AN EXPLORATION INTO LITERARY WORKS

A D I G E S T

Arjun Pawar ABOUT ME

I am Arjun Pawar, currently a grade 12 student of Dhirubhai Ambani International School, . I have always found myself drawn towards subjects such as Mathematics and in high-school and even beyond. I engage myself in writing, acting, performing and debating regularly. The journey of this digest started with a strong fascination for ‘Urdu’ that stemmed from my innate passion for the Hindi language. Although from a Marathi-speaking household, I have always been amazed by Hindi literature especially. Even as I studied it academically, my interest deepened. This led me to venture into Urdu formally and I began the journey of learning its script - Nastaliq. Gradually, as I learned Nastaliq I realised that there might be many others like me, who want to learn more about literature and Hindustani culture. However, deconstructing literature can be tricky when it is written in a script which a reader cannot read. With that thought, I analysed Urdu texts and presented them through this guide for 21st century readers wishing to delve into these works. These stories and poems, written by respected personalities such as Premchand, Faiz, Ghalib and so on, have been introduced, explained, and analysed for English-speakers. I hope to have bridged the language barrier in bringing to you a diverse mix of 10 pieces from the past - each, excellent in its own right.

Arjun Pawar ACKNOWLEDGEMENT

The conception of this idea would not have been possible without the rich literature gifted to us by visionary writers who have contributed so much to our understanding of culture. I would like to thank the Zabaan : School for Languages for facilitating the experience of learning a language with much comfort. I extend gratitude to Mr. Ali Taqi (Founder, Zabaan) who introduced me to Nastaliq and guided me in this ‘Urdu’ journey with patience and kindness. I thank Mr. Hussain (Instructor, Zabaan) for numerous discussions on the stories and poems along the way. I would also like to thank my parents and my school, Dhirubhai Ambani International School. Moreover, I am grateful to my Hindi teachers over these years - Mrs. Madhulika Chandan for sowing the seed of Literature early on and Mr. Sreeraman Ramanathan for his continued encouragement. PREFACE

‘Heritage’ – a word often used yet seldom understood. Heritage can take uncountable forms; it can be concealed or in transit between generations. ‘Literary heritage’ is particularly close to my heart. I consider it as my window to the past and society’s very own time machine. It is fascinating to consider that it started with the firing of a thought which found its way onto a manuscript or paper and reached readers. A significant proportion of the culture of the Indian subcontinent and South Asia is embedded in its rich literature. It is no surprise that there exists a diversity in the linguistic landscape of this region which is difficult to even fathom. Each language carries its own parcel of culture, values, and beliefs. The focus of this digest stems from Urdu and the Nastliq script – an integral (and sometimes forgotten) piece in the jigsaw puzzle of South Asian culture. Any change in the popularity of a language or script has a direct effect on the readership of its literature. Delving into Urdu literature for me was a way for me to appreciate the script at the surface and then admire the language, the culture, and the history it carries. There might be many individuals out there who wish to dip their toes into Urdu literature but are posed with the obstacle of the script or language. With an aim to address this, I decided to analyse ten selected literary pieces and present them in the form of English essays for audiences to understand these works in a language they are comfortable with. These works come from a range of authors and poets from different time periods and dealing with different themes. I hope these essays bring you one step closer to this limitless literary world. I hope you embark on this voyage of unearthing a heritage.

October, 2020 CONTENTS

1. 'Bachche Ki Duaa' - Allama Iqbal 05 2. 'Parindey Ki Fariyad' - Allama Iqbal 07 3. 'Gulon Mein Rang Bhare' - Faiz 09 4. Ghazal 'Aah Ko Chahiye' - Ghalib 11 5. Ghazal 'Shauq Har Rang' - Ghalib 13 6. 'Do Furlong Lambi Sadak' - Krishan Chander Mohd. Iqbal 1 16 7. 'Haq Ki Fikr' - Premchand 18 8. 'Ghulaami' - Ahmed Ali 20 9. 'Mitti Ki Khushboo' - Shafi Mashhadi 22 10. 'Mera Bachcha' - Krishan Chander 24

Faiz 2

3 Ghalib

Premchand 4

1- Walikhanphotography / CC BY-SA (https://creativecommons.org/licenses/by-sa/4.0) 2- BpldxbCrop by Titodutta / CC BY-SA (https://creativecommons.org/licenses/by-sa/3.0) 3- Banswalhemant / CC BY-SA (https://creativecommons.org/licenses/by-sa/4.0) 4- रोहत साव 27 / CC BY-SA (https://creativecommons.org/licenses/by-sa/4.0) | SECTION : POETRY

