fहndi - Mahatma Gandhi Antarrashtriya Hindi Vishwavidyalaya
fहndi - Mahatma Gandhi Antarrashtriya Hindi Vishwavidyalaya fहndi - Mahatma Gandhi Antarrashtriya Hindi Vishwavidyalaya
names. For them the past of India is a'foreign' thing. Because of their influencemany intellectuals in Hindi belt see Hindiassociated with 'Hindu' they do not seeKabeer's condemnation of feudalism, tothem he seems to be immersed in lovepoetry only. And Hindi neo-awakeningappears to them 'Hindu' neo-awakening.They could see only caste and man'sadoration of it. Bhartendu, Premchand andNirala all appear to be villains to them.It is not that whatever facts are put forwardthey are wrong. Rather whateverconclusions they get from those facts arewrong, because many other facts areignored.This is not a discussion between pastand present but it is imposing present onthe past. In the world of thoughts this isthe fashion today. This is 'use and throw'relationship with the past which nevercreates anything. It survives only onbreaking. He tries to seek his thought'shome like a snail or oyster shell, findssupreme bliss in narrowness. There will beharm if he steps out of it and if he extendedhis criticism only a bit he senses danger.This is what imperialism wants, i.e. to takeout the spine of any culture so that peopleforget their long struggle against feudalismand imperialism. He says like old colonialistthat your past is decaying, burn it.The political aggression of the past onthe present is resurrections, and theaggression of present on the past issubalternism. The interaction between thefgndi •past and present is possible only when firstwe believe that everything in past is notgood or everything in the past is notrubbish also. When the communalawakening of the anti-intellectual scholarswho go to the past with some politicalmotive, for the consideration of politicalpower they look at the past as a floatingblanket in the river. Had it been a bearthey would have caught it. They feel theydo not get anything out of it, they wouldrather wish to leave it, but it's not possibleas it would not leave them. Now thesalvation is possible only by killing the bear,or may be the disciple has to jump intothe river to destroy it.The writings of Ram Vilas Sharma aresuch discussion between past and presentwhich takes us towards love for life,opposition against injustice, logic, labour,culture and national reawakening. For himpast is not only a few ancient scripts, somemirror or a chanced quail in his hand. Hegoes to the past with his communalismand nationalism. For him Hindu race andIndia both are important. Definitely he sees'national' and 'rational' by combining themtogether. In his criticism he carries togetherthe basic abstracts of both racial awakeningand intellectualism of neo-awakening.Actually only then there can be intimatecritical interaction between the past andpresent. The type of relations Ram VilasSharma makes with the past is where thatpast changes our concerns with it. Makingretail relationship with past is different fromApril-June 2013 :: 45
drowning with shame or pride in it. Hehad made an intimate critical relation withthe past and changed it into an aestheticbliss and social awakening.The way Ram Vilas Sharma's criticismis joined together with the struggle of selfrealizationof Hindu race; similarly it isassociated with the struggle againstimperialism. He has gone into the researchof past for the sake of India's peaceful andindependent future. He feels that theproblems of community, regionalnarrowness have to be seen outside 'Indiannation' and understand our helplessnessagainst the onslaught of Imperialists on ourculture and economic system.Ram Vilas Sharma felt that the progressof Hindi literature is necessary not onlyfor the progress of Hindu community'scultural revival but for the upliftment ofIndia. Hindi literature's progress isnecessary for the progress of Hindustan.The position is that Hindi literature hasnot been able to make slightest space inthe Hindi belt. On the top of it there isthe desire of making IT hubs andmultiplexes and political parties as if allthese things would develop India. This isa great illusion. The reason why communalfights and religious hatred have extensivelyspread in India is only because we havenot used literature to create good willamong them. Now we are surrounded bycheap entertainment and a flood of films.Intellectualism has been enslaved by bigcapitals. Even writers themselves are seendisrespecting litterateurs; they are moreinvolved in destroying. They have lost theirgrounds. The cultural level of citizens ofany age is shown by the level of honourthey give to their litterateurs. Today