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Chapter 3*-Hindi CHAPTER 3*-HINDI Hindi. HINDI IS CONSIDERED TO BE THE LANGUAGE OF MADHYA DESH by Grierson. He divides it into two parts—Western and Eastern. Western Hindi consists of five dialects viz., Bangree or Hariyani, Khadi Boli, Vraj, Bundeli and Kanauji. Among these Khadi Bolt has now achieved a unique place of honour, as it is raised to the level of the lingua franca of independent India. It is popularly known as Rashtrabhasha. Eastern Hindi consists of three dialects viz., Avadhi, Bagheli and Chhattisgadhi. This classification is not accepted by modern philologists. Dhirendra Varma in his recent article ‘Hindi Pradesh Aur Uski Upabhashaen ‘(published in the special issue of 'Sahitya Sandesh'— July-August 1957, pp. 55 and 56)—expresses the view that the term ‘Hindi language ‘really means literary Khadi Boli written in Devnagari script and this is the language spoken in the following parts of the country viz., (1) Bihar, (2) Uttar Pradesh, (3) Madhya Pradesh, (4) Rajastan, (5) Delhi, (6) Himachal Pradesh and (7) Hariyana. He further adds that the principal dialects of Hindi are : (i) Maithili, (ii) Magadhi and (iii) Bhojpuri in southern parts; (i) Avadhi-Bagheli, (ii) Chhattisgadhi, (iii) Vraj-Kanauji, (iv) Bundeli and (v) Khadi Boli-Hariyani in central parts; (i) Jaypuri-Hadanti, (ii) Mevati- Ahirpati, (iii) Marvari, Mevari-Malvi in the western region and (i) Gadhavali-Kumayuni and Pahadi dialects of the environs of Simla in the northern region. According to him Urdu can be added to this list as it is another literary style of Khadi Boli. Thus Hindi comprises fourteen dialects. This view has now found general support among all linguists of repute. In Maharashtra primarily Khadi Boli is propagated and fostered, although sporadic attempts in the direction of other dialects of Hindi such as Avadhi or Vraj are found. It must be admitted that Maharashtra has been taking interest in Hindi from very early days. It is well known that from the days of Dnyaneshwar (1275 A.D.) Maharashtra has been the home of Bhagawata Dharma. All Marathi saints headed by Dnyaneshwar have been the avowed champions of this Dharma, and were primarily *This Chapter is contributed by Dr. M. D. Paradkar, M.A., Ph. D., Vice-Chancellor, Bombai Hindi Vidyapeetha, Mahim, Bombay 16. 266 MAHARASHTRA STATE GAZETTEER interested in bringing home their ideas to the masses in Maharashtra. As these masses consisted of people speaking languages other than Marathi also, it was thought proper to use a common medium. This made these saints use Hindi as the medium of expression. Nevertheless, their songs in Hindi deserve mention. Although historically the credit of writing poems in Hindi first goes to Muktabai, Namdev is the first Marathi saint whose Hindi songs are accepted as authentic. Born in a family of modest means in about 1270 A.D., he came into contact with Dnyaneshwar and joined him in a pilgrimage to the holy places of India. In the latter part of his life, he migrated to Punjab and propagated the Bhagawata Dharma there. This ultimately culminated into the formation of a sect under his name. Ghoman in the district of Gurudaspur is known for Gurudvara Baba Namdevji, the temple erected in his memory. It is no wonder, therefore, that his songs are preserved in Grantha Saheb. The influence of Marathi over these songs (forms like 'anile', karile’etc.), the importance given to muttering of the appellations of the Lord in them, the devotion to Vitthal as well as autobiographical references appearing therein are all characteristics that go to prove beyond doubt that they have come from the lips of the famous Marathi saint of Pandharpur. Some of these are couched in Gurumukhi also. One of these songs happily identifies mind with the measure of cloth and the tongue with a pair of scissors helpful in destroying Yama's nose— "mana mere gaju jivva meri kati mapi mapi katau jamaki phansi kaha karan jati kaha karen pati rama ko namu japau dinarati soneki sui rupeka dhaga nameka citu hari sau laga.” Translation.—"My mind is the measure of cloth and tongue, the pair of scissors. With these I am cutting the nose of Yama slowly and slowly. How am I concerned with caste or creed? Day and night I continue to mutter the name of Rama I consider this needle of mine to be golden and the thread woven through it is made of silver. My mind is completely riveted on the Lord". Thus it is that tailoring work of Namdev of Pandharpur continues. Some of his songs (Abhangas) admirably bring out the utter vanity of false sacrifices and fake austerities. In short, Namdev is the first great Marathi saint who successfully propagated the Bhagawata Dharma in the beginning of the 14th century by composing lucid songs in Hindi. In the latter half of the century, Bhanudas became famous in Pandharpur for his unflinching devotion to Lord Vitthal. In addition to his compositions in Marathi he has also composed some poems (known as Gavalan) in Hindi. One of them happily describes Lord Krishna in his cowherd- dress. LANGUAGE AND LITERATURE 267 "Jmuna ke tata dhenu charavat rakhat hai gaiya; monhan mera sainyya; Morapatra shiri chhatra suhave gopi dharat bahinya Bhanudas prabhu bhagat ko vatsala karat chhatra chhaiya”. "Translation.