Post-Independence Indian Literature - VPMThane.org

Joshi - Bedekar College, Thane / website : www.vpmthane.org

Inaugural Address...

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Post-Independence Indian Literature Shri Arun Sadhu

Honourable participants and friends, It gives me great pleasure to declare open this august seminar on “Post-Independence Indian Literature” attended, no doubt, by the cream of academicians, scholarly critics, writers and students of Indian literature from all over the country. As for myself, I am happy that the hosts, K.G. Joshi College of Arts and N.G.Bedekar College of Commerce have called me here, in keeping with the touching Indian tradition of inviting for inauguration a person who is completely ignorant of the subject-matter of the event to be launched,. I would humbly claim that I fit the bill perfectly. I am just a writer, a fiction writer, and some of you might know how when a novel is being born, the poor writer has to leave the outside world behind and sit at the desk alone with a bent head scrawling (or pressing the computer keyboard) pages after pages day after day till his back aches. A writer doesn’t read. He writes. And a typical Indian language writer has to write and write and write to make two ends meet. He/she is not always successful in that last obligation. And so he/ she is obliged to write again breathlessly, not as much for creative nirvana, as for some reprehensible commercial purpose that might lessen the material miseries of the family. That is the lot of the Indian language writer and by Indian language writer one means exactly that and not the Indo-Anglian writer though English is also one of the Indian languages. So let’s call him a desi writer. Some might think the term demeaning. But one does not mean that as one does write in a desi language. Please do not for a moment entertain the thought that I belong to that superior class of Marathi writers who have made a cult of ‘desiism’ and woe betide those who do not follow their whip. Some times one believes that one is among those inferior creatures that are the object of their disdain. That gives one freedom to look at the world with absolutely open mind.

Another point is I am deeply suspicious of the creativity of fiction writers who write straight, logical, analytical theses or deliver scholarly lectures on serious themes with citations, quotations, footnotes and bibliographies. A writer is supposed to create something new which has no proof, which may not exist in mortal reality and which is still there. He/she is supposed to unravel intuitively the mysteries of the world, of the mankind, of the human mind, of the society. Unless he/ she flies in a tangent, thinks with a warped mind, fantasizes, occasionally buries logic and material reality, dissembles and re-assembles the universe and dreams unfettered, he/she cannot create. A genuine creative writer can hardly be an objective literary critic. I like speaking extempore. One can ruminate, evoke dreams, light new sparks within oneself, be profoundly illogical or speak with scintillating incoherence, be sparklingly interesting or excruciatingly boring in an extempore dialogue. A written text is bland, bereft of any fun, hypocritical even if it is occasionally enlightening. I must also warn you that not being a student of literature, I am completely blank of the lexicon used for literary criticism. In spite of all these failings, if I am inflicting this speech on you, blame the organizers. From the observations I have made so far, my audience must have guessed very intelligently that I am trying to justify my poor reading habits. I admit my guilt. Well, India is so complex and its wonderful linguistic plurality is so mind-boggling… The People of India, edited by Anthropological Survey of India’s Dr. K.S. Singh, records more than 4,500 endogamus communities in India with about 325 languages and dialects in 12 distinct language families. There are 22 official languages with well developed literature and many of them with separate scripts. There are 24 distinct scripts still in use in India. How much can one read? How can one be audacious to claim to speak on Indian

National Seminar on Post-Independence Indian Literature - 16th & 17th January, 2009


2 literature as a whole? One knows of the post- 1947 literature in one’s own language a little bit, has faint idea of what is happening in Hindi; one has read short stories and novels in Kannada, Bangla, Tamil and Telugu and some in Oriya in Marathi translation; And some overall impressions from the prisms of student critics of Indian literature. And yet, on the basis of this sparse capital, one is expected to speak before an audience that is far better equipped to do so. Well, I will do my duty with a heavy heart. Having made the premises clear, I now turn to that grand exercise which most VIP specialists in the art of inaugural speeches resort to; and that is making “broad” observations on the subject of confabulations here. While doing so, I must not ignore the remarks made by the great Salman Rushdie, the God incarnate for many Indian readers, that only those Indian writers writing in English are fit to be called ‘writers’ (or I think he has used the phrased fit to be canonized?) and that Indo-Anglian literature represents the most valuable contribution that India has made to the world literature. In sum, he implies that all that has been written over the centuries in the native Indian languages is bereft of any literary value. Few will agree with this presumptious observation. Even so, while speaking of ‘post-Independence Indian literature’, one should at least give priority to the discussion of postIndependence Indo-Anglian literature. That is because its size is not very large, it is discussed widely in English language journals easily available and as Rushdie claims it is the only body of Indian literature known to Western critics and readers. Indian writers of English literature can truly fall in two categories convenient for this discussion. All writings by people like Raja Rao, R.K.Narayan, Mulkraj Anand and others of their generation, not to mention G.V.Desani, can be pushed, by Rushdie’s exalted standards into the darkness of preIndependent literature which has a stink of ‘desi’ barrenness. This shall include their writings even upto 1980-82. Perhaps, the Rushdie school, despite some anachronism, might be inclined to resurrect Desani from the dark pit to the shining body of post-independence literature of his school. Before going into the content and quality of the

Indo-Anglian literature (Post-independence), it must be candidly acknowledged that broadly speaking it does show the capacity to reflect the over-arching panIndian ethos in terms of geography and partly of history. Perhaps, barring Hindi and Urdu and that too with limited extent, few desi languages have attempted in that direction. One is tempted to include Bengali in that category citing the writings of Rabindranath Tagore, Bankim Chandra Chatterjee and others. But most of them do not fall in the purview of our discussion. One shall not ask the question at this moment whether regional language literature manifests that Indian ethos or that over-arching pan-Indianness. Does Bhojpuri song reflect that phenomenon? When Kumar Gandharva sings monsoon songs of Malwa, is he appealing to the specific sensitivities of the narrow Malwa region? Does not S.D.Burman’s boatman’s song echo through the hearts of Indians across the subcontinent? I do not mean the tunes, the lilt or the composition; but the words. Forgive me for digression; but I am not digressing. I am just raising a question. I am sure, you academicians must have given a lot of thought to what it means being Indian, whether all that is written in regional Indian languages is not fit to be called Indian because it does not span India’s geography. Whether the Indo-Anglian writing of the day authentically cuts across the culture specific sensitivities and nuances and presents a composite Indian sensitivity is a question of subjective judgment. There can be two ways to look at this problem. Firstly, if at all there is one composite sensitivity, it is a bland one manufactured by several pan-Indian institutions including the bureaucracies of the Government and the Corporate sector. If at all this superior sensitivity has any flavour, that is of wealthy elitism. Secondly, not a few IndoAnglian writers, feigning total submergence in that imagined composite Indian identity, betray in their writings the mark of unshakeable roots of their regions, the dust of the soil of their village or town and the stink or fragrance of their native air. Be it Rushdie, Roy or Ghosh, they cannot escape this fate howsoever they deny. The ‘pan-Indianness’ of their writings and their characters manifest in mere geography. Even their historical appendages often betray their regional roots. Perhaps Vikram Seth and Arvind Adiga escape this trap.



But why feel inferior if you smell of your village, language or your school? There are groups in the West that study ‘Goan’ literature as an entity in itself. Now, this Goan literature is all written in English. Let us not forget that India is a huge and complex federation of regional cultures, languages, histories, castes, creeds and religions. Each caste of each region is a sovereign country in itself with its satraps in the sub-castes. So is each language with its songs and tales and its subregional dialects. The Indian soul is made up of all these influences right from Mahabharata to Bollywood to A.R.Rehman’s compositions. If only our modern IndoAnglian writers accept this reality, they will be that much more in tune with the confederational Indian sensitivity. Perhaps, Raja Raos, Anands and Narayans - and of course Jawaharlal Nehru - of the dark era were frankly aware of this phenomenon and that made their writings touchingly Indian like an innocent Indian villager with earthly wisdom. Now there are several common distinctive characteristics of post-Independence Indo-Anglian writers with respect to their personal background, upbringing and the content of their writings. Barring very few exceptions, they belong to the elite class not having ever tasted the bitter truth of poverty. They were schooled in elite institutions, insulated from the dirt and cacophony of India. And if they had no stint in St. Stephan’s College or St. Xaviers, they were groomed in Oxford or Cambridge. From their early youth, they have moved in the highest echelons of power and culture and had at their command the resources and facilities which an average Indian youth can hardly ever dream of. There are some exceptions. But that this is the general sketch cannot be denied. Rushdie claims only the Indo-Anglian writing reflects the true soul of India. One wonders. There is no disrespect to his creativity and scintillating language. Another common thread is the kind of questionable Indian ambience as reflected in postIndependence Indian writing. The British colonizers of the 20th century had developed certain peculiar perception of India and Indians. That perception is authentically reflected in the writings of Rudyard Kipling, E.M.Foster and Paul Scott. India is an exotic place for them. Here tigers roar from across the rivers, cows

3 and buffaloes chew grass and ruminate philosophically sitting leisurely in the midst of Mumbai streets. It is a country of snakes and elephants and Maharajas and their nautch girls; of cunning Brahmins and cheating baniyas; of people dying of starvation in every corner of streets…It is a world of magic and poverty and dirt. Sex is rampant and no white woman is safe here. Most British writers of that era including Foster and Scott have at least one episode of a white woman being raped by an Indian male in mysterious circumstances. That is the ambience of India as they saw. Let us call it FosterKippling syndrome in literature. The Indo-Anglian writers, certainly the most famous ones, unwittingly fall prey to this syndrome. They are intelligent, they are proud to be Indians and they are patriotic too. But in their writing they conform to the image of India as Western readers and publishers want to see it. It is the India-Exotica which they subtly present to cater to the tastes of Western readers. Of course, without tigers and rope tricks and raped white women. Raja Rao and Malgaonkar have averred publicly how the Western publishers demand the exotica, poverty, dirt, cows and possessed women. Yours truly, a poor Indian language writer, too has experienced this syndrome first hand. The Hungry Tide, Shame, God of Small Things, Midnight’s Children…. the most applauded novels of the IndoAnglian writers, all have ample ingredients of exotic India which the Westerners like to read about. Again, I shall prefer to make exceptions of Seth and Adiga. There could be others. Things are changing and Rushdie’s generation is getting older. The younger ones hopefully have no influence of Foster-Kippling syndrome. At the outset I had promised to make some broad observations. How the change in post-independence India is taken for granted in the Indo-Anglian writing and how that extremely complex and utterly incomprehensible process of change is detailed with minute observations providing a profound insight into the mind of India in Indian desi language writing, is the matter I would like to leave for the erudition of the scholars gathered here. There is no denying the fact that post-independence development of awareness of their rights among different segments of backward people of India, their fierce struggles to assert those



4 rights, their economic, social and cultural ascendance , their confrontation with socio-cultural establishments of each region and a dramatic transformation of India that this phenomenal turbulence has brought about is portrayed more strikingly and sensitively in the native Indian language literature. India is witnessing a new surge of the people from the bottom who were either suppressed or thrown into second class human categories for centuries. The most striking phenomenon of Post-Independence Indian literature has been the articulation of these people through literature. My generation has witnessed this literary turbulence in Indian languages and its steady growth from close quarters. There may not be any parallels to this phenomenon in the world literature. Not even the black literature of the Americas. It is up to the academics and critics to judge the quality and sensitivity of this body of literature. To my mind this surge has contributed phenomenally to enrichment of the native Indian languages. It has not only provided a

new vocabulary to the languages, it has also lent a wholesomeness to the literature of these languages monopolized till recently, in terms of mode of expression, cultural sensitivities, linguistic nuances and worldly experiences, by the elite classes of each region. From the eyes of the people at large, the elitist unidimensional literature in each of the Indian native language, could be faulted for the same trait of sad alienation from the people and from the true ethos of the country which manifests in the Indo-Anglian literature. It is now possible to experience India – or at least one segment of India- in its grand multi-dimensional, multicultural beauty in writings, in poetry and in novels in the native Indian language literature. This seminal development is bound to have momentous repercussions on socio-political, economic and cultural future of India. Thank you.

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7

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8

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_moR>m Amjon g§ñH¥$V gm{hË`mda KoVbm OmVmo. na§Vw Agm Amjon KoUmè`m§À`m S>moù`m§V A§OZ KmbUmar EH$ KQ>Zm _mJrb _{hÝ`mV KS>br. {X.18 {S>g|~a 2008 amoOr AË`§V _mZmMm g_Obm OmUmam 42 dm "kmZnrR>' nwañH$ma g§ñH¥$VMo AmXaUr` {dX²dmZ nX²_lr _._.S>m°.gË`d«V emór `m§Zm {_imbm. g§ñH¥$V^mfoÀ`m dmL²_` {Z{_©VrgmR>r hm nwañH$ma {_iU§ hm S>m.° gË`d«V emót~amo~aM g§ñH¥$V ^mfoMm gÝ_mZ Va AmhoM na§Vw g§ñH¥$VmVrb AmYw{ZH$ dmL²>_`{Z{_©Vrdarb Amjonmbm ho MmoI àË`wÎma Amho. S>m°.gË`d«V emótMr J«§Wg§nXm hr ñdmV§Í`moÎma H$mimVrbM {Z{_©Vr Amho. 1) lr~mo{YgÎdM[aV_² (1960) 2) Essays on Indology (1963) 3) lrJwê$Jmo{dÝXqghM[aV_² (1967) 4) B§{XamJm§YrM[aV_² (1976) 5) lram_H$s{V©_hmH$mì`_² (1990) 6) nÌH$mì`_² (1994) 7) gw^m{fVgmhòr (1998) Am{U BVahr AZoH$ J«§Wm§Mr Ë`m§Zr aMZm Ho$br Amho. Ë`mM~amo~a "{S>ñH$ìhar Am°\$ B§{S>`m' `m J«§WmÀ`m gmV I§S>m§Mo àH$meZ {X.19 Zmoìh|~a 2005 amoOr Pmbo. AmYw{ZH$ H$mimV _hmH$mì`, I§S>H$mì` Am{U nÌH$mì`mMr {Z{_©Vr H$aUmao S>m.° gË`d«V emór ho EH$_odm{ÛVr` AmhoV. ñdmV§Í`moÎma H$mimV Á`m AZoH$ g§ñH¥$V H$dtZr Aà{V_ Aem J§ « W aMZm Ho $ ë`m Ë`m_Üò àm_w » `mZo lr._mYdamd S> m D$, lr.J§.~m.nigwb,o bmoH$Zm`H$ lr.AUo, lr. aoUmnwaH$a, lr. kmZoœa gmYy, lr. am_emór eodmiH$a, lr. eodS>o Am{U àkm^maVr S>m°.lr.^m.dU}H$a `m gdmªMo Zmd AË`§V AmXamZo KoVbo OmVo. ~hþ_mob Am{U ~hþ{dY dmL²>_`rZ Am{U gm§ñH¥${VH$ H$m`m©gmR>r S>m°.lr.^m.dU}H$am§Zm AZoH$ nwañH$ma XoIrb àmá PmboV. gm{hË` AH$mX_r nwañH$ma (1974), gwa^maVr-H§$R>mâU (1977), ^maVnwÌ (1983), H$m{bXmg nwañH$ma (1983), amï´>nVr nwañH$ma (1989), àkm^maVr (1989), _hmamï´> Jm¡ad (1990) B. AZoH$ nwañH$mam§Zr Ë`m§Zm Jm¡a{dÊ`mV Ambobo Amho. "{edamÁ`moX`_²' ho Ë`m§Mo _hmH$mì`, "{edamÁ`m{^foH$_²' ho gmV A§H$s ZmQ>H$, "{dZm`H$



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9

S>m.° dU}H$am§À`m aMZm H$m¡eë`mMm, H${dloð>ËdmMm dmMH$mbm àË`` Amë`m{edm` amhV Zmhr. Ë`m_wioM "J«m_JrVm_¥V_²' `m Ë`m§À`m J«§WmZo g§ñH¥$V gm{hË`mV ñdV§Ì Ago ñWmZ {Z_m©U Ho$bo Amho. ^maVmVrb 80% OZVm IoS>çmV amhVo. Ë`m_wio _.Jm§YrZr XoIrb "IoS>çmH$S>o Mbm' Agm g§Xoe {Xbm hmoVm. H$maU XoemMr gdmªJrU àJVr gmYm`Mr Agob Va IoS>r ñd`§nyU© ìhm`bm hdrV Am{U J«m_rU OZVoMr àJVr Pmë`m{edm` XoemMm {dH$mg AeŠ` Amho. ho ^maVr` bmoH$emhrMo dmñVd Amho. \$ma àmMrZ H$mimV B.g.nyd© {Vgè`m eVH$mV amOZrVrdarb EH$ g§ñH¥$V J«§W {Z_m©U Pmbm Vmo åhUOo "H$m¡{Q>br` AW©emñÌ'. `m J«W§ mV H$m¡{Q>ë`mZo XoIrb AmXe© Am{U ñd`§nyU© IoS>çm§Mr aMZm Ho$br Omdr Ago åhQ>bo Amho. amï´>gV§ VwH$S>mO o r _hmamOm§Zm XoIrb ho _mÝ` hmoVo H$s, IoS>çm§Zm AmXe© ~Z{dbo VaM Xoe AmXe© ~ZUma Amho åhUyZM Ë`m§Zr AË`§V _mJ©Xe©H$ Aem J«m_JrVoMr aMZm Ho$br. åhUyZM J«m_JrVo_Üò J«m_m§Zm H|$Ðq~Xy _mZbo Amho. nU BVahr AZoH$ AmYw{ZH$VmdmXmer g§dmX gmYUmè`m {df`m§Mm Ë`mV D$hmnmoh Ho$bobm Amho. gdmªV àW_ {dœY_©: `m AÜ`m`mV S>m.° dU}H$a H$m` åhUVmV Vo nmhUo C{MV R>aob. S>m°. dU}H$am§À`mM ^mfoV gm§Jm`Mo Pmë`mgXoe^pŠV$ qH$dm amï´>{Zð>m `m ^mdZoMm ^maVr` g_mOmV gd©Wm A^md hmoVm. Xoe^ŠVrnamÙ B§J«Om§À`m g§nH$m©Zo qH$dm B§J«Or gm{hË`mÀ`m g§ñH$mamZoM Ë`m ^mdZoMm g§Mma ^maVr` g_mOmV Pmbm. VWm{n amï´>^pŠV qH$dm Xoe^ŠVr EVX²Xoer`m§À`m AÝV:H$aUmV H$Yr A§Hw$[aV PmbrM ZìhVr Ago gagH$Q> {dYmZ _mÌ {ZandmXnUo J«mh` _mZVm òV Zmhr. àmMrZ g§ñH¥$V gm{hË`mV `m amï´>mVrb n{dÌ ZÚm, nd©V, VrW©jÌo o BË`m{XH$m§{df`r namH$mð>M o r ^ŠVr ì`ŠV Pmbobr {XgyZ òB©b Ë`m_Üò ì`ŠV Pmboë`m CXmÎm ^mdZm OJmVrb H$moUË`mhr amï´>mÀ`m gm{hË`mV ì`ŠV Pmboë`m ghgm AmT>iUma ZmhrV. "_mVm ^y{_: nwÌmo Ah§ n¥{Wì`m: Ÿ&' `mgma»`m doXdMZmVyZ qH$dm "OZZr OÝ_^y{_íM ñdJm©X{n Jar`gr' `mgma»`m öÚ gw^m{fVm§VZy ^maVr`m§Mr amï´>^ŠVr CÎm_ àH$mao ì`ŠV$ Pmbr Amho. (nmZ Z§.335 Adm©MrZ g§ñH¥$V gm{hË`). Ë`mM~amo~a "dgwd¡Y Hw$Qw>å~H$_²' hr g§H$ënZmXoIrb ^maVr`m§Zm Zdr Zmhr. gÜ`m g§nyU© OJmV Á`m EH$mM {df`mMr MMm© hmoVo Amho Vmo åhUOo XheVdmX ! _w~§ B©da A{VaoH$s hëë`m§À`m nmœ©^_y rda nwÝhm EH$Xm {díd~§YËw dmÀ`m H$ënZoZo Omoa Yabm Amho. `mg§X^m©V J«m_JrVo_Üò XheVdmXm~Ôb AË`§V naIS>nUo S>m°.dU}H$a åhUVmV. {dbwám H$ê$Um _¡Ìr ào_ - gm¡hmX© - d{Y©Zr &



10

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J«m_' {Z_m©U hmoB©b `mV e§H$m Zmhr. Á`m XoemVrb OZVm AË`§V n[al_ H$aVo Ë`mM XoemMr àJVr hmoVo ho gm§JV AgVm§Zm Ë`m§Zr "l_à{Vð>m' `m AÜ`m`mV l_mMo _hÎd nQ>dyZ {Xbo Amho l_à{Vð>m g§ñWmß`m ì`dhmao OZo OZo & J«m_o J«m_o gwàMm`m© l_{Zð>m {XZo {XZo && (ûcmoH$ 26, AÜ`m` 18, J«m_JrVm_¥V_²) AË`§V AmH$f©H$ Am{U ghO g_Oob Aem aMZoMo H$m¡eë` S>m°.dU}H$am§Zm gmYbo Amho `m§VyZ Ë`m§À`m H${dloð>ËdmMr à{MVr òV.o nwT>o Vo åhUVmV `Ì gd} gwg§nÞm: gd} gå`H²$ gw{e{jVm: & gd} gdm} X`mnojm: J«m_ AmXe© Ed g: && (ûcmoH$ 39, AÜ`m` 18, J«m_JrVm_¥V_²) Agm "AmXe© J«m_' {Z_m©U Pmbm Va H$moUVohr g§H$Q> Xoemda Ambo Var Ë`mMm XoemÀ`m àJVrÀ`m doJmda `{ËH§${MVhr n[aUm_ hmoUma Zmhr. AgoM OUy Ë`m§Zm `m§VyZ gwMdm`Mo Agmdo. Ë`mZ§Va AË`§V _hÎdmMm {dMma Vo "X{bVgodm' `m AÜ`m`mV _m§S>VmV. AmnUM Amnë`m _mUgmbm Añn¥í` åhUVmo ho qZXZr` Amho Añn¥í`m B{V Mm@ñ_m{^: VwÀN>ËdoZ {VañH¥$Vm: && (ûcmoH$ 30, AÜ`m` 29, J«m_JrVm_¥V_²) "Añn¥í`Vm' ho ghmdo _hmnmVH$ Amho Ago XoIrb Vo åhUVmV. Z OmVw H$bh§ Hw$`m©V² {dY_uà²¡ AH$maU_² & VWm@Ý` - Om{V - njmUm§ Z Hw$`m©X² XmofXe©Z_² Ÿ&& (ûcmoH$ 48, AÜ`m` 29, J«m_JrVm_¥V_²) Ago AmMaU àËòH$mZo R>do bo nm{hOo. gdmªZr Oa darb {dMma A§_bmV AmUm`Mm R>a{dbm Va Iè`m AWm©Zo AmnU EH$_oH$m§Mm AmXa H$ê$ eHy$. amï´>g§Vm§gma»`m Wmoa ì`ŠVsÀ`m {dMmam§da A§_b Pmbm AgVm Va, gdmªZrM Vmo A§JrH$mabm AgVm Va H$Xm{MV ñdmV§Í`moÎma H$mimVhr "I¡abm§Or hË`mH$m§S>' KS>boM ZgVo. X{bV godogmaIo AZoH$ AmOÀ`m H$mimVhr Cn`wŠV Ago {dMma Ogo H$s, à`ËZà^md:, OrdZ-H$bm:, {ZY©Z-gYZËd_², Jmod§egwYma:, g§KQ>Ze[ŠV:, godmgm_Ï`©_², AmMma-àm~ë`_², J«m_{Z_m©UH$bm, g§gJ©à^md: B. AmYw{ZH$ H$mimV ~hþM{M©V {df`m§da `Wmo{MV _mJ©Xe©Z darb AÜ`m`m§VyZ Ë`m§Zr Ho$bo Amho.

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JaO Amho Vr \$ŠV J«m_JrVoVrb hm AmYw{ZH$VmdmX A§{JH$maÊ`mMr. Ago Ho$ë`mg ZŠH$sM "ñdJ©Vwë`' Agm hm ^maV Xoe hmoB©b `mV e§H$m Zmhr. g_mO-aMZm ^y`mV² g_ñV - g_Vm@pÝdVm & ñ`mV² ñd`§nyU©Vm J«m_o J¥hm@Þ - dgZm@@{Xfw && {dbr` emofU§ X¡Ý`§ Xm[aÐ`§ nmn-n§MH$_² & ÔÝVw gH$bm J«m_m amï´>o@pñ_Z² ñdJ©Vwë`Vm_² && (ûcmoH$ 37, 38, AÜ`m` 41, J«m_JrVm_¥V_²) AmYw{ZH$ H$mimVhr `m {dMmam§Mo Am¡{MË` AgyZ H$mimÀ`m nbrH$S>o AgUmam hm emœV {dMma Amho. AZoH$ {dMmad§Vm§Zm, A{^àoV, _mÝ` AgmM hm {dMma Amho. Amnë`m XoemMm gmW© A{^_mZ AgUmè`m àËòH$ ^maVr`mZo {dMmamV KoD$Z Ë`m§nmgyZ àoaUm KoD$Z OrdZmV dmQ>Mmb Ho$br Va IamoIaM ^maV hm ^yd¡Hw§$R> hmoB©b `mV e§H$m Zmhr. `m J«§WmÀ`m Cng§hmamV S>m°.dU}H$am§Zr J«m_JrVm H$er AmYw{ZH$ Amho Vo gm§{JVbo Amho loð>m g§ñH¥$V^mfm@gm¡ ^maVñ` gZmVZr & Vñ`m_² AZy{XVm àoð>m J«m_JrVm@YwZmVZr && (ûcmoH$ H«$.5 Cng§hma, J«m_JrVm_¥V_²) J«m_JrVm_¥V_² hm AË`§V _Ywa Am{U gwb^ Agm AZwdmX åhUOo g§ñH¥$VmVrb Adm©MrZ gm{hË`mV _¡bmMm XJS>M R>abm Amho. `mVrb EH$ EH$ nÚ ho AË`§V AW©nyU© AgyZ `m {dMmam§da gImob Aä`mg H$aÊ`mMr AË`§V JaO Amho Ë`m§_wioM àñVwV {df`mda ârd Am{U _ybJm_r g§emoYZ hmoUo JaOoMo Amho Ago _bm dmQ>V.o *** g§X^©JW§« gyMr : 1) àkm^maVr`_² - S>m°. lr. ^m. dU}H$a. 2) J«m_JrVm - amï´>g§V lr. VwH$S>moOr _hmamO. 3) Adm©MrZ g§ñH¥$V gm{hË` - S>m°. lr. ^m. dU}H$a. 4) g§ñH¥$V gm{hË` H$m {deX B{Vhmg - S>m°. nwînm Jwám. 5) g§ñH¥$V gm{hË` H$m B{Vhmg - S>m°. E. ~r. H$sW. 6) g§ñH¥$V gm{hË` H$m B{Vhmg - àmo. h§gamO AJ«dmb. 7) g§ñH¥$V dmL²>_` H$moe ({ÛVr` IÊS>) - S>m°. lr. ^m. dU}H$a 8) g§H$o VñWi -www.satyvrat_shastri.net •••



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_hmZJar` _amR>r H${dVoV {dgmì`m eVH$mÀ`m nmMì`mghmì`m XeH$mnmgyZ H$mhr H$dt_Üò EH$ doJù`m àH$maMr g§doXZerbVm àH$Q> Pmbobr {XgVo. hr g§doXZerbVm _hmZJar` OrdZmer {ZJ{S>V hmoVr. {hbmM "_hmZJar` g§dXo ZerbVm' åhQ>bo OmVo. {VÀ`m_wio _amR>r H${dVobm EH$ doJio ê$n àmá Pmbo. `m Zì`m g§doXZerbVoMr nmio_wio H$moR>o AmhoV, _amR>r H${dVobm `m g§doXZerbVo_wio H$moUVr Zdr n[a_mUo bm^br, {VÀ`m_wio _amR>r H${dVoV H$moUVo àíZ {Z_m©U Pmbo. `mg§~§YrMr H$mhr {ZarjUo `m {Q>nUmV WmoS>Š`mV _m§S>V Amho. àma§^rM ho gm§Jm`bm hdo H$s gm{hË`mÀ`m g§X^m©V `moObr OmUmar "_hmZJar` g§dXo ZerbVm' hr EH$ Ame`mË_ H$moQ>r Amho. {VÀ`m gmhmæ`mZo {d{eï> gm{hË`H¥ $ VrVrb Ame`mMo , Ame`gyÌmMo ñdê$n H$moUË`m àH$maMo Amho, Vo ñnï> Ho$bo OmVo. åhUOoM {VÀ`mÛmao `m gm{hË`mH¥$VrVrb Ame` d Ame`gyÌo {d{eï> g§doXZerbVoMm Am{dîH$ma H$aVmV, Ago gm§{JVbo OmVo. hr H$moQ>r nyU©nUo dU©ZmË_H$ ñdê$nmMr Amho. hr _yë`_mnZmË_H$ H$moQ>r Zìho. {VÀ`m gmhmæ`mZo {d{eï> gm{hË`H¥$VrVrb Ame` dm Ame`gyÌo `m§Mm Mm§Jbo-dmB©Q>nUm {ZpíMV H$aVm òV Zmhr. "_hmZJar` g§doXZerbVo' à_mUoM "J«m_rU g§doXZerbVm', "X{bV g§doXZerbVm' Aem H$mhr H$moQ>r _amR>r gm{hË`g_rjoV ApñVËdmV AmhoV. `mhr H$moQ>r dU©ZmË_H$ ñdê$nmÀ`m AmhoV. _hmZJao ho EH$ AmYw{ZH$ K{Q>V Amho. `wamonÀ`m g§X^m©V ~mobm`Mo Pmbo Va _hmZJao hr EH$mo{Ugmì`m eVH$mÀ`m AIoarg, Iao Va {dgmì`m eVH$mÀ`m àma§^rÀ`m XeH$mVM ApñVËdmV Ambr. hr _hmZJao ^m§S>dbàYmZ Am¡Úmo{JH$ ì`dñWoer g§~§YrV AmhoV, Am{U {VÀ`m JaOoVyZM Vr hiyhiy ApñVËdmV Ambobr AmhoV. `wamon_Yrb AR>amì`m eVH$mnmgyZ gwé Pmboë`m Am¡Úmo{JH$ H«$m§VrMm Vr n[anmH$ AmhoV. Amnë`mH$S>o EH$mo{Ugmì`m eVH$mÀ`m AIoarg _hmZJao {Z_m©U hmoÊ`mMr à{H«$`m gwé Pmbobr Agbr, Var Á`m§Zm IamoIarM _hmZJao åhUVm òVrb, Aer ehao ApñVËdmV `m`bm {dgmì`m eVH$mMo nmMdo-ghmdo eVH$ COmS>bo Amho. `mM g§X^m©V AmUIr EH$ _hÎdmMr Jmoï> bjmV ¿`m`bm hdr H$s `wamon_Yrb gm{hË`, H$bm `m joÌm§V {Z_m©U Pmbobm

AmYw{ZH$dmX _hmZJam§À`m OÝ_H$mimer g§~§{YV Amho. _amR>r gm{hË`mVhr AmYw{ZH$dmXmMo nS>gmX {dgmì`m eVH$mÀ`m nmMì`m XeH$mV C_Qy> bmJbo AmhoV, ho gmå` bjUr` Amho. _hmZJamVrb {d{eï> n[apñWVr_wio òWo XrK© H$mi dmñVì` H$aUmè`m _mUgm§Mr _mZ{gH$ KS>U ~XbVo. `m {d{eï> _mZ{gH$ KS>UrbmM AmnU _hmZJar` g§doXZerbVm åhUVmo. CXmhaUmW©, _hmZJamVrb _mUgo, B_maVr, XwH$mZo, dmhZo BË`mXr Jmoï>tÀ`m JXuVyZ EH$mH$snUmMr ^mdZm, ì`{º$Ëdbmon Pmë`mMr OmUrd {Z_m©U hmoV.o `m JXu_wi,o àXyfUm_wio òWo H$moUVmhr _moH$ionUm, AdH$me ZgVmo. òWo AmnwbH$s, Amobmdm {Z_m©U hmoV ZgVmo Va VwQ>H$nUm, g§dmXeyÝ`Vm, Ìw{Q>VVm Am{U àg§Jr A_mZwfVm nmhmd`mg {_iVo. _hmZJamVrb ~hþVm§e Jmoï>r `m§{ÌH$Voer {ZJ{S>V Agë`m_wio `m§{ÌH$Vm, A_mZdrH$aU, A_mZwfnUm, namË_Vm `m Jmoï>tMm AZw^d òWo òVmo. qH$dm _hmZJamVrb J{V_mZVm, VoWrb KS>çmimÀ`m H$mQ>çm§~amo~a MmbUmè`m doJdmZ OrdZm_wio gVVMm VmU, ì`J«Vm, AñdñWVm OmUdV amhVo. gmam§e, _hmZJar` g§dXo ZerbVoMo R>iH$ {deof gm§J`Mo Va Vo gmYmaUnUo nw{T>bà_mUo AmhoV … EH$mH$snUm, AW©eyÝ`Vm, nmoaHo$nUm, A_mZdrH$aU, A_mZwfVm, ~YranUm, ì`{º$Ëdbmon, namË_^md, Ag§~ÕVm, g§dmXeyÝ`Vm, Ìw{Q>VVm, VwQ>H$nUm, gVVMr ì`J«Vm, AñdñWVm, VmU BË`mXr BË`mXr. hr Ame`gyÌo _w»`Ëdo AmYw{ZH$dmXr Ñï>rer g§~§YrV AmhoV. ho òWo Z_yX H$amd`mg hdo. _hmZJamV OJUmè`m gd©M boIH$m§da hm n[aUm_ gma»`mM nÕVrZo Am{U gma»`mM à_mUmV nS>Vmo, Ago åhUVm òUma Zmhr. na§Vw _hmZJamV dmñVì` H$aUmè`m AZoH$ boIH$m§daH$drda _hmZJar` n`m©daUmMm H$_rA{YH$ g§ñH$ma hmoVmo. `m g§X^m©V EH$ Jmoï> bjmV ¿`md`mg hdr H$s _hmZJamV dmñVd H$aUmè`m gd©M H$dtÀ`m H${dVo_YyZ _hmZJar` g§doXZerbVm Am{dîH¥$V Pmbobr Zmhr. CXmhaUmW©, nw. {e. aoJo, em§Vm eoiHo$, _§Joe nmS>JmdH$a, dg§V ~mnQ> à^¥>Vr H${dH$d{`Ìr. `m d Aem AZoH$ H$dtÀ`m H${dVoV AZoH$Xm _hmZJar` AW©KQ>H$ nmhmd`mg {_iVmV, na§Vw Ë`m_wio Ë`m§Mr H${dVm _hmZJar` g§doXZerbVoMm Am{dîH$ma H$aVo Ago åhUVm òUma Zmhr. _hmZJar` g§dXo Z åhUOo



H${dVoV _hmZJar` Vnerb òUo, Ë`m§Mo àmMw`© AgUo Zìho. ho Vnerb \$mago Z òVmhr g§doXZ _hmZJar` Agy eH$Vo. Xwgao Ago H$s, _hmZar` g§ d o X ZerbVo M m Am{dîH$ma hm gm_mÝ`V… AmYw{ZH$dmXr qH$dm AmYw{ZH$dmXmÀ`m à^mdmImbrb H$dt_Üò A{YH$ à_mUmV {XgVmo. _hmZJar` g§doXZerbVm hr àm_w»`mZo AmYw{ZH$dmXr Ñï>rer {ZJS>rV Agë`m_wio Ago KS>Uo ñdm^{dH$ Amho. AWm©V, H$mhr doim amo_{± Q>H$ d _mZddmXr H$dtdahr hm à^md nS>bobm {XgVmo. Ë`mg§~§YrMr MMm© AmnU AIoarg H$aUma AmhmoV. _hmZJar` g§doXZerbVoMr hr ê$no bjmV KoVbr H$s nÇ>o ~mnyamdm§Mr "_w~§ B©Mr bmdUr' ZJam{df`rÀ`m pñV{_VVoMm AZw^d ì`º$ H$aVo, _hmZJar` g§doXZerbVoMm Zìho, ho bjmV KoUo Amdí`H$ Amho. EH$mo{Ugmì`m eVH$mÀ`m àma§^r _w§~B© ho N>moQ>ogo ZJa hmooVo. Vo H$moUË`mhr AWm©Zo _hmZJa ZìhVo. AmYr åhQ>bo Ë`mà_mUo _amR>r gm{hË`mV {Obm _hmZJar` åhUVm òB©b Aem g§ d o X ZerbVo M m Am{dîH$ma {dgmì`m eVH$mÀ`m nmMì`m XeH$mnmgyZ _w»`V… H${dVoVyZ Am{U H$mhr à_mUmV H$Wm§_YyZ Am{U ghmì`m XeH$mnmgyZ H$mhr à_mUmV H$mX§~è`m§_YyZ Pmbobm Amho. H${dVo_Üò hr g§doXZerbVm àW_V… _T>}H$am§À`m H${dVoVyZ Am{dîH¥$V Pmbobr {XgVo. AmYw{ZH$ _amR>r H${dVoV _hmZJar` g§doXZerbVoMm Am{dîH$ma doJdoJù`m àH$mao, doJdoJù`m ê$nmV Pmbm Amho. {^Þ àH¥${VY_m©À`m H$dtda _hmZJar` g§doXZerbVoMm n[aUm_ doJdoJù`m àH$mao hmoUo ñdm^m{dH$ Amho. H$dtÀ`m _hmZJar` dmñVdmbm Pmboë`m à{V{H«$`m§Mo gmYmaUnUo VrZ JQ> AmhoV. `m§Vrb n{hë`m JQ>mVrb _hmZJar` dmñVdmbm Pmbobr à{V{H«$`m hr AñdñWVoMr Amho. òWo `m _hmZJar` dmñVdmV ~XbUmè`m _mZdr OJÊ`m~ÔbMr qMVm, VS>\$S>, AmH$m§V _moR>çm à_mUmV Amho. Xwgè`m JQ>mVrb à{V{H«$`m hr `m n[apñWVrMo {dS>~§ Z H$aUmar Amho. òWo AZoH$Xm AmË_{dS>§~Zhr nmhmd`mg {_iVo. {Vgar à{V{H«$`m hr `m n[apñWVr~Ôb AmH$m§V ì`ŠV H$aV Zmhr, qH$dm `m n[apñWVrMo {dS>§~Zhr H$aV Zmhr. Vr _hmZJar` dmñVdm_wio _mZdr OrdZmV hmoUmè`m ~Xbm§Mm, Ë`mVrb doJdoJù`m AdñWm§Mm doY KoV.o hr A{YH$ ì`{º$bú`r ñdê$nmMr à{V{H«$`m Amho. AWm©V, `m {VÝhr à{V{H«$`m åhUOo hdm~§X H$ßno ZìhoV, ho ñnï>M Amho. EH$mM H$drV Ë`m§Mr ga{_gihr Pmbobr nmhmd`mg {_iVo. _hmZJar` dmñVdmbm H$dtÀ`m Pmboë`m `m VrZ à{V{H«$`m AmhoV, _hmZJar` g§dXo ZerbVm àm_w»`mZo `m VrZ àH$mao Am{dîH¥$V Pmbr Amho, EdT>oM òWo A{^àoV Amho.

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_hmZJar` dmñVdm{df`rMr n{hbr à{V{H«$`m hr _T>}H$am§À`m H${dVoV R>merdnUo ì`º$ Pmbr Amho. hr n{hë`m Q>ßß`mdaMr à{V{H«$`m Amho. `m Q>ßß`mda _w»`V… _mUgmÀ`m `§ÌdV, A_mZdr, ZJÊ` hmoV OmUmè`m OrdZm~ÔbMr AñdñWVm Amho. CXmhaUmW©, "gH$mir CR>moZr',"_r EH$ _w§Jr, hm EH$ _w§Jr',"{H$Vr Var {Xdgm§V' BË`mXr H${dVm§_YyZ hr OmUrd ~è`mM ñnï>nUo ì`º$ Pmbobr Amho. _T>}H$a H$mhr doim "`§Ì_w½Y' hmoVmV, "`§Ì`wJmVrb ZdZ¥Ë`' Ë`m§Zm AmH${f©V H$aVo. _hmZJamMo àgÞ Xe©Zhr Ë`m§Zm H$mhr doim KS>Vo. na§Vw hm _T>}H$ar H${dVoMm ñWm`r^md Zìho. CbQ> `m Ìw{Q>V OrdZmV "gbJ O_oZm EH$ ^mdZm' qH$dm, "OoWo OmVmo VoWŸo & _r _mPm gm§JmVr' Agm g§dmXeyÝ`VoMm AZw^d òVmo. "H$mù`m ~§~mi A§Ymar', "n§ŠMabr O[a amÌ {Xì`m§Zr',"{OWo _maVo H$m§Xdo mS>r' Aem H${dVm§_YyZ _hmZJamVrb {dê$n, ~H$mb OrdZmMm, doJdoJù`m ^rVtMm, H$mimoImMm àË`` òV amhVmo. `m gd© _mZdr AdñWm§~ÔbMr "{Od§V VJ_J' Ë`m§À`m H${dVoV {XgVo. qdXm H$a§XrH$am§À`m H${dVo_YyZhr `m§{ÌH$VoMr, namË_VoMr OmUrd ì`º$ hmoV amhVo. ^rVrMr OmUrdhr `m H${dVoV _hÎdmMr Amho. AmYw{ZH$, _hmZJar` _mUgmÀ`m doJdoJù`m AdñWm nmhÿZ H$dr AñdñW hmoVmo, Xw^§JyZ OmVmo. `mM àH$maMr AñdñWVm, hVmeVm dg§V Am~mOr S>hmHo$, dg§V XÎmmÌo` JwOa© à^¥Vr nwT>rb H$dr_Üò nhmd`mg {_iVo. ho gd©M H$dr {ZIinUo AmYw{ZH$dmXr ZmhrV. `m Om{Udm ì`º$ H$aVmZm hr H${dVm AZoH$Xm {dZmoXmMm, CnamoYmMm Aml` KoVo. VoWo Xwhoar à{V{H«$`m AgVo. Ë`m§Vrb EH$ åhUOo _hmZJamVrb {d{dY K{Q>Vm§_YyZ Amnë`m {d{dY _mZ{gH$ AdñWm ì`º$ H$aUo. _hmZJamV _mUgmÀ`m dmQ>çmbm òUmè`m {d{eï> n[apñWVrMo {dS>~§ Z H$aUmar Xwgar à{V{H«$`m hr H$mbÑîQ>çm _T>H} $aH$a§XrH$am§À`m nwT>r>b Q>ßß`mdarb Amho. hr à{V{H«$`m _w»`Ëdo Aê$U H$mobQ>H$a, gXmZ§X aoJo `m§À`m H${dVoV _moR>çm à_mUmV nmhmd`mg {_iVo. H$mobQ>H$am§À`m hm°pñnQ>bÀ`m H${dVm§_YyZ `m n[apñWVrMm XmhH$ Agm àË`` òVmo. òWrb noe§Q>bm Zmd-Jmd Aer H$moUVrM AmoiI Zmhr. Ë`mMr AmoiI \$º$ AmaEM nm°{P{Q>ìh Aer Amho. H$mobQ>H$am§À`m H${dVoV _hmZJar` OJUo AZoH$ {ZOud na§Vw AmH«$_H$ àg§Jr qhò dñVy§Zr doTy>Z Q>mH$bobo Amho. n{hë`m Q>ßß`mdarb `m§{ÌH$sH$aU, EH$mH$snU, g§dmXeyÝ`Vm, Ìw{Q>VVm, AñdñWVm hr Ame`gyÌo òWo \$maer à^mdr ZmhrV. VgoM VoWrb hVmenUmMr, qMVo M r OmUrdhr ò W o Zmhr. `mCbQ> ò W o ì`{º$Ëdbmon, A_mZdrH$aU, IƒrH$aU, dñVwdVVm, namË_Vm hr Ame`gyÌo A{YH$ à^mdr AmhoV. òWo H$mhr à_mUmV {g{ZH$b d¥Îmr YmaU H$ê$Z Am{U H$mhr doim {VaH$g {dZmoXmMm Aml` KoD$Z _hmZJamVrb {dXmaH$ _mZdr pñWVrda àH$me Q>mH$Ê`mV Ambm



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Amho. `m pñWVrMo {dS>§~Z H$aÊ`mH$S>o H$b Agë`m_wio òWo doJio ^md{ZH$ gya Ambo AmhoV. ^mdZmË_H$Vobm AdamoY H$aUmar, H$mhrer W§S>nUmH$S>o PwH$Umar A{báVm òWo _hÎdmMr R>abr Amho. H$mobQ>H$am§Mm CnamoYhr _T>}H$am§À`m CnamoYmnojm doJim Amho. hm CnamoY Am{YH$ {dH$Q>, A{YH$ XMH$mdyZ Q>mH$Umam Amho. _hmZJar` n[apñWVr~ÔbMr {Vgar à{V{H«$`m hr AmH$m§V ì`º$ H$aV Zmhr qH$dm Ë`m n[apñWVrMo {dS>§~Zhr H$aV Zmhr. hr n[apñWVr Amnë`m OJÊ`mÀ`m EH$ AQ>i ^mJ _mZyZ {VMm em§VnUo ñdrH$ma `m à{V{H«$òV Amho. _hmZJamVrb {d{dY Jmoï>r_YyZ, K{Q>Vm§_YyZ Ë`mg§~§YrÀ`m Amnë`m doJdoJù`m _mZ{gH$ AdñWm ì`º$ H$aÊ`mH$S>o H$b Agë`m_wio hr H${dVm A{YH$ ì`{º$bú`r ñdê$nmMr Amho. òWo _hmZJa ho H$drÀ`m AmËå`mMo ê$nH$ ~ZVo, Ë`mÀ`m doJdoJù`m AmpË_H$ AdñWm§Mm Am{dîH$ma H$aVo. _hmZJamÀ`m _hmZJamVrb {d{dY Jmo ï > t À`m {MÌUmVy Z , _hmZJamVrb K{Q>Vm§À`m AZoH$ Ag§JV {MÌm§_YyZ H$mhr AmYw{ZH$dmXr Ame`gyÌm§Mm Am{dîH$ma Ho$bm OmVmo. CXmhaUmW©, _hmZJamVrb ì`º$sMo EH$mH$snU, g§dmXeyÝ`Vm, {VÀ`m ApñVËdmMr Ag§~ÕVm, AW©eyÝ`Vm, {VMr namË_Vm, {VMr AmÜ`mpË_H$ AñdñWVm BË`mXr. {Xbrn nwéfmoÎm_ {MÌo, {dbmg gma§J, _Zmoha AmoH$ à^¥Vr H$dt_Üò hr à{V{H«$`m nmhmd`mg {_iVo. `m Zì`m g§doXZerbVoZo _amR>r H${dVoV Ame`mÀ`m A§JmZo H$mhr _hÎdnyU© ~Xb KS>dZy AmUboM, na§Vw Ë`mM~amo~arZo H$_rA{YH$ à_mUmV ^m{fH$ d ê$nmË_ A§JmZohr H$mhr _hÎdmMo ~Xb KS>dyZ AmUbo. `m g§doXZerbVoMm AmYw{ZH$dmXr Ñï>rer g§~§Y Agë`m_wio Ago ~Xb KS>Uo An[ahm`©M hmoVo. òWo H$mì` ^mfoÀ`m {Z{fÕVoÀ`m gd© H$ënZm òWo ZmH$maë`m Joë`m. doJdoJù`m joÌm§Vrb, ñVam§Vrb ^mfm; doJdoJù`m ^m{fH$ b`r; Zì`m doJù`m {_Ïg, à{V_m-àVrHo$ H${dVoV {Xgy bmJbr. n«{V_m§_Üò g§doXZmg§H$a hmoD$ bmJbm._wº$e¡brMm dmna dmT>bm. H${dVoÀ`m ~m§YUrMr V§Ìo d VÎdo `m§Vhr ~Xb Pmbm. H${dVm AVm{H©$H$, Xw~m}Y hmoD$ bmJbr. CnamoY, {damoY, VmU `m§~amo~arZoM {ZH$Q>Ý`mg, g§X^©gn§ º¥ $Vm, {dê$nrH$aU, _wº$ gmhM`© H$ënZm Aer H$mhr doJir aMZmVÎdohr _hmZJar` g§doXZerbVobm Am{dîH$ma H$aUmè`m H${dVoVyZ nmhmd`mg {_iy bmJbr. `m {Q>nUmV Á`m AmYw{ZH$dmXr Ame`gyÌm§Mm nwÝhm nwÝhm C„oI H$obm Ë`m§Vrb H$mhr Ame`gyÌo Am{dîH¥$V H$aUmar Am{U _hmZJar` g§doXZerbVer {ZJS>rV Agbobr Aer amo_±{Q>H$ d / dm _mZddmXr diUmMr H${dVmhr _amR>rV H$mhr à_mUmV

nmhmd`mg {_iVo. òWo àm_w»`mZo _hmZJamVrb EH$mH$snU, VwQ>bonU, g§dmXeyÝ`Vm, ZJÊ`Ëd hr Ame`gyÌo à^mdr Agbobr {XgVmV. CXmhaUmW©, JwéZmW Ywar, eaX gmQ>_ à^¥Vr amo_±{Q>H$ H$dr qH$dm gVre H$migoH$a, Zm_Xod T>gmi `m§gmaIo _mZddmXr H$dr. hr amo_±{Q>H$ d/dm _mZddmXr diUmMr A{^ì`º$s Agë`m_wio {VÀ`mVrb `m {d{eï> Ame`gyÌm§Zm H$_rA{YH$ doJio AW© àmá hmoVmV, ho ñnï>M Amho. na§Vw hr g§doXZerbVm doJù`m àH$mao H$m hmoBZ© m _hmZJar` ñdê$nmMr åhUVm òV.o H$maU H$migoH$a, Zm_Xod T>gmi `m _mZddmXr H$dtda AmYw{ZH$dmXr Ñï>rMm H$mhr à_mUmV à^mdhr Amho. na§Vw AmYw{ZH$dmXr Ñï>rMm H$moUË`mhr àH$mao à^md Zgboë`m Am{U _hmZJar` dmñVdmer {ZH$Q>Mm g§~§Y Agboë`m ZmamÙ gwd} `m§gma»`m H$dr~m~V H$m` H$amd`mMo? Ë`m§À`m H${dVoV _hmZJar dmñVd Am{U Ë`mg§~§YrÀ`m {d{dY Om{Udm _moR>çm à_mUmV Am{dîH¥$V Pmë`m AmhoV, ho ñnï>M Amho. _hmZJar` g§dXo ZerbVoMr nmio_i w o H$moUË`m Eo{Vhm{gH$ n[apñWVrV d Ñï>rV AmhoV, ho AmnU nm{hbo. hr Eo{Vhm{gH$ n[apñWVr d Ñï>r Am{U _hmZJar` g§dXo erbVoMr _hËdmMr d¡{eîQ>ço bjmV KoVbr, Va _hmZJar` Ame` ì`º$ H$aUmè`m gd©M H$dtZm `m AWm©Mo _hmZJar` g§doXZerbVoMo H$dr åhUVm òUma Zmhr. "_hmZJar` g§doXZerbVm' hr dU©ZmË_H$ H$moQ>r Agë`m_wio Iao Va `m{df`r dmX AgÊ`mMohr H$maU Zmhr. na§Vw H$mhr g_rjH$ _hmZar` g§doXZerbVoMm Am{dîH$ma H$aUmè`m H$dt_Üò ZmamÙ gwd} à^¥Vr n[adV©ZdmXr H$dtMmhr g_mdoe H$aVmV. ho H$amd`mMo Pmë`mg Amnë`mbm AWm©VM "_hmZJar` g§doXZerbVm' `m g§H$ënZoMm {dñVma H$amdm bmJob. da gm§{JVboë`m _amR>r H${dVoÀ`m g§X^m©Vrb VrZ à{V{H«$`m§_Üò `m dmñVdmbm àý {dMmaUmar, Om~ {dMmaUmar à{V{H«$`m Aer âhr Kmbmdr bmJob. Ago Pmë`mg ZmamÙ gwdo© `m§À`m~amo~arZoM Zm_Xod T>gmi Am{U AÝ` H$mhr X{bV H$dtZmhr `m Mm¡Ï`m à{V{H«$òMr _hmZJar` g§doXZerbVm ì`º$ H$aUmao H$dr åhUVm òB©b. 1990 Z§Va {b{hë`m OmUmè`m H${dVoVhr _hmZJar` g§dXo ZerbVoMm Am{dîH$ma Pmbobm Amho. lrYa {Vido, ho_V§ {XdQ>,o _§Joe ZmamÙ H$mio, dO}e gmob§H$s, g§Ord Im§S>oH$a, _Ý`m Omoer à^¥VtÀ`m H${dVoV hr g§doXZerbVm Am{dîH$¥V Pmbr Amho. _ybV… AmYw{ZH$dmXmÀ`m à^mdmImbr _hmZJar` g§dXo ZerbVm òWo {XgyZ òVo. _mÌ `m dmñVdm~Ôb ho Zdo H$mhr ^y{_H$m KoVmV qH$dm Zmhr, ho `m H${dVm§_YyZ nwaogo ñnï> hmoV Zmhr. òWo AmH$m§V Zmhr. {dS>§~Z Zmhr qH$dm n[apñWVrMm gm_§Oñ`nyd©H$, na§Vw ZmB©bmOmZo Ho$bobm ñdrH$mahr Zmhr. _w»` åhUOo _T>H} $a-H$mobQ>H$a-{MÌo-gma§J `m§À`m



H${dVoV _hmZJar` AZw^dm§VyZ nbrH$S>o OmÊ`mMr Or j_Vm {XgVo. Vr òWo Odinmg {XgV Zmhr. AYyZ_YyZ H$mhr H$dtMm Am{U H$mhr H${dVm§Mm AndmX dJiVm hr H${dVm àm`… _hmZJar` Vn{ebm§_ÜòM Jw§VyZ nS>ë`mMm àË`` òVmo. n{hë`m Q> ß ß`mda {Z_m© U Pmbo b r _hmZJar` g§dXo ZerbVoMr H${dVm hr _amR>r H$mì`na§naoV doJir Am{U à^mdr Agë`m_wio hr H${dVoMr _Ü`dVu Ymam R>aVo. `m H${dVoV H${dVobm Zdr n[a_mUo àmá H$ê$Z XoUmar à`moJerbVm A{YH$ à_mUmV Agë`m_wio {Vbm ho ñWmZ àmá Pmbo Agmdo. `m H${dVobm H|$ÐñWmZr AmUÊ`mgmR>r H$mhr hoVwnyd©H$ à`ËZ Ho$bo Jobo hmoVo, Ago {MÌ {XgV Zmhr. gË`H$Wm {Z`VH$m{bH$ Am{U A{Z`VH$m{bH$m§Mr Midi `m§Zr ñd§ÌnUo dm g§`wº$nUo `m {XeoZo H$mhr à`ËZ Ho$ë`mMo nmhmd`mg {_iV Zmhr. {ZXmZ CKS>nUo Var

15

Ago KS>ë`mMo {XgV Zmhr. ho {MÌ 1950 nmgyZ Odinmg 1980 n`ªV nmhmd`mg {_iVo. Z§VaÀ`m XmoZHo $ XeH$m§_Üò ho {MÌ ~XbVmZm {XgV hmoV.o _hmZJar` g§dXo ZerbVoMr H${dVm hr Ho$Ð§ ñWmZr Am{U BVa H${dVm n[aKmÀ`m Amgnmg ho {MÌ nwgbo OmV hmoV.o na§Vw Joë`m nmMXhm dfmªV nwÝhm EH$Xm _hmZJar` H${dVm H|$ÐñWmZr AmUÊ`mMo à`ËZ hoVwnyd©H$ Ho$bo OmV AmhoV. ho Zm|XdUo Amdí`H$ Amho. (`m à{V{H«$`m§Mr _m§S>Ur AÝ`Ì Ho$br Amho. nmhm … ñdmV§Í`moÎma _amR>r H${dVm … 1945-60 òWo _hmZJar` g§doXZerbVoÀ`m g§X^m©V Ë`m§Mr _m§S>Ur H$_rA{YH$ doJù`m ñdê$nmV H$aV Amho.) •••



16

ñdmV§Í`moÎma _amR>r X{bV H${dVm S>m°. _Zmoha OmYd

=1= "ñdmV§Í`moÎma _amR>r X{bV H${dVm' Agm {df` _bm XoÊ`mV Ambm Amho. Ia§ Va {Xboë`m eãX_`m©XoV `m {Z~§YmMr _m§S>Ur ghOnUo H$aVm òÊ`mgmaIr Zmhr. à~§YboIZmMm {df` {Z~§YmgmR>r {ZdS>U§ ho A{Vì`má Amho. `m {df`mÀ`m AZwf§JmZo H$mhr àý _mÂ`mg_moa {Z_m©U Pmbo. EH$ Va hm AY©eVH$mMm H$mi Amho. `m H$mimVrb X{bV H${dVog§~§Yr {ddoMZ H$aVmZm XmoZ YmoHo$ g§^dVmV. EH$ Va ho {ddoMZ dU©UmË_H$ hmoD$ eHo$b ZmhrVa AmT>mì`mÀ`m ñdê$nmV hmoD$ eHo$b, Vgo Ho$ë`mZo {df` ngaQ> hmoÊ`mMr eŠ`Vm Amho. {ZarjUo Zm|Xdbr Va Ë`mV A{^àoV gyú_ {dûcofZ òB©bM Agohr Zmhr. Var `mg§X^m©V \$º$ H$mhr _wÔo g_moa R>do Vmo. =2= 1970 Z§Va X{bV H${dVoZo Amnbm R>gm C_Q>dbm. Amnbo doJionU Zm|Xdbo. Zm_Xod T>gmi, èd§V _Zmoha, X`m ndma, Ho$ed _olm_ Aer {H$VrVar Zmdo `m g§X^m©V KoVm òVrb. hr Zmdm§Mr `mXr Iyn dmT>dVm òB©b. _J A_wH$ EH$m H$drMo Zmd H$m Zmhr, Agmhr àíZ g_moa òBb © . na§Vw Zmdm§À`m `mXrnojm `m H$mimV Or H${dVm {b{hbr Jobr {VMr _ybV: àH¥$Vr H$moUVr hmoVr Am{U Ë`mMr H$maUo H$m` Agmdr, hm {dMma H$aUo JaOoMo Amho. `m H${dVoÀ`m _yimer Omo OrdZmZw^d hmoVm, Vmo _bm _hÎdmMm dmQ>Vmo. A^mdJ«ñV, An_mZmñnX OrdZ dmQ>çmbm Ambobo ho H$dr hmoVo, EH$m AWm©Zo Vo g_mOì`dñWoMo ~ir hmoVo Am{U AmË`§{§VH$ g§doXZerbVo_wio Vo AñdñW Pmbo hmoVo. boIZmMr Ë`m§Mr na§nam ZìhVr, _mÌ Vo Ë`m§À`m nÕVrZo A{^ì`º$ hmoD$ nmhV hmoVo. `m A{^ì`º$s_Üò gmMbonUmVyZ ~mhoa nS>Ê`mMr YS>nS> hmoVr. AmnU H$em àH$mao A{^ì`º$ ìhmdo hm àíZ ZìhVm Va A{^ì`º$ hmoUo hr JaO hmoVr. Ë`m_wio Á`m OrdZe¡brVyZ, ^mfmg§ñH$mamVyZ ho H$dr Ambo hmoVo, Vr gJir d¡{eîQ>ço Ë`m§À`m H${dVoVyZ àH$Q> Pmbr. H$mhr H$mi Ii~i CS>mbr, Q>rH$m{Q>ßnUr Pmbr _mÌ Z§Va hr H${dVm {ñWa Pmbr. _mÝ`Vm nmdbr. {VZo ñdV:Mo doJio diU _amR>r gm{hË`mV Zm|Xdbo. àñWm{nV H${dVoMr Mm¡H$Q>

_moS>br. Mm¡H$Q> _moS>Ê`mgmR>r hr H${dVm {b{hbr Jobr Zmhr, ho BWo Ü`mZmV ¿`mdo. A{^ì`º$sÀ`m An[ahm`© JaOoVyZ hr {Z{_©Vr Pmbr Amho, Ë`m_wio Ë`mda Ho$di {ZgQ>Vo ^mî` H$aUo ho nwaogo R>aUma Zmhr Va Ë`m H${dVoÀ`m AdVr^dVrMm gm_m{OH$ - gm§ñH¥${VH$ AdH$me nmaIyZ KoVbm nm{hOo. =3= X{bV gm{hË`mMr àoaUm S>m°. ~m~mgmho~ Am§~oS>H$am§Mm {dMma Am{U Midi Amho. ho AmVm Zì`mZo gm§JÊ`mMr JaO Zmhr. S>m°. Am§~So >H$am§À`m {dMmamZo AmË_emoY ¿`m`bm àd¥Îm Pmboë`m H$bmd§V _§S>itZr Amnë`m ^mdZoMm, {dMmam§Mm Am{dîH$ma Ho$bobm {XgVmo. {dMmam§Mr ñnï>Vm hm ~m~mgmho~ Am§~oS>H$am§À`m {dMmaYmaoMm EH$ n¡by Amho. `m n¡by§Mo àH$Q>rH$aU _amR>r X{bV H${dVoV \$ma agaerVnUo g_moa òVo. àma§^rÀ`m H$mimVrb qH$dm AJXr A{bH$S>À`m H$mimVrb H${dVmg§J«hm§Mr erf©Ho$ Oar AmnU ZOaoImbr KmVbr Var Amnë`m bjmV òB©b H$s `m gd© H$mì` ì`dhmam_mJo {Z{üV ^y{_H$m Amho Am{U `m ^y{_Ho$V EH$ àm_m{UH$nUm Amho. _mZdr _yë`m§Mr nmR>amIU, AmË_gÝ_mZmMm AmJ«h X{bV H${dVoZo g_moa R>odbm. Amnë`m Am{dîH$mamV à`moJerbVm Agm`bm hdr Ago H$mhr `m H$dtZr `moObobo Zmhr. WoQ> ì`º$ hmoUo Am{U Amnë`m nÕVrZo ì`º$ hmoUo hr `m H$dtMr JaO hmoVr Am{U Vr Ver H${dVoVyZ ì`º$ Pmbr Amho. g§Kf© Am{U {dÐmoh hm X{bV H${dVoMm ñWm`r^md Amho. H$maU X{bV H$dr hm Ho$di H$dr Zmhr Va Vmo EH$ H$m`©H$Vm©hr Amho. OJÊ`mÀ`m amoOÀ`m bT>mB©V Vmo AmoT>bm Jobm Amho. OmUrdnyd©H$ Vmo n[adV©ZmÀ`m Midirer OmoS>bm Jobm Amho. ì`dñWm ~Xb Ë`mbm A{^àoV Amho. gd© àH$maMo emofU Vmo {Z{fÕ _mZVmo. emofUmMo Jm¡adrH$aU H$arV Zmhr. emofU_wº$ g_mOmMo Oo ñdßZ ~m~mgmho~m§Zr nm{hbo, Ë`mMm Vmo {eboXma Amho. OmV, dJ©, Y_©, qbJ, n§W B. Jmoï>t_wio ^maVr` OrdZmV Or emofU{dH¥$Vr {Z_m©U Pmbr {VÀ`m{dê$Õ ^y{_H$m KoUmam hm H$dr Amho.



