fहndi - Mahatma Gandhi Antarrashtriya Hindi Vishwavidyalaya
fहndi - Mahatma Gandhi Antarrashtriya Hindi Vishwavidyalaya fहndi - Mahatma Gandhi Antarrashtriya Hindi Vishwavidyalaya
through many books and interviews andreached up to 'Bhartiya Saundaryabodh AurTulsidas'(2001) giving many toweringtriumphs of criticism. Once theseimportant writings came up it was expectedthat the Hindi intellectual world wouldbe jolted in discussing criticism, collectivethinking and exchange of ideas but it didnot, still a bit of self-evaluation did start.Is criticism a parasitic activity or is ita creation in itself ? What creationsRamvilas Sharma's writing have done forus? Undoubtedly there is a creator (writer)sitting inside a critic, an artist, otherwisethere will be no great critic. Once RamvilasSharma had said, "It is wrong to considercriticism as writing. As I trace the similaritybetween writing and criticism I amreminded of Bhartendu...very few peopleknow that Bhartenduji is indeed the fatherof modern criticism." (Aaj Ke Sawal AurMarxwad). We can say a story 'dipicts'while the criticism 'analyses'. It is strangethat in both there is repudiation and inboth there is recreation and rewriting insome way or the other. We can see in eachof Ramvilas Sharma's criticism 'repudiationas well as recreation paired together'. Heis always repudiating some orthodoxy orEuropean ideology and giving out somenew ideas and creativity which come outof his criticism like a sculptor does withhammer and chisel on a stone. RamvilasSharma also recreates a new ideology anda new point of view. We consider thepairing of repudiation important becausethese days we find everywhere repudiationswith reconstruction, while this is alsoimportant as to what we are reconstructing.Criticism is the cultural representativeof society's artistic flavour, for its subjectis not confined to a few writings but itencompasses the whole human race andthe entire culture. The value of criticismsprings from writings along with life,neither exclusively from creative writingsnor from ideologies. Criticism removes thehurdles of creative writing and allows itto move forward, it opens up the innerthoughts of creative writings, but mostlyit opens ordinary reader and student's mindto critical understanding.The Traditions of CriticismThe first thing in criticism is to know whatis to be preserved, what could berelinquished or changed. This wisdom doesnot build up in the air. In a country likeIndia it gets built by the collision of solidfeudalistic and imperialistic conditions.There is a burning question : what wecould or could not take from the past andalso from the west. The question beforeRamvilas Sharma was which elements oftraditions would be useful for men andwhich would not be. He concentrates onthat literature which is based on commonman's labour and not on the capitalistsection of society. He also makes it clear,"In old literature the possibility of collisionfgndi •April-June 2013 :: 33
etween the interests of different sectionsof society is shown rarely."(Marxism andProgressive Literature). Still by hisevaluation of traditions the fact comes upthat what is the difference betweenliterature and entertainment industry, thedifference between happiness and jollity.There can be four types of attitudes towardstraditions-worship of traditions,denigration of traditions, modernizationand commercialization of traditions andcritical relations with traditions, meaningthereby being critical of the basics oftraditions while maintaining relations withit. The critical relation between the twois neither a matter of selection nor ofrejection, nor like western modernismmaking it an object of an article. Rather,it is to understand tradition in the contextof its complexities and selecting andrejecting it from the critical point of view.It is not that Ramvilas Sharma was thefirst person to evaluate traditions this way,Vidyapati did select and reject certainthings, Kabeer also selected and rejected;Tulsi did the same when he said,"Sangharsh tyag na bin pahichane."Literature is related to the changes insociety. So it cannot be said that thereshould be eternal and permanent ideals forliterature or in order to make literatureimmortal a writer should present suchrealities which are not connected with thechanging conditions of society. RamvilasSharma says while opposing the hardcoretraditionalists, "The writers claimingimmortal truths also say that the ancientliterature is immortal because it had beendepicting immortal truths, hence we shouldtry to avoid the changing conditions ofsociety... those who portray the realities ofsociety should be especially careful aboutthe illusions of eternal truths. They claimeternal truth most wherever there is leastrelevance of it."