fहndi - Mahatma Gandhi Antarrashtriya Hindi Vishwavidyalaya
fहndi - Mahatma Gandhi Antarrashtriya Hindi Vishwavidyalaya fहndi - Mahatma Gandhi Antarrashtriya Hindi Vishwavidyalaya
achievement that he has written shortstories which are full of the music of lifewith each story presenting a different aspectand different experience of life.Let us have a look at some of theseshort stories. Addha and Khairu are veryinteresting short stories in the respect thatthe characters delineated in them are notof the ordinary type. Addha is called Addhaor 'half a man' by everyone; he is neithera whole man nor three-fourths a man, justhalf a man. He was dwarfish in stature,but he would straighten out everybody'saffairs. Though small himself, there wasno work that was big for him. When RadhaKamlani was teased by goondas whilereturning from her college, it was Addhawho saved her, and yet everyone called him'half a man'. Radha also regarded him tobe 'half a man'. Then he started arelationship with Satya, who worked as aprostitute in some flats of the same locality.It was when rumours that Satya had givenbirth to an illegitimate child spread thatAddha's manhood was put to real test.Everyone decided to turn her out of allthe flats. Addha came forward with hischest swelling with pride and adopted thechild. So it could be said that he of whomthe whole world made fun by calling himaddha or 'one half’, turned out to be acomplete man. In the same way, Khairais also a downtrodden character, witheveryone regarding him as worthless. Hedoes superfluous jobs, like putting smallbells round the necks of bullocks, paintingfgndi •their horns, decorating them, paintingdesigns on earthen pitchers, singing andplaying at the village chaupal. In otherwords, he represents the aesthetic aspectof life, which is obviously unprofitable. Tothe village people, whatever he did was toearn his board. People thought that he wasdoing unessential jobs. How long couldhe live as a parasite. He began to starve,fell ill and died. Then people of the villagebegan to realize that something great wasmissing, that he, who did superfluous jobs,had much to do with all that made lifebeautiful.One of his short stories Mard is basedon the relationship of a mother and herson. The parents are divorced; their youngson is in the hostel. The mother developsrelations with another man. The son comeshome during vacations and the motherwants to tell him that she is pregnant andis going to marry the man after some time.But the son, whom the mother stillconsiders to be child, guesses it as soonas he arrives and the male inside himscreams out, "Whose child is this bastard?"As if it is not the son but the father whois speaking. Or, the son is acting as thefather's proxy. Or, in the society that isin the centre of our discussion, it is themen who have all the rights. Or is it thathowsoever much the parents may considertheir children to be just kids, inside theygrow up fast. In the same way, there isanother interesting short story that is basedon the relationship of a child and hisApril-June 2013 :: 15
grandmother. Scolded for stealing ten paiseby the grandmother, the boy runs awayfrom home, catches a train, and, clenchingthe ten paise coin in his closed fist, getsdown at a wayside station as he is scaredof the night. He is alone and helpless.Waking up in the morning he finds thathe has been sleeping clinging to an oldbeggar woman who has died. People gatherand start collecting money for her last rites.The boy remembers his grandmother andthrowing the coin in the bowl, runs towardshis home looking for his grandmother.Gulzar has depicted not only the child'semotions, but also the fact that it is onlywhen we lose things that we realize theirvalue, or rather, losing and finding are twosides of the same reality.As has already been said, Gulzar's shortstories are a picture gallery of diverse aspectsof life, whose portrayal by him is driveneverywhere by a vision that penetrates deepinto the core reality of things. Theseinclude stories of ordinary relationships ofcommon people that present some peculiaraspect, and also stories of the downtroddenand marginalised people that are suffusedwith human sympathy. Similarly, there arestories of kings and potentates, and alsoof Thakurs and Rajputs, and likewise ofdacoits. Or else, there are stories in whichthere is the element of fantasy, or magicrealism as it is now called. It is not possibleto analyse all these aspects in a brief articlelike this, but the discussion will not becomplete without the mention of someshort stories. It is also worth consideringthat among Gulzar's characters we find allkinds of people — high and low, big andsmall, women, men, aged persons, children,youth — together with their deeds andconduct. Sanjh is the story of a Lala andhis old wife. The Lala is troubled by thefact that his wife has got her hair croppedin imitation of the mother of her son-inlawwithout as much as asking the old man.This short story is worth reading for itsdepiction of old age emotions and boasting.In another story this very quirk for gloryingbecomes a matter of personal honour andcreates separate spectra of meaning. InZinda, Raja Sahib's only son, who is acripple, doesn't like people to take pityon him because he wants to live by thepower of his will that "my limbs existbecause of me, I do not exist because ofmy limbs". But when his father gets himmarried, he loses his patience because earlierwhen people would take pity on him, hewould summon the power of his will toexist; now when those very people startmaking fun of him, he can accept the factof his being a cripple but not becomingthe butt of ridicule. Both are existentialsituations, but while escape is possible fromthe first there is no escape from the second.And that is why it is fatal. In stories abouthigh families also the real issue concernsaspects of the human condition. Same isthe case with the short stories about thepoor and the distressed, paupers, workersetc. In two of his short stories he has drawn16 :: April-June 2013fgndi •