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=4=

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àma§^mnmgyZ Vo AmVmn`ªV X{bV H${dVoMr nmhUr Ho$br Va Ago {XgVo H$s, àma§^r ÁdmbmJ«mhr {dÐmoh Am{U ZH$mamMr _m§S>Ur H$aUmar hr H${dVm ì`dñWm - emoYm~amo~a AmË_{dûcofUmH$S>o àd¥Îm hmoD$ bmJbr. {df_ g_mOì`dñWoda h„m ho gyÌ _mÌ H$m`_ am{hbo. Varhr Amnë`m§ MidirVrb Am{U OJÊ`mVrb A§V{d©amoY {VZo Xwb{© jV Ho$bm Zmhr. X{bV H${dVm hr AmH«$ñVmir, D$a~S>dr Am{U H$mì`_yë` Zgbobr H${dVm Amho Aer Q>rH$m `m H${dVoda Zoh_rM hmoV Ambobr Amho. AmH«$ñVmionUm Am{U AmH«$_H$nUm, pñWVrerbVm Am{U n[adV©Zo, AmH«$moe Am{U {dÐmoh `mVrb \$aH$ AmnU bjmV KoVbm Va darb Q>rH$mgyÌmMo {dûcofU H$aVm òD$ eHo$b Zìho AZoH$ Aä`mgH$m§Zr Vo Ho$bo Amho. OJÊ`mVrb àíZ Am{U Ë`mm àíZm§Mm aoQ>m Ogm dmT>V Jobm Vgm X{bV H${dVoMm ñnï> na§Vw CJ« Moham g_moa òV Jobm. 1970 Vo 1980, 1980 Vo 2000 Am{U Ë`mZ§Va `m H$mimVrb R>iH$ Am{U à{V{ZYrH$ d H$dtÀ`m H${dVoVyZ g_H$mbrZ àíZm§Mr YJ àH$Q> Pmbr. ho g_H$mbrZ àíZ AZoH$ nXar Am{U ~hþì`mnr hmoVo. Ë`m Ë`m H$drÀ`m àH¥$Vr d¡{eîQ>çm_wio A{^ì`º$sV {ZamionU OmUdV AgboVar _mZdr _yë`m§Mr à{Vð>mnZm ho {dMmagyÌ ZOaoAmS> Pmbo Zmhr. AJXr T>gmi, _Zmoha `m§À`mnmgyZ ^wO§J _olm_, àkm ndma, Aê$U H$mio, bmoH$ZmW èd§V, _h|Ð ^dao, e{eH$m§V qhJmoUHo $a, A{dZme Jm`H$dmS> `m§À`mn`ªV ho gyÌ H$m`_ {XgVo. AZw^d ñdrH$maÊ`mMm, qMVZmMm Am{U Ë`mda ^mî` H$aÊ`mMm àËòH$ H$drMm {Zamim qnS> Amho. OmVrì`dñWoMo ~XbVo ñdê$n Agmo dm OmJ{VH$sH$aUmZo {Z_m©U Pmbobo àíZ Agmo, ho H$dr A§J Mmoê$Z Cô am{hbo ZmhrV, amhÿ eH$V ZmhrV. g_mOdmñVdmbm {^S>Ê`mMr EH$ An[ahm`© OrdZe¡br dmQ>çmbm Ambr ho Oar EH$ H$maU Agbo Var Ë`m g~§Y n[aàoú`mV OmUrdnyd©H$ ^y{_H$m KoUo ho `m H$dtMo d¡{eîQ>ç am{hbobo Amho. _mZdr OrdZmVrb Hw$ê$nVm Am{U AmH$m§V X{bV H${dVoZo AYmoao{IV Ho$bm, Ë`m_wio hr Ho$di X{bV H${dVm am{hbr Zmhr Va Iè`m AWm©Zo Vo _amR>r H${dVoZo EH$ d¡{eîQ>çnyU© diU KoVbobo Amho.

X{bV H${dVm EH$m AmdVm©V gmnS>br Amho, Aer hmH$mQ>r AYyZ_YyZ H$mZmda òVo. g§nyU© AY©eVH$mVrb hr H${dVm nm{hbr Va AZoH$ H$dtÀ`m OrdZmZw^dmVrb gmå` åhUOo AmdV© Zìho, ho bjmV KoUo JaOoMo Amho. Ame` - Am{dîH$mam_Yrb H$m|S>r Am{U Zm{dÊ`mMm A^md `m_wio AmdV© {Z_m©U Pmbo Ago dmQ>V Agbo Var `m H$m|S>rbm \$moS>Ê`mMo H$m_ X{bV H$dtZrM gmVË`mZo Ho$bo Amho, hohr ZOaoAmS> H$aVm òUma Zmhr. "Jmob{nR>m' Vo "_r _mabo gy`m©À`m aWmMo gmV KmoS>'o qH$dm "am°H$JmS>Z© ' Vo "½bmo~bM§ JmdHw$g' Aerhr nmhUr Amnë`mbm H$aVm òÊ`mgmaIr Amho. EImÚm R>iH$ H$drÀ`m H$mì`àdmgmMm AmboI Ogm VnmgVm òD$ eH$Vmo. åhUOo _Zmoha - _olm§_mnmgyZ bmoH$ZmW èd§V n`ªVMr H${dVm Vnmgbr Var _Yë`m S>PZ - XrS> S>PZ H$dtÀ`m g§X^m©gh {ZarjUo Zm|XdyZ {ZîH$f© H$mT>Vm òVmV. Zm_m§Va Am§XmobZ Vo I¡abm§Or_Yrb hË`mH$m§S> Aem AñdñW Am{U XmhH$ gm_m{OH$ KQ>Zm§Zm `m H${dVoZo Ho$di ñne© Ho$bm ZmhrVa Ë`m~m~V OmJê$H$VoMr Am{U R>mog {ZfoY ZH$mamMr H$UIa ^y{_H$m KoVbr Amho. `m AWm©Zo hr H${dVm gmVË`mZo n[adV©ZgÝ_wI am{hbr Amho Am{U ho `m H${dVoMo ~bñWmZ Amho. =6= Q>moH$Xma ^mfm Am{U AW©nyU© à{V_mg¥ï>r hr gd©M R>iH$ H$dtÀ`m H${dVoV àË``mg òVo. AJXr T>gmim§nmgyZ - H$mion`ªV ho b»InUo ZOaog nS>Vo. ^m{fH$ A{^{Zdoe Am{U ZQ>donUm `m H$dtZr OmUrdnyd©H$ Aìhoabm Amho. H$m` åhUm`Mo qH$dm gwMdm`Mo Amho ho `m H$dtZr ZrQ> g_OyZ KoVbo Amho. Ë`m_wio dmL²>_`~mø bm^mH$S>o ho H$dr YrQ>nUo nmhÿ eH$VmV. nwañH$ma, gÝ_mZ ho AZwf§{JH$ AgyZ Vo H$Yrhr Üò`gmÜ` Agy eH$V Zmhr, hr ñdÀN> OmUrdhr Ë`m§À`mH$S>o Amho. åhUyZM "Jmob{nR>m' Vo "½bmo~bM§ JmdHy$g' EdT>m XoIUm XrK© n„m `m H${dVoZo AYmoa{o IV Ho$bm Amho. •••



18

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II

{hÝXr Ho$ X{bV H$hmZrH$mam| H$s d[að> nr‹T>r _| Amo_ àH$me dmë_r{H$, _mohZXmg Z¡{_eam`, gyaOnmb Mm¡¡hmZ, O` àH$me H$X©_, ~wÕeaU "h§g', Hw$gw_ _oKdmb... Ho$ Zm_ {deof C„oIZr` h¢ Vmo ZB© nr‹T>r _| nyaZqgh, A{ZVm ^maVr, aOVamZr "_rZy', aOZr {Xgmo{X`m, gw{_Ìm _ohamob, Q>oH$M§X, _wgm{\$a ~¡R>m, _wHo$e _mZg, gyaO ~‹S>Ë`m, amO dmë_r{H$ VWm erb~mo{Y... Ho$ Zm_ {bE Om gH$Vo h¢Ÿ& BZ XmoZm| nr{‹T>`m| Ho$ ~rM ^r EH$ nr‹T>r g{H«$` h¡Ÿ& Bg A{V g§{já {Q>ßnUr _| h_mar _wamX `wdVa nr‹T>r Ûmam a{MV Am¡a hmb _| àH$m{eV Hw$N> H$hm{Z`m| H$s MMm© Ho$ O[aE

19

{hÝXr X{bV - boIZ Ho$ dV©_mZ n[aÑí` H$mo g_PZo H$s H$mo{ee H$aZm h¡Ÿ& X{bV H$hmZrH$mam| H$s ZB© nr‹T>r go h_ Š`m Cå_rX H$aVo h¢? Bg àíZ go àñVwV MMm© H$s ewê$AmV H$aZm em`X ~ohVa hmoŸ& bo{H$Z, ñd`§ Bg àíZ _| H$B© n|M h¢Ÿ& àíZ _| Am`m "h_' H$m¡Z h¡? gm_mÝ` `m OmJê$H$ (J¡a X{bV) {hÝXr nmR>H$? H$Wm AmbmoMH$? X{bV ~w{ÕOrdr? Om{V {damoYr H$m`©H$Vm©? X{bV nmR>H$ Am¡a Am§XmobZH$_u? BZ_| go ha EH$ H$s Cå_rX, H$gm¡Q>r Am¡a AmH$bZ AbJ - AbJ hm|JoŸ& {\$a, Eogm àíZ H$aHo$ Š`m ZE H$hmZrH$mam| na ~oOm X~md Zht ~Zm`m Om ahm? Omo H$hm{Z`m§ {bIr Om ahr h¢ CZH$m {díbofU hmZm Mm{hE AWdm AnZr ê${M Ho$ AZwê$n H$hmZr H$s _m§J? Am¡a `h ^r {H$, ha H$hmZrH$ma H$s AnZr Ñ{ï> h¡, gamoH$ma h¡Ÿ& CZ g~H$mo EH$ hr H$gm¡Q>r na H$gZm Š`m aMZm - H$_© H$s {d{eï>Vm Ho$ gmW ZmB§gm\$s Zht?... AnZr Anojm H$mo H$hmZr H$s VH$ZrH$ Ho$ g§X^© _| noj {H$`m OmE Vmo g§^dV: {ddmX go ~Mm Om gH$Vm h¡Ÿ& X{bV H$hmZr AnZr A{^ì`{º$, H$Ï` Am¡a e¡br _| Ohm§ VH$ Am MwH$s h¡ Z`m X{bV H$hmZrH$ma Cgo A{^Zd Am`m_ Xo, {df`dñV {Man[a{MV hmoVo hþE ^r dh AnZr aMZmË_H$Vm _| CZ AdbmoH$Z q~XwAm| H$s Vbme H$ao Ohm§ go gM Ho$ gd©Wm ZE nhby {XImB© X|Ÿ& nyd©dVu H$hmZrH$mam| Ûmam Omo \$m_y©bm B©OmX {H$`m J`m h¡, H$Wm boIZ H$m Omo AmgmZ T>m§Mm I‹S>m {H$`m J`m h¡ CgH$s gr_mAm| H$mo nhMmZZm ~hþV Oê$ar h¡Ÿ& gr_mAm| H$mo nhMmZZo Ho$ ~mX hr Cgo Vmo‹S> gH$Zo H$s, nao OmZo H$s Jw§OmBe ~ZVr h¡Ÿ& `h g_PZm Amdí`H$ h¡ {H$ H$moB© ^r H$Ï` AnZo - Amn à^mdembr Zht hmo OmVmŸ& H$Ï` H$mo àñVwV H$aZo H$m VarH$m Bg_| {ZUm©`H$ ^y{_H$m AXm H$aVm h¡Ÿ& BgHo$ "VarHo$' H$mo hr gw{dYm Ho$ {bE e¡br H$hm OmVm h¡Ÿ& e¡br Ho$ à{V CXmgrZVm `m Aê${M H$m ^md H$Wm - boIH$ Ho$ {bE {R>H$ ZhtŸ& gm_m{OH$ Am§XmobZm| go Ow‹S>o bmoJ AŠga Eogr CXmgrZVm àX{e©V H$aVo {_b OmVo h¢Ÿ& X{bV Am§XmobZ boIH$ Am¡a H$m`©H$Vm© Ho$ ~rM {H$gr {d^mOH$ aoIm H$mo Z _mZZo H$m AmJ«hr h¢Ÿ& Agb _|, _hmamï´> H$mo Ü`mZ _| aIm OmE Vmo Bg AmJ«h H$m ì`mdhm[aH$ AmYma g_Pm Om gH$Vm h¡Ÿ& X{bV n¢Wa Ho$ bJ^J g^r H$m`©H$Vm© aMZmH$ma WoŸ& BZ_| go Hw$N> - EH$ ~mX _| Cƒ H$mo{Q> Ho$ H${d Ho$ ê$n _| à{V{ð>V hþEŸ& "Jmob{nR>m' (Zm_Xod T>gmb H$m M{M©V H$mì`g§J«h) EH$ Am§XmobZH$_u H$s hr Jwñg¡b A{^ì`{º$ h¡Ÿ& Hw$N> Eogm hr H$Zm©Q>H$ Ho$ X{bV - g§Kf© - g{_{V Ho$ g§X^© _| {XImB© n‹S>Vm h¡ Ohm± boIH$ Am¡a H$m`©H$Vm© H$s ^y{_H$mE§ EH$ hr ì`{º$ {Z^mVm h¡Ÿ& boIH$ Am¡a H$m`©H$Vm© Ho$ \$H©$ H$mo Adí`§^mdr Z _mZZo Ho$ ~mdOyX



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Bg àg§J _| BVZm Adí` Omo‹S>m Om gH$Vm h¡ {H$ ewê$ _| ^bo hr EH$ ì`{º$ XmoZm| ^y{_H$mE§ {Z^mVm hmo na§Vw ~mX _| àm`: H$m`©H$Vm© AnZr amh nH$‹S>Vm h¡ Am¡a aMZmH$ma AnZrŸ& "AnZr' A{^ì`{º$ (Ho$ ê$n~§Y) H$s ImoO H$s ~oM¡Zr ZE H$hmZrH$mam| _| àm`: {XImB© Zht XoVrŸ& H$Ï` H$s Xw{Z©dma ZdrZVm _| AJmY {dídmg BgH$m H$maU hmo gH$Vm h¡Ÿ& bo{H$Z, aOZr {Xgmo{X`m H$s H$hmZr "EH$ J¡a gm{hpË`H$ S>màr' ("Anojm', Aà¡b - OyZ 2001) n‹T>Vo hþE bJm {H$ X{bV H$hmZrH$mam| H$s EH$ Xygar H$mo{Q> ^r ~ZmB© Om gH$Vr h¡Ÿ& aOZr {Xgmo{X`m {eën gOJ H$hmZrH$ma Ho$ ê$n _| CâVr XoIr Om gH$Vr h¢Ÿ& CZH$s {eën -gOJVm AÝ` {eën - gOJ (nwamZr d ZB© nr‹T>r Ho$ X{bV, J¡a X{bV) H$hmZrH$mam| go {^Þ h¡Ÿ& CZHo$ `hm§ {eën H$Ï` Ho$ gh`moJr `m H$Ï`JV d¡{eîQ>ç Ho$ A{Zdm`© nyaH$ Ho$ ê$n _| h¡Ÿ& {eën gmÜ` Zht, _mÜ`_ h¡Ÿ& bo{H$Z, Bggo CgH$m _hÎd H$_ Zht hmo OmVmŸ& _mÜ`_ Ho$ à{V ~onadmhr hmo Vmo H$Wm - dñVw H$m AZmoImnZ A{V n[a{MV T>a} na MbVm hþAm AZXoIm hr ah Om gH$Vm h¡Ÿ& aOZr Bg Ame§H$m H$m »`mb aIVo hþE A{^ì`{º$ H$s ~ZmdQ> H$m àíZ CR>mVr h¢Ÿ& Jm¡aVb~ h¡ {H$ `h àíZ CZHo$ {H$gr dº$ì` `m H$hmZr na {bIo boI _| Zht CR>m`m J`m h¡Ÿ& "EH$ J¡a gm{hpË`H$ S>màr' H$s ~wZmdQ> _| hr `h gdmb Jw§Wm hþAm h¡Ÿ& AZw^d go ~Zm hþAm H$Ï` Am¡a na§nam `m emó go A{O©V H$Ï` EH$ - gm Zht hmoJmŸ& Bg "EH$ - go' Z hmoZo H$mo g_Pm H¡$go OmE? bo{IH$m Ho$ H$moU go XoI| Vmo, CgH$s A{^ì`{º$ {H$g Vah hmo? "EH$ J¡a gm{hpË`H$ S>màr' BZ {OkmgmAm| H$mo AmYma ~ZmH$a MbVr h¡Ÿ& dh aMZm - à{H«$`m H$mo {dd¥V H$aZm, Cgo g_PZm MmhVr h¡Ÿ& BgHo$ {bE _w{º$~moY Zo Bg {d{Z~§Y _| aMZm - à{H«$`m H$s ì`m»`m H$s h¡Ÿ& aOZr Bg ì`m»`m H$mo AnZr AnojmAm|, H$gmo¡{Q>`m| na aIH$a XoIVr h¢Ÿ& _w{º$~moY Ho$ {bE aMZm - à{H«$`m H$m Omo _Vb~ h¡, aMZm - {Z_m©U Ho$ Omo MaU h¢ do EH$ X{bV aMZmH$ma na ^r d¡go hr bmJy hm|Jo? aOZr BgH$m CÎma VbmeVr h¢Ÿ& _w{º$~moY Ho$ AZwgma "H$bm H$m nhbm jU h¡ OrdZ H$m CËH$Q> Vrd« AZw^d jU'Ÿ& aOZr Bg ì`m»`m go gh_V h¡Ÿ& Agh_{V BgHo$ ~mX ewê$ hmoVr h¡Ÿ& H$bm Ho$ Xygao jU H$mo ñnï> H$aVo hþE _w{º$~moY H$hVo h¢ ""Xygam jU Bg AZw^d H$m AnZo H$gH$Vo XwIVo hþE _ybm| go n¥WH$ hmo OmZm Am¡a Eogr \¡$ÝQ>ogr H$m ê$n YmaU H$a boZm _mZmo dh \¡§$Q>ogr AnZr Am§Imo Ho$ gm_Zo hr I‹S>r h¡Ÿ& ..."Vrgam Am¡a A§{V_ jU h¡Ÿ& \¢$Q>ogr Ho$ eãX~Õ hmoZo H$s à{H«$`m H$m Ama§^ Am¡a Cg à{H«$`m H$s nyUm©dñWm VH$ H$s J{V_mZVmŸ& eãX~Õ hmoZo H$s à{H«$`m H$m Omo àdmh ~hVm ahVm h¡ dh g_ñV ì`{º$Ëd Am¡a OrdZ H$m

àdmh hmoVm h¡Ÿ& àdmh _| dh \¢$Q>ogr...' (_w{º$~moY Ho$ ò g^r H$WZ aOZr H$s nydm}ÕV¥ H$hmZr go h¢) aMZm H$s Omo à{H«$`m {ZVm§V ì`{º$JV AZw^dm| go ewê$ hþB© dh (aOZr H$s {ZJmh _|) ~mX _| "Q>oŠZrH$b _m_bm' ~Z OmVr h¡Ÿ& EH$ X{bV aMZmH$ma AnZo Xw:InyU© AZw^d Ho$ _yb go n¥WH$ hmo gH$Vr h¡? AnZo H$gH$Vo AZw^d H$mo \¢$Q>ogr ~Zm`m/_mZm Om gH$Vm h¡? X{bV Am¡a J¡a X{bV aMZmH$ma H$m `h ~w{Z`mXr \$H©$ h¡ {Ogo aOZr {Xgmo{X`m àñVwV H$hmZr _| aoIm§{H$V H$aZm MmhVr h¡Ÿ& bo{H$Z Agb H$hmZr aMZm - à{H«$`m na ~hg Zht h¡Ÿ& H$hmZr Ho$ VrZ AÝ` KamVb h¢Ÿ& _w»` YamVb h¡ {díd{dÚmb` Ho$ {ejH$m| / {e{jH$mAm| Ho$ Amngr [aíVoŸ& Om{V - ~moY `hm° ~hþV gyú_ ñVa na g{H«$` h¡Ÿ& àmo. {ÛdoXr H$hmZr Ho$ à_wI nmÌ h¢& {dMmam| _| "àJ{Verb', ^mdZmAm| _| H$~ra Ho$ gmW Am¡a ì`dhma _| nwaIwbygŸ& do ~mV - ~mV _| AnZo ~«m÷U hmoZo H$m hdmbm XoVo ahVo h¢Ÿ& Bggo {H$gr AÝ` H$mo Š`m Amn{Îm hmo gH$Vr h¡? bo{H$Z Amn{Îm h¡Ÿ& Eogo àg§Jm| _| H$hmZr bo{IH$m AnZr g§doXZmË_H$ pñW{V H$mo ñnï> H$aVr hþB© H$hVr h¡ - ""{Og ì`dñWm Zo CÝh| ~«m÷U ~Zm`m Cgr Zo _wPo M_ma ~Zm`mŸ& CZHo$ Eogm H$hZo `m _mZZo go nyar ì`dñWm \w§$\$H$ma H$a OmJ CR>Vr h¡Ÿ&'' Vrgao YamVb na H$hmZr bo{IH$m Ho$ n[adma (ggwamb d _m`H$m XmoZm|) H$m eãX - {MÌ àñVwV H$aVr h¡Ÿ& Om{V `hm§ ^r àÀN>Þ ê$n _| g{H«$` h¡Ÿ& BZ g~Ho$ gmW H$hmZr H$m EH$ Mm¡Wm YamVb ^r h¡Ÿ& `hm± Om{V - dM©ñd AWdm Om{V AmYm[aV CËnr‹S>Zm| H$m EH$ H$mobmO h¡Ÿ& Bg H$mobmO Ho$ Zm_ - ê$n {dhrZ nmÌ H$ht "n§{S>VOr' Ho$ g_mamoh _| ny‹S>r B§VOma _| ~¡R>o h¢ Am¡a H$ht _m§ Ûmam g|H$s Om ahr amo{Q>`m| na _Z hr _Z AnZm Zm_ {bI aho h¢Ÿ& EH$ X{bV H$m gM BVZm g§píbï> BVZm ~hþH$moUr`, BVZm AW©~hþb hmo gH$Vm h¡ "EH$ J¡agm{h{Ë`H$ S>màr' Bgo ~Iy~r Xem©Vr h¡Ÿ& Bg H$hmZr H$s ~hþAm`m_r Im{g`V H$mo R>rH$ go g_P Z gH$Zo Ho$ H$maU "Anojm' Ho$ g§nmXH$ VoO qgh Cg na `h Amamon Mñnm§ H$aVo h¢ - ""aOZr {Xgmo{X`m H$s "EH$ J¡a - gm{hpË`H$ S>màr' _w{º$~moY H$s Vah AnZr g§aMZm Am¡a {df`dñVw H$s àñVw{V _| CVZr hr O{Q>b Am¡a ~m¡{ÕH$ h¡Ÿ& aMZm Cgr g_` O{Q>b Am¡a ~m¡{ÕH$ hmoVr h¡ O~ CgH$m boIH$ {dMmaYmamË_H$ ñVa na A§V{d©amoYm| Ho$ ~rM J§^ra A§VÛ©ÝÛ go JwOa ahm hmoVm h¡ Am¡a ñnï>V`m H$moB© {ZU©` boZo _| AnZo AmnH$mo Ag_W© nmVm h¡Ÿ&' ("Anojm', g§nmXH$s`, Aà¡b OyZ 2007, Aå~oS>H$admXr H$hmZr {deofm§H$) nVm Zht {H$Z VH$m} go aOZr {Xgmo{X`m H$mo VoO {g§h EH$ Xygao "`wdm H$WmH$ma' go Omo‹S> XoVo h¢Ÿ& A~, CZH$s ZOa _| EH$ J¡a gm{hpË`H$ S>màr go Á`mXm "gmW©H$' H$hmZr erb~mo{Y H$s "~g! h_| A~ b‹S>Zm h¡' bJVr h¡Ÿ&



EH$ aoIr` ñWyb - gnmQ> Am¡a "nma§n[aH$' H$hmZr H$s g_P aIZodmbo, Cg g_Pna nwZ{d©Mma H$s Oê$aV Z _hgyg H$aZodmbo g_rjH$ go Eogr hr {Q>ßnUr H$s XaH$ama H$s Om gH$Vr h¡Ÿ& erb~mo{Y {~bHw$b ZE H$hmZrH$ma h¡Ÿ& aOZr {Xgmo{X`m H$s hr VahŸ& bo{H$Z, XmoZm| H$s H$hmZr - "{dYm' {~ëHw$b AbJ AbJ Vah H$s h¡Ÿ& erb~mo{Y H$s H$hmZr "~g! h_| A~ b‹S>Zm h¡', "Anojm' Ho$ Aå~oS>H$admXr H$hmZr {deofm§H$ _| hr àH$m{eV hþB© WrŸ& V_m_ AÝ` X{bV H$hm{Z`m| H$s hr Vah erb~mo{Y H$s Bg H$hmZr H$s C„oIZr` ~mV X{bV OZ - C^ma H$mo eãX~Õ H$aZm h¡, X{bVm| H$s g§H$ën - e{º$ _| AmñWm àH$Q> H$aZm h¡Ÿ& Bgr nr‹T>r H$s EH$ aMZmH$ma gw{_Ìm _ohamob H$s H$hmZr "à{VH$ma' ("AÝ`Wm', OyZ 2008) ^r Cgr n[anmQ>r na MbVr h¡ EH$ X{bV n[adma Ho$ gmW n‹S>mo{g`m| H$m ì`dhma {H$VZm ôX^mdnyU© hmoVm h¡ `h H$hmZr Bg VÏ` H$m aoIm§H$Z H$aVr h¡Ÿ& bo{H$Z, H$hmZr ôX^md Ho$ {MÌU na g_má Zht hmo OmVrŸ& dh X{bV à{VamoY H$mo Xem©Vr h¡Ÿ& à{VamoY - MoVZm go hmoH$a _w{º$ MoVZm VH$ nhw§MZodmbr amO dmë_r{H$ H$s H$hmZr "_¡bm - _w{º$' ("hm{eE H$s AmdmO', _B© 2008) X{bVm| _| ^r X{bV H$ho OmZodmbo ^§Jr - g_wXm` H$s n[adV©Z JmWm h¡Ÿ& `h aMZm H$hmZr go A{YH$ EH$ anQ> bJVr h¡Ÿ& em`X Bg{bE {H$ _¢ BgHo$ nmÌm| H$mo ì`{º$JV ê$n go OmZVm h±ÿ Am¡a CZHo$ gmW©H$ - g\$b à`mgm| H$mo ^rŸ& M§ÐdVr H$b VH$ _¡bm T>moZo H$m H$m_ H$aVr WrŸ& amOHw$_ma Am¡a gr_m H$s àoaUm go CgZo `h H$m_ N>mo‹S> {X`mŸ& Cgo EH$ d¡H$pënH$ amoOJma {_bmŸ& nwZdm©g H$s ì`dñWm {H$E {~Zm _¡bmH${_©`m| H$s _w{º$ {Q>H$mD$ Zht hmo gH$VrŸ& _¡bm - _w{º$ H$m A{^`mZ MbmZodmbo ~¡Odm‹S>m {dëgZ, gr_m VWm amOHw$_ma Bg gM go AdJV h¢Ÿ& do AnZo g§H$ën H$mo _§{Ob VH$ nhþ§MmZo H$s H$mo{ee _| bJo hþE h¢Ÿ& "ê$Ir - gyIr ImE§Jo na _¡bm Zht CR>mE§Jo' O¡go Zmam| go a{MV Bg H$hmZr Ho$ gm{hpË`H$ _yë` _| e§H$m H$s Om gH$Vr h¡ qH$Vw _mZd - J[a_m H$s CgH$s gƒr qMVm go BZH$ma Zht {H$`m Om gH$VmŸ& amO dmë_r{H$ H$s Vah A{ZVm ^maVr ^r _ybV: EH$ gm_m{OH$ H$m`©H$Vm© h¡Ÿ& boIZ CZHo$ EŠQ>r{dÁ_ H$m hr {hñgm h¡Ÿ& ~«m÷UdmXr - dM©ñddmXr g_mO - ì`dñWm Ho$ {Ibm\$ bmoJm| H$mo I‹S>m H$aZm Am¡a gm_m{OH$ OmJ¥{V H$mo eãX XoZm - CZH$s {H«$`merbVm Ho$ Xmo _w»` _moM} h¡§Ÿ& "EH$ Wr H$moQ>odmbr' ("Anojm', Aà¡b 2008) H$hmZr ñHy$b - {e{jH$mAm| Ho$ ~rM ngar "Om{V - ^mdZm' H$m ~‹S>m {Zînj {Zê$nU H$aVr h¡Ÿ& ñHy$b _| AÜ`m{nH$mAm| Ho$ Xmo JwQ> h¢ - J¡a X{bV (gdU©) Am¡a X{bVŸ& EH$ ZB© {e{jH$m Ho$ AmZo na XmoZm| JwQ> `h OmZZo _| OwQ> OmVo h¢ {H$ dh {H$g gm_m{OH$

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n¥ð>^y{_ H$s h¡... Eogo "gOJ' ñHy$bm| _| n‹T>Zodmbo {dÚmWu "Om{V ~moY' go g§nÞ Z hm| Vmo AmíM`© hr hmoJmŸ& aOVamZr "_rZy' g§^mdZmerb bo{IH$m h¢Ÿ& AmbmoMZm Ho$ gmW do H$hmZr - {dYm _| ^r J{Verb h¢Ÿ& BYa CZHo$ AmË_H$WZ Ho$ Hw$N> {hñgo àH$m{eV hþE h¢ Omo CZH$s H$hm{Z`m| go H$ht Á`mXm e{º$embr bJVo h¢Ÿ& do X{bV g_mO _| ór H$s pñW{V H$mo boH$a qM{VV àVrV hmoVr h¡Ÿ& `{X Bg qMVm H$mo {nV¥gÎmm {damoYr qMVZ H$m AmYma {_bm Am¡a g_VmdmXr _yë`m| Ho$ g§~§Y _| ñnï>Vm d Ñ‹T>Vm AmB© Vmo CZgo ~ohVa aMZmAm| H$s nyar Cå_rX H$s Om gH$Vr h¡Ÿ& CZH$s H$hmZr "do {XZ' ("Anojm', Aà¡b 2007) Am¡nMm[aH$ {ejm Ho$ {bE g§Kf©aV EH$ X{bV ór A§Oy H$s XmñVmZ h¡Ÿ& g§Kf© H$s J§^raVm Xem©Zo Ho$ {bE H$hmZr - bo{IH$m Zo A{Ve`mo{º$ H$m ghmam {b`m h¡Ÿ& hmbm§{H$, Bggo AÝVd©ñVw na à{VHw$b Aga n‹S>m h¡Ÿ& nyaZ qgh bKwH$Wm boIZ _| M{M©V h¢Ÿ& CÝhm|Zo Om{V X§e H$s ~‹S>r _maH$ bKwH$WmE§ {bIr h¢Ÿ& "O~ __Vm eyÝ` hþB©' ("Anojm' Aà¡b 2007) H$hmZr _| CÝhm|Zo {Z:g§VmZ n§{S>V n§{S>VmBZ H$s Q>rg H$m {MÌU {H$`m h¡Ÿ& {Z:g§VmZ hmoZo Ho$ "A{êmn' go _wº$ hmoZo Ho$ {bE n§{S>VmBZ EH$ n[a{MV Zg© go ~ƒr H$m OwJm‹S> H$aVr h¢Ÿ& bo{H$Z, O~ CÝh| nVm MbVm h¡ {H$ ZdOmV ~ƒr _ohVa n[adma H$s h¡ V~ CZH$s __Vm arV OmVr h¡Ÿ& H$hmZr AnZo JR>Z d H$Ï` _| à^mdembr Zht ~Z gH$s h¡Ÿ& "Anojm' Ho$ Bgr A§H$ _| àH$m{eV _wgm{\$a ~¡R>m H$s H$hmZr "XamoJdm' CÎmar {~hma Ho$ grVm_‹T>r {Obo Ho$ EH$ A{V {nN>‹S>o Jm§d go ewê$ hmoH$a nm{bQ>oŠZrH$ H$m°boO VH$ \¡$bo gdU© dM©ñddmX H$m OmÒm boVr h¡ Am¡a Cg dM©ñd H$m _wH$m~bm H$aZo H$s X{bV AmH$m§jm H$m ^r ê$nm`Z H$aVr h¡Ÿ& Bg H$hmZr Ho$ "gdUm}' _| ^y{_hma, amOnyV, ~«m÷U VWm bmbm (^yam~mb) go H$ht Á`mXm X~§J `mXd / ½dmbo h¢Ÿ& _wgham|, S>mo_m| H$mo ½dmbm| H$m AË`mMma PobZm n‹S>Vm h¡Ÿ& H$hmZr `WmW© Ho$ H$_kmV {hñgm| H$mo COmJa H$aVr h¡ bo{H$Z {Og q~Xw na AmH$a g_má hmoVr h¡ dh gw{Z`mo{OV Zht bJVmŸ& ZE H$hmZrH$mam| _| Q>oH$M§X âmogm n¡Xm H$aVo h¢Ÿ& Q>oH$M§X Zo A^r H$_ hr H$hm{Z`m§ {bIr h¢ bo{H$Z AnZr {eën - gOJVm, ê${‹T>_wº$ H$Ï` M`Z, {dS>§~Zm ~moY VWm ^m{fH$ XjVm (_whmdam| H$m gQ>rH$ BñVo_mb) Am{X {deofVmAm| Ho$ MbVo g_rjH$m|, nmR>H$m| H$m Ü`mZ AnZr Amoa ItMm h¡Ÿ& "Iñgr' ("h§g' {gV§~a 2006) _| CÝhm|Zo {hÝXr H$Wm gm{hË` _| g§^dV: A~ VH$ Aàmß` {S>Q>oëg {XE h¢Ÿ& ò {S>Q>oëg gwAa H$mo ~{Y`m ("Iñgr') H$aZo H$s à{H«$`m Ho$ h¡Ÿ& {S>Q>oëg H$hmZr H$mo {dídgZr` ~ZmVo h¢ bo{H$Z _mÌ



22

{dídgZr`Vm CËH¥$ï> H$hmZr H$s Jma§Q>r Zht Xo gH$VrŸ& `hr "Iñgr' Ho$ gmW hþAm h¡Ÿ& e{º$embr {S>Q>oëg Ho$ ~mdOyX H$hmZr H$_Omoa bJVr h¡Ÿ& bo{H$Z, "h§g' Ho$ {Xg§~a 2007 A§H$ _| N>nr CZH$s "Aå~oS>H$a O`§Vr' H$hmZr AnZo {dS>§~Zm ~moY Ho$ H$maU `mXJma ~Z JB© h¡Ÿ& H$hmZr {Og H§$Q´>mñQ> _| aMr JB© h¡ CgHo$ EH$ N>moa na am_aVZ O¡go B©_mZXma g_{n©V X{bV H$m`©H$Vm© h¢ Vmo Xygao N>moa na _mñQ>a ~b~ra, Egrnr O`M§X, àmo\o$ga gw_Z O¡go AdgadmXr g§nÞ "X{bV' h¢Ÿ& g_mamoh _| BÝh| gwZZo AmB© X{bV `wdH|$ H$s Q>mobr Omo {Q>ßn{U`m§ H$aVr h¡ Cggo h_ BZ _m¡H$mnañVm| Ho$ M[aÌ go AdJV hmoVo hr h¢ gmW hr ZB© nr‹T>r Ho$ Jwñgo go ^r n[a{MV hmoVo h¢Ÿ& `h Jwñgm AJa ghr {Xem _| _mo‹S>m Om gHo$ Vmo gmW©H$ ~Xbmd H$s Cå_rX H$s Om gH$Vr h¢Ÿ&

Q>oH$M§X H$s "CVaZ' ("AZ^¡ gm§Mm,' Aà¡b - OyZ 2007) H$hmZr ^r ~hþV _yë`dmZ bJVr h¡Ÿ& EH$ X{bV ór H$s XwX©em H$mo CHo$aZodmbr Bg H$hmZr H$s Ho$ÝÐr` nmÌ H$_br EH$ Va\$ Vmo AnZr _mb{H$Z H$s öX`hrZVm go ÌñV h¡ Am¡a Xygar Va\$ AnZo eam~r n{V am_gwI H$s qhgm goŸ& n{V H$s {h§gm , H«y$aVm PobVr H$_br H$m "Ka' N>mo‹S>Zo H$m {ZU©` ZB© ~ZVr X{bV ór H$s nyd© gyMZm h¡Ÿ& {nV¥gÎmm na X{bV - boIZ _| H$m`_ Mwßnr Qy>Q>Zr Mm{hEŸ& ZB© nr‹T>r go h_ Amem H$a gH$Vo h¢Ÿ& •••



23

Glimpses of Tamil Dalit Literature with Special Emphasis on Bama’s Novels Prof. Raji Ramesh Iyer

The Dalit movement came to prominence in Marathi literature with the founding of the Dalit Panthers in 1972 [ Second Wave of Marathi Dalit Movement]. In Tamilnadu the term ‘Dalit’ had been used intermittently along with taazhthappattor [ those who have been put down] or odukkappattor [the oppressed] during the eighties, but it is only since the nineties that it has been used widely, not only by Tamil Dalit writers and ideologues in order to identify themselves, but also by mainstream critics. It is really inspiring to observe that critical writing has gone side by side with new writings by self styled Dalit writers such as Abhimani, Idayavenden, Bama, etc. Even mainstream critics have begun to appreciate and acknowledge this writing as radically new and different. The movement expresses its solidarity with- ‘ All Scheduled Castes and Scheduled Tribes, NavBuddhists, labourers, landless and destitute peasants, women and all those who have been exploited politically and economically and in the name of religion.’ In his introduction to Dalit writing in the India Today Annual of 1995, eminent Dalit ideologue Ras Gauthaman brings to forefront the very universal aspect of Dalit writing. He feels that Dalit literature has enabled a non-Dalit to deconstruct a traditional mindset which made them pitiful victims, it has also put forward a new and subversive ethic which awakens not only the conscience of non-Dalits but also fills Dalits themselves with confidence and pride. Overall, it shares its aims with other marginalized and subaltern groups worldwide. It is a Tamil and Indian reflection of the global literature of the oppressed whose politics must be an active one that fights, for human rights, social justice and equality’ [ Gauthaman also opines that there is no role model for Dalit writing. He feels that language is designed in Dalit writing to disrupt and to ‘expose and discredit the existing upper caste language, its grammar, refinements, and its falsifying order as symbols of dominance’.

According to critics such as a Yarx, Ravikumar, Gauthaman and Unjairajan Dalit literature is a proud reflection of ‘Dalit culture’ just as Gauthaman makes a forceful plea for retaining and reinforcing a special Dalit Tamil usage, the playwright and critic Gunasekaran makes a strong plea for retaining all Dalit art forms. He distinguishes between sevviyal [classical arts] and naattupuraiyal [ flolklore]. Folklore needs to by properly divided into Dalit and non-Dalit art froms. They basically depended on local gods and heroes, and are closely linked to the performer’s mode of employment. Dalit writers have to reclaim and develop these art forms, retaining sharply and without compromising to mainstream tastes, particular Dalit features of spectacle, mask, gesture and language. This concept of Dalit culture sets up an alternate classicism for Dalit on oral traditions. Finally as Raj Gauthaman points out, there are no role models for Dalit writing. Sequence, chronology perceptions of time, form and language must all be reconstructed in Dalit writing. Representation of Dalit in the writing of mainstream Tamil writers, of seventies and eighties was also limited to a mere class identity. The Dalit was basically presented as a worker and his oppression in an unequal social strata was portrayed within the realms of capitalist oppression of the working class. Few novelists discussed the discrimination, isolation and social injustice meted out towards the Dalits. But these also lacked the vitality of the radical Dalit writings of 1990’s Surely the writing of Poomani in eighties and Daniel [ Srilankan Tamil writer ] brought to the forefront the issues pertaining to Dalits to some extent. Poomani’s novels faregrounded Dalit lifestyle in rural society polarized by caste and social hierarchy. But, Dalits in this novel lacked the radical thought and solidarity envisioned by Ambedkar. Daniel’s novels basically dealt with the persecution and oppression of Tamil Dalits in



24 Srilanka. He regarded class- strife as the main source of social discrimination. Though, Dalits in his novels appears to offer an organized protest against there persecutors, they do it only under the leadership of apper caste, Marxist comrades who are determined to fight for their upliftment Dalit literature appeared to carve a Nische for its only in the nineties, when Dalit themselves started presenting their experiences through different modes in Tamil literature. During this period many writers like Sivakami, Vrjai Rajan, Bama, Abimani, Gunasekaran, Edayyavedan and many others came to prominence and through their writings Dalit voice could be heard and their presence felt by the world. The first Dalit novel in Tamil was written by a women Dalit Wrila, Sivakami in 1989. Her novel, Pazhiyana Kazhidalum [ The grip of change] deals with the problems related to Dalit leadership and pinpoints the drawback of the model followed by Dalits wherein the Dalit leaders simply follow the corrupt manipulative politics of the upper caste empowered politicians. She envisages highly educated, empowered Dalit youth, who can stand united and work with sincerity and commitment. She feels that only such organized youth could curb intra- Dalit strife and novel also brings to the forefront Dalits. The novel also brings to the forefront the violant treatment of Dalit women by Dalit men at home. Hrough her novel Sivakami also sows the seeds of Dalit patriairchy which is an important issue in Dalit literature. Within the patriarchal set up Dalit women are at a double whamy They are constantly vulnerable to sexual harassment and abuse at home by Dalit men, husband, fathers, brothers-in-law, fathers-in-law, in addition to sulywation outside their homes at the hands of upper caste men and even the police. Sivakami’s second novel, Aanandayee [1992] dwells on the violent treatment of woman’s body and shows how the family itself as an institution within the partriarchal systeme is oppressive and completely unjst to women Dalit women’s sexuality is totally suppressed and violently exploited. Throuf her novels Sivakami brings to the forefront the dual oppression meted out to Dalit women, in the name of gender and caste, by Dalit men as well as upper caste new. Tamil Dalit writers have employed a variety of

genres for their self expression. The short story has been effectively used by them to foreground the oppression of the Dalits and their struggle against their oppressors. The self reflexive interrogative nature of the Dalit discourses give them more contemporary relevance. Apart from Sivakami who published three collections f short stories, the other who came to prominence are Bama with two collection :-Kisumbukaaran [1996] Abhimani has two collections:-Nokkadu [1993] Tettam [2001] Imaiyam-MannBaram [2004] and so on. Many Dalit writers foreground the gender caste intersection in the lives of Dalits in their works. Representation of Dalit women is an important aspect of Tamil literature with respect to the voice and space granted to Dalit women characters. Dalit women are portrayed as lively courageous, hardworking individuals with tremendous inner strength to face any kind of crises and work tirelessly at home and outside. Their talent is also showcased through their dance and songs. An important aspect of the plays is that Dalit women characters out numbers Dalit males in the plays. Gunasekaran’s popular play Bali Aadugal [1999] foregrounds the interlocking of gender and caste concerns of priests and upper caste to offer a human sacrifice to appease the village deity. The proposed sacrifice is halted as the man who was about to be sacrificed manages to escape. The elders soon decide to offer a Dalit man, Vduman to the deity. He in turn pleads with the village elders to free him and in turn offers his wife for sacrifice. His proposal is accepted and the Dalit woman without even a name for herself, who is just known as Vduman’s wife is sacrificed. The play throws light on the working of patriarchy in case of a woman Dalit men treat their wives more violently, unjustly and cruelly than they themselves are treated by the upper caste. Through the portrayal of Vduman’s wife, lacking even a name for herself Gunasekaran pinpoints how Dalit women lack an individual identity and are constantly considered as daughters, wives and mothers. Sexual exploitation of Dalit women workers at their workplace and sexual violence at the hands of husbands at home from Dalit short stories. Abimani’s short stories shows caste hegemony over women at large. In one of the stories, Abimani depicts a Dalit male’s



appropriation of an upper caste women’s body on the basis of his gender though he is restrained by his lower caste status in matters other than sexual. Dalit writers thus offer thought provoking subtexts to the gender caste collusion in Dalit lives. Abimani highlights how upper caste women are oppressed just like Dalit women in the patriarchal society while Dalit women are oppressed by caste hegemony as well as patriarchy. He observes that women in general should join hands to fight the patriarchal and other oppressive social structures. Matters pertaining to reservation benefits to Dalits and animosity of the upper caste towards the Dalits on account of reservation are discussed in Anbadavan’s poems. He advocates that Dalits need to organize themselves for empowerment and also avail of their constitutional right. He even observes that Dalits cannot absolve themselves from using weapons to counter upper caste biases and traditional forms of discrimination heaped on them continuously over the years ‘ If one takes up weapons, respect follows suit’ , he feels in one of the poems [ Kavichi 2003] . Dalit poets use confessional, satirical, realistic modes of writing and employ conversational colloquial vocabulary. An issue that is of great concern to most of the Dalit writers is the Dalit women’s sexuality. They express their anxiety at the suppression of women’s sexuality throughout their life by their own family and also the caste. Dalit women are not allowed to attend school after attaining puberty, are subjected to sexual assaults by much older husbands, are sexually harassed or raped by fathers-in-law, brothers-in-law if they are widowed subjected to regulars beatings by alcoholic husbands and are burdened with heavy labour at home and also in the fields apart from nurturing their numerous children and the aged. This is the typical path taken by a Dalit women in her life. Writers express their concern at the intersection of caste hegemony and patriarchal society which completely control Dalit women’s sexual life. Another writer who problematizes the issue of gendering through his novels is Imaiyam. His novels portray the sexual harassment of Dalit women by their male superiors at their work place. Further, Dalit

25 women like washerwomen are raped by the upper caste patrons and are silenced so that they don’t lose their livelihood. [eg. Mary in Koveru Kazhudaigal,1994]. Many women are also forced into prostitution to ward off poverty and sustain a livelihood. In his novel, Arumugam, he shows the struggle of commercial sex workers to make the ends meet, Their maternal instinets remain unfulfilled and often as in the case of Chinnponu, meet a cruel, violent death at the hands of their clients over a petty argument about their professional fees. He portrays women as highly energetic, lively and very loving towards their husbands. But, his bourgeois attitude towards the sexual assault on the Dalit women is questionable. He feels that the women themselves are responsible for their sad plight. No onus is put on the casteist, patriarchal system. Women in his novels appear to crave for male protection, even that of a five year old son. Imaiyam moves a step forward by implicating a particular Dalit caste paraiyars for the sexual offence on Dalit women. This has led to a series of debates among the critics. An issue that a raised is whether regressive ideological position adopted by a Dalit writer makes him suitable to work for the upliftment of Dalits. A writer who stands out amongst these Dalit writers is definitely Bama in 1992 she published the first Dalit autobiography, Karukku (1992) in Tamil. The Dalit women were compelled to voice their misery doubled up due to caste and gender discrimination. The result was the rise of Dalit Feminism. As its exponent Bama has found in Karukku the right space to articulate the sufferings and travails of Dalit women. It also enjoys the unique recognition of being one of the first radical feminist discourses by a Tamil Dalit woman. Karukku means palmyra leaf and Bama observes many similarities between her trouble filled life and the saw edged karukku. As she observes in the preface of the book : The driving forces that shaped this book are many, cutting me like Karukku and making me bleed, unjust social structures that plunged me into ignorance and left me trapped and suffocating, my own desperate urge to break, throw away and destroy these bonds and when the chains were shattered into fragment, the blood that was split then all these taken together 5



26 Karukku , an autobiographical novel, shows how difficult it is to be a Dalit and a woman. A Dalit woman is a Dalit amongst the Dalit. Bama’s existence is more difficult, since she is a Dalit Christian. Karukku bring to the forefront, the three forces that affect her life, that is caste, gender and religion. Karukku flouts the established convention of an autobiography. It is a painful journey that is open ended leaving many questions unanswered. The novel is a reflection of a variety of themes like religion, recreation, education etc. Though these factors, Bama reveals how the caste oppression is meted out to the Dalit Christians not only by the upper caste society but also within the Catholic church itself. Bama, driven by an inner urge to alleviate the sufferings of the oppressed, becomes a man. Karukku is about Bama’s inner quest for self discovery and the ultimate courage, which makes her to move away from the life of a man and live as a Dalit woman. Though Karukku Bama pinpoints how the church advocates subservience, obedience and docility to the followers, while repressing the radical the radical liberative teachings of Jesus. She urges the Dalits to acquire education and in depth knowledge of Bible and know Jesus as the real defender of the oppressed. Karukku exemplifies inner strength and vitality of Dalit women. It is really noteworthy that centuries of oppression have vitality and the inner strength of the Dalits. Dalit women, have enormous strength and vigour to bounce back against all odds. If Karukku burst with the realistic depiction of the subservient existence of the Dalits, Sangati her second novel celebrates with pride the resilience and the dauntless spirit of the Dalit women. While Karukku depicts the sufferings of a Dalit women, Sangati moves away from the individual to community. It is a statement of pride underling the inherent liveliness and indomitable spirit of Dalit women against oppression. As Bama herself writes in the Preface to the book. In Sangati many strong Dalit women who had the courage to break the shackles of authority to propel themselves upwards, to roar (their defiance) change their difficulty, problems filled lives of those women who dared to make fun of the class in power that oppressed them. And

through this, they found the courage to revolt. Sangati means news and the book is full of interconnected events- the everyday happenings in the Dalit community. Similar to Karukku that flouted the conventions of autobiography, Sangati goes against the notions of the traditional novel. It has no plot in the normal sense, but is a series of anecdotes. The book could be considered as an autobiography of a community for it describes Dalit women from different generations. Vellaiyamma Kizhavi, the narrator’s patti (grandmother) had got married at the age of fourteen and is deserted by her husband Govindan, at a very young age. After several years of futile wait, her Patti darlingly takes away her mangalsutra signifying the mental courage of the Dalit women to parent her children single handed. It seems patti wanted and waited for Govindan to return, and at last, when there was a terrible famine, she took off her tail and sold it. After that she never wore a tail ever again. She told herself she had become a corpse without a husband and struggled singlehandedly to care for her two children (Bama 2005:5). The book dwells at length on the gender basis faced by Dalit women right from the childhood. Elizabeth Fox Genovese (1990) while discussing gender basis in Afro- American community writes. For, in stable societies gender, in the sense of society’s prescriptions for how to grow up as a man or as a women, is indicated in tandem with and indissolubly bound to the child’s growing sense of “who I am” To be an “I” at all, to be a self, is to belong to a gender.(p.187) Similarly the inferiority of the Dalit girl is emphasized right from her childhood. Girl babies are always considered inferior and are taken less care of. “If a baby boy cries, he is instantly picked up and given milk. It is not so with girl. A boy is breast-fed longer. With girls, they wean them quickly, making them forget the breast.” (Bama 2005:7) We also learn that Dalit girls are made to do all the household chores like “cleaning vessels, drawing water, sweeping the house gathering firewood, washing clothes, and so on” (Bama2005:7)



In Karukku Bama has dealt at length with the caste consciousness prevailing in the Catholic Church. In Sangati we find that the Catholic priests were also gender-biased and treated the converted Dalit women as inferior. The church rules, such as the one against divorce, militate against women and keep them under control: parish priests are not sympathetic towards women’s individual choice of life partner. They are given the meanest jobs in the church with the promise of a ‘reward’ in heaven. (Holmstrom2005:xviii) Bama observes that there is a striking difference between the life of Dalit man and a woman. As Linda Brent (1973) writes in The Incidents in the Life of a Slave Girl “Slavery is terrible for men: but it is far more terrible for women. Superadded to the burden common to all, they have wrongs, and sufferings, and mortifications peculiarly their own”. (p.79) Sangati does not stop with just an analysis of the suffering of the Dalit women. The book takes us to the inner premises of Dalit culture asserting its richness and tradition substantiating Francois Gros’ (2004), following observation. Dalit communities do indeed have a very rich and deep culture heritage, a folk tradition of tales, songs and performing arts, an amazing variety of practices and usages in their daily life, and craftsmanship, etc. and a wonderful world of gods, goddesses and devils, all elements contributing to the creation of an original, imaginary world which is in no way less important nor less fascinating than classical mythology or orthodox manner and customs. (p14) The language of the Dalit women is rich and resourceful giving way to proverbs, folklore and folksongs. The women have an innate talent to give appropriate nicknames to others. Seyarani is called maikanni because she has ensnaring eyes. Sanmuga Kizhzvi is called maikuzh kizhzvi because she takes only ragi kuzh. Gnaanambal is called dammatta maadu because she goes round like a young bullock dragged and dazed without knowing what is going on. The Dalit

27 women also posses an inborn talent to spontaneously sing songs befitting any occasion. I really don’t know how they could make up song like that, in an instant, quick as anything… They used to sing, lullabies, roratti songs to the babies in their cradles… if any one died, the women sang opparis and wept loudly. Thinking about, from birth to death, there are special songs and dances. And it’s the women who perform them. Rarraatu to oppari it is the women who sing them (Bama2005:77-78) Thus through Sangati, Bama has pioneered a Dalit Penniyam, a Dalit feminist perspective in Tami. It is criticism of the patriarchal, caste-ridden society. They are also reflective of the changing attitudes of Dalit women. In Karukku and the first half of Sangati we find the narrator merely lamenting the suppression and sufferings faced by Dalit women. But the later part of Sangati moves away from the state of depression and frustration. Instead it renders a positive identity to Dalit women highlighting their inner strength and vigour. It celebrates the grit and determination of the Dalit women to stamp their existence in a male dominated, caste structured society. “The ideals Bama admires and applauds in Dalit women are not the traditional Tamil ‘feminine’ ideals of acham (fear), naanam (shyness), madam (simplicity, innocence), payituppu (modesty) but rather courage, fearlessness, independence and selfesteem” rightly observes Holmstrom. Like her first novel Karukku, in Sangati, Bama thus, celebrares her admiration of Dalit women with pride and dignity. Her third novel, Vanman (2002) She argues for the need of betted solidarity among Dalit groups, in order to avoid intra – Dalit strife. She fears that lack of unity amongst the Dalits will indirectly benefit the upper caste. An area required to be seriously debated is Dalit criticism critical studies in Tamil Dalit literature is basically concerned with Dalit identity, their self expression and re-readings of classes. There is also the question regarding who is a Dalit writer? Eminent critic Roy Crauthanam feels that apart from one who is born as a Dalit who has that birthright, to write about Dalits. Anyone who works for the empowerment of Dalits, definitely can write about them. All writers foreground that Dalits and women need to work together against oppression.



28 Writers like Bama and SivaRami strongly feel that feminism itself should reinvent itself to bring together the perspectives of women and Dalit women .According to Dalit feminist critic, Sharmila Rege: “The Dalit Feminist standpoint is about historically locating how all our identities are not equally powerful, and about reviewing how in different historical practices similarities between women have been ignored in an effort to underline Caste-Class identities, or at other times differences ignored for the feminist cause.”

Dalit studies have gained great momentum with the advent of Dalit publishing houses involved in translations of Dalit literature into English and also other Indian languages, apart from publishing Dalit writings. This has also helped to forge a great cultural and political unity amongst Dalits.Further, a well organized critical corpus needs to be developed in Tamil Dalit literature, so that the works could be read and appreciated worldwide.

