Stories on Women Read online

  PREMCHAND

  Stories on WOMEN

  Edited with an Introduction by M. Asaduddin

  Translated from Hindi and Urdu by M. Asaduddin and others

  PENGUIN BOOKS

  Contents

  Note on Translators

  Introduction

  Tulia

  Sati

  The Goddess from Heaven

  The Accusation

  Godavari’s Suicide

  The Co-wife

  Two Sisters

  A Positive Change

  The Condemned

  The Widow with Sons

  Footnote

  Introduction

  A Positive Change

  Notes

  Follow Penguin

  Copyright

  Note on Translators

  Anuradha Ghosh teaches in the Department of English at Jamia Millia Islamia, New Delhi. Her specialization is in the area of literature, cinema and culture studies. Presently, she is working on an Indian Council of Social Science Research project on the Muslim question in Bengali and Malayalam cinema.

  Bharti Arora has completed her PhD from the Department of English at Jamia Millia Islamia, New Delhi. She teaches at Janki Devi Memorial College, Delhi University.

  Kalyanee Rajan teaches English at Shaheed Bhagat Singh Evening College, New Delhi. Her areas of interest are Indian writing in English and translation.

  Neerja M. Chand is reader of English at Ram Lal An and College, Delhi University. She completed her MA in English from the University of Wisconsin, USA, and has a PhD in African literature

  Satish C. Aikant is former professor of English at HNB Garhwal University and a former fellow of the Indian Institute of Advanced Study, Shimla. He has been a visiting professor at Ecole des Hautes Etudes en Sciences Sociales, Paris, and the editor of Summerhill: IIAS Review.

  Shaifta Ayoub is assistant professor of English at Government Degree College, Nawa Kadal, Srinagar, Jammu and Kashmir. Her areas of interest include translation studies, comparative literature and postcolonial studies.

  Shailendra Kumar Singh is pursuing his PhD from Jamia Millia Islamia, New Delhi. He has a master’s in English literature from Hindu College, Delhi University. His research interests include peasant narratives, gender studies and Premchand’s literary corpus.

  Shirin Bismillah is an MPhil student of English at Jamia Millia Islamia, New Delhi.

  Swati Pal teaches in the Department of English at Janki Devi Memorial College, Delhi University. She is currently the officiating principal of the college. Her areas of interest are modern drama, creative writing, education and translation.

  Introduction

  Premchand is generally regarded as the greatest writer in Urdu and Hindi both in terms of his popularity and the range and depth of his corpus. His enduring appeal cuts across class, caste and social groups. He was not only a creative writer in Urdu and Hindi, but fashioned modern prose in both and influenced several generations of writers. The fact that his works were published in more than two dozen Hindi and Urdu journals simultaneously attest to his extraordinary reach to a wide audience that formed his readership. Many of his readers encountered modern Urdu and Hindi novels and short stories, and indeed any literary form, for the first time through his writings. Premchand’s unique contribution to the formation of a readership—and, in turn, to shaping the taste of that readership—is yet to be assessed fully. Few or none of his contemporaries in Urdu–Hindi have remained as relevant today as he is in the contexts of the Woman Question (Stree Vimarsh), Dalit Discourse (Dalit Vimarsh), Gandhian Nationalism, Hindu–Muslim relations and the current debates about the idea of an inclusive India.

  Born Dhanpat Rai (1880–1936) in Lamhi, a few miles from Banaras, Premchand’s childhood was spent in the countryside. Called ‘Nawab’ at home, his early schooling was in Urdu and Persian, much in the Kayastha tradition of the time. He also attended the mission school where he studied English along with other subjects. His father was a postal clerk who moved from place to place. When Premchand was only seven his mother died and his father remarried. His relationship with his stepmother was never cordial. He was married at an early age against his wish to a girl who was totally incompatible and he refused to live with her. His second marriage, to a young widow with literary interests, Shivrani, proved to be a happy one. When he was seventeen his father suddenly died and the responsibility of running the family fell on him. He was forced to discontinue his studies and take up the job of a school teacher. However, after his graduation in 1904 he became a sub-deputy inspector of schools, a job which required substantial travel which did not agree with his frail health. In 1921, he gave up government service at the call of Gandhi during the Non-Cooperation movement.

