fहndi - Mahatma Gandhi Antarrashtriya Hindi Vishwavidyalaya
fहndi - Mahatma Gandhi Antarrashtriya Hindi Vishwavidyalaya fहndi - Mahatma Gandhi Antarrashtriya Hindi Vishwavidyalaya
there is more flattery and allegation andcounter allegation. These are the two sidesof the same coin. That is why it is saidthe greater the dearth of thought the morebloody would be the encounters incriticism. When the society is divided ingroups its critical vision decays first. It isa matter of no small concern that criticismhas become a thing beyond the toleranceof society, because everywhere — culture,literature and politics people need onlyfollowers. That is why logic, democraticfeelings and tolerance all have becomebankrupt.In a good criticism, fact, thoughts andemotions speak together. This type ofcriticism and opportunistic criticism cannotpossibly go together. I feel such criticismmakes us more insecure and it attacks ourideological fanaticism. Hence criticism hasno place in the fanatic world. Even in theworld of criticism fanaticism has no place.Ram Vilas Sharma has continuallystruggled against three fanaticismsthroughout his life, orthodoxies and rituals,technical and physical science beliefs andpost imperialistic dogmas. He wasideologically in confrontation with all threeideologies, i.e. the dogmatisms of archaicconventionalist, mechanized materialistsand eastern subalterns, altogether. He wrotefor the society but not for socialrecognition. It is important to note howhe has developed the criticism practisedby Bhartendu Harish Chandra, MahavirPrasad Diwedi, Ramchandra Shukla andfgndi •Hazari Prasad Diwedi. He was such a criticwho was standing amidst the challengesof society and writing his criticism andexpressing his views not from personal butfrom the reader's social and racial pointof view. His entire writing is to make aplace for criticism in the world ofdogmatism. Hence his effort to make spacefor criticism was to make space for humanlife.Normally it is expected of critics todevelop reader's interest in thecontemporary literature and fill the gapbetween the new literary works and oldtaste of the readers and also refine theirtaste. Some such people could understandcriticism as a digestive tablet while someothers think that a critic is one whocremates any creative work in its infancy.Others call a critic, a hurdle between thereader and the creative perception of anywork and request the critic to move outof the way. He has been looked at withresentment and greed, because in theabsence of social recognition gradually thewriters themselves started desiring criticism.There has always been dissatisfactionamong the writers regarding critics' role.Political and commercial organizations havealways been intolerant of the critics. Today'smaterialistic economy has made mancopycats and hypocrites thus killing histhinking power. The modernism comingin India through this way is influencingthe already existing consumerist thinkingand also the feudal narrowness of mind.April-June 2013 :: 31
On the basis of feudal thinking there arelarge groups of people agreeing with thiswhile the people disagreeing with it areleft alone in our society.Muktibodh had asked a question, whounderstands life better, a critic or a creativewriter? He says that life is important forthe critic also, otherwise while looking atthe ocean he would be counting waves only.The critic has to drown himself in the seaof life's experiences and also has to comeout of it so that the waves' water does notgo into his eyes. Sometimes when we lookat something that very sight blinds us aftera limit. This is a good metaphor to explainthat criticism is neither going out of life'srealities or out of politics and culture, norgetting stuck in them. So the relationshipof the critic with the writing is to dig deepinto it and come out of it also, it neednot only flow with it but also swim throughit. A critic is also a creative writer.Muktibodh says moving still further, 'Acritic and evaluator's job is more engrossingand creative than the artist and creativewriter himself.' So it is clear that no bigwriter can say that a critic is not a creatoror that all the other genres of writings havedeveloped but not criticism.The scope of criticism shrinks wheninstead of critical discussions on life itbecomes an instrument of propaganda orpraise or documentation; since commonman is unable to say that the means ofmedia are not for him. In modern timesmedia has more or less marginalizedcriticism. Literature is being banished fromthe educated society and from social life.Modern life's content is getting limited sothe world of criticism is also shrinking.It is a matter to be noted that peopleare losing 'reason' and 'critical vision' andare satisfied with shallow explanations. Thecritical intelligence