Lalit, like his name came out with novelty in Maithili literary scene in 1950’s through his sensible mass concern. Officially, Lalitesh Mishra or affectionately “Bachha” was born on April6, 1932 in a village of scholars, “Chanpura” that despite falling in the catchments region of Adhwara river group has unique distinction of intellectual contribution. Geographically it is situated in the western side of Benipatti Sub-division (Madhubani district), which once known as “Masco of Mithila” for strong communist base and extensive land reform. Father Chandrasekhar Mishra was a teacher and an avid learner who left deep influence over his son for the quest of knowledge.
After his initial education from village and Darbhanga, he moved to prestigious Vidyasagar College of Calcutta University in pursuits of higher education in 1949 albeit he could not accommodate himself with the life of Calcutta and returned to home. Next year, he chosen Arts for B.A in Chandradhari Mithila College {Darbhanga, then under Bihar University}, here he intertwined to literature with sturdy enrapture and published his first story in Maithili, “Kabula” {Vaidehi, 1950}. This phase was of solemn importance for his creative genesis though he was carrying deep responsibilities for his family as hailing from a humble background made it imperative for him to dwell early with the material life.
Further, in 1953, under unavoidable compulsions, he joined M.L.Akedemi School {Laheriyasarai} as a Science teacher…in the same year; he married with Moti Mishra in village Bhoj Paraul. Despite forging of all bonds, he kept aspiring for a better life, which he attained eventually in 1957, by qualifying for Deputy-Collectorship. At least for a decade, he kept himself committed for the literary productions but after the surmounting of administrative burden, and stout spiritual leaning grossly diverted his attention from the world of words. Leading Maithili literaturer, Taranand Viyogi cited his deep spiritual inclination as major hindrance for slowing down on literary front; for him, it was not pleasant to observe such transition from a man of high potential.
Moreover, on family front too, he remained very much consumed but never on the cost of his people centric commitments. He had a son, Padmakar Mishra and seven daughters-all were groomed in finest humanist family environment; Lalit was a natural austere with ultimate human concern and even his acts in practical affairs used to resemble it. On March22, 1972, his father passed away and six years later, he revered from his loving mother on October15, 1978; certainly, these setbacks had affected his sensitive mind.
Despite sporadic contribution, his works have substantial worth in reckoning the Maithili literature from the angle of change. Without ever ingrouping, he truly appeared like a mast for the transient Maithili literature-his inception of story writing marked the end of fabrication and upheaveling of modern ideas in the forefront of literary writing.
There are many hurdles to delve deeper about the works of Lalit, majors among them are lacking of proper documentation and non-availability of older issues of contemporary Maithili magazines where he had written initially. In his total forty-seven published stories, only twelve could be assembled in his lone story collection (Pratinidhi Kahani, Maithili Art Press, Navkiran Prakashan, Calcutta, 1964). Among his two novels, only “Prithviputra” was published from Maithili Academy (1984), before that it was appeared serially in a prominent contemporary Magazine, “Mithila Mihir” (from 10/05/1960-5/7/1964).
Apart from that, about a dozen of his essays transfixed the enthusiasts of his generation and added new paradigm within existing literary space. Lucidness of social analysis drew him closer to Anton Chekhov and Guy De Maupassant-his remarkable stories depicts the sound socio-cultural intricacies within even the humble canvass. Without making his narration complex, he had vision to entangle with very serious existential issues.
In “Pratinidhi”, antagonisms of political stands have beautifully coincided with the changing social and ethical morals; “Kanchaniya” explored the many facades of survival issues. In “Do Chitra”, he minutely focused on the contemporary Maithil rural society under the wave of radicalism but not without acknowledging the stout social bonds that ultimately holds the life at equilibrium among feudal and have-nots. “Overload” presents a Sub Inspector’s introspection and dilemmas of family life through his revealing soul; fluctuations are quite noticeable from the inescapable familiar duties to spellbounding realities of life.
“Udaan” poignantly highlights the issues of void obligations of middle class and its unusual intellectualism; “Prasnachinha” led to different terrain, with high moral stands he tried to show the persistence of quest for philanthropism despite stucking through adverseness from many sides. “Ek-Prisht” is a home tutor’s tell that frequently unleashes the crisis of value in education, “Ramjani” revolves around the life of Tonga pullers with intricate angles of religion, labourers fraternity, presence of change and ultimately through attitude shaping. “Mukti” is persuasively the most acclaimed story of Lalit-this story marked the shift in Maithili literature towards a new dynamicism, and changing realities.
Choice of independence from crumbling conjugal life earmarked the bigger picture of women’s empowerment here. “Ladai Par” visualised the scene of a humble rural family while departing their lone young scion for warfront-no moral dilemmas, only some genuine affinity and insecurity placed in this story. “Nav-Puran” dealt with the life of automobile community and their plights in day-to-day affair…this is unusual in its own sort.
Lalit had ingenuity for tracing and being back on key issues of his time though he had tenuous hold on his life like every mortal. Merely at the age of fifty-one, he passed away on April14, 1983 by battling with Lyver Syrosis in Betia district. Weekly Mithila Mihir’s (29th May 1983) Lalit special had awoken the sleeping consine of entire Maithil society for the illustrating works of this great man. Lalit was second traumatic casualty in the Maithili literature after the untimely demise of Rajkamal Chaudhary-departures of both badly shocked the pace of literary development for a long time.
They both were remained very closer and heralded a new chapter in literature-Lalit has translated Rajkamal’s epic story “Phulparas Wali” into Maithili and later written “Mukti” which stands opposite and more radical then the women protagonist of Rajkamal who shows stout moral imperative in her action. Lalit remained humble in his relationship with old friends and literary companions of his time, he on several occasion stressed that Rajkamal‘s “Kankavati” as last word of modern Hindi poetry.
PRITHVIPUTRA-His Master Piece:-
“Prithviputra” appeared first in Mithila Mihir in 1965 and stormed the literary world with its underneath subjectivism. Though the works were quite analomous from Lalit as he had already crossed a long stretch convincing peoples towards new way of approaches to see the social change in new light. Not for a while, Lalit let him frittered away in his convictions, instead he chosen ubiquitous way of reawakening amidst a tense plot of land conflict. He largely succeeded to oversight the frills in the delineation of characters demeanour; infusion of progressive perspectives is the soul of this novel, which keep it vibrant until the end.
The plots were woven in Farbisganj (Kosi belt)-novel starts with the impact of social changes on the conventional social system, immediately after the independence of India. Consequences of land reform widely taken place in entire theme, Dusadhtoli (lower caste abode) in village Baburbanna too seemed transient through these changes and escalation of violence following the nasty tracts of diminishing feudals. Once notified criminal though a changed man now, Bishekhi’s family-his wife, Genma (elder son), Sarupa (younger and radical son), Bijli (daughter), and Beni (daughter-in-law) are the catalysts of the theme-side characters, like Kalpnath Mishra (Bijli’s lover) and Hiralal (Bijli’s estranged husband, a railway Patman)too accounts for a lot of micro and macro coherence in the events.
Genma’s death while struggling for his land and Contractor Durjodhan Singh‘s murder in course of his wrong doing weaves the novel in very intricate manners. “Prithviputra” manifests the arrival of new age in modern India; though it’s based upon the circumstances of Mithila but its crux is universally relevant. Noted literaturer, Bibhuti Anand who has written a monograph on Lalit (Sahitya Academy, 2004) also emphasizes about his second novel (Karmanya Wadhikareste, unpublished), whose publication would indeed make fresh impacts in revisiting his works in new light.
Today Lalit’s contribution is largely unknown among the young generation of Mithila and outside of it…proper documentation and translation of his works in other Indian languages would give a new lease to his prolific conceptions. Those initiatives must be start now as any delay may permanently fixed Maithili literary enthusiasts into “Principled forgetter”…a dooming zone where creative things ceases to exists!
Atul Kumar Thakur
July 29th2010, Thursday, New Delhi
Showing posts with label Maithili Literature. Show all posts
Showing posts with label Maithili Literature. Show all posts
Thursday, July 29, 2010
Saturday, December 26, 2009
Harimohan Jha: Renaissance men of Maithili Literature
Harimohan Jha, Renaissance man of the language of great Vidyapati and Jyotireshwar Thakur was born on September 18, 1908, third after two elder sisters and among four sisters and two brother, his father Pandit Janardan Jha “Janshidan” was a great scholar and had credit of being first novelist in Maithil language besides ushering it to the modern pattern of literary craft. His maternal uncle Pandit Chandramani Kumar was hailing from the famous ruling Oinwar dynasty although prosperity had been diminished till the Janardan Jha had attained the age to enter in worldly affairs.
So, that phase was full of anxiety for Janardan Jha until he was conferred patronage by the king of Srinagar (A Zamindari in Mithila region, modern Purnia district), Kamlanand Singh in 1901 who had been from generations relentlessly constituted the fabulous environment for art, culture and literature by awarding similar patronage to the luminaries of different field. Meanwhile Janardan Jha also established a regular correspondence with the Mahavir Prasad Dwivedi than the editor of pioneering Hindi magazine “Saraswati”; further he also penned for this magazine on several occasions, these curricular inheritance proved very beneficial in shaping of the mind of young Harimohan Jha who since his childhood developed great literary taste under the visionary guidance and proximity of his father.
In 1919, Janardan Jha was appointed as editor of “Mithila Mihir” (under Patronage of the Darbhanga Raj) and moved to Darbhanga where he remained until 1922; these years were formative for the child Harimohan as he saw and involved in top-notch contemporary scholaric circle of Darbhanga Raj. He was an avid informal learner from both the oral tradition as well as from modern practices; consequently he became able to produce his first published work “Ajib Bandar” at the little age of twelve and even before his formal joining of school straight to the standard tenth at G.B.B Collegiate School in Muzzapharpur in 1923.
Then, guardianships were formidable and conventions usually considered conspicuous, so he had to married at the juvenile age of sixteen in 1924. Next year, he passed Matriculation with first class distinction from the prestigious Patna University, than still Bihar and Orissa was a combined state. Meanwhile, his father moved to Calcutta (1923) in search of livelihood and literary pursuits, albeit it was an emotional jolt over him nevertheless he constructively surpassed it and secured first class first in Combined State Intermediate Examination (1927) with complex subjects like-Sanskrit, Logic and History.
Further he moved to Patna College for his university education and became a resident of historic Minto hostel, this time he experimented with his field of studies and opted subjects like-English (Honours), Philosophy and Sanskrit for under graduation. Then his Alma matter, Patna University was witnessing its golden time and it wouldn’t be an exaggeration that he too significantly epitomized the glorious story of this institution-both as student and later faculty throughout his long professional stint. Although till then, the British colonialism was on the brink of decline, despite this, the usual characteristics of elitist education were still in place.
During those days, the principle of Patna College was Mr. Horn and warden of Minto hostel was Mr. Armer who was also the head of English department and ofcourse one more person A.P.Banerjee Shastri, who was despite being a teacher of Sanskrit, entirely accustomed in anglicized manners. Common things of these educationists were their hard discipline and focused approach for their role; in their inquisitions, they found young entrant Harimohan Jha with full of potential and snobbish qualities. These impressions raised his chance to groom to a height in both academic and extra-curricular activities.
