Friday, 28 July 2017

THE GENIUS OF PREMCHAND




By Vinaya Kumar Rai

Premchand's character neither represents capitalists, kings and princes, nor do they represent gods and godesses-- they are universal, writes Vinaya Kumar Rai.

PREMCHAND's birth anniversary falls on July 31. Each year on this occasion many people remember him for different reasons and draw different conclusions. This time I would like to peep into his family life to re-ascertain his economic status which has been mostly recorded on negative side. A man's life and status affects his thinking, more so if he is a writer.

It is generally believed that Premchand was born in a poor family and could not get his subsistence easily. To reach an objective conclusion it would be wiser to go into his family lineage. His grandfather was a Patwari during the British rule. The Patwari's post was very remunerative and he enjoyed wide powers over agricultural land. Moreover, he had over 30 bighas of very fertile land. He lived merrily and had even extravagant habits. No man could afford his way of life without being economically well-off.

Premchand's father, Munshi Ajaib Lal, was third of the four sons of Munshi Gursahai Lal. In due course, he became a clerk in the postal services and used to get Rs 40 a month. It was the last decade of the 19th century when gold used to be sold for Rs 20 per tola (per 10 grams). At that rate Premchand's father could buy two tolas of gold with a month's salary. Apart from this, he had inherited about eight bighas of fertile agricultural land from his father in Lamhi, his native village. In Lamhi, even now a farmer's family of five or six persons can subsist on eight bighas of land for on full year if it has subsidiary resources to meet the requirements of clothing and other sundry expenses. So. Munshi Ajaib Lal too was a well-to-do man.

He had one son, Dhanpat Rai alias Premchand, and one daughter when his first wife expired. Dhanpat Rai was hardly six or seven at that time. This made his father very affectionate towards him and he brought him up in comfort, providing him clothes for no less than four annas a yard (in those days one could buy British mill shirtings for that amount), and shoes for not less than 12 annas (this amount was enough to buy a good pair of shoes in those days). He used to give him, at least, rupees five every month as pocket money during his school days.
The author with his father Mahtab Rai in one of rare photographs.

My father, Munshi Mahtab Rai, was the second son of Munshi Ajaib Lal from his second wife. It may not be out of place to record that Munshi Ajaib Lal married for the second time when his first son, Dhanpat Rai, was 17 or 18, and about to do his matriculation, a certificate sure enough to get a job for a comfortable living in those days. And he did take a teaching job after his entrance examination but his desire for higher education prompted him to pursue his studies till he graduated. As such, he was never economically miserable at any time.

Munshi Ajaib Lal got his son Dhanpat Rai married when he was about 16 to a girl who was the daughter of a landlord of Ramvapur village in Basti district. The marriage ceremony was performed with all gaiety. Dhanpat Rai too was happy with his marriage which, unfortunately, was short lived. Some differences did develop between the husband and the wife. As a result, she lived at times at Lamhi and at times in her father's home.

These differences grew so sharp that Premchand decided to re-marry, presumably during his first wife's life time. He came in contact with Munshi Devi Prasad, an Arya Samajist, of Fatehpur district, who proposed his widowed daughter's marriage to him. He readily accepted this offer as he himself under the influence of  the Arya Samaj. The marriage took place without any fanfare as Premchand's relatives were against such a marriage. Only his younger brother Mahtab Rai and his maternal uncle Vijaya Bahadur attended the marriage.

Premchand was well aware of pitiable condition of farmers and urban wage earners and wrote about them. He was a staunch supporter of religious harmony, particularly Hindu-Muslim amity. He chided the orthodox pundits and mullas who came in the way of his mission. Likewise, he deprecated language controversy. He never linked Hindi and Urdu with Hindus and Muslims.

He was equally concerned with the expanding British rule in India and was well aware of the consequences of opposing it. His writings gave clearly indicated that he was liberated from the British Raj and that reform was possible if fought with determination. He was observing freedom movement activities with concern and when Mohandas Gandhi launched the Swaraj Movement he aligned himself with him and started projecting similar ideas in his works. 

His first story 'Soze Watan' was banned by the British Government. He was severely indicted by the government for such writings as he was a government servant. But this did not deter him. He kept on writing first anonymously and afterwards, with a pen name.

When in 1921, Mahatma Gandhi addressed a vast gathering in Gorakhpur and talked of non-cooperation and Swadeshi, he could not remain a passive listener. He went home after the meeting with a determined mind and consulted his wife who supported his idea of resignation from the government job. He immediately resigned from the job. This was a great decision as it was linked with his livelihood and it could place him in great hardship thereafter. Rather, he felt more free to write and advocate for country's freedom. He characters full of patriotic feelings in his novels and stories.