N A Z M S , G H A Z A L S

This section takes you through poems and ghazals composed by renowned names in the field – Ghalib, Allama Iqbal and Faiz. These poems can be broadly classified into: ‘ghazal’ and ‘nazm’

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0 4 'Bachche Ki Duaa' Poet : Allama Iqbal 1

The first poem in this series titled ‘Bachche Ki Duaa’ is a short poem by the visionary Allama Iqbal (also known as Sir Muhammad Iqbal). Allama Iqbal was a figure who was active in the political as well as literary spheres. Skilled in many languages, he wrote in Urdu, Persian, Punjabi and English. One of his most well-known compositions is “Saare Jahaan Se Achha” (literally: ‘Better than any other nation’) which is a patriotic song about the Indian subcontinent. Masses remember it even today. Sir Iqbal had seen the colonial times in the Indian subcontinent and had even worked closely with the Muslim League. This particular composition, titled ‘Bachche Ki Duaa’, which translates to ‘A Child’s Prayer’ or ‘A Child’s Call to The Almighty’ is a poem that has been set to tune and taught in many Urdu schools. This discussion will take you through what makes this poem so widely loved and respected.

It can be said that the main themes explored are those of darkness versus education, devotion to the motherland and compassion towards all other beings. The poem has been written through the point of view of a young child expressing his views on what he considers to be his most fervent desires. The opening line establishes this as it says ‘Lab pe aati hai duaa ban ke tamanna meri’ literally meaning ‘My desires reach my lips in the form of a call to the Almighty.’ Sir Iqbal sheds light on several social issues through his lines. The use of metaphors is especially impactful as the child says that he wishes his life is the flame of a candle. The ‘candle’ here has multiple interpretations. It may serve as an indication of the light of knowledge with which he wishes to illuminate his life. It may also refer to the act of providing hope to others when there is darkness in their lives. Later in the poem, a reference to the ‘candle’ is made again when the poet writes about the child wanting to be a ‘moth’. He wishes to be a moth that constantly seeks the flame of knowledge in life.

0 5 Further, the poet continues to impart his message about the kind of thoughts which must play inside the minds of our upcoming generations. Through a simile this time, the child says that he longs to be an asset to his nation just as the flower that adorns the garden. Later on, 1 the child also expresses how it is important for him to develop empathy and compassion towards the downtrodden in society. The poem ends on a hopeful, optimistic note as he prays and hopes to possess the power to tread the righteous path. In this way, Allama Iqbal very elegantly expresses his message for every child and adolescent in the nation to bear in mind. Being progressive in his thinking, Sir Iqbal probably wanted the youth of his nation to think about progress and upliftment of society as a whole too. By keeping the lines short and not too complicated, he ensures that the poem penetrates every region and locale and finds a place in every student’s heart.

Although a twentieth century composition, this poem remains relevant even today. Such literature connects mere words on paper to the status quo outside. When strife and conflict seem to have engulfed many regions of the world, a beacon of hope from our younger generations is of utmost necessity. The need to rise above all differences, spread the light of literacy and education, and empower the needy is seen even today. It is reassuring to still note that if every child, every teenager, every student in any corner of the world even resolves to bring about change starting from himself then the world can attain new heights as a whole. An awakening and acceptance of ‘Bachche Ki Duaa’ by one and all will govern the global citizens of tomorrow.

Personal Note: I chose this poem with the sheer intention of introducing readers of today’s times to the deep messages penned down in the early 1900s which are perfectly relevant even in 2020. What appealed to me the most was the innocence with which Sir Iqbal voices the thoughts of the child. It almost makes us imagine a child reflecting on the world’s issues and hoping for a better society when he has not even seen the real world yet. A child’s mind is often uninfluenced by any racial, political, gender or other such biases. This is what makes this literary piece a special one.

0 6 'Parindey Ki Fariyad' Poet : Allama Iqbal 2

It is well-established that Iqbal is one of the greatest writers the Urdu literary world has seen. This poem of his, “Parindey Ki Fariyaad” meaning the ‘cry of a bird’ is an emotion-filled piece written from the perspective of a bird. The major themes of this poem are suppression, freedom and emotions associated with the two. As seen in his poem ‘Bachche Ki Duaa’, his writing style includes vivid imagery and symbolism. The use of symbolism in this poem remains largely implicit and readers may interpret it in their own ways. The narrative is based on a bird giving vent to his thoughts while being trapped in a cage.