Very soon he headed College team in All India Debate Competition in Allahabad where he topped and honoured to receive the prize from non other than the great educationist and doyen of Allahabad University-Sir Ganga Nath Jha, who was then the Vice-Chancellor of this University. In 1929, he earned his graduation in second class albeit in entirely juxtaposed situation, where he received distinction in Philosophy but on the other side due to wrong time management and over answering he couldn’t maintain his erstwhile performances-possibly his scholaric commitment had outwitted the numeral incentives. Although he performed at his next stage in fine swing and succeeded to secure gold meddle at this academic ladder (M.A, 1932) in the special discipline of Philosophy.
Meanwhile, his father had back from the city of Calcutta and was in deep concern for son’s future prospects. So far, Darbhanga had been still availing the great fortune at many counts- likewise vibrant entrepreneurship and intellectualities were both in place. Ramlochan Sharan, a very remarkable man and founder-owner of PUSHTAK BHANDAR, created an unparalleled hangout for book-lovers and scholars. For a considerable time, his shop remained in fine pace albeit now it’s a matter of historical inquiries-Janardan Jha; father of Harimohan Jha was an ingredient component of that literary circle which greatly benefited the budding scholarships of Harimohan Jha.
He spent his transitive time in Darbhanga in close association with Pushtak Bhandar, until he joined Bihar National College in 1933; afterwards a very glittering career was waiting for him. The year 1933 was also proved epoch making for Maithili literature and for that, big contribution goes to Harimohan Jha, since his magnum-opus novel “Kanyadan (Marriage)” stroked with the unprecedented wave of response from literary circle as well as of common folks and later it became a household name. It’s worthwhile to notice that, this book he had penned during his undergraduate years in Patna University and even at the time of release he was only in his mid twenties.
This novel proved milestone of success in Maithili literature besides in popularity and reach, it remains unparalleled for everyone including of Harimohan Jha himself whose own successive works have been trailing much behind from such precedent mark. Though he adopted satirical canopy to express his dissatisfaction with the prevailing starkness and ignorance in the life of Maithili women; female protagonist “Buchhi Dai’s” feeble awareness of worldly knowledge reflects the grim situation of education and progressive approaches in contemporary Maithili society.
Her devoid persona from the expectation of young University student groom “C.C.Mishra” earmarked the narration of entire further text, obviously to an extent, it was Harimohan Jha’s own experience that compelled him to write for female emancipation; only he slightly changed the locale and used Banaras Hindu University as Alma matter of protagonist instead of Patna University where he went through the feelings and conceptualization of his rock-solid thoughts for “Kanyadan”. Legendary mark of his first work encouraged him for its sequel “Dwiragman”, which came in 1949 and proved equally sensational since it was seen as footprint of women’s emancipation.
Harimohan Jha was the men of focus and also endowed with the gifted multitasking instinct, so he also remarkably contributed to the stream of philosophy-“Nyay Darshan” in 1940 and “Vaisheshik Drshan” in 1943 was his remarkable contribution in that phase, it’s essential to find that along with the superb pace of writing, he equally stood with his familiar responsibility. He kept these flamboyance till 1960 and produced iconic works like-“Pranamya Devta (1945)”, “Khattar Kakak Tarang (1948)”, “Rangsala (1949)”, “Tirth Yatra (1953)”, “Charchari (1960)”, “Nigman Tarkshastra (1952)”, “Bhartiya Darshan (Translation, 1953).
This vigorous phase was of dual reality for him as had been availing great success in literary and academic circle, but on the other side he also struck through tragedies-sad demise of nephew (1947), brother (1949), father (1951), all these unexpected jolt weakened him internally and also weaken the pace of writing. In the 1950’s, he was promoted to the rank of head of Philosophy department, and later University professor. Moreover, his extra-ordinary pursuits also helped him being nominated as council member of Indian Council of Philosophical Research (ICPR); in these new roles, he actively attended numbers of seminars-conferences and produced significant papers in his academic discipline.
His wife Subhadra Jha, who was an esteemed lady with progressive ideas, had co-incidentally also shown her utmost interest for the development of Maithili language and literature; in this regard, she even headed to Delhi in 1955 as entourage of a delegation from Patna to attend a cultural festival in Akashwani (All India Radio) besides she also maneuvered with path finding act to enter on stage through “Chetana Samiti) in 1958…than such progressiveness was not less than a phenomenon for Maithil ladies. Prevailing conservatism was the cause of Harimohan Jha’s anguish which he thought as reason behind discriminatory dual treatment on the narrow line of gender in contemporary Maithil society, that concern always pushed him for activism against these mindsets, both in the ambit of writing and academic sphere.
His gifted oration greatly benefited him to deliver the monumental lectures on wide range of subjects across the Universities of India and Nepal; in 1948- Oriental Conference of Darbhanga, his candid elocution on social conservatism was indeed a daring step in contemporary socio-political order. He was true repository of verbal intelligence and had equal commitment for verses; he composed numerous meaningful poems to unleash those especialties as well as the prevailing social starkness of that time. His poems like-“Maach”, “Dhala Jha”, “Buchkun Baba”, “Pandit o Mem”, “Pandit” etc were constructed through vigorous energy and had wide catchment areas as Prime Minister Pandit Jawaharlal Lal Nehru was greatly influenced through his poetic intellect which he noticed during chairing an exhibition cum poetry recitation from Maithili books in Delhi,1963-he avidly tried to comprehend the meaning of many complex Maithili terms from a towering political colleague from Bihar and than Parliamentary Affairs Minister Mr. Satya Narayan Singh.
Indeed Harimohan Jha consolidated great moments in Maithili literature along with his contemporaries-Baidyanath Mishra “Yatri” (Nagarjun), Fanishwar Nath “Renu”, Rajkamal Chaudhary, Lalit, Dhumketu etc through great literary activities in their lifetime. It would be proper, if this period could be recalled as golden time of this ancient language. He kept his creative fervor till the end of his life, his research work “Trends of Linguistic Analysis in Indian Philosophy (Post retirement) justifies his perfectionist commitment. The only regret of his creative life remaind the cinematic adaptation of his magnum-opus novel“Kanyadan”-its alien direction and cold response from viewers further restrained him to allow such more experiments.
Things were in good shape until the death of mother Janani Devi (1975) at the age of 92; just a year after he met with an unfortunate tragedy by losing his loving grandson (Daman Jee), merely at the age of six in 1976 which entirely shattered him in old age. That adversity hit him so pathetically, further he couldn’t survive for long; he passed away in late nineteen eighties in the city of Darbhanga at the residence of his son-in-law Prof. Shailendra Mohan Jha. Harimohan Jha was a man with great family values which he did uphold throughout his life and spent even his last years in same light amidst his dear ones and was solaced to see his next generations’ involvement in literature.
Son, Rajmohan Jha and son-in-law Shailendra Mohan Jha lightened the further ray of hope in this regard; they succeeded with some qualities of Harimohan Jha and came out with some of matured literary pieces. Harimohan Jha, had an additional quality of editing which he displayed in “Jayanti Smarak” (Pushtak Bhandar, 1942) along with the Acharaya Shivpujan Sahay and Achutanand Datta; this work is so unique in some way. That it’s become sacrosanct during the in-depth historical inquiries of Mithila region; this work is full with the vital insights in fine compilation. Indeed his vision has relentless universal values and would remain undeniable with his prolific literary contributions-numbers of novels, dozens of stories and poetries, numerous articles, memoir, travelogue etc are suffice to sensitize the minds of every enthusiast in the area of Maithili literature.
His literary journey was closer to the soul-searching of his loving region…he precisely tried to cover all intricacies such as-life style, food habits, humors, oral tales, pseudo characters, ignorance, intellects, pastorals lives etc through a new dynamicism and vigour, which pushed the inferences straight to the mind of his readers. He was very much a fun loving, food loving and great oral traditionist with the amazing philosophical command over “Mimansa” (a philosophical arm, originated from Mithila)…”khattar Kakkak Tarang” is best outcome with those experimental metaphors which justifies the Maithil’s beliefs in their social life; such close inquiries of life style is even difficult to canvass in voluminous philosophical work. For true finding on Mithila region, one must go to the literary world of Harimohan Jha where tells are contrast to idleness and closer to the dynamic lives.
Atul Kumar Thakur
December26th 2009, New Delhi
So, that phase was full of anxiety for Janardan Jha until he was conferred patronage by the king of Srinagar (A Zamindari in Mithila region, modern Purnia district), Kamlanand Singh in 1901 who had been from generations relentlessly constituted the fabulous environment for art, culture and literature by awarding similar patronage to the luminaries of different field. Meanwhile Janardan Jha also established a regular correspondence with the Mahavir Prasad Dwivedi than the editor of pioneering Hindi magazine “Saraswati”; further he also penned for this magazine on several occasions, these curricular inheritance proved very beneficial in shaping of the mind of young Harimohan Jha who since his childhood developed great literary taste under the visionary guidance and proximity of his father.
In 1919, Janardan Jha was appointed as editor of “Mithila Mihir” (under Patronage of the Darbhanga Raj) and moved to Darbhanga where he remained until 1922; these years were formative for the child Harimohan as he saw and involved in top-notch contemporary scholaric circle of Darbhanga Raj. He was an avid informal learner from both the oral tradition as well as from modern practices; consequently he became able to produce his first published work “Ajib Bandar” at the little age of twelve and even before his formal joining of school straight to the standard tenth at G.B.B Collegiate School in Muzzapharpur in 1923.
Then, guardianships were formidable and conventions usually considered conspicuous, so he had to married at the juvenile age of sixteen in 1924. Next year, he passed Matriculation with first class distinction from the prestigious Patna University, than still Bihar and Orissa was a combined state. Meanwhile, his father moved to Calcutta (1923) in search of livelihood and literary pursuits, albeit it was an emotional jolt over him nevertheless he constructively surpassed it and secured first class first in Combined State Intermediate Examination (1927) with complex subjects like-Sanskrit, Logic and History.
Further he moved to Patna College for his university education and became a resident of historic Minto hostel, this time he experimented with his field of studies and opted subjects like-English (Honours), Philosophy and Sanskrit for under graduation. Then his Alma matter, Patna University was witnessing its golden time and it wouldn’t be an exaggeration that he too significantly epitomized the glorious story of this institution-both as student and later faculty throughout his long professional stint. Although till then, the British colonialism was on the brink of decline, despite this, the usual characteristics of elitist education were still in place.
During those days, the principle of Patna College was Mr. Horn and warden of Minto hostel was Mr. Armer who was also the head of English department and ofcourse one more person A.P.Banerjee Shastri, who was despite being a teacher of Sanskrit, entirely accustomed in anglicized manners. Common things of these educationists were their hard discipline and focused approach for their role; in their inquisitions, they found young entrant Harimohan Jha with full of potential and snobbish qualities. These impressions raised his chance to groom to a height in both academic and extra-curricular activities.
