Documenti di Didattica
Documenti di Professioni
Documenti di Cultura
COMPARATIVE ANALYSIS
OF
THEIR SHORT STORIES
A. PORTRAYAL OF INDIVIDUAL CHARACTER
In the story "Dusti yi Khala Khirsa" ("the Friendship of Aunt Bear") the
kind hearted, gallant cafe waiter acts like a good Samaritan by saving the life of
a Russian Cossack. The hero of the story, Habibullah, could not leave the
wailing Russian Cossack in the snow to die, instead takes him up in the cart. On
his way, he sacrifices whatever he had in his possession; his robe, hard earned
money. At one point of time, Habibullah covers the cold hit Russian Cossack
with his own robe; the narrator was moved by his gesture of sacrifice and said:
One can see the similar pm1rayal of sacrifice in Premchand's short story;
'Idgah' where a five year old boy sacrifices his petty tips to buy a pair of tongs
for her grandmother, who does not have one to hold chapattis, while making
them. Here, the portrayal is very real and pathetic. Premchand brings up the
scene at the end of the story, when he says,
" .. The infant Hamid had played the role of a matured Hamid.
The old lady Ameena had turned into an i11{ant when she bursts into
tears". 4
3
"Dusti-yi Khale Khirsa", Yaki Bud Yaki Nabud, Kaveh, Berlin, 1958, p. 64
4
"idgah", Mansarovar, vol.l, Sumitra Prakaskan, Allahabad, 1997, p.24
44
Human beings usually repent when they find after introspection that a
crime or an unjust act has been committed by them. Repentance although,
appears apparently to feel oneself humble in his own eyes but wins the heart of
others and brings respect for the one who admits his flaw and shows repentance.
In the story "Sawab ya Gunah" ("Divine Reward or Sin") by Jamalzadeh, the
hero, Sohrab, a murder convict, finds after introspection that he has killed an
innocent human being. He seeks death to recompense the crime he has
committed. The magnificent portrayal of repentance can be seen in the story
when Sohrab says:
Premchand too, brings forth the feeling of repentance in one of his short
stories titled "Julus" ("The Procession"). In the story Birbal Singh, a mounted
police inspector hits out an old man who is leading the procession against the
British Government, marking the observation of "Complete Independence". The
old man dies of head injury. The police inspector is hated by his compatriots for
his brutal act. Realising his mistake, Birbal visits the martyr's house and tenders
his apology before the dead man's widow. The scene of remorse and repentance
is painted nicely in the story; when wife of the guilty inspector stepped into the
old widow's house she sees a young man talking to the old lady with tears in his
eyes. Miththan (Inspector's wife) was surprised to find that the young man was
his husband.
Unkind treatment of the older and aged folk by the people is a mark
of shame for the society. The pathetic condition of an old vagrant. who is
5
"Sawab ya Gunah", Kohne wa Nau, lntesharat e Sukhan,2005, Tehran, p. 24
45
exploited by the people of an area is shown by Jamalzadeh in his story "Vilan ud
Daulah" ("The Vagrant").In the story everyone goes on using the services of the
poor old man for themselves and does not have give damn care for his basic
·requirements. He goes without food and medicine when he is ill.
"He slowly took out a pouch of opium from his picket and cut it
short into pieces by a pen knife, without giving any way to reason
understanding, he quickly put the whole morsel of opium in his mouth.
Holding water pipe in his hand drank some water.... He headed towards
the Shabistan 6 ..• put his pair of shoes beneath his head, closed his eyes
and prayed... Next .morning when mosque's attendant came to the
Shabistan, he found 'Vilan -ud daulah' dead. " 7
Muhammad Ali Jamalzadeh describes 'greed' for money as one of the major
short comings in one's personal character. It makes one blind and erodes some
other virtuous characters, too. In the story of "Dusti-yi- Khala Khirsa"
("Friendship of an Aunt Bear") the Russian Cossack gets tempted at the sight of
6
Shabistan: A mosque having a courtyard meant for nocturnal prayer
7
"Vilan ud Daula", Yaki Bud Yaki Nabud, Kaveh, Berlin, 1958, p.l06
46
the money lying with Habebullah. The narrator could see the evil -intention in
the eyes of the Russian Cossack, He says:
"When the money poured out of Habebullah's scarf I saw the eyes
of Russian Cossack displayed a strange evil flash. He stared as a hungry
man reacts on sighting a tempting food and wanted to swallow the
money with his eyes " 8
This greed leads the Russian Cossack astray and he contemplates to kill
his own saviour. The last scene is really pathetic, the narrator says:
"Cossack hurriedly came near to the dead body and stooped down after
looking around and searched in Habib's scarf took out something and hid it
under his arm ....... suddenly I could recollect that the Cossack had ill
intentionfor the money .For the sake of petty worldly wealth he forgot all the
courage and kindness extended by the young man and stooped to kill an
..