The poem starts on a nostalgic or reminiscent note with the bird remembering his past filled with flowerbeds and chirping of other birds. He remembers the delicate flower buds gleaming with joy with ‘tears’ of dew on them. The way Iqbal employs antithesis makes readers question how there was happiness to be found in every teardrop as well. He finally says that he feels deprived of these experiences in his cage. He fears that he will perish in his sadness surrounded by the walls of his cage. Figuratively, he says “the sorrow consumes my heart and my heart consumes this sorrow” to highlight the condition he is in. Towards the end he also addresses the listener and says ‘Oh, listener! Do not mistake this for a song – this is a mere cry from a sullen heart’. Iqbal probably wishes to convey how humans never understand the language of birds and assume their sounds to be their chirping and lilting. What they forget to consider is that these sounds could be expressions of pain. He calls out one last time and ends the poem with the bird beckoning to open his cage for doing a good deed in the name of the Lord

Initially a simple poem to understand, ‘Parindey Ki Fariyaad’ can be extrapolated on multiple levels. The gardens and flowerbeds being spoken about could serve as points of contrast with his current times.

0 7 2 They could be symbols of times which were better, prosperous and fulfilling. Times today are challenging, and it is this contrast which the poet aims to make. Alternatively, this poem could even hint at socio-political evils of society. The bird in the poem could be a symbol of any individual who is oppressed, discriminated against, or ostracized. Moreover, another interpretation of this poem revolves around the ‘cage’ being a symbol for the shackles imposed by society and the negative emotions the bird is feeling. He feels restrained and dejected.

Even worse, the bird perhaps implies that no one understands what he is going through when he says, ‘the humans never understand the cries of the birds.’ This façade of being fine is probably strengthened by this act of humans. Giving readers a lot to reflect upon, this poem is powerful in its own right. Readers cannot help but notice the happenings in their society and question the very cause of this suppression.

Personal Note: I liked how each of Iqbal’s poems brings something new to introspect about and leads to so many different paths. When I read this poem, I also thought of a possible link to an English poem I had read, titled ‘I Know Why the Caged Bird Sings’ by Maya Angelou. That too, was an impactful piece of poetry and made me realize how poets across different geographies and time periods relied on the simple yet profound symbol of a bird and its cage.

0 8 'Gulon Mein Rang Bharey, Baad-e- 3 Naubahar Chaley' Poet : Faiz Ahmed Faiz

Urdu literature is incomplete without the ghazal. A ghazal is a poetic composition that comprises multiple couplets (sher) strung together. An interesting aspect of ghazals is that they are structurally formatted as well, because each line needs to be of the same length. The original intention of composing a ghazal was to write down something that had to be said to a woman or lover. One famous ghazal is ‘Gulon Mein Rang Bharey Baad-e-Naubahar Chaley’ written by the revered Faiz Ahmed Faiz (often referred to as just ‘Faiz’). Being multi-talented, he served in the military sphere while also advancing in his literary pursuits. He worked as an editor and also taught literature in the Indian subcontinent. He began his professional writing journey shortly post- independence of the Indian subcontinent (in 1947).

The chosen ghazal is also a compilation of thoughts which the poet feels for his beloved. The main themes dealt with are companionship and separation and the ghazal has a romantic tone throughout. The opening line, which is the same as the title of the ghazal, itself contains a metaphor. The poet talks about the gust of fresh spring breeze which blows over the flowers and instantly fills them with colour. This thought makes the ghazal special because it paints a beautiful visual image and readers compare the presence of this person in question (his companion) as someone who fills him with life anew. Further, he compares himself to a caged man who is longing to hear even the slightest mention of his lover. The poet reminisces about how sometimes his day starts with her smile and ends with the locks on her temples. In sudden contrast, the poet also writes about how he is used to the pain and sacrifice. Pensively, he comments that there are many who have been dejected after seeking her company. The poet also writes about how he walks with his ‘collar’ in his ‘pocket’ when asked to prove his love. This seems to be another nuanced use of symbolism in this ghazal. Indirectly, Faiz explains how he is ready to drop his pride or self-respect (symbolised by the ‘collar’) and carry it in his ‘pocket’ (at a lower status).

0 9 he concluding sher of this ghazal starts with Faiz lamenting how no one is truly compatible 3 on the path to his final destination, symbolising the path of life unto death. He ends by stating how he has to go straight to his house after leaving hers, because he has no one else on the way to give him company.