- Page 1 and 2: A Journal ofMahatma GandhiAntarrash
- Page 3 and 4: LANGUAGEArundhati Roy in Indian Lan
- Page 5 and 6: all is not well with the world. Ult
- Page 7 and 8: After tallying the anubhavas mentio
- Page 9 and 10: sustenance. If it fights shy of phi
- Page 11 and 12: progression from Shringararasabhasa
- Page 13: glamour and fame, I always looked a
- Page 17 and 18: of his episodes and characters from
- Page 19 and 20: The short story Najum (astrology) b
- Page 21 and 22: India, Indianness and BuddhaDev Bos
- Page 23 and 24: Buddha Dev Bose's writings on Tagor
- Page 25 and 26: development of the idea of a worldl
- Page 27 and 28: defies the set patterns of known li
- Page 29 and 30: The Concerns of CriticismShambhunat
- Page 31 and 32: On the basis of feudal thinking the
- Page 33 and 34: etween the interests of different s
- Page 35 and 36: silent about Hazari Prasad Diwedi.
- Page 37 and 38: Imperialism. The imperialists had c
- Page 39 and 40: conventional reformers to evaluatet
- Page 41 and 42: expansion of knowledge emotions are
- Page 43 and 44: unprincipled propaganda takes place
- Page 45 and 46: drowning with shame or pride in it.
- Page 47 and 48: made criticism a pure literary subj
- Page 49 and 50: It is a great paradox that in an ag
- Page 51 and 52: how much they are mixing with it. M
- Page 53 and 54: peculiar way of protest against not
- Page 55 and 56: Radha Worship in Hindi LiteratureL.
- Page 57 and 58: valuable ornaments and clothes. His
- Page 59 and 60: literature in general and Hindi lit
- Page 61 and 62: Not only this the hunger which I go
- Page 63 and 64: 3. We the Janvadi PoetsWe are write
grandmother. Scolded for stealing ten paiseby the grandmother, the boy runs awayfrom home, catches a train, and, clenchingthe ten paise coin in his closed fist, getsdown at a wayside station as he is scaredof the night. He is alone and helpless.Waking up in the morning he finds thathe has been sleeping clinging to an oldbeggar woman who has died. People gatherand start collecting money for her last rites.The boy remembers his grandmother andthrowing the coin in the bowl, runs towardshis home looking for his grandmother.Gulzar has depicted not only the child'semotions, but also the fact that it is onlywhen we lose things that we realize theirvalue, or rather, losing and finding are twosides of the same reality.As has already been said, Gulzar's shortstories are a picture gallery of diverse aspectsof life, whose portrayal by him is driveneverywhere by a vision that penetrates deepinto the core reality of things. Theseinclude stories of ordinary relationships ofcommon people that present some peculiaraspect, and also stories of the downtroddenand marginalised people that are suffusedwith human sympathy. Similarly, there arestories of kings and potentates, and alsoof Thakurs and Rajputs, and likewise ofdacoits. Or else, there are stories in whichthere is the element of fantasy, or magicrealism as it is now called. It is not possibleto analyse all these aspects in a brief articlelike this, but the discussion will not becomplete without the mention of someshort stories. It is also worth consideringthat among Gulzar's characters we find allkinds of people — high and low, big andsmall, women, men, aged persons, children,youth — together with their deeds andconduct. Sanjh is the story of a Lala andhis old wife. The Lala is troubled by thefact that his wife has got her hair croppedin imitation of the mother of her son-inlawwithout as much as asking the old man.This short story is worth reading for itsdepiction of old age emotions and boasting.In another story this very quirk for gloryingbecomes a matter of personal honour andcreates separate spectra of meaning. InZinda, Raja Sahib's only son, who is acripple, doesn't like people to take pityon him because he wants to live by thepower of his will that "my limbs existbecause of me, I do not exist because ofmy limbs". But when his father gets himmarried, he loses his patience because earlierwhen people would take pity on him, hewould summon the power of his will toexist; now when those very people startmaking fun of him, he can accept the factof his being a cripple but not becomingthe butt of ridicule. Both are existentialsituations, but while escape is possible fromthe first there is no escape from the second.And that is why it is fatal. In stories abouthigh families also the real issue concernsaspects of the human condition. Same isthe case with the short stories about thepoor and the distressed, paupers, workersetc. In two of his short stories he has drawn16 :: April-June 2013fgndi •
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