innocent human bein.g". 9
8
"Dusti yi Khale Khirse",Yaki Bud Yaki Nabud, Kaveh, Berlin, 1958, p. 63
9
"Dusti yi Khale Khirse", Yaki Bud Yaki Nabud, Kaveh, Berlin, 1958, p. 68
47
money of the house owner, the domestic help of Mirza Saleh at last discloses the
reason for his moral corruption. It was an eye-opener for Mirza Saleh, when he
finally realised that he was exploiting his domestic help by not paying him the
optimum salary.
"I may sacrifice myself upon you, I have a wife and children.My wife is
weak and she is in post natal stage and requires food and medicine timely.
You know well that my children are in what a condition (deplorable), without
food. When I return home and see their pale faces, which looks like and un-
watered twigs, I go mad and the world becomes dark for me that moment. I
cannot differentiate between what is right and what is wrong ". 10
Premchand in his story "Ramlila" brings out moral corruption and the
lack of sense of responsibility in narrator's father when he does not bother to
raise a good collection to pay the poor artiste, instead gives a huge sum to a belle
(Tawaif). The poor artiste had been performing in the village play since long.
Seeing a very low collection that year, the narrator bids farewell by giving away
all his small savings to the poor artiste.
10
"Namak e Gandideh", Kohne wa Nau, lntesharat e Sukhan, Tehran, p. 49
48
son who was nearly dead. Bhagat could easily avenge his son's death long back
but he overcomes his agony and vengeance. He rushes to the scene and bring
back the doctor's son to life by his special power of hynms which could
neutralise the poison of snake. Thus a lowly person exhibits noble character of
'forgiveness'.
49
they present. By highlighting the moral corruption in an individual they try to
put a check on the overall degradation of human and social values.
50
B. SOCIAL CRITICISM
" .. they all live in abject poverty. They carry this equality to the
grave with them. The fact that, there are no tombstones on their graves,
not even bricks to mark the place, testifies to their equality. After all, how
long does it take to obliterate initial markers that might be placed on a
new grave? This expression of equality or 'brotherhood' is carried into
11
their vernacular as well".
11
"Bila Dig Bila Chuqandar", Yaki Bud Yaki Nabud, Kaveh, Berlin, 1958, p. 96
12
"Vilan-ud-Daula", Yaki Bud Yaki Nabud, Kaveh, Berlin, 1958, p. 103
51
The reply of Habiba Khanum in the story "Sawab ya Gunah" ("Divine
Reward or Sin") is an answer to the most important question, whether education
is a cure to poverty? Habiba Khanum rightly says;
"We do not have food or shall are stitch my stomach. With what
money shall I send this illegitimate progeny (abuses) to school? You
mean to say I must resort to stealing at this ripe age, which will be
unfounded ofme". 13
The description of urban poor by Jamalzadeh reaches its high point in the
story "Namak-i-Gandidah" ("The Rotten Salt") when narrator and five of his
friends visit Masgharabad at the comer of the city, where there are urban poor
settlements. The description of the area, deplorable condition of people, exposes
the real condition of urban poor. Cities and towns are often seen as an indication
of development and growth in a country. The writer accurately finds out the
negligence of the government authorities to look into their problems as the truth
behind existence of crimes like, snatching, robbing, stealing, pilfering, forced
begging prevalent in the cities. They are forced to do such activities to get their
daily bread.