Overall, this ghazal serves as great representation of ghazals in the Urdu literary world. It conveys the essence of separation and love through intricate symbolisms and comparisons. Faiz’s work is special because the subtleties of his thoughts are conveyed through nuanced

Even worse, the bird perhaps implies that no one understands what he is going through when he says, ‘the humans never understand the cries of the birds.’ This façade of being fine is probably strengthenedby this act of humans. examples of the spring breeze or the caged heart. This makes his ghazals embody implicit yet well-understood messages. As always, the interpretations of this ghazal are endless but readers are invited to read this piece with a fresh understanding of it each time.

Personal Note: I chose this ghazal for the abstractness and authenticity which Faiz has conveyed through it. The romantic genre is best presented in the form of a ghazal according to me and Faiz was one name I could not leave out while studying South Asian authors of this genre. His style as a writer also comes out distinctively with the indirect, figurative language. Some of the couplets towards the end actually feel like a live conversation happening between the poet and his beloved. Seemingly real yet poetic, these couplets are proof that Faiz can bring a scene to life with a few structurally, metrically accurate lines!

1 0 'Aah Ko Chahiye...' Poet : Mirza Ghalib 4

Mirza Asadullah, known as ‘Asad’ and ‘Ghalib’ today, is almost synonymous with Urdu legacy. His work continues to be evergreen and adapted into many films, songs and dialogue. His Urdu and Persian ghazals have gained fame worldwide and are popular for the deeply philosophical and romantic style which he brings to these pieces. Anyone wishing to delve into Urdu literature would generally read Ghalib’s ghazals as a prime specimen of Urdu literary heritage. This ghazal known by many as “Aah Ko Chahiye Ek Umr Asar Hote Tak” is about patience, the passage of time and love.

The opening couplet or sher sets the theme of the ghazal as it talks about how it takes a while, even a lifetime, for a desire to manifest into something tangible. Readers may interpret this from the angle of a simple desire or ambition, or the feeling of love which needs patience. The poet goes on to say that with every wave in life, there will be crocodiles and nets for you. Taking this device of symbolism further, he explains that even a ‘pearl’ needs to reach the deep seas after crossing the crocodiles and traps in the shallow waters. He then cries out saying he does not know how he should console his heart until death approaches because the search for love (or his destination) is making him restless although he knows love requires patience. This constant struggle between patience and restlessness is amplified through the example of ‘dawn’ which Ghalib mentions. He explains how it has been tough for him to wait all along just as it is tough to wait for dawn to arrive after the night of separation. He recalls his lover telling him that the day will come when they will meet, but he also says that the wait is getting unbearable and he will soon turn into dust. The next sher, again exceptionally beautiful, relies on symbolism as seen in nature. He draws inspiration from the dewdrop that knows it has to perish once the sun’s rays hit it. This knowledge of everything around being transient and temporary is what inspires him. He knows he will have to go someday, and he just needs one look and glance from his lover to allow him to leave soon. He thinks of the fireplace which warms up the entire party but burns finitely. He thinks of her company and her glance in the same way.

1 1 The concluding sher finally expresses his realisation of the entire scenario in which his 4 morose soul has to just wait for the rest of his life. He realises that giving up is not an option so one must die while fighting one’s problems happily. He compares himself to the flame of a candle that changes hue sometimes – appearing as the colour of sadness, the colour of happiness but burning continuously, nevertheless. This particular ghazal is one of the ghazals for which he is revered even today. In actuality, it strings eight shers (or sixteen lines) together but ends up communicating meaning that can fill innumerable pages. The astute usage of symbolism and imagery in his ghazals strike a

Even worse, tche bird perhaps implies that no one understands what hde is going thro ugh whien he snays, ‘the humans never understand tvhe cries of the birds.’ This fraçade of beying fine is pro bably strengthenedby this act oaf humans. der’s heart. Reading Ghalib can soothe readers for hours on end.

Personal Note: I was personally impressed by the complexity of the vocabulary carrying the elegance of the message with it. If brevity were to be shown in literature, I would ask you to pick almost any sher by Ghalib. I wanted to pick this piece as a glimpse into Ghalib’s style, structure and writing!

1 2 'Shauq Har Rang...' Poet : Mirza Ghalib 5

The next of Ghalib’s ghazals is popularly known by its opening sher ‘Shauq Har Rang Raqeeb-e-Sar-o-Samaan Nikla’.

The first sher introduces how desire, passion or love is the enemy of everything. To illustrate this, he alludes to the classic ‘Romeo & Juliet’ or ‘Laila-Majnu’ story and says that even Romeo had nothing but love, and he turned out to be bare-bodied because he possessed nothing with him. Ghalib goes on to say that the injuries on his body have no effect on him because even an arrow piercing him passed through and through. This use of dramatic yet symbolic language refers to the extreme pain he feels due to love. He compares how the pain of an injured heart is far worse than a wounded body, because of which physical injuries do not affect him anymore.