Very soon he headed College team in All India Debate Competition in Allahabad where he topped and honoured to receive the prize from non other than the great educationist and doyen of Allahabad University-Sir Ganga Nath Jha, who was then the Vice-Chancellor of this University. In 1929, he earned his graduation in second class albeit in entirely juxtaposed situation, where he received distinction in Philosophy but on the other side due to wrong time management and over answering he couldn’t maintain his erstwhile performances-possibly his scholaric commitment had outwitted the numeral incentives. Although he performed at his next stage in fine swing and succeeded to secure gold meddle at this academic ladder (M.A, 1932) in the special discipline of Philosophy.
Meanwhile, his father had back from the city of Calcutta and was in deep concern for son’s future prospects. So far, Darbhanga had been still availing the great fortune at many counts- likewise vibrant entrepreneurship and intellectualities were both in place. Ramlochan Sharan, a very remarkable man and founder-owner of PUSHTAK BHANDAR, created an unparalleled hangout for book-lovers and scholars. For a considerable time, his shop remained in fine pace albeit now it’s a matter of historical inquiries-Janardan Jha; father of Harimohan Jha was an ingredient component of that literary circle which greatly benefited the budding scholarships of Harimohan Jha.
He spent his transitive time in Darbhanga in close association with Pushtak Bhandar, until he joined Bihar National College in 1933; afterwards a very glittering career was waiting for him. The year 1933 was also proved epoch making for Maithili literature and for that, big contribution goes to Harimohan Jha, since his magnum-opus novel “Kanyadan (Marriage)” stroked with the unprecedented wave of response from literary circle as well as of common folks and later it became a household name. It’s worthwhile to notice that, this book he had penned during his undergraduate years in Patna University and even at the time of release he was only in his mid twenties.
This novel proved milestone of success in Maithili literature besides in popularity and reach, it remains unparalleled for everyone including of Harimohan Jha himself whose own successive works have been trailing much behind from such precedent mark. Though he adopted satirical canopy to express his dissatisfaction with the prevailing starkness and ignorance in the life of Maithili women; female protagonist “Buchhi Dai’s” feeble awareness of worldly knowledge reflects the grim situation of education and progressive approaches in contemporary Maithili society.
Her devoid persona from the expectation of young University student groom “C.C.Mishra” earmarked the narration of entire further text, obviously to an extent, it was Harimohan Jha’s own experience that compelled him to write for female emancipation; only he slightly changed the locale and used Banaras Hindu University as Alma matter of protagonist instead of Patna University where he went through the feelings and conceptualization of his rock-solid thoughts for “Kanyadan”. Legendary mark of his first work encouraged him for its sequel “Dwiragman”, which came in 1949 and proved equally sensational since it was seen as footprint of women’s emancipation.
Harimohan Jha was the men of focus and also endowed with the gifted multitasking instinct, so he also remarkably contributed to the stream of philosophy-“Nyay Darshan” in 1940 and “Vaisheshik Drshan” in 1943 was his remarkable contribution in that phase, it’s essential to find that along with the superb pace of writing, he equally stood with his familiar responsibility. He kept these flamboyance till 1960 and produced iconic works like-“Pranamya Devta (1945)”, “Khattar Kakak Tarang (1948)”, “Rangsala (1949)”, “Tirth Yatra (1953)”, “Charchari (1960)”, “Nigman Tarkshastra (1952)”, “Bhartiya Darshan (Translation, 1953).
This vigorous phase was of dual reality for him as had been availing great success in literary and academic circle, but on the other side he also struck through tragedies-sad demise of nephew (1947), brother (1949), father (1951), all these unexpected jolt weakened him internally and also weaken the pace of writing. In the 1950’s, he was promoted to the rank of head of Philosophy department, and later University professor. Moreover, his extra-ordinary pursuits also helped him being nominated as council member of Indian Council of Philosophical Research (ICPR); in these new roles, he actively attended numbers of seminars-conferences and produced significant papers in his academic discipline.
His wife Subhadra Jha, who was an esteemed lady with progressive ideas, had co-incidentally also shown her utmost interest for the development of Maithili language and literature; in this regard, she even headed to Delhi in 1955 as entourage of a delegation from Patna to attend a cultural festival in Akashwani (All India Radio) besides she also maneuvered with path finding act to enter on stage through “Chetana Samiti) in 1958…than such progressiveness was not less than a phenomenon for Maithil ladies. Prevailing conservatism was the cause of Harimohan Jha’s anguish which he thought as reason behind discriminatory dual treatment on the narrow line of gender in contemporary Maithil society, that concern always pushed him for activism against these mindsets, both in the ambit of writing and academic sphere.
His gifted oration greatly benefited him to deliver the monumental lectures on wide range of subjects across the Universities of India and Nepal; in 1948- Oriental Conference of Darbhanga, his candid elocution on social conservatism was indeed a daring step in contemporary socio-political order. He was true repository of verbal intelligence and had equal commitment for verses; he composed numerous meaningful poems to unleash those especialties as well as the prevailing social starkness of that time. His poems like-“Maach”, “Dhala Jha”, “Buchkun Baba”, “Pandit o Mem”, “Pandit” etc were constructed through vigorous energy and had wide catchment areas as Prime Minister Pandit Jawaharlal Lal Nehru was greatly influenced through his poetic intellect which he noticed during chairing an exhibition cum poetry recitation from Maithili books in Delhi,1963-he avidly tried to comprehend the meaning of many complex Maithili terms from a towering political colleague from Bihar and than Parliamentary Affairs Minister Mr. Satya Narayan Singh.
Indeed Harimohan Jha consolidated great moments in Maithili literature along with his contemporaries-Baidyanath Mishra “Yatri” (Nagarjun), Fanishwar Nath “Renu”, Rajkamal Chaudhary, Lalit, Dhumketu etc through great literary activities in their lifetime. It would be proper, if this period could be recalled as golden time of this ancient language. He kept his creative fervor till the end of his life, his research work “Trends of Linguistic Analysis in Indian Philosophy (Post retirement) justifies his perfectionist commitment. The only regret of his creative life remaind the cinematic adaptation of his magnum-opus novel“Kanyadan”-its alien direction and cold response from viewers further restrained him to allow such more experiments.
Things were in good shape until the death of mother Janani Devi (1975) at the age of 92; just a year after he met with an unfortunate tragedy by losing his loving grandson (Daman Jee), merely at the age of six in 1976 which entirely shattered him in old age. That adversity hit him so pathetically, further he couldn’t survive for long; he passed away in late nineteen eighties in the city of Darbhanga at the residence of his son-in-law Prof. Shailendra Mohan Jha. Harimohan Jha was a man with great family values which he did uphold throughout his life and spent even his last years in same light amidst his dear ones and was solaced to see his next generations’ involvement in literature.
Son, Rajmohan Jha and son-in-law Shailendra Mohan Jha lightened the further ray of hope in this regard; they succeeded with some qualities of Harimohan Jha and came out with some of matured literary pieces. Harimohan Jha, had an additional quality of editing which he displayed in “Jayanti Smarak” (Pushtak Bhandar, 1942) along with the Acharaya Shivpujan Sahay and Achutanand Datta; this work is so unique in some way. That it’s become sacrosanct during the in-depth historical inquiries of Mithila region; this work is full with the vital insights in fine compilation. Indeed his vision has relentless universal values and would remain undeniable with his prolific literary contributions-numbers of novels, dozens of stories and poetries, numerous articles, memoir, travelogue etc are suffice to sensitize the minds of every enthusiast in the area of Maithili literature.
His literary journey was closer to the soul-searching of his loving region…he precisely tried to cover all intricacies such as-life style, food habits, humors, oral tales, pseudo characters, ignorance, intellects, pastorals lives etc through a new dynamicism and vigour, which pushed the inferences straight to the mind of his readers. He was very much a fun loving, food loving and great oral traditionist with the amazing philosophical command over “Mimansa” (a philosophical arm, originated from Mithila)…”khattar Kakkak Tarang” is best outcome with those experimental metaphors which justifies the Maithil’s beliefs in their social life; such close inquiries of life style is even difficult to canvass in voluminous philosophical work. For true finding on Mithila region, one must go to the literary world of Harimohan Jha where tells are contrast to idleness and closer to the dynamic lives.
Atul Kumar Thakur
December26th 2009, New Delhi
Sunday, October 4, 2009
Geniusity of Rajkamal Chaudhary
Maithili language and literature has been culminating through a long walk in history until it started to find a new genre of literature in mid part of last century. Uprightly that could be memorized as next golden phase after the great Jyotireshwar Thakur-Vidyapati age; the factor of overlooking some more remarkable phase of achievements are the exuberant manifestations from that new literary generation which was unlikely to preceded in near past.
Looking back to that generation and recalling giants like Baidyanath Mishra”Yatri” (Nagarjun), Harimohan Jha, Lalit, Dhumketu, Fanishwar Nath”Renu”could be very solacing for literary enthusiasts which would be grew more exulting by shout of praise for foremost among them, Rajkamal Chaudhary. He was a stock genius who accepted niche role to beguiling Maithili literature to a new posture which was dragging previously and largely failing to extrapolate the numerous unconventional approaching problems from changing social dynamics. Rajkamal Chaudhary was a doyen of Maithili literature and even one among Indian literature albeit if the barrier of language could be bursted, then of course his work is worth of universal claim with myriad of universal concern it entrusted.
Rajkamal Chaudhary undoubtedly has most prolific presence in the sunnyside of Maithili literature along with quite symmetric resemblances from his name. His family members deserves utmost credit for tracing the jewels like quality in an infantile and naming such meticulously as Rajkamal, Manindra, Phulbabu (Traditional Maithili call name for loving one)much before his attainment to scholarship and fame. As par with contemporary trend Rajkamal Chaudhary was also born at his maternal place in Rampur haveli in east Mithila (North Bihar) on 13th December 1929; although his ancestral village was Mahishi in Saharsa district that is world famed for its scholastic tradition. Rajkamal’s early childhood was spent in his village but later he moved with his father, who was a Sanskrit teacher in middle Bihar’s town Gaya; he passed matriculation with high distinction from there.
Further phase of his life was full with experiments and wandering albeit finally he passed B.Com from prestigious Patna University; meanwhile he also married with Sashikanta Chaudhary in Chanpura village (In present Madhubani district) .Through his sharp instinct and voracious learning, he proceeded much above from his academic and professional achievements since he never conquered a suitable institutional position for himself. Reasons might be his immaterial nature and particularly his short life span that led to fiendish eventuality. However that couldn’t extrude Rajkamal to write a new chapter in literary history and force to expurgate the existing maladies in Maithil society with superb universal connotations.
