot be the ideals of Muslims' life. Just like the Hindu religion is of renunciation and asceticism and of Munis and saints, the religion of Muslims is of the truth, justice and of Jihad (striving) and martyrdom. The way beauty-worshipping, art-loving, Hindu culture is individualistic,
Muslim culture is not similarly individualistic. Truth- and justice-seeking, welfare-oriented Muslim culture is society-oriented. That is why to Muslims, art is not for the sake of art; art is for the society. This orientation toward human welfare has rendered Muslims into activists, not devotionalists.
That is why the social edifice of Muslims is not based on renunciation, asceticism, or charity (dan-dokhkhina). It is based on truth and justice. Woman is not viewed by Muslims as deity (devi) or the monster of mystery-land. She is human. Howevermuch, widows and "sati"s are worshipped as living devis, Muslims feel that (for example) until their inheritance and contractual marriage-gift (mahr) are taken care of, those women have been treated unjustly. Like other members of the society, it is possible to seek the heart of women through truth and justice, or rights and
egalitarianism. ...
Muslims generally feel that the inactive, lazy, sleepless aristrocrats have rendered the hearts of women mysterious and romantic love for women problematic. ... Muslims of Bengal are not the work-apathetic aristocrats who have unearned wealth and ample leisure (to pursue such abstract love). Therefore, love of women is neither scarce, not the heart of women is a mysterious castle. That is why this literature has not succeeded in inspiring the Muslim society and mind. It's no wonder that even seeing the neighbor Hindu brother dance in ecstacy at the love of Radha-Krishna, not one chord of Muslim society and mind has been affected. That is why the
great appeal of the world-poet "matha noto kore dao he tomar choron-dhular tole" has not induced a single Muslim to bow his head even one inch.
Instead, when an unknown, stranger boy suddenly roared oneday, "Bolo bir, chiro unnoto momo shir", that day the impoverished, wearied, sleepy, and half-dead Muslims suddenly started to wake up, and while rubbing their half-opened eyes, joined the resounding chorus "unnoto momo shir". This is because it's the cry of the sleeping baby in their souls. It is no less than their life-beat. That is why the sudden emergence of Nazrul Islam shook up the Muslim society and mind so much. In view of Muslims, happiness and sorrow, darkness and light, laugh and cry, their angelic and devilish dimension, their nobility and valiance, their humility and insignificance,
their pursuit and struggle -- all these aspects of life are foundations for literature, and it is on this holistic foundation of life Nazrul Islam created his literature. It is primarily for this reason Nazrul Islam is the first national poet of East Pakistan."
[Abul Mansur Ahmad, Bangladesher Kalchar, Ahmad Publishing House, 1966, pp.
163-168.]
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