With age and experience, observation and assimilation we consider certain artistes, writers, leaders as close to our own ideology. Our own ideology to a large extent is influenced by these people, whom we consider as our own ; almost sacred. We refer to them from time to time, verify our opinions and defend their ideas and actions in discussions and debates often at the cost of annoying our family and friends. They remain in one corner of our consciousness , well guarded by us as our support for sustenance and survival.
There are few of them; whom I have idolised over the years, Munshi Premchand ( 1880-1936) is one of them. His birth anniversary falls on 31July . A few days back I was again reading his most famous short story ‘Idgah’, which tells the story of a four year old boy ‘Hamid’ who spends the only three paise he had for ‘Iid’ celebration to purchase a ‘chimta’ ( metal tong ) for his grandmother ‘Amina’ to ensure her hands and fingers remain safe from fire while making ‘chappatis’ , whilst his other friends purchase expensive toys he sacrifices his desires and even defends bravely his purchase. The grandmother is so moved by his gesture that she weeps uncontrollably showering blessings on the lad thus becoming childlike in front of the small boy who for that moment becomes her guardian. It is a poignant story, which is one of the best and representative work of Premchand. Innocence of childhood, child psychology, games children play! The atmosphere during ‘Iid’, the village setup all are depicted so minutely and accurately in the short story .Prem Chand was a keen observer of Society. He wrote for the victims of socio-economic oppression. Not all his stories were serious, even then there was an undercurrent of humour in his style .
Born in Lamahi village near Varanasi he learnt Persian and Urdu under the tutorship of the village Moulvi. His mother loved him immensely and died when he was only eight . This affected him lifelong and his characters are often those who have lost their mother in young age . The motherless child would play and roam the village with friends and was on the verge of being wayward but was saved by his interest in reading . From the age of thirteen he would read thick volumes of Urdu literature of Maulana Faizi , Mirza Rusva, Pandit Ratan Nath Sharshar ( Afsana-e- Azaad) and Urdu translation of ‘Purans’ published by Navalkishore Press Lucknow. Rest he imbibed by direct observation of society. No great human influences other than his mother were in his life. No influential politician or religious or social reformer carved his ideas other than some novelists . Gandhi made a big impact on him but that influence was on the entire Nation.
The topics of his journalistic writings too dealt with local, National and International issues and on varied and interesting subjects – ‘Oliver Cromwell’, ‘Laila -Majnu’, ‘Reporting on Nehru’s speeches’, ‘Maxim Gorky’ ,’Hindu-Muslim issues’, ‘peasant problems’, ‘untouchability’, ‘ freedom movement’, ‘ book reviews ’etc. Most of these writings appear in the monthly Urdu magazine ‘Zamana’ from Kanpur belonging to Munshi Daya Narayan Nigam with whom he developed a life long friendship and wrote a column titled ‘Raftare Zamana’ . He also wrote for other newspapers and magazines. His journalistic writings are compiled in three volumes by his son Amrit Rai titled ‘Vibhinn Prasang’ ( various subjects). There are also two volumes of his letters titled ‘Chitthi Patri’.
He was fortunate enough to see popularity and fame in his life time but prosperity eluded him. His many short stories and novels were first published in newspapers and magazines , the rise and role of Hindi/Urdu press contributed to his fame. . In his dying months too he would be writing to complete his novel ‘ Mangal sutra’ in order to succeed financially for the family . He ‘Presided’ the first ‘Progressive writers’ conference’ in 1936 organised in Lucknow by Sazzad Zahir which speaks of his stature. His address stands as a ‘Historical document’ . A paragraph is illustrated here:
“Literature which does not awaken our interest, which does not give us spiritual and mental satisfaction , which does not give us strength and vitality , in which our love of beauty is not kindled , which does not give us resolve to overcome our difficulties is useless for us today. It does not qualify to be called Literature……. those writers who follow the rich ; follow their style of writing and those who belong to the masses write in the language of the masses”
In his letter written in English to Mr Indra Nath Madan dated 16 December 1934 he expressed his opinion and information on number of points which he was asked. ‘Rangbhoomi’ was his favourite Novel . His characters were ‘ideal characters’ with human failings. He was influenced by the writings of Leo Tolstoy, Victor Hugo and Romain Rolland. The writings of Ravindranath Tagore impressed him, but he evolved his own style. He did not write ‘Drama’ as the value of it was in staging and at that time quality of stage was not good . He was not impressed with the ‘Parsi Theatre’ . He considered Novel writing as vehicle of conveying his thoughts and was aggrieved that Indians did not buy books and therefore financial independence for writers was difficult. He was very disillusioned with the cinema world and the compromises one had to make and was to leave it soon. He believed in the evolutionary change in the society and not revolutionary. He did believe in ‘Supreme deity’ but stated that it hand no hand in ‘human affairs’ . Regarding marital life he said that one has to ‘compromise’ , any of the partner has to bend.
Once he was asked about the high points in his life. He said that his life journey was straight and plain with no ‘Highs’ perhaps , many ‘pitfalls’ on path.
After his death his name and fame moved leaps and bounds . His books by numerous publishers were available in all book stores. A look at Railway station ‘book stalls’ would confirm his appeal among readers . His stories and novels are taught in schools, colleges and Universities and writings are translated in many languages. However his journalistic writings and letters need more publication and publicity to understand the depth of the person.
Lifelong he was resolving the ‘three major conflicts and challenges in his life’ and died at relatively young age of 56. The first was his health and constant ‘stomach ailment’ on account of which he struggled and suffered. The second was his financial condition which bogged him down till the end. He was first a school teacher and supported his family and stepmother . In order to supplement his income he would regularly write in newspapers and magazines . He plunged into ‘non cooperation movement’ in 1921 on the call of Gandhiji and sacrificed his pension . As owner of printing press and publication ‘Hans’ and ‘Jagran’ he was in constant debt. He tried his luck in cinema writing and stayed as writer of a production house in Mumbai for a year and despite good pay left out of dissatisfaction . He wrote dialogues for a film titled ‘Mazdoor’ which were so powerful that crowds came out in the streets and the administration had to stop screening. The third conflict was his fight for justice and freedom of the down trodden and oppressed through his writings in which he was victorious and is remembered .
Premchand’s writings have not been fully explored in cinema in a way his Bengali peer Sharat Chandra has been . His novels ‘Gaudan’ and ‘Gaban’ were made into films many years back and some TV serials have not done justice . Only Satyajit Ray made the remarkable film ‘Shatranj ke khiladi’ . Perhaps a film maker of Ray’s calibre only may bring out the essence of Premchand on Screen Firaq Gorakhpuri has written an Essay on him in his ‘Garden of Essays’ where he writes , “ His voice was a new voice in Indian Literature . He made children and grown up people thoughtful and moved them emotionally by his stories. He brought literature from isolated circles to the life and labours of the Indian people . India was presented in the sincerest and most living way in his writings. About 50 years ago the work done in one Indian language was not known to the readers of other Indian languages. Premchand’s work broke down these barriers. He became along with very few great writers an all India figure in Indian literature.”
I return to him regularly to refresh and rejuvenate myself. Each of his story is material for research on subjects such as sociology, history, psychology and more. Such is the greatness of Premchand who resides in my sacred corner; secured.