In his literary voyage, he was a man of letters with amazing farsightedness; hence he aspired and succeeds in three major domain of literary expressions like, novel, story and poetry. Comparatively prose was his major thirst, despite this he penned numbers of poetry in both Maithili and Hindi language albeit many of them failed to appear in physical shape. In spite of concealment, we are presently capable to clasp his six collection of poems, namely as Kankavati, Audit Report, Mukti Prasang, Vichitra, Sargandha and Macchli Jall and many more may be in future if proper strive would be made to retrieve it. Rajkamal was a promising creationist who barely allowed any frills to enter in his literary productions; likewise his poetry reveals it and its epithet which consisting utmost sensuality with diverse humane plights sounds in immaculate manner.
It would be quite imperative here to recall that Rajkamal Chaudhary had conceived the conceited view about his Maithil identity and he never stepped down to derive metaphors for his creative vision from his native milieu. There were many reasons to postulate such affection for strife ridden Mithila through expounding the contemporary harsh realities in its territory and even in entire country. That was the phase of chaos at many fronts like, political, social, economical, ethical etc... Disillusionment was quite rampant from newly earned democracy which started to gloom and force an entire young generation especially of its intelligentsias towards unrest. Quite naturally Rajkamal was too much integrated with that intellectual class who used to keep eagle watch on worldwide movements and persuade to modify the faulty axioms.
Rajkamal had unbeaten the criticism for his daring and unconventional stand throughout in his life time that indeed seemed awes trucking. He was an astute visionary in Indian literary community who pronounced inner contradiction of humane mind as catalyst for all external complexities of social relationships; further he emphasize on western way of psychoanalysis and enviously drew inferences from Sigmund Freud to unleash the hidden as well as rudimentary conceived sinful relationships. At both personnel and creative level he has been up fronting with elegiac concern for harsh realities besides enjoined with intention to solve the persisting maladies; further he kept his vehement opposition to the nexus of its causes like, feudalism, poverty, floods, sinful eliticism, improper matrimony, male chauvinism, jealousness, personifications etc.
He poignantly followed and tried to curb its ramifications through his novels in Hindi; “Machhli Mari Hui” and “Taash Ke Pattoon Ka Sahar” are foremost among them, which try to contempt on fabrication of immoralities and illicit relationships within the elitist circle. Both his novels were instinctively close to Aldus Huxley’s “Brave new World” and George Orwell’s “Nineteen Eighty Four”, hence at first moment, that couldn’t desirably vindicate albeit it remains open for ”re-reading” as Jacques Derida suggest to find new meaning out of every fresh reading exercise. His rest novels in Hindi (“Nadi Bahti Thi”, “Sahar Tha Sahar Nahi Tha”, “Agni snan”, “Aadikatha”, “Bis Ranion ke Bioscope”, “Dehgatha( Suno Brijrani), “Ek Anar Ek Bimar” are also similarly resembled the concerns. “Andolan” was his lone novel in Maithili that was based on Maithili’s language movement in the city of Calcutta; it also marked his own involvement in the movement to raise the concern for Mithila region.
He was among the finest story teller of his generation and an iconic figure for succeeding literary generations. It is truly amazing to see the huge number of stories in both Maithili and Hindi; he managed apart from many plays and hundreds of essays in such short span of time. His commitment was worth of extolation since his literary deliberations never extricated from its goal and proceeded in felicitous manner; indeed he had importunate response for fetishism in action and thought. Some Maithili stories of Rajkamal Chaudhary are very essential to capitulate the deeper understanding of his works.
His first published story “Aprajita (Vaidehi, October1954)”, presents subtle account of perennial natural tragedy of Mithila (floods) and its repercussions on human lives through a desperate train journey; “Andhakar (Vaidehi/ May1953)”, tells on contradictory relationship under the shadow of religion, partition and sin.“Phulparaswali (Vaidehi/August1955) could be remembered as his magnum opus which illuminates the moral strength of Maithil women in even distressed phage. Rajkamal reached to his zenith through depicting Rickshaw puller protagonist, Shadashiv as his cousin and woven a very meticulous set of relationships among them with centralizing the presence of Phulparaswali, symbolizes Mithila’s ethical virtue. “Lalka pag (Vaidehi / Katha Visheshank1955), which also had its dramatic revelation, reveals untold moral victory of first wife over heart wrenching male chauvinism ended with one sided sacrifice of Mithila’s women.
“Kirtaniya (Vadehi/January1956)”, sketches the life of beggars; “Kopad (Vaidehi/May1956)”,ended with progressive ideas of inter caste marriage; “Damyantiharan (Vaidehi/July1956),” comes with a story of conditionally deprived family indulged in flesh trade for survival which strike with similar delineation of east Bengal’s refugees plights in Ritwik Ghatak’s cinema like “Bari Theke Paliye”. “Channar Das (Vaidehi/September1956)”,told the incarnation of a beggar’s pair for new life out from their existing profession; “Kiranmayee(Rachna Sangrah/1956-First all India Maithili literary conference)”, narrates the premature widowhood, sacrifice and many empathies for their plight but inability to materialize in absence of proper resources.
“Satti Dhanukain (Pallavi/May1957)”, depicts the betrayal of husband with a commuted wife; “Kharid- Bikri (Pallav/June1957)”, raised the concern for immorality of perception with a wretched women affected by the partitions. “Babu Sahebak Tik (Vaidehi/July1957)”, witnessed the metamorphosis of a falling feudal amidst the market pressure and leverages of city life; “Sahastra-Menka( Mithila Darshan/Visheshank1957)”,reveals the ill social treatment with helpless widows and wretched of Mithila.“Mugdha-Vimugdha( Pallav/March1958)”,lights on debacle of unmatched marriage,” Mallhak Tol: Ek Chitra(Vaidehi/August1958)”,concerned with the plight of Mallah(fishermen) community who possess an ingredient place in Mithila’s fish crazy society, in very short space he became successful to capture their actual reality. “Yatrak Aant (Mithial Darshan1958)”, leads to a scenario of impoverished socio-economic structure of Calcutta in which a helpless parent caught in severe daily struggle to save their ill son and dignity of daughter in law.
“Kamalmukhi Kaniyan(Kathaparag collection1958)”,candidly attacks on pseudo perception of dominant male community over the decent albeit feeble Maithil women’s, it’s a forward attack on male chauvinism. “Aakash-Ganga(Mithila Darshan/Visheshank1959)”,is an account of a falling feudal father and his relationship with estranged daughter who gone away for a matrimonial ties against of his wishes, story concludes with his proactive and judicious move which also marks the inception of flexibility in feudal structure. “Kadambari Upkatha (Vaidehi/March1960)”, has frank bearing of humanity by a childless widow who crossed all the artificial boundaries of caste, opportunism, jealousness etc; “Panidubbi(Mithila Mihir/10th May1964)”,reflects the inner state of a newly wedded women during her first journey on steamer, she simply lost in her circle of belongingness that recalls the closed nature of contemporary Maithil feminism.
“Surma Sagun Bichare Na(Mithila Mihir/9th May1965)”,is moving around the infatuation for bereaved wife that seems like a dutiful sacrifice and also transcend his honest deeds in all relationships; “Ghari(Mithial Mihir/30th January1966)”,tells the romance in inter religious web which eventually conclude with the interference of domestic compulsions. ”Maach (Mithila Mihir/30th January1966)”, is a spectacular delineation of craze for auspicious fish among Maithil’s,this story is loaded with heavy symbolism and sophisticated representation of Maithil life philosophy before a cross cultural debate.”Sanjhak Gaach(Mithila Mihir/13th March1966)”,has stuffed with the gloomy inferences from its protagonist who caught in wrenched contradiction about his prospective role with belongingness, accidental death of his sister in law leads to an in-depth synthesis of someone’s helplessness.
“Samudra(Mithila Mihir/11th September 1966), presents confrontation of female protagonist with the wider concern for her existential being…it’s a saga of unmatched matrimony;”Param Priya Nirmohi Balam Hammar Pranpati(Mithila Mihir/30th October1966)”,is consists with a marathon letter of newly wedded wife to her husband about their expectation and mixed fortune ended through overt numerous account. It was characteristics of Rajkamal Chaudhary to present a serious theme in satirical way… indeed he was an accomplished user of satire. ”Kichho Alikhit Patra(Maithili Darshan)”,written with the pseudo name of Anamica Chaudhary in extraordinary and candid craft to expose the plights of subjugated women’s of Mithila,it’s an ultimate height of fiction.”Gamme Rati Rati Me Gam (Bharti Mandan)”, virtually breaking the illusion from villages, he found same sinful habitual practices in villages as they frequent in urban spaces. ”Bahindai,Aspatal,Bangam Aa Kono Ekta Sapna(Mithila Mihir/30th April1967)”,narrates the story of Bahindai,a young widow faces a new proposal of material life but remained undetermined…an another jolt on unmatched matrimony that create such plot.
”Ekta Champakali Ekta Vishdhar(Mithila Mihir/15th June1975)”,appeared posthumously which reached behind the real cause of improper marriages…involvement of lust remains the utmost cause of females misfortune in Mithila. Somehow list became longer but his contribution is so sacrosanct that it’s very difficult to leave one piece of literature for another. In his very short life span, he did exemplary job through his creative means to express his deep concern with desperate elements of Maithil society. Indeed his initiative was epoch making especially the manners in which he visualized the complex cognition of human mind and their ambiguous outcomes like, improper marriages, sinful relationships etc. His concern was broad, so he canvassed them in same dedication with punishing hardship on personnel front albeit nature shaped its cruel verdict for this epoch maker. Its eventuality was his untimely departure from this mortal world on 7th June1967 at Rajendra surgical ward, Patna Medical College and Hospital. Rajkamal or Phool Babu too loved among his folks, his premature demise with combating deadly disease left deep strain among entire literary circle in Mithila and even in whole country. But even after four decades he is yet to have the place he deserves …his contribution is great and comparable to the great works of Premchand, Muktibodh, Sharat Chand Chattopadhyaya, Moppsant (Spainish), Loo Soon (Chinese); his work is highly eligible for exposition before the larger masses, which would be the real homage for him.
Baidyanath Mishra”Yatri”(Nagarjun),was dejected through passing of his loving successor Rajkamal, commemorated a poem in his fond memory that best reflects the contention of void after Rajkamal’s missing from scene…crux is, there could be and was only one Phool Babu in Mithila, we may have to wait for generation to fill his position. Those who acquainted him personally, still recalls his generosity and involvement in community life…indeed he was intended to lift rural life out of chaos; so, despite possessing elite qualities he chosen to represent bottom of pyramids. His works more than introductions reveals his geniusity much better.
Atul Kumar Thakur
Email: summertickets@gmail.com
4th October2009, New Delhi
Looking back to that generation and recalling giants like Baidyanath Mishra”Yatri” (Nagarjun), Harimohan Jha, Lalit, Dhumketu, Fanishwar Nath”Renu”could be very solacing for literary enthusiasts which would be grew more exulting by shout of praise for foremost among them, Rajkamal Chaudhary. He was a stock genius who accepted niche role to beguiling Maithili literature to a new posture which was dragging previously and largely failing to extrapolate the numerous unconventional approaching problems from changing social dynamics. Rajkamal Chaudhary was a doyen of Maithili literature and even one among Indian literature albeit if the barrier of language could be bursted, then of course his work is worth of universal claim with myriad of universal concern it entrusted.