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ñdmV§Í`moÎma ^maVr` X{cV gm{hË` S>m°. gy`©ZmamÙ aUgwô

X{cV gm{hË` H$m {dñ\$moQ> ñdV§ÌVm Ho$ H$ar~ 25 dfm] ~mX gZ 1970 Ho$ Amg-nmg _amR>r _| hþAmŸ& _amR>r àXoe _o§ Bg gm{hË` Ho$ OÝ_ Ho$ _yc _| {ZåZ{c{IV à_wI H$maU ahoŸ& 1) _hmamï´> `h S>m°. ~m~mgmho~ Am~|S>H$a Or H$s OÝ_^y{_ VWm H$_©^y{_ ahrŸ& g_Vm, ~§YwVm Am¡a ñdV§ÌVm Ho$ {cE do gZ 1925-30 go g§Kf©aV WoŸ& AZoH$ à`ËZ Ho$ H$maU dU© VWm Om{V ì`dñWm Ûmam ZH$mam J`m g_mO Yrao-Yrao Š`m| Z hmoŸ? gm_m{OH$ g_Vm hoVy g§J{R>V hmo ahm WmŸ& 2) _hmamï´> H$mo n[adV©ZdmXr {dMmamo§ H$s EH$ c§~r n¥ð>^y{_ ahr h¡ Bg Ñ{ï> go _hmË_m Á`mo{V~m \w$co VWm amO{f© emhÿ _hmamO H$m H$m`© C„oIZr` hmo BZ XmoZm| Ho$ H$maU ~hþOZ AnZo A{YH$mam| Ho$ à{V OmJ¥V hmo ahm WmŸ& 3) ñdV§ÌVm Ho$ ~mX {Og g§{dYmZ H$mo cmJy {H$`m J`m, Vmo CgH$m coIZ S>m.° ~m~mgmho~ Am§~So >H$a Or Zo {H$`m WmŸ& g§dY¡ m{ZH$ ì`dñWm Ho$ H$maU X{cV dJ© H$mo {eúmm H$s gw{dYmE± àmá hmoZo cJrŸ& 1950 _| X{cVm| H$s Omo nr‹T>r Cƒ{eúmm Ho$ joÌ _o Mcr J`r Wr dh 1970 VH$ AmV-AmVo-Cƒ{eúmm nyU© H$a ahr WrŸ& `h nr‹T>r gm{hË`, {dkmZ VWm kmZ Ho$ joÌm| H$mo gå^mcVo ahrŸ& Cg| `h Vrd«Vm go _hgyg hmo ahm Wm {H$ CZH$s ì`WmAm| H$m {MÌU gm{hË` _| Zhr Ho$ ~am~a h¡Ÿ& gm{hË` Ho$ joÌ _| ^r do Añn¥í` Am¡a AjyVo h¡Ÿ& CZH$s AZw^y{V ^r AjyVr h¡ n[aUm_V: nma§nm[aH$ _amR>r gm{hË` Cg_| AYyam cJmŸ& 4) {ejm Ho$ H$maU do AnZr Apñ_Vm Ho$ à{V gOJ hmo JòŸ& AnZr ì`WmH$Wm H$mo do ì`º$ H$aZo H$s BÀN>m ì`º$ H$aZo cJoŸ& CZ_| Omo g§dXoZerc Wo do AnZr Vrd«V_² AZw^y{V Ho$ ~moP go _wº$ hmoZo hoVw {cIZo cJoŸ& Cn`w©º$ H$maUm| go X{cV gm{hË` H$m {dñ\$moQ> X{cV gm{hË` _| hþAmŸ& EH$ Eogo V~Ho$ Ûmam Omo ~¥hÎma g_mO Ûmam nyU©V: Cno{jV WmŸ& ñdm^m{dH$ én go Bg gm{hË` _| {dÐmoh Am¡a ZH$ma H$m ñVa à~c Wm Am¡a AmO ^r h¡Ÿ& Ama§{^H$ Xm¡a Ho$ Bg gm{hË` H$s {ZåZ{c{IV {deofVmE± WrŸ:-

1) BZ_| ì`º$ AZw^y{V H$m {díd EH$X_ Z`m ^m¡{VH$ Am¡a `mVZmAm| go âm hþAm WmŸ& AmO VH$ Ho$ gm{hË` _| _wÇ>râ cmoJm| Ho$ OrdZ H$m hr {MÌU {H$`m OmVm WmŸ& Cg gm{hË` _| Cno{jV ì`{WVm|, l{_H$m| emofH$m§o, X{cVm| Ho$ OrdZ H$m {MÌU Zhr§ Ho$ ~am~a WmŸ& X{cV gm{hË` _| AZw^y{V Ho$ EH$ Zò {díd H$mo àñVwV {H$`m Ÿ& 2) Bg_| ì`º$ doXZm H$m ñdén ì`{º$JV Zht gm_m{OH$ ^r AWm©V X{cV gm{hË` gm_m{OH$ XñVmdoO Ho$ (Socil document) én _| àñVwV hþAmŸ& 3) dU© Am¡a Om{V H$m XwI ì`{º$ Ho$ gmW-gmW g§nyU© Om{V H$mo ^yJVZm n‹S>Vm h¡Ÿ& Bg H$maU {MÌU ^co hr ì`{º$ H$m {H$`m OmVm hmo Vmo ^r ì`{º$ H$m ñdV§Ì ApñVËd `hm± Zht Ho$ ~am~a hmoVm h¡Ÿ& ì`{º$ EH$ {d{eï> g_yh H$m à{V{Z{YËd H$aVm h¡Ÿ& 4) X{cV gm{hË` H$m nhcm {dñ\$moQ> H$mì` {dYm _| hwAmŸ& `h ñdm^m{dH$ ^r WmŸ& lr Zm_Xod _hmamO H$s H${dVm doXZm, {dX«mho Am¡a ZH$ma H$mo coH$a ì`º$ hmoVr h¡Ÿ& H${dVm Ho$ ~mX AmË_H$Wm Bg {dYm _| X{cV AnZo ì`Wm H$mo ì`º$ H$aVo h¡Ÿ& lr à.B©. gmoZH$m§~co VWm lr X`m ndma Or {H$ AmË_H$Wm (AmR>dUtMo njrŸ- `mXm| Ho$ n§N>r Am¡a ~cwV ANw>V) BgHo$ à_mU h¡Ÿ& 5) Ama§{^H$ X{cV gm{hË` Zo _mZH$ _amR>r H$mo ZH$mam h¡Ÿ& ^mfm H$mo do AnZo VarHo$ go J‹T>Vo Wo AWdm ò H$h| {H$ do AnZr amoO_am© H$s ^mfm H$m Cn`moJ H$aVo WoŸ& _w{º$~moY Ho$ eãXmo _| H$ho Vmo do CZ g^r nma§nm[aH$ J‹S²>T>m§o H$mo _mÝ`VmAm| H$mo VmoS>Vo Wo Omo A{^ì`{º$ Ho$ {cE A‹S>MZo n¡Xm H$aVr WrŸ& A{^ì`{º$ Ho$ gmao IVam| H$mo do CR>mVo WoŸ& 6) Ama§{^H$ Xm¡a Ho$ X{cV gm{hË` _| ZH$ma H$m ñda AnZo à~c én h¡Ÿ& do {dH$ën Zht XoVŸo & {dÐmoh H$s na nhcr AdñWm hmoVr h¡Ÿ Bg gm{hË` _| IwX H$s Vcme h¡Ÿ& na§nam H$s Vcme h¡Ÿ& AnZo ñd Ho$ à{V OmJéH$Vm h¡ Am¡a _mZdr` A{YH$ma {Og g_mO _|, Y_© Zo, ì`dñWm Zo ZH$mam h¡ CgHo$ à{V O~aOñV AmH«$moe h¡Ÿ&



30

gZ 1990 Ho$ ~mX H$m X{cV gm{hË` :gZ 1970 go 1990 Ho$ ~rM _amR>r X{cV gm{hË` _| H${dVm Am¡a AmË_H$Wm BÝht Xmo {dYmAm| _o gm{hË` aMm J`mŸ& Bg ~rM lr ~m~wamd ~mJwc O¡go AndmXmË_H$ à{V^m g§nÞ H$hmZrH$ma ^r h¡Ÿ& {OÝhm|Zo H$hmZr {dYm Ho$ _mÜ`_ go X{cV-OrdZ Ho$ {d{dY Am`m_m| H$mo CX²Km{Q>V H$aZo H$m à`ËZ {H$`mŸ& 1990 Ho$ ~mX Ho$ X{cV gm{hË` H$s {ZåZ{c{IV {deofVmE± XoIr Om gH$Vr h¡Ÿ1) H${dVmE± Am¡a AmË_H$WmE± Bg Xm¡a _| ^r {cIr Om ahr WrŸ& H${dVm H$s VwcZm _| AmË_H$Wm _| d¡{dÜ`Vm A{YH$ h¡ {d{^Þ V~H$m| _| {eúmm H$m n«Mma-àgma hmo OmZo Ho$ H$maU BZ V~H$mo Ho$ `wdH$m| Zo AnZr Om{V H$s ì`WAm| H$mo àñVwV H$aZo H$m à`ËZ {H$`mŸ& `h Xw:I {d{eï> Om{V _| OÝ_ coZo Ho$ H$maU hr àmá hþAm h¡ Om{V Am¡a dU© ì`dñWm hr BgHo$ _yc _| h¡ Bgo do AàË`j én go ñnï> H$aVo h¡Ÿ& S>m.° eaUHw$_ma qc~mco H$s "A¸$a _mer' Zo Ad¡Y X{cV g§VmZ Ho$ Xw:I H$mo nya VrIo nZ Ho$ gmW àñVwV {H$`mŸ& Vmo lr cú_U Jm`H$dmS> Or H$s AmË_H$Wm "CR>mB©Jra' Zo Yw_¸$S> Om{V`m| Ho$ XX© H$mo àñVwV {H$`mŸ& Bg H$mc _| {ó`m± ^r AnZr H$Wm H$mo coH$a àñVwV hmoVr h¡Ÿ& ~o~r H$m§~co Or H$s "_mÂ`m OrdZmMr {MÎma H$Wm' go coH$a C{_©cm ndma H$s "Am`XmZ' VH$ _hËdnyU© AmË_H$WmAm| Zo à_m{UV {H$`m {H$ dU© VWm Om{V ì`dñWm Ho$ H$maU ì`{º$ VWm g_mO H$m {H$VZm ZwH$gmZ hþAm h¡Ÿ& AZw^y{V H$m `h {damQ> {díd BZ g~H$mo AmË_n[ajU Ho$ {cE _O~ya H$aVm h¡Ÿ& 2) Bg Xm¡a _| AÝ` {dYmAm| _| ^r X{cV {ZdoXZm ì`º$ hmoZo cJr & lr ~m~wamd ~mJwc Or Zo H$hmZr {dYm Ho$ _mÜ`_ go BZH$s ewédmV H$s WrŸ& lr `moJramO dmK_mao, lr A{_Vm^, lr eaUHw$_ma qc~mc, dm_Z Amohmc, Ho$ed _olm_, ^r_goZ XoR>o, A{dZme S>mi o g Am{X H$hmZrH$mam| Zo AnZr geº$ H$hm{Z`m| Ûmam `h gm{~V {H$`m {H$ X{cV g§doXZm Ho$dc H${dVm, AmË_H$Wm VH$ gr{_V h¡Ÿ& `hm° à{V^m g§nÞ H$hmZrH$ma ^r h¡Ÿ& 3) R>rH$ Bgr Vah X{cV a§J_§M H$s ñWmnZm H$s JB© Am¡a X{cV a§J_§M na d{U©V g§doXZm H$mo, `mVZm H$mo ZmQ>çén _| àñVwV {H$`m OmZo cJmŸ& gd©cr XÎmm ^JV, am_ZmW MìhmU, O.{d.ndma CëcoIZr` ZmQ>H$H$ma h¡Ÿ& ZmQ>Ho$ Ho$ Acmdm EH$m§H$s {dYm _| ^r X{cV `mVZm ì`º$ hmoZo cJrŸ& Z Ho$dc ZmQ>H$H$ma A{nVw ZmQ>çg_rjH$ VWm ZmQ>ç {X½Xe©H$ ^r Bg Am§XmocZ Zo V¡`ma {H$EŸ& S>m°. H¥$îUm {H$adco O¡go ZmQ>çg_rjH$ âV Ho$ ZmQ>çemó H$mo ZH$maVo hþE `h à_m{UV H$aVo h¡ {H$ âV Ho$ H$mc go hr EH$

g_m§Va a§J_§M Bg Xoe _| WmŸ& {deof én go ~m¡Õ H$mcI§S> _| `h a§J_§M AË`§V g_¥¥Õ hwAmŸ& 4) Bg H$mc _| X{cV g§doXZm H$mo ì`mnH$ AW© {X`m J`m Omo OÝ_ go X{cV h¡ CZH$s hr ì`Wm X{cV g§doXZm Zht h¡, A{nVw Omo l{_H$ h¡, emo{fV h¢ do g~ X{bV h¢ Ÿ& àñWm{nV g_mO Ûmam ZH$mao JE {OVZo ^r dJ© h¡, V~Ho$ h¡§, Om{V`m± h¡ do g~ X{cV h¡Ÿ& lr ~m~wamd ~mJwc Zo X{cV eãX H$mo A{^dº$ {H$`mŸ& lr XÎmm ^JV Zo BgHo$ ^r AmJo Om H$a `h H$hm {H$ "Om{V go {Z{_©V Xw:I hr X{cV Xw:I h¡Ÿ&' AJa {H$gr ~«møU H$mo ~«møUmo H$s `h CnOm{V Omo _aUmonam§V H$_©H$m§S> H$aVr h¡ ~«møUm| _| Cno{jV hmoVo h¡Ÿ& CZH$s ì`Wm H$mo "{H$ad§V' ZmQ>H$ _| EH$ X{cV ZmQ>H$H$ma Zo hr àñVwV {H$`mŸ& X{cV eãX H$mo BVZo ì`mnH$ AW© _| J«hU {H$`m OmE AWdm Zht Bg na _VôX h¡Ÿ& {hÝXr _| X{cV eãX H$mo ~hþV g§H$w {MV AW© _| J«hU {H$`m OmVm h¡Ÿ& _amR>r _| Omo Am{Xdmgr h¡, OZOm{V Ho$ h¡, Omo {nN>S>o h¡ AÝ` {nN>S>o (Amo~rgr) h§¡ µCZ g~H$mo X{cV Ho$ A§VJ©V ñdrH$mam OmVm h¡Ÿ& 1980 Ho$ nyd© VWm ~mX _| ^r X{cV eãX ~hþV gr{_V AW© _| à`wº$ {H$`m OmVm WmŸ& na§Vw A~ Cg_| H$m\$s ì`mnH$Vm H$a Xr JB© h¡Ÿ& 5) gZ 1990 Ho$ ~mX Ho$ X{cV gm{hË` H$s gdm©{YH$ _hÎdnyU© {deofVm `h h¡ {H$ A~ X{cV g§doXZm Ho$dc {dÐmoh Am¡a ZH$ma H$s ~mV Zht H$aVr BgHo$ Acmdm A~ dh X{cV OrdZ H$s Amoa nyU©én go VQ>ñW hmoH$a CgH$s {dg§J{V`mo§ H$mo, CgH$s nmI§S>r d¥Îmr H$mo COmJa H$a ahr h¡Ÿ& g§d¡Ym{ZH$ gwa{jVVm VWm AmajU Ho$ H$m`Xo coH$a X{cVm| _| Omo dJ© àñWm{nV hþAm h¡, CgHo$ Mm[aÌ H$m, CgH$s nmI§S>r d¥Îmr H$m nXm©\$me H$a ahr h¡Ÿ& S>m°. eaUHw$_ma qc~mco Zo Bg dJ© H$mo X{cV ~«møU H$hm h¡Ÿ& CZH$m EH$ H$hmZr g§J«h Bgr erf©H$ H$mo coH$a AmVm h¡Ÿ& _w{º$~moY Ho$ eãXm| _o g_H$mcrZ X{cV gm{hË` nyar VQ>ñWVm go IwX H$mo Vame H$a XoI ahm h¡, IwX H$mo N>rc H$a XoI ahm h¡Ÿ& {deofV: 1980 Ho$ ~mX OÝ_r X{cV nr‹T>r {nN>cr nr‹T>r Ho$ nmI§S>nZ H$mo AnZr H${dVmAm|, H$hm{ZAm| _o COmJa H$a ahr h¡Ÿ& EH$ Amoa, Xw:I Am¡a `mVZm Ho$ Zò-Zò Am`mV CX²Km{Q>V hmo aho h¡Ÿ& (H${dVm, H$hmZr, AmË_H$Wm _|) Vmo Xwgar Amoa IwX H$s Amoa h¡Ÿ& VQ>ñWVm go XoIZo H$s d¥Îmr ^r ~‹T> ahr h¡Ÿ& 6) 1990 Ho$ ~mX X{cV gm{hË` Zo ~m¡Õ gm{hË` H$mo, ~wÕ Ho$ OrdZ H$mo àoaUm Ho$ én _| J«hU {H$`m h¡Ÿ& ~m¡Õ à^md XoIm Om gH$Vm h¡Ÿ& BZ Zò àVrH$m|, q~~mo Cn_mAm| H$m EH$ Z`m g§gma BZ gm{hË`H$mam| Zo I‹S>m {H$`m h¡Ÿ& Bg H$maU _amR>r ^mfm A{YH$ g§nÞ hmoVo Om ahr h¡Ÿ&



7) X{cV gm{hË` na EH$ Amamon `h cJm`m OmVm ahm {H$ Cg_| à`moJ Y{_©Vm Zht h¡Ÿ& CgHo$ {eën _| ZdrZVm Zht h¡Ÿ& ^mfm Am¡a AZw^y{V H$mo AJa N>moS> Xo Vmo eof ñWmZm| na Bg_| H$moB© à`moJ Y{_©Vm Zhr§ h¡Ÿ& Bg Amamon H$mo JcV Kmo{fV {H$`m h¡Ÿ& à{V^m g§nÞ H$hmZrH$ma S>m°. Hw$_ma A{Zc Zo AnZo H$hmZr g§J«h "noewdmB{Vc' nm§T>am C§{Xa (BgH$m {hÝXr AZwdmX {eK« hr Am ahm h¡Ÿ&) Bg_| go A{YH$m§e H$hm{Z`m± X{cV Cƒ _Ü`_dJu` OrdZ go g§~§{YV h¡Ÿ& à{VH$mamË_H$ erf©H$m§o Ûmam Bg Cƒ _Ü`_dJu` X{cV OrdZ H$m nXm©\$me nyar VQ>ñWVm Am¡a H$cmË_H$Vm Ho$ gmW S>m°. AZrg Zo {H$`m h¡Ÿ& gwú_ ì`§½` H$m ñVa àma§^ H$hmZr _| h¡Ÿ& X{cV H$hmZr H$mo EH$ Z`m Voda XoZo H$s H$mo{ee Hw$_ma Zo H$s h¡Ÿ& ~mOadmX, d¡ídrH$aU QyQ>Vo OrdZ _wë`, gwá AWdm AX¥í` én _| ì`mßV dU©ZdmXr _mZ{gH$Vm Am{X H$m AË`§V à{VH$mamË_H$ {MÌU BZ H$hm{Z`m| H$s {deofVm h¡Ÿ& ~m¡Õ Xe©Z, ~m¡Õ {_WH$ H$WmE± , à{VH$, énH$ Am{X H$m à`moJ BZ H$hm{Z`m| H$s {deofVmE± h¡Ÿ& R>rH$ Bgr àH$ma H$s à`moJY_uVm lr XÎmm ^JV Ho$ "Aí_H$' ZmQ>H$ _| {XIcmB© XoVr h¡Ÿ& {d{Xem Bg ~m¡Õ H$mcrZ ZJar H$m g_«mQ> Am_ AmX_r H$mo cw^mdZo AmH$f©U XoH$a CZH$m emofU {H$g àH$ma H$aVm Wm, BgH$m à^mdnyU© {MÌU Bg ZmQ>H$ H$s {deofVm h¡Ÿ& g_H$mcrZ ^maVr` amOZr{V H$s n¥ð>^y{_ _| Bg ZmQ>H$ H$mo n‹T>m OmE Vmo Bg_| {N>nr doXZm VH$ h_ ghOVm go nhþ±M gH$Vo h¡Ÿ& 8) 20 dr eVr Ho$ A§{V_ _| Xmo à{V^mg§nÞ H${d`m| Zo _amR>r X{cV-H${dVm H$mo Omo ì`mnH$Ëd {X`m, Omo gyú_Vm n«XmZ H$s Cggo `h ~mV ñnï> hmo JB© {H$ à{V^m Om{V `m dU© go g§~§{YV Zht hmoVrŸ& lr AéU H$mco VWm lr ^wO§J _olm_ H$s H${dVmE± EH$ Zò Voda Ho$ {ZH$Q> AmVr h§¡Ÿ& BZ XmoZm| H$s H${dVmAm| _| Am_ AmX_r Am¡a _mZdr` _yë`m| H$s Omo AdZ{V hmo ahr h¡, CgH$o à{V {M§Vm ì`º$ H$s JB© h¡Ÿ& gZ 1993 _| AéU H$mco H$m nhcm H$mì`g§J«h am°H$JmS>©Z N>nmŸ& gZ 1997 _| "gm`Q>ZMr eha' VWm 2006 _| "Z§Va Amcoco cmoH$' Zo lr AéU H$mco H$s {d{eï> nhMmZ ~Zm XrŸ& BZH$s H${dVmAm| _| Ho$dc X{cV ì`Wm H$s hr A{^ì`{º$ Zhr§ hþB© h¡Ÿ& A{nVw ^y_§S>crH$aU, ~XcVr hþB© AW© ì`dñWm, ^«ï>mMma VWm AÝ` _Zwî` {damoYr VmH$Vm| Ho$ H$maU Am_ AmX_r H$s Vmo pñWVr hmo ahr h¡, CgH$s ~‹S>r VrIr ì`§JmË_H$ Am¡a gyú_ A{^ì`{º$ hþB© h¡Ÿ& ~H$m¡c adtÐ qH$~hwZo g§doXZercVm Ho$ gmW OrZm {XZ ~ {XZ {H$VZm Ag§^d gm hmoVm Om ahm h¡Ÿ, Bg ì`dñWm go qMVrV Aghmæ` nam{OV ZmJ[aH$ hr AéU H$mco H$s H${dVm H$m Zm`H$ h¡Ÿ& lr ^wO§J _olm_ H$s H${dVmAm| _| Am{Xdmgr OZOm{V`m| H$s AgmøVm H$m {MÌU hþAm h¡Ÿ& AWm©V CZH$s H${dVm {d{eï> OZg_yh go g§~{§ YV

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Zht h¡Ÿ& lr AéU H$mco H$s H${dVm H$s Vah dh ^r Bg Xoe Ho$ l{_H$, ì`{WV, X{cV, emo{fV ì`{º$ go hr g§~§YrV h¡Ÿ& Iwcr AW©ì`dñWm VWm ^y_S§ >crH$aU Ho$ H$maU Bg Xoe H$m gm_mÝ` _Zwî` {H$g àH$ma Agmø hmoVm Om ahm h¡Ÿ, BgH$m {MÌU BZH$s H${dVmAm| _o hþAm h¡Ÿ& lr Zm_Xod agmc H$mo Ama§^ d{U©V-H${dVm AéU H$mco VWm ^wO§J _olm_ VH$ nhþ±MVo nhþ±MVo J§^ra Am¡a ì`mnH$ én YmaU H$aZo cJVr h¡Ÿ& BZ XmoZm§o H$s H${dVmE± H|$Ðr` gm{hË` àdmh _| ^r AnZm {d{eï> _hËd {gÕ H$aVr h¡Ÿ& {hÝXr X{cV gm{hË`1) _amR>r H$s VwcZm _| {hÝXr X{cV gm{hË` H$m àma§^ H$ar~ S>o‹T> XeH$~mX 1984-85 _| hmoVm h¡Ÿ& AWm©V X{cV g§doXZm H$s A{^ì`{º$ dhm± Bg_| H$m\$s nyd© go ahr WrŸ& `hm± Bg ~mV H$mo ñnï> H$aZm Oéar h¡Ÿ {H$ X{cV gm{hË` H$s AdYmaUm _| `h ~mV {ZpíMV h¡ {H$ S>m°. ~m~mgmho~ Am§~oS>H$a Ûmam n«ñVwV {dMmaYmam Am¡a Xe©Z {Og gm{hË` H$s Ztd _| h¡, Omo Bg {dMmaYmam go ào[aV h¡Ÿ& Xwgao eãXm| _| {dewÕ _mZdr`Vm, g_Vm, ~§YwVm Am¡a Ý`m`, àIa d¡km{ZH$Vm, ^m¡{VH$Vm Am{X _wë`m| H$mo Omo gm{hË` ñdrH$maVm h¡Ÿ& dhr gm{hË` X{cV gm{hË` H$hcmZo H$m A{YH$mar h¡Ÿ& `h pñWVr go {hÝXr _| 1980 H$o$ ~mX X{cV gm{hË` H$s ewédmV hmoVr h¡Ÿ& Eogm {ZîH$f© {ZH$mcm Om gH$Vm h¡Ÿ& _amR>r _| Oéa `hm± ^r X{cV gm{hË` H$m OÝ_ "AmË_H$Wm' Bg {dYm _| hmoVm h¡Ÿ& lr Amo_àH$me dmë_r{H$ H$s AmË_H$Wm "OwR>Z' {hÝXr H$s nhcr X{cV AmË_H$Wm h¡ Am¡a {hÝXr X{cV gm{hË` H$s nhcr aMZm h¡Ÿ& lr Amo_àH$meOr H${d ^r h¡Ÿ& CZHo$ H$mì`g§Jh« _| X{cV g§dXo Zm H$s geŠV A{^ì`{º$ hþB© h¡Ÿ& (g{X`m| H$m g§Vmn, ~g ~hþV hmo MwH$m) lr Amo_n«H$meOr Ho$ ~mX Bg joÌ _| OmZr_mZr à{V^mE± AnZr aMZmAm| H$mo coH$a àñVwV hmoVo h¡§Ÿ& gd©lr _mohZXmg Z¡{_eam` (AnZo AnZo {n§Oao) S>m°. O`àH$me H$X_ (N>ßna) _YwH$a qgh (12 go A{YH$ CnÝ`mg) gyaOnmc Mm¡hmZ ({VañH¥$V) í`moamOqgh ~¡M¡Z (H«$m|M hÿ± _¡§- H$Wm g§Jh« ) gw{ecm Q>mH$^m¡a (ñdm{V-~wX± - gmao-_moVr-H$Wmg§Jh« ) Am{X. 2) `h ghr h¡Ÿ {H$ qhXr _| X{cV-gm{hË` go nwíV AZoH$ H$mì`g§J«h àH$m{eV hþEŸ& BZ H${dVmAm| _| AmH«$moe Am¡a ZH$ma H$m ñda àIa h¡Ÿ& na§Vw ò H${dVmE± A{^YmË_H$ A{YH$ h¡§Ÿ& `hm± na§nam H$s XoZ h¡ Bg _ZwO {damoYr ì`dñWm Ho$ à{V Am¡a BgH$m g_W©Z H$aZodmco Y_© Ho$ à{V Mr‹T> h¡ & VwcZmË_H$ Ñ{ï> go XoI| Vmo `h H${dVm Z gwú_ h¡, Z ÜdÝ`mË_H$Ÿ& lr Zm_Xod T>gmc X{cV H${dVm H$mo CgHo$ Ama§{^H$ H$mc {Og C±MmB© na co OmVo h¡, CgH$m `hm±



32

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33

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_amR>r {¼ñVr gm{hË`mMo _amR>r gm{hË`mcm `moJXmZ S>m°. {g{g{c`m H$mìhm©cmo

EH$sH$S>,o àH$memMm gU åhUyZ gmOam Ho$cocm ZmVmi Am{U Xwgar H$S>o Y_mªVamÀ`m àíZmdaM _mOcocm JXmamoi Ë`mVM 26 Zmoìh|~a 2008 amoOr _w§~Bda Pmcocm XheVdmXr h„m `m nmíd©^_y rda _amR>r ^mfH$ {¼ñVr g_mOmÀ`m, _amR>r gm{hË`mVrc `moJXmZm{df`r {dMma _m§S>m`Mo AmhoV. ^mfm åhUOo g§ñH¥$VrM AgVo. EH$sH$S>o {¼ñVr Y_© hm nm¡dm©Ë`, naH$s` XoemH$Sy>Z Amcocm, Ë`m AZwfJ§ mZo Amcocr g§ñH¥$Vr Am{U XwgarH$S>o _amR>r ^mfH$ {¼ñVr g_mO d Ë`m§Zr A§{JH$macocm dm {nT>rOmVnUo Amcocr _amR>r g§ñH¥$Vr `m§Mm gwaå` _oi {¼ñVr g_mOmV gmYcm Jococm Amho Am{U hoM n{hco d _moR>o `moJXmZ _amR>r ^mfH$ {¼ñVr g_mOmMo _amR>r gm{hË`mcm Amho. ^mfo_YyZ Ë`m g_mOmMr g§ñH¥$VrM S>mHo $mdV AgVo Am{U gm{hË` Va `m gr_maofm nwgyZ Q>mH$V AgVo d _mUyg åhUyZ, ì`º$s åhUyZ Ë`m§Zm Ë`m§Mr AmoiI H$éZ XoV AgVo. ñdmV§Í`moÎma H$mimVrc _amR>r ^mfH$ {¼ñVr g_mOr` gm{hË`m{df`r AmnU ~mocVmo AmhmoV `mMo ^mZ hdo. ~XcË`m g_mOmMr nX{MÝho Ë`mV C_Q>cc o r AmhoV. _amR>r gm{hË` ho {d{dY àdmhm§Zr d {d{dY MiditZr Amnë`m {dH$mgmMo Q>ßno _m§S>ë`m_wio g_¥Õ Pmcoco Amho. g_mOmV CX²>^dcoco g§Kf© Am{U {dÐmoh `m§Mo n«{Vq~~ `m gm{hË`mV C_Q>coco Amho. n[adV©ZmMo Iimi Ë`mV EoH$y òVmV. _Ü``wJrZ H$mimV, g§VmÀ`m H$mimV,"AmÜ`mpË_H$ cmoH$emhr' {Z_m©U Pmë`mMo g§emoYH$ d Aä`mgH$ J§.~m.gaXma `m§Zr åhQ>cc o o Amho. H$maU `m H$mimV {d{dY n§WmMo, OmVr-nmVrMo cmoH$ VgoM ór-nwéf {chÿ cmJco hmoVo.Ë`m AWm©Zo Vr gm§ñH¥${VH$ cmoH$emhrhr hmoVr. AmO ZD$eo dfm©Z§Va AerM gm§ñH¥${VH$ cmoH$emhr {Z_m©U Pmcocr Amho. EH$sH$S>o àËòH$ Y_©-n§WmVrc _ycVËddmX dmT>cocm Amho... VgoM Ë`m Ë`m g_mOmVrc Y_m©Mm ì`mnH$ AW© cmdÊmmè`m ì`qº$Zr Am{U H$cmd§Vm§Zr Amnco à{V_m Xe©Z KS>dyZ {d{dY gm{hË` H¥$VrVyZ Omo AmË_{dîH$ma Ho$cm; Ë`m Ë`m ì`{º$§Zr "cmoH$emhr' Mohr Xe©Z KS>{dco Amho. g§Vm§À`m H$mimV ^mfoda hmoUmar AmH«$_U§, Ë`mVyZ _amR>r ^mfm Onë`mMo à`ËZ Amho; VerM n[apñWVr, B§J«OrÀ`m AmH«$_UmVyZ _amR>r dmMdÊ`m~m~V AmO Amho. Ë`m_wio {¼ñVr

åhUOo B§JO « r ~mocUmam Agm àM{cV J¡ag_O, _amR>r ^mfH$ {I«ñVr coIH$m§Zr \$moc R>a{dcm Amho Am{U _amR>r ^mfocm _moR>r à{Vð>m àmá H$éZ {Xcocr Amho. "_amR>r {¼ñVr gm{hË`' dm "{¼ñVr _amR>r gm{hË`' Ago åhUVmZm Ë`mcm Am{W©H$ gm{hË`mMm J§Y òVmo. åhUyZM _amR>r ^mfH$ {¼ñVr g_mOmMo / g_mOmVrc gm{hË` Ago åhUUo C{MV R>aVo. {edm` ho gm{hË` Ho$di "gm{hË`' `m {ZH$fmda VnmgVm `mdo Agohr dmQ>Vo. Iao Va gm{hË` ho gm{hË`M AgVo. OmVr-Y_©n§W `mZwgma Ë`mV ôX H$aVm òD$ ZòV. "gË`-{ed-gw§XaVm' `m A{dîH$ma gm{hË`mV Pmcocm AgVmo, _J Vo H$moUË`mhr Y_m©Vrc, WamVrc gm{hË` Agmo. J«m_rU, X{cV, Am{Xdmgr gm{hË` åhQ>co H$s, {d{eï> g_mOmMo gm{hË` g_moa òVmo. {¼ñVr, _wpñc_, ~m¡Õ, O¡Z, _hmZw^md gw\$s gm{hË` åhQ>co H$s, Ë`mcm Y_© Am{U n§W `m§Mm con cmJcocm {XgVmo ho eãX Y_©gyMH$ AmhoV. "{¼ñVr gm{hË`' Ago Voìhm åhQ>co OmVo Voìhm, {¼ñVm{df`H$, {¼ñVr Y_©{df`H$ dm {¼ñVr Y_©-àMma-àgmamMo gm{hË` Agm Ë`mMm AW© hmoVmo. _mÌ _amR>r ^mfH$ {¼ñVr g_mOr` coIH$m§Mo gm{hË` Ago åhQ>co Va {¼ñVr Y_m©Mo g§ñH$ma d _amR>r g_mOmMo d g§ñH¥$VrMo g§ñH$ma `mVyZ g§ñH$m[aV d g§H$[aV Pmcoco gm{hË`, "gm{hË` `m {ZH$fmcm nmÌ R>aUmao hmoD$ eH$co, Ogo {MÌ H$cocm, AmnU _wpñc_ {MÌH$cm, {¼ñVr, `hþXr, {h§Xy {MÌH$cm Ago åhUV ZmhrV. {eën, Z¥Ë`, {H«$S>m, g§JrV `m§Zm Oer AmnU Y_m©Mo Zmdo XoV ZmhrV, Vgo gm{hË`H$cocmhr XoD$ ZòV, Y_m©Mo Zmd {Xë`m_wio EH$m {d{eï> Y_m©À`m H$úmoVM {\$aV am{hcoco AgVo. Ë`m_wio gm{hË`mcm Am`mo { OV _w c ^y V ZmVo , {gÕmV, cm¡ { H$H$-nmacm¡ { H$H$ OrdZmg§~Y§ rÀ`m YmaUm `m§Zr Ym{_©H$ gm{hË` ~§{XñV Pmcoco AgVo. Ama§^rÀ`m H$mimVrc {¼ñVr Y_©àMmaH$m§Mo coIZ, {¼ñV{df`H$, {¼ñVr Y_© {df`H$ hmoV.o Ë`mM~amo~a ì`mH$aU H$moe {dkmZ {df`H$ hr coIZ Ho$co na§Vw Ë`mcm {I«ñVr ì`mH$aUemó, {¼ñVr {dkmZ {¼ñVr H$moe Agm con cmJcocm Zmhr. gd© Y_u`m§Mo eara emó Ordemó hiyM AgVo. åhUOoM emór`, Ym{_©H$ gm{hË`mMr ~¡R>H$ doJir AgVo. Vgo ^mfoMo ì`mH$aUhr EH$M AgVo. {¼ñVr, _wpñc_, O¡Z, ~m¡Õ Y{_©`mM§r _amR>r ^mfm åhUyZ Ë`m§Mo



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doJio ì`mH$aU ApñVËdmV Zmhr åhUyZhr Ho$di {¼ñVr gm{hË` d gm{hpË`H$ Ago åhUUo g§`w{º$H$ dmQ>V Zmhr.

_amR>r ^mfH$ {¼ñVr OZm§Mr , ñdmV§Í`moÎma H$mimVrc _amR>r gm{hË`mMr godm {dnwc à_mUmV Amho.

"{¼ñVr gm{hË`m' g§~§Yr EdT>§ {dñVmamZo gm§Jm`M§ H$maU EdT>§M H$s, "_amR>r {¼ñVr gm{hË`' _w§~B© òWo Pmco Ë`mdoir {¼ñVr gm{hË` ho àMmaH$s H$s, {ZIi gm{hË` ? COJaoMo gm{hË` {¼ñVr gm{hË` Amho H$m? Agm n«íZ CnpñWV Ho$cm Jocm hmoVm. Ë`mdoir Ë`mMo CÎma XoVmZm _r åhQ>co hmoVo; H$s, Amnë`m {¼ñVmZo {Xcoë`m ào_ H$éUm, j_m, gË`,_mJ©, OrdZ àH$me `m§Mm g§Xoe {Za§OZÀ`m gm{hË`mVyZ A{dîH¥$V Pmcocm Amho, Am{U AÝ` H$moUË`mhr g_mOmVrc gm{hË`mÀ`m gm{hË`mVyZ hr _yë` {XgyZ òVmV, H$maU gm{hË`mMm _yi CÔoeM Amho, gX+{hV. Ë`m_wio {Za§OZMo gm{hË` AmnU _`m©{XV g_mOmnwaVoM g_Oy Zò, {d{dY Y_©-n§{W`m§À`m, ñVam-WamVë`m gm{hË`mZo _amR>r gm{hË` g_¥Õ Ho$coco Amho , Vo Ago.

1) {Z`V H$m{cHo$: 1842 gmcr gwé Pmcoco "kmZmoX`' AmOVmJm`V Mmcco Amho. "[Zamoß`m' _m{gH$mZo eVmãXr nyU© Ho$cocr Amho. "gwdmVm©' Zo "gwdU© _hmoËgd' gmOam Ho$cocm Amho. "OZn[adma' `m gmám{hH$mZo ~Îmrg df} nyU© Ho$cocr AmhoV. "AmnU' ho {Z`VH$mcrH$ ZD$ df} Mmcco. {I«ñVr cmoH${hVdmXr ~mdrg _{hZo Mmcco, "dgB© Q>mB©åg', "{Z^©` Am§XmocZ', "Zd{H$aU' Agr AÝ` eoH$S>mo {Z`VH$m{cHo$/A{Z`VH$m{cHo$ àH$m{eV hmoV AmhoV Am{U Zdmo{XV d àñWm{nVm§Zm h¸$mMo ì`mgnrR> {_iV Amho.

_amR>r ^mfH$ {¼ñVr g_mOmVyZ Amcoë`m gm{hË`mMm {dMma H$aVmZm àmoQ>oñQ>§Q> d H°$W{cH$ n§Wr`, Y_mªV[aV d {nT>rOmV {¼ñVr g_mO, d {ó`m§Mo Am{U nwéfm§Mo gm{hË` Aer {d^mJUr H$amdr cmJVo. dgB© Am{U H$moH$UmVrc Y_mªVaho nmoV©w{JOm§À`m H$mimVrc Amho, Am{U àmoQ>oñQ>§Q> n§{W` ho B§J«O d A_o[aH$Z {_eZè`m§Mm H$maH$sXuVrc AnË` Amho. Am{U `m XmoÝhrhr à_wI n§{W`mV nwéfcoIH$m§Mo à_mU A{YH$ Amho Am{U ór-coIH$m§Mo à_mU AË`ën Amho Am{U `mMo CÎmahr ñnï> Amho; H$maU Y_©JW§« ho nwéfm§Zr {c{hcoco AmhoV Am{U nwéfr dM©ñdm_wio pñÌ`m§À`m coIZñdmV§Í`mda _`m©Xm Amcoë`m AmhoV. Ë`m_wio gm{hË` joÌmV {¼ñVr g_mOmVrc {ó`m§M§ à_mU AË`ën Amho. àmoQ>ño Q>Q§ > Y_mªV[aV d {nT>rOmV _amR>r coIH$m§Zm _amR>r gm{hË` {dídmV gm_mdyZ OmÊ`mgmR>r g§Kf© H$amdm cmJcm Zmhr. H$maU Ë`m§Mr Zmdo, AmS>Zmdo _amRrM am{hcocr hmoVr; na§Vw dgB© d H$moH$UmVrc _amR>r ^mfH$ {¼ñVr g_mOmVrc cmoH$m§Mr Zmdo AmS>Zmdo nmoVJw© rO dm B§JO« r am{hë`mZo Ë`m§Mr _mV¥^mfm _amR>r AgyZhr, _amR>r ^mfH$ g_mO Ë`m§À`m ^mfo~Ôc AmíM`© àX{e©V H$arV hmoVm. Y_© Am{U ^mfm `m§Mm g§~§Y cmdë`mZo Ago hmoV hmoVo; na§Vw AmO _amR>r ^mfH$ d {nT>rOmV {¼ñVr Agcoë`m coIH$m§H$Sy>Z _moR>çm à_mUmV _amR>r gm{hË` òV Amho. Am{U Ë`m§Mr ì`m»`mZ§ _hmamï´>â hmoV AmhoV. Ë`m_wio Ë`m§À`m _amR>r ^mfo{df`r e§H$m KoVcr OmV Zmhr Am{U AJXr ghOnUo hm g_mO _amR>r g_mOmV {_giyZ Jocc o m Amho. hr _moR>r O_oMr ~mOy Amho.

2) gm{hË` g§_ocZo: 1927 gmcr S>m°. {ZH$c _°H${ZH$c `m naXoer Y_©àgmaH$mÀ`m AÜ`úmVoImcr gwé Pmcoco _amR>r {¼ñVr gm{hË` g§_ocZ AmVm _o 2009 _Üò hmoUmè`m ~mdrgmì`m g§_c o Zmn`ªV nmhmoMco Amho. 3) H$mì`: am°H$ H$mìhm©c,o BZmg Hy$Z "{Za§Va' gr.~r.XmoS>Vr, {Za§OZ AZwn_m COJao, a_U aU{Xdo, Z§XHw$_ma e|JS>,o Om°O© cmonrg, {g{g{c`m AZwn_m COJao, n«drU Jm`H$dmS> 30 AZoH$ H$dtÀ`m H${dVm g§nÞ Pmcocm hm {d^mJ Amho. H$Wm: gr.~r.XmoS>Vr, {g{g{c`m, í`m_ \$am§Xo, AZwn_m COJao, \«$mÝgrg cmonrg Omogo\$ VwñH$mZmo `m§Zr Mm§Jco à`ËZ H$Wm àm§VmV Ho$coco AmhoV. H$mX§ ~ ar: gr.~r.Xmo S > V r, gw Y mH$a gw { _Ì Wmo a mV, g.Zm.gy`d© e § r, XodXÎm hþgio, í`m_cm _moa,o am°H$ H$m°ìhrëò, {Za§OZ COJao 30 Mo Mm§Jco `moJXmZ `m dmL²>_` àH$mamV Amho. AmOn`ªV ~§{XñV g_Oco OmUmao H°$W{cH$ MM©_Yrc Y_©Jwé- Y_©{^{JZtMo joÌ gVre aU{Xdo, \$m.\«$mÝgrg KmoÝgmcdrg, g§Xrn hiXUH$a, `m§À`m H$mX§~è`m§VyZ Amcoco Amho. ZmQ²>`dmL²>_` 3 `m {d^mJmV, O`§VHw$_ma {Ì^wdZ, \$mXa _m`H$cOr, ES>dS>© {XHy$O, í`m_cm _moao `m§Mo _moR>o `moJXmZ Amho c{cVJÚ/àdmgdU©Z: \$mXa \«$mÝgrgg {X{~«Q>m,o {g{g{c`m H$mìhm©cmo `m§À`m àgm{XH$ coIH$mZo hm {d^mJ g§nÞ Pmcocm Amho. M[aÌ: {¼ñVr g§Vm§Mr Mm[aÌo, {~nwc, à_mUmV Amcocr AmhoV. nmon _hme`, _Xa Voaogm, `m§À`m Mm[aÍ`m§nmgyZ Va AmMm`© g.Zm. gy`d© e § rZr {¼ñVr H$V©Î¥ ddmZ OZm§Mr {chrcocr M[aÌ à{gÕ AmhoV. AmË_M[aÌ: AJm Oo H$pënco Zmhr g.Zm.gy`©d§er/Am_Mo H¥$VmW© ghOrdZ-éW~mB© {hdmio



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AcmoZ AJoÝñQ> amo_- A°S>. a_oe gmÌmiH$a Hw$UmñVd Hw$UrVar- èmoXm nmS>JmdH$a, {¼ñVr _hma~mimgmho~ Jm`H$dmS> Y_mªVa Vo ËdmàrÁ_m- BgmXmg ^S>Ho$ Pmco _moH$io AmH$me AemoH$ gy`d© e § r Aem {d{dY g_mOmVrc AmË_M[aÍ`m_wi,o cú_r~mB© {Q>iH$m§nmgyZ gwé Pmcocm AmË_M[aÌmMm àdmh A{YH$m{YH$ n«`ËZ hmo Mmccocm Amho. ~mcdmL²>_`: O`§VHw$_ma {Ì^wdZ, _wº$m {Q>iH$, Omogo\$, VwñH$mZmo `m§Zr `m {d^mJmZo ârd ñdénmM§ coIZ Ho$coc§ Amho. d¡km{ZH$: `m ^mJmV Omogo\$ VwñH$moZmo, O`§VHw$_ma {Ì^wdZ g_rjm: `m {d^mJmV gwZrc AmT>mdm `m g§emoYH$mM§ Zmd _hÎdmM Amho. Eo { Vhm{gH$: S> m ° . aOrZ {S> { gëdm Am{U \$mXa \«$mÝgrgH$mo[a`m `m§Zr _mocmM§ H$m_ `m {d^mJmV Ho$coc§ Amho. cmoH$gm{hË`: \$mXa H$mo[a`m `m§Zr gm_doXr ~mocrM§ Am{U {g{g{c`m H$mìhm©cmo `m§M§ dmS>dir ~mocr{df`H$ Ho$coc§ coImV _amR>r cmoH$gm{hË` {df`H$ coIZmV â KmcUmao Raco Amho. g§emoYZmË_H$: \$mXa àem§V AmocmcoH$aŸ, \$mXa {¼ñVmo\$a eoH$S>o, \$mXa H$[aXmX ÐmJmo. S>m°. g_Vm ~m§{XdS>oH$a, {dÚmJm¡ar {Q>iH$, S>m.° gw^mf nmQ>rc, S>m.° X¡{d{ccm S>mBo \© $moS>,o \$mXa Ecm_g am°{S´>½O, S>m°. AZwn_m COJwao, S>m°. {g{g{c`m H$mìhm©cmo , S>m°. Q>moZr Om°O©,S>m°. ZmPaoW {_ñH$rQ>m `m§M§ `m {d^mJmVrc H$m`© AË`§V _mocmM§ Amho. e¡úm{UH$: \$mXa _m`H$cOr, O`§VHw$_ma {Ì^wdZ `m§Zr nmR>çnwñVH$m g§X^m©V Ho$coco H$m`© g_mOmV _mÝ`Vm nmdcoco Amho. Ym{_©H$ AmÜ`m{Ë_H$: AZwdmX B. "~m`~c' {df` {dnwc à_mUmV coIZ \$mXa {Xgar \$Zm©{S>g d \$mXa àgmX naoam `m§Zr Ho$cc§ Amho.

OZmH$S>o nmhÊ`mMm {¼ñVr g_mOmMm d AÝ` g_mOmMmhr Ñ{ï>H$moZ AOyZ {dH${gV ìhm`cm hdm. H$maU hm Ho$di Y_m©Mm àíZ Zmhr; Va gm_m{OH$ àíZ Amho. Ë`m_wio hm àíZ gm{hË`mV òUo An[ahm`© d Amdí`H$ Amho. EHy$UM X{cV gm{hË`mÀ`m MidirVyZ Oo dmL²>_` Amco, d Ë`m_wio Oer Ii~i gm{hË`mV CS>mcr; Ver {¼ñVr g_mOmVrc gm{hË`mZo CS>mcocr {XgV Zmhr. {¼ñVr X{cVm§Zr Ago gm{hË` H$m {chmdo; Ago åhUV {¼ñVr g_mOmZoM ^wd`m C§Mmdcoë`m AmhoV. gË`dmZ Zm_Xod gw`©d§er `m§À`m AmË_H$WZmZo, "AJ Oo H$pënco Zmhr' `m nwñVH$mMo dmXi CR>co hmoVo. na§Vw "{¼ñVr _hma' `m ~mimgmho~ Jm`H$dmS> `m§À`m AmË_H$WZmZo g_mOmVyZ Omo hmXam ~gcm; Vmo hS>nZy Q>mH$Ê`mMm à`ËZ Pmcm. Y_© Am{U g_mO `m§À`m XS>nUm_wio ~mimgmho~ Jm`H$dmS> `m§Zm nwÝhm Y_mªVa H$amdo cmJco: Ë`m§Zr nwZí` {h§Xy Y_© ñdrH$macm. `m g§Kfm©V Ë`m§Mr BVH$s X_N>mH$ Pmcr; H$s Ë`mV ` AÇ>M o mirg dfu` VéUmMm _¥Ë`y Pmcm. BgmXmg ^S>Ho$ `m§Zr "~màrÁ_m Vo Y_mªVa' `m nwñVH$mMo {¼ñVr Hw$Q>w>§~mV OÝ_ Pmcoë`m BgmXmg ^S>Ho$ `m§Zr ~m¡Õ Yå_m©Mm ñdrH$ma H$aon`ªVMm n«dmgmMo dU©Z Ho$cocm Amho. âbo{d`m A¾og `m§À`m "H$Wm-Vw_Mr -_mPr: CÕdñV OrdZ C^maÊ`mMr' `m AmË_H$WZmV H$m¡Q>w§{~H$ {hgm§Mma Am{U MM©Mr ^y{_H$m `m§Mo Xe©Z KS>{dco Amho. èmoXm nmS>JmdH$a `m§À`m "Hw$UmñVd Hw$UrVar' Am{U C^m amR>moS> `m§À`m "{gQ>r Am°\$ _m§S>dr' `m AmË_M[aÍ`m§V AÝ` g_mOmVrc (AZwH$« _o ~«møU Am{U ~§Omam) nwéfmer c¾ Ho$ë`mda XoIrc Y_mªVa H$aÊ`mMm àíZ CØdcm Zmhr Agm EH$ {dH$mgmMm Q>ßnm {XgyZ òVmo. cmoH$gm{hË` {df`H$ coIZmV _amRrÀ`m àM{cV ~mocr gm_doXr Am{U dmS>dir `mM§ gwaå` Xe©Z \$mXa H$mo[a`m Am{U {g{g{c`m `m§Zr KS>dcoc§ Amho. EHy$UM AmOM§ _amR>r ^mfH$ {I«ñVr g_mOmVrc gm{hË` Ym{_©H$VoÀ`m à^mdmVyZ _wº$ hmoD$Z dmñVdmH$S>o Amcoc§ Amho, gm{hË` `m {ZH$©fmg nmÌ Pmcoc§ Amho Am{U _amR>r gm{hË`mZo Vo Amnë`mV gm_mdyZ KoVcoc§ Amho. hr à{VîR>oMr Am{U gÝ_mZmMr Jmoï> Amho. •••.

{¼ñVr g_mOmVrc X{cV hm EH$ _hÎdmMm ñVa Amho. Y_mªVamAmYrMo X{cV Am{U Y_mªVamZ§VaMo X{cV Agm XmoZ nmVirdaMm g§Kf© `mV XS>cocr Amho. {¼ñVr g_mOmZo Cƒ d ZrM dJu` Agm ôX^md Ho$cm OmV Zmhr; ho Iao Amho. na§Vw ^maVr` g_mO-ì`dñWoMr CVa§S> gd©{dhrVM Amho. Y_mªV[aV {¼ñVr National Seminar on Post-Independence Indian Literature - 16th & 17th January, 2009


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nydm}Îma Ho$ gm{hË` H$m _hËd … OZOmVr` gÝX^© _| S>m°. a_{UH$m Jwám

_oar g_P _| Cnamoº$ {df` H$m AW© h¡ nydm}Îma Ho$ OZOmVr` gm{hË` H$m _hËd! bo{H$Z _hÎd {H$gHo$ {bE? Bg _hËd H$mo naIZo H$s H$gm¡Q>r Š`m hmoJr Am¡a Bgo Xoe H$s _w»`Ymam Ho$ gm{hË` Ho$ g§X^© _o§ Am§H$m OmE `m OZOmVr` Am~mXr VH$ hr Bgo gr{_V aIm OmE? Bgo gm{hË` Ho$ {dH$mg `m {dñVma Ho$ _mnXÊS> na naIm OmE AWdm gm_m{OH$-amOZr{VH$ d gm§ñH¥${VH$ H$gm¡{Q>`m| na H$gm OmEŸ& XaAgb Omo gm{hË` XX© Ho$ [aíVo H$s H$gm¡{Q>`m| na Iam CVaVm h¡ dh ñdV… g^r H$gm¡{Q>`mo§ na Iam hmoVm h¡Ÿ& gdmb `h h¡ {H$ nydm}Îma Ho$ OZOmVr` gm{hË` H$m ^maVr` gm{hË` go XX© H$m [aíVm h¡ `m Zht? h¡ Vmo {H$VZm h¡? Zht h¡ Vmo Š`m| Zht h¡? H$m¡Z Xmofr h¡? [aíVm H$m`_ H$aZm h¡ Vmo {H$go nhb H$aZr hmoJr? gdmb `h ^r h¡ {H$ OZOmVr` gm{hË` VWmH${WV _w»`Ymam Ho$ gm{hË` go gå~ÝY ~ZmZo, `m OZ_mZg H$s _mZ{gH$Vm ~XbZo, Am¡a hmb _| {dH$m{gV hmo aho AbJmd-{~bJmd H$mo nmQ> H$a nañna g§dmX MbmZo _| H$¡go Am¡a {H$VZr Xya VH$ gj_ `m H$m_`m~ hmo gH$Vm h¡? ^mfm Ho$ ñVa na `h gm{hË` _w»`Ymam H$s ^mfmAmo§{deofH$a {hÝXr _| Š`m BµOmµ\$m H$a gH$Vm h¡ Am¡a BZgo IwX H$mo g_¥Õ H$a gH$Vm h¡? Bgr Vah {dMmaYmam Ho$ ñVa na {hÝXr `m Xoe H$s AÝ` ^mfmAm| H$m gm{hË`, Bg gm{hË` go {H$VZr Xya VH$ à^m{dV hmo gH$Vm h¡ `m Š`m {Xem d g§ñH$ma J«hU H$a gH$Vm h¡? `h gm{hË` AZw^d AmYm[aV `WmW© h¡, Omo àH¥${V go ghOrdZ H$m gå~ÝY aIVm h¡Ÿ& `h gm{hË` Ho$db H$ënZm na Zht~pëH$ R>mog OrdZ Ho$ AZw^dm| go aMm OmVm h¡Ÿ& Bg{bE `h Vmo {ZpíMV h¡ {H$ {hÝXr `m Xoe H$s AÝ` ^mfmAm| Ho$ gånH©$ _| AmZo na CÝh| XoZo Ho$ {bE BgHo$ nmg Zò {dMma, Zò eãX, _whmdao, {H$dX§{V`m§, {b{OpÝÐ`m§, {_WH$, g¥{ï>-g¥OZ H$s bmoH$ H$WmAm| Ho$ ZE Am`m_, ào_ d em¡`© H$s JmWmE§, {dÐmoh VWm B{Vhmg H$s

ñ_¥{V`m§ h¡§, {nN>bo nm§M hOma dfm} H$m ^moJm hþAm gM h¡, B{Vhmg h¡, Omo CZHo$ AZwð>mZm|-ndm| _| J`m d gwZm`m OmVm h¡Ÿ& CZHo$ nmg gmhg Am¡a àH¥${V Ho$ gmW gh^m{JVm go OrZo H$m T>§J h¡Ÿ& g_mZVm, ^mB©Mmam, AmOmXr, gm_m{OH$ d àmH¥${VH$ Ý`m` CZH$m ñd^md h¡Ÿ& gm_y{hH$ OrdZ-e¡br, AZwemgZ Am¡a OrdZ- AZw^dm| Ho$ `WmW© na AmYm{aV _yë`-~moY CZH$s {damaV h¡-~eV} Xoe H$s _w»`Ymam H$s ^mfmE§, ImgH$a {hÝXr AnZo Ûma Imob H$a CZH$m ñdmJV H$aZo H$mo V¡`ma hmoŸ& `h A^r VH$ Vmo Zht hmo nm`m h¡Ÿ& `h V^r g§^d h¡ O~ {hÝXr Am¡a AÝ` ^maVr` ^mfmAm| Ho$ gm{hË` Ho$ ~rM AZoH$ ~mobr-^mfmAm| _| aMo Om aho OZOmVr` gm{hË` H$m XX© H$m [aíVm ~ZoŸ& BgHo$ {~Zm _mZ{gH$Vm _| ~Xbmd H${R>Z h¡Ÿ& {hÝXr dmbo CnXoeH$-gwYmaH$ loð> ì`{º$ ~Z H$a, BZH$s OrdZe¡br _| hñVjon H$aZo, BZ na dM©ñd H$m`_ H$aZo, AnZm _V `m AnZo gm{hË`, ^mfm Am¡a Y_© H$m {g¸$m O_mZo AmVo aho h¡§Ÿ& O~{H$ IwX CÝh| hr BZgo Hw$N> grIZo H$s XaH$ma h¡ BZHo$ _yë`m|, OrdZe¡br Am¡a gm_y{hH$Vm H$s na§nam H$mo AmË_gmV H$aZo H$s µOê$aV h¡Ÿ& do BÝh| gmWr g_P|, Xmg Zht, Vm{H$ XmoZm| EH$-Xygao go grI H$a g_¥Õ hm|Ÿ& `h gdmb {H$`m Om gH$Vm h¡ {H$ nydm}Îma Vmo ñd`§ AmV§H$dmX H$s {JaâV _| h¡, ^bm `h Xoe H$s _w»`Ymam H$mo Š`m XoJm? na H$^r gmoMm h¡ h_Zo {H$ `h AmV§H$dmX {H$gH$s XoZ h¡? `h qhgm {H$gH$s H$aVyV h¡? _w»`Ymam Zo BÝh| eVmpãX`m| go gä`Vm~mha aIm Wm? H$moB© gm¡-S>oT> gm¡ gmb nhbo O~ npíM_ go Amò {_eZ[a`m| Ûmam Xr JB© {b{n BZHo$ hmW bJr, Vmo CÝh| A{^ì`{º$ H$s VmH$V {_b JB©Ÿ& ^bo {b{n XoZo dmbm| Zo CÝh| AnZo ñdmW©de hr {b{n W_mB© WrŸ& {H$ÝVw h_ ^maVr`mo§ Zo Vmo CÝh| g{X`m| go Z {g\©$ JyJ§ m ~ZmE aIm Wm, ~pëH$ CZHo$ kmZmO©Z na nm~ÝXr ^r bJm Xr WrŸ& A{^ì`{º$ H$s VmH$V {_bZo na CZHo$ _Z Am¡a {X_mJ _| {dMmam| H$m gmoVm \y$Q> n‹S>mŸ& AZw^d H$m Vmo ânya ^ÊS>ma Wm hr CZHo$ nmg, dm{MH$ gm{hË` H$s EH$ g_¥Õ na§nam EH$ Yamoha Ho$ ê$n _| nr‹T>rXa-nr‹T>r CZHo$ gmW Mbr hr Am ahr Wr ~g {\$a Š`m Wm! Vra-Vbdma, Q>m§Jr-^mbm Ho$ ~Xbo CZHo$ hmWm| Zo H$b_