  Premchand began writing in 1905 and contributed articles on literary and other subjects in the Urdu journal Zamana. His first short stories were also published in this journal. In fact, Premchand began his career as a short story writer with the publication of Soz-e-Watan (Lament for the Motherland, 1908), written under his pen name, Nawab Rai. The collection drew the attention of the colonial government because of its alleged radical intent. He was summoned, when he was on an inspection tour, to explain his position. This is how Premchand describes the situation in his own words:

  . . . Those days I wrote under the name of Nawab Rai. I already had some information that the intelligence wing of the police was making inquiries to track down the author of the book. I could realize that they have found me out and I had been summoned to defend myself.

  The Saheb asked, ‘Have you written this book?’ I admitted that I had.

  The Saheb then asked me to explain the subject matter of each story, and finally burst out in anger, ‘Your stories are full of sedition. Thank God that you are a servant of the British Empire. Had this happened during the Mughal rule both your hands would have been chopped off.’1

  He was asked to burn all the copies of the book, and henceforth, get prior permission from the administration before sending any writing for publication. Petrified, he abided by the demands of the magistrate and submitted all available copies of the book to his office to be destroyed. Premchand realized that writing under the name Nawab Rai was no longer safe and sustainable, and to circumvent the iron hand of colonial censorship he had to assume a new pseudonym, which was Premchand. Thus, both Dhanpat Rai and Nawab Rai were finally buried and Premchand was born, a name by which generations of readers would know him.

  Themes

  Caste

  Premchand felt a deep affinity with the common man and his natural sympathy was towards the oppressed and deprived sections of society. No writer before him in Urdu or Hindi, and possibly other Indian literatures, had depicted the lives of the underdogs, the untouchables and the marginalized with such depth and empathy. Throughout his life ‘Premchand did not let go of his unsentimental awareness of the grim realities of rural life, of life at the bottom of the economic scale’ (Amrit Rai: 1982, ix). The oppressors and oppression came in many forms—they may have been priests or zamindars, lawyers or policemen or even doctors, all of whom held the society in their strangle-hold. Rituals pertaining to Hindu marriages and death were so exploitative and oppressive that these events were often robbed of their dignity and joy and spelt the ruin of families.

  Premchand began his career by exposing the corruption of the Hindu priestly class in his novel Asraar-e-Muavid (Mysteries of the House of Worship, 1903–05), and then he continued the tirade in many of his stories. In the story ‘Babaji’s Feast’ ‘Babaji ka Bhog’ he depicts the greed of the Brahmin baba who has no compunction in robbing a poor family of its meagre means, and in ‘Funeral Feast’ ‘Mritak Bhoj’ he showed how the predatory and parasitical Brahmins drive another Brahmin woman to
destitution and her daughter to suicide. In a series of stories where the central character is Moteram, a Brahmin priest, Premchand exposes with rare courage the rapacity, the hollowness and hypocrisy of the Hindu priestly class, which earned him the ire and venom of a section of high-caste Hindus, even culminating in a law suit for defamation. But he remained undaunted and went on exposing many oppressive customs that were prevalent in society.

  But his most trenchant critique was reserved for caste injustice whereby people at the lowest rung of the Hindu caste system were considered untouchables and were compelled to live a life of indignity and humiliation. The upper-caste Hindus treated them as worse than animals and this injustice was institutionalized through social sanction of the caste system. Stories such as ‘The Well of the Thakur’ ‘Thakur ka Kuan’, ‘Salvation’ ‘Sadgati’, ‘Shroud’ ‘Kafan’, ‘Temple’ ‘Mandir’, ‘The Woman Who Sold Grass’ ‘Ghaaswali’ and ‘One and a Quarter Ser of Wheat’ ‘Sawa Ser Gehun’ constitute a devastating indictment of the way the upper-caste Hindus have treated the Dalits for generations. The stories demonstrate that the Dalits were subjected to daily humiliation by members of the upper castes and this humiliation stemmed from the fact that Dalit inferiority had become embedded in the psyche of the members of the Hindu upper castes who had developed a vast repertoire of idioms, symbols and gestures of verbal and physical denigration of the Dalits over centuries. Grave injustice and inhuman treatment of the Dalits had become normalized, causing no revulsion against it in society. Despite criticism from some Dalit ideologues levelling some rather irresponsible charges against Premchand for depicting Dalits in a certain way, these stories—some of which have been rendered into films—have contributed significantly in raising awareness about the injustice perpetrated against the most vulnerable section of society.