Munshi Premchand's house (right) as it stands today in Lamhi village of Varanasi. A library (left) in the adjacent memorial with pictures on my grandfather and his elder brother in the backdrop during one of my visits to Lamhi a few years ago.
Premchand was greatly influenced by socialism and Russian Revolution of 1917. In some of his novels, he advocated such a system of government in his country where power would be in the hands of the people. One could observe such thoughts in his socio-political novels like 'Karmabhumi' and 'Rangbhumi'. 'Karmabhumi' presents the political scenario of that time. Sometimes, one feels that Premchand was also influenced by 'War and Peace' of Leo Tolstoy. No doubt he was a great fan of Tosltoy and Gorky. If we go through 'Rangbhumi' we find that Surdas has emerged as a powerful 'satyagrahi' in this novel which was warmly received and he was declared 'Upanyas Samrat' by the readers.

Premchand evidently adopted his characters from life itself and life is universal. That is why his works have a universal appeal. His model characters do not represent capitalists, kings and princes, nor do they represent gods and goddesses.

One identifies with his characters while reading his works and starts feeling that the plot of the novel has been enacted from his own life. He has, time and again, created realistic characters in his works and that is why he is considered as the representative author of the people.

*********************

About the Author 
The above article was written by my father for the national English newspaper 'Patriot', New Delhi on August 1, 1993. Vinay Kumar Rai or Dillan, third son of Mahtab Rai, too was born in Lamhi village in Varanasi. Both Munshi Premchand and Mahtab Rai (addressed as Chhotak by the elder brother) lived together in a large house and a joint family system was followed. All the children including my father spent their childhood days playing and studying together in the village under the guidance and patronage of his father and uncle.

My father Vinaya Kumar Rai later took up teaching as his career and rose to become professor of psychology and migrated to Delhi having built his house in Noida.

I have found several mesmerising articles on Munshi Premchand penned by Vinaya which I have brought in my Blogs. Kindly copy/ paste the following LINKS to read them.

1)
जिस गांव ने प्रेमचंद को प्रेरणा दी (29 July, 2019)

https://apurvarai.blogspot.com/2019/07/blog-post.html





2) 
प्रेमचंद: ज़िदगी के आइने में (7 Oct, 2019)

https://apurvarai.blogspot.com/2019/10/blog-post.html

Thursday, 20 July 2017

MONSOON AND DELHI ROADS




BY APURVA RAI

AS soon as the summer of '92 arrived people started praying for the rains. Whether they were industrialists (in their plush air conditioned offices) or workers or housewives in their homes, everyone tortured by the heat and dust started praying for one thing-- an early monsoon.

The prayers indeed came from their hearts as the weatherman added fire to the heat and predicted drought conditions all over the country or scanty rains here and there. Every poor got frightened by the very thought of prolonged summers.

But god had something else in store. Monsoon arrived, though late. At last, everyone heaved a sigh of relief. 

For Delhi, the rains too mean nothing less than havoc. There are less cheers and more discomforts as the Capital's roads are put to testing times. The rains suddenly make visible the real nature of Delhi's roads.

Just walk through the lanes and by-lanes anywhere in the Capital and what do you come across? As usual they have pits to make you fall, garbage dumped at one side and open drains flowing freely on both the sides. A walk through these lanes after rainfall leaves behind an unforgettable experience for the residents of Delhi. One can't get through them without spoiling clothes and putting a cover on the nose. One really wonders what the maintenance department is doing!

Once, while travelling on the DTC bus on a rainy day, I asked the driver to stop the vehicle near my office. He did it promptly. Before alighting I looked out to find that the bus was standing on a huge puddle. The pavement was a few metres away and jumping onto it was nearly impossible. I again requested the driver to move the bus a few yards ahead but he refused to heed as he seemed in a great hurry. Finding no other way, I jumped from the bus but landed on ankle-deep water. My shoes (an expensive pair though) were totally soaked and my trousers got spoiled in the splash. The bus sped immediately and I too rushed to my office in this condition.
Whom should I curse-- the DTC for not dropping me at a safer place, or the Delhi Administration for not keeping the sewers clean, or my own fate for not helping me own a Maruti and reach the office safe and clean.

A drive through Delhi's roads during monsoon too is an experience of its kind. The broad smooth looking roads suddenly become bumpy and dangerous, both for you and your vehicle. Small to very deep patches crop up here and there. A little carelessness would mean sure injury to you and your vehicle. And none shall be responsible. Even the Delhi Traffic Police is a silent sufferer to all this.

Whom to blame for this? Certainly not the government. Funds are allotted for proper construction of roads but it is our own irresponsibility or of the concerned authorities that brings them to this condition. The deep pits reveal how deep are the roots of corruption in our administrative system.
Will our government do something about such corrupt officials or should I pray God to stop raining water so that the roads continue to gleam and look wider and smoother?

(The above article appeared in 'Patriot' on August 20, 1992.)



NOTE

Also read other my other pieces:
Copy/ Paste the given links to reads these Blogs. 