"all indecent words and rough tone in their speech ..... Clearly
showed that they either know nothing or have been disburdened by
things like God, law, customs, divine canons, social administration. All
their worries are to fill the empty stomach; stealing and snatching are
the petty means to cure thousands of their ailments. " 14
13
"Sawab ya Gunah", Kohne wa Nau, lntesharat e Sukhan,2005, Tehran, p. 14
14
"Namak e Gandideh", Kohne wa Nau, lntesharat e Sukhan,2005, Tehran, p. 55
52
Similarly in the story "Atash Zer-i Khakistar" ("The Fire Under the
Ashes"), youthful and energetic Siyamak realises the importance of food or
medicine over books. Siyamak represents a typical Iranian youth full of energy.
He selects teaching as his profession to nurture innocent children into good
human being. Sometimes, he laments that he is not doing justice to his
profession as he was not able to give equal effort to all his students. However,
when one of his students commits suicide as his father did not have enough
money to provide bread for the family; Siyamak realises that Iranian children
needed bread and medicines more than the books.
"I was going through a tough time related to my life, started to abuse
him and said I don't care if you do not go to school for the next thousand
years. Should I steal for buying books" ?15
Thus, we see that the realistic portrayal of the condition of poor and
neglected class of people in the short stories of Muhammad Ali Jamalzadeh
serves the prime objective of the twentieth century literature; when it started
proving itself to be a reflection of the society and not only a pleasure or leisure
reading of some privileged class people. Here, we see that through short stories
the literature accepts one of the biggest challenges of its time.
In the whole annals of Hindi and Urdu literatures produced in India, the
short stories of Munshi Premchand have been the real interpretation of vows,
miseries of oppressed and low-class people living in village. This was primarily
because the author hailed from rural background and had first had information
on the plight of forced labourer, low caste, farmer, artisans or others. In the story
"Kafan" ("The Shroud") the abject poverty of a low-caste Hindu (Chamar)
family is shown. The expression is so real that the father-son duo appears as the
poorest of the poor in the whole world. Both are unable to arrange a piece of
15
"Atash Zer-i Khakistar", Talkh o Shirin, lntesharat e Sukhan,2005, Tehran, p. 152
53
shroud for the dead. The remark by Madhav tells the complete story of wretched
people who do not have clothes to cover them up. He says :
" .. What a bad custom is this! The one, who could not get clothes to
wrap her up when she was living, needs a shroud when dead. The shroud
gets burned with the dead body and what is special there in it. If we could
get these five rupees earlier, we could have arranged for her
. . ,]6
me d zcznes.
In the story "Poos ki Raat" ("January Night") poor and wretched farmer
somehow manages to save some money to buy a blanket to save himself from
biting winter months. He is forced to give away his petty savings to his money
lender to avoid getting insulted before his wife. Lastly, he had to spend the
whole night in his fields without a blanket. The spine-chilling cold waves do not
allow the poor farmer to leave the campfire and he could not help the whole
farm being eaten up by the herd of Nilgai. The helpless condition of the
wretched farmer can be visualised well when the moving through the climax of
the story;
"Jabra (pet dog) was barking. Animals were grazing the field and the
crop was ready. What a good crop it was this year! These ruthless animals
are destroying it completely.Halku (the farmer) stood up with firm conviction
stepped forward but suddenly he felt striken by stinging cold wave which
appeared to pierce through his body, he came back and sat before the dying
campfire, started to turn the ashes to get some warmth from the fire under
the ashes. " 17
16
"Kafan",Premchand ke Numainde Afsane, Qamar Rais ,Educational Book House ,Aiigarh,2001,
p.230
17
"Poos Ki Raat", Mansarovar, vol.l, Sumitra Prakaskan, Allahabad, 1997, p.97
54
The pathetic condition of Ameena on the eve 'Eid' speaks about the extent of
poverty. Premchand's unique ability to aptly portray pathos related to poverty
makes the reader feel as if he is watching an interesting movie. Ameena says:
" .. that day I had sewed Fahiman's dress and got eight Annas, which I
had been saving like faith but (what a bad luck) I had to part with it
partially for paying dues. There is nothing left for Hamid (to be given as
tip). Two Paisa is needed for milk and only two Annas() are left. Three
Paisa is with Hamid and five Paisa in Ameena's purse. This is all our
status and top of it, today is Eid. May God save us! Washerwoman, mid-
wife, cleaners, milk-maid, bangle-seller; all will come for Eid tips ... " 18
18
"ldgah", Mansarovar, vol.l, Sumitra Prakaskan, Allahabad, 1997, p.16
55
in Brahmin's house. As Dukkhi was an untouchable, no body dared to touch his
dead body .Adding to his misery, untouchables from Dukkhi's clan too, refused
to remove the body from Brahmin's house. They were protesting against the
killing of their fellow men. Next day, when it was dawn Brahmin tied a noose
around the feet of the dead body and dragged it out of the village. The story is so
realistic that it appears as if the writer was the witness to the whole incident.