(Marxism and ProgressiveLiterature). Inspired by Marxism,Ramvilasji was keeping an eye on the socialchanges, also he felt that we must studythe different goals of social developmentsin society. For this the evaluation of theold culture was a necessity. And one hasto take all those immortal truths from itwhich was essential for scientific thinking.This evaluation could be made possibleonly when one understands the differentclasses and groups of the ancient cultureand its historical limits."(ibid)While talking about Mahavir PrasadDiwedi, Ramvilasji comments on thetradition of Hindi criticism, "Hindicriticism has a racial tradition which couldbe seen in the brilliant inner glow andacceptance of challenges of new life inMahavir Prasad Diwedi's given text(lmportance of Literature). Here there isneither talk of sentimental accomplishmentnor a worship of art which is antagonisticto society, nor condemning the progressiveEuropean thinking in the name of Indianculture, nor the affirmation of religiousorthodox rituals which are harmful forsociety. Here we are introduced to an alert34 :: 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 and 30: The Concerns of CriticismShambhunat
- Page 31: On the basis of feudal thinking the
- 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
- Page 81 and 82: 4. HI, KRISHNA!Hi, Krishna!What’r
etween the interests of different sectionsof society is shown rarely."(Marxism andProgressive Literature). Still by hisevaluation of traditions the fact comes upthat what is the difference betweenliterature and entertainment industry, thedifference between happiness and jollity.There can be four types of attitudes towardstraditions-worship of traditions,denigration of traditions, modernizationand commercialization of traditions andcritical relations with traditions, meaningthereby being critical of the basics oftraditions while maintaining relations withit. The critical relation between the twois neither a matter of selection nor ofrejection, nor like western modernismmaking it an object of an article. Rather,it is to understand tradition in the contextof its complexities and selecting andrejecting it from the critical point of view.It is not that Ramvilas Sharma was thefirst person to evaluate traditions this way,Vidyapati did select and reject certainthings, Kabeer also selected and rejected;Tulsi did the same when he said,"Sangharsh tyag na bin pahichane."Literature is related to the changes insociety. So it cannot be said that thereshould be eternal and permanent ideals forliterature or in order to make literatureimmortal a writer should present suchrealities which are not connected with thechanging conditions of society. RamvilasSharma says while opposing the hardcoretraditionalists, "The writers claimingimmortal truths also say that the ancientliterature is immortal because it had beendepicting immortal truths, hence we shouldtry to avoid the changing conditions ofsociety... those who portray the realities ofsociety should be especially careful aboutthe illusions of eternal truths. They claimeternal truth most wherever there is leastrelevance of it."(Marxism and ProgressiveLiterature). Inspired by Marxism,Ramvilasji was keeping an eye on the socialchanges, also he felt that we must studythe different goals of social developmentsin society. For this the evaluation of theold culture was a necessity. And one hasto take all those immortal truths from itwhich was essential for scientific thinking.This evaluation could be made possibleonly when one understands the differentclasses and groups of the ancient cultureand its historical limits."(ibid)While talking about Mahavir PrasadDiwedi, Ramvilasji comments on thetradition of <strong>Hindi</strong> criticism, "<strong>Hindi</strong>criticism has a racial tradition which couldbe seen in the brilliant inner glow andacceptance of challenges of new life inMahavir Prasad Diwedi's given text(lmportance of Literature). Here there isneither talk of sentimental accomplishmentnor a worship of art which is antagonisticto society, nor condemning the progressiveEuropean thinking in the name of Indianculture, nor the affirmation of religiousorthodox rituals which are harmful forsociety. Here we are introduced to an alert34 :: April-June 2013fgndi •
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