thepeople are keener to know about the newconsumer goods than to know about theold writers and about new litterateurs. Thisis cultural poverty even if it is covered withbright colours and loud music, it does notallow us to see racial traditions. Those whoare afraid of the present they do not wantto face the facts of life. They fear racialtraditions also and actually they don't wantto face them.It is not enough to face traditions tomake a creative vision but thecontemporary confrontation is alsonecessary, "Without reading contemporaryliterature I can give answer to this question,the more close a literature is to socialrealities the stronger will it be. Theliterature in which contemporary problemsare discussed and shown the solutions tothose problems, there we should identifythe contemporariness." (ibid) Ram VilasSharma has no relation with thecontemporary literature which he hasaccepted honestly. But he had his eyescontinuously focused on his time's crisisof capitalism, problem of communalism,crisis of power and especially of casteismin the Hindi belt. He is alert towards thenew happenings of the world. He talksmore about people's awakening, neoawakeningand values of freedom struggle46 :: 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 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: unprincipled propaganda takes place
- 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
- Page 83 and 84: Malbe Ka MalikMohan RakeshJai Ratan
- Page 85 and 86: 'Everything else has changed but no
- Page 87 and 88: feet, on a brick path near the open
- Page 89 and 90: ightened up on seeing Rakkha Pahalw
- Page 91 and 92: 'So what happened?''Nothing happene
- Page 93 and 94: Mad DelightMohan Rakesh was as much
drowning with shame or pride in it. Hehad made an intimate critical relation withthe past and changed it into an aestheticbliss and social awakening.The way Ram Vilas Sharma's criticismis joined together with the struggle of selfrealizationof Hindu race; similarly it isassociated with the struggle againstimperialism. He has gone into the researchof past for the sake of India's peaceful andindependent future. He feels that theproblems of community, regionalnarrowness have to be seen outside 'Indiannation' and understand our helplessnessagainst the onslaught of Imperialists on ourculture and economic system.Ram Vilas Sharma felt that the progressof <strong>Hindi</strong> literature is necessary not onlyfor the progress of Hindu community'scultural revival but for the upliftment ofIndia. <strong>Hindi</strong> literature's progress isnecessary for the progress of Hindustan.The position is that <strong>Hindi</strong> literature hasnot been able to make slightest space inthe <strong>Hindi</strong> belt. On the top of it there isthe desire of making IT hubs andmultiplexes and political parties as if allthese things would develop India. This isa great illusion. The reason why communalfights and religious hatred have extensivelyspread in India is only because we havenot used literature to create good willamong them. Now we are surrounded bycheap entertainment and a flood of films.Intellectualism has been enslaved by bigcapitals. Even writers themselves are seendisrespecting litterateurs; they are moreinvolved in destroying. They have lost theirgrounds. The cultural level of citizens ofany age is shown by the level of honourthey give to their litterateurs. Today thepeople are keener to know about the newconsumer goods than to know about theold writers and about new litterateurs. Thisis cultural poverty even if it is covered withbright colours and loud music, it does notallow us to see racial traditions. Those whoare afraid of the present they do not wantto face the facts of life. They fear racialtraditions also and actually they don't wantto face them.It is not enough to face traditions tomake a creative vision but thecontemporary confrontation is alsonecessary, "Without reading contemporaryliterature I can give answer to this question,the more close a literature is to socialrealities the stronger will it be. Theliterature in which contemporary problemsare discussed and shown the solutions tothose problems, there we should identifythe contemporariness." (ibid) Ram VilasSharma has no relation with thecontemporary literature which he hasaccepted honestly. But he had his eyescontinuously focused on his time's crisisof capitalism, problem of communalism,crisis of power and especially of casteismin the <strong>Hindi</strong> belt. He is alert towards thenew happenings of the world. He talksmore about people's awakening, neoawakeningand values of freedom struggle46 :: April-June 2013fgndi •