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Wm_ brŸ& H$b_ Ho$ ~b na CÝhm|Zo AnZo hH$ H$s b‹S>mB© ewé H$a XrŸ& do H$aZo bJo AmH$bZ AnZr `mVZmAm| H$m, boZo bJo {hgm~ AnZo g§gmYZm| H$m, A{YH$mam| H$mŸ& H$mJµOm|, nmo{W`m| Am¡a nwñVH$m|na CVaZo bJo CZHo$ eãX H$hmZr ~Z H$a, CnÝ`mg d H${dVm ~ZH$a! eãXm| Zo aM {XE ZmQ>H$ Omo a§J_§M na Iobo OmZo bJoŸ& do gXm go hr _wgr~V Ho$ g_` ^r AmZÝX Ho$ gmW ahZo _| _m{ha h¢Ÿ& ~g aMZo bJo OrdZ H$m, OrdQ> H$m, OrdZe¡br H$m, _w{º$ H$m gm{hË`; {OZ_| gm_y{hH$ \¡$gbo, g_mZVm, ^mB©Mmam Am¡a AmOmXr à{VÜd{ZV hmoZo bJrŸ& CZH$m gm{hË` AmZÝX Ho$ {bE Zht-~Xbmd Ho$ {bE, _Z na MmoQ> H$aZo Ho$ {bE _Z ~XbZo Ho$ {bE {bIm OmVm h¡ Am¡a OrdZ go Ow‹S>m h¡Ÿ& {dS>å~Zm `h h¡ {H$ h_Zo `mZr ~mH$s Xoe Zo, ImgH$a {hÝXr dmbm| Zo CÝh| g_Pm Zht, Zm hr CÝh| _mZmŸ& h_Zo Z {g\©$ CZgo AOZ{~`V H$m [aíVm aIm ~pëH$ CZHo$ g§gmYZm| na, CZH$s Am¡aVm| na ^r AnZr Hw$pËgV, bmobwn ZOa| J‹S>mE aIr§Ÿ& npíM_ go AmE {\$a§Jr {_eZ[a`m| go h_ {H$gr Vah H$_ Zht WoŸ& do Cn{ZdoedmX Ho$ VhV CZH$m emofU H$a aho Wo Vmo h_ AmÝV[aH$ Cn{ZdoedmXr Ho$ ê$n _| CZH$m XmohZ H$aZo _| Xj WoŸ& h_ CZ na AnZm Y_©, AnZr ^mfm bmXZo Ho$ {\$aµH$ _| ah|, Bgr{bE CZH$s Va\$ go à{VamoY hþAmŸ& AJa h_ J§^raVm go Xoe H$mo EH$OwQ> H$aZo H$s Zr`V go, ß`ma âo AÝXmO _| CZHo$ nmg OmVo, CZH$s ^mfm grIVo-~mo{b`m± grIVo, CZgoAnZmnm ~‹T>mVo Vmo do ^r h_mam ñdmJV H$aVoŸ& V~ CZHo$ Am¡a h_mao ~rM do Am¡a h_ Ho$ g§~moYZ Zht hmoVoŸ& Amn Vmo CZH$s g§ñH¥${V H$mo O§Jbr, Agä` H$h H$a IwX H$mo loð> gm{~V H$a, {hÝXy g§ñH¥${V H$s dhr OmV-nmV, ôX^md âr Zr{V Ho$ emó boH$a CZHo$ nmg OmVo WoŸ& Š`m `h ^r nmX[a`m| H$s hr Vah Y_© n[adV©Z H$aZo H$s e¡br _o| {hÝXy Y_© H$m àMma Zht Wm? do ~mB{~b boH$a Amò Wo, h_ _Zwñ_¥{V, am_mÙ, _hm^maV boH$a nhþ§MoŸ& CgHo$ ~mX h_ bmoJm| Zo ^r CÝh| H$m~y H$aZo Ho$ {bE ~ÝXyH$m| H$m BñVo_mb ewé H$a {X`mŸ& `h R>rH$ d¡go hr Wm O¡go npíM_ Ho$ d¡ëe, A§J«oO d A_arH$s nmXar ~mB~b boH$a Amò Wo Am¡a CZHo$ AmJonrN>o `m gmW-gmW gÎmm Ho$ ~ÝXyH$Ymar ^r Kwg Amò WoŸ& Bg npíM_r Am¡a ^maVr` Kwgn¡{R>`m| Ho$ ~Vm©d go AmhV _oKmb` H$m EH$ H${d Amb_§S> {gE_ {bIVm h¡H$moB© nrVmdUm© {Xì` VoµOñdr Mohao dmbm `wdH$ EH$ ~ma Am`m H$mohao _| {bnQ>r

h_mar nhm{‹S>`m| _| bm`m Wm dh h_mao {bE {M{Q²>R>`m§, gm{hË` Am¡a ~mB{~b dh Wm "d¡ëe' H$m {ZdmgrŸ& na Q>m°_r bmE Ûof Am¡a h_mar h[aV ^y{_ na {N>‹S>H$ {X`m h_mao nwaIm| H$m aº$ Am¡a h_go Jmobm~mar Ho$ A§XmµO _| H$s ~mV| (EH$ d¡ëe H${d go _wR>ô‹S>) BgH$o ~mdOyX h__| Am¡a CZ npíM_r CnXoeH$m| _| EH$ \$H©$ WmŸ& npíM_r gÎmm CÝh| Jwbm_ g_PVr Wr bo{H$Z npíM_r CnXoeH$ CÝh| _Zwî` g_PVo Wo Am¡a AnZo Y_© _| n[ad[V©V H$a CZ_| g_mZVm H$s BÀN>m OJmVo WoŸ& hmbm§{H$ do ^r CÝh| AnZr gä`Vm go Z\$aV H$aZm hr {gImVo WoŸ& CÝh| nJmZ, Om{hb, Agä` d O§Jbr g_PH$a _Zwî` ~ZmZo H$s _§em aIVo Wo, {OgHo$ H$maU nydm}Îma Ho$ n‹T>Zo-{bIZo dmbo bmoJm| _| EH$ hrZ ^mdZm {dH${gV hmoZo bJrŸ& _oKmb` H$m H${d S>oÁ_§S> Ia_mAmoâbm§J _hgyg H$aVm h¡ ""AnZo {dXoer g§ajH$m| Ho$ ñ`mh MmoJm| _| {N>nH$a _wPo {gIm`m J`m Wm IwX AnZo-Amn na em{_ªXm hmoZmŸ&'' na Bg g~H$mo ~mdOyX BZ CnXoeH$m| Zo ^bo AnZo Y_© H$s Im{Va hr ghr, CÝh| n‹T>mZm ewé {H$`mŸ& bo{H$Z h_Zo Vmo CÝh| AnZo Y_©J«§Wmo H$mo Xya go ^r Xe©Z H$aZo H$s BOmµOV Zht XtŸ& h_Zo Vmo CÝh| Bg S>a go kmZ go ^r d{O©V aIm {H$ H$ht do h_mao A§Y{dídmgmo§, Hw${VH$m| go âo, ôX^md go b¡g Y_© na àý Z H$aZo bJ|! h_Zo CÝh| ANy>V ~ZmE aIm, amO H$aZm Mmhm CZ naŸ& do h_| AnZm eÌw _mZZo bJoŸ& Am{ã Š`m|? H$^r gmoMm h_Zo? Š`m h_Zo H$^r AmË_mbmoMZm H$s? XaAgb h_ CZ na AnZm dM©ñd H$m`_ MmhVo Wo-CZgo Hw$N> grIZm ZhtŸ& O~{H$ gM `h h¡ {H$ grIZm h_| Wm CZgoŸ& h_| J«hU H$aZo Wo CZHo$ _yë`, na h_ AnZr {dH¥${V`m§, N>b boH$a CZHo$ nmg AnZo kmZ H$m AmV§H$ O_mZo OmVo ahoŸ& CZ_| hrZ-^mdZm âVo ahoŸ& CÝh| O§Jbr Agä` H$hVo ahoŸ& ì`mnmar ~ZH$a, goZm boH$a {dOoVm H$s Vah h_ CÝh| byQ>Zo OmVo ahoŸ& H$hm§ Hw$N> \$H©$ Wm n{íM_ Ho$ {dXo{e`m| Am¡a ^maV Ho$ Xoer emgH$m| _| `m VWmH${WV _w»`Ymam _|Ÿ& \$bV… do à{VamoY H$aZo bJo Am¡a qhò hmo Jò {dXo{e`m| Ûmam AnZr



YaVr go ~bmËH$ma Ho$ {Ibm\$ do H$m\$s Xw…Ir WoŸ& BgH$s {Ibm\$V H$aVo hþE S>oÁ_§S> Ia_mAmoâbm§J H$hVo h¡ "Jmo{b`m| Ho$ Cnhma, IyZ gZm n¡gm Am¡a YZ go' nhbo A§J«oOm| Ûmam CZH$s YaVr na H$ãOm H$a {b`m J`m Am¡a {\$a _¡XmZr joÌm| go Mmam| Va\$ go Xogr ~{hamJV"ngrZo go Va-~Va _¡XmZm| go/ha N>moa go AmE' Am¡a {ebm§J _| ^‹S>H$ CR>r qhgm, {Oggo CgHo$ _Z H$mo ^rVa VH$ PH$Pmoa {X`mŸ& do {ebm§J H$s X§JmJ«ñV J{b`m| H$m ~`mZ H$aVo hþE _¡XmZm| _| {~Iar AZamoB© bmem| H$mo XoIH$a H$h CR>Vo h¢ "Xmo qOX{J`m± _wM‹S>r-_amo‹S>r n‹S>r h¢ aº$ Ho$ _¡XmZ _| nam`m AmH$me ^r Zht amo`m CZna' gË` Vmo `h h¡ {H$ h_Zo CZ na AmV§H$dmX Wmon {X`mŸ& h_ CZHo$ nmg n¡gm boH$a nhþ§Mo Am¡a h{W`ma ^rŸ& bm{R>`m± ^m§Or Am¡a Jmo{b`m± XmJtŸ& h_ H$mJOr `moOZm boH$a Jò, KmofUmE± H$r, na CZ VH$ nhwM ± m Hw$N> Zht, nhþM § o Vmo Ho$db h_mao Jw_míVo CZH$s O_rZm| na H$ãOm H$aZo Ho$ {bE-h_mao {gnmhr {ó`m| go ~bmËH$ma H$aZo Ho$ {bE, CZHo$ nhMmZ Ho$ AmÝXmobZ H$mo am¢XZo Ho$ {bEŸ& Bg{bE Ag_ Ho$ H${d ~«OoÝÐ Hw$_ma ~«÷ H$hV| h¢ "BVa Om{V`m| Ho$ àn§M Zo {H$`m Vwåh| O§Jbm|_| {N>nZo H$mo _O~ya Vw_ bwQ>o ~{hamJVm| Ho$ hmWm| AnZr hr O_rZ na ~Z Jò naXogr Am¡a naXogr ~Z JE _m{bH$Ÿ&' do AmnHo$ `hm± AmE Vmo AmnZo nyN>m-Š`m Amn ~_u h¢? O~ h_Zo ZmJm H$mo, {_Omo H$mo ~_u `m MrZr H$hH$a nwH$mam Vmo CÝh| gÝXoh hmoZo bJm- ""h_ H$m¡Z h¢?'' do IwX go gdmb H$aZo bJoŸ& h_ {hÝXwñVmZr h¢ Vmo ò bmoJ h_| nhMmZVo Š`m| Zht? do AnZr O‹S>m| H$s ImoO _| {ZH$b n‹S>oŸ& -ZmH$-ZŠe ^r AbJ h¢ h_mao! Vmo Š`m h_ AbJ h¢?'' gdmb CR>Zo bJmŸ& AnZmnZ IË_ hmoZo bJmŸ& AnZmnm Zht {XIm`m h_Zo Am¡a do AbJ hmoVo JEŸ&

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ImoOZo bJo, {hÝXwËd H$m à^md ^r {gÕ H$aZo bJo, _Ja CÝhm|Zo H$^r gmogmoW_ Ûmam {b{IV Cg J«ÝW H$mo Zht ImoOm, {Og_| Im{g`m| _o§ àmJ¡{Vhm{gH$ H$mb go Mbr Am ahr bmoH$VmpÝÌH$ àUmbr H$m B{Vhmg H${dVm _| {bIm h¡Ÿ& BÝhm|Zo CZH$s g¥{ï> H$s g¥OZ H$Wm Zht ImoOr Omo Am{X_ H$mb go Mbr Am ahr h¡-H$ht-H$ht Vmo ò {_WH$ d bmoH$H$WmE§ "{~J ~¡§J' Ho$ ã`moao H$s Mí_XrX Jdmh-gr bJVr h¢, Vmo H$hr§ n¥Ïdr Ho$ {Z_m©U H$s H$Wm, S>ma{dZ H$s _Zwî` Ho$ {dH$mg H$Wm-gr _mby_ n‹S>Vr h¡Ÿ& ~|Oo{_Z E{ëdZ Zo BZH$s bmoH$H$WmE§ g§H${bV H$s¨-h_Zo ZhtŸ& Am{Ia Š`m|? BZHo$ {_WH$ AX²^yV h¢ Am¡a H$ënZm _| ~oOmo‹S> h¢ Ÿ& BZH$s bmoH$H$WmE§ h_mao {hVmonXoe go ^r AmJo Mbr OmVr h¢Ÿ& BZH$s ào_H$WmE± ^r h¢, Omo Z Ho$db ór-nwéf H$s H$WmE§ h¢ ~pëH$ n{j`m| Amo¡a newAm| Ho$ ào_ Ho$ à{V ^r g§doXZerb h¡§Ÿ& no‹T>H$s Š`m| JwQ>a-Jy§ H$aVr h¡, Xmo `wdm n{j`m| H$s ào_-H$Wm h¡, Omo Xmo AbJ-AbJ H$~rbo Ho$ h¢, Vmo bmnbm±J H$s H$Wm {haUr _m±§ VWm {haU emdH$ Ho$ AZwamJ Am¡a ñZoh H$s H$Wm h¡Ÿ& AnZo ~ƒo H$s gwajm Ho$ {bE {MpÝVV _m± H$s ~oM¡Zr nmR>H$ H$mo ~oM¡Z H$a XoVr h¡Ÿ& g¥{ï> Ho$ {Z_m©U Am¡a Am{¾ H$s àm{á VWm N>moQ>r ~hZ Ho$ _hËd na BZH$s EH$ AX²^wV H$Wm h¡Ÿ& EH$ _m± H$mo VrZ ~o{Q>`m± WtŸ& _aZo go nhbo dh ~o{Q>`m| go H$hVr h¡-Omo _oao _¥VH$ eara H$mo {~ëHw$b hr g_má H$a XoJr dhr _oar CÎmam{YH$mar hmoJrŸ& ~‹S>r ~oQ>r Zo hdm H$m AmˆmZ {H$`mŸ& Iy~ Omoa go hdm Mbr, _Ja _m± Ho$ eara H$mo H$moB© j{V Zht nhþ§MrŸ& _m§ H$m eara Og-H$m-Vg ahmŸ& Xygar ~hZ Zo nmZr H$m AmˆmZ {H$`mŸ& C_‹S>-Kw_‹S> H$a H$mbo ~mXbm| Zo YaVr H$mo Koa {b`mŸ& BVZm nmZr ~agm {H$ O§Jb CI‹S> JE, nhm‹S> Y§g JE, na _m± H$m eara d¡gm-H$m-d¡gm ahmŸ&

""h_ na emgZ H$aVo h¢ Am¡a h_| nhMmZVo ^r Zht? {\$a Š`m hH$ h¡ BÝh| h_ na emgZ H$aZo H$m?''

Vrgar ~oQ>r Omo g~go N>moQ>r Wr, Zo A{¾ H$mo nwH$mamŸ& Yy-Yy H$aVr AmJ H$s bnQ>| YaVr H$m KoaZo bJr§Ÿ& g~ Hw$N> ObZo bJmŸ& ~agm| AmJ ObVr ahrŸ& O~ AmJ ~wPr Vmo _m± H$m eara Zht WmŸ& ò {_WH$ h_| Xmo-VrZ {XemAm| _| bo OmVm ~«÷m§S> _| {~J~¢J hþAm Vmo Eogr hr pñWVr Wr, n¥Ïdr na g_` Ho$ A§Vamb _| `h g~Hw$N> H$m~y _| Am J`mŸ& Am¡a n¥Ïdr na OrdZ A§Hw$[aV hmoZo bJmŸ& Xygar {Xem H$ënZm H$mo `h _mo‹S> XoVr h¡ {H$ N>moQ>r ~oQ>r, {OgZo _m± H$r eV© nyar H$s, dh _mV¥gÎmm MbmZo dmbr àW_ ór ~Zr, V~ go _m§ H$s gmar g§n{Îm N>moQ>r ~oQ>r H$mo Xr OmZr bJrŸ&

{hÝXr dmbo nhþM ± -o do BZH$s H$WmAm| _| am_H$Wm Vmo Adí`

H$m~u H$s EH$ Am¡a AX²^wV H$Wm h¡ Omo n¥Ïdr Ed§ _Zwî`



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Ho$ g¥OZ Ed§ {dH$mg H$s H$Wm H$hVr h¡Ÿ& gmar e{º$`mo§ (pñn[aQ²>g) Zo {_bH$a V` {H$`m {H$ YaVr H$m {Z_m©U {H$`m OmEŸ& BgH$o {bE AmH$me go XyVmo§ H$mo ôOm J`mŸ& CZ XmoZm| Zo nmZr go {_Å>r {ZH$mbr Am¡a {_Å>r H$mo Jy§X H$a YaVr ~Zm Xr, {Og_| H$ht J–o hmo JE, H$hr§ nhm‹S> ~Z JEŸ& AmH$me _| bm¡Q> H$a O~ CÝhm|Zo YaVr H$mo XoIm Vmo YaVr ~hþV gyZr-gyZr bJrŸ& {\$a CÝhm|Zo noS‹ > CJmEŸ& Eogo hr H$B© ~ma YaVr H$mo gwYmaZo Ho$ H«$_ _| CÝhm|Zo new, njr, nmZr, AmJ-g~H$m YaVr na {Z_m©U {H$`mŸ& A§V _| CÝho§ bJm {H$ BZ g~H$mo ^moJZo dmbm `m BZH$s àe§gm H$aZo dmbm H$moB© ZhtŸ& do amoO {_Å>r Ho$ nwVbo ~ZmVo , {OÝh| amoO amV hdm _| Xm¡‹S>Zo dmbo n§Im| dmbo KmoS>o Zï> H$a OmVoŸ& {\$a CZ pñn[aQ²>gm| Zo Hw$Îmm ~Zm`m Am¡a Hw$Îm Zo CZ Kmo‹S>mo H$mo nwVbmo§ H$mo Zï> H$aZo go amoH$m Am¡a n¥Ïdr na Ag§»` nwVbo I‹‹S>o hmo JEŸ& pñn[aQ>²g H$s {\$a _rqQ>J hþB© H$s BZ_o§ Vmo àmU hr Zht h¢ Am¡a àmU hmoZo na ^r O~ VH$ h_ BZ nwVbm| _| n«OZZ H$s e{º$ Zht n¡Xm H$a|Jo, V~ VH$ ò IwX AmJo Zht ~‹T|Jo, V~ VH$ BZH$s g§»`m Zht ~‹T>oJrŸ& V~ gmoMm J`m {H$ BZ_| àmU ^r S>mbm OmE Am¡a BZ_| àmU ^r S>mbm OmE Am¡a BZ_| ào_-^md H$m g§Mma {H$`m OmE, Vm{H$ ò EH$-Xygao go ß`ma H$a|, nañna g_mJ_ H$a| Am¡a Bg g_mJ_ go hr _Zwî`, _Zwî` H$mo n¡Xm H$aZo bJoŸ& V~ nmZ bo H$a ha Mm¡amho na I‹S>r hmo JB© pñn[aQ²>gŸ& ha AmZo-OmZo dmbm| H$mo ào_ H$m ^md nmZ _| aIH$a {X`m J`mŸ& Am¡a Omo ~Mm OmZdam| H$mo {Ibm {X`m J`mŸ& V~ go n¥Ïdr H$m ha Ord AnZo g_mJ_ go hr AnZr g§V{V n¡Xm H$aZo bJmŸ& _Zwî` H$mo ñd`§ AnZr g§V{V n¡Xm H$aZo H$m A{YH$ma XoZo Ho$ ~mX pñn[aQ²>g Zo CZH$s A_aVm H$s e{º$ N>rZ brŸ& Š`m `h {dH$mg H$Wm Zht _Zwî` H$s? {H$VZr Xya VH$ H$ënZm Xm¡‹S>r h¡ BZ Am{Xdm{g`m| H$sŸ& Xygar Va\$ h_mar nm¡am{UH$ H$WmAm| H$mo XoI|Ÿ& do Ho$db A§Y{dídmgm| H$mo hr OÝ_ Zht XoVr, ~pëH$ h_oem bm^ Am¡a \$b H$s AmH$m§jm H$m g~H$ {gImVr h¢, O¡go gË`ZmamÙ H$s H$WmŸ& n{V OhmO boH$a g_wÐ _| ì`mnma H$aZo J`mŸ& nËZr Zo gË`ZmamÙ H$m àgmX Zht Im`m, Vmo OhmO g_oV n{V Sy~ J`mŸ& AJbo {XZ CgZo AnZr JbVr _hgyg H$a àgmX Im`m Vmo OhmO bm¡Q> Am`mŸ& Š`m `h, A§Y-AmñWm Zhr§? Am{Xdm{g`m| H$s H$Wm _| ha dñVw H$s H$moB©-Z-H$moB© ì`m»`m h¡Ÿ& Mmh| dh ~mXb hmo, ~m§gwar hmo {~Obr hmo, ZJm‹S>m hmo `m ZXrŸ& CZHo$ hmoZo H$m H$moB©-Z-H$moB© H$maU hmoVm h¡Ÿ& Xw{Z`m Ho$ {H$gr ^r Y_© Zo n¥Ïdr H$mo Jmob Zht _mZmŸ& _Ja ^maV Ho$ g§Wm{b`m| H$s g¥{ï> H$Wm _| {nbMr ~y‹T>r

H|$MwE go {_Å>r _JmH$a, {M{‹S>`m go Wmbr _§Jm H$a Jmob Wmbr go Cgo Jmob ~ZmVr h¡Ÿ& Š`m Bg H$mo {H$gr Am¡a Zo COmJa {H$`m h¡? O~{H$ g§Wm{b`mo§ Zo nm§M hOma gmb go nhbo BgH$s H$ënZm H$a br WrŸ& h_Zo BÝh| Xya aIm, ~m§Q>m AmV§{H$V {H$`mŸ& BgHo$ ~mdOyX ZmJm H$hmZrH$ma {gbdopñQ>`Z Oy_dy Cå_rX Zht hmaVoŸ& ZmJmb¢S> H$s Xmo H$hm{Z`m§ Bg {df` na _¢Zo n‹T>r h¢-EH$ h¡ ZoMw[a`mOmo MwMm H$s H$hmZr "O‹S>|', {OgH$m Zm`H$ {dXoe go n‹T>H$a AmVm h¡ Vmo Jm§d Ho$ bmoJm| Ho$ gmW dh g_m`mo{OV Zht hmo nmVm Ÿ& dh {X„r ^mJVm h¡ na {X„r _| bmoJ CgH$s ^maVr`Vm H$s nhMmZ H$mo hr {_Q>mZo na CVmê$ h¢Ÿ& H$moB© Cgo ~_u g_PVm h¡ Vmo H$moB© MrZrŸ& dh naoemZ hmoH$a AnZr O‹S>m| Ho$ nmg AnZo Jm§d bm¡Q> AmVm h¡Ÿ& Xygar H$hmZr h¡ {g~¡pñQ>`Z Ow_dy Ûmam a{MV "^y{_nwÌ'Ÿ& `h H$hmZr "h_' Am¡a "do' H$s Xyar H$m Ahgmg {XbmZo Ho$ gmW EH$ Xygar H$Wm ^r H$hVr h¡-""{gnmhr O~ _wPo nyN>VmN> Ho$ H$_ao _o§ bo JE, Cg g_` VH$ Ho$ Hw$N> K§Q>mo§ H$s _wÔV _| _¢ gm¡ _m¡V _am hy§JmŸ& _wPo Hw$gu na {~R>m`m J`m, {\$a _wPo ZmaH$s` `mVZmE§ Xr JBªŸ& _oao Jwám§J na CÝhmo§Zo Vma bJmE Am¡a {~Obr Ho$ PQ>Ho$ bJmEŸ& _¢ Mr˜m, {M„m`m, Am¡a amo n‹S>mŸ& CÝhm|Zo _wPgo EZ.Eg.gr.EZ. Ho$ ~mao _| T>oa gmao gdmb nyN>o na _¢ CÝh| Hw$N> ^r Zht ~Vm nm`m Š`m|{H$ _¢ Vmo Bg g§JR>Z _| H$^r Wm hr ZhtŸ& _¢Zo AnZo A§Va_Z _| H$m_Zm H$s, "{H$ H$me ! _¢ CgH$m gXñ` hþAm hmoVm Vm{H$ _¢ Bg g_` Bg `mVZm H$mo amoH$Zo H$s ˜m{Va Hw$N> Vmo OmZH$mar CJb nmVmŸ&' ...""_¢Zo CÝh| ~Vm`m {H$ _¢ Vmo _hµO n¡go E|R>Zo dmbm hÿ± & _¢Zo CZ g~ Ho$ Zm_ ~VmE {OZ_o _¢Zo AnZo XmoñVm| Ho$ Zm_ ^r CJb {XEŸ& Am{ã Bg OhÞw_ go {ZH$bZo Ho$ {bE _wPo Hw$N> H$aZm WmŸ&'' Bg àH$ma Cgo AñnVmb _| AY_am ~Zm H$a N>mo‹S> {X`m J`mŸ& {H$VZo gnZo Wo CgHo$ nmg Omo A~ g~ ÜdñV hmo MwH$o WoŸ& Cgo amï´>r` gwajm A{Y{Z`_ Ho$ VhV XO© H$a {b`m J`m WmŸ& ò g~ nmR>H$ H$mo ~oM¡Z hr Zht, {MpÝVV ^r H$a XoVm h¡Ÿ& {H$g àH$ma EH$ `wdH$ H$mo Pm§gm XoH$a AnamY H$s Xw{Z`m _| bo Om`m OmVm h¡ Am¡a {\$a Cgo `mVZmE± XoH$a An§J, ~r_ma Am¡a Anm{hO ~ZmH$a N>mo‹S> {X`m OmVm h¡Ÿ& Bg H$hmZr _| d{U©V ã`m¡ao {H$gr H$mo ^r Bg àH$ma Ho$ A_mZdr` ad¡ò na ~ÝXyH$ CR>mZo H$mo ~mÜ` H$a gH$Vo h¢Ÿ& bo{H$Z `hm±§ boIH$ Zo EH$ AË`ÝV hr H$ê$Um_` pñW{V Xem©`r h¡Ÿ& Cg `wdH$ H$mo A^r ^r Amem h¡ {H$ em`X Hw$N> ~ohVa hmo OmEJmŸ& `h ~VmVm h¡""_¢Zo gwZm h¡ {H$ `wÕ ñWJZ H$s KmofUm H$a Xr JB© h¡ Am¡a Cƒ ñVa na ~mVMrV Mb ahr h¡Ÿ& `wÕ {dam_ EH$ ñWm`r gË` _| ~Xb gH$Vm h¡ Am¡a em§{V BZ nhm{‹S>`m| _| AV§V… dmng Am gH$Vr h¡Ÿ&'' AÝV _|



41

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Ý`m` ~mQ>§Zo H$m Y§Ym! (AmB© Eo_ gm§ar Qy> gr nmoEQ´>r BZ MoÝO)'' AmnZo CZHo$ B{Vhmg H$mo, Xoe Ho$ {dH$mg _| CZHo$ `moJXmZ H$mo XO© Zht {H$`m, Cgo ZH$mamŸ& gM ~mV Vmo `h h¡ {H$ eof ^maV Ho$ bmoJm| H$mo Vmo CZH$m B{Vhmg ^r Zht _mby_Ÿ& {hÝXr dmbm| Zo AmnH$mo B{Vhmg H$mo ^mo XO© Zht {H$`mŸ& AmOmXr Ho$ H$B© df© ~mX {~agm _wÊS>m H$m Zm_ {b`m OmZo bJmŸ& CZHo$ `hm§ {VamoV qg h¢, g§J_m h¢ Am¡a \$m§gr na Pyb OmZo dmbo `y {H$`m§S> Z§J~mh h¡Ÿ& H$m \$mZ Zm§JboQ> O¡gr ~hmXwa dram§JZm h¡Ÿ& {_Omoa_ _| amZr ê$n{b`mZr h¢Ÿ& 1857 H$s b‹S>mB© go ~hþV nhbo 1774 _| hr O¡pÝV`m amOm Ho$ gmW A§J«oOm| H$mo `wÕ b‹S>Zm n‹S>m WmŸ& 1822 _| Jmamo O¡pÝV`m na h_bo ewé hþE Vmo 1826 _| O¡pÝV`m gaXmamo§ Zo A§J«oOm| H$mo ~mha {ZH$mbZo H$s `moOZm ~Zm br Am¡a amOm {VamoV qg Zo `wÕ N>o‹S> {X`m, Omo H$B© df© MbmŸ& na {hÝXr dmbm| Zo Bg XO© Zht {H$`mŸ& Š`m|? Ag_ _| AJ«|Om| Ho$ {dê$Õ `wÕ b‹S>m J`mŸ& e§^wYZ \$m|½bmo C\©$ gmo_moYZ {X_mgm B{Vhmg Ho$ Bg Jm¡adembr AÜ`m` Ho$ n«UoVm Wo Am¡a ZmJmb¡ÊS> _| ZmJm bmoJm| Zo Vmo 19 {XZ VH$ A§J«oOm| H$mo amoHo$ aIm Am¡a {\$a Jw[a„m `wÕ MbVm ahm na do PwHo$ ZhtŸ& _{Unwa H$s amZr ^r A§J«oOm| Ho$ {Ibm\$ `wÕ _| Hy$X n‹‹SrŸ& Š`m| `h g~ B{Vhmg h_| {hÝXr _| Zht n‹T>m`m OmVm? AmnH$s em¡`© JmWmE§, AmnHo$ {dÐmoh, Xoe H$s gwajm Ho$ {bE AmnH$m `moJXmZ h¡Ÿ& {hÝXr ^mfr {dÛmZ AnZo joÌ `m eof ^maV _| BZ JmWmAm| H$mo Š`m| Zht bo JEŸ& Š`m BZH$s em¡`©JmWmE§ nyao Xoe H$s em¡`©JmWmE§ Zht h¢? h_Zo AnZo ñVa na AnZr g§ñWm Ho$ _mÜ`_ go nydm}Îma Ho$ Am{Xdmgr ^mfmAm| Ho$ gm{hË` H$mo {hÝXr _| AZwdmX H$aHo$ àH$m{eV {H$`m h¡, ImgH$a nydm}Îma Ho$ gm{hË` H$moŸ& h_Zo CZH$s H$hm{Z`m±, H${dVmE±, g§ñ_aU, `mÌm-g§ñ_aU, CnÝ`mg-A§e, ZmQ>H$, {b{OpÝÐ`m§, ~¡boS²>g, bmoH$H$WmE§, bmoH$JrV d AmË_H$Ï`m| H$mo AZwdmX H$adm H$a N>mnm h¡Ÿ& AmnH$mo _mby_ hmo bJ^J 600 Am{Xdmgr ^mfmE±-~mo{b`m± h¢, {OZ_| go 90 _| gm{hË` aMm Om ahm h¡Ÿ& h_Zo Hw$b 27 ^mfmAm|-~mo{b`m| H$m {hÝXr _| AZwdmX H$adm`m h¡, {Og_| nydm}Îma Ho$ AmR>m| amÁ`m| H$s 15 ^mfmE± h¢, bo{H$Z h_mao gmYZ gr{_V h¢Ÿ& `hm± nydm}Îma _| {hÝXr ^mfr ~w{ÕOr{d`m| Zo O¡go H¥$îUZmamÙ n«gmX "_mJY', _{Unwa Ho$ XodamO Or, _oKmamO H$s lw{V nm§S>o VWm H$B© AÝ` Zo, `hm± H$s ~mobr-^mfmE§ grI H$a H$m_ {H$`m h¡-CÝh| bmoJ `hm§ ^bo OmZVo h¢ na eof ^maV go H$admVo h§¡?



42

_w»`Ymam go BZH$s Š`m {Jbm h¡? Oam CZHo$ _wh± go gw{ZE Vmo nVm MbVm h¡Ÿ& ò AnZr nhMmZ ~ZmZo, O‹S>| IomOZo Am¡a AnZr g§ñH¥${V, ^mfm d OrdZe¡br ~MmZo Ho$ {bE ~oM¡Z h¢Ÿ& BZH$s ^mdZmAm| H$s H${dVm ZXr ~Z H$a dh {ZH$br h¡Ÿ& BZHo$ eãX {H$Zmao-{H$Zmao Mb aho h¢ H$hmZr ~ZH$a-BZHo$ {Z~§Ymo§ H$s Yma VoµO go VoµOVa hmo ahr h¡Ÿ& Oê$aV h¡ h_ AnZr A§Owar _| BVZr CXmaVm, BVZm {dñVma â X| {H$ BZH$s gm{hË`-Ymam H$mo h_ AmM_Z H$s Vah ñdrH$ma H$a _mWo na bJm gH|$ Vm{H$-empÝV H$s gwJ§Y V¡a OmE hdmAm| _|Ÿ& g§dmX ewé hmo OmE _mZg go _mZg H$mŸ& _mZwf go _mZwf H$mŸ& Am{Xdmgr go J¡a-Am{Xdmgr H$m, "h_' Am¡a "do' H$mŸ& BZH$s _O~y[a`m|$ H$mo OmZZo H$m à`mg H$a|-Bg CnojmJ«ñV g_mO H$m AHo$bmnZ _hgyg,| {Ogo Ho$db XX© H$m [aíVm hr _hgyg H$a gH$Vm h¡, loð>Vm H$m X§^, gÎmm H$s e{º$ ZhtŸ& XX© H$m {aíVm H$m`_ H$aZo Ho$ {bE Oê$ar h¡-ào_, ñZoh, nañna {dídmg, CXmaVm, \$am˜{Xbr, j_m H$s eº$s Am¡a Z_«Vm H$sŸ& {hÝXr ^mfm Jm§Yr H$s {hÝXwñVmZr ~Z H$a `hm§ AmE, Cg Am`©^mfm g§ñH¥$V H$s loð>Vm H$m X§^ boH$a Zht, {Oggo {hQ>ba ^r à^m{dV WmŸ& {hQ>ba Zht ~wÕ ~Z H$a AmE§Ÿ& nydm}Îma Ho$ Am{Xdmgr g_mO Zo h_oem AnZr _mV¥^mfm, AnZr ~mobr H$mo dOZ XoZo Am¡a Cg_| n‹T>Zo-{bIZo H$m hR >{H$`mŸ& h_ qhXrdmbo qhXr H$m XX© Vmo g_PVo h¢, _Ja AnZo XX© H$mo AÝ` ^mfmAmo§ Am¡a ~mo{b`m| Ho$ XX© go Zht Omo‹S>Vo, O~{H$ gM `h h¡ {H$ qhXr ^mfm ~mo{b`m| go hr g_¥Õ hþB© h¡Ÿ& _mV¥^mfm Ho$ gdmb na Ag_ H$m {ZVmB© am^m Xw…Ir hmoVm h¡, O~ CgHo$ AnZo bmoJ Ag_r Z ~mobH$a Xygam| H$s ^mfm, {Ogo do "bo_m' H$hVo h¢ … ""bo_m ~mobZo Ho$ à`mg _| Vw_Zo Imo Xr AnZr Ow~mZ-AnZr ~mobr h_mar Ow~mZ ^r H$_ Zht {H$gr go {_R>mg _|Ÿ&'' Eogo Vmo _mÎm¥^mfm _| n‹T>mB© H$m _wÔm nyao ^maV H$m _gbm h¡, Mmho dh OZOmVr` joÌ hmo `m J¡a-OZOmVr`Ÿ& Š`m A§J«oOr Ho$ _wH$m~bo {hÝXr H$m ^r `hr XX© Zht h¡? amï´>m^mfm hmoVo ^r dh Xoe _| Xygao Zå~a na h¡Ÿ& A§J«oOr Ho$ {Ibmµ\$ nydm}Îma H$m H${d ^r {bIVm h¡, O~{H$ ~ma-~ma nydm}Îma H$mo npíM_r à^md Ho$ VhV A§J«oOr H$m nmofH$ H$hm OmVm h¡Ÿ& S>oÁ_§S> Ia_mAmoâbmL> ^r Xw…Ir h¡ AnZo A§J«oOr kmZ Ho$ X§^ goŸ&

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{bI H$a {dXoe Zht OmZm MmhVo h¢ `hm± ^r Vmo nhZmdm {dXoer hmo J`m h¡, Ka H$s gmO-g‚mm {dXoer h¡Ÿ& O~{H$ nydm}Îma _| Vmo CÝh| {e{jV hr {H$`m npíM_ Ho$ bmoJm| ZoŸ& BgHo$ ~mdOyX do CZ {dXo{e`m| Ho$ {dê$Õ b‹S>Vo aho h¢ _¡XmZ _| ^r, gm{hË` _| ^r, gmoM _| ^rŸ& Š`m _w»`Ymam go H$ht H$_ h¡ BZH$m gm{hË`? H$hm± h¡ npíM_ H$s Nmn? My§{H$ BÝh| amo_Z {b{n Ho$ gmW n‹T>Zm-{bIZm {gIm`m J`m, B©gmB© Y_© _| em{_b H$a {b`m J`m, Vmo Š`m BZ na npíM_ H$m à^md hmo J`m? CÝhm|Zo ^bo hr B©gmB© Y_© AnZm {b`m hmo _Ja AnZr g§ñH¥${V ~aH$ama aIr h¡Ÿ& {X„r, _wå~B© `m ~‹S>o eham|-H$ñ~m| Ho$ bmoJ Vmo {~Zm B©gmB© ~Zo A_arH$Z ~Z JE h¡, Vmo Bg joÌ _| Vmo BÝh| _Zwî` H$m XOm© ^r CÝht bmoJm| Zo {X`m-Bg VÏ` H$mo h_ gË` Š`m| Zht _mZZm MmhVoŸ& Š`m npíM_r gm{hË` g§doXZm eyÝ` h¡? gm{hË` h_| g§doXZerb ~ZmVm h¢; dh _Zwî` ~ZmVm h¡, XodVm ZhtŸ& AmO Xoe â _| gm{hË`H$ma, ^«ï>mMma H$mo boH$a qM{VV h¢ŸŸ& do qM{VV h¢, AnZr O‹S>m| go H$Q>Zo H$s àd¥{V H$mo boH$a bo{H$Z CZgo ^r A{YH$ qM{VV h¡ nydm}Îma H$m Am{Xdmgr g_mO AnZr O‹S>mo go H$Q>Zo Ho$ H$maU, AnZr g§ñH¥${V Ho$ {dH¥$V hmoZo OmZo H$maUŸ& nmb qb½Xmoh H$s `h H${dVm AnZr hr `wdm nr‹T>r Ho$ {dMbZ H$s OmoaXma AmbmoMZm H$aVr h¡Ÿ& AmO VH$ AnZr g§ñH¥${V H$s {dH¥${V`m| Am¡a {dMbZ na Eogr OmoaXma H${dVm _oao Ü`mZ _| Zht AmB© h¡""{~H$mB© h¡ AnZr g_yMr gånXm go bXr-\§$Xr YaVr Ho$ gmW `h AmË_mo{dñ_¥V, I§{S>V Xoe, h_mar _yë`dmZ I{ZO gånXm, dZm¡f{Y`m§ Am¡a Xwb^© ~JrMo Am¡a Xa»V Am¡a _¡XmZ Am¡a Obme` ò g~ Am¡a g~ Hw$N>Ÿ& {~H$mD$ h¡ h_mar `wdm-{ddmh`mo½` b‹S>{H$`m± Bg Xoe O¡gr hr Iy~gyaV, h_mar dar`Vm… _¡XmZr BbmH$m|Ho$ _X© `m ~oeH$ g_§Xa-nma Ho$Ÿ/~ñg Wmo‹S>o V§Xwê$ñV . . . {~H$mD$ h¡

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h¡Ÿ& dhm±§ Am¡aV| Z H$^r gVr hmoVr Wr Am¡a Z hr ~mb-{ddmh hmoVo WoŸ& `hm± Am¡aV ^r hb OmoVVr h¡Ÿ& ò Vmo h_mao eof ^maV Ho$ bmoJ h¢ {OÝh| BZgo AmH$a {OÝXJr OrZo H$m gbrH$m grIZo H$s XaH$ma h¡Ÿ& nydm}Îma Ho$ Ka-Ka _| H$aKo h¢, Am¡aV| ñdmdb§~r h¢, bmoJ H$n‹S>m IwX ~wZ H$a nhZVo h¢ Am¡a h_mao H$n‹S>o {dXoem| Ho$ Z hm| Vmo h_mar à{Vð>m _| H$_r Am OmVr h¡Ÿ& ò h_mam Y_© Am¡a h_mar Vah OmV-nmV, Nw>AmN>mV AWdm ôX^md H$mo Zht _mZVoŸ& Cgo AnZmZm ^r Zht MmhVoŸ& {dS>å~Zm `h h¡ {H$ h_Zo BZ na g§{dYmZ _| ^r "OZOm{V' eãX Wmon {X`m O~{H$ BZH$s H$moB© Om{V hr Zht h¡Ÿ& ò AmnHo$ Y_© H$mo Zht OmZVo Vmo Š`m hþAm? Omo {hÝXy Zht h¡ Š`m dh npíM_ H$m h¡? h_mao O¡go Z¡Z ZµµŠe Zhr§ h¢ BZHo$ nmg, Vmo Š`m Bg{bE ò O§Jbr Am¡a Agä` _mZo OmE§Jo, Š`m `h C{MV h¡? h_mar OmV-nmV d ôX^md âr g§ñH¥${V AnZmZo go Vmo AÀN>m h¡ bmoJm| H$m Agä` ahZm, O§Jbr ahZmŸ& H$_-go-H$_ dhm± ~am~ar Vmo h¡Ÿ& nydm}Îma Ho$ {g{¸$_ H$m H${d Xoe H$s gr_mE± nma H$a a§J ôX H$s XhbrO| bm§K H$a nhþ±M OmVm h¡, _Zwî` Ho$ CX²J_ ñWb A\«$sH$m _|, Ohm± nhbm _Zwî` OÝ_m Wm""hm±§ _¢ g_wÐm| H$mo N>mo‹S>H$a Am J`m hÿ§ Vwåhmao ZJm‹S>o gwZZo AmX_ Ho$ n¡am| Ho$ {ZemZ VbmeZo Mb aho Omo g_` Ho$ {j{VO na A{\«$H$m Ho$ N>moam| naŸ&'' `h gm{hË` h_| _Zwî` Ho$ CX²J_ go Omo‹S>Vm h¡Ÿ& Am¡a EH$ N>bm§J _| nma H$a OmVm h¡ bmIm| df©Ÿ& "H$m_m`Zr' _| Oè§H$a àgmX Zo àb` H$s H$Wm {bI H$a EH$ b§~r ~hg MbmB© Wr _Zwî` Ho$ nwZ… {dH$mg H$s, boH$sZ {g{¸$_ H$m `h H${d bÔmIr h_| Cggo ^r nrN>o, nhbo _Zwî` H$s OÝ_ñWbr na bo OmVm h¡ CgH$s `mÌm Ho$ {ZemZ ImoOZoŸ& Am{ã nydm}Îma Ho$ bmoJ dhr MmhVo h¢ Omo ~mH$s ^maV Ho$ H$amo‹S>m| Jar~ bmoJ MmhVo h¢Ÿ& Bgr{bE ~moYam` Xodd_m© nyN>Vo h¢ hnZo XmoñV go"Š`m Mm{hE _oao XmoñV?' CÎma {_bVm h¡ "h_ MmhVo h¢ Hw$ebVm AnZr, AnZo n[adma H$s

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h¢, {OÝh| VWmH${WV _w»`Ymam-Omo ñd`§ hr Aëng§»`H$ h¢-Zo nrN>o YHo$b aIm h¡ `m {OgZo BZ O_mVm| na AnZm dM©ñd H$m`_ H$a aIm h¡Ÿ& BZ_| ImgH$a Am{Xdmgr gm{hË`, dh ^r nydm}Îma H$m Am{Xdmgr gm{hË` Img _m`Zo Am¡a _hÎd aIVm h¡Ÿ& BgHo$ _hÎd Ho$ H$B© H$maU h¢Ÿ& nydm}Îma Ho$ Am{Xdmgr`m| Am¡a CZH$s H$B© ^mfmAm| H$m ^maV Ho$ ~mH$s dmqeXm| go àmMrZV_ hmoZm ^r AnZo _| EH$ _hÎdnyU© H$maU h¡Ÿ& ò bmoJ AnZr ^mfmAm| Ho$ gmW Am`m] go ^r nhbo AmE Am¡a BZH$r ^mfmAm| H$m _yb ómoV ^maV _| ~mobr OmZo dmbt Am`©^mfmAm| go {^Þ h¡Ÿ& nydm}Îma H$s ^mfmAm| H$s {d{dYVm ^r BZHo$ gm{hË` Ho$ _hÎd H$mo ~‹T>mVr h¡Ÿ& Ho$db ^mfm`r {d{dYVm hr Zht ~pëH$ CZH$s ^m¡Jmo{bH$, gm_m{OH$, gm§ñH¥${VH$ OrdZe¡br ^r BVZr {d{dY d BVa h¡ {H$ _¡XmZr BbmH$m CÝh| ^m¢M¸$m hmoH$a {dpñ_V-gm XoeVm ah OmVm h¢Ÿ& CZH$m _yë`~moY ^r A^r VH$ gwa{jV h¢Ÿ& nydm}Îma H$m gm{hË` Ho$db AnZo AVrV H$s nr‹S>m `m Jm¡ad H$m gm{hË` hr Zht h¡ dh AnZo dV©_mZ go ^r OyP ahm h¡, Mmho dh gaH$mar qhgm hmo `m AmV§H$dmX H$m h_bmŸ& CZH$m gm{hË`, bmoJm| H$s _mZ{gH$Vm Am¡a EH$-Xygao Ho$ à{V nydm©Jh« J«ñV ÑpîQH$moU ~XbZo _| H$maJa hmo gH$Vm h¡Ÿ& Bg gm{hË` H$mo `{X h_ eof ^maV _| bo OmE§ Vmo EH$ AX^wV

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g§dmX H$m`_ hmo gH$Vm h¡, Omo "h_' Am¡a "do' H$s Xy[a`m§ nmQ> gH$Vm h¡Ÿ& BZHo$ gm{hË` _| gm_y{hH$Vm, g_mZVm, ^mB©Mmam, AmOmXr, àH¥${V go JhZ bJmd d ào_ h¡ Am¡a h¡ _Zwî` H$s Apñ_Vm-ImgH$a órApñ_Vm Ho$ à{V {deof AmXaŸ& h_ BZgo$ Hw$N> grI gH$Vo h¢Ÿ& BZH$s Bg {d{dYVm H$s AZyR>r N>Q>mAm| Ho$ gmW CZHo$ _yë`~moY H$mo `{X h_ AmË_gmV H$a b| Vmo Xoe _| _yë`m| _| AmB© AdZ{V _| Hw$N> H$_r hmo gH$Vr h¡Ÿ& Bg gm{hË` H$m ^{dî` gwZham hmoZo H$m H$maU CZ_| VoµO J{V go {ejm H$m àgma h¡Ÿ& _mÌ gm¡-df©> gm¡df© nhbo àmá {b{n go hr BZH$m {b{IV gm{hË` Amaå^ hþAm bo{H$Z {nN>bo nm±M hOma dfm] H$m g§`mo{OV dm{MH$ gm{hË`, {_WH$, {b{OpÝÐ`m§ Ed§ AZw^d d OrdZ-e¡br go g_¥Õ BZH$m dmL²>_` A~ ^maVr` dmL²>_` Ho$ g_H$j AmZo H$s hmo‹S> _| ^r em{_b hmoZo H$s Ama ~‹T> ahm h¡Ÿ& •••



46

Feminism in Post Independence Sanskrit Literature Dr. Lalita Namjoshi

Introduction The topic itself raises eyebrows as Sanskrit being an ancient classical language the general readers and even the scholars of modern Indian literature are not aware that Sanskrit is still used by creative writers to produce traditional forms such as Mahákávyas, Campükávyas- a combination of prose and poetry and devotional poetry. There are experiments like short stories, biographies and plays that deal with contemporary themes. There are journals and periodicals catering to Sanskrit readers. In spite of such a wide range of Sanskrit Post Independence Literature it is very difficult to trace the literary trends that are very prominent in Modern Indian Languages. Feminism is itself a very recently developed ideology. There are many forms and shades of feminism with cultural, historical, geographical and political background. Feminism is often defined as “An awareness of Women’s oppression and exploitation in society, at work and within the family, and conscious action by women and men to change this situation.” Present day feminism is a struggle for the achievement of women’s equality, dignity and freedom of choice to control lives and bodies of women within and outside the home. Traditionally Sanskrit literature reflects the patriarchal attitude towards women. Women are depicted either in a romantic pattern or as main obstacles in the spiritual progress of men. In medieval India women were totally deprived of formal education and kept away from learning Sanskrit. Modern Sanskrit literature more or less follows the same path and social issues in general and feminist issues in particular find little room in the diaspora it covers. However there are a few examples that shine out because of their feminist treatment of the theme. The paper is an attempt to introduce representative examples and discuss the

reasons for the very low profile of feminism in Post Independence Sanskrit Literature. The Writings of Pandita Kshama Rao The plight of women was depicted in a simple, lucid narrative by Pandita Kshama Rao in her short stories. Kathámuktávali a collection of fifteen short stories was published in1954.. Almost all stories have woman as the central character. At present the Kathámuktávali is not easily available and one has to depend on the secondary sources about the content of her stories. However one of the stories titled Vidhavodváhasañkaûam can be discussed to bring out the salient features of Pandita Kshama Rao, s delineation of the burning social issues related to the Indian women in her days. Vidhavodváhasañkaûam is a story that tells us about the pitiable life of a young child widow who is heaped with atrocities typical of an orthodox family. Facing deprivation of all sorts, without any idea of retaliating the oppression by the in laws, the heroine of the story Párvatè accepts her fate, finds solace with feeding a stray dog and showering affection on her young nephew. However, her dull and empty life takes an unusual turn when a young traveler is enchanted by her beauty. He silently follows her every day to the well from where Párvatè fetches water, builds friendship with her and offers help whenever possible. Though initially apprehensive of his charms and afraid of social censure, soon Párvatè is won over by the sincerity of the young man’s feelings and love develops between the two. As there is no chance that place where she stays and the community to which she belongs would accept such an alliance they take a bold decision to go to Pune, supposedly the most progressive city. One fine day she manages to elope with her lover but both of them are shocked to find that no priest is willing to marry them as their castes are different. Theirs effort to have a legal



court marriage are also foiled. In spite of revolting against the social system, Párvatè has a staunch belief in her Dharma and would not accept the idea of changing Dharma for convenience to facilitate marriage. The proposal by her lover of living together without marriage in some remote place where no one would recognize them is unimaginable for Párvatè. Her heart pines for love, happiness and a family. But Párvatè cannot discard the norms if morality and Dharma so far valued by her and keep an illicit relationship with her lover. Interestingly, the lover who had entered into the darkened life of Párvatè as a ray of hope is genuine and stands by her in these trying times. Now with all hopes shattered Párvatè decides to go back to her in laws place. There is no need to say what is in store for her. A widow running away with a stranger !She is denied entry in the house, even the child whom she loved and tended like her own is pulled away from her, she doesn’t have even a glimpse of that child. She is now a stigma, a blot on the family name. Completely devastated she has no where to go, no one to turn to. Her lover had known what would happen when she goes back. Without her knowledge he follows her and when she is thrown out of her house he extends a helping hand. Once again Párvatè leaves the small, backward town and reaches Pune; not to seek help to solemnize her relation with her lover, but to find her own identity, to get education, to become self sufficient, of course with the support from her lover. The story of Párvatè is designed with the technique of a short story, there are twists and turns in the brief plot. Though one expects it end with a conventional happy union of the couple, it ends on a very different note as the bond between the lovers remains strong, they maintain a respectable distance. Neither union nor separation, the story offers a third, a rather novel option at the ending that can be seen as a feminist ending. The author has etched the character of Párvatè very sympathetically. Her beauty and charm have been brought out vividly. The reader is carried away by the turn of events and wishes that the sañkaûa - the difficulties that pose hindrance in the udváha of a vidhavá – marriage of a widow should cease and the heroine should get what she deserves. During last 60 years after the story has been written, a lot of has changed regarding the issue of

47 widow remarriage. However even in the wake of awareness, spread of education widowhood is still seen as great misfortune and it may still require some amount of courage for a widow to find love and to take decisions about her personal life. The plight of widows in many parts of India still remains one of the issues that the feminists are concerned about. If we take into consideration this, the significance of what Pandita Kshama Rao wrote is immense. The next case of Feminism in Modern Sanskrit literature can be seen in plays written by Pandit Prabhakar Bhatkhande. His themes are based on contemporary issues. These plays cover a wide range including a thriller, a science fiction, a comedy and so on. He has experimented with technique and form. Almost all the plays have been enacted and have won awards for the presentation. The most striking of these for our purpose is a one act play entitled Lalanákhyánam which has all female characters. It presents all prototypes of modern Indian woman— a senior lady named Yamuná who is a mother and a mother-in-law, a young selfish woman Mohinè who has deserted her husband, Vásantè , a widow of a soldier, the heroine of the play and Tejaswinè, a young firebrand soldier. The play opens with a nándè and a prayer offered to Mother Goddess invoking her to bestow strength and valour. Vásantè has gone to attend a programme in which her dead husband is being honored posthumously for his bravery. Her mother in law and sister in law both do not approve the way Vásantè carries herself, She has continued to wear those ornaments that she used to wear when her husband was alive. She is friendly with a friend of her deceased husband. She refuses to pay her obeisance to Jagadambá. Yamuná and Mohinè push Vásantè into a bitter altercation. Her belongings, even the medal and the cheque given in honour of her husband’s martyrdom is taken away from her. The lure of money she has makes Mohinè to plot remarriage of Vásantè with her second brother. Vásantè is outraged at this thought and about to leave the house. She is not worried about her livelihood as she herself says that she is well educated and she can support herself by getting some job. However she is in a delicate stage of life as she is in



48 early stages of pregnancy. Then enters Tejaswinè, a messenger from armed forces with the happy news that Vijay, Vásantè’s husband is alive, and is under going treatment in the military hospital. Yamuná and Mohinè change their colour like a chameleon. She reprimands them for their unsympathetic behaviour. She says, “My mother in law, a widow herself hurt me by calling me misfortunate. A woman becomes wife, mother, daughter or sister due to the relations she has but her individuality as a person should be never forgotten. Women turn enemies of other women and snatch away their rights. Indeed some men do treat women like an inanimate object, but is it necessary that women also do the same? “ Yamuná a has change of heart and Mohinè’s eyes are opened by the example of Vásantè. Everybody realizes that women should treat other women with respect to put an end to the story of injustice to which women are often subjected. The Bharatavákya , the concluding prayer is offered,’’ May the women become self sufficient, empowered. They may protect themselves and respected by people. May they have love for each other. Love and compassion are their weapons, may they prevail the world with their power.” No doubt this is a very mild, a conservative brand of feminism. However, in view of the confines and limitations of modern Sanskrit literature, even this version of feminism is noteworthy as it has a wider influence being presented through a performing art. This kind of feminism is popular amongst majority of women as it is rooted in the value system of Indian society. Some observations The main fact why feminism is not very prominently apparent in Post Independence Sanskrit Literature can

be understood if we take into account the purpose and motives of modern Sanskrit literature. Almost all writers are committed to refute the charge that Sanskrit is a dead language. With the rise of regional languages and the advent of the foreign languages, mainly of English the glory of Sanskrit faded out. The modern Sanskrit writers had to struggle for survival and revival of the language so probably they could not experiment much with the form and the content of their compositions. They resorted to the trodden track of composing Mahákávyas based on the Ramayana, the Mahabharata or the sectarian theistic themes. The tradition of hero worship is also maintained by them. They tried to associate Sanskrit with the spirit of nationalism. These motives have resulted in limitations of modern Sanskrit literature. Till date, there is neither a single novel nor a biography in Modern Sanskrit literature. These are the main forms of literature that have the potential of expressing a thought powerfully. In the history of feminism, it is the women authors who first raised their pen against the women’s subordination, exploitation, oppression, within the home and at the work place and society at large. In case of Sanskrit, women were not given access to the language and hence the number of women authors is very less. Majority of the male writers prefer the traditional role model of a devoted, sacrifying mother figure remaining in background for their depiction of women. The women in their writings are divinized and not individuals in flesh and blood. Now the things are gradually changing, and many women authors are writing in Sanskrit, but they have yet to make their mark to compete with women authors of other languages.