56
occupying government positions and make laws for the public. On the sheer
exploitation working class people by religious clerics he says:
" ..... a major preoccupation of the White hats and the Black hats whose
only goal consists of possessing more and more Yellow hats....... Very much
like our European tradition of buying and selling honey bee in hives, in Iran
and yellow hats are sold as families with their house, hamlet and even
village. For instance, you might hear that today so and so bought one
hundred yellow families for the such and such an amount. " 19
Some social evils like 'bribery' initially emanates from the moral
corruption of an individual. Muhammad Ali Jamalzadeh dared to attack the
corrupt Iranian politicians during his time. In the story "Rajul-i-Siyasi" ("The
Politician"), the writer shows how an ordinary cotton beater catches the skills of
a seasoned politician, who is normally an expert in receiving bribes. The cotton
beater takes bribe due to some comedy of error and at last turns into a full-
fledged politician of same lot. In the story "Bila Dig Bila Chuqandar"
Jamalzadeh sarcastically exposes the habit of taking bribes in religious clerics
"Akhunds". He says:
"One day I said to one of my I rani an acquaintances, 'I knew that these
white hats (Akhunds) belong to a profession that involves some sort of
manual activity. But I do not know what profession that is.' He said 'there is
truly an industry on which Iran's very existence hinges. Without this
industry all the country's affairs will come to a full stop and country with
destruct.' 'What is the name of this sublime profession? I asked
'Bribery' he said" 20
In Premchand' s story the hero witnesses the corrupt system before him. He
is a man of principle and would not budge an inch to sacrifice his principles. In
19
"Bila Dig Bila Chuqandar", Yaki Bud Yaki Nabud, Kaveh, Berlin, 1958, p. 98
20
Ibid, p. 95
57
the story "Namak ka Darogha" ("The Salt Inspector"), hero of the story,
Bansidhar, a Salt Inspector is assigned to check on the transit of salt. A famous
and rich trader Pandit Alopideen is an influential merchant who has links with
government servants and administration. The honest inspector stops his truck
loads of salt being transported illegally. Alopideen could not bribe him for
relinquishing his duty. Premchand describes it as the battle between 'wealth' and
'duty'. He says:
"the 'wealth' started to attack excitedly. The rate started from one
thousand to five, then to ten and fifteen, and from fifteen it reached to
twenty thousand, but the 'duty' with its immense courage stood calm,
composed, determined and firm like a mountain before the large army of
wealth. .. will forty thousand suffice you?'even for forty lakhs it would be
impossible' . The 'duty' had routed 'wealth'. " 21
In the early twentieth century the objective of literature had undergone a sea
change. It started.speaking of the society and started to take giant stride towards
the new challenge of 20th century .It was no more a mere tool for entertainment.
Diverse issues from various social sections classes needed to be attended.
Muhammad Ali Jamalzadeh was one of the courageous writers of his age. He
started exposing the ill practices prevalent in the Iranian society at that time. He
criticised the ruling class, religious clerics for the exploitation of common
masses. A journey through his short stories reveals that he was an ardent social
critic of his time. One of the striking features of his social criticism was that his
approach was mostly direct.
The first story of his collection of short stories "Yaki Bud Yaki Nabud"
("Once upon a time") published in Berlin in 1921 starts with a satire on the
contemporary Iranian regime saying:
21
"Namak ka Darogha", Mansarovar, vol.lll, Prakaskan Sansthan, New Delhi, 2004, p.201
58
" in no other place of the face of earth but in Iran are saints and sinners
alike ... " 22
" ... your world is these common masses who neither know America or
Russia, they are hungry, weak and want bread, clothing and medicines. " 23
His story "Bila Dig Bila Chuqandar" ("Every man to his deserts") is a
piquant satire on the despotic order, way of life, ruling circles and class
distinction in Qajar times. Fate takes a European bath attendant to Persia, where
he becomes advisor to a minister and his memoir 'People and Government' in
Iran is a direct attack on the religious clerics, state administrator. It was mainly
the remarks made in this story that disturbed the religious and state dignitaries in
the early 1920's, when the book was first published. He accuses the "Akhund"
being rampantly involved in receiving bribe. Their headgear and rosary in their
hands is a mask to deceive people. Criticising about their headgear he writes in
the story:
22
"Farsi Shikar Ast", Yaki Bud Yaki Nabud, Kaveh, Berlin, 1958, p. 19
23
Atash Zer-i Khakistar", Talkh o Shirin, lntesharat e Sukhan,2005, Tehran, p.167
59
"One day I asked an Iranian, 'why do the Akhund tie so much
material around their head?
