A Journal of Mahatma Gandhi Antarrashtriya Hindi Vishwavidyalaya

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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
Page 95 and 96:
clamp of the sounds is gripping him
Page 97 and 98:
The speaker fell silent all at once
Page 99 and 100:
That day, he came down from the off
Page 101 and 102:
sizes of boats of their respective
Page 103 and 104:
in the night?’ ’Yes, you take i
Page 105 and 106:
sound coming from all the flats. He
Page 107 and 108:
got up and came in the balcony. A d
Page 109 and 110:
“Who’s playing on the piano, Nu
Page 111 and 112:
“No, none-none that I know of. Sa
Page 113 and 114:
you are three years older than me.
Page 115 and 116:
He thinks we are fools and will nev
Page 117 and 118:
“Good evening. You may take this
Page 119 and 120:
I want to make sure that everything
Page 121 and 122:
When I went to meet the sisters thr
Page 123 and 124:
do not want to starve to death befo
Page 125 and 126:
admired and appreciated. In the 70s
Page 127 and 128:
there, Nishant invited all of us to
Page 129 and 130:
Short Story MANTO IN MY DREAM Musha
Page 131 and 132:
such scenes on TV screen happening
Page 133 and 134:
Discourse WOMEN’S LIBERATION : UT
Page 135 and 136:
woman is repeatedly beaten up, be c
Page 137 and 138:
to an extent, altered it, and allow
Page 139 and 140:
liberation from this ‘gender’.
Page 141 and 142:
at several levels. Instances of vis
Page 143 and 144:
of women’s emancipation will real
Page 145 and 146:
Pursuing rigidly, A fixed desire. I
Page 147 and 148:
Poetry FIVE POEMS Chandrakant Deota
Page 149 and 150:
Why spurn their appeal hidden in, M
Page 151 and 152:
IN A CONFLICTING WORLD Far…far be
Page 153 and 154:
And make it a part of our very bein
Page 155 and 156:
The warning bell does not ring once
Page 157 and 158:
The cremation ground too became sad
Page 159 and 160:
them. The author belongs to an army
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A Journal of Mahatma Gandhi Antarrashtriya Hindi Vishwavidyalaya

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