Indian Literature for International Publishing – an Area of Vast Potential ( Sub-Theme B Asian Literature for International Publishing) Dipavali Debroy
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Indian Literature for International Publishing – an Area of Vast Potential ( sub-theme b Asian Literature for International Publishing) Dipavali Debroy Introduction: Indian literature has a vast potential for international publishing, especially publishing in South East Asia. In this is the era of Globalization , books, magazines, graphic novels, comics and other such product must suit the tastes and requirements of the global market. If collaborative efforts are made among South East Asian countries, they can be come more of a global presence. Section 1 In respect of children’s literature for the global market, three broad requirements can be identified : a. lots of action , often set in exotic places b. use of supernatural or magical power c. certain perennial values and /or contemporary issues. Children and young people all over the world want reading material that is action- packed and fast-paced. They also want that action to be occurring in distant and unfamiliar lands, even outer space. Technological progress and mechanization of the previous two centuries have robbed the world of a certain quality of magic and make-believe. So the use of supernatural power or magic is now in demand . Underneath all this however, there persists a basic or perennial faith in certain values like courage, peace, honesty and goodness. It is in the light of these three requirements or criteria that I will discuss the market potential of Indian literature in Asian-cum- International publishing. Again , Indian literature to be discussed can be divided broadly into Traditional (or Ancient) and Modern ( or Contemporary), according to the time-periods they belong to, and the consequent characteristics. I will further categorize the Modern Indian literature into that composed while India was under British colonial rule, and that written after India achieved Independence in August 1947. Thus there will be really three categories really, viz., Traditional-cum-Ancient Modern Pre-Independence Modern Post-Independence Section 2 Traditional-cum-Ancient Literature The period is just as long as it is rich. The general impression is that the Vedas (spanning mid-2nd to mid-1st millennium) are just hymns and prayers addressed to various deities. But they contain many interesting stories, told starkly and simply, that have been developed into longer ones in the Mahabharata and the Puranas. E.g., the story of Indra and Dadhichi, and Urvashi and Pururavas. The Upanishads ( 5th-6th BC) are teachings of sages to young pupils sitting at his feet. But though highly philosophical, they are mostly in the form of stories and anecdotes. Kings and sages figure there, as do ordinary people and even animals. The 1 background is usually hermitage in the forests, though there are household and courts scenes as well. The Ramayana originally composed in Sanskrit in 5th-4th BC) is an epic known all across the world, especially in South East Asia, which has its own versions of it. The original narrates the story of Ram, who is a god descended on earth to give good governance to the kingdom whose prince he is born as, as well as save the entire Indian subcontinent from evil demons. Ram and his brother Lakshman had all sorts of exciting adventures – in forests and hills and among demons and monkeys in the unknown and unmapped lands. The epic Mahabharata ( dated early 4th BC) narrates how, long, long ago, the northern parts of India were torn apart by a major family fight which developed into a most destructive war. It was fought between the Kauravs and Pandavs who were really a branch of the Kaurav family of Hastinapur. The Kauravs and the Pandavs fought over who should inherit the kingdom, and enlisted the support of many other royal families. Krishna ( a god descended on earth, another form of Ram) and some family elders tried to negotiate for peace. But Duryodhan, the eldest of the Kaurav branch was not ready to yield. Yudhisthir, the eldest of the Pandav branch was a most peace-loving person, but his wife Draupadi and his brothers Bheem and Arjun were all for war. The dry plains of Kurukshetra became muddy with blood. Many magical weapons lit up the sky and shook the earth. The Pandavs won and around their victory (jaya), a long tale named Jaya came to be woven by traveling minstrels. This tale became richer and longer with time, as vast (maha) as India (Bharata) itself. The Jaya became the Mahabharata. Throughout this vast work, values such as courage, respect, righteousness and peace are highlighted. Apart from the central story of the Pandavs and the Kauravs, there are innumerable other stories, each likely to fascinate a global readership. The Puranas ( literally, old or ancient) are basically eighteen , although there are many lesser works claiming to be