'It is quite simple', he replied. 'When your finger is injured, don't
you wrap some bandage around it to keep it away from further harm?
Perhaps the brains of the Akhunds are damaged and they intend to
prevent fresh air from reaching .... " 24
2
~"Bila Dig Bila Chuqandar", Yaki Bud Yaki Nabud, Kaveh, Berlin, 1958, p. 97
25
Ibid, p. 98
60
patriotism. In the story "Duniya ka Sabse Anmol Ratan" ("World's most
invaluable Jewel"), the hero 'Dilfigar' falls in love of the unparalleled beauty
named 'Dilfareb' and proposes her. The lady asks 'Dilfigar' to bring for her the
most invaluable thing in earth. The lover presents one after another many things
to her, but she rejects those calling them, not the invaluable one she wanted. At
last when the lover gifts her drop of martyr's blood who died defending his
country, 'Dilfareb' accepts it as the most invaluable thing on earth and agrees to
get married to 'Dilfigar'. The dialogues are really inspiring and instil courage to
fight for the nation. At one place the dying warrior says:
"what is the use applying ointment over wound! Let the blood ooze
out. Shall I live for the sake of being a slave in my own country? I would
rather choose death. Death like this one rarely comes. " 26
In the story "Samar Yatra" a seventy five-year old woman lady inspires
the village folk to come to the support of 'Satyagrahi' (Truth-Seekers) fighting
to make the country free. She is not cowed down by the mental and physical
atrocities inflicted upon her compatriots who were in the services of the rulers,
instead she stands against them. She manages to mobilise a huge rural masses to
join for the cause of the freedom movement. Inciting the village folk she says:
" For how long will you be thrashed? .... Show them that you
are alive and care for your self-respect. When your self-respect is lost
there is no use of gaining virtues? Leave this corwardness! After all you
all are going to die, why not die fighting for the noble cause and die like
,27
a hera
26
"Duniya Ka Sabse Anmol Ratan", Duniya Ka Sabse Anmol Ratan Tatha Anya Kahaniyan, Amrit
Rai, Saraswati Publication, New Delhi, 1986, p.21
27
"Samar Yatra", Mansarovar, voi.VII, Prakaskan Sansthan, New Delhi, 2004, p.52
61
and put in jail, press freedom was curtailed, people's rights were substantially
clipped, men of letters were warned producing literature that arouse the national
sentiment or criticises the incumbent administration. It was really testing time
for the men of letters. In this atmosphere, Premchand' s first collection of short
stories "Soz -e-watan" ("a passion for the nation"), comes in public and
Premchand is charged with sedition. The copies of his first collection of short
stories is confiscated and ordered to be burned by the British Administration.