1) BECOMING KEJRIWAL! (2019)
https://apurvaopinion.blogspot.com/2020/02/becoming-kejriwal.html

2) हवा ही है ज़हरीली (2019)
http://apurvarai.blogspot.com/2019/12/blog-post.html 

3) अब दिल्ली महानगरपाविका चुनाव (2017)
http://apurvarai.blogspot.com/2017/04/blog-post.html

4) Delhi Fights Pollution: Odds Come Again (2016)
https://apurvaopinion.blogspot.com/2016/04/delhi-fights-pollution-odds-come-again.html

5) Delhi Pollution: Fighting Odds to make Things Even (2016)
https://apurvaopinion.blogspot.com/2016/01/delhi-pollution-fighting-odds-to-make.html

6) Delhi Pollution- Check 'Green Agenda' of Builders (2015)
https://apurvaopinion.blogspot.com/2015/07/delhi-pollution-time-to-check-green.html

7) Delhi Pollution: Mindless Driving Major Concern (2015)
https://apurvaopinion.blogspot.com/2015/07/mindless-driving-polluting-delhi.html

8) मैं और मेरी दिल्ली (2011)
http://apurvarai.blogspot.com/2011/11/blog-post.html




Sunday, 9 July 2017

PREMCHAND'S LEGACY




Sripat Rai, who died at his residence in Allahabad on July 9, 1994, had carved a niche for himself in the world of Hindi literature and modern art. He gave opportunities to some of the most sought after writers of present day like Kamleshwar, Dharmvir Bharti and Vatsyayan, etc. He also took Saraswati Press greater heights and established a milestone in Hindi publication.

By Vinaya Kumar Rai
 
SRIPAT Rai rose on the horizon of Hindi fiction, criticism, journalism and publication immediately after the demise of his father Munshi Premchand in October 1936 who left behind Saraswati Press, his writings and the famous monthly journal 'Hans' to be managed, looked after and edited by his son who was pursuing his Bachelor of Arts at the University of Allahabad, Sripat took up the challenge with rare courage.

While editing 'Hans' he showed his literary acumen and not only continued the line set by Premchand but gave it a new meaning and direction by bringing out some new talents. A few distinguished persons like Radhakrishnan of Ranchi, Trilochan Shastri, Shamsher, Muktibodh, Sachidanand Hiranand Vatsyayan 'Agyeya' etc came into his close association and joined 'Hans' in some way or the other.

Later on after the closure of 'Hans' Sripat Rai started publishing 'Kahani', monthly journal of short stories. He edited the journal himself and wrote short editorials in chaste Hindi prose establishing enlightened norms of modern criticism. He brought modern painting also into his editorial gamut. His famous editorial comments under the banner 'Kahani ki Baat' were collected and published by Saraswati Press.

He was shy, introvert and did not like camera focused on him.

It was through 'Kahani' that some distinguished modern literary signatures like Kamleshwar, Dharmavir Bharati, Bhishm Sahney, Shani, Krishna Sobti etc came into light. Sripat always patronised young and promising writers. He had an intense ability to recognise upcoming talents.

Apart from literary pursuits Sripat Rai also tried his hand in modern art and painting. He was a self-trained painter and started painting vigorously in the fifties.

Sripat Rai will be remembered not only for his literary pursuits. He was a first class human being who was always ready to help others, particularly budding story writers.

(The author is a first cousin of Sripat Rai)
This article was written by my father on August 7, 1994 for the national English daily 'Patriot' where I worked on the General Newsdesk. 
 
Note: The author and my father Vinaya Kumar Rai was not only first cousin of Sripat Rai but was close to his heart too for over six decades. Both the brothers, known as Dillan (Vinaya Kumar Rai) and Dhunnu (Sripat Rai) lived in Delhi and spent happy times together for nearly five decades. My father, who lived in 30/18 Shakti Nagar area of north Delhi and later D-21, Sector-12 NOIDA- 201301 would often visit Mama who lived in R-7 Hauz Khas locality of south Delhi. 

I am privileged to have spent my childhood days under Mama's patronage and love. I remember him as a reserved person with distinguished style and personality. One needed a sixth sense to understand Mama and fortunately Papa had it and that is what brought both the brothers together and kept them close till God's will. 

Mama was just a graduate as far educational qualification goes but proved that knowledge and ability is not confined to degrees only. Education means much more than a degree and Sripat Rai aptly proved it in his lifetime. He had superb command over various languages. Besides Hindi and English he spoke Urdu and Bengali with great ease. He also admired good music and was particularly fond of Rabindra Sangeet. I remember seeing him playing records on his gramophone and listening to the Rabindra Sangeet with his eyes closed.

He was a man of ethics, morality, fine taste and simplicity but was also known for exquisite choices be it his lifestyle, dressings, food or much more.
--Apurva Rai

NOTE
This article has also been translated in Hindi by Apurva Rai and published in the Hindi magazine 'Lamahi' edited by Vijay Rai. 


To read Hindi version copy/paste the following link:
https://apurvarai.blogspot.in/2018/05/blog-post.html