Rajkamal Chaudhary undoubtedly has most prolific presence in the sunnyside of Maithili literature along with quite symmetric resemblances from his name. His family members deserves utmost credit for tracing the jewels like quality in an infantile and naming such meticulously as Rajkamal, Manindra, Phulbabu (Traditional Maithili call name for loving one)much before his attainment to scholarship and fame. As par with contemporary trend Rajkamal Chaudhary was also born at his maternal place in Rampur haveli in east Mithila (North Bihar) on 13th December 1929; although his ancestral village was Mahishi in Saharsa district that is world famed for its scholastic tradition. Rajkamal’s early childhood was spent in his village but later he moved with his father, who was a Sanskrit teacher in middle Bihar’s town Gaya; he passed matriculation with high distinction from there.
Further phase of his life was full with experiments and wandering albeit finally he passed B.Com from prestigious Patna University; meanwhile he also married with Sashikanta Chaudhary in Chanpura village (In present Madhubani district) .Through his sharp instinct and voracious learning, he proceeded much above from his academic and professional achievements since he never conquered a suitable institutional position for himself. Reasons might be his immaterial nature and particularly his short life span that led to fiendish eventuality. However that couldn’t extrude Rajkamal to write a new chapter in literary history and force to expurgate the existing maladies in Maithil society with superb universal connotations.
In his literary voyage, he was a man of letters with amazing farsightedness; hence he aspired and succeeds in three major domain of literary expressions like, novel, story and poetry. Comparatively prose was his major thirst, despite this he penned numbers of poetry in both Maithili and Hindi language albeit many of them failed to appear in physical shape. In spite of concealment, we are presently capable to clasp his six collection of poems, namely as Kankavati, Audit Report, Mukti Prasang, Vichitra, Sargandha and Macchli Jall and many more may be in future if proper strive would be made to retrieve it. Rajkamal was a promising creationist who barely allowed any frills to enter in his literary productions; likewise his poetry reveals it and its epithet which consisting utmost sensuality with diverse humane plights sounds in immaculate manner.
It would be quite imperative here to recall that Rajkamal Chaudhary had conceived the conceited view about his Maithil identity and he never stepped down to derive metaphors for his creative vision from his native milieu. There were many reasons to postulate such affection for strife ridden Mithila through expounding the contemporary harsh realities in its territory and even in entire country. That was the phase of chaos at many fronts like, political, social, economical, ethical etc... Disillusionment was quite rampant from newly earned democracy which started to gloom and force an entire young generation especially of its intelligentsias towards unrest. Quite naturally Rajkamal was too much integrated with that intellectual class who used to keep eagle watch on worldwide movements and persuade to modify the faulty axioms.
Rajkamal had unbeaten the criticism for his daring and unconventional stand throughout in his life time that indeed seemed awes trucking. He was an astute visionary in Indian literary community who pronounced inner contradiction of humane mind as catalyst for all external complexities of social relationships; further he emphasize on western way of psychoanalysis and enviously drew inferences from Sigmund Freud to unleash the hidden as well as rudimentary conceived sinful relationships. At both personnel and creative level he has been up fronting with elegiac concern for harsh realities besides enjoined with intention to solve the persisting maladies; further he kept his vehement opposition to the nexus of its causes like, feudalism, poverty, floods, sinful eliticism, improper matrimony, male chauvinism, jealousness, personifications etc.
He poignantly followed and tried to curb its ramifications through his novels in Hindi; “Machhli Mari Hui” and “Taash Ke Pattoon Ka Sahar” are foremost among them, which try to contempt on fabrication of immoralities and illicit relationships within the elitist circle. Both his novels were instinctively close to Aldus Huxley’s “Brave new World” and George Orwell’s “Nineteen Eighty Four”, hence at first moment, that couldn’t desirably vindicate albeit it remains open for ”re-reading” as Jacques Derida suggest to find new meaning out of every fresh reading exercise. His rest novels in Hindi (“Nadi Bahti Thi”, “Sahar Tha Sahar Nahi Tha”, “Agni snan”, “Aadikatha”, “Bis Ranion ke Bioscope”, “Dehgatha( Suno Brijrani), “Ek Anar Ek Bimar” are also similarly resembled the concerns. “Andolan” was his lone novel in Maithili that was based on Maithili’s language movement in the city of Calcutta; it also marked his own involvement in the movement to raise the concern for Mithila region.
He was among the finest story teller of his generation and an iconic figure for succeeding literary generations. It is truly amazing to see the huge number of stories in both Maithili and Hindi; he managed apart from many plays and hundreds of essays in such short span of time. His commitment was worth of extolation since his literary deliberations never extricated from its goal and proceeded in felicitous manner; indeed he had importunate response for fetishism in action and thought. Some Maithili stories of Rajkamal Chaudhary are very essential to capitulate the deeper understanding of his works.
His first published story “Aprajita (Vaidehi, October1954)”, presents subtle account of perennial natural tragedy of Mithila (floods) and its repercussions on human lives through a desperate train journey; “Andhakar (Vaidehi/ May1953)”, tells on contradictory relationship under the shadow of religion, partition and sin.“Phulparaswali (Vaidehi/August1955) could be remembered as his magnum opus which illuminates the moral strength of Maithil women in even distressed phage. Rajkamal reached to his zenith through depicting Rickshaw puller protagonist, Shadashiv as his cousin and woven a very meticulous set of relationships among them with centralizing the presence of Phulparaswali, symbolizes Mithila’s ethical virtue. “Lalka pag (Vaidehi / Katha Visheshank1955), which also had its dramatic revelation, reveals untold moral victory of first wife over heart wrenching male chauvinism ended with one sided sacrifice of Mithila’s women.
“Kirtaniya (Vadehi/January1956)”, sketches the life of beggars; “Kopad (Vaidehi/May1956)”,ended with progressive ideas of inter caste marriage; “Damyantiharan (Vaidehi/July1956),” comes with a story of conditionally deprived family indulged in flesh trade for survival which strike with similar delineation of east Bengal’s refugees plights in Ritwik Ghatak’s cinema like “Bari Theke Paliye”. “Channar Das (Vaidehi/September1956)”,told the incarnation of a beggar’s pair for new life out from their existing profession; “Kiranmayee(Rachna Sangrah/1956-First all India Maithili literary conference)”, narrates the premature widowhood, sacrifice and many empathies for their plight but inability to materialize in absence of proper resources.
“Satti Dhanukain (Pallavi/May1957)”, depicts the betrayal of husband with a commuted wife; “Kharid- Bikri (Pallav/June1957)”, raised the concern for immorality of perception with a wretched women affected by the partitions. “Babu Sahebak Tik (Vaidehi/July1957)”, witnessed the metamorphosis of a falling feudal amidst the market pressure and leverages of city life; “Sahastra-Menka( Mithila Darshan/Visheshank1957)”,reveals the ill social treatment with helpless widows and wretched of Mithila.“Mugdha-Vimugdha( Pallav/March1958)”,lights on debacle of unmatched marriage,” Mallhak Tol: Ek Chitra(Vaidehi/August1958)”,concerned with the plight of Mallah(fishermen) community who possess an ingredient place in Mithila’s fish crazy society, in very short space he became successful to capture their actual reality. “Yatrak Aant (Mithial Darshan1958)”, leads to a scenario of impoverished socio-economic structure of Calcutta in which a helpless parent caught in severe daily struggle to save their ill son and dignity of daughter in law.
“Kamalmukhi Kaniyan(Kathaparag collection1958)”,candidly attacks on pseudo perception of dominant male community over the decent albeit feeble Maithil women’s, it’s a forward attack on male chauvinism. “Aakash-Ganga(Mithila Darshan/Visheshank1959)”,is an account of a falling feudal father and his relationship with estranged daughter who gone away for a matrimonial ties against of his wishes, story concludes with his proactive and judicious move which also marks the inception of flexibility in feudal structure. “Kadambari Upkatha (Vaidehi/March1960)”, has frank bearing of humanity by a childless widow who crossed all the artificial boundaries of caste, opportunism, jealousness etc; “Panidubbi(Mithila Mihir/10th May1964)”,reflects the inner state of a newly wedded women during her first journey on steamer, she simply lost in her circle of belongingness that recalls the closed nature of contemporary Maithil feminism.
“Surma Sagun Bichare Na(Mithila Mihir/9th May1965)”,is moving around the infatuation for bereaved wife that seems like a dutiful sacrifice and also transcend his honest deeds in all relationships; “Ghari(Mithial Mihir/30th January1966)”,tells the romance in inter religious web which eventually conclude with the interference of domestic compulsions. ”Maach (Mithila Mihir/30th January1966)”, is a spectacular delineation of craze for auspicious fish among Maithil’s,this story is loaded with heavy symbolism and sophisticated representation of Maithil life philosophy before a cross cultural debate.”Sanjhak Gaach(Mithila Mihir/13th March1966)”,has stuffed with the gloomy inferences from its protagonist who caught in wrenched contradiction about his prospective role with belongingness, accidental death of his sister in law leads to an in-depth synthesis of someone’s helplessness.
“Samudra(Mithila Mihir/11th September 1966), presents confrontation of female protagonist with the wider concern for her existential being…it’s a saga of unmatched matrimony;”Param Priya Nirmohi Balam Hammar Pranpati(Mithila Mihir/30th October1966)”,is consists with a marathon letter of newly wedded wife to her husband about their expectation and mixed fortune ended through overt numerous account. It was characteristics of Rajkamal Chaudhary to present a serious theme in satirical way… indeed he was an accomplished user of satire. ”Kichho Alikhit Patra(Maithili Darshan)”,written with the pseudo name of Anamica Chaudhary in extraordinary and candid craft to expose the plights of subjugated women’s of Mithila,it’s an ultimate height of fiction.”Gamme Rati Rati Me Gam (Bharti Mandan)”, virtually breaking the illusion from villages, he found same sinful habitual practices in villages as they frequent in urban spaces. ”Bahindai,Aspatal,Bangam Aa Kono Ekta Sapna(Mithila Mihir/30th April1967)”,narrates the story of Bahindai,a young widow faces a new proposal of material life but remained undetermined…an another jolt on unmatched matrimony that create such plot.
”Ekta Champakali Ekta Vishdhar(Mithila Mihir/15th June1975)”,appeared posthumously which reached behind the real cause of improper marriages…involvement of lust remains the utmost cause of females misfortune in Mithila. Somehow list became longer but his contribution is so sacrosanct that it’s very difficult to leave one piece of literature for another. In his very short life span, he did exemplary job through his creative means to express his deep concern with desperate elements of Maithil society. Indeed his initiative was epoch making especially the manners in which he visualized the complex cognition of human mind and their ambiguous outcomes like, improper marriages, sinful relationships etc. His concern was broad, so he canvassed them in same dedication with punishing hardship on personnel front albeit nature shaped its cruel verdict for this epoch maker. Its eventuality was his untimely departure from this mortal world on 7th June1967 at Rajendra surgical ward, Patna Medical College and Hospital. Rajkamal or Phool Babu too loved among his folks, his premature demise with combating deadly disease left deep strain among entire literary circle in Mithila and even in whole country. But even after four decades he is yet to have the place he deserves …his contribution is great and comparable to the great works of Premchand, Muktibodh, Sharat Chand Chattopadhyaya, Moppsant (Spainish), Loo Soon (Chinese); his work is highly eligible for exposition before the larger masses, which would be the real homage for him.