"Nawab Wajid Ali Shah had been captured and the army (British)
has been transporting him to some undisclosed place. There is no hustle
and bustle in the city; no free country has ever lost the battle in this
peaceful manner. This was not the non-violence on which Gods would
feel happy, instead it is sheer cowardice ... " the Great Nawab of Oudh is
imprisoned and being taken away (by Britishes) and Lucknow is busy
merrymaking. It is the height of political downfall. " 28
28
"Shatranj ke Khiladi", Mansarovar, vol.lll, Prakaskan Sansthan, New Delhi, 2004, p.197
62
Anglo-Persian agreement was signed dividing the country literally into three
parts "Sphere of Influence" a Russian zone in the north, a British zone in the
south and a neutral zone in the middle. The despotic regime of Mummad Ali
Shah ended in 1909, when Majlis reopened. The Russian Revolution of 1917
brought a relaxation of Russian pressure. This was a time when Jamalzadeh
appeared on the scene with his first collection of short stories "Yaki Bud Yaki
Nabud" ("once upon a time"), published in Germany in 1921. The collection
speaks about the contemporary society in a satirical manner. In the story "Rajul-
i-Siyasi", Jamalzadeh vividly describes about the scene of Majles (the
Parliament) from the view point of commoner. The commoner says:
"Oh! The over- dressed people, God's mercy be upon them ... one of
the over- dressed person with a white beard sat in the first row (Prime
Minister) said to me ... After him some people talked in complex and
complicated manner. I could only understand that the over-dressed
person who spoke first was the 'Head of Ministers' and the rest were
among the rotten lost of 'Democrats' and 'Moderates'. " 29
29
"Rajul-i-Siyasi", Yaki Bud Yaki Nabud, Kaveh, Berlin, 1958, p. 44
63
misery. In the story "Farsi Shikar Ast" ("Persian is Sugar"), commenting on the
attitude and behaviour of the passport official says the narrator says:
"... that very morning a new official had arrived in Anzalifrom Rasht.
To prove his loyalty and viability, they said, this official was turning the
wet alongside the dry, as it were. His behaviour was like that of a rabid
dog that, without any apparent reasons, attacks innocent people left and
right. Additionally, this very official was eying the governorship of the
region. Preparing the ground for becoming the governor of Anzali,
thought the morning, he had tied up the entire Anzali-Tehran telegraph
30
line, transmitting information of his own activities".
" .. you may get promotion, but what is the use of getting such a
promotion when your hands are stained with blood of an innocent.' You
30
"Farsi Shikar Ast", Yaki Bud Yaki Nabud, Kaveh, Berlin, 1958, p.23
64
shall be rewarded (by the Britishers) for outstanding performance but
. a trmtor
wou ld remazn . " .31
31
"Julus", Mansarovar, voi.VII, Prakaskan Sansthan, New Delhi, 2004, p.39
32
"Farsi Shikar Ast", Yaki Bud Yaki Nabud, Kaveh, Berlin, 1958, p. 29
65
" .. whenever you find you do not understand them (the European and
the Mullah) help yourself to these sweets and remember me. " 33
" .. the old magicians by dint of their magical tricks could turn human
beings into smoke and even made them disappear .I kinds of stories I
had learnt that these kinds of story very much. Therefore, the words
'Hoomza' and 'Loomza' started to take the shape of a child's
perception of magicians, tricksters. One day I could see their physical
,34
appearance too ....
33
Ibid, p.32
34
"Hoomza wa Loomza", Kohne wa Nau, lntesharat e Sukhan,2005, Tehran, p. 143
66
the child's psychology that a child knows no constraint in mixing with people.
He remembers only those who give him love and affection. In the story "Kajaki"
a poor postman who worked under narrator's father came to their house
regularly and used to play with the narrator when he was very young. One day
the postman reaches late on duty and could not deliver mails on time. He kept
himself busy with catching a young deer for the child. He was suspended from
work. The poor postman loved the child very much and child also loved him,
too. Unable to meet the child daily, he becomes mentally weak. When narrator's
father came to know his condition, he is asked to rejoin duty. The story shows
selfless love in its pure form.
67
In "Khana bi dush" ("Vagabond"), the story revolves around Ahmad.
Ahmad goes to Britain to study for a brief period. During his stay in Britain he
dreams of serving his countrymen when he returns there. When he returns, all
his dreams are shattered once he returns home. Morover, the job he is given by
the government is a petty one; of sticking labels on the bars of opium! Even in
this menial employment he finds the opportunity to voice against the prevailing
bribery and corruption at the work place. His complains are ridiculed by his
friends, his father too does not take his complains seriously. At the end, he finds
a teaching job among the wandering tribes, who later regard him as a saintly
icon.
35
"Farsi Shikar Ast", Yaki Bud Yaki Nabud, Kaveh, Berlin, 1958, p.30
68
To acquire education was the privilege of a lucky few during
Premchand's time. Only children of well off families like those of landlords,
government servants, and upper class people could get education. Premcharid
understood that youth are the potential resources of a country and if they were
directed towards Independence movement, substantial pressure could be belt on
the British government. He believed in shaping of the youth by influencing their
thought process. He argued that in whatever, sphere one lives or works, he must
adhere to the basic ideals. In the story "Prerna" ("Inspiration") the narrator's
pupil comes to visit him. He is now the Deputy Commissioner of a district. The
narrator is taken aback, as he was a very weak student when he taught him. He
inquires the reason for the outstanding success. The pupil disclosed that his
source of inspiration was a nine year old boy in front of whom he had to present
himself as an ideal elder brother. He had to relinquish all his ill habits and
concentrate on studies, which later brought good results. Thus, one finds that
Premchand' s emphasis is on character building and sense of responsibility in an
individual.