Puranas. Evolving between 3000 to 1000 AD, the Puranas are bursting full of colourful stories about deities, demons, men, spirits, animals and birds all imbued with magic powers. The first ever piece of work to be composed specifically for young people was the Panchatantra. Vishnu Sharma, a learned scholar , did it for the purpose of putting some diplomatic sense into the heads of three mischievous princes. Vishnu Sharma put all his tenets (tantra) learning and wisdom into five (pancha) groups of stories about birds and animals, and narrated them to the three princes, transforming them completely. Lively yet full of wisdom, the Panchatantra stories spread to other countries as well and have been translated and trans-created in a variety of ways. Kathasaritsagar (Ocean of Stories) is a vast collection of stories by Somdeva , a writer of the 11th century. It is enlivened by gods, demons, spirits, human beings, birds and animals. Kings and queens, princes and princesses (like Sahasranika, Udayana , Mrigavati and Patali) figure in them as do common people ( like Bhojika, Shubhadatta). The characters face curious and sometimes dangerous situations which draw out their bravery and resourcefulness. Other works in this category are stories from the Vetalapanchavimshati , still quite popular, is an – century collection of intriguing stories told by a spirit or ghost to a king. The Jatakas ( Chadok in Thai) are famous all over South Asia. Composed around the 4th century, they are the earliest Buddhist literature ( all that I have mentioned so far was Hindu ). They are stories about the previous lives of the Buddha, in both human 2 and animal forms. They too feature royalty as well as common folks, businessmen as well as monks, and underscore the values of compassion and peace. It is these Let us note here that most of the above literature were originally in the oral tradition, although they came to be written down in Sanskrit and regional languages derived from Sanskrit. The entire epic of the Mahabharata was in the form of a narration. Even now, the epics and the Puranas used to be read out aloud and acted out as plays or musicals, in both households and village gatherings. This oral narration was usually accompanied by scroll-paintings and other visual equipment. Jataka stories were frescoed in the walls of the Ajanta and Ellora caves, and carved out in stupas like the one in Sanchi. These are probably among the earliest comic strips or graphic novels in the world. This first category is thus mythological, with a strong value base. Spiritual persuasions of India figure in most of them, endowing them with a magical charm. Humans pray to gods and get fantastic boons, with delightful as well as disastrous consequences. Demons and sky-spirits people the world along with birds and animals. First, they can always be adapted to synchronize with the contemporary world. Besides, their charm is really timeless, and even without adaptation, will surely enthrall today’s young. Section 3 Modern Pre-Independence Literature By mid-19th century, printed books had made their appearance in India, and in several regions, notably Bengal ( inclusive of present Bangladesh ), there were several children’s books which have a potential for the world market today. Trailokyanath Mukhopadhyaya’s Kankaboti ( published late 19th century)is a tale of two teenagers victimized by reactionary forces resisting British modernization. The boy is socially boycotted and girl develops brain fever leading to the most delightfully fantastic dreams involving ghosts, demons tigers, elephants and even mosquitoes. At the end of the dream and the fever, the two young things are united in marriage. His Muktamala ( published at the turn of the century) is similarly delightful but purposive. Rajarshi ( written in late 19th century)by Rabindranath Tagore addresses the issue of animal sacrifice as a ritual of worship, a custom prevalent in large parts of India. The novel is set in Tripura, a north-eastern province of India. The sight of the blood of the sacrificed animals pains two small children, and sets the King of Tripura thinking about the cruelty of the ritual. He bans it and many people react adversely. Set in Mughal times, the novel is intertwined is the issue of succession to the throne of Tripura, as well as the Mughal Empire, where brothers fight brothers for the throne. `Guptadhan’ by Tagore ( written between 1914 and 1917) is a mystery story involving decoding of a secret message and finding lost treasure. But what makes it great literature is that once the protagonist finds the treasure in a deep underground well, he realizes how meaningless it is, and how the real treasure is in the green gold in the form of crops and plants. By early 20th century there had also begun the re-telling of stories about the Indian heritage, delicately purposed to revive nationalist pride. In Rajkahini, Abanindranath Tagore retold the heroic tales of the feudal lords of Rajasthan.