Ghalib then exemplifies how any desire or love interest in his heart leaves him and his surroundings disturbed in an unpleasant way. Be it the smell emanating from the flowers, a complaint from the heart or the smoke coming out of the party – anything that he says, or expresses is proof of the turmoil he feels internally. Amplifying his pain further, he explains how his heart is broken and the only ‘taste’ he can sense is that of pain. He laments that his friends, lovers and acquaintances listened to his grievances only as per their convenience and liking while using him for their woes also as per their requirement.

In the subsequent couplet, Ghalib explains how his spirit had recently learned how to handle the fear and pain of death. But he says that after enduring so much pain to his heart, he can safely face death too. For another person, getting ready for death might be difficult and scary; but for him it seems normal after journeying through adverse difficulties. Finally, he gives vent to all his emotion and pain which starts with a mere complaint in his heart.

1 3 This complaint grows from a drop into a storm as if a check dam were destroyed. His 5 patience has peaked, and his complaints see no stopping. A ‘drop’ of sorrow which he had kept suppressed all this while, finally gushes out like a storm engulfing him. The overall tone of this ghazal remains sorrowful, dark and pensive but Ghalib’s style of conveying his pain poetically wins the audience’s hearts. Use of symbols, natural elements and comparisons can be seen extensively throughout his distinctive style. In this ghazal, the references to the storm and flower create strong imagery in the reader’s mind and the readers seems to be transported next to Ghalib as he vents his inner, suppressed feelings.

Even worse, the Tbird perhaps imphlies that no oneo understands wuhat he is going through when he says, ‘the hu mans nevmer understand the cries aof the birds.’ Tnhis façade of beying fine is pro bably strgengthenedby this act of humans. zals of his might sound similar and convey similar themes, each one is a treasure trove of reflection, introspection and human emotion.

Personal Note - My appreciation of Ghalib’s work remains unchanged when it comes to his free-flowing usage of similes and metaphors inspired from nature. While modern day readers might find certain expressions revolving around death and love ‘dramatic’ and overt, it can be argued that one of the specialities of the Urdu poetry world has been its poetic and slightly exaggerated expression. When composed and set to metre, as in a ghazal, the impact it has on readers is moving. No wonder ‘ghazals’ are almost considered representative to Urdu literature.

1 4 SECTION : PROSE

S H O R T S T O R I E S

This section takes you through short stories straight from Krishan Chander, Premchand, Shafi Mashhadi and Ahmed Ali. These essays are not mere translations but rather expository in nature. The longer ones have been introduced through a gist of the plot and the happenings in the story. Each essay also ends with a snippet of my personal take!

1 5 'Do Furlong Lambi Sadak' Author : Krishan Chander 6

‘Do Furlong Lambi Sadak’ literally meaning ‘the two-furlong long street’ is a poignant, descriptive account of a street that is a thoroughfare near the author’s house. Krishan Chander, who usually moves audiences with his satire, presents his descriptive genre this time and makes the description of a street so relatable for South Asian audiences. The story starts with a reflective and descriptive tone as the author starts describing the street which he has been traversing for nine years. From the court to the law college, the street spans two furlongs (four hundred and forty yards today) and the author covers these two furlongs every day with a new thought and reflection. He comments on how his job, his friends and his acquaintances may have changed but in nine years one thing that has stayed constant is his street. Taking a vividly descriptive writing style interspersed with insight, Krishan Chander goes on to personify the street. He says that she calls out to him every day saying, ‘no one cares for me’ and why would anyone care about her anyway? The horse carts run over her; pedestrians walk past but she remains unchanged. Then, he includes anecdotal details and dialogue to paint a typical scene as he walks to and from his workplace every day. Today, there is a vagabond passionately crying out for some money and alms. One side of the street he sees the maimed and needy and pedestrians whispering their views on begging. In another part of the street, an old man sits looking at a black saree-clad lady who is hurtling instructions at her helper. All that the author sees is the tinkling silver border of her saree reflecting in the old man’s eyes. Then, the street goes silent and a horse-cart is parked under a tree. Upon seeing this, a policeman again starts shouting at him threatening to give him a ticket. Today happens to be a day of celebration as well, because students along with their teacher line up on the road to welcome someone with flags. The author describes all these activities with auditory, kinaesthetic and visual imagery and finally contrasts it with the immediate silence of dawn. There is only a sweeper in sight. The vagabond is still begging at the side and the street watches … seeing it all and hearing it all. 1 6 Descriptive writing can reflect volumes about society as well as the author. The mention of the 6 beggar who appears in the start and at the end of the story is perhaps proof of the inequality and state of affairs which Chander wished to convey. Streets have been of great interest to authors because of the motley elements all combining to create a visual. A street is said to have a life of its own and Chander describes just that. It can be said that the street is a representation of the society of that time as it captures each section of society and people from each walk of life. Sometimes there is peace in this diversity and sometimes there is sorrow in this disparity. The author’s inner pensive tone heightens towards the end of the story when he feels angry for not helping to improve the situation and even angrier to see the street act as a silent observer. The story can be considered relevant even today as rapidly expanding cities see a stratification of society which is so deeply embedded that citizens are left just observing and watching…