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49

_amR>r ZmQ>çg¥ï>rVrb ór-à{V_m S>m°. nwînbVm amOmnwao-Vmng

{d{dY ^mfr` ^maVr` a§J^y_rbm EH$ à{XK© d g_¥Õ na§nam Amho. {VÀ`m g_¥ÕVoV _amR>r a§J^y_rZo _mobmMr â KmVbobr Amho. H$R>nVw ù`m§À`m IoimnmgyZ àma§{^V Pmbobm _amR>r a§JIoi Amnë`m {d{dYVoZo AmO g§nÞ Pmbobm Amho. g_mOmg qMVZmg àd¥Îm H$aUo, WH$ë`m-^mJboë`m§Mo a§OZ H$aUo, g_mOmg g^modVmbÀ`m K{Q>Vm§gmR>r A§V_w©I ìhm`bm bmdUo `m§gma»`m AZoH$ à`moOZm§Zr ào[aV hmoD$Z _amR>r a§J^y_rZo _mobmMo H$m`© Ho$bo Amho. {deof _hÎdmMr Jmoï> åhUOo {dîUy AZ§V ^mdo `m§Zr Á`m ZmQ>H$mZo _amR>r ZmQ>H$mMr _whÿV©_oT> amodbr Vo ZmQ>H$ grVoÀ`m ñd`§damer {ZJ{S>V hmoVo. "grVmñd`§dam'Mm _yi ómoV am_mÙ ho _hmH$mì` AWdm bmoH$_mZgmVrb grVmñd`§daH$Wm Ago H$moUVohr Agbo Var, _amR>r a§J^y_rdarb `m n{hë`m ZmQ>H$mZo "ñÌr' nmÌmbm H|$ÐñWmZr R>odyZ ZmQ>H$ Jw§\$bo. `m ZmQ>H$mZo H$mì`JV / H$WmJV órnmÌmÀ`m OrdZmVrb {d{eï>mZw^dmbm ZmQ>çê$nmV gmXa Ho$bo. Ë`mM~amo~a ñd`§da _§S>nmV am_mÀ`m Xe©ZmZo {VÀ`m _ZmV Ë`mÀ`m{df`r {Z_m©U Pmbobr A{^bmfm Am{U amdUmÀ`m H¥$Ë`m§Zr {Z_m©U Pmbobr ^rVr `m§Mo EH$ AZmoIo Xe©Z `m ZmQ>H$mZo KS>{dbo. BWo _hÎdmMm _wÔm Agm H$s _amR>r a§J^y_rZo H$mimÀ`m doJdJù`m Q>ßß`m§da H$Yr "ór' nmÌmbm H|$X«ñWmZr R>odyZ AWdm H$Yr H|$Ðm~mhoa R>odyZ ór{df`H$ OrdZg§X^mªZm ZmQ>çê$n {Xbo Amho. `m àH$maMm ZmQ>çàdmg H$mhr ZmQ>H$H$mam§Zr OmUrdnyd©H$ Ho$bm Va H$mhr ZmQ>H$H$mam§À`m hmVyZ ZH$iV H$mhr Jmoï>r KS>ë`m. {dîUy AZ§V ^mdo `m§Zr n{hbo órH|$Ðr ZmQ>H$ gmXa Ho$bobo Agbo Var Ë`mÀ`m Aml`mZo Ë`m§Zm g_H$mbrZm§er d¡Mm[aH$ nmVirda H$mhr g§dmX gmYm`Mm Amho, Ago OmUdV Zmhr. AgoM "g§JrV gm¡^Ð', "_mZmn_mZ' AmXr ZmQ>H$m§{df`r åhUVm òB©b. "g§JrV gm¡^Ð' ho ZmQ>H$ gw^ÐoÀ`m b¾m{df`r Agbo, Var ZmQ>çJV "brbm' H¥$îUmÀ`m åhUOo nwéfnmÌmÀ`m ^modVr Jw§\$boë`m AmhoV. Á`m g§JrV a§J^y_rZo _amR>r a{gH$ àojH$m§Mo a§OZ Ho$bo Ë`m a§J^y_rZo Om{UdoÀ`m nmVirda AWdm Zo{UdoÀ`m nmVirdahr ór-{df`H$ àíZ gmXarH$aUmgmR>r {ZdS>bobo {XgV ZmhrV. (A§eV: AndmX "g§JrV emaXm' `m ZmQ>H$mMm H$am`bm hdm.) _mo. J. am§JUoH$am§À`m "Hw$bdYy' `m ZmQ>H$mZo àW_M órMo

H$mhr VËH$mbrZ àíZ _m§SÊ`mMm à`ËZ Ho$bm. EH$mo{Ugmì`m eVH$mÀ`m órgwYmaUm{df`H$ MidirÀ`m nmíd©^y_rMm {dMma H$aVm {gZo_mV, H$boÀ`m joÌmV Zì`mZoM H$m_ H$ê$ bmJbobr ór Am{U {VMo àíZ ho "Hw$bdYy' `m ZmQ>H$mMo _w»` gyÌ Agbobo {XgVo. Hw$Qw>§~ Am{W©H$ AS>MUrV AgVmZmM ^mZw_Vr Am{W©H$ JaOonmoQ>r {gZo_mgma»`m H$bmjoÌmV n{hbo nmD$b Q>mH$Vo. Omon`ªV {Vbm {_iUmam nJma hm {VÀ`m Zdè`mnojm H$_r AgVmo, Vmon`ªV Ë`m XmoKm§À`m ZmVog§~§Ym_Üò XwamJ«h d ^md{ZH$ Xwamdm {Z_m©U hmoV Zmhr. na§Vw ^mZw_Vr Zmdmê$nmbm òD$ bmJVo, {VMr Am{W©H$ {_iH$V dmTy> bmJVo. qH$~hþZm EH$m Q>ßß`mda {VMo Am{W©H$ CËnÞ hrM KamMr {_iH$V hmoVo Voìhm {VÀ`m Zdè`mMo dV©Z ~XbVo. Ë`mÀ`m dV©ZmVrb ~Xbm_wioM ^mZw_VrÀ`m _mZ{gH$ pñWaVobm VS>m OmVmo. d¡^dmH$S>o dmQ>Mmb H$aUmè`m {VÀ`m H$bmàdmgmbm Xw:ImMr Pi nmohmoMy bmJVo. "H$bmd§V ór Am{U {d{eï> n[apñWVr_wio d nwéfmÀ`m {d{eï> _mZ{gH$Vo_wio {Z_m©U Pmboë`m àíZm§er órMm g§Kf©' hm `m ZmQ>H$mMm Jm^m Agbm Am{U ho ZmQ>H$ órH|$Ðr Agbo Var `m ZmQ>H$mVrb ór - à{V_m Á`m _yë`m§Mm, Á`m OrdZY_m©Mm d dV©ZY_m©Mm nwañH$ma H$aVo Vr _yëò, Vmo OrdZY_© d Vmo dV©ZY_© ho gmao nyUn© Uo nma§n[aH$ ñdê$nmMoM Amho. AmnU {gZo_mVrb H$bmd§V Agbmo Var AmnU nVrÀ`m d gmgaÀ`m _§S>itÀ`m AÜ`m© dMZmV amhm`bm V`ma AmhmoV hrM {VMr ZmQ>çJV AmoiI _Zmda R>gVo. H$maU Zdam d gmga `m§Zm J_mdyZ H$mhr {_idmdo hr ^mZw_Vr `m ór nmÌmMr _mZ{gH$Vm Zmhr. àñVwV ZmQ>H$mV ór - nmÌmMr _mZ{gH$Vm Aem àH$maMr H$pënë`m_wioM doiàg§Jr Zdè`mMo Ka gmoSy>Z ~mhoa nS>bobr ^mZw_Vr _mZ{gH$ÑîQ>çm Xw~ir dmQ>Vo. `m CbQ> Xmê$S>çm Zdè`mÀ`m nm`mnmer ñdJ© Amho Ago åhUUmar qgYy n{Vd«VmY_m©M§ H${WV "AgmYmaU' _yë` ñdrH$marV Agbr, Zdè`mÀ`m Xmê$S>onUmMr Pi {VÀ`m g§gmambm nmohmoMV Agbr Var {VMo _Z Xw~io Zmhr. åhUyZM n{Vd«VmY_m©Vrb AË`wƒ nU nma§n[aH$ _yë`mn`ªV Vr àdmg H$aVo. {deof åhUOo {VMm hm àdmg Vgm EH$mH$shr AgVmo. V{iam_À`m AmJ«hmImVa gwYmH$a {VMo _mhoa VmoSy>Z Q>mH$Vmo Agm g§X^© ZmQ>H$mV Amho. Ia§ Va, qgYyMm Omo



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ñd^mdY_© ZmQ>H$â Amnë`mbm OmUdVmo, Vmo nmhVm qgYyZo AmnUhÿZ Vmo g§~Y§ VmoS>bmM AgVm H$maU Ë`mVM {VÀ`m n{Vd«Vm AgÊ`mM§ VoO COiyZ {ZKUma hmoVo. {VMm hm àdmgM {VÀ`m nVrbm {VÀ`m OJÊ`mVÿZ "CUo' H$ê$Z Q>mH$Vmo. n{Vd«VmY_m©bm AmìhmZ d ZH$ma XoÊ`mMm Vmo H$mi ZìhVm åhUyZ Zdè`mMo Ka gmoS>m`bm ^mJ nS>bobr JrVm hr n{Vd«VmY_© gm§^miVo Am{U qgYybm Ë`mgmR>r _XVhr H$aVo. `m XmoKrhr n[apñWVreaU AgyZhr ñdV:M§ EH$mH$s doJionUm d {ó`m§Zm nañnam§{df`r dmQ>Umam ghmZw^md OnyZ OJVmV, ho _wÔm_ Zm|Xdm`bm hdo. {ó`m§Zr _ZmV d dV©ZmV nañnam§{df`r ghmZw^md, ^m{JZr^md ~miJm`bm d nmim`bm hdm Ago AmYw{ZH$ H$mimV åhQ>bo OmVo. Ë`m {dMmamMm àË`` "g§JrV EH$M ß`mbm' _Yrb {g§Yy d JrVm `m XmoZ ór-nmÌm§À`m dV©ZmVyZ òV amhVmo. _mÌ órMo {deof àíZ _m§S>Umè`m "Hw$bdYy' gma»`m ZmQ>H$mVrb ^mZw_Vr Amnbo gmao gÎd d ñdËd Amnë`m emofH$m§gmR>rM J_mdy nmhVo. ho Ago KS>Vo H$maU ZmQ>H$H$mamZo ZmQ>H$mgmR>r {ZdS>bobm {df` VËH$mbrZ ór àíZmer g§~§Y amIUmam Amho. na§Vw Vmo H$bmd§V órMm Hw$Qw>§~JV g§Kf© EdT>çmnwaVmM _`m©{XV amhVmo. am. J. JS>H$è`m§À`m qgYyZ§Va d {deofV: JrVmZ§Va _mo. J. am§JUoH$am§Mr Ambobr ^mZw_Vr, H$mb~mø _yëò H$moUVr? ñdrH$m`© _yëò H$moUVr? Aem àíZm§Zm gmYm ñne©hr H$arV Zmhr. Ago KS>Vo H$maU Ë`m_mJrb ZmQ>H$H$mamMr _yë`Ñï>r, _yë``wº$ nwamoJm_r Amho Ago dmQ>V Zmhr. _mo. J. am§JUoH$am§Mr "Hw$bdYy' Oer Zdè`mÀ`m KamVyZ ~mhoa nS>V,o Ver AmMm`© AÌo `m§Mr "Kam~mhoa' _Yrb {Z_©bm Ka gmoS>yZ ~mhoa nS>Vo. Zdè`mMm ~mdiQ>nUm Am{U gmgè`mMm g§e`r d hoH$Q> ñd^md `m_wio {Vbm Ka gmoS>mdo bmJVo. AÍ`m§À`m "Kam~mhoa' _Yrb {Z_©bmMm dZdmg åhUOo OUy am_mÙmVrb grVoÀ`m dZdmgmMr nwZ:àVrVr Amho. ^mZw_Vr Am{U {Z_©bm hr órnmÌo Ka gmoSy>Z ~mhoa nS>V Agbr Var hr órnmÌo nwÝhm Kar naVVmV. Iao Va Ë`m Ka gmoS>yZ ~mhoa nS>VmZm Ë`m§À`m Hw$Qw>~§ mMr Or n[apñWVr hmoVr, Ë`m n[apñWVrV d Hw$Qw>§~JV _mUgm§À`m _mZ{gH$VoV \$magm ~Xb Pmbobm ZìhVm. CXm. ^mZw_VrÀ`m Zdè`mMo {dMman[adV©Z Pmbobo ZgVo, AWdm {Z_©bmÀ`m gmgè`mMm, Zdè`mMm d {XamMm _yi ñd^mdY_© d dV©ZY_© ~XbÊ`mMr eŠ`Vm ZgVo. _J `m XmoKr _mJo H$m òVmV? `mn¡H$s aËZm _wbmgmR>r naV òVo Agm g§X^© ZmQ>H$mV òVmo. ^mZw_VrOdi _mKmar òÊ`mgmR>r Ago H$moUVohr g~i H$maU Zmhr. `m XmoKr àmá n[apñWVrH$S>o diVmV. H$maU `m XmoKr {ddm{hV {ó`m AmhoV. Ë`m Kam~mhoa nS>ë`mZo Hw$Qw>§~

ì`dñWoMo H$m` hmoB©b Agm àíZ Ë`m§À`m OÝ_XmË`m§Zm ôS>gmdV ZgobM Ago Zmhr. "CÚmMm g§gma' _Üò Ka gdm©Wm©Zo _moS>H$irbm Amboë`m H$ê$Umbm AÌo AmË_hË`m H$am`bm bmdVmV hmhr _wÔm òWo bjmV ¿`m`bm hdm. `m {VÝhr ór-nmÌm§Mo emofU H$mb~mø _yë`ì`dñWm d ór^modVr {Z_m©U Ho$bobo ^mdZrH$ db` `m§_wio hmoVo, ho bjmV ¿`m`bm hdo. {Z_©bm Á`m H$maUmgmR>r Kar naV òVo Vo H$maU AmOhr YJYJrV {Od§V Amho ho Iao Amho. `mMm AW© Agm H$aVm òB©b H$s, AÌo VËH$mbrZ g_mOpñWVrMo eãXê$n {MÌU H$arV hmoV.o nU Ë`m§Zm Ë`m {MÌUmnbrH$S>o OmD$Z {Z_©bmÀ`m OJÊ`mVrb g§Kf©{MÌ ì`º$ H$aVm Ambo Zmhr. Ago H$aÊ`m_mJo ZmQ>H$H$mamnmer {d{eï> OrdZÑï>r Agmdr Ago dmQ>V Zmhr. åhUOo Ago H$s ZmQ>çJV nmÌo namË_ OrdZ OJV Agbr Var ZmQ>H$H$mambm Ë`m§À`m namË_VoMo ^mZ AgVo. `m CbQ> Jmo. ~. Xodbm§Zr AÍ`m§À`mhr AmYrÀ`m H$mimV {deof n[a{ñWVrV ~mohë`mda MT>boë`m emaXoMo b¾ bmo^r åhmVmè`mer (^wO§JZmW) bmdbo Zmhr, Va emaXobm AZwê$n Aem VéUmer (H$moX§S>) {VMm {ddmh KSdyZ AmUbm. Ë`mgmR>r Ë`m§Zr emaXoMo b¾ Pmbo H$s Zmhr `mMr "VmpÎdH$ MMm©' ZmQ>H$mV KS>dyZ AmUbr. Ë`m MM}À`m AmYmao VËH$mbrZ gm_m{OH$ àíZm§Zm VmpÎdH$ ~¡R>H$hr àmá H$ê$Z {Xbr. Ë`m H$mir ZmQ>H$ nmhm`bm Ambobm àojH$ hm OUy Ë`m VmpÎdH$ MM}bm {damoY H$aUmam AWdm nmqR>~m XoUmam g_mOKQ>H$M hmoVm. Xodbm§Mr emaXm VËH$mbrZ bmo^r d ^«ï> gm_m{OH$ ì`dñWoMm "~ir' R>aV hmoVr. na§Vw ZmQ>H$H$ma ZmQ>H$mV Vgo KSy> XoV Zmhr. H$maU Ë`mbm Ho$di ñdH$mbrZ gm_m{OH$ pñWVrJVrMo Xe©Z g_H$mbrZm§gmR>r d nwT>rbm§gmR>r KS>dm`Mo Zmhr, Va ñdH$mbrZm§Zm dV©_mZH$mbrZ àíZm§H$S>o S>moignUo nmhm`bm d A§V_w©I ìhm`bm ^mJ nmS>m`Mo Agmdo. "ZmQ>çJV dmñVdmV BVHo$ gmao H$ê$ nmhUmè`m Xodbm§Zr emaXoMo b¾ gJmoÌ {ddmh H$ê$ Zò `m H$maUmgmR>r _moS>bo Ago XmIdmdo `mMo AmíM`© dmQ>V.o ' Varhr Z§VaÀ`m H$mimVrb ^mZw_Vr, H$ê$Um, {Z_©bm `m ór-nmÌm§nojm Am{U Ë`m§À`m ^modVmbÀ`m gd©ñVar` pñW{VJVrnojm Xodbm§Mr emaXm d Ë`mVrb gm_m{OH$ ñVa XrK©H$mi Amnë`m ñ_aUmV amhÿ eH$bm Amho Ago åhUmdogo dmQ>V.o _m_m daoaH$am§À`m "^y{_H$Ý`m grVm' `m ZmQ>H$mV "grVm', "C{_©bm' Am{U "Xmgr' hr VrZ ór-nmÌo _hÎdmMr nmÌo AmhoV. `m {VKtn¡H$s grVm d Xmgr dmg§Vr `m§À`m Mm[aÍ`m{df`r àíZ {Z_m©U Pmbobo AmhoV Am{U Ë`m{df`r Ë`m§Zm emgZhr H$aÊ`mV Ambobo Amho. grVobm H$moUË`m àH$maMo emgZ H$aÊ`mV òUma Amho Vo C{_©bmZo grVobm gm§{JVbobo Amho. na§Vw grVm Ë`m{df`r CKS>nUo VH«$ma H$arV Zmhr. hmoUmao emgZ ñdrH$mamdo Ago Vr _mZVo. H$maU



Ë`m_wioM {VMo {ZîH$b§H$Îd {gÕ hmoB©b. AÝ`Wm nwT>rb {nT>çm Amnë`mM Mm[aÍ`m{df`r g§e` ì`º$ H$aVrb Ago {Vbm dmQ>Vo. C{_©bmbm _mÌ ho gmao nQ>V Zmhr. H$moUË`mhr AÝ`m`m{dê$Õ doirM ^y{_H$m KoVbr Zmhr Va H$mbm§VamZo AÝ`m` gmogUoM `mo½` dmQy> bmJVo. Ë`m_wio ì`º$s Amnbo ñdËd hadyZ ~gVo `m àH$maMr {VMr ^y{_H$m AgVo. Va Xmgr H$moUË`mhr n«H$maÀ`m AÝ`m`m{dê$Õ ^y{_H$m KoVbr nm{hOo Ago _mZVo. _m_m daoaH$am§À`m ZmQ>H$mVrb `m ór - à{V_m§n¡H$s grVm EH$sH$S>o ñdH$mbrZ _yë`ì`dñWobm _hÎd XoVo Am{U Ë`mMdoir Amnbo doJionU {gÕ H$aVo. C{_©bm ho nmÌ H$mimnbrH$S>o OmD$Z {dMma H$ê$ nmhVo. _m_m daoaH$a `m§Mr _mŠg©dmXr {dMmagaUr C{_©bm `m órnmÌmÀ`m _mÜ`_mVyZ àm_w»`mZo gmH$mabr Amho. `mMm AW© grVm ~wagQ>boë`m {dMmam§Zr à^m{dV Amho Ago _mÌ Zmhr. åhUyZM `m ór - à{V_m _amR>r ZmQ>ç{dídmV A{dñ_aUr` R>aVmV. B. g. 1950 Vo 1960 `m XeH$mÀ`m AmJo_mJo d _Ü`mda AZoH$ ZmQ>H$H$ma _amR>r a§J^y_rda H$m`©erb Pmbo. {d. dm. {eadmS>H$a, dg§V H$mZoQ>H$a, ~mi H$moëhQ>H$a, O`d§V Xidr, {dO` V|Sw>bH$a, aËZmH$a _VH$ar B. à^¥VtMr ZmQ>Ho$ a§J^y_rda òD$ bmJbr. `m ZmQ>H$H$mam§Mr AZwH«$_o "ZQ>g_«mQ>', "_bm H$mhr gm§Jm`M§`', "{Xdm Oiy Xo gmar amV', "dmhVmo hr XwdmªMr OwS>r', "nwéf', "n`m©`', "em§VVm! H$moQ>© Mmby Amho', "H$_bm', "A{¾{Xì`' `m JmOboë`m ZmQ>H$m§_Yrb ór-à{V_m§Mm AmnU {dMma H$ê$ bmJbmo H$s, Ë`mVyZ Oo g§X^© OmUdy bmJVmV, Ë`m§Mm BWo {dMma H$aVm òBb © . {eadmS>H$am§Mo "ZQ>g_«mQ>' ho Amßnmgmho~ ~obdbH$am§^modVr Jw§\$bobo ZmQ>H$ Agbo Var Ë`mVrb H$mdoar, emaXm Am{U Zby hr ór-nmÌo ñdd¡{eîQ>çm§Zr Amnë`m bjmV amhmVmV. hr {VÝhr órnmÌo {^Þ - {^Þ ñd^mdmMr AmhoV. Ë`m§Mr ñd^md{^ÞVmM Amßnmgmho~m§À`m dV©ZY_m©bm doJdoJio n[a_mU àmá H$ê$Z XoVo. H$mdoar_wio (nËZr) Ë`m§Mo OJUo g_¥Õ hmoVo. emaXm d Zby (gyZ d _wbJr) `m§À`m_wio Ë`m§À`m OJÊ`mbm ApñWaVm d dUdU òVo. `m àH$maMr Ë`m§Mr ñd^md{^ÞVm _w»` nmÌmMo OJUo H$mhrgo Xw:IH$maH$ H$aVo. nU `m VrZhr ór-nmÌm§Mm _yi _ZmoY_© EH$M Amho. Vmo _ZmoY_© åhUOo n{Vd«Vm Y_© hmo`. Ë`m {VKtdahr nma§n[aH$ g§ñH¥$VrMm d nma§n[aH$ OJÊ`mÀ`m nÕVrMm à^md Amho. Á`mà_mUo H$mdoar ì`dgm`mZo ZQ> Agboë`m Amnë`m nVrMm OrdZY_© OmUVo, Ë`mÀ`m CËH$fm©gmR>r {~ZVH«$ma gmè`m hmbAnoï>m, Am{W©H$ MT>CVma gmogVo, Ago gmogÊ`mMr Pi nVrbm AWdm _wbm§Zm bmJy XoV Zmhr Ë`mà_mUoM OJÊ`mMm AÅ>mhmg emaXm d ZbyMm Amho.

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Ë`mV XmoKtMohr nVr lr_§V AmhoV. hr Mmahr nmÌo (_wbJr, gyZ d Ë`m§Mo nVr) ~XbË`m H$mimVrb AmhoV. nU ór-ñdmV§Í`, órMr ñdËd OmUÊ`mMr Am{U gmH$maÊ`mMr YS>nS> `m AmYw{ZH$ Om{Udoer Ë`m§Mm g§~§Y Zmhr. AmYw{ZH$ H$mimVrb n{V-nËZr d AnË` Aem Mm¡H$moZr Hw$Qw>§~mMr H$ënZm Ë`m§Zr ñdrH$mabobr Amho. Ë`m_wio Ë`m XmoKtÀ`m gm_mÝ` d gd©gmYmaU _Vm§Zm Ë`m§À`m Hw$Qw>§~mV _hÎd òVo. Iao Va `m XmoKrhr H$mdoarà_mUo (AZwH«$_o gmgy d AmB©) ñdËdeyÝ` OrdZ OJVmV. Zdè`mbm à_moeZ {_imdo åhUyZ Ë`mÀ`m~amo~a nmQ>çmªZm OmUmar, Ë`mÀ`m gmho~mMr Am{U Ë`mÀ`m nËZrMr _Ou amIUmar Am{U Ë`mgmR>r YS>nS>Umar {Zby ho ór-nmÌ órÀ`m ñdËdeyÝ`VoMmM àË`` XoVo. `m nmíd©^y_rda {VMr Ymdni, _wbm§Zm Amnë`mnmgyZ Xya R>odUo ho gmao {ZaW©H$M dmQ>Vo. da åhQ>ë`mà_mUo {VMo OrdZÜò` {VÀ`m AmB©À`m OrdZÜò`merM ZmVo gm§JUmao Amho ho bjmV KoVbo Va gyZ d _wbJr `m§À`m g§X^m©V H$mdoarZo doimodoir KoVboë`m ^y{_H$m {VÀ`m ñdËdeyÝ`VoMmM àË`` XoVmV. {VMm n{Vd«VmY_© jUH$mb COiyZ {ZKV Agbm Var Vmo à^mdr R>aV Zmhr. H$maU Ë`m XmoKr (emaXm d {Zby) ñd^mdmZo \$maem g§dXo Zerb CXma, H$Zdmiy Aem Zgë`m Var {VÀ`mgma»`m n{Vd«Vm AgVmVM. `mMm AW© Agm, {eadmS>H$am§Zr Amnë`m ZmQ>H$mV VrZ ór-à{V_m a§J{dë`m nU Ë`m {VKrhr ñdËdeyÝ` Agboë`m XmIdë`m AmhoV. Á`m ^{JZr^mdmMm àË`` JS>H$ar {g§Yy d JrVm `m ór-nmÌm§À`m _mÜ`_mVyZ XoD$ eH$bo Vmo àË`` "ZQ>g_«mQ>' _Yrb ór-nmÌm§À`m _mÜ`_mVyZ òV Zmhr. BVHo$M Zmhr Va "Hw$bdYy' _Yrb ~ZyVmB©hr hiyhiy ~XbVo Am{U Vr Amnë`m _mVobm _Vn[adV©Zmg àd¥Îm H$ê$ nmhmVo. ór-nmÌm§Mm Agm àdmg Z§VaÀ`m ZmQ>H$m§_Üò Agy Zò, hr IoXmMrM Jmoï> Amho Ago åhUm`bm hdo. BWo CXmhaUmXmIb H$mZoQ>H$am§Mo "_bm H$mhr gm§Jm`M§`!' `m ZmQ>H$mH$S>o dibmo, Va ho ZmQ>H$ ór-nmÌm^modVr Jw§\$bo Amho Ago dmQ>Vo. Ë`mV èmoYaoMo doJio OrdZ gmH$maÊ`mMm à`ËZhr Ho$bobm Amho. nU "Z_Zmbm KS>mâ Vob' `m Ý`m`mZo XodH$sZ§XZ (gmgam), amhÿ b (nVr), ~mßnmOr (Aml_MmbH$) `m nwéfm§^modVr, Ë`m§À`m ñdd¡{eîQ>çm§^modVr ZmQ>H$ BVHo$ Kw_V amhVo H$s, èmoYaoMm AË`§V J§^ra Agm _mZ{gH$ g§Kf© Ë`mV JwX_ê$Z OmVmo. ZmQ>H$mbm J§^ra H$bmQ>Ur XoÊ`mgmR>rM Ho$di {VÀ`m g§Kfm©Mm EH$ gmYZ åhUyZ Cn`moJ Ho$bm OmVmo. b¾mnydu ~mßnmOrÀ`m dmgZoMm "~ir' R>abobr èmoYam Vr Kwg_Q> KoD$Z OJVo. nU {VÀ`m Ë`m Kwg_Q>rnmgyZ gmaoM AZ{^k d An[a{MV amhVmV. `m ZmQ>H$mVhr órÀ`m OrdZg§X^m©V Á`m _yë`m§Mm nmR>naw mdm Ho$bm OmVmo, Vr \$ma {dMmam§Vr ñdrH$mabobr _yëò AmhoV



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Ago Zmhr! {edm` èmoYaoMm _mZ{gH$ g§Kf© H$ië`mZ§Va amhÿb {VMm ñdrH$ma H$aVmo. nU Ë`m ñdrH$mam_mJo {dMmam§Mr n¸$s ~¡R>H$ Amho, Ago Zmhr. n«{gÕ dH$sb d Ý`m`_yVu `m§À`m KamVrb amhÿb ~wÕrZo gm_mÝ` Amho. Ë`m_wio Vmo {PS>H$mabm Jobm Amho. _mVo{dZm nmoaŠ`m d EH$mH$s OJUmè`m amhÿbMm {d{eï> {ZU©` hm ^mdZoda AmYmabobm AgmM Amho. ^mdZobm {dMmam§Mr ~¡R>H$ ZgUo Am{U ^mdZm XrK©H$mi {Q>Hy$Z amhÊ`mMr eŠ`Vm H$_r AgUo `mMo ^mZ Ë`mnmR>r_mJrb ZmQ>H$H$mambm Agbobo OmUdV Zmhr. {deof åhUOo èmoYaobm "H$mhr' _hÎdmMo gm§Jm`Mo AgVo Am{U ZmQ>H$â {Vbm H$mhr gm§JÊ`mMr g§YrM ZmQ>H$H$ma XoV Zmhr. Ë`m_wioM èmoYaoMm g§Kf© dJiVm ZmQ>H$mV AÝ` ~m~tZmM \$ma _hÎd òVo. n[aUm_r _yë`m§Mr YagmoS>M ZmQ>çJV dmñVdmV A{YH$ hmoVmZm {XgVo. "doS>çmM§ Ka CÝhmV' nmgyZ gwê$ Pmbobm H$mZoQ>H$am§Mm ZmQ>çàdmg XrK© Amho. àñVwVMo ZmQ>H$ hm Ë`m ZmQ>ç - àdmgmVrb _Ybm Q>ßnm Amho. na§Vw `m Q>ßß`mda Amë`mZ§Vahr H$mZoQ>H$am§Zr Anma§n[aH$ d _yë`J^© AmYw{ZH$ OrdZ Om{UdoMm ZmQ>çJV g_mO dmñVdmV \$magm ñdrH$ma Ho$bm Zmhr. Ë`m_wiM o Ë`m§À`m ZmQ>H$mVrb ór-nmÌo H$mhr _mZ{gH$ g§Kf© OJV, ^moJV Agë`m Var AmYw{ZH$ H$mimZo {Z_m©U Ho$boë`m àíZm§Zm Ë`m {^S>V ZmhrV. åhUyZM Ë`m§À`m ZmQ>H$mVrb ór-nmÌo EH$ nyaH$ nmÌ åhUyZ àH$Q>VmV. Ë`m§Zm Ë`m§Mr Aer {deof AmoiI Agbobr OmUdV Zmhr. H$mZoQ>H$am§Zr Amnë`m ZmQ>çàdmgmÀ`m CÎmamYm©V "n§Im§Zm AmoT> nmdbm§Mr' ho ZmQ>H$ {b{hbo, (ho ZmQ>H$ em§Vm {Zgi `m§À`m H$mX§~arda AmYmabobo hmoV.o ) Á`mÀ`m erf©H$mVhr nma§n[aH$, OwZmQ> _yë`m§MmM AmJ«h {XgVmo. ~mi H$moëhQ>H$am§Zr Or ór - nmÌo _amR>r a§J^y_rda C^r Ho$br Vr ór-nmÌo àm_w»`mZo ^maVr` g§ñH¥$VrMo Am§YionUmZo OVZ H$aUmar {XgVmV. Ë`m§Zm Ë`m§À`m g^modVmbÀ`m {díd{df`r H$moUVoM àíZ nS>V ZmhrV. `mV Hw$Qw>§~, Hw$Qw>§~JV _mUgo, Ë`m§Mo ñd^md ho gmao H$mhr A{^àoV AmhoM. Ë`m OJVmV, Ë`m Ë`mJ H$aVmV. Ë`mJmMr qH$_V _moOVmV. nU ho gmao AmnU H$m H$arV AmhmoV qH$dm H$m H$am`Mo ho àíZ Ë`m§À`m Agk _ZmVhr Cô ZmhrV. hm ZmQ>H$H$ma ^maVr` nma§n[aH$ H$mb~mø _yë`m§Mm ñdrH$ma BVŠ`m AmpË_`VoZo H$aVmo H$s gwOmU d gXgX²{ddoH$~wÕrbm ñ_ê$Z {dMma H$aUmam a{gH$hr Ë`m ^mdZoÀ`m âmV jUH$mb dmhÿZ OmD$ eH$Vmo. ^maVr` d n`m©`mZo ~hþg§»` _amR>r nwéfmbm Ë`mJ, g_n©U AmXr _yë`^mdm§Mo AVmoZmV AmH$f©U d ào_ dmQ>V Ambo Amho. Aem nwéfàojH$dJm©bm H$moëhQ>H$mam§Zr a§J{dbobr ór {Xbmgm XoUmar

dmQ>br AgUo ghO eŠ` Amho. na§Vw Aem ór-à{V_m§_wio órÀ`m Am§V[aH$, ^md{ZH$ d ¹${MV d¡Mm[aH$ g§Kfm©nmgyZ _amR>r a{gH$ AZ{^k am{hbobm Amho. Ago KS>bo H$maU AmYw{ZH$ H$mimVrb {d{eï> àH$maÀ`m ór-à{V_m {Z_m©U H$aUmè`m ZmQ>H$H$mamMr OrdZÑï>r Zdr d¡Mm[aH$ AmìhmZo - AmdmhZo noby eH$bobr Zmhr. ZmQ>H$H$ma AmYw{ZH$ H$mimVbm nU Ë`mZo ñdrH$m`© _mZbobr OrdZÑï>r d _yë`Ñï>r _Ü``wJrZ H$mimVrb Ago BWo KS>bb o o {XgVo. BWoM EH$ Jmoï> Zm|Xdmdrer dmQ>Vo Vr Aer - am. J. JS>H$è`m§Zr ZmQ>çàdmgmÀ`m CÎmamYm©V qgYy d JrVm `m nañnanyaH$ ór-à{V_m a§J{dë`m Va ZmQ>çàdmgmÀ`m Ama§^rÀ`m H$mimV nmíMmË` {dÚoZo ~hH$boë`m VéUr Aem ór-à{V_mhr a§J{dë`m. {deof åhUOo "^md~§YZ' ZmQ>H$mVrb {eH$bobo VéUhr VgoM dmJVmV. na§Vw Ë`mnmR>r_mJo nma§n[aH$ _yë`m§Mm A{VaoH$s Ü`mg OmUdV Zmhr. \$ma Va ahñ`_` ZmQ>çaMZm H$aÊ`mgmR>r d KZí`m_mMm gyS>mMm àdmg AYmoao{IV H$aÊ`mgmR>r Vo órnmÌm§Mm Aem nÕVrZo Cn`moJ H$ê$Z KoVmV, Ago åhUmdogo dmQ>Vo. `mCbQ> H$moëhQ>H$a _mÌ ~XbË`m OrdZmV H$mb~mø _yë`m§ZmM gmXa H$ê$ nmhVmV ho J§^ra Amhoo. EH$sH$S>o bhmZm§nmgyZ Wmoam§Mo Am{U ~w{Õd§Vm§nmgyZ (!) gm_mÝ`m§Mo a§OZ H$ê$ nmhUmè`m ór-à{V_m _amR>r a§J^y_rda dmdaV hmoË`m. Voìhm Ë`mÀ`mM AmJo_mJo O`d§V Xidr ZmQ>çboIZ H$arV hmoVo. Ë`m§Zr a§J{dboë`m ór-à{V_m a§J^y_rda AdVê$ bmJë`m hmoË`m. XidtZr gmH$mabobr "_hmgmJa' _Yrb gw_m, "gm{dÌr' _Yrb gm{dÌr C\©$ gmD$, "nwéf'_Yrb A§~m, "b¾' _Yrb à_wI órnmÌ hr órnmÌo Amnë`m ñ_aUmV bJoMM OmJr hmoVmV. Xidr nañna{damoYr _yë`^md OnUmè`m ór-à{V_m EH$mM ZmQ>H$mV a§J{dVmV. Ë`m§Vrb EH$ órê$n OwÝ`mM d JVH$mbmVrb Ë`mJ, g_n©U, n{Vd«VmY_© AmXr dV©Zmbm _hÎd XoV AgVo Va Xwgar órà{V_m IynXm ^mdZoÀ`m âmV Amnbr g§ñH¥$Vr, Amnbm g§ñH$ma {dgê$Z doJi OJy nmhVo. nU Ë`m OJÊ`mV Vr èñdr hmoV Zmhr. Aèñdr Pmboë`m {Vbm AIoarg AmË_hË`m H$amdr bmJVo. Xidr {Z{_©V `m ór-à{V_m EImÚm ór_ZmV OmJo hmoUmao Zdo ^mZ Am{U Ë`mMr n[aUVr Aem nÕVrZo gmH$maVmV H$s, órMo _mZ{gH$ / emar[aH$ ñdmV§Í` hr EH$ {~Z~wS>mMr VH$bmXy ~m~ Amho, Agm {dMma dmMH$-àjoH$m§À`m _Zmda C_Q>mdm. Aem ñÌr-à{V_m§_YyZ ór-ñdmV§Í` `m g§H$ënZo{dê$Õ EH$ XheVdmX dmMH$-àojH$m§À`m _Zmda R>gmdm åhUyZ à`ËZ {XgVmo. nma§n[aH$ _yë`m§Zm H$dQ>miyZ dmQ>çmMo OJU§ OJUmè`m d Am`wî` Hw$aHw$aV nU {~Z~mo^mQ>nUo OJUmè`m ór-à{V_m èñdr Pmë`mMo Vo XmI{dVmV.



"nwéf' _Yrb A§~M o m AndmX Ho$bm Va XidtZr a§J{dboë`m órnmÌm§Mo Z_wZo darb àH$maMoM AmhoV. A§~y AÝ`m`mbm dmMm \$moSy> nmhmVo, _mÌ Ë`mV Vr gd©ñdr Anèr R>aVo. A§~yMo Anèr R>aUo dmñVdmbm Yê$ZM Amho. nU Ë`m dmñVdmbm H$R>moanUo {^S>Ê`mnojm XidtMr à{V^m gdUu` d X{bV `m XmoZhr dJmªVrb nwéf órH$S>o EH$mM _yë`Ñï>rVyZ nmhmV AgVmo. órMo emofU, órda hmoUmam gm_m{OH$ d _mZ{gH$ AÝ`m` Am{U ór`moZrMo nm{dÍ`, `m JmoîQ>tZm XmoÝhtH$S>rb "nwéf' gmaIoM _hÎd XoVmo. `m§gma»`m {dMmam§À`m à{VnmXZmV Jw§VVo. n[aUm_r YrQ> d AÝ`m`m{dê$Õ bT>Umè`m A§~ynojm {VÀ`m X{bV {à`H$amÀ`m dV©ZmMr MMm© ZmQ>H$mV d ZmQ>H$m~mhoa A{YH$ hmoV am{hbobr {XgVo. "b¾' _Yrb "AmB©' Zdè`mMm ^yVH$mi {dgaVo. Vmo {dgaÊ`m_mJo H$mhr d¡Mm[aH$ _§WZ KS>bo Amho Ago Zmhr. Va {Vbm H°$Ýga Pmbm Amho. Vr H$mhr H$mimMr gmo~Vr Amho. Am`wî`mÀ`m CÎmamYm©V Omo amoJJ«ñVVoMm H$mi Cabm Amho Vmo H$mi {Vbm ghOnUmZo OJm`Mm Amho. {OMo "b¾' nwaogo Anèr R>abo Amho Vr hr _mVm Amnë`m _wbrMo Anèr R>ê$ nmhUmao "b¾' _moS>y Zò Aer BÀN>m _Zr ~miJyZ OJVo. _moS>y nmhmUmao b¾ Zì`mZo Owimdo, C^mamdo åhUyZ Vgo ñdßZ nmhmVo. "b¾' _Yrb hr _w»` ór-à{V_m bjmV KoVbr Va ZmQ>H$H$ma åhUyZ XidtZr Adb§{~bobr _yëò AmYw{ZH$ H$mimVrb g§Kfm©V VmdyZ gwbmIyZ {ZKmbobr ZmhrV. ZmQ>H$H$ma AmYw{ZH$ H$mimVrb Agbm Var ór-nmÌm§Mr _Zmo^_y r gmH$maVmZm Vmo OwZmQ>, H$mb~mø _yë`m§MmM Adb§~ H$aVmo. "n`m©`' _Üò óremofUmMo ^S>H$ {MÌU H$aVmZm Xidr _wbrÀ`m ~mnmMr AZmR>m`r Z_«Vm, _wbtMo An[a{_V ghZerb AgUo AYmoao{IV H$aVmZmM IwÔ órM órMo emofU H$arV Amho, hm gd© g m_mÝ`m§ Z m gmo ` rMm dmQ> U mam {gÕm§ V "gmgy ' `m nmÌ{MÌUmÀ`m _wimer R>do VmV. Iao Va _mVoÀ`m nXamImbyZ ~mhoa Z Ambobm _wbJm hmhr EH$ ñVa ZH$iVnUo "n`m©`' bm àmá Pmbobm hmoVm. _amR>r a§J^y_r d a{gH$ H¥$VkVoZo XrK©H$mi bjmV R>odrb Ago Zm`H$ qM. Í`§. ImZmobH$am§Zr a§J^y_rda AmUbo. CXm. "EH$ eyÝ` ~mOramd' _Yrb ~mOramd, "AdÜ`' _Yrb J§JmYa, "g§. A^moJr' _Yrb {dXyfH$ B. nU gd© a{gH$m§Mo bj doYyZ KoB©b Aem EH$mhr órnmÌmbm Ë`m§Zr ZmQ>çê$n {Xbo Zmhr. Ë`m§Zr {Z{_©bobr Jm¡ar (EH$ eyÝ` ~mOramd), H$m§MZ, Zrbm (AdÜ`), J§JZJ§Ym, _rZmj, (g§. A^moJr) hr ór nmÌo H$mhrgo doJio Am`wî` OJVmV. CXm. a§J^y_rdarb ào_mnmoQ>r d H$boÀ`m Amgº$snmoQ>r

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Jm¡ar lr_§V BZm_Xmam§Mr _mJUr ZmH$maVo. H$m§MZ ZQ>r åhUyZ èñdr hmoÊ`mgmR>r g_mOmbm _mÝ` Zgboë`m Jmoï>r H$aVo. Zrbm earagwImgmR>r Ka gmoSy>Z òVo. B. nU `m gmè`m {ó`m nma§n[aH$M _yëò _mZVmV. `mVrb àËòH$sbm "h¸$m' Mm Zdam, h¸$mMo _yb, Ka Ago gmao H$mhr hdo Amho Am{U Vo {_i{dÊ`mgmR>r H$m` dmQ>ob Vo H$aÊ`mMr Ë`m§Mr V`mar Amho. nma§n[aH$ _yë`m§À`m nmíd©^y_rda ImZmobH$a órMr ñIbZerb à{V_m a§J{dVmV. H$maU ZmQ>çJV órê$nmH$S>o nmhÊ`mMr Ë`m§Mr Ñï>r hr nma§n[aH$M ñdê$nmMr Amho. a§J^y_rdarb `m Ag§»` órnmÌm§H$Sy>Z Ooìhm AmnU {dO` V|Sw>bH$am§Zr a§J{dboë`m órnmÌm§H$S>o òVmo, Voìhm H$mhr {ZarjUo Zm| X {dVm ò V mV. gd© g mYmaUnUo V| S w > b H$a Zm`H$m^mo d Vr ZmQ>çgyÌmMr Jw§\$U H$aVmV Ago {XgVo. (AndmX : em§VVm! H$moQ>© Mmby Amho) Xwgao åhUOo Ë`m§À`m ZmQ>H$mV {H$_mZ XmoZ órnmÌo AgVmV. _w»` ZmQ>çgyÌmMo gmao g§X^© `m órnmÌm§nmer òVmV. g^mo d VmbÀ`m órÀ`m pñW{VJVrMr H$Ud dmQy > Z g§doXZerb, H$Zdmiy nwê$fm§Mr ór - gwYmaUoMm àma§^ H$aUmar Midi EH$mo{Ugmì`m eVH$mV C^mabr hmoVr. Ë`m MidirMr d nwéfm§Zm ór - emofUm{df`r dmQ>Umè`m AZwH§$noMr AmR>dU ìhmdr Aem nÕVrZo Xidr Ooìhm "n`m©`' _Yrb {Vgè`m gwZoMr ~§S>Imoa (!) à{V_m a§J{dVmV Voìhm Ë`m_mJrb Ë`m§Mr OrdZÑï>r nma§n[aH$M AgVo, Ago åhUm`bm hdo. aËZmH$a _VH$atZr Amnë`m "A{¾{Xì`' `m ZmQ>H$mV hþ§S>m g_ñ`m A{YH$ J§^ra, g_§Og d H$bmË_arË`m hmVmibr Amho. `m ZmQ>H$mV _¥Xwbm, {VMr AmB©, {VMr gmgy `m VrZ ór-à{V_m AmhoV. _¥Xwbm hr emo{fV, nr{S>V d AÝ`m`J«ñV ñÌrnmÌ Amho. gXa ZmQ>H$mVrb gmao àg§J _¥XwbmÀ`m _mhoar åhUOo OUy _mVm{nË`m§À`m gmjrZo gmH$maVmV. {VÀ`m gmgar Oo - Oo KS>bo, Oo {VZo ^moJbo VoM nwÝhm gmXa Ho$bo OmVo. `m àH$mao ZmQ>çàg§JmMr _m§ S > U r Ho $ ë`m_w i o gm_m{OH$ MmbrarVr, Ë`m MmbrarVr OmonmgUmar, dmT>{dUmar _mUgo Am{U Ë`m§Mr _mZ{gH$Vm àH$fm©Zo AYmoao{IV hmoVo. `m ZmQ>H$mVrb emo{fV _¥Xwbm gm`ÝgMr nXdrYa Amho. nU gm_m{OH$ OrdZmV dmQ>çmbm Amboë`m g_ñ`m§da _mV H$aÊ`mMo _mZ{gH$ gm_Ï`© {VÀ`mV Zmhr. H$maU nwéfàYmZ g_mOì`dñWoV _wbJr Á`m _yë`m§Mo OVZ H$ê$Z dmT>{dbr OmVo, Ë`m _yë`m§À`m àË`jmàË`j g§ñH$mam§_wio Vr _mZ{gH$ÑîQ>çm Xw~ir amhmVo. VgoM gw{e{jV hmoÊ`mgmR>r Vr Oo {eH$Vo Vo {ejU {Vbm ñdV:Mr _mZ{gH$ eº$s dmT>{dÊ`mg nyaH$ R>aV Zmhr. n[aUm_r AmYw{ZH$ H$mimVhr ór Xw~ir, _Zmo~b ha{dbobr R>aV Amho. nwéfàYmZ g_mOaMZoZo {Z_m©U Ho$boë`m g§Ho$Vm§Mm Vr ~ir R>aV



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Amho. ho g§Ho$V {Z_m©U H$aÊ`mV, Am§YionUmZo Vo OmonmgÊ`mV n«ËòH$ _wbrMm ^mD$, {VMo dS>rb gmhmæ`^yV KQ>H$ R>aV AgVmVM. `m {dXmaH$ d {dnarV gm_m{OH$ dñVwpñWVrMr OmUrd _¥Xwbm `m ór à{V_oVyZ hmoVo Va _wbrÀ`m gwIXw:Im{df`r H$mhr ~mobÊ`mMm, R>a{dÊ`mMm H$moUVmM A{YH$ma Zgbobr, Vgm A{YH$ma Agm`bm hdm `mMr OmUrd Zgbobr _mV¥à{V_m åhUyZ AmB© `m órnmÌmMm Am{U Ë`mVyZ AW©nyU© g§X^©db` {Z_m©U hmoVo. V|Sw>bH$a{Z{_©V órnmÌo gm_m{OH$, amOH$s`, Ym{_©H$ AmXr doJdoJù`m g§ñWmì`dñWm§À`m d `_{Z`_m§À`m ~ir AmhoV. `m gmè`m g§ñWm§Mr _w»` gyÌo nwéfm§À`m hmVmV AmhoV. {Z`_hr Ë`m§ZrM ~Z{dbobo AmhoV. ho {Z`_ ~Z{dVmZm ór hm gm_m{OH$ KQ>H$ gd©ñdr Amnë`m H$ømV amhrb, AmnU H|$Ð Am{U Vr narK Aer ì`dñWm Ë`mZo Ho$br Amho. {deof åhUOo hm ì`yh Aem nÕVrZo aMbm Amho H$s, `m ì`yhmV Amnbr \$gdUyH$, Hw$M§~Um d emofU hmoV Amho, ho _wÔm_ {dMma Ho$ë`m{edm` órbm H$iy Zò. ~hþXm órbm ho H$iVM Zmhr, {Obm ho "gË`' H$iVo {VMm àdmg `mVZmJ^© hmoVmo. {VÀ`m OmJo hmoÊ`mV {VÀ`m doXZoMm OÝ_ hmoVmo. EH$s_wio Xwgar "OmJr' hmoVo. Aer "OmJ¥V' Pmbobr EImXr AmoiIrÀ`m Am{U gbJrÀ`m _¥VdV OJÊ`mVyZ jUH$mb gwQy> nmhmVo, (g[aVm - "H$_bm') H$Yr EImXr OmJr hmoD$Zhr OmJ Amë`mMo hoVwV: ñdrH$maV Zmhr. (gw{_Ìm - "KaQ>o A_wMo N>mZ') H$mhtZm H$mhr OmUdVM Zmhr. CbQ> H$mhr doJio OJy nmhUmè`m órMm AWdm OrdZmÀ`m aoQ>çmV doJio OJmdo bmJboë`m órMm ~ir KoUmè`m H$mañWmZmV Vr CËgmhmZo gm_rb hmoVo. (nm{hOo OmVrMo, gImam_ ~mBªS>a, em§VVm! H$moQ>© Mmby Amho) Vo§Sw>bH$a nañna{damoYr g§~§Ym§da AmYmaboë`m ór-à{V_m {Z_m©U H$aVmV. nU Ë`m órnmÌm§Zr ñdrH$mabobr / Adb§~bobr OrdZ_yëò gmaIrM AgVmV. ho Ë`m§Zr OdiOdi gd©M ZmQ>H$m§VyZ èñdrarË`m XmIdyZ {Xbo Amho. CXm. "lr_§V' _Yrb A{ddm{hV J^©dVr _Wwam Am{U {VMr AmB©, {VMr d{hZr `m ñÌrnmÌm§Zr A§{JH$mabobr OrdZ_yëò gmaIrM AmhoV. _WwaoMo {ddmhmnydu JamoXa AgUo hm Ho$di AnKmV Am{U \$gdUyH$ Amho. Ë`mnmR>r_mJo Ë`m órnmÌmMr H$moUVrhr {deof "^y{_H$m' Zmhr. AgoM "em§VVm! H$moQ>© Mmby Amho' _Yrb ~oUmao{df`r åhUVm òB©b. ~oUmaoMr AmOMr pñW{VJVr hr gm_m{OH$ n[a{ñWVrMm Am{U {d{eîQ> _yë`àUmbrMm n[anmH$ Amho. "H$_bm' _Yrb H$_bmbm Va AmnU nwÝhm - nwÝhm {dH$bo H$m OmV AmhmoV hm àíZhr nS>V Zmhr. Ia§ Va {Vbm Agm àíZ nSy> Zò Agm g§ñH$maM {VÀ`mda nwéfàYmZ ì`dñWoZo Ho$bobm Amho. Vr Ë`m g§ñH$mamMr dmhH$ AgVo. Vr Oo OJVo Vo {VMo ^moJ

AgVmV. ór- emofUmÀ`m àJQ> AàJQ> Aem AZoH$ Vèhm V| S w b H$am§ À `m ZmQ> H $mV Amnë`m àË``mMm {df` hmo V mV. Ë`mM~amo~a Ë`m emofUm_mJrb ì`dñWoMo, {VÀ`m EH$m§Jr Zr{V{Z`_m§Mo ^`mdh Xe©Zhr Amnë`mbm KS>Vo. V|S>wbH$am§Mr OdiOdi gmar ór-nmÌo namË_, _¥VdV Am`wî` OJVmV. hr nmÌo àJQ> An«JQ> emofUmMo ~ir AgVmV. Ë`m§Zm Ë`m§MoM Xw:I {demb hmoD$Z OmUdV Zmhr. na§Vw Ë`m_mJrb ZmQ>H$H$mamMo OrdZ^mZ d OrdZÑï>r n«Jë^ Agë`mZo hr gmao órnmÌo ór-Xw:Im§M,o órÀ`m `mVZm§Mo {dXmaH$ d emoH$J^© Xe©Z KS>{dVmV. Ë`m dmMH$àojH$m§Zm A§V_w©I ìhm`bm ^mJ nmS>VmV. EH$sH$S>o `m àH$maÀ`m ór-à{V_m _amR>r a§J^y_rda gmH$maV hmoË`m Va XwgarH$S>o nma§n[aH$ OrdZ_yëò Camer H$dQ>miyZ Ë`mgmR>r OJUmè`m ór - n«{V_m§Mo Xe©Z KS>{dbo OmV hmoVo. _hoe EbHw§$Mdmam§Zr BVa g§X^m©V _hÎdmMr R>aUmar ZmQ>Ho$ {b{hbr Agbr, Var órnmÌm§H$S>o nmhÊ`mMm Ë`m§Mm Ñ{ï>H$moZ nma§n[aH$M Agbobm {XgVmo. "dmgZmH$m§S>' _Üò bmbr Amnë`m ^mdmer g§~Y§ R>do Vo ho Iao Amho. `m H¥$Vr_wio Vr àñWm{nV a§J^y_rdarb órnmÌm§nj o m doJir R>aVo hohr Iao Amho. nU ^mdmer g§~§Y R>odUo hm {ZU©` {VMm Zmhr. VgoM `m àH$maÀ`m g§~§Ym§_wio {Z_m©U Pmboë`m g§Kfm©V Vr JmdH$è`m§À`m H$monmbm Km~ê$Z eaU OmVo. {d{eï> n[apñWVrV EImÚm ì`º$sbm AIoarg g_mO~§YZm§Zm eaU Omdo bmJVo, hm {gÕm§V ñdrH$mê$Z "dmgZmH$m§S>' _Yrb órnmÌmMm {dMma Ho$bm Var ho órnmÌ d¡Mm[aH$Voer Amnbo ZmVo gm§JV Zmhr. Ë`m_wio {VZo ^moJboë`m dmgZoMm CÝ_mX hm EH$m nwéfmMr bha R>aVo. AWm©V Aem aMZo_wioM nwéfàYmZ ì`dñWm órbm (AJXr ~{hUrbmhr) Amnë`m dmgZoMm ~ir H$gm R>a{dVo `mMo ñdÀN> Xe©Z KS>Vo. VgoM Ë`m_mJrb ZmQ>H$H$mamMr J§^ra OrdZÑï>rhr H$iVo. hm ZmQ> H $H$ma Amnë`m do J do J ù`m ZmQ> H $m§ V órÀ`m _mZ{gH$VoMmhr J§^ranUo emoY KoD$ nmhmV Agë`mMo OmUdVo. Ago Agbo Var `m ZmQ>H$H$mamMr órH$S>o, {VÀ`m ^md{ZH$, _mZ{gH$ d H$m¡ Q w > § { ~H$ {dídmH$S> o nmhÊ`mMr Ñï> r hr nma§ n [aH$ Amho . CXmhaUmXmIb - "dmS>m {Mao~§Xr' Am{U "`wJm§V' _Yrb ór à{V_m§Mm {dMma H$aVm òBb © . `m ZmQ>H$m§_Üò nañna{damoYr _yë`Ñï>r Agboë`m ór-à{V_m AmhoV. _mÌ `m§Vrb _w»` órnm§Ìm§Mm (XmXr, AmB©, d{hZr, A§Obr, Z§{XZr) ZmQ>çJV OrdZàdmg hm na§naoer {Oìhmù`mMo ZmVo gm§JUmam Amho. A§Obr àma§^r gmgaÀ`m _§S>it{df`r AZwËgwH$ Agbr Var Ë`mnmR>r_mJo H$moH$UñW d XoeñW Aem {d^mJr` ôXmMr Ñï>r Amho. na§Vw hiyhiy Vr hm ôX _mJo Q>mH$Vo Am{U Vr A{YH$m{YH$ gmgaMr hmoVo. `m CbQ> Z§{XZr hr



Xoenm§S>çm§À`m Mm¡Ï`m {nT>rVrb ór (gyZ) AgyZ Vr nma§n[aH$ _yë`^md Am{U "ñd' ApñVËd `m§Mo doJionU, `m XmoÝhr Jmoï>r {eVm\$sZo Owi{dVo. Z§{XZrÀ`m Aem à{V_oV nma§n[aH$Vm d d¡`{º$H$ _VàUmbr `m§ M o gå`H$ {_lU Agbo b o {XgVo . na§ V w EbHw§$Mdmam§À`m ZmQ>H$m§Vrb EHy$U ñÌr-à{V_m `m nma§n[aH$ _yë`m§erM {Oìhmù`mMo ZmVo gm§JVmZm {XgVmV. _hoe EbHw§$Mdmam§Z§VaMm _hÎdmMm ZmQ>H$H$ma åhUyZ gVre AmioH$am§Mm C„oI H$am`bm hdm. AmioH$am§Zr OmUrdnydH© $ órH|$Ðr ZmQ>H$ {b{hbobo AmT>iV Zmhr. nmÌm§Mo _mZ{gH$ {díd Am{U Ë`m_mJrb gm_m{OH$-gm§ñH¥${VH$ n`m©daU `m gyÌm§^modVr Ë`m§Zr Amnbr ZmQ>çH$WmZHo$ Jw§\$br AmhoV. "_hm{Zdm©U' `m ZmQ>H$mV Ë`m§Zr _amR>r a§J^y_rda An[a{MV Am{U Ë`mM~amo~a {dnarV dmQ>b o Aer ór-à{V_m gmH$mabr. hr ór-à{V_m (a_m) nËZr Am{U _mVm Aem XmoÝhr ê$nm§V An[a{MVVoMm d {dnarVVoMm AZw^d XoV.o `m órnmÌmZo a§J^y_rda àW_M Amnë`m _ZmVrb H$m_^mdmMm ñnï>mñnï>nUo Cƒma Ho$bobm Amho. {VMo X¡Z§{XZ dV©Z ho g_mO_mÝ` ê$T> g§X^mªer d dV©Zmer {ZJ{S>V Amho. _mÌ {VMo _mZ{gH$ {díd `m dV©ZmÀ`m H$mofmV amhÿZhr doJio H$mhr gm§Jy, ~moby nmhVo. Iao Va H$mhr H$mi {VMo OJUo Xw^§Jbobo Amho. na§Vw Vr Vgo ^mgy XoV Zmhr. Vr OJÊ`mMr EH$ doJir Vèhm nS>VmiyZ nmhVo. hr Vèhm g_mO_mÝ` gm§ñH¥${VH$ g§H$o Vm§Zm Y¸$m nmohmoM{dUmar Amho, ho {Vbm Mm§Jbo H$iVo. qH$~hþZm ho H$ië`mZ§VaM Vr gm§ñH¥${VH$ g§Ho$Vm§Zm ZH$ma XoÊ`mMo AQ>inUo Q>miVo Am{U n[apñWVreaUVm ñdrH$maVo. ñÌr-_ZmVrb Aemm Am§XmobZm§Mr gyú_ Oma _amR>r a§J^y_rda AndmXmZoM AmT>iVo. AmioH$am§Z§Va AZoH$ ZmQ>H$H$mam§Zr ZmQ>çboIZ Ho$bobo Amho. Ë`m gd© ZmQ>H$H$mam§Mm òWo C„oI H$aUo eŠ` Zmhr. _mÌ àem§V Xidr (MmaMm¡Kr), MoVZ XmVma (gmdë`m), O`§V ndma (_mP§ Ka), AemoH$ nmQ>moio (AmB© [aQ>mà hmoVo`!) Am{U amOrd ZmB©H$ (gmR>oM§ H$m` H$am`M§) `m ZmQ>H$H$mam§Mm Am{U Ë`m§À`m ZmQ>H$m§Mm {dMma WmoSŠ`mV H$aUma Amho. ho gd© ZmQ>H$H$ma CÎma AmYw{ZH$ H$mimVrb ZmQ>H$H$ma AmhoV. Ë`m§À`m AdVr^dVr pñWË`§Vam§Zm AZwHy$b Aem n[adV©ZdmXr Midir Zì`m Omo_mZo H$m`©erb Pmboë`m hmoË`m. àËòH$ MidirV Zdo ZoV¥Ëd n«H$Q> hmoV hmoVo. `m Midit_Üò órdmXr Midihr Amho. Aem H$mimV boIZ H$aUmao ho ZmQ>H$H$ma AmhoV ho _wÔm_ Zm|Xdm`bm hdo. XidtMo AbrH$S>o JmObobo EH$ ZmQ>H$ åhUOo "MmaMm¡Kr' hmo`. ho ZmQ>H$ Mma órnmÌm§^modVr Jw§\$bobo Amho. ZmQ>çJV Ame`mÀ`m Ñï>rZo nmhVm hr Mmahr órnmÌo _hÎdmMr AmhoV. `mVrb àËòH$sMm EH$

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ñdV§Ì àdmg Amho. Ë`mM~amo~a Ë`m Mm¡Kr "órMo ñdmV§Í`' `m gyÌmZo EH$_oH$sër OmoS>boë`m AmhoV. ZmQ>H$mV "AmB©' ho _w»` nmÌ Amho. H$maU `m nmÌmZo EHo$ H$mir KoVboë`m {d{eï> {ZU©`m_wio Ë`m {VKtÀ`m OrdZmV H$mhr AQ>rVQ>rMo àíZ {Z_m©U Pmbobo AmhoV Am{U àËòH$sbm {Zdm©UrMm {ZU©` KoÊ`mMr doi Ambr Amho. _moR>çm _wbrbm naórer g§~§Y R>odUmè`m Zdè`mbm ñdrH$mam`Mo H$s Zmhr `m{df`rMm {ZU©` ¿`m`Mm Amho. _Yë`m _wbrbm H$mhrM Z H$aVm nma§ n m[aH$ _y ë `m§ Z r ñdV…bm OISy > Z Ko V bo ë `m Zdè`m~amo~aM g§gma nwT>o aoQ>V Ý`m`Mm H$s Agm g§gma _moSy>Z Q>mH$m`Mm, ho R>adm`Mo Amho Am{U {Vgarbm {d{eï> g_ñ`m CbJS>çmgmR>r XmoÝhr {_Ìm§Zm {VÀ`mer b¾ H$aÊ`gmR>r V`ma H$am`Mo Amho. {edm` {VMr hr Aer ^y{_H$m Hw$Qw>§~r`m§Zmhr g_OyZ Úm`Mr Amho. `m {VKrhr Amnbr ^y{_H$m Amnmnë`m {ZU©` àg§Jr BVa nmÌm§§Zm g_OmdyZ gm§JVmV. nU EH$_oH$s§Zm H$mhr g_OyZ gm§ J Ê`mV Ë`m§ Z m è ò V Zmhr. `mVrb n{hë`m Xmo K r n[apñWVreaUVm ñdrH$maVmV Am{U {VgarMm {ZU©` AYm§VarM amhVmo. `m {VÝhr órnmÌm§g_moa Oo àíZ Cô am{hbo AmhoV Vo àíZ {d{eï> g_OaMZoZo {Z_m©U Ho$bobo AmhoV. àñVwV ZmQ>H$mVrb órnmÌo H$mhr doJio OJV Agë`m Var AmB© d gdm©V bhmZ _wbJr `m§Mm AndmX H$aVm Caboë`m XmoKr g_mOmZo A§{JH$maboë`m g§Ho$Vm§Zm nyU©nUo ñdrH$maUmè`m AmhoV. AmB© {VÀ`m VméÊ`mV doJù`m nÕVrZo OJÊ`mMm {ZU©` KoVo Am{U Ë`m {ZU©`mMo gmao Mm§JbodmB©Q> n[aUm_ ^moJVo. na§Vw åhUyZ {Vbm ì`º$sZo g_mOOrdZmV ñd-V§Ì hmoÊ`mMm J{^©VmW© C_oJbm Amho, Ago Zmhr. `m àH$maÀ`m órnmÌm§Mr {Z{_©Vr H$aUmam ZmQ>H$H$ma EH$ An[a{MV {df` EdT>çm _`m©{XV Ñï>rZoM `m nmÌm§H$S>o nmhVmo. `m ZmQ>H$mVrb órnmÌm§à_mUoM AgVmo. Ë`mV _yë`m§Mr, Om{UdoMr "Imobr' Agbobr OmUdV Zmhr. _mÌ XidtMr "Mmhÿb' _Yrb Zm{`H$m µ(Zm`H$hr) g^modVmbÀ`m ^«îQ> OrdZpñWVtMo, CWi OJÊ`mMo d A{ddoH$s _yë`gaUrMo A{YH$ J§^ra d {dXmaH$ Xe©Z KS>{dVo. MoVZ XmVmam§Mo "gmdë`m' ho ZmQ>H$ \$º$ órnmÌm§Zm Ho$Ð§ ñWmZr R>do Zy {b{hbo Jobb o o Amho. `m ZmQ>H$mVrb nmR>mno mR>À`m {VKr ~{hUr, Ë`m§Zr AmOr, Ë`m§Mr _aU nmdbobr AmB©, Ë`m§Mr eoOmarU Am{U {VKtMr _¡{ÌUr BVH$s órnmÌo AmhoV. `m órnmÌm§Mm gd©gmYmaU gm_m{OH$ XOm© H${ZîR> _Ü`_dJu` Amho. Á`m _wbt^modVr "gmdë`m' Mo H$WmZH$ {dUbo OmVo, Ë`m _wbr OmVrZo ~«m÷U AmhoV. nU Ë`m§Zr ~«m÷Um§Zm dV©ZY_© OdiOdi gm§S>bobm Amho. nU Vmo OmUrdnyd©H$ Zmhr. Ë`m§À`m Hw$Qw>§~mV Ago H$mhr {dnarV KS>bo {nË`mMo Ka [VMo AgV Zmhr. b¾mZ§Va H$moUË`mhr H$maUm_wio AWdm Hw$Umhr_wio (ñÌr qH$dm nwéf) {Vbm KQ>ñ\$moQ> {_imbm



