A Journal of Mahatma Gandhi Antarrashtriya Hindi Vishwavidyalaya
A Journal of Mahatma Gandhi Antarrashtriya Hindi Vishwavidyalaya A Journal of Mahatma Gandhi Antarrashtriya Hindi Vishwavidyalaya
Replying to this, Gandhiji in ‘Young India’ said— “ the poet lives in the future, and feels, we too, should do the same. He sketches the beautiful picture of the morning bird before our appreciating eyes. The bird who soars in the skies sings with rapture. But these singing birds have already fed themselves for the day, their tired wings have taken rest as well, and fresh blood runs in their veins. But I have the misfortune to see those birds of flight whose wings have become so weak, that they cannot soar in the sky. In India the human bird who pretends to sleep under the sky at night, is very weak. And when he gets up at morn he is weaker still. For millions of people living under the sky of India, their lives are either an endless waiting or a dejected stupor. Under the prevailing conditions, it is impossible for me to offer the consolation of Kabir’s Bhajans to the suffering millions”. If, anyone has accurately portrayed with compassion, Gandhiji’s hungry, starving birds, capable of soaring the skies, but groveling beneath, it is Premchand. Like Gandhiji, Premchand too, was concerned with the existing reality. Premchand’s gaze was focused on reality of his motherland, where, millions of people were passing through a phase of endless stupor, living in a state of unconsciousness. Unlike his contemporaries, he could not enjoy the luxury of leaving his suffering millions behind, in order to soar in the rainbow-colored skies, and bask in its glorious beauty. Premchand lived in ground reality and hence renounced high flights of imagination. In order to depict reality vividly, he took the risk of adopting realism in an age that was chiefly romantic. Namwar Singh, born 1926, at village Jeeyanpur, Varanasi, is the most prominent literary critic of Hindi. His scholarly stature is revealed in the literary discourses he has undertaken. His views have often resulted in creating a point of departure to the stereotypes of literary thought. He has been professor of Hindi at Sagar, Jodhpur and Jawaharlal Nehru Universities, where he is professor emeritus as well. At present he is Chancellor of M.G. Antar-rashtriya Hindi Vishwavidyalaya, Wardha and Chief Editor of ‘Alochna’ a quarterly magazine of literary criticism. He writes pre-eminently in Hindi. Some of Dr. Namwar Singh’s published works are: ‘Bakalam Khud: Hindi ke vikas mein apbhransh ka yog’; ‘kahani, nai kahani’; ‘kavita ke naye pratiman’; ‘doosri parampara ki khoj’; ‘chhayavad’; ‘vad, vivad, samvad’; ‘kehna na hoga’; ‘alochak ke mukh se’; ‘Hindi ka gadyaparva’; ‘zamane se do do hath’; ‘kavita ki zameen aur zameen ki kavita’; ‘premchand aur bhartiya samaj’. He lives in New Delhi. He has received a great number of literary honours. 44 :: January-March 2012
Discourse THE CONCEPT OF INDIANNESS IN THE HINDI NOVEL Satyakam The birth of upanyas (Novel) in Indian languages in general and Hindi in particular is a discourse arising out of the reformist movement of 19 th century and freedom struggle against colonial rule in India. Talking about Novel in India or Indianness and uniqueness of Indian Novel in general and Hindi Novel in particular, one has to go back in history and venture for the tradition of story telling and writing in Indian subcontinent. The tradition of story telling in India goes way back to the time of before Christ. As per the Indian mythology the first great story teller (kathak) is Lord Shiva who told an epic story to his wife Parvati and it was converted into script by Gunadhya as Brihad Katha (vast story,originally written in a paishachi prakrit in 495b.c. ) This traditional mode of Katha (fiction) in India developed into kissa, kahani, , charit, kadambaree, dastaan etc. The other mode of story is called akhyaan(story with the input from historical reality close to the word ‘Realism’ which became the yardstick for Novel in later time). Mahabharat, Ramayan, Harshcharit, kadambaree, Dashkumarcharit are the examples of akhyans of India .These are some of the examples of the greatest and finest tradition as well as rich heritage of depicting contemporary society through fables and fiction. Although these pieces have been written in Sanskrit and mostly in poetry, but in narrative style, may be depicted as the Early Novels(upanyas) in India. The word katha and akhyayika (different types of style January-March 2012 :: 45
- Page 1 and 2: A Journal of Mahatma Gandhi Antarra
- Page 3 and 4: L A N G U A G E DISCOURSE W R I T I
- Page 5 and 6: Editor's Note ‘Hindi’ is primar
- Page 7 and 8: Heritage EK TOKRI BHAR MITTI Madhav
- Page 9 and 10: Discourse THE IMPORTANCE OF MADHAV
- Page 11 and 12: nationalism into literature; societ
- Page 13 and 14: 1. History of India, and other coun
- Page 15 and 16: anch of knowledge— natural and so
- Page 17 and 18: country, growing indignation at the
- Page 19 and 20: the consciousness of the colonized
- Page 21 and 22: and we rise above religious dogma,
- Page 23 and 24: forces of liberty and patriotism tr
- Page 25 and 26: his thoughts boldly, without fear.T
- Page 27 and 28: characteristics of the age in which
- Page 29 and 30: For, when father having been engage
- Page 31 and 32: and panegyrists going and singing p
- Page 33 and 34: I burst forth, ‘‘Aha, Niuniya!