Personal Note – I personally chose this story because of the light yet impactful register and style. Coming from a megacity like Mumbai which is a melting pot of cultures and ethnicities, interacting with so many people from different socio-economic backgrounds has become a way of life. Reflecting at each step of the way and picking up clues which society is trying to give us is the least we could learn from the literature surrounding us.

1 7 'Haq Ki Fikr' Author : Premchand 7

‘Haq ki Fikr’ is a short story by the great Munshi Premchand (who also wrote under the pseudonym Nawab Rai). Premchand has authored hundreds of short stories, novels, scripts as well as children’s books. Some of his most popular Hindustani works include Gaban, Nirmala, Godaan, Eidgaah and Shatranj ke Khiladi among others. A name that is revered in most Indian households, Premchand also wrote several Urdu books and stories which may not be known to many. This story (‘Haq ki Fikr’) is a fictional story about the life of a dog.

Tommy, the dog who is the centre of this story, is a strong and proud animal in his neighbourhood who occasionally got into quarrels with the other dogs of the neighbourhood. He preferred to live amicably but his enemies kept growing in number and there would often be bloodshed in the streets. He always dreamed of a land where he was on the top of the social hierarchy such that no one would ever trouble or provoke him.

One day, in the wee hours of the night he ventures into one of the by-lanes and runs into intimidating enemies. A long fight ensues, and he runs straight until he reaches a river. With no other option left, he jumps into the river and swims to the other side. He realises that the land across the river is a different city where everyone respects him. He is one of the most powerful canines there and he thoroughly enjoys his new life. All he ever wanted was granted to him by this shift in lifestyle. He had started hunting and the smaller creatures were even asked to sacrifice their life for his nutrition. As the days passed by, he realised that it was getting difficult for him to live peacefully because he only worried about building potential enemies. He imagined the worst of enemies standing against him in this new land. He would spend sleepless nights and even run towards the river to see if anyone were to come. In the end, he starts hallucinating and missing his friends and the older way of life. His thoughts engulf him, and he soon dies a death full of confusing and threatening thoughts.

1 8 Writer Premchand probably hints at a very important theme to this story – the fickle nature 7 of authority and the uncertainty of power. People and organisations often chase power like a final destination, forgetting that its uncertainty can make or break people. What happens today may not happen tomorrow. As people we keep imaging better scenarios with more ‘power’ in our hands than that in present times. This can lead to disastrous times instead of changing for the better. Moreover, the path to the top is often lonely and staying on the top is a lonely affair too. Friends and colleagues considered close also start detaching from people in power and their mind starts playing games with them. Just like Tommy, there are many who spend their entire lives longing to gain power and fame but the moment they achieve it, they realise that their previous lives were better. While in this story Premchand may have allegorically used dogs and food, the meaning can be extrapolated on a larger scale.

Personal Note –The name ‘Premchand’ automatically sets expectations in the minds of readers, including myself. Having read his stories such as ‘Boodhi Kaki’, ‘Bade Ghar ki Beti’, ‘Stree aur Purush’ and others, I expected an interesting storyline that heightens in the end with its message. What may be perceived as a ‘children’s story’ by some, holds meaning which can be considered relevant even today.

1 9 'Ghulaami' Author : Ahmed Ali 8

Ahmed Ali, known for his English novel ‘Twilight in Delhi’ was a prolific writer of Urdu stories as well. His literary career spanned the first half of the twentieth century and faced ups and downs in terms of the controversy his work attracted. He was also a professor at many well-known universities of that time. His legacy of rich English as well as Urdu writing continues to inspire the masses. This story is titled ‘Ghulaami’ meaning ‘slavery’ in Urdu.

The story starts by introducing the setting and characters for the plot. Two friends are sitting along the countryside, on the fresh grass and under the pristine skies. One of them comments on how they are mesmerized by the surroundings but the farmers who live there permanently have to face so many issues daily. The other responds by telling him how these farmers often need to borrow sums of money from moneylenders or landlords in that area.