Baidyanath Mishra”Yatri”(Nagarjun),was dejected through passing of his loving successor Rajkamal, commemorated a poem in his fond memory that best reflects the contention of void after Rajkamal’s missing from scene…crux is, there could be and was only one Phool Babu in Mithila, we may have to wait for generation to fill his position. Those who acquainted him personally, still recalls his generosity and involvement in community life…indeed he was intended to lift rural life out of chaos; so, despite possessing elite qualities he chosen to represent bottom of pyramids. His works more than introductions reveals his geniusity much better.
Atul Kumar Thakur
Email: summertickets@gmail.com
4th October2009, New Delhi
Wednesday, February 11, 2009
Maithili Archives
The present articles are based on some crucial subjects of Mithila,Mithila is an ancient land of knowledge and wisdom despite this its glories have came under the partiality by state and their own representatives,so,the plight of Mithila does not get what it deserves in present times.I also requeing (praying) for the soul of great peoples leader Bhogendra Jha,eminent scholar Jaykant Mishra and a very sad demise of a young journalist from Janakpur Uma singh,which shattered the conception of humanity.Now have the matters....
RURAL COHESION IN MAITHILI NOVELS:-
Maithili society is primarily agrarian one whose custom and rituals are concentrated in its villages and all cultural uniqueness represented through their practices provides a rich base at litrary stuffs,hence most of litrary works may be attributed to the rural scene and rural peoples of Mithila. History of Maithily literature is one of the oldest among Indian languages and their historicity and perfection makes its position on top of lingual hierarchy.So,stratification becomes inevitable in present context because most of novels in maithili were written in twenteenth century.
1950's onwards to 1970's might be called the golden period of Maithili.In this phase of Maithili writing reached to zenith.It will be worthwhile to mention here that;these literary production were mostly written by stalwart novelists like,Harimohan Jha,Rajkamal Chaudhary,Lalit,Baidyanath Mishra 'Yatri'(Nagarjun) and Fanishwar Nath 'Renu'.
Among these novelists Fanishwar Nath Renu though never written any Maithili novel but his writing was so full with Maithil inferences that is becomes imperative to mention his name among Maithili literaturer;broadly,writing in any language may be classified in two types,one which is written originally in that particular languages and second,though written in other language but their genuine concern makes it an ingredient part of that particular language.
Maithili literature of twentieth century shows great concern for rural life and depicts their original life style and behaviour through the writings in different literary forms like poetry,Drama,Stories,Novels,Satire,Travalogue etc. However here we focusing on rural cohesion in Maithili noveles.
Work of Harimohan Jha may be considered as jewel of Maithili language and literature,his work enables a new style of writing which seems to be satirical in lingual expression but very meticulous and critical in meaning that fights with prevailing orthodoxy in Msociety. Harimohan Jha wrote most of his novels in his twenties when he was still pursuing university education in city,but he never lacked the original rural contents in his novel.'Kanyadan' and 'Duragman'is his two prolific work which set the trend in Maithili literature.
Next name in this series is Rajkamal Chaudhari, whose attitude and work were distinct from his contemporaries,as he was immensely inclined with complex cognition of human mind.so,in his center of writing, an individual possessed a strategic place and unlike the Hindi writing his Maithili characters have much belonging to rural life.
Though in his Maithili novel'Andolan(movement),'centered on mass struggle in city life but his prime characters and their distorted fortune arises from the rural back drops.Maithili stories written by Rajkamal Chaudhary have much rural cohesion than his novels. Lalits's prithviputra(son of soil)'is a high profile work in Maithili literature consist with lucid delineation.Plot of this novel revolves around the common rural scene of Mithila ,which haves peculiarities like,joint family system,property conflict,belonging towards roots,despair,optimism etc.
The novel's illustrate the shift in Maithili society and its impact on age-old social structure of villages where now class antagonism leads to conflict of interest and ultimately deviates the social fabrics.
Maithili contents reached to the crux of acclamation through the work of Baidyanath Mishra 'yatri'or Nagarjun;as he was popularly known in Hindi circle.The writing of 'yatri' is much diverse in contents and form,but one thing is common throughout his writing is that he never let slipped the rural contents and cohesion's from his creative motives.Though 'Baidyanath Mishra 'yatri' was so tasteful for traveling that he got the title of 'yatri'with his name,but in his novels we can see the abundant stillness and preservation of rural contents.
He had great attachments with rural Mithila and it is honestly reflects in his work like;Paro,Ugratara(Godess),Navturia(New Generation),Balchanma etc.
Baidyanath Mishra'yatri'had immense influence of Sharat Chandra Chatopadhyaya;like him he focused on rural milieu and enriched the Maithili literature,he was a farsighted scholar and a great visionary whose every work has a great bearing for rural social structure.
Through'Paro' to 'Balchanma' leads as distortion to revolt and coming to 'Navturia' he became able to provide a new optimism on account of young generation from this emerging successors,he expects more democratic behaviour,so his entire gamut arises in very own rural atmosphere.
Fanishwarnath Renu done most of his work in Hindi except two short stories and some other pieces in Maithili,but his every work has Maithili affliction and he never dissociate himself from Maithili background.Two of his magnum-opus work'Maila Anchal(Fading corner of sari)' and 'Parti Parikatha(Tell's of infertile land) are the most remarkable depiction of rural scenes in any language.In his initial days of writing Renu's,work regarded as region specific literature due to deep rural cohesion of his work,though later the same critics contempt their own judgments about his writing after detailed disclosure.
Overall tenure of these five authors influenced the creativity level in Maithili like never before ,so this was the golden phase in Maithili literature.In later phase Dhumketu had shown same excellence through the most detailed novel in Maithili'Mor Par(on turning)',to some extant successors like Mayanand Mishra,Shailendra mohan Jha,Prabhas Kumar Chaudhary,Jeevkant,Analkant,Tarananda viyogi etc kept this trend alive through their work and they deserve praise for problem centric writing with focussing on challenges like, flood problem,migration,poverty,cross cultural changes etc.So,even in today's writing in Maithili,village is still at center and this trend could be a matter of relief for those who still care for real Mithila.
ROLE OF MASS MEDIA IN CULTURAL AWAKENING IN MITHILA-A RECENT TREND
In recent time, FM as a tool of mass media left its influence throughout the Mithilaanchal, it may not be exaggeration if their role may be perceive of pathfinder and oasis in desert.Though Mithilanchal is geographically situated amidst two neighboring countries like China and India but its cultural affliations weaves the threads of ancient Maithili culture and to some extant keeping alive its dynamicism.
In essence, no doubt the sentiment of Maithili culture is not a fragmented identity despite having political misrepresentation.Only this is diverse political regulation which makes a lot of difference in the cultural activism of North and South Mithila.Mass media as a tool of dynamicism can be best assessed in terms of interest pursued by the respective civil society.
It is soul of interest being pursued by the respective civil society.It is a sole level playing field which can lessen the unnecessarily intervention by political authority and pave the way of creativity.In case of North Mithilanchal current state of the civil society is immensely influenced by the cultural aspiration of marginal and slightly above the marginal middle class whose contribution have been largely ignored so far,despite their age old cultural practices which constructively caused for the survival of custom and rituals in these terrain.
It will be worthwhile to mention that the prevailing functioning of electronic media is still in their infancy in context of Mithila region.In case of southern Mithila/Indian side, the programming is strictly confined with few hours of slot at Darbhanga radio station and occasional coverage by the regional centre of Doordarshan where tracing even a bit of innovation may not be less than a nightmarish day dreaming.
In this despairing situation arrival of FM radios in mid &late 90's in Janakpur and neighbouring parts might be considerd as pannecia for cultural activism in North Mithila.In later course mushrooming of more and more channeles in Maithili equally influenced the and filled the gap or emptiness of innovation in the region and shortout the endural inertia.
Through nineties to till now Nepal consistantly passess through the socio-political turmoil which squalid its impression and create a sense of urgency among citizens.Madhesi community as it is called by original inhabitants is largely constituted by the Maithili speaking population which have their own strong cultural tradition that largely differs from upper Himalayan culture,so,these cultural differences leads to marginalization of of Madhesi peoples.So,their political marginalization created a sense of cultural urgency,later which constituted through the base of FM channels in Janakpur and Kathmandu, further its opened a new chapter.
The landslide victory of Madhesi Janadhikar Foroum (MJF) and Madhesi Democratic Party(TMDP) in currently held constituent assembly election in Madhesh region is very alluring outcome of such cohesion of these communication agencies, which play pivotal role in submerging the political and cultural aspirations on some stage,now we have to see the performance of these political parties in coming months how honestly they will deal with the trusts of their peoples. In every society communication plays decisive role and as likely Mithilanchal is also not an exception though responsibility bearing varies in different societies but fortunately Maithili FM Radio have attained great responsibility towards the cultural upheaveling and tracing of a glorious benchmark besides it also successfully cope with the prevailing cultural pollution in region and to some extant diminished their havoc.
It is said that the womens possess great capacity of cultural preservation,so their inclusion and active participation is creating a new mass base now whose positive result is being quite visible.Urban composition of Mithila is basically confined to the district headquarters,they situated near the rural hinterland ,so,cultural fabrics never chock them from cultural mainstream albeit in last two years due to effects of abrupt migration and macroeconomic changes ,tastes have badly influenced.
In such circumstances impact of cultural pollution started to alienate some section from their cultural practices and here I see the unmatchable potential role of these cultural FM how they cope with these deviating practice and save Mithilanchal from the wave of vulgarity and nonsense entertainment.
In recent time,during my extensive traveling,I found amazing growth of listnership of these FM Radio broadcasting from Janakpur and Kathmandu,which sharpening the peoples interest in their own folklore,folk arts and other cultural practices which way surely leads it to global standered of recognition and enhanced the performance and creativity.
Unlike the conception about FM Radio,here they playing the role of avant garde or,we should call it playing the role of 'NAVTURIA' in the emergence of cultural awakening of in Mithila.Exploration of an unexplored rich tradition is certainly a noble innovation if its responsibility bearing completely shared with ethics and belongingness to their culture.Despite being an ancient tradition, Mithila faced large scale of cultural erosion due to political and social marginalization of its cause which hampered the development of Maithili language and culture.
Culture can be best served by the practices and for cultural practices entitlement is the most vital factor.Here community Radios are playing the crucial role in spreading cultural message to young generation whose consciousness now shaping in their own cultural horizon and they are overcoming from sense of alienation.
Generally Mithilanchal upfront with many grave problem and to cope successfully with its practices;we must land our support to progressive communication agencies.