—On the banks of the river Yamuna, Mohan (i.e. Krishna) my Lord looks after the grazing cows. On his head, the charming peacock's feather appears to advantage; one Gopi is holding him by the hand. Bhanudas's Lord, the lover of his devotees, always supports them (lit. holds an umbrella over their heads)". The felicity of expression in Vraj, here, is indeed remarkable. The great-grand-son of this great devotee was Ekanath (1533 to 1599 A.D.). Many abhangas in Hindi are attributed to Ekanath. For example the following one is expressive of the importance of real devotion free from any kind of egoism :— " bhajan’binu dhig chaturai dnyan ! pothi puran bachat sabahi, waha men nahi dnyan loka kahain ham atmadnyani, gyan nahi abhiman. eka janardan guruka banda, bhakti bhajanake pran". Translation.—" In vain are cleverness and knowledge without bhajan. All people read books and Puranas; but real knowledge does not exist therein. People consider themselves to be the knowers of atman; but that is egoism and no knowledge. The devotee of Janardan Swami asks a person to approach a real teacher; for devotion is the very essence of bhajan". Some of the Hindi songs of this saint speak of complaints of the wives of cowherds in front of Yashoda against the mischievous pranks of Krishna. Ekanath excelled in bringing philosophical ideas home to the common man with the help of suitable metaphors. His ‘Hindu-turkasamvada’is a long conversation ending in the realization of the reality on the part of both. His commentary on Bhagawata was respectfully carried by Pandits of Banaras in a palanquin in the year 1573 A.D. This great saint, the author of the celebrated Bhavartha-Ramayana died in 1599 A.D. Among the followers of Ekanath, Janijanardan has spoken of the pranks of Krishna in his childhood in a very felicitous style in Hindi. He is the author of Sita-svayamvara and Nirvikalpa, a work on philosophy. He died in 1601 A.D. Dasopant, another prolific writer in Marathi, has also composed a few abhangas in Hindi. In the days of Ekanath and Dasopant, Maharashtra had to suffer from invasions of the army of Muslims. These armies naturally consisted of people knowing and speaking in Hindi. Thus Hindi had almost become the language of the people having some kind of authority. It is no wonder that in these circumstances, poets of Maharashtra who wanted themselves to be understood by people outside Maharashtra, used to compose some songs in Hindi. Tukaram (1598 to 1649 A. D.), the famous saint and powerful advocate of Bhagawata Dharma was no exception to this rule. He has composed abhangas in Hindi wherein the boyish pranks of Krishna are described through the words of cowherd-esses, more 268 MAHARASHTRA STATE GAZETTEER popularly known as Gopis. All these poems are known in the Varkari circles of Maharashtra by the name ‘Gavalan '. One of such ‘Gavalans ‘of Tukaram is as under :— " main bhuli ghara jani bat goras becan ayen hat kanha re mana mohana lal saba hin bisarum dekhen gopal kanhan pag darun dekha anera dekhen to saba vohin ghera hun to thakita bhaira tuka bhaga re saba manaka dhoka” Translation.—" I came to sell milk in the bazar and lost my way to the house. I forgot everything while looking at the cowherd's dress. Looking at darkness around, where should I direct my step. I see myself surrounded by him and him alone. I was stunned; but all fear in my mind had disappeared tofally”. It is very easy to see that Tukaram's Hindi is very much influenced by Marathi as well as Gujarati. The work ‘ghara jani’is taken from a Marathi phrase and ‘bat’is clearly a Marathi word. Words like ‘dikaro ‘(son) and ‘nhana ‘(child) speak of Gujarati influence. This need not be a surprise, as in the days of Tukaram, songs and padas of famous Gujarati devotees like Narsi Mehta had become quite current in Maharashtra. Due to the influence exercised by the ‘dohas’of Kabir which had penetrated into the interiors of Maharashtra by the time, Tukaram also composed some dohas and tried to emulate Kabir. Some of them are indeed very piercing : ” tuka bado na manun, jisa pasa bahu dam balihari usa mukhaki, jisa se nikala ram” Translation.—" He who has sufficient wealth is not great according to Tukaram.
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