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{H$§dm KQ>ñ\$moQ> ¿`mdm bmJbm Va gmgaMo Ka {VMo amhV Zmhr. "OÝ_mbm Ambobr n«ËòH$ _wbJr EImÚm KamVM dmT>Vo, EImÚm KamV gyZ åhUyZ OmVo. EH$m KamH$Sy>Z Xwgè`m KamH$S>o {VMm àdmg hmoVmo nU {Vbm {VMo Ka AgV Zmhr.' `m gyÌm^modVr ho ZmQ>H$ Jw§\$bobo Amho. _mÌ àË`jmV Ë`mVrb Zm{`H$m, {VMr gmgy, [VMr ZU§X hr órnmÌo hm {dMma d Ë`m_mJrb Jm§^r`© g_OyZ C_OyZ OJV AmhoV {H§$dm Vgo Am`wî`mMo {ZU©` KoV AmhoV Ago hmoV Zmhr. `m órnmÌm§À`m ZmQ>çJV H¥${VCº$s nmhVm _mZdr g§~Y§ m§Vrb {Oìhmim, gm¡hmX© Ë`m {VKtZm H$ibm Amho, ho åhUUo YmSgmMo R>aob. gJio ZmQ>H$ ^mdZm§À`m jmo^mda Cô amhVo. `m ZmQ>H$mVrb gmgyÀ`m d¡{eîQ>çnyU© ^yVH$mi d {VÀ`m ZU§XM o m {~Z~wS>mMm {dMma ZmQ>H$m§VyZ dOm Ho$bm Va ZmQ>H$mV H$m` Caob, Agm n«íZ _Zmer òVmo. VgoM `m ZmQ>H$mV nwéfàYmZ ì`dñWoV nwéfmÀ`m bhar_wio âS>ë`m Joboë`m Zm{`Ho$Mr d¡Mm[aH$ nmVir A{Ve` gm_mÝ` AerM amhVo. ZmQ>H$H$ma J§^ra {df`mMr {ZdS> H$aVmo, nU Ë`m {df`mMm _m§S>Ur gm_mÝ` d CWi nmVirdaM hmoVo Ago IoXmZo åhUmdogo dmQ>Vo. H$maU ñÌr-nmÌ| g^modVmbÀ`m g_mOmV Oo g§WJVrZo nU {ZpíMVnUo ~XbV Amho, Aem _yë`~Xbm§{df`r AZ{^kM AmhoV. Ago KS>Vo H$maU ZmQ>H$H$mahr Ë`mH$S>o nwaoem S>mi o gnUo nmhV Zmhr. "AmB© [aQ>mà hmoVo`!' `m ZmQ>H$ma _mV¥ê$nmVrb ór Ho$ìhmhr H$m¡Qw>§{~H$ O~m~XmarVyZ _wº$ hmoD$ eH$V Zmhr, qH$~hþZm ~XbË`m H$mimV ZmoH$ar H$ê$ bmJboë`m {ó`m d`mod¥Õ gmgybm AWdm _mVobm (órbm) Iè`m AWm©Zo g_OyZ KoD$ eH$V ZmhrV, ZmoH$arÀ`m {Z{_ÎmmZo Kam~mhoa nS>Umè`m {ó`m g§{YgmYy hmoV AmhoV, Ë`m KamVrb d`ñH$a ñÌrMm ghmZw^mdmZo {dMma H$é eH$V ZmhrV, Aem dmñVdpñWVrbm àH$Q> H$aÊ`mMo H$m`© gXa ZmQ>H$ H$aVo. na§Vw Ë`m nbrH$S>o OmD$Z `m ZmQ>H$mV d¡Mm[aH$ nmVirdarb g§Kf© ñÌrnmÌm§_YyZ gmH$maV Zmhr. BWohr ^md{ZH$ nmVirMo Xe©Z AJ«gao amhVo. Xwgao Ago H$s, `m ZmQ>H$mVrb órnmÌo __©J«mhr Va XyaM nU gm_mÝ` _mUgmbm gwMUmamhr {dMma H$arV ZmhrV. ^maVr` g_mOì`dñWoZo {ó`m§À`m dmQ>çmbm Á`m àH$maMr H$m_o {Xbr Ë`m H$m_m§Mm XOm© {ZH¥$ï> d {~Z_hÎdmMm _mZbm. g_mOmV hm {dMma hOmamo df} {PanV AmOhr ÑT> Pmbobm {XgVmo. AdVr^modVrÀ`m dmñVdmZo H$mhrer Amho H$s, Ë`m_wio Ë`m§Mo Hw$Qw>§~JV ^md{díd nyU©nUo CX²ÜdñV Pmbo Amho, n«má n[apñWVrer Ë`m OwidyZ KoVmV. Ë`m OwidyZ KoÊ`mÀ`m nÕVrVM Ë`m§Zm Ë`m§Mm {d{eï> dV©ZY_© gm§S>mdm bmJVmo. `mMm AW© Ë`m§Mo "AmO' Mo {d{eï> OJUo hr Ë`m§Mr n«má n[apñWVr Amho Am{U `m n{apñWda

nwéfmÀ`m ^moJdmXr OJÊ`mMr, ^moJdmXmbm ~ir nS>Ê`mÀ`m órÀ`m Xw~b © Vo M o r, d¥ÎmrMr _moha C_Q>bb o r Amho. BWë`m {ó`m§À`m _ZmVhr _moh {Z_m©U hmoVmV. Ë`m _mohmà_mUo Ë`m OJVmV. nU AIoarg Ë`m§Zm Ë`mMo {dn[aV n{aUm_ ^moJmdo bmJVmV. `m n[aUm_m§Mm EH$ åhUOo Ë`m§Mo _mZ{gH$ OJUohr {dM{bV hmoVo. BVHo$M Zmhr Va Ë`m§Mo _ZmgmaIo OJÊ`m~mobÊ`mMo gmao _mJ© EH$_wImZo ~§X hmoVmV. Ë`m {VKtMo ho OJUo Xw…IXm`H$ d doXZmXm`H$ Amho. {d{eîQ> _yë`m§Mm ñdrH$ma H$aUmè`m nwéfàYmZ g§ñH¥$Vr_wi,o H$mhr nwéfm§À`m ^moJdmXr Ñïr_wio Am{U Ë`m§À`m ZmH$V}nUm_wio H$mhr {ó`m§Zm gai, gmYo, gm_Ý` Anojm§Mo Am`wî`hr gwImZo d {dd§MZo{edm` OJVm òV Zmhr. Oo OJUo Ë`m§À`m OrdZmMm An[ahm`© ^mJ hmoVo, Vo OJUohr gwgø H$ê$Z OJÊ`mgmaIr pñWVr amhmV Zmhr. OJÊ`mMo n`m©` {ZdS>Ê`mMo Ë`m§Mo ñdmV§Í` g§H$w {MV Ho$bo OmVo. Iao Va ho ñdmV§Í` BVHo$ g§H$w {MV Ho$bo OmVo H$s, Vo Ë`m§Zm Odi Odi ZgVoM Aem {dXmaH$ AZw^dmn`ªV Ë`m {VKr d AmOr órnmÌm§Mo ZmQ>çJV OrdZ Amnë`mbm KoD$Z òVo. ñÌr-_VñdmV§Í`, órMo àíZ, Ë`m_mJrb gm_m{OH$ pñW{VJVr `m§Mo Zo_Ho$ ^mZ Om{UdoÀ`m nmVirda ZmQ>H$H$mambm nyU©ËdmZo Zgbo Var Ë`mZo {Z{_©bb o r hr órnmÌo ñÌrÀ`m Kwg_Q>Ê`mMo {MÌU gm_Ï`m©Zo H$aVmV Am{U dmMH$-àojH$m§Zm A§V_w©I ìhm`bm ^mJ nmS>VmV. `mZ§Va O`§V ndmam§À`m AbrH$S>o JmOV Abgoë`m "_mP§ Ka' Mm {dMma H$aVm òB©b. EHy$Z _mZdmÀ`m gm_m{OH$ {dídmV órbm IynXm Xwæ`_ ñWmZ {_imbobo Amho. nU Ago KS>bobo Zmhr ho ^mgdyZ XoÊ`mH$[aVm AmnU JmJu, _¡Ìo`r, gm{dÌr~mB© \w$bo, Vmam~mB© qeXo Aem H$mhr OwÝ`m Zì`m {ñÌ`m§Mr CXmhaUo gVV XoV AgVmo. Ia§ Va hr CXmhaUo åhUOo ñdn«`ËZmZo ñdV…Mm gm_m{OH$ XOm© C§MmdÊ`mMm à`ËZ H$aUmè`m {ó`m§Mr AmhoV. Aem {ó`m g§ » ò Z o H$_rM AgVmV Am{U Ë`m§ Z m g_mOmV ñdñWmZ {_i{dÊ`mgmR>r Oo OJbobo d ^moJbobo AgVo, Ë`mMm H$mbnaËdo g_mOmbm {dga nS>bobm AgVmo. Amnë`m g_mOaMZoV d Hw$Qw>~§ aMZoV ñÌrbm h¸$mMo Ka Zmhr. b¾ hmoD$Z Zdè`mMo Kar Om`Mo AgVo, Aem ar[V{ddmOm_wio {VÀ`m _mVoMo(?) g^mZ Pmbobr ór `m dmñVdmH$S>o H$go nmhV Amho, Ë`mVyZ {Vbm H$mhr OmUdVo Amho H$m? Am{U OmUdV Agë`mg H$m` OmUdVo, Ë`m OmUdÊ`mMo ñdê$n H$m`? {Vbm {VÀ`m "gmYZê$nm' Mr nwgQ>er Var OmUrd hmoVo H$m? Ago {H$VrVar gmYo gmono àíZ ZmQ>H$mV ZmQ>çê$n KoD$ eH$bo AgVo; na§Vw "AmB© [aQ>mà hmoò`' _Üò Ago KS>V Zmhr. [aQ>mà hmoÊ`mgmR>r AmB©À`m _ZmV H$moUVmhr d¡Mm[aH$ g§Kf© C^m amhV Zmhr, {deof Ago H$s, hr gmao órnmÌo nma§nm[aH$ _yë`m§Mm,



OrdZmMm d Ñï>rMm nwañH$ma H$aUmar AmhoV Am{U Ë`mda Ë`m§Mr {ZîR>mhr Amho. amOrd ZmB©H$ `m§Mo "gmR>oM§ H$m` H$am`M§' ho ZmQ>H$ XmoZ nmÌm§^modVr aMbobo Amho. nwéfnmÌ Am{U órnmÌ Aer nmÌm§Mr {ZdS> Amho. nwéfnmÌ ZmQ>çH$WoÀ`m H|$ÐñWmZr Amho Am{U ñÌrnmÌ Ë`mbm nyaH$ R>aob Ago Amho. ho órnmÌ åhUOo gb_m hmo`. àñVwV ZmQ>H$ n«m_w»`mZo XmoZM nmÌm§À`m OrdZmVrb KQ>Zm§er {ZJ{S>V Amho. Ë`m_wio òWo ñÌrnmÌmbm _hÎd òVo. Varhr `m órnmÌmMo ZmQ>çJV H$m`© H$m`, Agm àíZ CnpñWV H$aVm òB©b. gb_m Y_m©Zo _wpñb_ AgyZ {VZo {h§Xy _wbmer b¾ Ho$bo Amho. nU ZmQ>H$mV hm _wÔm _hÎdmMm Zmhr. `m ZmQ>H$mV doJdoJù`m joÌmVrb JQ>~mOr, JQ>~mOrMo amOH$maU Am{U Ë`mMm Ë`m JQ>~mOrV AgUmè`m§da d WoQ>nUo ZgUmè`m§da hmoUmam A§V~m©ø n[aUm_ `mbm _hÎd Agobb o o {XgVo. `m n«H$maÀ`m àdmgmV Zm`H$mMr Am§V[aH$ Kwg_Q> Amho. Ë`mMm _Vb~rnUm d g§{YgmYynUm Amho. BVam§À`m JQ>~mOrbm CÎma XoÊ`mgmR>r Ë`mZo AmIbobo S>mdnoM AmhoV. VgoM Ë`m S>mdnoMm§_Yrb èmnè Amho, b~mS>r Amho. `m g§nyU© àdmgmV gbm_mbm {deof ñWmZ Zmhr. Vr B§JO « r {df`mMr àmÜ`m{nH$m Amho. {VMo H$mhr ì`{º$JV g§Kf© AmhoV. nU Vr g_OyVXma Agë`mZo (ZmQ>H$H$mamZo {Vbm g_OyVXma R>odë`mZo) Ë`mÀ`m _mZ{gH$ CbKmbrV {VÀ`m _ZmVrb bhmZghmZ Xw:Ihr nwago o ì`º$ H$aÊ`mbm Adga {_iV Zmhr H$maU Ë`mMo PJS>V amhUo BVHo$ Vrd« Amho H$s, Ë`m Vrd«VoV {VMo Vrd« Xw:Ihr Ë`mbm àVrV hmoD$ eH$V Zmhr. n{VnËZr g§~§Ym_Yrb hm gyú_ A§Vam` ZmB©H$ gm_Ï`m©Zo àH$Q> H$aVmV. Ë`mM~amo~a g^modVmbÀ`m gm§ñH¥${VH$ joÌmVrb ^«ï> amOH$maUmbmhr nwago o _wI[aV H$aVmV. na§Vw Varhr Ë`m§Zr a§J{dbobr gb_m gm_mÝ` {dMmam§Mr, gm_mÝ` Hw$dV AgbobrM AgVo. {VMmhr Ë`mJ, g_n©UmXr nma§n[aH$ H$ënZm§da {dídmg Amho. órnmÌ{MÌUmÀ`m Ñï>rZo gb_mMm {dMma H$aVmZm AmYw{ZH$ H$mimVrb ór åhUyZ gb_mMo H$moUVohr doJionU Amnë`m àË``mMm {df` hmoV Zmhr. {VMo "gb_m' AgUohr d¡{eîQ>çnyU© R>aV Zmhr. nËZr hr ghMm[aUr AgVo `m gyÌmVM ho órnmÌ AS>H$y Z nS>Vo. Vr Zdè`mbm Ë`mÀ`m {d{eï> C{º$H¥$VtMm Om~ {dMmaVo. Vr {d{eï> àg§JmV Ë`mMr g_OyV KmbVo. Vr Ë`mbm Ë`mÀ`m _wIdQ>çm_mJrb "Mohè`m§'Mo Xe©Z KS>{dVo. Ë`mM~amo~a Ë`mÀ`m hVme AdñWoV Vr Ë`mMr àoaH$eº$s åhUyZ àH$Q> hmoVo. CÎma AmYw{ZH$ H$mimVrb EH$ g§doXZerb ZmQ>H$H$ma órnmÌm§Mo `m àH$maMo {MÌU H$arV Amho. `mH$S>o bj Úm`bm hdo. gb_m nwéfmbm KamV H$m_ H$amdo bmJV Zmhr `m{df`r AYyZ_YyZ CnhmgmZo ~mobVo; nU Ë`m CnhmgmVhr EH$ àH$maMm bm{S>H$nUm

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S>mHo $mdVmoM. `mCbQ> ^m. {d. daoaH$am§Zr Amnë`m "^y{_H$Ý`m grVm' `m ZmQ>H$mV nma§n[aH$ ór à{V_obm {damoY H$aUmar "dmg§Vr' ho órnmÌ a§J{dbo Amho ho bjmV ¿`m`bm hdo. gb_m órMm ghMm[aUr AgÊ`mMm Omo Y_© H$iV ZH$iVnUo ñdrH$maVo d Vmo ñdrH$maVmZm àg§JdemV doJdoJir ê$no YmaU H$aVo. Ë`mà_mUo grVmhr eŠ` VoWo H$iVZH$iV am_mMr H$mZCKS>Ur H$aVo. {deof åhUOo "^y{_H$Ý`m grVm' _Yrb "C{_©bm' ñdd¡{eîQ>çm§Zr AmYw{ZH$ ór H$er Agmdr `mMo OUy Xe©Z KS>{dVo. åhUyZM CÎma AmYw{ZH$ H$mimVrb hm ZmQ>H$H$ma (Iao Va gd©M ZmQ>H$H$ma) nwaoem ghg§doXZoZo órnmÌmMr {Z{_©Vr H$aVmZm {XgV Zmhr. ZmQ>H$mVrb BVa nmÌm§~amo~a EH$ órnmÌ EdT>oM _hÎd Ë`m§Zm H$Yr H$Yr n«má hmoVo, Ago IoXmZo åhUmdogo dmQ>Vo. `mZ§Va "emo^m`mÌm' (e\$m`V ImZ), "_mH$S>m hmVr e°ånoZ' ({ddoH$ ~oi)o , "\$m`Zb S´>mâQ>' ({Jare Omoer) `m ZmQ>H$m§Mm {dMma H$aVm òB©b. "_mH$S>m hmVr e°ånoZ' Am{U "\$m`Zb S´>mâQ>' `m ZmQ>H$m§À` N>mnrb g§{hVm CnbãY Zgë`m_wio `mVrb ór-nmÌm§Mm {dMma Ho$bobm Zmhr. "_mH$S>mÀ`m hmVr e°ånoZ' `m ZmQ>H$mVrb "nopÝgb' ho ór-nmÌ _amR>r a§J^y_rdarb A{^Zd Ago ór-nmÌ Amho. `m ór-nmÌmMm {d{dY A§JmZo {dMma H$aUo g§^dZr` Amho ho BWo Zm|XdyZ R>do Vo. "emo^m`mÌm' ho ZmQ>H$ nwñVH$ê$nmZo àH$m{eV Pmbo Amho. "emo^m`mÌm' `m ZmQ>H$mV XmoZ ór-nmÌ AmhoV. EH$ nÌH$ma Am{U Xwgar PmerÀ`m amUrMr ^y{_H$m H$aUmar ~mB©. hr ór-nmÌ nañna{damoYr ór-n«{V_m åhUyZ EH$_oH$s¨À` g_moa òVmV. nÌH$ma Agbobo ór-nmÌ ho AbrH$S>rb H$mimV "ór' M§ H$mhr A§er nmbQ>bob§ Oo ê$n Amho. Ë`m ê$nmbm gmH$ma H$aUmao Amho. CXm. ho nÌH$ma ór-nmÌ _y ë `{df`H$ H$mo U VrM ^y { _H$m R> m _nUo ñdrH$maVmZm {XgV Zmhr. ^maVmÀ`m ñdmV§Í`mg 50 df} Pmbr åhUyZ Or emo^m`mÌm {ZKUma Amho Ë`m `mÌoMo {M{ÌH$aU H$aUo Am{U Ë`mV gh^mJr hmoUmè`m ZQ>m§À`m _wbmIVr KoUo EdT>o _`m©{XV ZmQ>çH$m`© `m nmÌmbm bm^bobo Amho. `m H$m`m©À`m {Z{_ÎmmZo aL²>J_§Mmda dmdaUmao ho ór-nmÌ nwéfm§À`m _ZmVrb ór{df`H$ {dMma CKS>nUo ~mobyZ XmI{dVo. BVHo$M Zìho Va ho ór-nmÌ ór{df`H$ àíZm§Zm H|$ÐñWmZr R>odyZ Á`m {d{dY Midir Pmë`m Ë`m Midit_wio Am{U CXma_VdmXm_wio órbm àJVrÀ`m Á`m doJdoJù`m dmQ>m CnbãY Pmë`m Ë`m dmQ>mZ§ r àdmg H$aVmZm {ó`m§Zr ñdV:bm nQ>Umao Ago EH$ doJioM ^md{díd ñdrH$mabobo {XgVo. ho ^md{díd "~m~u' `m ór-nmÌmÀ`m C{º$H¥$VrÛmao AYmoa{o IV Pmbobo Amho. CXm. eara JaO åhUyZ ~m~yer àU` H$aUmar ~m~u ^mB©Mm



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\$moZ Amë`mZ§Va {VVŠ`mM AmZ§XmZo ^mB©H$S>o {ZKyZ OmVo. ho nmÌ `mo{Zew{MVm, erbg§nÞVm hr _yëò ghO^mdmZo ZmH$maVmZm {XgVo. Aer ór A_o[aH$Z Agë`mMo a§J{dÊ`mV ZmQ>H$H$mamMm H$moUVm hoVy Agmdm Agm àíZ CnpñWV H$am`bm hdm Ago dmQ>Vho . `mCbQ> ZmQ>H$mV PmerÀ`m amUrMr ^y{_H$m H$aUmao ór-nmÌ {ÛñVar` nmVirda dmdaVmZm {XgVo. PmerÀ`m amUrMr ñdmV§Í`mH$m§jm Am{U Ë`mgmR>r {VZo Ho$bobm namH«$_ hm Eo{Vhm{gH$ g§X^© Am{U ZmQ>çJV ór-nmÌmMo _yb Z Pmbobr ór åhUyZ bm¡{H$H$ OrdZ `mVrb {damoYm^mg òWo gmH$ma hmoVmo. {VÀ`m dmQ>çmbm VèhoVèhmMr hoQ>miUr òV.o {VZo Amnë`mbm KQ>ñ\$moQ> Úmdm Ago {VÀ`m Zdè`mbm dmQ>Vo Am{U d§e{dñVmamgmR>r Vmo ~mB©Zo ñdrH$mamdm Ago Zdè`mÀ`m d{H$bm§Zm dmQ>Vo. `mMm AW© nwéfgÎmmH$ ì`dñWobm AmdmhZ H$aUmè`m AZoH$ órdmXr Midir hmoD$Zhr Am{U órg§~Y§ r AZoH$ VèhoMo {dMmaXe©Z àg¥V hmoD$Zhr àË`j bm¡H${H$ì`dhmamV ~hþVm§er {ó`m§Mo Am`wî` nma§n[aH$ _yë`m§À`m nmR>nwamì`m_wio hmoaniyZ {ZKmbobo {XgVo. ñÌrdmXr MidirZ§VagwÕm nwéfgÎmmH$ ì`dñWoÀ`m {dMmaì`yhmV ~Xb Pmbobm Zmhr ho ZmQ>H$H$mambm `m "ór' nmÌm§À`m _mÜ`_mVyZ AYmoa{o IV H$amd`mMo Amho H$m? Agmhr àíZ òWo CnpñWV H$aVm òBb © . EHy$U, H$mi nwT>o gaH$V Ambobm Agbm Var ór-nmÌm§H$S>o ~KÊ`mMr ZmQ>H$H$mam§Mr ^y{_H$m Am_ybmJ« ~Xbbobr {XgV Zmhr. X{bV a§J^y_r hr EH$ d¡{eîQ>çnyU© aL²>J^y_r AgyZ `m aL²>J^y_rdarb ór-à{V_m§Mm {dMma H$aUo _hÎdmMo Amho. X{bV ZmQ>H$H$ma åhUyZ XÎmm ^JV, am_ZmW MìhmU, ~mOramd am_Q>oHo$, ào_mZ§X JÁdr, Q>oŠgmg Jm`H$dmS>, {gÕmW© Vm§~o ho ZmQ>H$H$ma Amnë`m ZOaog_moa òVmV. 1980 nmgyZÀ`m X{bV ZmQ>H$m§Mm Oar {dMma Ho$bm Var _amR>r a§J^y_rbm {deof `moJXmZ XoUmè`m ZmQ>H$m§Vrb ór-à{V_m§Mo ñdê$n ghO VnmgVm òÊ`mgmaIo Amho. X{bV ZmQ>H$m§Vrb g§Kf© hm X{bV {dê$Õ CƒdUu` åhUOo emo{fV Agm AgVmo ho gd©kmV Amho. Ë`m_wio ZmQ>çJV nmÌohr `mM dUm©Vrb AgVmV. VgoM X{bV ZmQ>H$hr àmYmÝ`mZo Zm`H$H|$Ðr AgVo Am{U hm Zm`H$ emo{fV dJm©Vrb AgVmo. VZ_mOmoar, H¡${\$`V, Jm§Yr - Am§~oS>H$a Aem H$mhr ZmQ>H$m§Mm AndmX H$aVm øm ZmQ>H$m§Zrhr àm_w»`mZo Hw$Qw>§~mMmM ñWbmdH$me ì`mnbobm AgVmo. ñdm^m{dH$M X{bV ZmQ>H$mV àm_w»`mZo nËZr, AmB©, _wbJr `m ZmË`m§Vrb ór-à{V_m _moR>çm à_mUmda aoImQ>boë`m {XgVmV. H$mhr ór-nmÌo X{bV Va H$mhr ñÌr-nmÌo CƒdUu` {XgVmV. X{bV ór-nmÌo hr _w»`V: emo{fV nmÌo AgVmV VerM Vr n[apñWVr~amo~a g_PmoVm H$arV OJUmar AgVmV. Ë`mM~amo~a Vr g_OyVXmahr AgVmV. AZoH$ X{bV ZmQ>H$m§V X{bV nwéfmer

{ddmh~Õ Pmbobr CƒdUu` ór-nmÌo gm_moar òVmV. "H$moU åhUV§ Q>¸$m {Xbm', _Ýd§Va, dmQ>m - nidmQ>m, Ioir`m `m§gma»`m ZmQ>H$m§Mm AndmX Ho$bm Va CƒdUu` órbm X{bV ZmQ>H$m§V nmÌ åhUyZ \$mago ñWmZ n«má Pmbobo {XgV Zmhr. X{bV ì`º$ser b¾ H$ê$Z X{bV Hw$Qw>§~mV Ambobr ór-nmÌo hr {deofV: ~«m÷U OmVrVrbM AmhoV. hohr ZOaoAmS> H$aÊ`mgmaIo Zmhr. _mÌ hr ór-nmÌo H$mhr Img d¡{eîQ>çnyU© AmhoV Ago Zmhr. "~m_UdmS>m' _Yrb (am_ZmW MìhmU) ~«m÷U ór-nmÌ dJibo Va "dmQ>m - nidmQ>m' (XÎmm ^JV), "_Ýd§Va' (Q>Šo gmg Jm`H$dmS>) `m ZmQ>H$m§Vrb AZwH$« _o ho_m, Vmam hr nmÌo _amR>r aL²>J^y_rdarb ór-nmÌm§à_mUoM g_n©Uerb, Ë`mJr gmo{eH$ AmXr JwUm§Zr _§{S>V Pmboë`m {XgVmV. "_Ýd§Va' _Yrb Vmam {Jareer (Zm`H$mer) {ddmh H$aÊ`mgmR>r ñdV:M Y_© d Ë`m Y_m©Vrb "Xodm§Mm ghOnUo Ë`mJ H$aVo. Va "dmQ>m-nidmQ>m' _Yrb hm_mMo gmgao Vr ~«m÷U Agë`m~Ôb {VÀ`mda gVV Q>rH$m{Q>ßnUr H$aVmV. nU Vr Ë`mda g§`_mZoM Amnë`m à{V{H«$`m XoVo. X{bVnU {e{jV, gwg§ñH¥$V nwéfmMr {ZdS> nVr åhUyZ Ë`m H$aVmV. OÝ_OmV Y_m©Mm Ë`m ghOVoZo Ë`mJ H$aVmV Ago a§J{dbobo {XgVo. _mÌ Ë`m§À`m øm àdmgm_mJrb Ë`m§À`m R>m`rÀ`m d¡Mm[aH$ j_Vm§Mo Xe©Z KS>{dbo OmV Zmhr. Ë`m_wio hr ór-nmÌo A{dídgZr` dmQ>Ê`mMr A{YH$ eŠ`Vm {XgVo. _amR>r a§J^y_rda nwéf ZmQ>H$H$mam§Zr dM©ñd àñWm{nV Ho$bobo Amho. {ó`m§Zr AndmXm§ZrM ZmQ>H$o {b{hbr AmhoV na§Vw AndmXmZoM Ë`m§Mo à`moJ Pmbo AmhoV. Ë`mVrb Á`moVr åhmngoH$am§À`m "_wbJr Pmbr hmo!' Am{U gB© nam§Ono `m§À`m "_mPm Ioi _m§S>y Xo' `m ZmQ>H$m§Mm WmoS>Š`mV {dMma H$am`Mm Amho. øm XmoÝhr ZmQ>H$H$ma {ó`m CÎma AmYw{ZH$ H$mimVrb AmhoV. Ë`m§À`m g^modVmbÀ`m g_mOmV Or CbWmnmbW hmoV hmoVr, {VMm Ë`m EH$ g§doXZerb KQ>H$ hmoË`m. Ë`m_wio b¾, hþS§ >m, MmbrarVt_Yrb EH$m§JrnUm d {dnarVVm, órMo gd©ñVar` emofU, nwéfàYmZ ì`dñWoVrb _wOmoanUm, órMr KS>V OmUmar Xw~ir _mZ{gH$Vm, {VMm g§gma VJ{dÊ`mMr YS>nS> Am{U {VMo namË_nU `m gmè`m Jmoï>r Ë`m XmoKtÀ`m gO©ZerbVoMm {df` AmhoV. `m XmoKtZr \$ma J§^ranUo ór-àíZm§Zm ZmQ>çén XoÊ`mV è {_i{dbo Amho Ago, åhUmdo bmJob. Á`moVr åhmngoH$a d¡Mm[aH$ AmXmZàXmZmgmR>r, n[adV©ZdmXr {dMmam§À`m A{^ì`º$sgmR>r nWZmQ>çmMm ê$n~§Y ñdrH$maVmV. Ë`m_wio ór_wº$sMm Zdm àdmh nwT>o Zobm OmVmo. nU Ë`mVhr Ë`m {dMma§nojm ^md{ZH$Vobm Am{U ~wÕrnojm _ZmbmM AmdmhZ H$aVmV. _mJo åhQ>ë`mà_mUo ^md{ZH$ AmdmhZ amoOÀ`m JXuÀ`m, Hw$M§~boë`m YmdnirV {dê$Z OmD$ eH$Vo Am{U OmVohr. gB© na§On|Zr {Z{_©bobr Zm{`H$mhr \$ma d¡Mm[aH$ nmVirda H$mbH«$_U H$arV Zmhr. "_mPm Ioi _m§Sy> Xo' _Yrb gmar



órnmÌo Ioi _m§S>Ê`mMr g§Yr {_imbr Va VwPr nyOm H$aoZ Ago JUoembm {dZ{dVmZm {XgVmV. Ioi åhUOo g§gma Ago _mZbo Va àñVwV ZmQ>H$mVrb {ó`m Amnmnbm g§gma _m§S>Ê`mgmR>r JUoembm åhUOo EH$m "nwéfm'bm H$iH$irZo {dZdV Agë`mMo {XgVmV. hm ZmQ>çJV AZw^d H$ê$U Amho. H$maU Ë`mVyZ órMr Xw~ir _mZ{gH$Vm Am{U JVmZwJ{VH$VmM à^mdrnUo àH$Q> hmoVo. ór ZmQ>H$H$ma åhUyZ _ZpñdZr bVm adtÐ Am{U BamdVr H${U©H$ hr ~hþM{M©V Zmdo AmhoV. ór qH$dm nwéf `m§À`m goŠg{df`H$ Om{UdoH$S>o Ë`m H$mhrem àJë^VoZo nmhmV AmhoV, Ago dmQ>V.o `m XmoZ ZmQ>H$H$mam§Zr a§J{dboë`m ^mdm{dídmda d órnmÌm§da ^mî` H$aUo KmB©Mo hmoB©b Ago dmQ>Vo. Varhr _mZdr OrdZmÀ`m H|$ÐñWmZr Agboë`m àíZm§Zm A{Ve` YrQ>nUo Amnë`m C{Udm§gh Ë`m gm_moè`m OmV AmhoV ho Zm|Xdm`bm hdo. gmam§e, AmYw{ZH$ Am{U CÎma AmYw{ZH$ H$mimV ór{df`H$ àíZm§gmR>r AZoH$ Midir Cä`m am{hë`m. n[apñWVrde nwéfm§Zr gwê$ Ho$boë`m ór-ñdmV§Í`mÀ`m MidirMr gyÌo nwT>rb H$mimV {ó`m§Zr Amnë`m hmVr KoVbr. {ejUmÀ`m Pmboë`m àgmam_wioM {ó`m§Zr Amnbo H$V©¥Ëd doimodoir {gÕ Ho$bo. AmO H$mhrOUtMm Var gm_m{OH$ XOm© C§Mmdbobm Amho. Ë`m§À`m AmemAmH$m§jm Oe dmT>ë`m AmhoV Vem Ë`m ~Xbboë`mhr AmhoV. órMmM Zìho Va _mUgm§MmM ñdmV§Í`{df`H$ noM g^mZ Pmboë`m {ó`m§Zm H$iy bmJbobm Amho. CÎmamoÎma gd© ñVam§Vrb {ó`m H$_r-A{YH$ à_mUmV Ë`m§À`m g_moarb àíZm§Zm YramZo gm_moè`m OmV AmhoV. AWm©V Ag§»` {ó`m JVmZwJ{VH$ g_mOì`dñWoÀ`m "Jwbm_' hr AmhoV. AmnU "Jwbm_' AmhmoV `mMo AZoH$ OUtZm ^mZ Zmhr. g_mOmVrb órKQ>H$m_Üò Aer VèhoVèhoMr g§JVr-{dg§JVr {XgVo Amho. nU gmè`m n[adV©Zm§Zm, {ó`m§À`m ~Xbboë`m _mZ{gH$Vobm, ~Xbboë`m gm_m{OH$ d _mZ{gH$ g§Kfm©bm Am{U n[apñWVrVrb g§JVr{dg§JVrbm _amR>r a§J^y_rda ì`º$ H$aÊ`mMo gm_Ï`© Agbobm ZmQ>H$H$ma (ór AWdm nwéf) Zmhr. `m CbQ> _amR>r a§J^y_rda "hgm-

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hgdm' `m gyÌmZo ~m§Yboë`m ZmQ>H$m§Mo CX§S> nrH$ Ambo Amho. {deof _hÎdmMo åhUOo {ó`m§À`m gd`r, Ë`m§Mo {XgUo AmXr Jmoï>tZmM {dZmoXmV _hÎd òV Amho Am{U ór-nwéf XmoKohr g§JVrgmo~VrZo Ë`mMm AmñdmX KoV AmhoV ho J§^ra Amho qH$dm Zmhr ho dmMH$m§ZrM R>adm`Mo Amho. Xwgao Ago, darb gd© ZmQ>H$H$mam§_Üò H$mhr ZmQ>H$H$mam§Mm d Ë`m§Zr a§J{dboë`m órnmÌm§Mm AndmX Ho$bm Va JVmZwJ{VH$ OrdZ_yë`m§Mm Adb§~ H$aUmar órnmÌoM _moR>çm n«_mUmda a§J^y_rda Ambr. H$maU n[adV©ZdmXr AZoH$ Midir Cä`m am{hë`m Var g_mOmVrb ~hþg§»` dJ© hm Aem MiditnmgyZ \$Q>Hy$Z amhmVmo. Ë`mÀ`m ~moWQ> g§doXZm Ë`mbm {dMmagÝ_wI H$arV ZmhrV. n[aUm_r g_mOmV dadaMo ~Xb hmoVmV. H$mbm§VamZo Ë`m ~Xbm§_Üò EH$ àH$maMr ^«ï>Vm òVo. Ë`m_wio g_mO {OWë`m {VWo amhVmZm {XgVmo. åhUyZM ZmQ>çJV ór-à{V_m øm nma§n[aH$, H$mb~mø _yë`m§MmM nwañH$ma H$aUmè`m AgVmV qH$dm Ë`m a{gH$m§À`m {W„a àd¥ÎmtMo {W„a a§OZ H$aUmè`m AgVmV. AmOÀ`m _amR>r a§J^y_rH$S>o nm{hbo Va `m a§J^y_rbm H$mhr H$mi Var g_¥Õ d g§nÞ dmagm bm^bm hmoVm `mda Hw$UmMm {dídmg ~gy Zò BVŠ`m hbŠ`m d gm_mÝ` nmVirda ZmQ>çJV ór{MÌU Ambo Amho. VgoM àm`mo{JH$ åhQ>ë`m Joboë`m d H$mhr ZdoZdo à`moJ H$ê$ nmhUmè`m àm`mo{JH$ a§J^y_rZohr dmMH$àojH$m§À`m XrK©H$mi ñ_aUmV amhrb Aer órà{V_m a§J{dbr Zmhr, _J Ho$di {W„a a§OZmbm _hÎd XoUmao {ó`m§À`m "AmO' À`m àíZm§H$S>o S>mi o gnUo Am{U ghg§dXo ZoZo nmhmV ZmhrV, Aer VH«$ma H$aÊ`mVhr H$mhr AW© Zmhr. Iao Va g§dXo Zerb à{V^md§V ZmQ>H$H$mam§Zmhr ho Zdo ~Xb, órMr Zdr Kwg_Q>, {VMo A§V~m©ø Kwg_Q>Uo C_OV Zmhr H$s, C_OyZ _m§S>mdogo dmQ>V Zmhr! •••



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h_Zo IarXm, Cg_| _wZm\$m Zht , Cgo AnXñW H$aZo Ho$ VarHo$ Ty§T>mo `m grYo Cgo IV_ H$amo, Xygam _mc cmAmoŸ& `h ì`mnmar Omo CÚmoJn{V Zht h¡, gm_§Vm| go ^r A{YH$ ~~©aVm go ì`dhma H$aVm h¡Ÿ& `h gM h¡ {H$ ha g_ñ`m H$m hc h_ gm{hË` _| Zhr Ty§T> gH$Vo na `h ^r gM h¡ {H$ AmO gm{hË`H$mam| Zo gm_m{OH$ n[aàoú` _o§ _{hcmAm| H$s g_ñ`mAm| H$s Amoa Ü`mZ XoZm ewé {H$`m h¡Ÿ& __Vm H$m{c`m H$s H$hmZr "OZ_r Wr Am¡cmX', {MÌm _wÐc H$s "àoV`mo{Z', _¥Xwcm JJ© H$s "Xw{Z`m H$m H$m`Xm' `m "VrZ {H$cmo H$s N>moar', amOr goR> H$s "AZmdV'`m "ñÌr', gy`©~mcm H$s " gw{_ÝVam H$s ~o{Q>`m§ ' , Á`moËñZm {_cZ H$s "~m' , 'gwYm Aamo‹S>m H$s " AÝZnyUm© _§S>c H$s Am{Iar {MQ²>R>r ' `m " ahmoJr Vw_ dhr ' , Zm{gam e_m© H$s " _oam Ka H$hm§ ' Z{_Vm qgh , a_{UH$m Jwám , H$_c Hw$_ma , _ohépÝZgm nadoO ,_¡{Ì`r nwînm H$s "\¡ gcm' `m "Jmo_m h§gVr h¡' Am{X H$hm{Z`m| H$s EH$ cå~r gyMr h¡Ÿ& {nN>co ~rg gmcm| _| AJa Hw$c H$hm{Z`m| Ho$ {df` H$m {d^mOZ H$a| Vmo h_ nmE§Jo {H$ g~go Á`mXm H$hm{Z`m§ ñÌr Ho$ _wX²Xm| na hr aMr JB© h¢ & CnÝ`mg Ho$ joÌ _| ñÌr g_ñ`mAm| na {cIo JE CnÝ`mgm| H$s EH$ ~ohX Cd©am O_rZ {hÝXr Ho$ aMZmË_H$ gm{hË` _| XoIr JB© h¡ & H¥$îUm gmo~Vr H$s "{_Ìmo _aOmZr' , Cem {n«`§dXm H$s "éH$moJr Zht, am{YH$m' Am¡a _ÝZy ^§S>mar H$s "AmnH$m ~§Q>r' O¡go VrZ n«_wI ~hþM{M©V Am¡a A[YH$m§e ^maVr` ^mfmAm| _| AZy{XV BZ VrZ _w»` aMZmH$mam| Ho$ ~mX gZ² 1980-85 Ho$ ~mX {hÝXr _| ñÌr {df`H$ CnÝ`mgm| H$s O¡go ~m‹T> gr Am JB© & __Vm H$m{c`m H$m "~oKa' Am¡a "EH$ nËZr Ho$ ZmoQ²>g ' ( {Og_| EH$ _Ü`dJu` n‹T>r {cIr _{hcm H$m ^r AnZo n{V Ûmam EH$ gm_mÝ` Am¡aV H$s Vah Q´>rQ> {H$`m OmZm Am¡a Jmho ~Jmho ì`§½` H$m {eH$ma hmoZm VWmH${WV n«J{Verc Am¡a n‹To> {cIo dJ© H$mo ~oZH$m~ H$aVm h¡) _¥Xwcm JJ© H$m "A{ZË`' ( {Og_| Xmo _hËdnyU© ñÌr nmÌm| _| go EH$ - H$mOc EH$ \o${_{ZñQ> n«mÜ`mnH$ H$s Vah CâVr h¡ Omo AZ{cIo B{Vhmg H$mo Xw~mam {cIZm MmhVr h¡ , ^JVqgh Ho$ {gÕm§Vm| na {dídmg H$aVr h¡ Am¡a Cgo n‹T>mVr h¡ hmcm§{H$ dh CZHo$ H$mog© _| Zht h¡ , g§JrVm Omo EH$ doí`m H$s ~oQ>r h¡ na AnZo {gÕm§V ImoVr Zht , AnZr Apñ_Vm Ho$ gmW I‹S>r hmoVr h¡ ) _¥Xwcm JJ© H$m " {MVH$mo~am ' Am¡a " _¢ Am¡a _¢ ' ( {Og_o EH$ Am¡aV Am¡a EH$ co{IH$m Ho$ XmoZm| nhcwAm| H$s H$í_H$e H$m ~‹S>r ~marH$s go {MÌU {H$`m J`m h¡ ) Am¡a BZ g~go ~‹T>H$a _¥Xwcm JJ© H$m " H$R>Jwcm~' ( {Og_| pñÌ`m| Ho$ BVZo {d{^ÝZ a§J ê$n Am¡a eoS²>g h¢ {H$ ñÌr {d_e© H$s H$B© AdYmaUmAm| H$s nmoWr ~m§Mr Om gH$Vr h¡ ) {MÌm _wX²Jc H$m " EH$ O_rZ AnZr ' Am¡a " Amdm§ ' ( {Og_| EH$ gm_m{OH$ H$m`©H$Vm© Ho$ O_rZr c‹S>mB© Ho$ g§Kfm}§ H$m nhcr ~ma {hÝXr gm{hË` _| BVZm gMoV Am¡a ~o~mH$ {MÌU hþAm h¡ ) _¥Umc nm§So> H$m "

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nQ>a§JnwamU ' ( {Ogo n‹T>H$a cJVm h¡ {H$ nyam EH$ eha Eogr Am¡aVm| Ho$ ZO[aE go XoIm - naIm Am¡a ~`mZ {H$`m Om ahm h¡ Omo AnZo {I‹S>H$s PamoIo ImocH$a Ky§KQ> CcQ>mH$a ~‹S>r n¡Zr {ZJmh go H$ñ~o _| hmoZo dmco ha {H«$`m H$cmn H$m OmÒm co ahr h¢ ) _ohépÝZgm nadoO H$m "H$moaOm ' ( {Og_| Am{Xdmgr n[an«oú` _| EH$ ñÌr H$s ÌmgXr H$m dU©Z h¡ ) , gy`©~mcm H$m "_oao g§{Y nÌ ' , _§Owc ^JV H$m " AZmamo ' ,"J§Or '( {hÝXr gm{hË` _| EH$ H$m_H$mOr Zm¡H$amZr Ho$ amoQ>r amoOr Ho$ g§Ke© Ho$ gmW gmW CgH$s VmH$V Am¡a ñdm{^_mZ H$mo aoIm§{H$V {H$`m J`m h¡ ) VWm " ImVwc '( {hÝXr _| nhcr ~ma AnZo _wëH$ go ~oXIc hþAm {H$aXma _X© H$m Zht , Am¡aV H$m h¡ {Ogo _whm{Oa ~ZmH$a n«ñVwV {H$`m J`m h¡ & A\$Jm{ZñVmZ go ^mJH$a AmB© `h eaUmWu EH$ H$_{gZ ~ƒr h¡ & O§J Ho$ V_m_ dher hmXgo Am¡a Im¡\$ZmH$ _§Oa ^wJVZo Ho$ ~mX ^r dh AnZm _wëH$ N>mo‹S>H$a ^mJZm Zht MmhVr ~pëH$ Cgo AmOmX H$amZo _| Hw$~m©Z hmoZm MmhVr h¡ & ) H$_c Hw$_ma H$m " `h I~a Zht '( {Og_| gËVm Am¡a n«^wVmemcr dJ© Ho$ ~rM {H$g Vah EH$ n«{V^memcr c‹S>H$s H$s Apñ_Vm H$mo Hw$Mcm OmVm h¡ , BgH$m amo_m§MH$mar `WmW© dU©Z h¡ ) Zm{gam f_m© H$m "EH$ Am¡a emë_cr ',( {Og_| Ka Am¡a ~mha _| AnZo A{YH$ma _m§JVr AmOmXr Ho$ ~mX H$s CâVr EH$ AcJ {H$ñ_ H$s ñdV§ÌMoVm ñÌr h¡ Omo n{V go g§dmX MmhVr h¡ , ~am~ar H$m XOm© MmhVr h¡ , n«o_ H$s _m§J H$aVr h¡ Omo CgH$m hH$ h¡ & Bg nmÌ H$m g¥OZ ~ohX gyP~yP go {H$`m J`m h¡ ) "R>rH$ao H$s _§JZr ',( ~MnZ _| {~Zm n¡go Ho$ coZ XoZ Ho$ _§JZr hmo OmVr h¡ Am¡a c‹S>H$m ~‹S>m hmoZo na emXr H$aZo go _wH$a OmVm h¡ & Bg na H$X²Xmda Am¡aV Qy>Q>Vr Zht , dh AnZm EH$ Ka ~ZmVr h¡ , EH$ dOyX hm{gc H$aVr h¡ Am¡a _X© Ho$ cm¡Q>Zo na Cgo Xw~mam Hw$~yc Zht H$aVr ) " Hw$B`m§ OmZ ' ( Bg CnÝ`mg _| nmZr H$s g_ñ`m H|$X« _| h¡ na Bg g_ñ`m go ê$-~-ê$ hmoVr h¢ Am¡aV| & Bg CnÝ`mg H$m g~go Iy~gyaV nhcy h¡ {H$ Am¡aVm| Ho$ gm_m{OH$ gamoH$ma Câ H$a AmVo h¢ Am¡a Am¡aV| n`m©daU Ho$ _wX²Xo na ~mV H$aVr h¢ ) amOr goR> H$m "VËg_ ' MÝX«H$m§Vm H$m " AnZo AnZo H$moUmH©$ ' VWm "H$Wm gVrga ' JrVm§O{c lr H$m ' "_mB©' {Og_| Jm§d H$ñ~o H$s EH$ Am¡aV AnZo ~ƒm| Am¡a n[adma Ho$ {cE H¡$go AnZo H$mo {Vc {Vc hmo_ H$aVr h¡ na CgH$m {_Q>Zm ^r CgHo$ ~ƒm| _| {dX«moh H$s {MZJmar Am¡a AnZr ar‹T> H$s hS²>S>r grYr aIZo H$m OÁ~m OJm OmVm h¡ ) Am¡a " {Vamo{hV ' ' n«^m IoVmZ H$m " nrcr Am§Yr ' VWm "{N>ÝZ_ñVm' ( {Og_| na§namJV X{H$`mZygr _madm‹S>r n[adma H$s EH$ c‹S>H$s H$m ~mJr {ZH$c AmZm H¡$go nyao g_mO H$mo CgHo$ {Icm\$ I‹S>m H$a XoVm h¡ - H$m EH$ g§nyU© XñVmdoO h¡ ) _¡Ìo`r nwînm H$m 'BXÝZ__' VWm "MmH$' _Yw H$m§H$[a`m H$m "gcm_ Am{Iar ' Am¡a "goO na g§ñH¥$V '( {Og_| O¡Z gmpÜd`m| H$m



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Y_© Ho$ Zm_ na emofU X~m {N>nm H$a aIm OmVm h¡ na `wdm nr‹T>r H$s EH$ O¡Z c‹S>H$s emofU Ho$ {Icm\$ CR> I‹S>r hmoVr h¡ ) AcH$m gamdJr H$m "eof H$mXå~ar ', AZm{_H$m H$m " Xg Ûmao H$m qnOam '( {Og_| {nN>cr eVr H$s Am¡aVm| Ho$ H$X²Xmda hmoZo H$m AmO Ho$ n[an«oú` _| g_yMm ~`mZ h¡ ) ZmardmXr coIZ AmO Ho$ g_` H$s Oµ ê$aV h¡ & AmYw{ZH$Vm Am¡a CXma gmoM Ho$ V_m_ Xmdm| Ho$ ~mdOyX ñÌr H$s gm_m{OH$ pñW{V `m CËWmZ _| H$moB© ~‹S>m H«$m§{VH$mar n[adV©Z Zht Am`m h¡ & AmO ^r do g_Pm¡Vm| Am¡a Xmohao H$m`©^ma Ho$ ~rM {ng ahr h¢ & nwéf gËVm H$s Zrd| h_mao g_mO _| ~hþV Jhao VH$ Y§gr hþB© h¢ & Bgo VmoS>Zm , ~XcZm `m g§dmaZm EH$ cå~r c‹S>mB© h¡ & ha joÌ _| pñÌ`m§ AnZr AnZr Vah go AnZr c‹S>mB© c‹S> ahr h¢ & H$Wm gm{hË` _| ^r ñÌr MoVZm Zo AnZr CnpñW{V nyar JhamB© Am¡a {eX²XV go XµO© H$admB© h¡ na {hÝXr gm{hË` _| VWmH${WV ñÌr {d_e© BVZo ~m¡{ÕH$ ñVa na h¡ {H$ Am_ Am¡aVm| VH$ `m CZ Am¡aVm| VH$ - {OÝh| OmJê$H$ ~ZmZo H$s µOê$aV h¡ - `h nhþM hr Zht nmVm & `h H$m_ gm{hË` Ho$ ñÌr {d_e©H$mam| go H$ht A{YH$ _{hcm g§JR>Z Am¡a µO_rZr Vm¡a na CZgo Ow‹S>r H$m`©H$Vm©E§ H$a ahr h¢& H$Wm gm{hË` _| Amn H$hmZr Ho$ H$Ï` go AcJ OmH$a ñÌr geŠVrH$aU Ho$ g§Xoe Zht Xo gH$Vo & H$hmZr coIZ H$s AnZr gr_mE§ h¢ & H$hmZr _| h_ " O¡gm h¡ ' `m " O¡gm hmoVm h¡ ' H$s pñW{V`m§ hr A{YH$ {XImVo h¢ , O~{H$ AmcoIm| _| , {Q>ßn{U`m| _| `m N>moQo> N>moQo> EH$ nîR>r` ñV§^m| _| h_ {ñµÌ`m| H$mo " O¡gm hmoZm Mm{hE ' H$s n«oaUm , hm¡gcm `m Zmam ^r Xo gH$Vo h¢ & \o${_{ZñQ> eãX h_mao `hm§ cJ^J Jmcr Ho$ én _| hr BñVo_mc {H$`m OmVm h¡Ÿ& ~hwV gr _{hcmE§ ^r Bg {deofU go nahoO H$aVr h¡Ÿ& O~{H$ \o${_{ZñQ> hmoZo H$m EH$ grYm gmXm AW© h¡ŸAm¡aVm§o Ho$ à{V EH$ Ow‹S>md EH$ gamoH$ma... Am¡oa H$moB© ^r n‹T>m {cIm g§doXZerc ì`{º$ EH$ emo{fV H$m¡_ Ho hH$ _| I‹S>o hmoZo go BZH$ma Zht H$a gH$VmŸ& ñÌr {d_e© H$mo coH$a h_mao `hm§ `mZr {hÝXr g_mO _| ~hþV gr ^«m§{V`m§ h¢ & g~go ~‹S>r ^«m§{V `h h¡ {H$ ñÌr {d_e© H$mo dr_oZ {c~ `mZr ñÌr _wpŠV H$m n`m©` _mZ {c`m J`m h¡ & _wpŠV _| ^r ñÌr Ho$ {cE Xoh H$s _wpŠV H$mo gdm}n[a _wpŠV _mZm J`m & ñÌr geŠVrH$aU - ñÌr OmJéH$Vm H$m n«gma H$aZo Ho$ {cE EH$ H$maJa Am¡Oma h¡ &

g_H$mcrZ H$Wm gm{hË` Ho$ \$cH$ na Am¡aV H$s pñW{V Ho$ à{V Bg OmJéH$Vm gmW hr EH$ N>Ù {H$ñ_ Ho$ coIZ H$mo ^r ZmardmXr gmh{gH$Vm `m ~moëS>Zog Ho$ Zm_ na àl` {X`m Om ahm h¡Ÿ& h_mao g_mO _| Zmar _w{º$ Ho$ ~mao _| Xmo {_W àM{cV h§¡- EH$ Vmo `h {H$ Zmar _w{º$ H$m VmËn`© nwéf Am{YnË` go _w{º$ h¡Ÿ& XaAgc `h _w{º$ gm_m{OH$ g§aMZm Am¡a é{‹T>JV g§ñH$mam§o go h¡Ÿ& nwéf dM©ñd Vmo Cg gm_m{OH$ g§aMZm H$s hr EH$ n«emIm h¡ {OgHo$ nZnZo Am¡a \$cZo\w$cZo Ho$ {cE nyam H$m nyam gm_m{OH$-gm§ñH¥${VH$ _mhm¡c "Q>oca_oS>' h¡Ÿ& Zmar _w{º$ Ho$ ~mao _| EH$ Xygam {_W `h h¡ {H$ AmYw{ZH$ _{hcm H$mo AnZr Xoh na A{YH$ma Am¡a Xoh H$s ñdV§ÌVm Mm{hEŸ& `h {Zîn{V ^r nwéf {dMmaH$m| H$s hr Xr hþB© h¡, {OgHo$ H$maU Am¡aV go Ow‹S>o ~hþV go AnojmH¥$V Ah_ _gcm| H$mo Xa{H$Zmg H$a {X`m J`m h¡Ÿ& Bg N>Ù Vco `m¡Z Ho$ CWco gdmcm| go CcPVr ñÌr nwéf Ho$ `m¡Z gå~ÝYm| H$s Hw$N> gm_mÝ` H$hm{Z`m| H$mo ~‹S>r VoµOr go gmW CN>mcm Om ahm h¡Ÿ& CXmhaU Ho$ én _| _¡Ìò r nwînm Ho$ CnÝ`mg " Aë_m H$~yVar " `m " MmH$ ' _| a{V n«g§Jm| Ho$ AZmdí`H$ {dñVma H$mo co{IH$m H$s ~o~mH$ ~`mZr Am¡a gmhg H$m n«VrH$ _mZm J`m O~{H$ Bg Vah Ho$ gnmQ> Am¡a CWco dU©Z H$cm Ho$ A^md _| {g\©$ nwéfm| Ûmam a{MV n«g§Jm| Ho$ g_H$j I‹So> hmoZo Ho$ ñWyc _H$gX go J‹To> JE h¢ & {dkmZ _Zwî` H$s `m§{ÌH$ Am¡a ~m¡{ÕH$ g§aMZm H$m emó h¡ na gm{hË` _Zwî` H$s _mZdVm H$mo ~MmE aIZo H$s H$mo{ee H$m XñVmdoO h¡& Zmar _w{º$ ^r _mZdVm go AnZo Amn H$mo Omo‹S>Zo H$m Am¡a _Zwî` Ho$ én _| ñdrH$ma {H$E OmZo H$m A{^`mZ h¡Ÿ& Bg_| gÝXoh Zht {H$ {hÝXr _| ZmardmXr gm{hË` Ho$ coIZ H$s ewéAmV hmo MwH$s h¡Ÿ& Bgo ghr n[aàoú` _| XoIo OmZo H$s Amdí`H$Vm h¡Ÿ& AnZr ~mV Ho$ A§V _| _¢ AmnH$mo EH$ N>moQ>m gm CXmhaU XoZm MmhVr hÿ§ & d¡km{ZH$ H$s‹So> _H$m¡‹S>m| Am¡a new n{j`m| na Hw$N> n«`moJ H$aVo h¢ & EH$ d¡km{ZH$ Zo Xmo _oT>H$ {cE & EH$ _oT>H$ H$mo CgZo H$m\$s Ja_ nmZr _| N>mo‹S>m , nmZr Ho$ Cg Ja_ Vmn_mZ H$mo Poc nmZo _| Ag_W© dh \$m¡aZ Hy$X H$a ~mha Am J`m & A~ CgZo Xygao _oT>H$ H$mo R§>So> nmZr _| S>mcm , _oT>H$ Cg_| Amam_ go V¡aVm Hy$XVm ahm , CgZo ~mha N>cm§J Zht cJmB© & d¡km{ZH$ Zo Yrao Yrao nmZr H$m Vmn_mZ ~‹T>m`m Am¡a Cgo Yrao Yrao ~‹T>mVo hþE ~hþV Ja_ H$a {X`m & _oT>H$ Cg Ja_ hmoVo Vmn_mZ H$m Yrao Yrao Aä`ñV hmo MwH$m Wm Am¡a O~ CgH$m eara Vmn_mZ Zht Poc nm`m Vmo dh cJmVma ~‹T>Vo Vmn_mZ H$mo Poc nmZo _| Ag_W© _a J`m &



Am¡aVm| Ho$ gmW `hr hþAm h¡ & g{X`m| go CZH$m AZwHy$cZ {H$`m J`m h¡ & dh ha Vah Ho$ Vmn_mZ H$s Bg H$Xa Aä`ñV hmo OmVr h¢ {H$ EH$ Zò Ka Ho$ Zò _mhm¡c _| Zò cmoJm| Ho$ ~rM Yrao Yrao ~‹T>Vo Vmn_mZ Ho$ gmW Vmc_oc {~R>mZm grI OmVr h¢ Am¡a `h Vmc_oc AÝVV… CZH$s _`m©{XV emo^m`mÌm _| CZH$s _m§J _| qgXya Ho$ ê$n _| CZH$s gOr hþB© AWu _| XrIVm h¡ & co{H$Z AmO g_` Zo H$adQ> ~Xcr h¡ & g^r Am¡aV| _aVr Zht & do Xoa go hr ghr na ~‹T>Vo hþE Vmn_mZ H$mo nhMmZZm grI JB© h¢§ & IVao H$s AmhQ> H$mo gwZ ahr h¢§ & AnZo {OµÝXm hmoZo Ho$ _yë` H$mo g_P nm ahr h¢ & _mZ{gH$ `mVZm Am¡a ~marH$ qhgm H$mo nhMmZ H$a CZ na gdmc ISo> H$aVr h¢ Am¡a ~mha {ZH$c AmZo H$m hm¡gcm ^r {XImVr h¢ & AnZr Imo`r hþB© Apñ_Vm Am¡a _mZdr` nhMmZ H$mo

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Xw~mam g§dmaVr h¡ & Bg Vah do AnZm OrdZ g§dmaZo dmcr Am¡aVm| Ho$ H$madm§§ _| em{_c hmo OmVr h¢ & Am¡a `h H$madm§ {XZ na {XZ ~‹T>Vm OmEJm , Bg_| g§Xoh Zht & ñÌr geŠVrH$aU Yrao Yrao ~‹T>Vo Bg AghZr` Vmn_mZ go ñÌr H$m _moh^§J H$aZo Am¡a Cgo OmJê$H$ ~ZmZo Am¡a Cgo EH$ nhMmZ XoZo H$s n«{H«$`m H$m Zm_ h¡ & •••



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Post-Independence Women’s Novel in English The Contemporary Indian English Bourgeois Feminist Fiction Dr. Shoba Venkatesh Ghosh

In her essay, “The Heroine’s Progress in Recent Women’s Fiction,” Rajeswari Sunder Rajan uses the term “bourgeois feminist fiction” to characterise a considerable and steadily growing genre in the contemporary Indian English literary landscape. This is a particularly apposite terminology, for it signals towards at least two significant facts about the site from which such writing emanates – the nearhomogeneous class location of the writers (and their subjects) as well as their (explicit or implicit) contract with contemporary feminism. Anita Desai’s Cry the Peacock (1963) was only the first of what has evolved as a distinctive novelistic genre, and which is distinguished by names like Shashi Deshpande, Githa Hariharan, Manju Kapoor and Sunetra Gupta. While acknowledging that this body of work is impressive both in terms of quantity and literary achievement, it seems equally necessary to explore and subject to critical scrutiny the reasons for the prolific output as well as the value of the achievement in specifically feminist terms. Malashree Lal’s study of Indian English women’s fiction is posited on her reading of these authors as a “special displaced category in their own country.” Her argument seems to be that the accusations of elitism thrown against Indian English fiction in general is too sweeping, as in a deeply patriarchal society like India, “the woman’s position is not a position of ‘privilege’, particularly where creative writing about one’s own experience becomes an urgent need”. While acknowledging the impress of class on this writing, Lal seems to want to rescue these writers from the charge of “privilege” by focussing on an almost exclusively gender-based conception of male privilege and female displacement/subalternity. We could perhaps, invert her argument, and suggest that despite an almost inevitable gender displacement, this class of women (as authors and subjects) might enjoy certain

compensatory privileges not available to, say, a woman from the domestic-worker class. Indian English women writers can be seen a ‘displaced category’ within their own class, but it is arguable that they are so in as generalised a field as “in their own country.” Arguing a mandatory subalternity for all women is to occlude the fact that women of privilege not only exert power over other women (and men), but are also (however indirectly) complicit in the perpetuation of social hierarchies. The proliferation of this genre must be framed within the growth of Indian English fiction in general; it must also be seen in relation to the resurgence of latetwentieth century feminism. That the novels of Desai, Deshpande or Hariharan are driven by a feminist impulse is indisputable. Their fiercely women-centric preoccupations, their concentration on women’s dissatisfaction and even anger against restrictive conditions, their underlining of the urgency for selfexpression by women, and their engagement with the issues of women’s identities as imposed and/or experienced, all derive from a certain ‘feminist’ consciousness resulting from the growth of the women’s movement, both western and Indian. However, these writers cannot be called ‘feminists’ in the same way as can the Afro-American writers like Morrison, Angelou and Walker whose writings emerged from a radical and personal involvement in Black and women’s rights activism. Or, closer to home is the example of Mahasweta Devi. One is not suggesting that a feminist writer must be an activist too (it could be argued that writing is a form of activism). However, what can be explored is how far the Indian English novel is able to expand its class boundaries and place the ‘woman’s’ issue within larger frameworks. The literary lineage of these texts must be traced to the Anglo-American ‘confessional’ novel of the 1960s



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and 70s by writers like Doris Lessing, Margaret Drabble, Iris Murdoch, Marge Piercy or Marilyn French. But after the anger and self-exposure and the translation of the personal into the political, many of these western writers moved towards forms of writing that looked beyond individual suffering and healing. This was, perhaps, the inevitable result of an awareness that the form had served its purpose and was in danger of solidifying into a feminist stereotype – “ angst-ridden, preoccupied with individual and often autobiographical suffering, ‘brave,’ navel-gazing, politically obvious and unsubtle” in the words of Nicci Gerrard3. While these novels continue to be churned out, Gerrard points out that there has been, alongside, a proliferation of alternative genres in the writing by women in the west. For instance, the science fiction has been recognised and exploited as a form conducive to feminist invasion and to the needs of what Maureen Duffy calls the “ hypothesising imagination” (Cited in Garrard, 142). The most compelling science fiction, written by writers like Ursula Le Guin, Joanna Russ, Maureen Duffy, Marge Piercy and Margaret Atwood, uses the form as an analysis of feminism, a critique of patriarchy and an examination of potential possibilities or dystopias. In India, the only woman writer who has explored the possibilities of this genre (though in dramatic form) is Manjula Padmanabhan whose Harvest moves beyond a preoccupation with individual misery, to explore the urgent issues of the turn of the century – such as the ethics and dystopic implications of technologies (specially bio-technology), First World-Third World politics, the disturbing realities of globalisation, the organ-traffic to the West where the perpetuation of youth and health is made possible through the ‘harvesting’ of Third World bodies, and the specific consequences of all these on Third World women. But Padmanabhan’s work remains an isolated achievement. The Indian English fiction by women remains, for the most part, locked within the personalised and ‘confessional’ mode of the autobiographical fiction.

the Romantic topoi of the feminist novel of awakening (Gupta’s Memories of Rain). The Romantic gothic tradition in women’s writing also leaves its traces in the near phantasmagoric inner lives of the protagonists of Desai, Hariharan and Gupta, as well as in a certain conception of an innately hyper-responsive feminine sensibility that thrashes and strains against the crippling pressures of patriarchal conventions and sometimes flirts with the lure of madness or self-annihilation as ways of escape. The narrative trajectory typically traces an encounter with the past, as the self-exploring subject struggles towards a coherent insight into itself. A particular event or a generalised and crippling sense of anxiety provides the catalyst for a confrontation with the past, and an attempt to gain an understanding of one’s personal history which can lead to an increased capacity for self-determination. Marriage, the narrative closure of the conservative female romance, becomes not the endpoint of the female bildung, but its very antithesis, the starting point. From its disenchantments and frustrations are born the desire to synthesise one’s life, to look back for a pattern. In as much as identity is experienced by the protagonist as contradictory and confusing, and life as something outside her control, the novels avoid strongly teleological structures, opting instead for the episodic, fragmented or temporally nonlinear narrative whose organising principle is provided by the associations of the experiencing subject. Clearly, women whose social status has been largely defined by a shift from a father’s to husband’s tutelage are unlikely to perceive their lives in terms of a meaningful and self-directed progression. It is through the narrative, the ‘telling’ as it were, that the subject strains towards synthesis and pattern. These fictions share a characteristic of the female autobiographical narrative – they continually refer back to the perceptions of the female subject as their source and authority. There is a central concern with the problematic of subjectivity, with the psychological in the context of gender politics – precisely, with the ‘politics of the personal.’