Maithils are celebrative in temprament,and if they reinventing their cultural and utilize these spirit in strenghtening their genuine voice,this will be a welcome step.Afterall even in a hungry belly drenched to the half body during the disastrous time(Flood is perennial disaster in this region) may feel less remorse by listening Jat Jatin,Sama Chakeva,Domkachh and songs of Vidyapati. At last DESIL VAYNA IS STILL SUBJAN MITTHA(Mother tongue seems sweetest to all) and I hope nobody will have disagreement from my opinion.....
DECLINING SHIFT IN CULTURAL ACTIVITIES IN MITHILANCHAL
'Sada vasant rahe Mithila me...'this age old folk song of Mithila meticulously explores the feeling of the poet whose narration was the outcome of prosperous and aesthetic scenario of contemporary Mithila and this impression was able to construct a happy future outline of motherland.Generally Maithils(both human and allied resources)are accustomed for celebrative life style and thinking ,theirs justification may derived from countless festive occasions ;nonposessiveness and liberal impression of Maithilis provides a healthy boost for this tradition,besides this hundreds of folktales that derives from cultural life also gets sound impetus from these conserving Maithils.
Through ages cultural elements playing pivotal role in information of social structure of Mithila,that short of cultural flow transmitted dynamicism in historical development.this should be regarded as prime characteristics of Maithili culture.
But in present scenario such cultural consciousness increasingly deviating from traditional pattern of life style,though the condition may be not regarded uniform throughout the Mithilanchal.Here we can see towards the north Mithila/Terain region of Nepal where participation of youth strengthening the cultural affiliation in society,that is a matter of relief and optimism. Here the debate foccused on south Mithila/Indian side,where a lot of desperation lucidly presents in socio-cultural behaviour of peoples.
This back drop to a large extant can attributed to the youths who increasingly alienated from their own cultural fabrics.Migration is a major problem behind such havocking scene.Prolonged political misruling is also essentially responsible for such desperation because basic facilities are not at par with the other states,so this trend get naturalize in further course.
Though in modern economy,migration is not a matter of surprise if the migrant is equipped with technical and professional skills.In case of north Bihar,now this trend becoming more problematic and leads to level of mass migration.Unavailability of opportunities fueling this trend in very bad manner.Heavy industries have very scarce appearances inside the Mithila and here enterprising impacts are largely demonstrated through the middle and small scale industries whose production are based on agricultural raw materials.
In last two decades even these feeble industrial structure have been considerably diminished and its impact on agriculture and allied sectors felt devastating.Closure of sugar mills especially hampered the corp cycle inside the region,a major cash corp sugarcane is no longer remain a viable option for farming,which hampered the financial condition of marginal farmers and laborers.
Despite this Maithil farmers greatly upfronted with the grim situation and shown distinct response than the farmers of vidharba and vijaywada.Any how Maithil farmers let prolonged their struggle,may be this temperament arisen from long political partiality and insensitivity of political representatives.Such insensitive political representation detracts this area from sound observation of national media.consequently problems of Mithila never placed what it worth to deserve.
So,causes of Mithila to large extant forgotten for a long time.So,common folks became silent observer with their crumbling destiny and consciousness.
Maithil villages once stuffed with prosperity now seemingly turned into center of desperation.Looking on whole problems which arises from lack of opportunity in this area,gives ample reason why this terrain fall in the vicious trap of exodus.
So,emancipation of Mithila,it is urgentally needed to strengthen the infrastructure and create adequate opportunity in this area;this initiatives must by taken by government,NGOs, and individuals without any partiality in execution.In present times it is very hard to believe for young generation that once the districts of Madhubani,Darbhanga,Saharsa and entire Mithilanchal were blossoming with the sports and cultural activities;contemporary newspapers and magazines like,Aryavart,Mithila Mihir etc.used to lend prime coverage of such cultural activities.
Maithil villages were equally participating in such activities with high passion.I came in contact with the members of a contemporary(mid ninety sixties) football team,they provided me a thrilling information of their achievements which seems to be incredible today but it was a true claim that renowned club of Bengal consisted with some players of renowned Muhhamedon sports club was defeated in a tournament hosted in village Loha Kapsiya,which is quite enough for revealing contemporary passion and festivities attached with the sports culture.
Presently sports and allied activities standing on the verge of gloomious decline inside Mithilanchal and that continuously breaking the traditional perspective in this regard.Peoples of Mithila being great fond for folk songs,music,drama,painting etc,must be given accolades for their great deal in preserving the tradition intact and developing world class Mithila Art despite facing insensitive institutional responses on varied level.It is usually said inside the Mithilanchal ,every bit of action is festive in this land and it is common seen throughout year by celebrating festivals,these Maithil shows great interest for such occasions from where they can harness their cultural interest through stage performance and reaching to the maximum peoples.
At regular interval such cultural programmes were quite helpful to maintain healthy cohesion in social relationship and this bases provided the positive inspiration for new ideas and information.
In present time,Maithil society consistently inclined towards a transformation which is moving towards an isolated framework of social structure ,may be it change the hundreds years of social pattern which would certainly harm its original character.Today Mithilanchal is facing the problem of leadership,because insensitive leadership super-seeding the genuine problems of this area and this functional handicap may be only removed when their aggrieved concern will form a responsible representatives who will work sincerely to wipe-out the discrepancies in developmental process.
In recent time,Constitutional induction of Maithili language in eighth/8th schedule is a single matter of relief for lingual emancipation and upliftment of morale.However,it is a late justice for an ancient language because Maithili deserves it very initially;anyhow it is an encouraging breakthrough for lingual movement.Here it is worthwhile to say that governance has greater role to play on policy matters which have greater bearing in a democracy.
Though changes in government infused greater optimism and now let us see how much the policy makers will compensate the claim on cultural front.Sometimes it puzzled the mind that backwardness on development front hampers the cultural motivation too?Despite having such rich human resources the land of Mithila still face the marginalization on cultural peculiarities?Its revival must be found through the civic actions of its own peoples.Now the time has reap to form effective civil society and solve the entire burning problems which till now fueling the pain of marginalization.
Through proper civic actions and honest planning it is possible to get back the lost glory of Mithilanchal and fulfill the imagination of a poet'sada basant rahe Mithila me....'it could be a firm belief of any sanguine believer.
Atul Kumar Thakur
10th February 2009
New Delhi
atul_mdb@rediffmail.com
RURAL COHESION IN MAITHILI NOVELS:-
Maithili society is primarily agrarian one whose custom and rituals are concentrated in its villages and all cultural uniqueness represented through their practices provides a rich base at litrary stuffs,hence most of litrary works may be attributed to the rural scene and rural peoples of Mithila. History of Maithily literature is one of the oldest among Indian languages and their historicity and perfection makes its position on top of lingual hierarchy.So,stratification becomes inevitable in present context because most of novels in maithili were written in twenteenth century.
1950's onwards to 1970's might be called the golden period of Maithili.In this phase of Maithili writing reached to zenith.It will be worthwhile to mention here that;these literary production were mostly written by stalwart novelists like,Harimohan Jha,Rajkamal Chaudhary,Lalit,Baidyanath Mishra 'Yatri'(Nagarjun) and Fanishwar Nath 'Renu'.
Among these novelists Fanishwar Nath Renu though never written any Maithili novel but his writing was so full with Maithil inferences that is becomes imperative to mention his name among Maithili literaturer;broadly,writing in any language may be classified in two types,one which is written originally in that particular languages and second,though written in other language but their genuine concern makes it an ingredient part of that particular language.
Maithili literature of twentieth century shows great concern for rural life and depicts their original life style and behaviour through the writings in different literary forms like poetry,Drama,Stories,Novels,Satire,Travalogue etc. However here we focusing on rural cohesion in Maithili noveles.
Work of Harimohan Jha may be considered as jewel of Maithili language and literature,his work enables a new style of writing which seems to be satirical in lingual expression but very meticulous and critical in meaning that fights with prevailing orthodoxy in Msociety. Harimohan Jha wrote most of his novels in his twenties when he was still pursuing university education in city,but he never lacked the original rural contents in his novel.'Kanyadan' and 'Duragman'is his two prolific work which set the trend in Maithili literature.
Next name in this series is Rajkamal Chaudhari, whose attitude and work were distinct from his contemporaries,as he was immensely inclined with complex cognition of human mind.so,in his center of writing, an individual possessed a strategic place and unlike the Hindi writing his Maithili characters have much belonging to rural life.
Though in his Maithili novel'Andolan(movement),'centered on mass struggle in city life but his prime characters and their distorted fortune arises from the rural back drops.Maithili stories written by Rajkamal Chaudhary have much rural cohesion than his novels. Lalits's prithviputra(son of soil)'is a high profile work in Maithili literature consist with lucid delineation.Plot of this novel revolves around the common rural scene of Mithila ,which haves peculiarities like,joint family system,property conflict,belonging towards roots,despair,optimism etc.
The novel's illustrate the shift in Maithili society and its impact on age-old social structure of villages where now class antagonism leads to conflict of interest and ultimately deviates the social fabrics.
Maithili contents reached to the crux of acclamation through the work of Baidyanath Mishra 'yatri'or Nagarjun;as he was popularly known in Hindi circle.The writing of 'yatri' is much diverse in contents and form,but one thing is common throughout his writing is that he never let slipped the rural contents and cohesion's from his creative motives.Though 'Baidyanath Mishra 'yatri' was so tasteful for traveling that he got the title of 'yatri'with his name,but in his novels we can see the abundant stillness and preservation of rural contents.
He had great attachments with rural Mithila and it is honestly reflects in his work like;Paro,Ugratara(Godess),Navturia(New Generation),Balchanma etc.
Baidyanath Mishra'yatri'had immense influence of Sharat Chandra Chatopadhyaya;like him he focused on rural milieu and enriched the Maithili literature,he was a farsighted scholar and a great visionary whose every work has a great bearing for rural social structure.
Through'Paro' to 'Balchanma' leads as distortion to revolt and coming to 'Navturia' he became able to provide a new optimism on account of young generation from this emerging successors,he expects more democratic behaviour,so his entire gamut arises in very own rural atmosphere.
Fanishwarnath Renu done most of his work in Hindi except two short stories and some other pieces in Maithili,but his every work has Maithili affliction and he never dissociate himself from Maithili background.Two of his magnum-opus work'Maila Anchal(Fading corner of sari)' and 'Parti Parikatha(Tell's of infertile land) are the most remarkable depiction of rural scenes in any language.In his initial days of writing Renu's,work regarded as region specific literature due to deep rural cohesion of his work,though later the same critics contempt their own judgments about his writing after detailed disclosure.
Overall tenure of these five authors influenced the creativity level in Maithili like never before ,so this was the golden phase in Maithili literature.In later phase Dhumketu had shown same excellence through the most detailed novel in Maithili'Mor Par(on turning)',to some extant successors like Mayanand Mishra,Shailendra mohan Jha,Prabhas Kumar Chaudhary,Jeevkant,Analkant,Tarananda viyogi etc kept this trend alive through their work and they deserve praise for problem centric writing with focussing on challenges like, flood problem,migration,poverty,cross cultural changes etc.So,even in today's writing in Maithili,village is still at center and this trend could be a matter of relief for those who still care for real Mithila.