- Page 35 and 36: aid. The flower was punished forthw
- Page 37 and 38: years in this guileful world I roam
- Page 39 and 40: form. Now, once again there was a s
- Page 41 and 42: Discourse LIFE AND IDEALS OF PREMCH
- Page 43: and the train also arrived, but cou
- Page 47 and 48: of first novel goes to the Genji Mo
- Page 49 and 50: untouchable boy. The boy is from
- Page 51 and 52: eligious leaders. Premchand in his
- Page 53 and 54: · Partition of India and growth of
- Page 55 and 56: 2) Ghar ki Raah, Indra Basawada, Sa
- Page 57 and 58: Sahai, Nagendra, Bhagwat Sharan Upa
- Page 59 and 60: two women (Rekha and Gaura) simulta
- Page 61 and 62: significant. Since real aspects lik
- Page 63 and 64: Another very major challenge that e
- Page 65 and 66: students of Dacca University had ta
- Page 67 and 68: Culture THE BHARATNATYAM HERITAGE I
- Page 69 and 70: and her husband also migrated to Ho
- Page 71 and 72: for her has been the one at Chidamb
- Page 73 and 74: long years? Pallav—Did it reflect
- Page 75 and 76: publicising myself and my writing b
- Page 77 and 78: Short Story BUDHIA Ramvriksha Benip
- Page 79 and 80: find her carrying loads of grass on
- Page 81 and 82: pat the other’s back, and with he
- Page 83 and 84: tea break, it would also be a break
- Page 85 and 86: There was a mouth organ in Raka Mas
- Page 87 and 88: He was watching me in a strange man
- Page 89 and 90: and bowed before the engine. I saw
- Page 91 and 92: Climbing down the slope, that girl
- Page 93 and 94: filled their buckets without saying
Replying to this, <strong>Gandhi</strong>ji in ‘Young<br />
India’ said— “ the poet lives in the future,<br />
and feels, we too, should do the same.<br />
He sketches the beautiful picture <strong>of</strong> the<br />
morning bird before our appreciating eyes.<br />
The bird who soars in the skies sings with<br />
rapture. But these singing birds have already<br />
fed themselves for the day, their tired<br />
wings have taken rest as well, and fresh<br />
blood runs in their veins. But I have the<br />
misfortune to see those birds <strong>of</strong> flight<br />
whose wings have become so weak, that<br />
they cannot soar in the sky. In India<br />
the human bird who pretends to sleep<br />
under the sky at night, is very weak. And<br />
when he gets up at morn he is weaker<br />
still. For millions <strong>of</strong> people living under<br />
the sky <strong>of</strong> India, their lives are either<br />
an endless waiting or a dejected stupor.<br />
Under the prevailing conditions, it is<br />
impossible for me to <strong>of</strong>fer the consolation<br />
<strong>of</strong> Kabir’s Bhajans to the suffering millions”.<br />
If, anyone has accurately portrayed<br />
with compassion, <strong>Gandhi</strong>ji’s hungry, starving<br />
birds, capable <strong>of</strong> soaring the skies,<br />
but groveling beneath, it is Premchand.<br />
Like <strong>Gandhi</strong>ji, Premchand too, was concerned<br />
with the existing reality.<br />
Premchand’s gaze was focused on reality<br />
<strong>of</strong> his motherland, where, millions <strong>of</strong> people<br />
were passing through a phase <strong>of</strong> endless<br />
stupor, living in a state <strong>of</strong> unconsciousness.<br />
Unlike his contemporaries, he could not<br />
enjoy the luxury <strong>of</strong> leaving his suffering<br />
millions behind, in order to soar in the<br />
rainbow-colored skies, and bask in its<br />
glorious beauty. Premchand lived in ground<br />
reality and hence renounced high flights<br />
<strong>of</strong> imagination. In order to depict reality<br />
vividly, he took the risk <strong>of</strong> adopting realism<br />
in an age that was chiefly romantic.<br />
Namwar Singh, born 1926, at village Jeeyanpur, Varanasi, is the most<br />
prominent literary critic <strong>of</strong> <strong>Hindi</strong>. His scholarly stature is revealed<br />
in the literary discourses he has undertaken. His views have <strong>of</strong>ten<br />
resulted in creating a point <strong>of</strong> departure to the stereotypes <strong>of</strong> literary<br />
thought. He has been pr<strong>of</strong>essor <strong>of</strong> <strong>Hindi</strong> at Sagar, Jodhpur and Jawaharlal<br />
Nehru Universities, where he is pr<strong>of</strong>essor emeritus as well. At present<br />
he is Chancellor <strong>of</strong> M.G. Antar-rashtriya <strong>Hindi</strong> <strong>Vishwavidyalaya</strong>, Wardha<br />
and Chief Editor <strong>of</strong> ‘Alochna’ a quarterly magazine <strong>of</strong> literary criticism.<br />
He writes pre-eminently in <strong>Hindi</strong>. Some <strong>of</strong> Dr. Namwar Singh’s published<br />
works are: ‘Bakalam Khud: <strong>Hindi</strong> ke vikas mein apbhransh ka yog’;<br />
‘kahani, nai kahani’; ‘kavita ke naye pratiman’; ‘doosri parampara<br />
ki khoj’; ‘chhayavad’; ‘vad, vivad, samvad’; ‘kehna na hoga’; ‘alochak<br />
ke mukh se’; ‘<strong>Hindi</strong> ka gadyaparva’; ‘zamane se do do hath’; ‘kavita<br />
ki zameen aur zameen ki kavita’; ‘premchand aur bhartiya samaj’.<br />
He lives in New Delhi. He has received a great number <strong>of</strong> literary<br />
honours.<br />
44 :: January-March 2012