A Journal of Mahatma Gandhi Antarrashtriya Hindi Vishwavidyalaya

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of producing the story) is derived from Sanskrit in Hindi. As mentioned earlier Katha is supposed to be fiction and akhyan is supposed to be factual and historical. The tradition of katha and akhyayika continues in Hindi Belt in the early phase of Hindi literature in charit kavya (narratives of hero in verses) like Prithiviraj Raso (Story of King Prithiviraj) by his court poet Chandvardai, Kirtilata and Kirtipataka by Vidyapati in 13 th century a.d. In the age of Bhakti movement also poets like Tulsi Das and Malik Muhammad Jayasi created epics like Ramcharit Manas and Padmavat in story form .These are in one and another sense seen as different forms of Charit kavya. These writings have the quality of both katha and akhyayika. The poet uses his imagination to depict contemporary reality by using myths and symbols known as kathanak roodhiyan (traditional symbols supposed to be used for telling a story. For example telling a story through dialogue between birds is one of the kathanak roodhiyan). In the beginning of 19 th century Rani Ketki ki Kahani by Insha Alla Khan is also an example of continuation of this katha-kahani tradition. Early Hindi novels derive many characteristics from these charit kavyas and katha-kahani tradition prevalent in India for centuries. The story is the focal point of the Novel which also tells a story. Influence of gadya kavya parampara and champu (one of the varieties of narratives prevalent in India where the mixture of prose and poetry is being used to tell the story) is clearly evident from the early novels of India particularly in Hindi. Therefore it is a misnomer to conceptualize that the novel in India emerges out of the direct influence of western novels particularly English Novels and there is nothing Indian in it. The style of novel writing in different Indian languages as also in Hindi carries the traditional style of story telling/writing of kissa, kahani,dastan and akhyan. The characteristics and essence of the tradition of novel writing is defined by its birth and the culture along with which it grows. The uniqueness and Indianness of Hindi novel also lies in the circumstances in which the novel in India emerged. The birth of novel in India is an amalgamation of the traditional legacy of story telling and contemporary circumstances in India in the 19 th -20 th century. Besides the factors connected with the advent of prose and the birth of the novel, like coming of new technologies in the form of printing press and birth of a middle class who aspired to tell its agonies and aspiration through this new genre the readers were also mostly from the same class. These factors also helped in the birth of the novel in India. But emergence of the novel in India is totally different from that of Europe which is said to be the birth place of novel although the credit 46 :: January-March 2012
of first novel goes to the Genji Monogatari (The Tale Of Genji/1000 A.D) written by Lady Murasaki from Japan. Here, I’m not going into the details of the rise of the novel worldwide since neither it is the topic of discussion today nor the time permits that. What I’m trying to say is that the rise of the novel in India is a product of its own conditions and circumstances which I’m going to narrate now. This may help us in defining the Indian Novel and particularly Hindi Novel which is the topic of deliberation today. The Freedom Struggle of India in 1857 may be considered as the benchmark in the history of India since it is the first major outburst to overthrow the colonial rule from India. It is interesting to see that at this juncture many Indian languages produced their first novel. Alaler Gharer Dulal (A prodigal son/Pyare Chand Mitra/ 1858) in Bangla, Yamuna paryatan (Travelogue of Yamuna/1857/Baba Padmji) in Marathi, Umrao Jaan (Mirja Muhammad Hadee Rusva/1899) in Urdu, Saraswatichandra (Gowardhan Ram Madhav Ram Tripathee/1887-1900) in Gujarati ,Chaman aath Gunth (A piece of Land/Fakir Mohan Senapati/1897) in Oriya and so on and so forth. Centrality of women in early novels and depicting position of women in changing society are the striking features of Early Hindi Novel. Influence of social reformers is clearly visible on Hindi novels .In the early Hindi novels the theme of training women through education to conduct themselves is direct influence of reformers of that period. In early Hindi novels like Devrani Jethani ki kahani (Tale of co-sisters/ Pandit Gauridatt/1870), Bhagayvati (Pandit Shraddharam Phillauree/ 1877) and Parikshaguru (Lala Shriniwas Das/ 1882) the conduct of women is the focal theme. Going through these novels one can see a remarkable similarity in the theme and content of these novels i.e. emancipation of women, widow remarriage, education of women, etc. This was the direct effect of the Indian reformation which was pioneered by great reformers like Raja Ram Mohan Roy, Ishwar Chandra Vidyasagar, Vivekanand and Jyotiba Phule among others. Parikhsa Guru like Alaler Gharer Dulal in Bangla depicts the shortcomings of western influence. This is actually a voice of opposition to colonial rule and its policies in a precarious way. Devrani Jethani ki kahani by pandit Gauridatt (1870) actually falls into the tradition of oral story(kissa-kahani) in written form. There is not a single comma or full stop in the whole story. This is a typical example of the Indian form of ‘Novel’ (upanyas) in the form of traditional Indian updeshakhyan (Moral Fable). This is the story of a joint business family living in Meerut near Delhi. There January-March 2012 :: 47
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 44: and the train also arrived, but cou
Page 45: Discourse THE CONCEPT OF INDIANNESS
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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