ROLE OF MASS MEDIA IN CULTURAL AWAKENING IN MITHILA-A RECENT TREND
In recent time, FM as a tool of mass media left its influence throughout the Mithilaanchal, it may not be exaggeration if their role may be perceive of pathfinder and oasis in desert.Though Mithilanchal is geographically situated amidst two neighboring countries like China and India but its cultural affliations weaves the threads of ancient Maithili culture and to some extant keeping alive its dynamicism.
In essence, no doubt the sentiment of Maithili culture is not a fragmented identity despite having political misrepresentation.Only this is diverse political regulation which makes a lot of difference in the cultural activism of North and South Mithila.Mass media as a tool of dynamicism can be best assessed in terms of interest pursued by the respective civil society.
It is soul of interest being pursued by the respective civil society.It is a sole level playing field which can lessen the unnecessarily intervention by political authority and pave the way of creativity.In case of North Mithilanchal current state of the civil society is immensely influenced by the cultural aspiration of marginal and slightly above the marginal middle class whose contribution have been largely ignored so far,despite their age old cultural practices which constructively caused for the survival of custom and rituals in these terrain.
It will be worthwhile to mention that the prevailing functioning of electronic media is still in their infancy in context of Mithila region.In case of southern Mithila/Indian side, the programming is strictly confined with few hours of slot at Darbhanga radio station and occasional coverage by the regional centre of Doordarshan where tracing even a bit of innovation may not be less than a nightmarish day dreaming.
In this despairing situation arrival of FM radios in mid &late 90's in Janakpur and neighbouring parts might be considerd as pannecia for cultural activism in North Mithila.In later course mushrooming of more and more channeles in Maithili equally influenced the and filled the gap or emptiness of innovation in the region and shortout the endural inertia.
Through nineties to till now Nepal consistantly passess through the socio-political turmoil which squalid its impression and create a sense of urgency among citizens.Madhesi community as it is called by original inhabitants is largely constituted by the Maithili speaking population which have their own strong cultural tradition that largely differs from upper Himalayan culture,so,these cultural differences leads to marginalization of of Madhesi peoples.So,their political marginalization created a sense of cultural urgency,later which constituted through the base of FM channels in Janakpur and Kathmandu, further its opened a new chapter.
The landslide victory of Madhesi Janadhikar Foroum (MJF) and Madhesi Democratic Party(TMDP) in currently held constituent assembly election in Madhesh region is very alluring outcome of such cohesion of these communication agencies, which play pivotal role in submerging the political and cultural aspirations on some stage,now we have to see the performance of these political parties in coming months how honestly they will deal with the trusts of their peoples. In every society communication plays decisive role and as likely Mithilanchal is also not an exception though responsibility bearing varies in different societies but fortunately Maithili FM Radio have attained great responsibility towards the cultural upheaveling and tracing of a glorious benchmark besides it also successfully cope with the prevailing cultural pollution in region and to some extant diminished their havoc.
It is said that the womens possess great capacity of cultural preservation,so their inclusion and active participation is creating a new mass base now whose positive result is being quite visible.Urban composition of Mithila is basically confined to the district headquarters,they situated near the rural hinterland ,so,cultural fabrics never chock them from cultural mainstream albeit in last two years due to effects of abrupt migration and macroeconomic changes ,tastes have badly influenced.
In such circumstances impact of cultural pollution started to alienate some section from their cultural practices and here I see the unmatchable potential role of these cultural FM how they cope with these deviating practice and save Mithilanchal from the wave of vulgarity and nonsense entertainment.
In recent time,during my extensive traveling,I found amazing growth of listnership of these FM Radio broadcasting from Janakpur and Kathmandu,which sharpening the peoples interest in their own folklore,folk arts and other cultural practices which way surely leads it to global standered of recognition and enhanced the performance and creativity.
Unlike the conception about FM Radio,here they playing the role of avant garde or,we should call it playing the role of 'NAVTURIA' in the emergence of cultural awakening of in Mithila.Exploration of an unexplored rich tradition is certainly a noble innovation if its responsibility bearing completely shared with ethics and belongingness to their culture.Despite being an ancient tradition, Mithila faced large scale of cultural erosion due to political and social marginalization of its cause which hampered the development of Maithili language and culture.
Culture can be best served by the practices and for cultural practices entitlement is the most vital factor.Here community Radios are playing the crucial role in spreading cultural message to young generation whose consciousness now shaping in their own cultural horizon and they are overcoming from sense of alienation.
Generally Mithilanchal upfront with many grave problem and to cope successfully with its practices;we must land our support to progressive communication agencies.
Maithils are celebrative in temprament,and if they reinventing their cultural and utilize these spirit in strenghtening their genuine voice,this will be a welcome step.Afterall even in a hungry belly drenched to the half body during the disastrous time(Flood is perennial disaster in this region) may feel less remorse by listening Jat Jatin,Sama Chakeva,Domkachh and songs of Vidyapati. At last DESIL VAYNA IS STILL SUBJAN MITTHA(Mother tongue seems sweetest to all) and I hope nobody will have disagreement from my opinion.....
DECLINING SHIFT IN CULTURAL ACTIVITIES IN MITHILANCHAL
'Sada vasant rahe Mithila me...'this age old folk song of Mithila meticulously explores the feeling of the poet whose narration was the outcome of prosperous and aesthetic scenario of contemporary Mithila and this impression was able to construct a happy future outline of motherland.Generally Maithils(both human and allied resources)are accustomed for celebrative life style and thinking ,theirs justification may derived from countless festive occasions ;nonposessiveness and liberal impression of Maithilis provides a healthy boost for this tradition,besides this hundreds of folktales that derives from cultural life also gets sound impetus from these conserving Maithils.
Through ages cultural elements playing pivotal role in information of social structure of Mithila,that short of cultural flow transmitted dynamicism in historical development.this should be regarded as prime characteristics of Maithili culture.
But in present scenario such cultural consciousness increasingly deviating from traditional pattern of life style,though the condition may be not regarded uniform throughout the Mithilanchal.Here we can see towards the north Mithila/Terain region of Nepal where participation of youth strengthening the cultural affiliation in society,that is a matter of relief and optimism. Here the debate foccused on south Mithila/Indian side,where a lot of desperation lucidly presents in socio-cultural behaviour of peoples.
This back drop to a large extant can attributed to the youths who increasingly alienated from their own cultural fabrics.Migration is a major problem behind such havocking scene.Prolonged political misruling is also essentially responsible for such desperation because basic facilities are not at par with the other states,so this trend get naturalize in further course.
Though in modern economy,migration is not a matter of surprise if the migrant is equipped with technical and professional skills.In case of north Bihar,now this trend becoming more problematic and leads to level of mass migration.Unavailability of opportunities fueling this trend in very bad manner.Heavy industries have very scarce appearances inside the Mithila and here enterprising impacts are largely demonstrated through the middle and small scale industries whose production are based on agricultural raw materials.
In last two decades even these feeble industrial structure have been considerably diminished and its impact on agriculture and allied sectors felt devastating.Closure of sugar mills especially hampered the corp cycle inside the region,a major cash corp sugarcane is no longer remain a viable option for farming,which hampered the financial condition of marginal farmers and laborers.
Despite this Maithil farmers greatly upfronted with the grim situation and shown distinct response than the farmers of vidharba and vijaywada.Any how Maithil farmers let prolonged their struggle,may be this temperament arisen from long political partiality and insensitivity of political representatives.Such insensitive political representation detracts this area from sound observation of national media.consequently problems of Mithila never placed what it worth to deserve.
So,causes of Mithila to large extant forgotten for a long time.So,common folks became silent observer with their crumbling destiny and consciousness.
Maithil villages once stuffed with prosperity now seemingly turned into center of desperation.Looking on whole problems which arises from lack of opportunity in this area,gives ample reason why this terrain fall in the vicious trap of exodus.
So,emancipation of Mithila,it is urgentally needed to strengthen the infrastructure and create adequate opportunity in this area;this initiatives must by taken by government,NGOs, and individuals without any partiality in execution.In present times it is very hard to believe for young generation that once the districts of Madhubani,Darbhanga,Saharsa and entire Mithilanchal were blossoming with the sports and cultural activities;contemporary newspapers and magazines like,Aryavart,Mithila Mihir etc.used to lend prime coverage of such cultural activities.
Maithil villages were equally participating in such activities with high passion.I came in contact with the members of a contemporary(mid ninety sixties) football team,they provided me a thrilling information of their achievements which seems to be incredible today but it was a true claim that renowned club of Bengal consisted with some players of renowned Muhhamedon sports club was defeated in a tournament hosted in village Loha Kapsiya,which is quite enough for revealing contemporary passion and festivities attached with the sports culture.
Presently sports and allied activities standing on the verge of gloomious decline inside Mithilanchal and that continuously breaking the traditional perspective in this regard.Peoples of Mithila being great fond for folk songs,music,drama,painting etc,must be given accolades for their great deal in preserving the tradition intact and developing world class Mithila Art despite facing insensitive institutional responses on varied level.It is usually said inside the Mithilanchal ,every bit of action is festive in this land and it is common seen throughout year by celebrating festivals,these Maithil shows great interest for such occasions from where they can harness their cultural interest through stage performance and reaching to the maximum peoples.
At regular interval such cultural programmes were quite helpful to maintain healthy cohesion in social relationship and this bases provided the positive inspiration for new ideas and information.
In present time,Maithil society consistently inclined towards a transformation which is moving towards an isolated framework of social structure ,may be it change the hundreds years of social pattern which would certainly harm its original character.Today Mithilanchal is facing the problem of leadership,because insensitive leadership super-seeding the genuine problems of this area and this functional handicap may be only removed when their aggrieved concern will form a responsible representatives who will work sincerely to wipe-out the discrepancies in developmental process.
In recent time,Constitutional induction of Maithili language in eighth/8th schedule is a single matter of relief for lingual emancipation and upliftment of morale.However,it is a late justice for an ancient language because Maithili deserves it very initially;anyhow it is an encouraging breakthrough for lingual movement.Here it is worthwhile to say that governance has greater role to play on policy matters which have greater bearing in a democracy.
Though changes in government infused greater optimism and now let us see how much the policy makers will compensate the claim on cultural front.Sometimes it puzzled the mind that backwardness on development front hampers the cultural motivation too?Despite having such rich human resources the land of Mithila still face the marginalization on cultural peculiarities?Its revival must be found through the civic actions of its own peoples.Now the time has reap to form effective civil society and solve the entire burning problems which till now fueling the pain of marginalization.
Through proper civic actions and honest planning it is possible to get back the lost glory of Mithilanchal and fulfill the imagination of a poet'sada basant rahe Mithila me....'it could be a firm belief of any sanguine believer.
Atul Kumar Thakur
10th February 2009
New Delhi
atul_mdb@rediffmail.com
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