The farmers who he spoke to admitted being in huge debt. Most of their income would go in paying land tax and interest. Reminiscing about the system of agriculture abroad, the friend recalls how in many countries going to the countryside and eating in the farmers’ homes is considered a picnic by the people. As they were walking towards their vehicle, they spotted an old fifty-year old, weak- looking woman walking slowly on the road. The friends curiously asked her if she was from the same village and she responded in the negative. In an attempt to quench their curiosity again, they tried asking some casual questions about the year’s produce. However, the woman seemed scared and crestfallen. Her bony and wrinkled face grew more prominent and she started sobbing profusely. One of the friends was immediately touched with pity and advanced to offer some money. Just then the other friend explained how most of the poor farmers in the village were used to shedding crocodile tears whenever confronted by wealthy-looking people. Years of slavery and a warped feudal-like system had ruined their prosperity. By crying in front of these ‘zamindars’ they would often escape the exceptionally high taxes. That is when the other friend realizes that slavery flows in their blood and it will take centuries to even remove this feeling from within them. With that, the two friends left the locality. 2 0 Short length and a fairly simple-to-follow plot structure make this story easily understood by8 audiences. But the implications of the events described in the story might be much deeper. With a simple conversation expressed through the usage of dialogue, the author sheds light on the prevalent feudalism-like zamindari system in rural parts of the country. While progress takes place at a fast pace and residents continue to buy lavish houses and cars, there is still a section of the rural population (including the farmers) who face the unjust treatment meted out by the higher landlords. The fact that the lady immediately started crying without even confirming the identity of the two friends shows how common it was to encounter the richer landlords entering their village to exploit them. When the writer states that this slavery within them will take years to vanish, he hints at the years and years of exploitation which have made this system a way of life for them. The same village and natural environment which is a mode of ‘recreation’ for one section of society is a workplace characterized by exploitation and unfairness for another section.

Personal Note – The element of juxtaposing an urban lifestyle (though indirectly) with the rural way of life is something I appreciated when I first read this story. Without being too explicit, the author condenses his entire message and social commentary into a simple dialogue exchange between the villager and the friends. Descriptions of her body language, emotions and verbal expressions add to the seriousness of the realization which strikes readers soon after they finish the story. How one simple plot can reflect so much about society is really interesting!

2 1 'Mitti Ki Khushboo' Author : Shafi Mashhadi 9

“Mitti ki Khushboo” literally meaning the ‘Fragrance of the Earth (or Mud)’ is a short story written by Shafi Mashhadi. Shafi Mashhadi hails from the state of Bihar in and writes fiction for the youth and the masses in Urdu. This story of his is a first-person narration of the writer attending a burial ceremony in a graveyard. The thoughts expressed throughout the story tie up the entire narrative and leave the readers with a beautiful message (to be explored further). His extensive use of dialogue, subtle sarcasm and irony is worthy of note.

The short story starts with a description of a graveyard that is quiet, with nature taking over some of the graves and adding to the silence. The author considers this graveyard particularly important because the rich and the poor of the city got an equal area of land under their name in this graveyard.

In the background, there were buildings and mansions encroaching on the graveyard because the residents believed it was more important to make space for the living than the dead. The author then explains that he had come to the graveyard for one of his close acquaintance’s last rites. For the next few lines the author quotes some of the conversations happening at the graveyard such as “Why was the ceremony scheduled for the afternoon? Was there any need?”.

Soon, the rituals begin, and the relatives congregate at the grave. Commotion resurfaces when the body is being lowered and the author hears noises along the lines of “Hold it from the left… No, right” The people around offered their prayers while putting the mud on the grave and dusting their palms as if a huge responsibility had just been cleared off. The writer introduces one of his main points at this stage when he writes about how humans care for their loved ones and protect them from the wind when alive but forget them so easily once they are buried in the earth. Just as everyone was leaving, the undertaker/ gravedigger (‘gorkan’) starts sprinkling some water on the arid soil to level it out.

2 2 The fragrance of newly moistened mud starts wafting through the air and the author feel9s everything around him is mud. The graveyard, the people and the dead – all remind him of the mud. A divine message starts echoing within him that tells him that we are born from the earth, we get buried into the earth and on the Judgment Day we will be lifted from the earth itself. He quickly puts some mud over the grave and leaves the graveyard. The warm air outside was exactly in contrast with the fragrance of the mud (“mitti ki khushboo”) within his soul.