  Women

  A considerable number of his stories deal with the plight of women. Premchand was deeply sensitive to the suffering of women in a patriarchal society where women had no agency and had to live their lives according to the whims and fancies of men on whom they had to depend—husbands, fathers, brothers or even close or distant male relatives. Women were expected to be docile, submissive and self-effacing, sacrificing their lives for the well-being of the family. Girls were treated as a curse to the family and their parents were subjected to all kinds of humiliations and indignities while arranging their marriage. Parents were sometimes compelled to marry off their nubile and very young daughters to old men just to unburden themselves of the responsibility and shame of being saddled with an unmarried daughter. The practices of kanya vikray (sale of a daughter in marriage), even kanya vadh (killing of a girl child) too were prevalent.

  In his essays and editorials, Premchand made a strong plea for the abolition of the evil practices that made the life of women unbearable. He supported divorce in extreme circumstances, backed the wife’s claim to half of the husband’s property in case of divorce and inherit the property in case of the husband’s death. He also wrote in favour of the Sarda Bill which aimed at raising the minimum age of marriage of girls. In a large number of stories, such as ‘Tuliya’ ‘Devi’, ‘Sati’, ‘Goddess from Heaven’ ‘Swarg ki Devi’, ‘Return’ ‘Shanti’, ‘Godavari’s Suicide’ ‘Saut’, ‘Thread of Love’ ‘Prem Sutra’, ‘Two Friends’ ‘Do Sakhiyaan’, ‘The Lunatic’ ‘Unmaad’ and so on, he sheds light on the plight of women in an oppressive, patriarchal system. Through the immortal characters of old women like the Chachi in ‘Holy Judges’, the Old Aunt in the eponymous story and Bhungi in ‘A Positive Change’ ‘Vidhwans’, he shows how difficult life was for old women in a society that was known to respect its elderly members. The fate of widows, who were considered inauspicious and were expected to renounce all joys of life, was even worse, as shown in ‘Compulsion’ ‘Nairashya Leela’, ‘The Condemned’ ‘Dhikkar’ and ‘A Widow with Sons’ ‘Betonwali Vidhva’.

  The Village and the City

  Premchand’s love for the countryside is evident in his fictional and non-fictional writings. He has written several extremely evocative stories such as ‘Panchayat’, ‘Do Bail’, ‘Idgah’, ‘Atma Ram’, depicting the pristine village life of simplicity, honesty and quiet contentment. In fact, his fictional corpus, if read uncritically, would lend itself to an easy binary between country life and city life, one good and the other almost irredeemably evil. Yet, we have to recognize that he does not depict country life as an idyll shorn of all evils. There are stories such as ‘A Positive Change’ ‘Vidhwans’, ‘A Home for an Orphan’ ‘Grihdaah’ and ‘The Road to Salvation’ ‘Mukti Marg’ that de-romanticize and demystify village life and depict the author’s awareness of the imperfections and blind spots in the supposed idyll. Thus, the apparent binary that seems to work in case of some novels and stories cannot be stretched beyond a point.