The “bourgeois feminist” novels under discussion can be variously labelled middle-class “emancipatory” novels, novels of self-discovery, or autobiographical fictions of self-exploration. They may draw from the realist female bildungsroman tradition (as in the case of Deshpande) or, to a lesser or greater extent, from

In the Indian literary landscape, Anita Desai’s was a sole voice in this genre in the 60s and 70s. It was in the 80s and 90s that the personalised confessional feminist novel in English consolidated itself. As noted earlier, the basic codes have not changed much since Desai’s earliest experiments. The concern is still the



68 individual middle-class female subject. The geography is still the family. The ‘resolutions’are still being worked out in purely personalised terms. Above all, the constituency of readers they address themselves remains the ‘Babu’4 woman, tacitly assumed to be representative of the ‘typical’ Indian woman. In this context, I would like to briefly refer, in conclusion, to some recent works by women novelists that have gone beyond the “confessional” mode and the geography of the family to explore larger issues, particularly those relating to the nation, caste and class hierarchies, and the legacies of colonialism. For all its over-written effusiveness, Arundhati Roy’s The God of Small Things is a significant work in that it is as much about the recent history of Kerala as it is about the history of a family. Regional politics, caste and class allegiances and distinctions, the culture of intolerance of the ‘other’ or the social ‘transgressor’ frames the narrative of proscribed love and of the brutal precipitation into adulthood of its ‘zygotic twins’ protagonists. Kiran Desai’s The Inheritance of Loss is a vast novel that also uses the perspective of a protagonist at the threshold of the adult world to explore the difficult and unresolved legacies of colonialism, the contestation of monolithic notions of the nation through localised separatist movements, and the desires and

disappointments of the migrant in a world where boundaries have become at once more porous and more defined. Bibliography : 1)

R ajeswari Sunder Rajan. “The Heroine’s Progress in Recent Women’s Fiction.” IIC Quarterly: Special issue on ‘Women and the Family.’ 23, 3&4, Winter 1996. 222-238. (All subsequent references and page numbers are incorporated in the body of the chapter.)

2)

Malashri Lal. The Law of the Threshold: Women Writers in Indian English. Simla: Indian Institute of Advanced Study, 1995. 9. (All subsequent references and page numbers are incorporated in the body of the chapter.)

3)

Nicci Gerrard. Into the Mainstream: How Feminism Has Changed Women’s Writing. London: Pandora, 1989. 107. (All subsequent references and page numbers are incorporated in the body of the chapter.)

4)

This is a term used by Tabish Khair in his study Babu Fictions: Alienation in Contemporary Indian English Novels. New Delhi: Oxford

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órdmXr gm{hË` àm. nwînm ^md ^mdo

gm{hË`mMm Eo{Vhm{gH$ {dMma H$aVmZm H$mbI§S> H$go _mZmdoV hm àý dmXJ«ñV Amho. gm{hË` MM}Vrb H$mbI§S> Ho$di dmL²>_`rZ g§X^m©Zo _mZmdoV Agm EH$ AmJ«hr {dMma _m§S>bm OmVmo. nU gm{hË`mMr g§{hVm {Z_m©U H$aUmam _Zwî` EH$ {d{eîQ> H$mimV, EH$m {d{eï> gm§ñH¥${VH$ dVw©imV, EH$m g_mOmV OJV AgVmo. Ë`mMr {dMmanÕVr, H$ënZm eº$s Am{U g§doXZm Ë`m g_mOmZo KS>V AgVo. Ë`m g_mOmVrb nyduÀ`m {nT>çm§Zr {Z_m©U Ho$boë`m gm{hË`H¥$Vr Am{U BVa H$bmH¥$Vr `m_wio Ë`mMr A{^ê$Mr g§ñH$m[aV Pmbobr AgVo. ho gmao Oo EH$m H$bmd§Vmbm Ë`mÀ`m OÝ_mZo {_imbobo AgVo, Ë`m _mVrVyZM Vmo Zdo {Z_m©U H$arV AgVmo. dmL²>_`rZ B{VhmgmZo g_J« B{VhmgmMr ^y{_H$m _mÝ` H$aUo åhUOo gm{hË`H$mÀ`m ñdV§Ì à{V_oda AÝ`m` H$aUo Zìho ho bjmV ¿`m`bm hdo. EH$mMr gm§ñH¥${VH$ n`m©daUmV XmoZ {^Þ àd¥ÎmrMo gm{hpË`H$ {b{hV AgVmV `mMmM AW© g_mO Am{U gm{hË` `mVrb g§~§Y n«{VH¥$VrdmXr Zmhr ho ñnï> Amho. nU ho Ogo ñnîQ> Amho Vgo H$moUË`mhr dmL²>_`rZ na§naoH$S>o ZOa Q>mH$Vm, {d{eï> H$mimV {d{eï> dmL>²_`rZ ê$no A{YH$ `moObr `mVmV, AW©nyU© hmoVmV hohr Iao. _amR>r dmL²>_`mÀ`m Eo{Vhm{gH$ MM}V AmnU "ñdmV§Í`moÎma' Am{U "gmR>mÎo mar' Ago XmoZ g_mOgmnoj H$mbI§S> _mZbobo AmhoV. Amnë`m `m MMm©gÌmV AmnU ñdmV§Í`moÎma hm H$mbI§S> {ZdS>bm Amho. Am{U Ë`m ~amo~aM§ ^maVr` gm{hË` hr g§H$ënZmhr {ZdS>br Amho. dmL>²_`mMr {Z[¨_©Vr Ë`m Ë`m àXoemVrb ^mfoV hmoVo ho Iao Agbo Var ^maVr` gm{hË` hr g§H$ënZm `moOUo eŠ` ìhmdo Ago {MÌ ^maVr` ^mfoVrb g_H$m{bZ dmL>²_`mV {XgVo. ñdmV§Í`moÎma H$mimV {deofV… Zohê$`wJmV hr ^maVr`mËdmMr H$ënZm doJdoJù`m g§ñWmH$maUmV Am{U CnH«$_mV {XgVo. "gm{hË` AH$mX_r' d "g§JrV ZmQ>H$ AH$mX_r' `m§Mr {Z[_©Vr hr Zì`mZo ñdV§Ì Pmboë`m ^maVmVrb R>iH$ gm§ñH¥${VH$ H¥$Vr hmoVr. ^maVr` gm{hË` `m H$ënZoà_mUo "qhXr amï´>^mfm Agbr Var àËòH$ àmXo{eH$ ^mfobm Am{U dmL>²_`mbm ñdV…Mm Moham AgVmo. hr amñV ^mdZm hmoVr. ^mfmdma àm§VaMZm, Ë`mgmR>r Pmboë`m {d{dY Midir `m_wio 1960 n`ªV àmXo{eH$ ^mfH$m§À`m Apñ_Vobm ì`º$ ìhm`bm AdH$me {_imbm hmoVm.

"gmR>moÎmar' hm eãXn«`moJ _amR>r gm{hË`MM}V ê$T> hmoÊ`mg dmL²>_`rZ H$maUo hmoVr VgoM g§`wº$ _hmamï´>mÀ`m {Z{_©VrZ§VaMo gm{hË` hohr H$maU hmoVo. ñdmV§Í`mZ§VaMo {ejUàgmamMo H$m`© bjmV KoVm, AZoH$df} _yH$ AgUmar OZVm ~moby, {bhÿ bmJbr. g§{hVm {Z_m©U H$ê$ bmJbr. _amR>r boIH$m§À`m - H$dtÀ`m AmS>Zm§dm_Üò IynM doJionUm Ambm. gm{hË`mMr eãXH$im ~Xbbr. dmMH$dJm©Mm {dñVma hmoD$ bmJbm. ñdmV§Í`nyd©H$mimnmgyZ Jm§YrdmX, Am§~oS>H$admX Am{U _mŠg©dmX `m {dMmaì`yhm§M,o _yëÒmUrdm§Mo g§ñH$ma gm{hËÒJVmV OmUdV hmoVo. dmL²>_`rZ OmUrdm§_Üò n[adV©Z hmoV hmoVo. _T>}H$ao`wJmVrb H$mì`, H$Wm, gm¢X`©emgZ `m§Zr EH$ ZdrZVm dmVmdaUmV AmUbr. Xwgao _hm`wÕ Amnë`m ^y_rnmgyZ Xya KS>V hmoVo. nU `m _hm`wÕmMo Imobda n{aUm_ OJâmÀ`m gm{hË`mda Pmbo. H$maU `m `wÕmZo _mZdr` _yë`m§{df`r àý {Z_m©U Ho$bo. AmYw{ZH$ H$mimV An[ahm`© AgUmè`m eharH$aUmMo n[aUm_ OmUdV hmoVo. Hw$Qw>§~ Am{U ì`ŠVr `mVrb g_rH$aUo doJmZo ~XbV hmoVr. `m_wio ho g§H«$_UH$mimVrb ì`{_l àíZ gd©M ^mfm§Vrb dmL²>_`mV OmUdVmV. AWm©V² àËòH$ àmXo{eH$ dVw©imVrb g§ñH¥${V{d{eîQ>Vm àíZm§Mo H$m§Jmoao {Z_m©U H$arV hmoVr. doJdooJù`m àd¥ÎmrMo boIH$H$dr na§nam Am{U ZdVm `mMm AÝd` bmdrV hmoVo. ñdmV§Í` {_imboë`m g_mOmg_moa ñdV…À`m AmoiIrMm àíZ \$ma _hÎdmMm AgVmo. _hmamï´>mV dgmh{VH$ H$mimVM `mda {dMma_§WZ Pmbo hmoVo. amï´>, Y_©, g_mOYmaUm `mda EH$moUgmdo eVa Vo {dgmdo eVH$ MMm© MmbyM hmoVr. AmnU H$mhrdoim B§JO « m§À`m Mîå`mZo ñdV…bm Am{U nydÀ} `m g§ñH¥$Vrbm nhmV hmoVmo. Orientilist àmÀ`{dÚm{demaX Á`m ^mfoV MMm©{dœ Cô H$arV hmoVo. `m_mJohr `wamonr`M B{VhmgmMm n«^md hmoVm. nU Ë`mMr MMm© BWo H$aUo àñVwV hmoUma Zmhr. hm _wÔm BWo CnpñWV H$aÊ`mgmR>r H$mhr H$maU Amho. ñdmV§Í`mZ§Va Amnë`m _ZmoY_m©Zo AmË_gmV Ho$bobo dmh{VH$ g§ñH$ma Xya gmê$Z ^maVr` OZVm ñdV…H$S>o nmhÿ bmJbr. dmL²>_`rZ g§ñH$ma Am{U à^md B§J«Or gm{hË`mMo hmoVo, ñdmV§Í`mZ§Va `wamonmVrb gm{hË`mMo dmMZ Am{U n«^md dmT>b.o ho gmao gdmªgmR>r EH$mMdoir KS>V hmoVo Ago Zmhr. nU H$mimV nwT>o_mJo ho gmao KS>V hmoVo. g_mOmVrb doJdoJio JQ> gm_m{OH$ CVa§S>rVrb {Xbobo ñWmZ



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ZmH$mê$Z Zdm AdH$me emoYrV hmoVo. Aem Zdm AdH$me emoYUmè`m JQ>m_Üò {ó`m Am{U X{bV `m§Zr dmL²>_`{Z{_©VrV {deof ñWmZ {_i{dbobo [XgVo. ñdmV§Í`nydH© $mimVM, {deofV: ñdmV§Í`mÀ`m MidirV Or Zdr _yëò {Z_m©U Pmbr Ë`m_wio _mUgm§Zm dU©ì`dñWoZo {Xboë`m ñWmZm {dê$Õ ~§S> H$aÊ`mMr àoaUm {_imbr. Jwbm_r-ñdmV§Í` `mMm AZoH$ñVar` {dMma gwê$ Pmbm. `m MMm©, ho {dMmadì`yh H$Yr AÝ` XoemVrb MidirVyZ {Z_m©U Pmbo Va H$Yr ^yVH$mimÀ`m amoIR>moH$ {dûcofUmVyZ {Z_m©U Pmbo. AmO Á`m§Zm AmnU Xoer åhUy Ago {dMma _. Á`moVr~m \w$bo, Jm§Yr-{dZmo~m `m§À`m _m§S>UrV {XgVmV. Va ~m~mgmho~m§À`m {dûcofUmV dñVw{ñWVr Am{U _yë`{dMma `m§Mm g_mdoe {XgVmo. {ó`m Am{U X{bV `m g_mOJQ>mMm {dMma H$aVmZm dU©ì`dñWoZo Á`m§Zm {ejUmnmgyZ Am{U AÝ` _mZdr h¸$m§nmgyZ d§{MV R>odbo Ë`m§Zm _mZdr ñWmZ {_idyZ XoUo hm hoVw hmoVm. `m {df`rÀ`m Midir ñdmV§Í`nydH© $mimVM gwê$ Pmë`m, `m H$mimbm AmnU gwYmaUoMm H$mbI§S> _mZVmo. ñdmV§Í`moÎma H$mimV ór_wº$s, X{bV_wº$r `m g§H$ënZm `moOVmo. àñVwV MMm©gÌmV Amnë`mbm ñdmV§ Í `ny d © H $mimV _w º $sMo {dMma {XgVmV Am{U ñdmV§Í`nyd©H$mimV MMm©gÌmV H$ë`mUH$mar, gwYmaUdmXr {dMma {XgVmo `mMr XIb ¿`mdr bmJob. {ó`m§Zm {ejU {_imbo-Amnë`mbm {dMma H$aVm òVmo ho H$ibo Am{U Ë`m§Zr boIZmbm àma§^ Ho$bm. {b{hË`m nwéfm§À`m gm{hË`mV ~mB©Mm gwa C_Q>V Zmhr `mMr I§V nyduM OmUdbr hmoVr. åhUyZ har^mD$ AmnQ>çm§nmgyZ _m_m daoaH$am§n`ªV gmè`m§Zr órbm {ZdoXH$ H$ê$Z AmË_M[aÌmË_H$ H$mX§~è`m {b{hë`m. nU {ó`m§Mo AZw^d BVHo$ df© Añ\w$Q> am{hbo hmoVo H$s {ó`m {bhÿ bmJë`m, Vmam~mB© qeXo `m§Mo "órnwéfVwbZm' Ambo. Á`mV gwYmaUdmXhr Amho, Y_©{M{H$Ëgm Amho Am{U nwéfm§Zr {b{hboë`m H$mX§~è`m§Mo ñÌrdmXr dmMZhr Amho. (EH$ _mÌ Ü`mZr Yam`bm hdo H$s `mH$mim§Vrb ~arM Aer nwñVHo$ ñdmV§Í`mZ§Va àH$memV Ambr MM}V Ambr.) ñdmV§Í`nyd©H$mimV H$mer~mB© H$m{ZQ>H$a, {d^mdar {eê$aH$a, ào_m H$Q>§H$, JrVm gmZo Aem H$mX§~arH$ma {ñÌ`m§Zr g_mOYmaUobm àý {dMmabo, n«m. \$S>Ho$ `m§À`mgma»`m bmoH${à` H$mX§~arH$mamÀ`m V§Ìmbmhr àíZ {dMmabo. _amR>r AmË_M[aÌmV `mH$mimV {ó`m§Mo `moJXmZ _moR>oM hmoVo. ~§Jmb Am{U _hmamï´> `m XmoZ àm§VmV {ó`m§À`m AmË_M[aÌmZo, ~mB© Ho$di Jar~ {~ƒmar

AÝ`m`mMr ~ir Zmhr Vr {dMma H$ê$ eH$Vo Am{U ñdV§Ì H¥$Vrhr H$ê$ eH$Vo ho [gÕ Ho$bo. ~mB©À`m ZOaoZo Hw$Qw>~§ mH$S>,o g_OmH$S>o Zì`mZo nm{hbo Jobo Am{U _hÎdmMo åhUOo {ó`m§Zr AmË_M[aÌmVrb "_r' ñdV§ÌnUo KS>{dbm. {ó`m§Mo nÌboIZ, AmË_M[aÌboIZ hm órdmXr g_rjoV Jmä`mÀ`m MMm©{df` Pmbobm Amho. Amnë`m MMm©gÌmVrb MMm}{df` Pmbobm Amho. Amnë`m MMm©gÌmVrb MM}Mmhr Vmo EH$ _hÎdmMm KQ>H$ ìhmdm. ñÌrdmX, órdmXr boIZ, órdmXr g_rjm `m~amo~aM órdmXr dmMZmbm {deof ñWmZ Amho. àË`j órdmXr boIZmMm dm dmMZmMm {dMma H$aÊ`mnydu Amnë`mbm "{ó`m Am{U kmZ' hm _yb^yV {dMma H$aUo An[ahm`© Amho Ago _bm dmQ>Vo. {ñÌ`m§À`m Eo{Vhm{gH$ X_ZmMr _m§S>Ur órdmXr H$arV Agbm Am{U Ë`mg§X^m©V Vmo dñVwpñWVr ~Xb nmhUmam amOH$s` ì`yh Agbm Var órdmX Ho$di {ó`m§Mm {dMma H$arV Zmhr. qH$~hþZm órdmX hr OJmH$S>o nmhUmar, Ë`mMo Zdo AmH$bZ H$ê$ nmhUmar n[ag¥ï>r Amho. dñVwpñWVr{df`r Vrd« ZmamOr Am{U OJ ~XbÊ`mMo ñdßZ `m XmoÝhrÀ`m _wimer _yë`_mZ An[ahm`©nUo AgVo. Á`m dmXmbm dm dmXmer ~m§Yrb AgUmè`m g_wXm`mbm Zdr VmaVå`Ñï>r Amho, Ë`m§Zm An{ahm`©nUo VÎdkmZmMm nm`m Agmdm bmJVmo. H$moUË`mhr {df`mbm A_yV© VÎdkmZ AgVo, nU ho dV©_mZmVrb AJ«h¸$m§Zr Koaboë`m gd© H$m`©H$Ë`mµªZm OmUdob Ago Zmhr. kmZà{H«$`m Am{U VÎdkmZ `m g§X^m©V órdmXmMr Am{U {ó`m§Mr EH$ {deof n{apñWVr hmoVr. dfm©Zwdf} kmZmnmgyZ d§{MV AgUmè`m {ó`m§Zm kmZ Am{U kmZà{H«$òer Zì`mZo AÝd` Owidmdm bmJbm. kmZ Am{U kmZ{M{H$Ëgm Vw _ À`m MidirÀ`m amOH$maUmnmgyZ Xya R>odm H$maU Vr nwéfgÎmmH$ Amho Ago Ë`m§Zm gVV gm§JÊ`mV Ambo Va Ag§»` _mÝ`da nwéf {dMmad§V "Am_Mo VÎdkmZ d¡{œH$-_mZdr Amho.' Ago gm§JV hmoV.o AÜ`m© _mZdOmVrMm {dMma Z H$aVm AmnU gd©gm_mÝ` {dYmZ H$aVmo AmhmoV `mV H$mhrVar _yb^yV MyH$ Amho Ago Ë`m§Zm dmQ>V ZìhVo. kmZmda AgUmar nwéfr _ºo$Xmar hr AamOH$s` WmoS>rM hmoVr? kmZmà_mUoM {ejUì`dñWm, Aä`mgH«$_, Aä`mgnÕVr `mgmè`m§daM {nV¥gÎmmH$ Am{YnË` hmoV.o Ë`m_wio dñVw{Zð> åhUyZ Jm¡a{dbobo kmZ EH$mM _mZdg_yhmÀ`m Ñ{ï>H$moZmVyZ nmaIbobo Am{U _m§S>bobo hmoVo. `mbmM {ó`m "O|S>a~m`g' dm "qbJm§YionUm åhUVmV "órAä`mg' dm Women's Studies `m ZmdmZo AmoiIbr OmUmar kmZemIm OJâmÀ`m {ó`m§Zr {Z_m©U H$ê$Z {dœ{dÚmb`rZ Aä`mgmV hñVjon Ho$bm. hr gmar MMm© H$aVmZm EH$ _hÎdmMm _wÔm Ü`mZr ¿`m`bm hdm H$s órdmX hm EH$mH$ma (Monolith) Zmhr. n«ËòH$ g_wXm`mÀ`m



g_mOmVrb Am{U B{VhmgmVrb ñWmZmà_mUo (Location) Ë`m Ë`m g_wXm`mVrb {ñÌ`m§Mo Xe©ZVmaVå` doJio AgUma. Ë`mà_mUo doJdoJù`m órdmXmMr C^maUr Pmbr. nU EH$m órdmXr bo{IHo$Zo åhQ>ë`mn«_mUo - "" Amåhr gmè`m H$mMoÀ`m ImobrV ahUma Zmhr. Amåhmbm ñdV…Mm AdH$me hdm Amho. nU BVam§~amo~aMm g§dmXhr hdm Amho.'' ñdmV§Í`Îma H$mimVrb ñÌrdmXr gm{hË`mMm Aä`mg H$aVmZm dm H$ê$ BpÀN>VmZm ho bjmV ¿`m`bm hdo H$s àËòH$ ñÌr órdmXr ZgVo. gm{hË`{Z{_©VrMr à{H«$`m Am{U EImÚm VÎdkmZmMr AmoiI dm ñdrH$ma `mVrb AÝd` \$ma Jw§VmJw§VrMm AgVo. boIZmH$S>o ì`mdhm[aH$ èmÀ`m Ñ{ï> H $mo Z mVy Z nmhUmè`m bo { IH$m nwéfboIH$m§er ñnYm© H$aUmao [b{hVmV, Voìhm Ë`m nwéfgÎmmH$ _yë`m§Mm ñdrH$ma H$ê$Z {b{hVmV. Va H$moUm bo{IHo$À`m boIZmN>V ZH$iV AmË_gmV Ho$bobr na§namJV _yë`| AmT>iVmV. H$mhr bo{IH$m§À`m boIZmV ì`{º$naVoMm gyú_ AmoK {XgVmo. H$mì`mÀ`m àm§VmV {ñÌ`m§Mm AmË_ñda {deof C_Q>bobm {XgVmo. B§{Xamg§amnmgyZ àkm ndmam§n`ªV H${dVoVrb A{^ì`º$s {ó`m§Mr ~XbVr eãXH$bm Am{U à{VVmg¥ï>r `mMr MMm© AmnU H$aUma AmhmoV. órgm{hË`mV Am{U X{bV gm{hË`mV doXZoMm ñda H$mì`mV ì`º$ hmoUo gmh{OH$ Amho. XmoÝhr gm{hË`mV AmË_H$WZo à^mdr R>abr. nU `m VwbZoZo gm_m{OH$ Ðì` OoWo _hÎdmMo Amho Ë`m H$mX§~è`m Am{U ZmQ>çg§{hVm `m§Mr {Z{_©Vr H$_r H$m hmoVo? {ó`m§À`m boIZmV H$b H$mX§~arH$S>o H$m AgVmo? `mMrhr MMm© An[ahm`© Amho. {ó`m§À`m ñdmV§Í`moÎma boIZm{df`r EH$ VH«$marMm gya gVV EoHy$ òVmo H$s {ó`m§À`m H$WmH$mX§~è`mVrb órnwéfg§~§YmMm A{dîH$ma Am¡{MË`^§J H$aUmam Amho. `m AmamonmMm n¥ð>^mJmdaMm

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AW©ñVa ~mOybm H$ê$Z nm{hbo AgVm H$m` {XgVo? EH$Va {ó`m§À`m H$WmH$mX§~è`mVrb H$WZe¡brMm g§X^© bjmV Zm KoVm dmMZ Ho$bo OmVo qH$dm na§naoZo {Z`§{ÌV Ho$boë`m a{VàoaUoMm, AmO ór Zdm AÝd` bmdrV Amho. {Vbm ñdV:À`m ZOaoZo órnwéf ZmVr Zì`mZo nmhm`Mr AmmhoV ho bjmV KoVbo nm{hOo. {ó`m§Mo boIZ AmË_{Zð>Ho $Sy>Z AmË_H|${X«VVoH$S>o diVo Agmhr Amamon Ho$bm OmVmo. nU H$b_ XogmBªÀ`m H$mX§~è`mVrb AmË_emoY Am{U gm_m{OH$ B{VhmgmMo ^mZ `mVrb Xwhao r noS> Ü`mZr ¿`mdm bmJob. Jm¡ar Xoenm§S>,o gm{Z`m `m§Mo H$WmË_ dmL²>_` ê$nH$ñdê$n Agë`mZo Vo CbJSy>Z nhmdo bmJob. AmOÀ`m bo{IH$m§_Üò _oKZm noR>o, H${dVm _hmOZ, ZraOm `m§À`m AZw^d KoÊ`mÀ`m nÕVr Am{U H$WZmMr ê$no `mVyZ _amR>r H$WZmË_ dmL²>_`mbm H$m` {_imbo `mMm doY ¿`mdm bmJob. Vmam ^dmiH$a, gwH$Ý`m AmJmeo `m§Zr Ho$bobo na§naoMo órdmXr dmMZ nmhmdo bmJob. ñdmV§Í`nyd© órdmXr boIZ Am{U ñdmV§Í`moÎma boIZ Agm {dMma H$aVmZm _r nyduM åhQ>ë`mà_mUo dmgmh{VH$ H$mi Am{U CÎmadmgmh{VH$ H$mi Agm \$aH$ H$aVm òVmo H$m? "g~mëQ>Z© ñQ>S>rO²' (Xw~ë`m{nMë`m bmoH$m§Mm Aä`mg) `mMm à^md H$m` Amho? gÎmarÀ`m XeH$mVrb dmL>²_`g_rjoÀ`m ZdZì`m nÕVtMm H$moUVm g§ñH$ma Amnë`m boIZmV {XgVmo? X{bV órdmX Am{U ~hþOZm§À`m OmJ¥V Pmboë`m àoaUm§Mm H$moUVm à^md Amho? OmJ{VH$sH$aUmÀ`m bmQ>oV órdmXr ^maVr` gm{hË` H$moR>o Amho? Aem AZoH$mZoH$ àíZm§Mr MMm© Amnë`mbm `m gÌmV H$am`Mr Amho. `m MMm©gÌmVrb MM}Mr {Xem Ho$di AmUÊ`mMr Z amhVm VmpÎdH$ ahmdr `mgmR>r _r WmoS>r Vnerb_wº$ MMm© Ho$br. AmnU gmao hr MMm© nwT>o Ý`mb Aer Amem Amho. •••



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gL²>JUH${dkmZo g§ñH¥$V-aMZmZm§ _hÎd_² S>m°. M§ÐJwá dU}H$a

gmam§e :

Speech Processing, Speaker Recognition, Phonetic input

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BËòVmÑer ^mfm{dkmZMMm© `Woï> àdV©VoŸ& `Ì Hw$Ìm{n VmÔe§ ^mfmaMZm`m: emór`, {dkmZ{MÝVZ§ ^d{V, VÌ Añ_mH§$ {dkmZVÝÌV: ewÕm`m: nm{UZr`ì`mH$aU - {Z`_ - gw~Õm`m: g§ñH¥$V^mfmaMZm`m: _hËd_² A{Zdm`©_² BË`ZoZ Ý`mòZ gL²>JUH${dkmZo g§ñH¥$VaMZmZ§ MMm© Xoe{dXoeofw d¡km{ZH¡$: AL²>JrH¥$VmŸ& Vofw à_wI: d¡km{ZH$m: gpÝV A_o[aH$mXoer`: Zmgm - d¡km{ZH$: S>m°. [aH²$ {~«½O:, H°$ZS>mXoer`m¡ Am_©ñQ´>m°L²>JXånVr, {~«{Q>e _m`H«$mogm°âQ> g§emoYH$: S>m°. Q>moZr hmoAa, ^«_Uerb: {dkmZr S>m°. H$m°ZoZ² _¡e²ba:, Am`². Am`². Q>r. n«mÜ`mnH$m: S>m°. _hm~b:, {gS>°H²$ na_{Z_m©Vm S>m.° {dO`_Q>H$a:, S>m.° amOrd {gL²>Kb:, S>m.° {dZrVM¡VÝ`: BË`m{XŸ& emoY{df`{___² A{YH¥$Ë` V¡: Z¡Ho$ emoY{Z~ÝYm: {b{IVm: gpÝV: g^mgå_o b Zo f w M àñVw V m: gpÝVŸ& Vo ä `: ò Ho $ MZ kmZ{dkmZm_¥V{~ÝXd: {XîQ>çm _`m g_wnbãYm: Vo Ed AÌ n«ñVwVm: gpÝVŸ& AV: `XÌ gm¡ð>d§ {H${#mV² VX² Jwamoaodo _o Z{hŸ& `XÌmgm¡ð>d§ gd© VÝ__¡d JwamoZ{© hŸ&&

Zd{dkmZ`wJñ` d¡{eîQ>ç_² :

g§L²>JUH${dkmZo g§ñH¥$VaMZmZm§ _hËd_² :

gåà{V {dkmZ`wJ§ dV©Vo B{V H$Ï`VoŸ& `Vmo {h {dkmZVÝÌ¡: {dH${gVmZm§ {d{dYmZm§ `ÝÌmonH$aUgmYZmZm§ àmMy`ª gÚñVZo OrdZo nXo nXo gd©Ì XarÑí`VoŸ& `Wm AÌ {dÚwXrn:, ìÒZ_² AWdm A`§ Üd{ZdY©H$: BË`m{XŸ& EVmÑer ^m¡{VH$ {dkmZmonH$aU_m{bH$m àm`: {ÛeVdf©ndy ª àmaãYm, AÚ`mdV² àMb{V M (N>m`m{MÌ_²)Ÿ& VÌm{n Xrn-ìÒZ-`mZm{X gmYZm{Z OZgmYmaUñWm{n n[aV: ^¥VH$dXwn{Vð>pÝVŸ& d¥{ÕL²>JVm Ibw gm_mÝ`{dkmZñ` ì`m{á: `Vmo {h ô`: Ed `V² {H$_{n Agm_mÝ`§ {dkmZmonH$aU_^yV² VXÚ gm_mÝ`ê$noU Cn{Vð>V;o qH$ ~hþZm? Añ`m§ {dkmZmonH$aU_m{bH$m`m§ Zd{dH${gVnwînénoU {dbg{V VXmYw{ZH§$ gL²>JUH$`ÝÌ_²Ÿ&

{d{XV§ `V² gm_mÝ`J{UVì`dhmao `mpÝÌH$Vm {dÚVo B{VŸ& Ho$ gpÝV ì`dhmam:? VWm {h -

nwam {dkmZmonH$aUmZm§ {dfò ^mfmaMZm`m: MMm© Z H$Xm{n g‚mmVmŸ& {dÚwXrnñ` H$m Zm_ ^mfm? H$m dm ^d{V ìÒZñ`? na_pñ_Z² gL² > J UH${dkmZo Vw Computer Language,

g§`moJíMmÝVa§ ^mJmo JwUmo dJm} KZñVWmŸ& Ûo _ybo Mo{V gm_mÝ`_ï>mL²>J§ J{UV§ ñ_¥V_²Ÿ&& B{VŸ& EVofw `m `mpÝÌH$Vm ^d{V gm g§ñH¥$V-gm{hËò {d{dYmgw ~rOmL² > H $ao I mJ{UVà{H« $ `mgy d{U© V m ApñVŸ& AmYw { ZHo $ gL²>JUH${dkmZo VmÑer à{H«$`m Algorithm BË`wÀ`VoŸ& qH$ Zm_ Ab²Jmo[aX_²? Ab²Jmo[aX_² BË`ñ` H¥$Vo Z¡Ho$ nma§ånm[aH$m: g§ñH¥$VeãXm: gpÝVŸ& VWm{h ar{V:, nÕ{V:, à{H«$`m, J{UV_², nmQ>r, ì`dhma:, {d{Y:, {dYmZ_², gmonmZ_² gyÌ_², _mJ©: BË`m{XŸ& VmZod g_m{lË` gL²>JUH$ñ` JUàUmbr (Computer Program) {b»`VoŸ& VmÑer JUàUmbr gyÌñdê$nm ñ`mV² VWm{h -

Programming Language, Natural Language Processing, National Seminar on Post-Independence Indian Literature - 16th & 17th January, 2009


Aënmja_gpÝX½K§ gmad{ÛœVmo _wI_²Ÿ& AñVmo^_ZdÚ§ M fS²>{dY§ gyÌbjU_Ÿ& B{VŸ& Ed§ gL²>JUH$monH$aUñ` gå`H²$ g#mmbZo dñVwV: gyÌñdê$nm ^mfmaMZm AVrd _hËd§ ÔVoŸ& EH$_odoX_wnH$aU§ ñ`mV² `ñ` gÄdmbZmb` ^mfmaMZm Cn`wº$m ^d{VŸ& VÌm{n g§jonoZ `m{Z d¡{eî`m{Z ^mfmaMZm{dfò {d{dYofw MMm©gÌofw {MpÝVVm{Z gpÝV Vm{Z {ZåZ{b{IVm{Z ^dpÝVŸ& gL² > J UH$à`mo J o d¡{eîQ>çm{Z

Ano { jVm{Z

^mfmaMZm`m:

73

7) Aja-JU-d¥Îmm{X {dfòfw emór`§ gm{hË`_² (Binary Symbol System) (N>m`m{MÌ_²) 8) ~rOmL²>H$-aoImJ{UV{dfò {d{dYm: gmoXmhaUaMZm: (g§ñH¥$V Algorithms)

9) gm_mÝ` - VH©$ - {dYmZ_² (Computational logic) 10) ^m¡{VH${dkmZ{dfò g¡ÕmpÝVH§$ {ddaU_² (Theoretical Physics) 11) emãX~moYm{X à{H«$`m{ddaU_² (Semantics) 12) Á`mo{VJ©{UVñ` _m¡{bH§$ gm{hË`_² (Algorithms)

1) g§ñH¥$VaMZmgÑem gw{Z`_~Õm gwgyÌm eãXê$nmd{b: YmVwê$nmd{bíM (Tabulated Forms Of Inclinations).

13) g§emoYZH$m`} _mJ©Xe©Zj_Vm (Research Capability)

2) {bno: d¡km{ZH$Vm / `WmoƒmaU§ boIZ_² (Phonetic Trascription).

E{^: bjU¡: g§ñH¥$VaMZmZm§ gL²>JUH$s`Vm Ed ñd`§{gÕm ^d{VŸ& AV:

3) ì`mH$aUgyÌmUm§ J{UV{d{YgmYå`©_² (Computational Linguistics).

òfm§ a{V: gL²>JUH$sèmóo ò XoddmUr_{^H$m_`ÝVoŸ& Vofm§ _Zmo~w{Õ{dH$mgH$m`} gå_obZo@pñ_Z² ^d{V à`mg:Ÿ&

4) `Wm gm_mÝ` - g§ñH¥$VdmŠò nXH«$_n[adV©ZoZ dmŠ`mW©ñ` n[adV©Z§ Z ^d{V VWm (Free word - order). 5) IÊS>mÝd` / XÊS>mÝd` à{H«$ò (Top down / Bottom up Parsing process in compilation).

•••

6) g§»`mnÕ{V-{dfò _m¡{bŠ`: aMZm: / g§»`m`m: dU© {Mh²ZmL²>H$Z_² (Variable Names).



74

Post -Independence Urdu Literature Dr. Tabassum Sheikh

The great flowering of Urdu literature took place in the early decades of the 18th century. For some centuries before that time Urdu had been used as a medium of prose writing, mainly in the religious tracts. Urdu poetry flourished in the 16th & 17th centuries when Urdu Muslim rulers ruled in Central India. The classical period of Urdu literature, then, begins in the early decades of the 18th century; and the great watershed of the revolt of 1857 provides a convenient closing date. Britishers viewed the Indian history as per their achievements but it is important to realize that this was not the picture as Indians saw it and no less important there were within the subcontinent, different groups that saw historical developments from different stand points, so that one could speak for eg of a Maratha view, a Bengali view and a Muslim view of Indian history. For us it is the Muslim view that is important, for Urdu literature has always been and still is a Muslim literature – not in the sense that it expounds the teaching of Islam, but in the sense that it has always been an overwhelming literature that depicts the experience of the Muslim community of the subcontinent. From the early 1920’s onwards an important change took place, the best Urdu literature ceased to concern itself mainly with the Muslim community and began to reflect the thought and feeling and aspirations common to the people of all communities, Muslim, Hindu and Sikh alike. At the same time Urdu literature ceased to be overwhelming the work of Muslim writers. The greatest prose writer of the 1920’s and early 1930’s was Prem Chand, a Hindu and after him, along side Muslim writers like Ismat Chughtai and Saadat Hasan Mantu, came the Hindu Krishan Chandar and the Sikh Rajinder Singh Bedi. But even to label these writers Hindu or Sikh or Muslim is not really appropriate, for, to them and to us, what is important is their common humanity, and not the religious community into which

they were born. Their deepest sympathies and ours as we read their work – are with the people they portray as people, regardless of the community to which they belong; and such a portrayal was a new phenomena in Urdu literature. There had been Non-Muslim writers before them who had made significant contributions to Urdu literature. Outstanding among them was Sarshar, but it is a striking fact that in nearly all of his work, and in all of his best work, it is the experience of Muslim community that he portrays. From the twenties onwards neither Non-Muslim nor Muslim writers confine a themselves in this way. It is perhaps worth noting as to which classes of nonMuslims did habitually write in Urdu. Among the Hindus of the Urdu/Hindi speaking area two groups were thoroughly at home in the Muslim milieu. One was the kasmiri Brahmin – Sarshar belonged to this group. The other was the Hindu Kayastha a caste of people whose traditional profession had been service in the middle and lower ranks of the Mughal administration. They had made them fluent in Persian and when Urdu replaced Persian, in Urdu too. Prem Chand was a Kayasth and began his literary career as a writer in Urdu all his life, though he soon began writing in Hindi too, so that all his work is available in both languages and he is a major figure in both literatures. The other major nursery of Urdu writers was Punjab. Here Urdu was the language of literature not only for the Muslims but for the almost equally numerous non-Muslims Punjabis, the Hindus and Sikhs. Native Punjabi was the language of familiar everyday conversation. It was as natural for Krishan Chandar and Rajinder Singh Bedi to write in Urdu as it was for their Muslim fellow Punjabi Saadat Hasan Manto. But this is no longer the case in Indian Punjab where Punjabi language has flourished and has now developed rich



Punjabi literature where as for the Hindus, Hindi has replaced Urdu. Urdu literature had bounded the Hindus and Muslims together and when Mahatma Gandhi launched the non-Cooperation Movement, it brought out a very strong alliance of Hindu Muslim Unity which was never seen before. Independence from British rule became the common aim of non-Muslims and Muslims alike and millions of people all over the subcontinent were ready to move into action whenever Gandhi and other Congress leaders called upon them to do so. It was the desire for the independence, sympathy for the poor and an increasing feeling that the solution of the problems of the poor must be sought not only in liberation from foreign rule but in opposition to the Indian rich, that found reflection in the Urdu writing of this period. Even in the writers from the Muslim community, there was little or no reflection of an outlook which was concerned mainly or exclusively with the Muslims. Religious fervour was not in evidence, and communal prejudice completely absent. It was in Urdu prose writing that these trends found their clearest expression, but poetry too was affected by them. Here Iqbal continued until his death in 1938 to dominate the field. As we have seen, his message, though cast in Islamic terms, stressed the power of human beings to make their own future and inspired in them the leverage to do so and so naturally appeared to readers in every community who were determined to do just that to free their country from foreign rule and domestic oppression. In the 1930’s developments occurred which culminated in 1936 in the formation of the Progressive Writers Association – PWA for short. They included Mulk Raj Anand, Sajjad Zahir, Jyoti Ghosh and Pramod Sen Gupta. In Urdu the ground for the success of the new movement had been prepared to some extent by the publications in 1932 of a collection of stories called ‘Angare’. Of its ten stories five are by Sajjad Zahir, two by Rashad Jahan, two by Ahmad Ali and one my Mahmuduzzafar and all of these except Ahmed Ali were Communists. Its publication raised an uproar, as a result of which the book was banned because all the stories include accounts of intimate sexual relationships which even today, nearly two

75 generations later, would still shock most Urdu readers and there are satirical attacks not only upon religious leaders but on religion. Characteristics of Post Independence Urdu Literature. 1)

The great thinkers, philosophers, poets, theologians and scientists of the past were considered to be perfect in all respects and people looked up to them with despairing or exultant veneration. Sayyid Ahmad, Altaf Hussain Hali and some others strove to demolish in their writings. As a result of this changed outlook, public opinion today is more critical and enlightened; it judges institutions by their usefulness and reasonableness. The centre of attention has shifted from institutions to men.

2)

The ideal of the literature now is not to escape life or to to put up with it as a necessary evil but to make it better which does not imply the loss of interest in religion, in fact a very large part of literature is concerned with religions in favour of an ethical life divesting it of its medieval bleakness, gloom and asceticism.

3)

The immediate result is secular life and optimism. Despotism, social rigidity and a depressing theology has paved way for the belief that inequalities of life and such inflictions as sorrow, suffering and disease are the result of a faulty system which can be improved by better legislation, education and organization and the steady materialization of these ends has given us self-confidence and courage to battle against these man made evils.

4)

This takes to another side of Urdu literature and that is humanitarianism. The middle ages were individualistic. ‘every man for himself and good for all of us’. The new literatures emphasized on social obligations duty for duty’s sake, duty towards the neighbours, universal friendship, universal charity. In short an altruistic ideal. Love, sympathy and compassion towards fellow beings, that the poor and depressed have



76 the right to happiness and their disabilities due to accident of birth or a defective social or political order should and can be remedied with love and sympathy. 5)

The influence of the new industrial organization has had an impact and writings of Urdu literature. Large-scale production and the consequent increase of economic dependence, the rise of new profession, the meeting of people of various castes ad creeds in schools and colleges and railways have worn down caste prejudices. A noticeable feature of the new literature is its increased interest in life and its surroundings, and its eagerness to reconstruct society on a sound and healthy basis. Thus there was a shift from the expression of an interest in life for its own sake – its richness, pathos, beauty mystery or complexity but emphasis was on the realization of the magnitude of Evil, man made evil, in the form of customs, conventions or political disabilities and the desire to attack and uproot them. Naturally therefore the literature became ameliorative and humanitarian. It descends into the area to help and fortify the poor and humble. It studies them with love and sympathy, portrays the evils that afflict them, shows fortitude, coverage and ignorance, and strikes at the chains of customs and conventions that bind them. The note is at its strongest in fiction, especially in Nazir Ahmad and Prem Chand and even in Sarshar.

6)

7)

Literature gained wider franchise in post independence. It envisaged the whole of life, and not confined to few stereo typed subjects. The world of nature and humanity and their interactions, animal life, social problems, the lot of women, children and outcastes, the study of the past; patriotism, nationalism, philosophy, metaphysics, mysticism, all of them which sprang from the artist’s inspiration began to flow and has imparted richness and variety to literature. Although it embraced the whole of life it is only partly creative. In a self-conscious age of today

it has became critical. The greater part of the new poetry is intellectual, satiric, didactic or philosophical. This racking self-consciousness shows itself in the subjective character of the poetry of nature. We carry our problems wherever we go, we have failed to see things in its objectivity and literature has become subjective where authors frets and fumes about humanity rather than appreciating beauty in its isolation. As a result the literature of the age is more intellectual and critical than imaginative. 8)

The decay of the old order and the aristocracy, the growth of business and commerce, and the spread of education, favoured the rise of the middle class, which soon became the most powerful class in the country. It was the emergence of this class, rich prosperous, supple, forward looking, that released the arts from the bondage. The old literature was aristocratic and dealt with the lives of kings and princes in a romantic setting. The present literature is democratic; it deals sympathetically with the lives of the common people; and the old privileged classes are introduced in it as foils to the middle class and the poor, as in the works of Nazir Ahmad, Sarshar and Prem Chand.

9)

The modern writer is free to choose his themes but only in theory in practice he is no more free than the artist in the past and enjoys at best a very narrow margin of freedom. He imagines that he determines his attitude and values himself, but in reality it is society that determines them for him.

10)

There was no prose worth the name before the Indian Mutiny, and the little we had was akin to poetry in its use of rhymes, word play, and metaphor. The new prose is essentially a modern development, it is modelled on English prose, and is the result of those very intellectual and economic factors which laid the foundation on modern English prose in the 18thcentury.

11)

The modern writer is differently situated. The accelerated tempo of life leaves him no time for the studied effect of the old prose. He must write



77

quickly still more important is th extraordinary development of the intellectual interests of life. The writer today, be he a scientist, reformer, historian, novelist, journalist, deals with facts; he has a definite attitude to communicate and

he must look straight at his subject. He must be precise, clear and brief before everything else. And because he is addressing those who like him are rushed for time, he must make no unnecessary calls on their time and attention.

•••



78

The Matrix of Indianness and Post-Independence Indian Writing in English Dr. Nibir K Ghosh

In this euphoric moment of rejuvenation while Mother India celebrates the 61st anniversary of her independence, I believe it will not be out of place to muse on uncomfortable questions like “Who is an Indian, and where does that mythical quality of ‘Indianness’ lie?”. In this presentation, I wish to present through collage of impressions, drawn from fact and fiction, how the idea of India engaged the individual mind and the collective consciousness over the last century or so especially with reference to Indian Writing in English. When I think of the idea of the “mythical” Indian, I can’t help being reminded of the name of Sri Aurobindo. In the year 1879, Dr. Krishnadhan Ghose, deeply impressed by the English way of life, took his son Aurobindo, aged seven, along with his two other sons to England and placed them with an English family – the Drewetts – with strict instructions that they “should not be allowed to make acquaintance of any Indian or undergo any Indian influence.” Though Aurobindo grew up in an entire ignorance of India, her people, her religion and her culture, the patriot in him felt enchanted and drawn towards the shores of India, a feeling that finds lucid expression in his poem “Envoi”: Me from her lotus heaven Saraswati Has called to regions of eternal snow And Ganges pacing to the southern sea, Ganges upon whose shores the flowers of Eden blowMy soul arose at dawn and, listening, heard One voice abroad, a solitary bird. A song not master of its note, a cry That persevered into eternity.

1893 – the year in which Swami Vivekanda set out to illumine the West with the light of the East – marked the beginning of Autobindo’s journey planned out for him by the divine Mother. In The Ideal of Karmyogin he stated in clear terms: “the task we set before ourselves is not mechanical but moral and spiritual. We aim not at the alteration of a form of government but at the building up of a nation. Of that task politics is a part, but only a part … It is a spiritual revolution that we foresee and the material is only its shadow and reflex”. Aurobindo’s love for his motherland and the radical spirit in which he wished to be of service to Her is evident from the letter he wrote to his wife in 1905: “Others know their country as a material thing, as fields, plains, forests, mountains, rivers; I know my country as Mother. I offer her my devotions, my worship. If a vampire sits upon her breast and prepares to such her blood, what does her child do? Does he sit down peacefully to his dinner and make merry with his wife and children? Does he not rush out to her rescue? I know I have in me the power to accomplish the deliverance of my fallen country….. This feeling is not new to me, not of the present day; with this feeling I was born; it is in the marrow of my bones; God has sent me to earth to do this work.” If Bankim Chandra was the ‘seer’ of the mantra of India’s dynamic nationalism “Bande Mataram”, Sri Aurobindo was its high-priest. In order to transform the dream of India’s freedom into reality, Aurobindo lay great emphasis on the readiness to sacrifice selfinterest, family interest, class interest to the larger national interest. He felt that the spread of “a general spirit of ungrudging self-sacrifice is the indispensable prelude to the creation of the Indian nation”. Aurobindo firmly believed that “the ideal creates the means of attaining the ideal, if it is itself true and rooted in the destiny of the race.” Aurobindo knew that Purna Swaraj could be achieved only with the participation of each and



every segment of the Indian society. By initiating the concepts of passive resistance, swadeshi and boycott he paved the way for Mahatma Gandhi to launch his campaign against the British on a national scale which ultimately brought India her much cherished freedom. The brand of swadeshi and the spirit of nationalism that Aurobindo advocated in the political realm was realized to a very great extent in the arena of Indian Writing in English by its “founding fathers” – R.K. Narayan, Raja Rao, Mulk Raj Anand – whom Salman Rushdie refers to as “Midnight’s Parents.” This famous trio laid strong foundations for an indigenous brand of fiction that could be seen as essentially Indian in subject, tone and tenor. In his “foreword” to Kanthapura, Raja Rao set forth what was to be a lifelong literary concern – conveying the Indian experience to the larger world in a language besides his native Kannada: “The telling has not been easy. One has to convey in a language that is not one’s own the spirit that is one’s own. English is not really an alien language to us. It is the language of our intellectual make-up like Sanskrit or Persian was before, but not of our emotional makeup. We are all instinctively bilingual, many of us writing in our own language and in English. We cannot write like the English. We should not. We cannot write only as Indians. We have grown to look at the large world as part of us. Our method of expression therefore has to be a dialect which will some day prove to be as distinctive and colorful as the Irish or the American Time alone will justify it.” In his “Acceptance Speech” on March 24, 1997 in Austin, when he was elected a Fellow of the Sahitya Akademi, Raja Rao observed somewhat wistfully; “To have been born in India and not have written in Sanskrit, or at least in Kannada is, believe me, an acute humiliation. But I still dream of writing in Sanskrit – one day!”. The study of Indian Writing in English reveals that from the beginning there have been two main tendencies – to write always in chaste, standard English of impeccable idiom and rhythm of speech; and to write an Indian English with translated idiom, occasional direct use of Indian words and Indian rhythm of speech in an attempt to capture the tempo

79 of Indian life. Mulk Raj Anand was among the first Indian writers to render Punjabi and Hindustani idioms into English. Anand drew a realistic and sympathetic portrait of the poor of his country. Contrary to the heightened nationalistic fervour of Sri Aurobindo and the “Midnight’s Parents”, who, lured by the call of Mother India, refused to be seduced by the flitter of the west, it is interesting to think of a writer like V. S. Naipaul who, despite his Indian origin finds it embarrassing to be called an “Indian”. Twenty years ago, in the July 5-11, 1987, issue of the Illustrated Weekly of India, Pritish Nandy, the then Editor of the Weekly, had hailed V.S. Naipaul as “the world’s greatest living author.” Irked by what seemed to me to be an unqualified lavish praise I had, unhesitatingly, dispatched a letter to Pritish which he, very sportingly, published in the August 2-9 issue of the Weekly. In the letter I had drawn the Editor’s attention to the spirit behind Hamlet’s advice to Polonius: “Use every man after his desert and who shall ‘scape whipping? Use them after your own honour and dignity – the less they deserve, the more merit is in your bounty.” I had pointed out that it was “gracious indeed that such praise be heaped on a writer of Indian origin whose myopic vision observes nothing in this vast and complex country except the ruins of a ‘wounded civilization’ shaded by an ‘area of darkness’. He has unblinkingly described the country of his origin as a ‘decaying civilization, where the only hope lies in further decay.” I pointed out how Naipaul’s discovery of India had revealed to him only pathetic creatures incapable of understanding his simplest problems. I could discern the rather in humanistic trends in Naipaul’s writings. His disgust for the ‘South Indians’ was occasioned by the way they “lap up their liquidized food”. His notion of the ‘Bengali’ as “insufferable arrogant and lazy” derived from his brief encounter with a ‘Paan seller’ in Calcutta. His obsession with the theme of ‘public defecation’ seemed to deprive him of the ability to see his country in human or historic terms. A few months after this exchange with Pritish Nady, I fortunately came across an essay by Nissim Ezekiel titled “Naipaul’s India and Mine” in the anthology called New Writing in India edited by the



80 poet, Adil Jussawalla. Till then my faimilarity with Ezekiel had begun and ended with “The Night of the Scorpion” which I had read during my school days. Ezekiel mentions at the beginning of his extraordinarily brilliant essay how he intended to counter the image of Naipaul’s India as portrayed in his An Area of Darkness with his own. Naipaul’s dilemma which Ezekiel so adroitly observed many decades ago seems to accompany Naipaul even today. While receiving the Nobel Prize for Literature, he did not hesitate to remark that England was “(his) home,” and India, “the home of (his) ancestors.” It is interesting to see how Ezekiel skillfully combats Naipaul’s vision of India and moves on to describe what his own India is all about: In the India which I have presumed to call mine, I acknowledge without hesitation the existence of all the darkness Mr. Naipaul has discovered. I am not a Hindu and my background makes me a natural outsider: circumstances and decisions relate me to India. In other countries I am a foreigner. In India I am an Indian. India is simply my environment. A man can do something for and in his environment by being fully what he is, by not withdrawing from it. I have not withdrawn from India…. I believe in anger, compassion and contempt …. They are not without value. I believe in acceptance that incorporates all three, makes use of them. I am incurably critical and skeptical. That is what I am in relation to India also. And to myself. I find it does not prevent the growth of love. In this sense only, I love India. I expect nothing in return because critical, skeptical love does not beget love. It performs another, more objective function. As a schoolboy, Nissim Ezekiel had displayed his marked preference for the poetry of T.S. Eliot, W.B. Yeats, Ezra Pound, W.H. Auden and Rainer Maria Rilke to the floridity of Indian English verse. However, it is interesting to note that Ezekiel’s stay in England from 1948 to 1952 did not engender any fawning sycophancy of the West. On the contrary, unlike Nirad C. Chaudhari or V.S. Naipaul, his sojourn in England deepened his emotional ties with India. Ezekiel once described India as too large for anyone to be at home in all of it. However, after tenures as visiting professor at Leeds University (1964) and Chicago (1967), plus lecture tours and conferences,

he always gravitated back to his native city. Though a natural outsider, he still felt Indian, albeit incurably critical and skeptical. The raw material with which Ezekiel carves out his poetry comprises his living awareness of India as his only home. He accepts, however, that he can identify himself only with modern India since his Jewish background makes it difficult for him to identify himself with India’s past as a comprehensive heritage. He writes: I am neither proud nor ashamed of being an Indian. I am neither proud nor ashamed of being Westernized. History is behind me. I live on the frontiers of the future that is slowly receding before me. Contempt for background impresses me as little as pride in background. Both are distorting. Tormented, self-regarding resolutions of cultural conflict create new, tormenting problems. What Ezekiel says incidentally to undermine Naipaul’s India becomes a sort of refrain that occurs again and again in the numerous poetic utterances of his. He says in ‘Background, Casually”: The Indian landscape sears my eyes. I have become a part of it To be observed by foreigners. They say that I am singular, Their letters overstate the case. I have made my commitments now, This is one: to stay where I am. As others choose to give themselves In some remote and backward place. My backward place is where I am. In view of the attendant discourse, Ezekiel’s essay can be seen as a manifesto that delineates the serious concern of authentic Indian writing in English, a manifesto that delineates significant critical paradigms for those whose interest lie in diasporic writings. Indian Writing in English has traveled a long way from Naipaul’s despairing statement: “the creative urge has failed” – “Shiva has ceased to dance.” India’s encounter with the English language, far from proving abortive, continues to give birth to new children, endowed with lavish gifts. With Salman Rushdie getting



the Booker for Midnight’s Children in 1981, Indian writing in English was liberated from its colonial straitjacket. It also gave birth to a new voice, one that was exuberantly magical, cosmopolitan and multicultural, full of unexpected cadences, as well as forms that were new to the English novel but deeply rooted in Indian traditions of storytelling. After Rudhdie Indian Writing in English started employing magical realism, bagginess, non-linear narrative and hybrid language to sustain themes seen as microcosms of India and supposedly reflecting Indian conditions. In spite of the proliferation of literary theories on a global scale that clouds the understanding of both life and art today, it is heartening to know that even highly acclaimed writers are not unaware of the significance of a good story that appeals to the “law of our primary nature” and is free from the imposition of all labels and signifiers like colonial, postmodern or postcolonial. As a case in point, I would like to recall a passage from Arundhati Roy’s The God of Small Things: The secret of the Great Stories is that they have no secrets. The Great Stories are the ones you have heard and want to hear again. The ones you can enter anywhere and inhabit comfortably. They don’t deceive you with thrills and trick endings. They don’t surprise you with the unforeseen. They are as familiar as the house you live in. Or the smell of your lover’s skin. You know how they end; yet you listen as though you don’t. In the way that although you know that one day you will die, you live as through you won’t. In the Great Stories you know who lives, who dies, who finds love, who doesn’t. And yet you want to know again. Again, in his recent novel The Ground Beneath Her Feet, Salman Rushdie ends his masterpiece with a poignant reflection on the love of Ormus and Vina which he considers to be endowed with the mythic, the overweening, and the divine: Now that they’ve gone, the high drama’s over. What remains is ordinary human life. In all the old stories, in different ways, the point is always reached after which the gods no longer share their lives with mortal men and women, they die or wither away or retire. They vacate the state and leave us along upon it, stumbling over our lines. This, the myths hint, is what

81 a mature civilization is. While talking of Indianness in Indian Writing in English, mention must also be made of two important segments, especially the Indian Drama in English and regional literatures available in English translation wherein one can observe genuine attempts made by dramatists and writers to encompass as many Indian realities as possible, rural as well as urban, scared as well as profane. The drama written in English by Indian writers has usually dealt with themes provided by Indian history, myths and legends with the use of metaphors, symbols and other stylistic devices. These dramatists like the novelists and other fiction writers have to use a lot of Indian phrases either directly or their translated equivalents in bringing in the Indian flavour into them. This genre of drama writing in English is not a very popular one in India as compared to prose and poetry. It does give the dramatist chances for improvisations in this genre as the playwrights can use more of the colloquialisms and conversational phrases to make it closest to the language spoken by the common people and hence gets through to them to identify with their sensibilities. While some critics would undoubtedly question the claim that “The western models have so much conditioned us and our responses that it is well nigh impossible for an Indian dramatist to break this and create a theatre that truly represents the Indian ethos, “one would perhaps agree with K. Satchidanandan, Secretary, Sahitya Akademi, that “any essentialist attempt to construct a standard Indian literature, Indian culture or Indian character without addressing the question of this inherent and enriching plurality will only end up creating a parody of Indian reality”. In sharp contrast, the stellar role of Bhasha writers in constructing the image of India must come for specific mention. The reality of Bhasha writers comes from small towns and villages. Today, they are narrating the nation more realistically, accurately and with so much more density. They are still closer to democracy than those writing in English. According to Krishna Sobti, “Bhasha writers are connected with the collective consciousness of the country. Their writing is so much more vibrant. But that doesn’t mean that the writing in



82 English is bad. A lot of it is good but not so connected.” In times of historical crises, the lines of demarcation between the bhasha writers and those writing in English do tend to get blurred as noted by Khushwant Singh: “During independence both language and English writers were affected by the holocaust, and both showed equal concern for the same issues through their writings. It was a living example of co-existence.”. However, today, co-existence sounds a very remote concept. Language writers have long felt that despite their good work they lose out to English writers when it comes to money, recognition and readership. U.R. Ananthamurthy too has a grouse: “People like us who write in our mother tongue suffer because our language is not the global language of America.” Dhiruben Patel who writes both in Gujarati and English rises above such sectarian considerations and states: “Literature, be it in English or in any other Indian language is far above such considerations of language, reach and money. If at all literature can be defined, it is only in two ways, either it is good literature or bad literature.” In the present era, new writers emerge every few weeks. Indian Writing in English, especially fiction, is now seen as the goose that lays golden eggs. Thanks to the opening up of branches by up market foreign publishers like Penguin, Picador, and Harper Collins, Indian writers in English today are hot property. What a leap it has been for Indian Writing in English from R.K. Narayan wishing to throw the manuscript of Swamy and Friends into the Thames as he couldn’t find any publisher to Hari Kunzru’s stratospheric one million pound advance. In the last 20 years or so, Indian Writing in English has begun to merit a place alongside the most flourishing literatures in the world. This is symptomised by the currency enjoyed by Indian literature at the present moment – in terms of its unprecedented accommodation in school and university curricula, its easy availability in both big-city and small-town libraries and book shops, and the engagement of many mainstream India-based publishers with it. In brief, it seems that a niche has been created in India for Indian writing in English, both in translation and in the original, published by Indian publishers for a predominantly Indian market.