This story reveals so much about human nature and the way of life whilst giving readers matter to reflect upon. A short account of visiting a graveyard turns into a realisation that the writer conveys to his audience. It highlights human relationships which are often so transactional that we forget to care about our loved ones when alive. Competition and materialistic gains dominate the human mind to an extent where we forget that we have all come from the earth and will retreat into the same earth one day. Sometimes it is beneficial to pause, take a step back and ponder about just his.

Personal Note – The first thing I liked about the story was the title. When I first read ‘Mitti ki Khushboo’ or ‘fragrance of the Earth’ I was left confused by its slightly ambiguous nature. But the ending ties up the meaning and justifies its title beautifully. The ‘mitti’ or mud/earth/soil is the implicit focus of the story and is brought to us through an incident at the graveyard. Another aspect of this story which I really enjoyed witnessing was the diversity in human characters as portrayed by the author. We see simplicity, aristocracy, diligence – and many such qualities represented by different classes of people. Rather than making this distinction explicit, all background qualities are revealed through dialogue and conversation which is a very interesting side of Mashhadi’s writing style.

2 3 'Mera Bachcha' Author : Krishan Chander10

The role of a satirist and storywriter is unparalleled; Krishan Chander asserts dominance in both these roles. His professional career was diverse and included Hindi as well as Urdu short stories, novels and screenplay for films. As a twentieth century writer, he had seen India pre and post- partition. Reading Krishan Chander’s work is a must for every student of Hindi and Urdu Literature.

This story, slightly different, is titled ‘Mera Bachcha’ (literally: My Son) in which the author presents a first-person narration of the thoughts flooding a father’s mind (the narrator) regarding the birth of his son, who is now one and a half years old. The story starts with the narrator expressing a magical feeling in his heart that comes to life whenever his baby sleeps on his shoulder.

He uses the metaphor of a ‘horizon’ for his baby, who is yet to grow up and establish his identity. Very poetically, he states that a child is a surprise and a gift for humanity, for the present, for the future and resembles a frame that is to be painted and filled with colour and design. He adds how a child is an amalgamation of three personalities – one from his mother, one from his father and one of his own. The narrator then admires the child and starts attributing each facial feature to either himself or his wife. He then expresses his desire to pick up the brush and fill in this frame himself, which could be a symbol for how parents might be tempted to impress their own desires and interests upon their child. Adding a philosophical touch to his narration, the writer illustrates how everyone starts off with a frame that is filled with every step in life and no one has every painted the ‘final’ brush of destiny. He laments that the greatest mistake that society commits is associating every new thing with the past and tying the child’s desires to fly to his past and his parents. This is the death of progress. The story slowly reaches the part where the father thinks of naming his child but then realises, ‘Why should I be the one to name him? Do I even possess the right to do so and impose my liking on him?’ When he thinks of potential names, all he can think of is the ‘religious’ angle that society might perceive in a name.

2 4 10 Chander then uses the simile of a mule and explains how children often tread like mules on a path paved by their fathers. But if this were the case then new development and progress would be impossible. He hopes to protect his child from the chains of nationality, ethnicity and race. He expresses his sorrow on the old and traditional form of education prevalent in schools for new-age modern children. Finally, the father expresses that his bond with his child is like the waves and the sea or the coal and the fire. The narrator concludes his thoughts as the child continues sucking his thumb while staring at him.

This account by Krishan Chander is a poetic and beautiful reflection of the thoughts and innocent confusions playing on in a young father’s mind. The author sheds light on the various complications one needs to think of before raising a child in this world and the varied thoughts parents have regarding parenting. A common feeling of love always prevails but the way it manifests is different from parent to parent. The thoughts illuminated by Chander can be considered timeless because of how naturally, casually and convincingly they have been expressed in the story. What may seem like a light, wholesome read is definitely a hidden surprise by Krishan Chander.

Personal Note – Krishan Chander’s writing always makes readers think about the subtleties it carries. One of his satires 'Jamun Ka Ped' still stays with me and always will. At first, the form and structure of this work is really interesting because it is not written as a conventional short story. From start to end, it flows like a reflective discussion or to-and-fro of thoughts emerging in a father’s (here, the writer) mind. What I love the most, is the ‘innocence’ which even the narrator carries in his tone. There is a slight touch of uncertainty as seen in a ‘new parent.’ In certain parts, the writing gets descriptive and figurative, hence heightening the impact. The parallels drawn between the blank frame and the child are fresh and deep at the same time. Some aspects of the story even mirror societal practices and actions when he expresses his restlessness regarding the ‘religion of a name’. Sometimes, if you wish to read a piece largely for the writing style and literary quality, this will not disappoint.

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