  Animals

  Premchand’s deep interest in the simple life of peasants extended to his love for animals, particularly draught animals, treated most cruelly in India. Very few writers have depicted such an intimate bond between animals and human beings. Premchand depicts animals as endowed with emotions just as human beings are, responding to love and affection just as human beings do, and are fully deserving of human compassion. Often, the duplicity, cruelty and betrayal in the human world is contrasted with the unconditional love and loyalty displayed by animals towards their masters and those who care for them. It is a heart-wrenching moment, as shown in ‘Money for Deliverance’ ‘Muktidhan’ and ‘Sacrifice’ ‘Qurbani’ when a peasant has to part with his animals because of want and destitution. The deep compassion with which animal life has been depicted in ‘Holy Judges’ ‘Panchayat’ ‘Reincarnation’ ‘Purva Sanskar’ ‘The Story of Two Bullocks’ ‘Do Bailon ki Katha’ and ‘The Roaming Monkey’ ‘Salilani Bandar’ are treasures of world literature. Stories such as ‘Turf War’ ‘Adhikar Chinta’ and ‘Defending One’s Liberty’ ‘Swatt Raksha’, written in a humorous and symbolic vein, show how a dog fiercely protects his turf and how a horse defeats all the machinations of human beings to make him work on a Sunday which is his day of rest, rightfully earned after working for six days of the week! In ‘The Roaming Monkey’, the author shows how a monkey earns money by showing tricks of different kinds and thus looks after the wife of his owner, nurtures her and brings her back from the brink of lunacy. In ‘The Price of Milk’ ‘Doodh ki Qeemat’ we have the spectacle of goats feeding a baby with milk from their own udders, thereby saving its life.

  Premchand’s Style

  The atmosphere of dastaan and historical romances hangs heavy on Premchand’s early stories. But he soon grew out of that phase and made his work more socially relevant by giving it the hard, gritty texture of realism. His art of storytelling became a vehicle for his socially engaged agenda of social reform and ameliorating the condition of the deprived and oppressed sections of society. However, that does not mean he was mainly concerned with the content and external circumstances of his characters and not with their inner worlds. Like all great writers, he took interest in unravelling the mental processes of his characters and the psychological motivations of their actions. As he says:

  My stories are usually based on some observations or personal experience. I try to introduce some dramatic elements in them. I do not write stories merely to describe an event. I try to express some philosophical/emotional reality through them. As long as I do not find any such basis I cannot put my pen to paper. When this is settled, I conceive characters. Sometimes, studying history brings some plots to mind. An event does not form a story, as long as it does not express a psychological view of reality.2

  In the stories he has written one finds different modes and points of view, which he adopted by employing an array of narrative devices. An overwhelming number of his stories are written in the third person or omniscient narrative mode and a far lesser number in the first person. He makes extensive use of dialogue, using different registers of Urdu and Hindi in addition to dialects, c
olloquialisms, idioms and speech patterns specific to a caste, class or community. He also uses the technique of interior monologue and multiple points of view in quite a few stories. The salient point is that even though Premchand was mainly concerned with the content of his stories, to the extent of sometimes making them formulaic and predictable, he certainly did engage with the stylistic aspects too. And in this respect, he was influenced by both Indian—specifically Bengali—and foreign writers.

  M. Asaduddin

  Tulia

  1

  Tulia lacked the childlike brazenness that is typical of old age. Her hair had turned snow-white and her cheeks had developed wrinkles. She couldn’t tell her age herself, but everybody’s guess was that she was more than a hundred years old. She still covered her head with the pallu of her sari, her eyes downcast, as though she were a newly married daughter-in-law. She was from the tanner caste but without any greed for tasty food. There were many high-caste families in the village. Tulia went to every house. The entire village held her in esteem and the housewives had great regard for her. They invited her to their houses, oiled her hair and put sindoor on her hair parting. They wanted to feed her if any delicacies were prepared that day like halwa or kheer, but the old woman loved her self-respect more than the flavour of delicacies. She never ate the stuff. She had no one to call her own. Some of her people had left the village, some had died of the plague and malaria. The ruins left by them stood naked, as if in mourning. Only her shack stood there. She had reached that stage of her life when a human being becomes free from all shackles of religion and society. Now even the best in the society didn’t discriminate against her on grounds of her caste. Everyone was ready to give her shelter in their houses. But the self-respecting woman didn’t accept favours from anyone. She didn’t want to stain the honour of her master whose face she had seen just once, one hundred years ago. Just once!