In this context it will be quite appropriate to take into consideration the attitude and approach of Arundhati Roy, the winner of the Booker Prize for her God of Small Things. In a Salon interview when asked, “What does it mean to be an Indian novelist today? What does it mean to be Indian?” Arundhati Roy responded by saying: “What is Indian? What is India? Who is Indian?” Do we ask, “What does it mean to be American? What does it mean to be British?” as often? I don’t think that it’s a question that needs to be asked, necessarily. I don’t think along those lines, anyway. I think perhaps that the question we should ask is, “What does it mean to be human?”… I don’t even feel comfortable with this need to define our country. Because it’s bigger than that! How can one define India? There is no one language; there is no one culture. There is no one religion, there is no one-way of life. There is absolutely no way one could draw a line around it and say, “This is India” or, “This is what it means to be Indian. The whole world is seeking simplification. It’s not that easy. I don’t believe that one clever movie or one clever book can begin to convey what it means to be Indian”. A similar statement was made by the recent winner of the Booker Prize for The Inheritance of Loss – Kiran Desai. When asked by an interviewer, “You live in America but you have retained your Indian passport. Do you feel more Indian than American?” Kiran Desai responded by saying: Being part of the Indian diaspora gives one a precise emotional location to work from, if not a precise geographical one. This book was a return journey to the fact of being Indian, to realizing the perspective was too important to give up. America might give me half a narrative, but I had to return to India for the other half of the story, for emotional depth, historical depth. I don’t care about passports. Literature is located beyond flags and anthems, simple ideas of loyalty”. I may not be out of place to mention here how Rushdie vigorously resisted all attempts to constrain the Hindi words in his novels within italics; Roy was also very brave in this respect, making it quite clear that she



would not obey her foreign editors’ injunctions to explain Indian words: “Updike didn’t explain baseball for an Indian audience,” she said, and she was damned if she was going to explain the ways of Kerala to a Manhattan audience – they could take it or leave it. Despite such statements that redefine notions of Indianness, it cannot be said with certainty that we have rid ourselves completely of the colonial hangover that continues to haunt many writers, critics, scholars and academics in India even today. In a poem entitled “The Daffodil,” published in the September 2005 issue of Re-Markings, Dr. Jagganath Prasad Das, a Delhibased distinguished Oriya poet, playwright and fiction writer, articulates this tendency to remain glued to the west. The following lines from the poem, I guess, may enrage literary sensibilities dedicated to the western intellectual discourse: Neither the teacher in the classroom Not his confounded pupil, Nor the westward looking scholar Has ever seen it with his mortal eyes; Yet the daffodil, Swaying and dancing In the breeze, In its golden arrogance, Flashes upon their inward eye. The empire may have ended Like a short spring, But the daffodil lives on. As lively and fresh now As in the golden age of imperialism, Its glory untarnished In the ruins of empire…. The daffodil shines as ever before, Shamelessly arrogant, In the inner eye of our very own intellectuals. This collage of impressions will remain incomplete if mention is not made of the contributions, literary and otherwise, that have emanated from the intellectual elite

83 in the country, namely the I.A.S. officers. One may decidedly be amused by the account provided by Upamanyu Chatterjee in his best-selling novel, English, August: An Indian story (1988) (subsequently made into a major film). Upamanyu Chatterjee, born in 1959 at Patna, Bihar, is one of the new talented Indian writers of the contemporary generation. After studying English literature at Delhi University, he joined the Indian Administrative Service in 1983. In 1990, he lived as Writer in Residence, at the University of Kent, U.K. In 1998, he was appointed Director (Languages) in the Ministry of Human Resource Development, Government of India. The novel English, August: An Indian Story presents an unflattering portrait of the Indian government in action. Named after an obscure character from the Ramayana, Agastya is known as August or, as a result of his fondness for the language, as English. The novel follows Agastya Sen – a young westernized Indian civil servant posted to an obscure Indian village – whose imagination is dominated by women, literature and soft drugs. In brass contrast to Chatterjee’s portrayal of the commitment and responsibility of the Indian Administrative Service officials, one can see a more serious portrayal of this elite group’s aberration in T.S.R. Subramanian’s Journeys Through Babudom and Netaland: Governance in India. The book shows how priorities have changed over the years from “right” and “public interest” to Might and self-interest”. Subramanian, a senior I.A.S. official who has held the coveted position of Chief Secretary in Uttar Pradesh has this to say about the “babus” (the IAS officers): They contribute very little, rarely perform any useful function, are arrogant and rude to the general public, and at the same time subservient and sycophantic to seniors and their political masters. A civil servant generally creates and lives in his own make-believe world unrelated to reality – that is why most of them have a faraway look when you see them – they will not meet you in the eye. Subramanian confesses how in his four decades of public service, he has come across only a handful of “honest politicians”. What is most striking in this book is the author’s courage in revealing how the “neta” himself views the “babu”. In a perceptive passage



84 Subramanian quotes the Uttar Pradesh Chief Minister, Mulayam Singh Yadav addressing a conclave of IAS officers: You all have such excellent minds and education: some of you are scholars; some of you have Nobel Prize minds; you will all succeed in any walk of life, wherever you turn your attention to; you have good jobs; you can educate your children well; and you are all respected by society; - (and then, the clincher, raising his voice) – Why do you come and touch my feet? Why do you come and lick my shoes? Why do you come to me for personal favours? When you do, I will do as you desire and then extract my price from you. After such knowledge what forgiveness! Despite such grim images in the collage of India, there is much in the context of contemporary India that offers cause for elation and celebration. Adequate sustenance may be drawn from the stirrings of change which even a cynic like Naipaul could not fail to observe. Towards the end of his later work, India: A Million Mutinies Now, Naipaul states: The India I had gone to in 1962 had been like a place far away, a place worth a long journey…. On that first journey I was a fearful traveler… India was now a country of a million little mutinies…. There was in India now what didn’t exist 200 years before: a central will, a central intellect, a national idea…. What the mutinies were also helping to define was the strength of the general intellectual life, and the wholeness and the humanism of the values to which all Indians now felt they could appeal. And – strange irony – the mutinies were not to be wished away. They were part of the beginning of a new way for many millions, part of India’s growth, part of its restoration. Before concluding this presentation, it would be appropriate to visualize the challenges Indian Writing in English may encounter in this age of globalization where cyberspace has literally shrunk the world in terms of both space and time. The interface of cultures demands the creation of a beautiful mosaic of multiculturalism that cuts across narrow walls of divisiveness to discover and embrace the quintessence

of the truly human. The mingling of the traditional elements with the western cultural mores can create the limitless possibilities of a vastly diversified unity wherein life as well as literature may address the notable recognition of the social, psychological and humanistic needs of the free and equal partnership of people working together for the common good characterized by tolerance, respect for freedom, compassion and progressive democracy to fulfill the dual function of “prayojana” and “purushartha” – immediate usefulness and ultimate goal. Select Bibliography Aurobindo, Sri. Collected Poems. Pondicherry: Sri Aurobindo Ashram, 1972. Aurobindo, Sri. The Doctrine of Passive Resistance. Pondicherry: Sri Aurobindo Ashram, 1952. Aurobindo, Sri. The Ideal of the Karmyogin. Pondicherry: Sri Aurobindo Ashram, 1950. Chaudhary, Amit (ed.). The Picador Book of Modern Indian Literature, 2001. Das, Jagganath Prasad. “The Daffodil,” ReMarkings, Vol.4 No.2, September 2005, pp.121-122. Ezekiel, Nissim. “Naipaul’s India and Mine” in New Writing in India, ed. Adil Jussawalla. Middlesex: Penguin, 1974, pp.71-90. Ezekiel, Nissim. Collected Poems: 1953-1988: Oxford University Press, 1989. Ghosh, Nibir K. “Letter to Pritish Nandy,” Illustrated Weekly of India, August 2-8, 1987. Hoskote, Ranjit (ed.). Reasons for Belonging: Fourteen Contemporary Indian Poets. Viking/ Penguin Books India, New Delhi, 2002. King, Bruce Alvin. Modern Indian Poetry in English: Revised Edition. New Delhi: Oxford University Press, 1987, rev. 2001. King, Bruce Alvin. Three Indian Poets: Nissim Ezekiel, A K Ramanujan, Dom Moraes. Madras: Oxford University Press, 1991. Mitra, Sisirkumar. Resurgent India. New Delhi: Allied Publishers, 1963.



Naipaul, V.S. An Area of Darkness. Middlesex: Penguin Books, 1982. Naipaul, V.S. India: A Million Mutinies Now. London: Heinemann, 1990. Naipaul, V.S. India: a Wounded Civilization. London: Deutsch, 1977. Parthasarathy, R (ed.). Ten Twentieth-Century Indian Poets (New Poetry in India). New Delhi: Oxford University Press, 1976. Roy, Arundhati. The God of Small Things. New York: Harper Perennial, 1996. Rushdie, Salman. “India and World Literature” The Hindu, Vol.14, No.16, Aug. 9-22, 1997. Rushdie, Salman and Elizabeth West (ed.) The Vintage Book of Indian Writing: 1947-1997. London: Vintage, 1997.

85 Rushdie, Salman and Elizabeth West (ed.). Mirrorwork: 50 Years of Indian Writing 1947-1997. Henry Holt & Co.,1997. Rushdie, Salman. The Moor’s Last Sigh: A Novel. Pantheon, 1996. Rushdie, Salman. Imaginary Homelands: Essays and Criticism 198-1991. Viking, 1991. Rushdie, Salman. The Ground Beneath Her Feet: A Novel. Henry Holt & Co.,1999. Satchidananda. K. Authors, Texts, Issues: Essays on Indian Literature, New Delhi: Pencraft International, 1003. Subramanian, T.S.R. Journeys Through Babudom and Netaland: Governance in India. New Delhi: Rupa & Co.,2004.

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86

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Ame`mÀ`m d¡{dÜ`nyU© gImoc A§Va§JmMo AmH$cZ, AmñdmXZ, {dícofU, _yë`_mnZ, {gÜXm§VZ, g§emoYZ d Cn`moOZ hmoUo AË`§V Amdí`H$ hmoVo. Am{U hr _amR>r g_rjoMr AQ>i O~m~Xmar hmoVr. àñWm{nV _amR>r g_rjoMo AmXe© d VÎdgyÌo hr naH$s` Am§½c^mfoVrc gm{hË`mVyZ {dH${gV Pmcr hmoVr. åhUyZ H$mhr gm{hË`àdmh åhUOo _mŠg©dmXr, ApñVddmXr VWm g§aMZmdmXr, H$cmdmXr, éndmXr, órdmXr, Am{X~§YmË_H$ Aem VÎdgyÌm§Mr àñWm{nV _amR>r g_rjoZo `mo½` XIc KoVcr, n§aVw J«m_rU, X{cV, Am{Xdmgr Aem An[a{MV gm{hË`àdmhm§Mr hdr Ver AÝdW©H$ d Ý`mæ` g_rjm àñWm{nV g_rjocm H$aVm Amcocr Zmhr. n[aUm_r Ë`m- Ë`m gm{hË`àdmhm§gmR>r MidirÀ`m _mÜ`_mVyZ {d{eï> {dMmaàUmctÀ`m d {d{eï> _yë`Mm¡H$Q>tÀ`m ^y{_Ho$VyZ ñdV§Í`nUo g_rjmgwÌo à{VnmXZ H$aUmar Am{U Ë`m-Ë`m {d{dY àdmhm§Mr AÝdW©H$ d g_`mo{MV MMm© H$aUmar g_rjm _amR>r gm{hË`m§À`m àm§VmV H$mhr g_rúmH$m§Zr OmUrdnyd©H$ gwé Ho$cr. åhUyZM ñdmV§Í`moÎma _amR>r g_rjoÀ`m {d{dY àdmhm§Mr gyÌmË_H$ ~m§YUr d _m§S>Ur H$aÊ`mMm à`ËZ gm{hË`{d_e©H$m§Zr _amR>rV gwé Ho$cm. EH§$Xa _amR>r g_rjm H$er Amho `m{df`r AmOÀ`m n§Mdrg dfm©nydu à»`mV g_rjH$ àm.h.lr. eoUmocrH$a `m§Mo {ZarjU \$ma _hËdmMo Amho. àm. eoUmocrH$a Voìhm åhUmco H$s, "AmOM§ H$m`, H$mcM§ H$m`, Amnc§ gma§ g_rjdmL²>_` ho ~mhoéZ Amcoc§ Amho, nanwï> Amho. Vo òWë`m _mVrV éOdc§ Joc§ nm{hOo.1 ñdmV§Í`moÎma _amR>r gm{hË`mÀ`m àm§VmV Zdgm{hË`, _mŠg©dmXr, ApñVËddmXr, àmXo{eH$, J«m_rU, g_H$mcrZ, X{cV, OZdmXr, Am{Xdmgr, órdmXr, _wñcr_, {¼ñVr, O¡Z, H$m_Jma, {dkmZ Aem Zmdm§Zr gm{hË`àdmh AdVrU© hmoD$Z AmO pñWañWmda Pmcoco AmhoV. `m gJù`m gm{hË`àdmhm§Mm Ë`m§Mm-Ë`m§Mm EH$ {d{eï> Ñ{ï>H$moZ Amho. g_rjoÀ`m g§X^m©Vhr Zdg_rjm, J«m_rU g_rjm, _mŠg©dmXr g_rjm, A{ñVËddmXr g_rjm, X{cV g_rjm, OZdmXr g_rjm, órdmXr g_rjm Ago g_rjoMo {d{dY àdmh {Z_m©U Pmcoco AmhoV. Ë`mM~amo~a gm¢X`©emó, e¡cr{dkmZ, g_mOemór`, _mZgemñÌr`, Am{X~§§YmË_H$, OrdZdmXr g_rjm Ago {d{dY Ñ{ï>H$moZ _amR>r g_rjoV Amcoco AmhoV. `m gJù`m g_rjmàdmhm§Mr



{d{dY Ñ{ï>H$moZm§Mr MMm© `m {R>H$mUr H$aVm òUo eŠ` Zgë`mZo Ho$di _mŠg©dmXr g_rjm d XcrV g_rjm `m XmoZ àdmhm§MrM Am{U Vr hr Ho$di g§{já MMm© BWo A{^àooV Amho. Aer `m {Z~§Y_mcm OmUrdnyd©H$ _`m©Xm KmcUo JaOoMo Amho. _mŠg©dmXr g_rjm: _mŠg©dmXmMm OJmÀ`m gm_m{OH$, gm§ñH¥${VH$, amOH$s`, Am{W©H$ joÌmda Ogm XyaJm_r à^md nS>cm, VgmM OJmVrc gm{hË`, H$cm d g_rjoda \$ma _moR>m à^md nS>cocm Amho. OJmVrc AZoH$ {dMmad§Vm§Zr _mŠg©dmXr g_rjoMr _m§S>Ur Ho$cocr Amho. _amR>rV AZoH$ g_rjH$m§Zr _mŠg©dmXr g_rjmgyÌo gm§{JVcr AmhoV. n«{gÕ g_rjH$ lr. {XJ§~a nmÜò `m§À`m coImVrc2 {ddoMZmÀ`m AmYmao _mŠg©dmXr g_rjoMo ñdén g§{jánUo Imcrcà_mUo Amho. _mŠg©dmXr g_rjoZo ^m¡{VH$ n[apñWVr d H$cm `m§Mm AÝ`moÝ` g§~§Y OmoS>cm Amho. Am{W©H$ g§~§Y hm g_mOmÀ`m B_maVrMm nm`m AgVmo Am{U Ë`mcm nwaH$ Aer Z¡{VH$, Ym{_©H$, amOH$s` àUmcrMr nm`m^yV aMZm C^r amhV AgVo. H$cm hr `m nm`m^yV aMZoMmM ^mJ AgVo, hr `m g_rjoMr à_wI ^y{_H$m Amho. gm_m{OH$ n[adV©ZmV A§{V_ {ZUm©`H$ KQ>H$ Am{W©H$ nm`m hmM AgVmo, hm _mŠg©dmXr gm{hË` {dMmamMm _hÎdmMm Ñ{ï>H$moZ Amho. H$moUË`mhr gm{hË`H¥$VrMo AmH$cZ Ë`m gm{hË`H¥$VrMm CJ_ H$moUË`m gm_m{OH$ n[a{ñWVrV Amho, Ë`m gm{hË`H¥$VrVyZ ì`º$ hmoUmè`m Z¡{VH$ Ame`mMo ñdén H$m` Amho d Ë`m gm{hË` H¥$VrV à{Vq~~rV Pmcoco dmñVd H$moUVo d H$go {M{ÌV Pmco Amho, BË`mXr KQ>H$m§Mm {dMma Ho$ë`m{edm` H$aVm òV Zmhr. hr `m g_rjoMr ^y{_H$m Amho. hr g_rjm gm{hË`mH¥$Vrcm H$cmdñVygh Vr EH$ gm§ñH¥${VH$ dñVyhr Agë`mMo _mÝ` H$aVo. H$cmd§V, H$cmH¥$Vr d a{gH$ hr gm{hË` ì`dhmamMr VrZ A§Jo hmoV, Ë`m§Mm EH$_oH$m§da n[aUm_ hmoV AgVmo. åhUyZ Ë`m§Mo nañnag§~Y§ AgVmV. åhUyZM gm{hË`H¥$VrMm n[aUm_hr g§^dZr` AgVmo, hm _mŠg©dmXr g_rjoMm n«_wI Ame` Amho. hr g_rjm H$cocm _ycV: "gO©Z' _mZVo. `m Ñ{ï>H$moZmZwgma H$cm Ho$di {dMmaàUmcrMo A§J qH$dm dmñVdmMo {Zìdi à{Vq~~ Zmhr. H$maU H$coVyZ _mZdr g¥OZercVoMm Am{dîH$ma KS>V AgVmo. gm{hË` gm_m{OH$ dmñVdmnmgyZ _wº$ amhÿ eH$V Zmhr, åhUyZ gm{hË`mMo gm_m{OH$ÑîQ>çm ñdén cjmV KoVë`m{edm` gm{hË`mÀ`m AmH$cZmcm nyUV© m òV Zmhr, hr _mŠg©dmXr g_rjoMr R>mgo ^y{_H$m

87

Amho. gm{hË`H¥$VrVyZ ì`º$ hmoUmam Ame` g_mOn[adV©Zmcm nmofH$ Agoc, Ë`mVyZ ì`º$ hmoUmar Z¡{VH$Vm Oa CX`moÝ_wI dJm©Mr Agoc Va Vr gm{hË`H¥$Vr nwamoJm_r Am{U Zgoc Va Vr gm{hË`H¥$Vr à{VJm_r R>aVo. `m ^y{_Ho$Zwgma nwamoJm_r gm{hË`H¥$Vr Mm§Jcr Va à{VJm_r gm{hË`H¥$Vr dmB©Q> R>aVo. "hm g_rjm {dMma gm{hË`H¥$VrÀ`m gm_m{OH$Voda â XoVmo, _mUyg ì`º$s åhUyZ nyU©nUo ñdV§Ì amhÿ eH$V Zmhr. Ë`mÀ`m ì`{º$ÎdmMr KS>U gm_m{OH$ dmñVdmVM hmoV AgVo.3 Ago {XJ§~a nmÜò åhUVmV. AZoH$ g_rjH$m§Zr _amR>rVrc _mŠg©dmXr g_rjm {dH${gV Ho$cr. cmcOr n|S>go `§mZr _mŠg©dmXr g_rjocm gwédmV H$éZ {Xcr. nw.`.Xoenm§S>o, ~m.a.g§wR>UH$a `m§Zr `m g_rjocm d¡Mm[aH$ ^y{_Ho$Mr ñnï>Vm {Xcr. J.~m.gaXma `m§Zr `m g_rjmÑï>rVyZ _amR>r g§Vm§Mr gm_m{OH$ \$clwVr emoYcr d `m g_rjocm EH$ g§V{M{H$Ëgm nÕVrMm doJim Am`m_ àmá H$éZ {Xcm. àm.{X.Ho$. ~oS>H$am§Zr H$cmdmXmMr d g¥OZerc _mZdr A{dîH$mamMr {M{H$ËgH$ _yë`Ñï>r {Xcr. eaXƒ§Ð _w{º$~moYtZr H$cmË_H$ ñdm`ÎmVm, gm¡§X`©Îd Am{U _mZwfVm BË`mXr _yë`m§Mr â Q>mHy$Z `m g_rjocm doJio n[a_mU àmá H$éZ {Xco. Zaha Hw$é§XH$am§Zr _mŠg©dmXr g_rjocm {dewÕ d g_mOdmXr _yë`ì`dhmamMr OmoS> {Xcr. {XJ§~a nmÜò `m§Zr VmpËdH$ ~¡R>H$ {Xcr. Va {d.g.OmoJ `m§Zr AmñdmXH$ g_rjoMr â Q>mH$cr. X{cV g_rjmS>m.° ~m~mgmho~ Am§~So >H$a `m§Mo ì`{º$_Îd, VÎdkmZ d Ë`m§Zr àË`j Ho$coë`m MiditMr àoaUm KoD$Z _amR>rV "X{cV gm{hË`' `m ZmdmZo An[a{MV d A{^Zd gm{hË`mMm àdmh CX`mg Amcm. OmVr A§VmMo C[Ôï> d g_Vm, ñdmV§Í`, ~§YyVm, gm_m{OH$ Ý`m` d Y_©{ZanojVm `m _mZdr _yë`m§Mr noaUr H$aUmè`m X{cV gm{hË`mZo _amR>r gm{hË`mÀ`m àXoemV Ii~i CS>dyZ {Xcr. X{cV gm{hË`mMr g_rjm `m gm{hË`mÀ`m OÝ_mnmgyZM {c{hcr OmD$ cmJcr. 1950-60 À`m Xaå`mZ ho gm{hË` _amR>rVrc EH$ doJim gm{hË`àdmh åhUyZ ñdV§Í`nUo Cô am{hco, VoìhmnmgyZM `m gm{hË`mMr g_rjmhr {gÕ hmody cmJcr. Am{U ñdV§Ì g§_ocZohr âm`cm gwédmV Pmcr. àma§^rÀ`m 15-20 dfmªÀ`m Aën H$mimV Xm.Vm.éndVo, ~r.gr.H$m§~io, dg§V _yZ, _.^r.{MQ>Urg, _.Zm.dmZIS>o, ^mcM§Ð \$S>Ho$, am.J.OmYd, Ho$ed _olm_, AÊUm^mD$ gmR>o, AO©wZ ZmJao, S>m°. J§JmYa nmZVmdUo, èd§V _Zmoha, ~m~yamd ~mJwc, amOm T>mco, VmamM§X Im§S>oH$a, dm_Z qc~miH$a, am.^r.Omoer, e§H$aamd IamV, dm.c.Hw$cH$Uu, àm.



88

AéU H$m§~io, gwa|Ð ~maqcJo, {d.dm.{eadmS>H$a. ny.c.Xoenm§S>o, {d.g.Im§S>oH$a, ~miH¥$îU H$dR>oH$a, eaX nmQ>rc, _m.\$.Jm§Oao, KZí`m_ VidQ>H$a, {^_amd H$aS>H$, AmXr X{cV gm{hË`mMr AmñdmXH$ d Vm{ÎdH$ g_rjm {chrV hmoVo.

16) àmMrZ ^maVr` gm{hË` d X{cV gm{hË`

AmO 30 dfm©nydu 1978 cm VH©$ VrWmªZr X{cV g_rjoÀ`m ñdénmMr AmoiI Pmë`mMo Z_yX Ho$co hmoVo. VH©$VrW© cú_Uemór Omoer Voìhm åhUco hmoVo H$s, "_hmamï´>mVrc à_wI g_rjH$m§Zr d {dMmad§Vm§Zr X{cV gm{hË`mVrc àoaUm, Ë`mMr gm_m{OH$ d dmL²>_`rZ C{Ôï>o, Ë`mÀ`m _yë`_mnZmMo {ZH$f B. àíZm§Mr doimodoir {Oìhmù`mZo d {M{H$ËgH$ Ñï>rZo MMm© Ho$cr Amho.'

19) J«m_rU gm{hË` d X{cV gm{hË`

"X{cV g_rjoMo ñdén' `m J«W§ mÀ`m AmYmao X{cV g_rjoÀ`m ñdénmMr AmoiI H$aVm òVo, X{cV g_rjoMo ñdén AmH$cZ hmoÊ`mgmR>r `m g_rjoMo EHy$U Mma àH$ma nS>VmV. AmñdmXH$ g_rjm, gm{hË`àH$mamZwén g_rjm, VÎdg_rjm d gm¢X`©emó g_rjoMo ñdén g_OÊ`mgmR>r H$mhr AmYma^yV _wÚm§MmM \$º$ C„oI H$aVm òB©c. {dñVma^`mñVd àËòH$ _wÚm§Mo {dícofU òWo hoVwV: Q>miÊ`mV Amcoco Amho. Vo AmYma^yV _wÔo Imcrcà_mUo òVrc.

17) g§V gm{hË` d X{cV gm{hË` 18) àñWm{nV gm{hË` d X{cV gm{hË` 20) _mŠg©dmXr gm{hË` d X{cV gm{hË` 21) ñÌrdmXr gm{hË` d X{cV gm{hË` 22) {ZJ«mo gm{hË` d X{cV gm{hË` 23) X{cV H$cmË_H$VoMm {dMma 24) X{cV gm¡X§ `©emó 25) eãX n[adV©Z-Am§~oS>H$ar gm{hË` 26) X{cV gm{hË`mdarc Amamonm§Mr MMm© 27) X{cV gm{hË`mVrc AmdVm©Mr MMm© 28) àñWm{nV gm{hË`mMr nwZa²g_rjm

1)

àñWm{nV _amR>r g_rjoMm AnwaonUm

29) àM{cV g_rjmàdmhm§Mo _yë`_mnZ

2)

ñdV§Ì g_rjoMr JaO d _mJUr

30) X{cV gm{hË`mMo AmË_narjU

3)

X{cV g_rjoMo A{Yð>mZ

31) X{cV g_rjoMr g_rjm

4)

X{cV gm{hË`mMr n«oaUm

32) X{cV g_rjoMo ñdV§Ì ApñVÎd

5)

X{cV gm{hË`mMr ì`m»`m

6)

X{cV gm{hË`mMo à`moOZ

7)

X{cV gm{hË`mMr nydn© a§nam

8)

X{cV g_rjoMr nydn© a§nam

9)

X{cV gm{hË`mMo doJionU

10) doXZm {dÐmoh ZH$ma pñdH$ma hr gyÌo 11) g_Vm ñdmV§Í` ~§YwVm Ý`m` hr _yëò 12) ~m¡Õ VÎdkmZmMm AmYma 13) ZdrZ {_WH$m§Mr {Z{_©Vr 14) gm_m{OH$ _mZdd§e emór` ÑîQ>rH$moZ 15) X{cV A{ÔZdJm©Mr {Z{_©Vr

[ZarjUo ñdmV§Í`moÎma _amR>r g_rjmàdmhmVrc _mŠg©dmXr g_rjm d X{cV g_rjm ho XmoZ g_rjm àdmh à^mdr d _hÎdmMo _mZco OmVmV. {d{eï> {dMma àUmcrMm Adc§~ d R>mog OrdZdmXr VÎdkmZmMm nm`m Agcoco ho g_rjàdmh EH§$Xa _amR>r gm{hË` d g_rjoÀ`m joÌmda \$ma _moR>m à^md nmS>Umao g_rjmàdmh åhUyZ AmO {gÕ hmoVmV. _mUgmMo Am{W©H$ emofU H$aUmè`m ^m§S>dcemhr g§ñH¥$Vrcm Zï> H$éZ g_mZ dJ©àUmcrÀ`m YVuda Zdm g_mO KS>dy nmhUmam _mŠg©dmXr VÎd{dMma gm{hË` d H$coÀ`m A§JmZohr H$cmË_H$ {Z{_©VrMr à{H«$`m {df_ Am{W©H$ aMZoÀ`m nm`mda A{Y{ð>V Agë`mZo à^m{dV hmoVo d gm¢X`m©Ë_H$ A{^éMrcmhr hm à^md J«mgyZ Q>mH$Vmo Aer _m§S>Ur H$aUmam gm{hË` d H$cmjoÌmVrc _hÎdmMm {dMma R>acm Amho. gm_m{OH$ nmVirda OmV `m KQ>H$m§_i w o ì`º$sMo hmoUmao emofU Wm§~dyZ g_VoÀ`m nm`mda Zdm ^maVr` g_mO



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89

gm{hË`gmR>r AmìhmZ åhUyZ C^r Amho. `m g_rjmàdmhm§Zr `mMr `mo½` Zm|X KoÊ`mMr JaO Amho. _mŠg©dmXr d X{cV `m àdmhmÀ`m gm{hË` d g_rjm§Mm {ddoMZmË_H$ g_J« B{Vhmg AOyZhr {chrc Jocm Zmhr. `m MidirVrc coIH$ g_rjH$m§Mr hr O~m~Xmar Amho. X{cV gm{hË`mMr H$jm Am{Xdmgr, BVa OmVr O_mVr, ^Q>H$o {d_wº$ d ~hw O Z g_mOmÀ`m g§ d o X UmË_H$ {MÌUmZo AmVmÀ`m gÚpñWVrnojm A{YH$ ì`mnH$ hmoUo JaOoMo Amho, X{cV g_rjoZo `mH$S>o Jm§^r`m©Zo nhmdo. Ho$di EH$mM OmV g_yhmÀ`m n[aYmV X{cV gm{hË` KwQ>_iy Zò `mMr J§^ra XIc X{cV g_rjoZo ¿`mdr. EH§$Xa _mZdr OrdZ OJÊ`mcm d Ë`m OJÊ`mÀ`m n[adV©Zmcm MmcZm XoUmao _mŠg©dmXr d X{cV gm{hË`àdmh AmhoV, `mMm nmR>nwamdm _mŠg©dmXr d X{cV g_rjoZo Aì`mhVnUo H$aUo JaOoMo Amho. g§X^©1)

h. lr.eoUmocrH$a, Zdg_rjm H$mhr {dMma àdmh. g§nm. Jmo._. Hw$cH$Uu _ohVm npãcqeJ nwUo 1982 n¥. 52

2)

{XJ§~a nmÜò, _mŠg©dmXr g_rjm{dMma (coI) Zdg_rjm H$mhr {dMma àdmh, n¥. 88

3)

{XJ§~a nmÜò, _mŠg©dmXr g_rjm{dMma (coI) Zdg_rjm H$mhr {dMma àdmh, n¥. 90

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VH©$VrW© cú_U emór Omoer, (XmoZ eãX) X{cV gm{hË` : EH$ Aä`mg, g§n-AO©wU S>m§Jio

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S>m.° eÌw¿Z OmYd, X{cV g_joMo ñdén, à{V^m àH$meZ, naÛr

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eaUHw$_ma qc~mio, _amR>r dmL²>_`mVrc ZdrZ àdmh (g§nmXZ)

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h¡Ÿ& BZH$s é{M-Aé{M H$m H$moB© R>mog AmYma ZhtŸ& _mÌ d¡`{º$H$ é{M-Aé{M Ho$ H$maU Xygao Ho$ ApñVÎd H$mo _hËd hr Zhr {X`m OmVmŸ& nmÌ Ohm± AnZr é{M Ho$ {dnarV Hw$N> nmVo h¡ dht dh H$Q>Zo cJVo h¡Ÿ& ñdmV§Í`moÎma Am¡nÝ`m{gH$ nmÌ na§namJV à{V_mZm| d gm_m{OH$ Ag§J{V`m| Ho$ {déÕ d¡`{º$H$ AZw^dm| Am¡a g§~§Y Ho$ H$maU A{ñVÎdJV gwajm H$m à`ËZ Vmo H$aVo h¡, co{H$Z AnZo Bg à`ËZ _| Z Vmo dh nyU©V: na§namJV X¥{ï>H$moU go AcJ hmo nmE Am¡a Z hr ApñVÎddmXr M[aÌ hr ~Zo A{nVw EH$ AHw$cmhQ> {cò Bgr Û§ÛmË_H$ pñW{V Ho$ ~rM {Kao AnZr dmñV{dH$Vm H$mo nyar Vah àm_m{UV ^r Zht H$a nmEŸ& hm°, AnZo Bg à`ËZ _§o dh `m¡Z-g§~§Ym| AWdm ór-nwéfm| Ho$ ~rM CËnÞ "Q>Ýo eZ' H$m {dñV¥V {ddaU Adí` XoVo ahoŸ& ñdmV§Í`moÎma Am¡nÝ`m{gH$ g§aMZm _| AZw^{y V H$s {^Þ YmaUm Zo na§namJV H$Wm-g§JR>Z H$mo n[adVuV {H$`mŸ& H$Wm-g§JR>Z H$s g_ñV na§namJV YmaUmAm| H$s Anojm ì`{º$JV j{UH$ AZw^y{V`m| Ho$ "B§àoeZ' H$mo Am¡nÝ`m{gH$ g§aMZm _| A{YH$ _hÎd {_cmŸ& AV: Am¡nÝ`m{gH$-g§aMZm _§o KQ>Zm, {H«$`m-ì`mnma Am¡a M[aÌ Ho$ g§~§Y {dH$mgH«$_ _§o Z hmoH$a nhcy Ho$ én _§o {M{ÌV hþEŸ& OrdZ H$m EH$ cKw n«g§J, _yS>, {dMma AWdm {d{eîQ> ì`{º$-M[aÌ hr H$WmZH$ ~Z J`m AWdm Cg_| H$WmZH$ H$s j_Vm _mZ cr JB©Ÿ&"cmc Q>rZ H$s N>V' {d{eîQ> g§doXZm CgH$s gKZVm Ho$ H$maU CnÝ`mg H$s Am§V[aH$ ~wZmdQ> H$aVr h¡Ÿ& CnÝ`mg _§o Z M[aÌ H$m _hÎd h¡, Z Am¡nÝ`m{gH$ g§aMZm H$m, Omo Hw$N> _hÎd h¡ dh Cg "àmBdogr' H$m hr h¡Ÿ& Omo Hw$N> ahñ` h¡, dh A±Yoao ì`{º$JV H$moZmo H$m hr h¡Ÿ& CnÝ`mgm| _| {H$gr {dMma AWdm Xe©Z H$s Anojm VmËH$m{cH$ g§dXo Zm H$mo _hÎd XoZo go ^mfm ^r g§dXo Z {d{eï> hþBŸ© & Bg H$maU dh Xw~moY© Am¡a O{Q>c ~ZVr JB©Ÿ& ~Zr-~ZmB© YmaUm H$s Anojm ~m¡{ÕH$ {dcmg H$s A{^ì`{º$ Ho$ H$maU ^mfm H$hr§ A{YH$ ^mar hmoVr JB© h¡Ÿ& àVrH$mË_H$ Am¡a q~~m| H$m à`moJ hmoZo na ^r ^mfm gVV doJ_`r Eogr ^mdYmam h¡ Omo Am¡nÝ`m{gH$ dñVw Ho$ AZwgma hr AnZm én J‹T>Vr Mcr Om ahr h¡Ÿ& AZw^y{V H$s {Za§VaVm H$m Z hmoZm (Omo H$m°_y Ho$ EãgS>© qMVZ H$m _w»` {df` h¡Ÿ&) CgH$s gmoMr-g_Pr Ag§JV e¡cr H$m à_mU h¡Ÿ& H$m_y `h H$hH$a Zht ~VmZm [H$Ÿ pñW{V`m± EãgS>© hmoVr h¡Ÿ& A{nVw eãXmdcr d dmŠ`-{dÝ`mg Ho$ Ûmam dh BgH$m AZw_mZ H$admVm h¡ {H$ _mZdr` pñW{V`m| I§{S>V Am¡a VmËH$m{cH$ (EãaßQ>) hmoVr h¡Ÿ&

"do {XZ' _| K{Q>V KQ>Zm{dhrZ {ZaW©H$ OrdZ VWm ^` go AmH«$m§V nmÌm| H$s _mZ{gH$Vm Ho$ {cE {Z_©c d_m© Zo ^mfm H$mo ^r A{YH$-goA{YH$ g§doXZerc ~Zm`m h¡Ÿ& ^mfm H$s ì`§OH$Vm AÝVd©ñVw H$mo {Z{_©V Zhr H$aVr A{nVw ñdV§ÝÌ {dH$ën én _| n«ñVwV hmoVr h¡Ÿ& ^mfm H$hr ~ocm¡g Am¡a g§pícßQ> hmo JB© h¡Ÿ& {Z_©c d_m© Zo `wÕm|Îma ImcrnZ H$s {Og _Z:pñW{V H$mo AnZo CnÝ`mg H$m H|$Ð ~Zm`m CgH$s A{^ì`{º$ ^mfm H$s Bg VZmdnyU© g§aMZm Ho$ H$maU hr g§~Y§ hmo nmB© h¡Ÿ& {Z_©c d_m© Ho$ CnÝ`mgm| H$s ^mfm AnZo ~m¡{ÕH$rH$aU Am¡a AnZr O{Q>cVm _| ^r nmR>H$ H$mo ~m±Yo aIVr h¡Ÿ& g§àofU H$s à{H«$`m _| ^mfm {d{eîQ> Am¡a gm_mÝ` Ho$ Û§X _o H$cmË_H$ A{^ì`{º$ H$aVr h¡Ÿ& `hm°§ ^mfm gm_mÝ` Zhr§ _mÌ A{ÛVr` Am¡a {d{eï> H$s A{^ì`{º$ H$aVr h¡Ÿ, Bgr{cE ^mfm ì`{º$JV hmoVr JB© h¡Ÿ& O¡go AZw^d _§o "àmBdogr' h¡ Cgr Vah ^mfm _§§o ^r EH$ Vah H$s àmBdogr H$s ^y{_H$m h¡Ÿ& H$m_y Zo AnZo nmÌ å`moagm± H$s _ZmoXem H$mo Xem©`m h¡Ÿ& å`moagm± EH$ gmoec AmD$Q>gmBS>a h¡ Š`mo§{H$ dh g_mO _| àM{cV eãXm| Ho$ na§namJV AW© H$m à`moJ Z H$a AnZr eãXmdcr H$s aMZm H$aVm h¡ Am¡a CÝh| Z`m AW© XoVm h¡Ÿ& dh "^mfm H$s àmB©dogr H$s ^y{_H$m gOrd hmo CR>r h¡Ÿ'& ^wdZ Am¡a aoIm Ho$ `m¡Z-g§~§Ymo H$mo "\w$c{\$c_|Q>' H$hZm, J^©ñW-{eew H$mo "gO©Zdm`{cñQ>' `m "~rZH$ma' Ho$ Zm_ go gå~mo{YV H$aZm, Jm¡am H$m ^wdZ H$mo "ñZoh{eew' H$hZm VWm ^wdZ H$m Jm¡am H$mo "OwJZy' VWm eoIa H$m e{e H$mo "OrdZ H$s {g{Õ' H$hZm g§~§Ymo Ho$ ~rM àmBdgr H$mo ñnîQ> H$aVo h¡Ÿ& ^mfm H$m àmBdogr H$m JwU hr CnÝ`mg Ho$ gm¡ð>d H$s d¥{Õ H$aVm h¡Ÿ& "ZXr Ho$ Ûrn' _| H$m§Q>|Q> (dñVw ) Xw~©cVm go ~hþV H$m_ cmoJm| H$mo BZH$ma h¡, na CgH$s AmH$f©H$ ^mfm, CgH$s H$cm Ho$ gm¡ð>d Am¡a CgH$s _Zmoa§OH$Vm H$mo g^r ñdmH$maVo h¡Ÿ& ^mdm^y{V H$ {MÌU Ho$ H$maU ^mfm H$s gKZVm Ed§ VacVm H$m AX²^wV gpå_aU hþAm h¡Ÿ& "gyú_-go gyú_ ^mdZmAm| Am¡a {dMmam| H$mo àIaVm Ho$ gmW A{^ì`º$ H$aZo H$s Ñ{ï> go "ZXr Ho$ Ûrn' ~hþV hr _hÎdnyU© H¥${V h¡'Ÿ& BZ CnÝ`mgm| _| `m¡Z-g§~§Y ^mfm H$mo ~o{PPH$ ~ZmVo h¡Ÿ& `m¡Z ì`dhmam| _| àH¥${V Ho$ CnH$aUm| Ho$ à`moJ H$s Anojm Iwcm {MÌU d AdHw§${R>V ^mfm _| àñVwV H$aHo$ ^mfm H$s gr_mAm| H$mo Vmo‹S>Vm h¡Ÿ& CnÝ`mgm| _§o ^mfm Ho$ na§namJV gm¢X`©-~moY na àhma H$aHo$ EH$ àgmYZhrZ, qH$Vw Mw^Vr ^mfm H$mo àñVwV {H$`m J`m h¡Ÿ& Ohm± EH$ Amoa BZ CnÝ`mgm| _| ^mfm H$s na§namJV gr_mE± QyQ>Vr h¡§ dht Xwgar Amoa AË`§V {ZOr àg§Jmo H$mo ì`º$ H$aZo Ho$ H$maU Xygar gr_mE± ~ZZo cJVr h¡Ÿ& •••



95

Modernism and Indian Writing in English Dr. Satish Deshpande

The existence of any Indian literary tradition has been doubted by many because of the peculiar Indian situation. India is a multi-lingual country with more than 4000 dialects. There are several language traditions which have been developing simultaneously in the Indian cultural context However in spite of the diversity there appears to be a common cultural stream going on throughout the Indian sub-continent.Althogh the Europeans evolved the concept of Nation in the Nineteenth century. In India there has been an awareness of cultural unity from ancient times. It is evident in the following couplet from Vishnupuran: Uttaram yat Samudrasya Himadreschaiv Dakshinam Varsh tad Bharati nam Bharati yatra Saskruti Even the following remarks attributed to ShriRam indicate that the concept of Motherland was clearly established in those days: Api swarnamayi Lanka na me Laxman rochate Janani Jnmabhoomisch swargadapi gariyasi It is therefore important to accept that these notions did exist in ancient India. It is pointless to say that these notions were developed by the Europeans in the Nineteenth century. The Europeans developed the concept of Nation and equated it with the language spoken by the people of the land. Thus in Europe we discover that most of the nations are organized on the principle of one language –one State –one Nation. The process appears to have continued even up to the last decade of the Twentieth century which witnessed the emergence of two nation states-the Czech republic and the Slav republic out of Czech-Slovakia. India on the other hand has experienced a sense of unity in spite of the multiplicity of languages as well as the absence of a single government most of the times in its history. This

clearly indicates that the use of Euro-centric concepts in relation to India can lead to a dead end.. What is true of Politics is all the more true of literary criticism of the recent period .If one were to write about the relevance of Derrida in the contemporary times one would have to necessarily relate it to the notions like WASP or the European tradition of logocentrtc thought .In many cases these notions are not relevant in the Indian context. English language and literature appeared on the Indian scene in the initial period of British colonization as well as due to the process of colonization .It is interesting to note that the colonizers thought it prudent to introduce English language and literature on the Indian scene even when English children in British public schools were being educated in Greek and Latin classics. It has to be noted that the so called canon of English literature owes its evolution to the English studies in India. Naturally enough the dominant feeling among the Indian thinkers and writers with regard to the English literature was that of awe and admiration. This can be said to be the reaction of the colonized to the literary tradition of the colonizers who enjoyed the status of a dominant class and exploited it to the maximum. Knowledge of English was necessarily related to a feeling of superiority due to the inherent dynamics of the colonial situation itself. Traces of this feeling are evident even during the contemporary times in many different ways. This was precisely the objective of Lord Macaulay when he wrote the now infamous minutes which were lateron adopted by the Government of India as a policy in 1835. On the literary scene it can be seen that the initial euphoria of the introduction of English literature was supported by the euphoria of the romantic feelings and emotions generated by the reading of romantic poetry and the feeling of nostalgia generated by the reading of



96 Walter Scot novels .These stories generated a feeling of pride and nationalism in the young Indians. In short it can be seen that the basic purpose of uprooting the Indians from their roots was thereby defeated although to some extent it was possible to instill a sense of confidence in the superiority of the English culture and language among the Indian masses. The Indian response to the well calculated plan of introducing English language and literature was thus paradoxical. On the one hand it might have created the army of Raobahaddurs and Raosahebs that the Britishers wanted but on the other we also find that it also led to the emergence of a generation of patriotic Indians exemplified by the likes of Lokmanya Tilak and Dadabhai Navroji. This is also reflected in the literature of the contemporary times both in the English language as well as in the Indian languages. The most dominant themes in both related to the Indian mythology and history. This is certainly a romantic trait Yogi.Aurovindo Ghosh has characterized the typical Indian patriotic response to the prevalent situation in his ‘Renaissance in India.’. For these and similar reasons the romantics were considered to be the ideal poets for a pretty long time in India. The Indians still appear to be having a great deal of affinity for the romantic poets. This was gradually replaced by a modernist attitude in the first half of the twentieth century. The modernist criticism developed through the critical theories and practices of critics and writers like T.S.Eliot, Virginia Woolf ,James Joyce and F.R.Leavis .In England we have the practical criticism of I.A. Richards which focused on the importance of the textuality of the text . In the practices of I.A.Richards the text attained the status of an autonomous entity which has to be interpreted in the context of what it is

rather than any other extraneous factors. These practices made the job of a literary critic a little more demanding in that the critic was required to do it independently of his own prejudices. On the face it appears that this would make the activity of literary criticism fairly objective. However it does not appear to be the case if one analyses the critical practices of the critics of the period. F.R.Leavis is a case in point. His ‘Great Tradition’ is considered to be a significant analysis of the tradition of the English novel. However it excludes on his own admission a great and zestful work like Emily Bronte’s ‘Wuthering Heights’. This exposes the limitation of describing any tradition as a great tradition mainly because it attempts to portray the manners and morals of the English middle classes like Jane Austen novel. It appears that F.R.Leavis is more interested in presenting the tradition as a model rather than analyzing its merits and demerits. As a result he fails to pass a fair judgment on the tradition as a whole. One is tempted to say that this is a result of the colonizer’s anxiety to prove his superiority. Unfortunately many of us have not taken the cognizance of these contradictions. The earlier we do the better it is for us. It can be noted that modernism is a point in history of Indian literature in general where we had the opportunity of breaking the shackles of the colonial tradition. We might have used the opportunity in the political field but we have certainly not been able to use it in the socio-cultural and literary field. If we visualize us to be the key player in the twenty-first century it is imperative for us to do so. . •••



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Forth Coming International Seminar

Mind, Brain and Consciousness on 14th &15th January, 2010 Introduction Concepts related to the Mind, Brain and Consciousness have intrigued both philosophers and scientists since time immemorial. While the former have speculated on the nature of mind and put forward many theories of consciousness, the brain as an object of scientific enquiry and how it relates to functions ordinarily subsumed under mind is a relatively recent phenomenon. The emerging body of evidence that the cognitive neurosciences [neurobiology and neurophysiology] and cybernetics are producing cannot but impact our understanding of mind and consciousness and compel us to revise many of our long held theories and convictions. At the same time, many speculative insights of the philosophers regarding mind and consciousness can offer great areas for reflection and experimentation to the neuroscientists. Philosophy of mind is an active, intensely evolving body of knowledge. The Purpose This International Seminar is an attempt to psesent the salient reflections/findings of philosophers and scientists on the interconnections between these concepts and evolve an ongoing dialogue between them so a robust body of knowledge serves as a foundation for further enquiry in this intriguing, and vastly unexplored, field. Of course we can feel satisfied much has been done in the realm of reflective thought about mind and consciousness down the centuries by the great masters, including the likes of Plato, St. Augustine, Descartes [all three on mindbody dualism, and Descartes on ‘mental substance’ ‘pensee’ or reflexive consciousness, and Interactionism]; Locke [rejecting ‘mental substance’]; Hume [‘bundle concept’], Kant [critique of associationist approaches and stress on ‘phenomenal consciousness’], Berkeley [Idealism as in Principles of Human Knowledge, 1710 ]; Leibniz [Parallelism]; Spinoza, Gustav Fechner and W.K. Clifford [Double-Aspect Theories] as also Herbert Spencer and P.F. Strawson; William James [‘stream of consciousness], Brentano [‘intentionality’]; Cabanis and older masters [Epiphenomenalism]; Vienna Circle, especially Otto Neurath and Rudolf Carnap [physicalism or extreme materialism]; Edmund Husserl, Martin Heidegger and Maurice Merleau-Ponty [phenomenology]; J.J.C. Smart and H. Feigl [Identity theory]; Russell [‘sensibilia’]; A.J. Ayer [a type of neutral monism in Language, Truth and Logic, 1936] ; Geulincx and Malebranche [Occasionalism]; Gilbert Ryle [‘the ghost in the machine’ in The Concept of Mind]. There will be occasion to review their work in this seminar. A lot has being done in the neurosciences by the scientists, especially K.S. Lashley [removal and study of animal brain parts]; H. -L. Tauber [war time brain damage study by EEG and PEG]; W.G. Penfield [direct stimulation of patient’s brain]; Eric Kandel, Paul Greengard and E. Carlsson [Microstructures necessary for learning, memory and effect of psychoactive substances; Nobel Laureates, 2001]; R. Axel and L.B. Buck [genes, protein receptors and odour recognition; Nobel Laureates, 2004]; and the vast body of work by different neuroscientists on the neurotransmitters, especially the biogenic amines, aminoacids, neuropeptides etc. There are so many others, and the neurosciences are teeming with research work. But precious little is being done to integrate the vast body of knowledge that already exists about these three concepts in these independently progressing branches of philosophical thought and scientific experimentation. This seminar is a step to help the process of such integration. Mind and Consciousness This Seminar will attempt to review and present classical and modern concepts and theories about Mind and Consciousness, including the Mind-Body or Body-Mind problem; the idealist and materialist views about National Seminar on Post-Independence Indian Literature - 16th & 17th January, 2009


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mind; the identity, the computational and double aspect theories of mind; monistic and dualistic theories of mind; as also interactionism, epiphenomenalism, structuralism, reductionism, materialism, occasionalism, neutral monism, functionalism, psychophysical parallelism etc. The concept of mind in Indian thought needs a careful and detailed exposition for which a theme session/workshop is proposed. The philosophy of mind is intimately connected with the philosophy of action. Therefore, concepts like free will, motive, intentions, cognition, volition, feelings, and also ethical issues related to these are of abiding interest, and also of concern in this seminar. Questions related to cognition like perception, sensation, insight, intuition, judgement, as also thought, reasoning, and the notions of doubt, inference, reasoning, logical thinking and how these are connected to our understanding of the mind and its connectedness with evidences from research in the neurosciences will also be of interest in this seminar. The problem of Consciousness needs to be connected with that of the Mind, but not only our philosophical understanding of the Mind but the emerging evidence from brain research. The various metaphysical positions like the dualist and physicalist theories, and the specific ones like higher-order, representational, cognitive, neural and quantum theories, need to be put in perspective to understand where we stand in our grasp of this complex topic. Qualia, introspection [including the works of the champions of the introspective method as seen in the work of Wilhelm Wundt, Hermann von Helmholtz, William James and Alfred Titchener] and self-knowledge, as aspects of consciousness also need detailed analysis. Creature consciousness and state consciousness, as also the ‘state of consciousness’ needs close study too. Work in scientific psychology, especially behaviorism (Watson 1924, Skinner 1953), Gestalt psychology (Köhler 1929, Köffka 1935) and, more recently, cognitive psychology with emphasis on modeling internal mental processes and information processing (Neisser 1965, Gardiner 1985) needs critical appraisal. A major resurgence of scientific and philosophical research into the nature and basis of consciousness in the 1980s and 90s with the works of Baars 1988, Dennett 1991, Penrose 1989, 1994, Crick 1994, Lycan 1987, 1996, Chalmers 1996 needs to be critiqued too . Also noteworthy is the emergence of Specialty journals devoted to the study of consciousness (The Journal of Consciousness Studies, Consciousness and Cognition, Psyche), as also professional societies (Association for the Scientific Study of Consciousness - ASSC). These exciting developments need to noted in this seminar. The Brain The brain is a complex organ, the structural correlate of the mind, center and head of the central nervous and neuro-endocrine systems, whose various areas are yielding fascinating, though rather tardy, information to science and biology. Areas like the cerebrum, which controls higher functions like thought, language, moral and social conduct, creativity, spirituality etc, needs as much study as the limbic system connected with emotions and sexuality, and the neuro-endocrine system which controls an organism’s response to stress, emotions, thoughts and feelings. As also various pathological conditions that result from toxic, metabolic, infectious, degenerative and congenital/traumatic conditions of brain pathology, not to forget the great number of neuropsychiatric conditions with hitherto ill-defined aetiology that are the great areas of interest and activity in clinical and research psychiatry/ neurology. The emerging vast body of evidential findings from the various neurosciences, including classical psychiatry/neurology, neurobiology, neuropsychology and neurophysiology needs a thorough presentation and a close look if present and future philosophic theorising has to be grounded on solid foundations. The interdisciplanary field of Cognitive Neuroscience which connects the sciences of the brain [Neurosciences] with the sciences of the Mind [Cognitive Science] needs a special and careful look. Nero-imaging and ionic/molecular processes studies are yielding facinating information of brain function that philosophers of Mind can ill afford to ignore. The presence of neuroscientists and a close look at their findings will be a special feature of this Seminar.



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Two workshops, one on ‘Mind and Consciousness’ [21 Aug, 2009], and another on ‘Brain and Consciousness’ [27 Nov, 2009] will set the trend for the International Seminar to follow. A feature of the first workshop will be a close look into the concept of mind in classical Indian Philosophical systems. The Goal, And Bridging the Gap The attempt will be to bring together scholars and intellectuals from these diverse streams and evolve a body of knowledge that will further our quest in this intriguing but still largely inscrutible area of philosophical/ scientific enquiry. Philosphers intimately connected with study of mind and consciousness may know little of brain research. Scientists intimately connected with study of structure and function of the brain may know little about the various theories of mind and consciousness that have engaged philosophers down the centuries, and even actively engages them today. The attempt here is to bring the two bodies of researchers together to evove a corpus of knowledge that will be mutually beneficial and, hopefully, more than the sum of its parts. The possibilty of opening up new areas of research and throwing up new questions for future research, as well as helping contemporary researchers reorient/ rethink their present positions/convictions is an exciting possibility. Hence this seminar. Critiques and reviews of established positions and theories are welcome, but original contributions are equally encouraged. Often, the philospher harbours a notion the brain research will only touch the fringe of our understanding of mind and consciousness. And often, brain scientists believe that philosophers indulge in speculation devoid of emperical evidence and hence ‘talk out of their hat’. The attempt to bring the two together will hopefully dispel these notions and prejudices, and promote much needed respect for each other and a dialogue and serious study of each others’ work. This will add incrementally to the body of knowledge in the respective fields, as well as in interdisciplinary studies, besides being personnal eye openers for individual researchers. Hence also this seminar. •••