is diminishing fromParliament to seminars also. An atmosphereof Para-criticism is being created byparochialism and commercialism. In suchscenario Ramvilas Sharma's books cameone after the other to expand the area andvision of criticism.Undoubtedly, the fanaticism ofreligious bigotry, the post imperialist'scollective fanaticism and mechanicalmaterialism together with literary puritybecame a problem. Even the mediafocusing and provoking consumerist culturewas no less a challenge. Even today all theseare big hazards from the point of view ofcriticism. Facing all these challengesRamvilas Sharma recognized the impliedpower of criticism and continued hisactivities in criticism which carried deepmeaning. Scholarship does not ride on himinstead he rides on scholarship not onlyto break the inertness of criticism but alsothe blockage of intellect which is prevailingin it. We could say that in his criticisminstead of scattered comments a highlyimaginative insight and profoundmanagement is to be seen. A new chainof critical writings was started with 'Niralaki Sahitya Sadhana'(1969), it meandered32 :: 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 and 14: glamour and fame, I always looked a
- Page 15 and 16: grandmother. Scolded for stealing t
- 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: The Concerns of CriticismShambhunat
- 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
- Page 65 and 66: 5. A FarmerThis time paddy crophas
- Page 67 and 68: isolated, lonely and stained with p
- Page 69 and 70: 3. A COFFIN AND A BOTTLEIn this roo
- Page 71 and 72: The omnipresence of your super imag
- Page 73 and 74: As I look at the black and white pr
- Page 75 and 76: But when I touched the door of the
- Page 77 and 78: 7. LIFEThat day when I entereda mag
- Page 79 and 80: 2. TEA WITH DONNEGood Morning, dear
On the basis of feudal thinking there arelarge groups of people agreeing with thiswhile the people disagreeing with it areleft alone in our society.Muktibodh had asked a question, whounderstands life better, a critic or a creativewriter? He says that life is important forthe critic also, otherwise while looking atthe ocean he would be counting waves only.The critic has to drown himself in the seaof life's experiences and also has to comeout of it so that the waves' water does notgo into his eyes. Sometimes when we lookat something that very sight blinds us aftera limit. This is a good metaphor to explainthat criticism is neither going out of life'srealities or out of politics and culture, norgetting stuck in them. So the relationshipof the critic with the writing is to dig deepinto it and come out of it also, it neednot only flow with it but also swim throughit. A critic is also a creative writer.Muktibodh says moving still further, 'Acritic and evaluator's job is more engrossingand creative than the artist and creativewriter himself.' So it is clear that no bigwriter can say that a critic is not a creatoror that all the other genres of writings havedeveloped but not criticism.The scope of criticism shrinks wheninstead of critical discussions on life itbecomes an instrument of propaganda orpraise or documentation; since commonman is unable to say that the means ofmedia are not for him. In modern timesmedia has more or less marginalizedcriticism. Literature is being banished fromthe educated society and from social life.Modern life's content is getting limited sothe world of criticism is also shrinking.It is a matter to be noted that peopleare losing 'reason' and 'critical vision' andare satisfied with shallow explanations. Thecritical intelligence is diminishing fromParliament to seminars also. An atmosphereof Para-criticism is being created byparochialism and commercialism. In suchscenario Ramvilas Sharma's books cameone after the other to expand the area andvision of criticism.Undoubtedly, the fanaticism ofreligious bigotry, the post imperialist'scollective fanaticism and mechanicalmaterialism together with literary puritybecame a problem. Even the mediafocusing and provoking consumerist culturewas no less a challenge. Even today all theseare big hazards from the point of view ofcriticism. Facing all these challengesRamvilas Sharma recognized the impliedpower of criticism and continued hisactivities in criticism which carried deepmeaning. Scholarship does not ride on himinstead he rides on scholarship not onlyto break the inertness of criticism but alsothe blockage of intellect which is prevailingin it. We could say that in his criticisminstead of scattered comments a highlyimaginative insight and profoundmanagement is to be seen. A new chainof critical writings was started with 'Niralaki Sahitya Sadhana'(1969), it meandered32 :: April-June 2013fgndi •
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