Similarly, in the story "Bade Bhai Sahab" ("The Elder Brother") the
elder brother of the narrator is not good in studies. He fails at least twice or
thrice in every class, but he very well understands the responsibility as an elder
brother. His inner conflict can be ascertained well when he at discloses to his
younger brother one day:
"I do not forbid you for flying kites; I too get enticed to it but what I
must do! If I go astray, how will I be able to protect you? This
responsibility is also upon my shoulders! " 36
36
"Bade Bhai Sahab", Mansarovar, vol.l, Prakaskan Sansthan, New Delhi, 2004, p.56
69
the profession. In the story "Namak Ka Darogha" ("Salt Inspector") the hero,
Pandit Aloopdin despite being in such government department where illegal
money making could be very easy, he chooses to perform his duty with great
courage and acts as per the voice of his conscience. The result is that he dares to
arrest a very influential person of the coterie of illegal traders on the charge of
'bribing an official on duty' and consequently loses his job. In the end, his sense
of responsibility and honesty brings him both respect and money when his worth
is identified. But in the story "Julus" ("The Procession") he paints the character
of a mounted police inspector in a slightly different way. The inspector charges
baton on a group of Satyagrahi in which an old man is severely injured and
succumbs to injuries. Above all, we see that in the story Premchand intends to
impart an important message to the youth serving in the British administration,
that they must have compassion for their compatriots, who may be seen as a
threat in the eyes of British administration. Another important point in the story
is that; even a smart, advanced and educated individual would be hated by the
common masses if he serves in the British government and would be regarded as
a traitor .who disrespects the freedom struggle. In such an environment it is
logical for the hero of the story "Julus" ('The Procession") to admit that he has
committed a mistake. The 'hero' is remorseful on not supporting the
independence seekers. Rebuking his colleague he says:
" .. do you know who is called a rebellion? They are those who rob,
steal or kill people. Those who dare to die for the sake of the country are
not rebellion. It is our misfortune that we are on the opposite flank, and
not supporting them. This is not a moment of feeling proud or rejoicing
(at the death of compatriot), but a matter of great distress or shame. " 37
37
"Julus", Mansarovar, val. VII, Prakaskan Sansthan, New Delhi, 2004, p.42
70
accuracy and vividness born only of the most intimate acquaintance as in "Farsi
Shikar Ast" ("Persian is sweet").In the story one finds a verbose speech of
Mullah, apparently appears to be humorous ; is not out of context to the question
raised by the 'hero'. In the story the writer introduces Mullah to the reader by
mixing satire with humour. The narrator says:
"I could make out something shiny and white that resembled a cat
curled over a bag of coal. In reality, however, I was looking at a Mullah
who sat in the manner of school children, with his arms wrapped around
his knees. His entire body was covered with his cloak. What I had
mistaken for a shiny, white cat was his turban the tail end of which,
dangling over his shoulder, looked like the tail of a cat. The hissing
sound of course, was the sound of his Arabic prayers. " 38
" .. their heads, thus resemble a minaret on which stork has built a
nest. One day I asked an Iranian 'why do the Akhund tie so much
material around their heads? 'It is quite simple', he replied. 'When your
finger is injured, don't you wrap some bandage around it to keep it
away from further harm? Perhaps the brains of the Akhunds are
damaged and they intend to preventfresh air from reaching there. " 39
38
"Farsi Shikar Ast", Yaki Bud Yaki Nabud, Kaveh, Berlin, 1958, p.22
39
"Bila Dig Bila Chuqandar", Yaki Bud Yaki Nabud, Kaveh, Berlin, 1958, p.95
71
unfortunate Qurban Ali, of whose love the girl's family knows nothing, is
invited to spend the night beside the coffin praying for her soul. During the night
he cannot quench the temptation to see the beautiful face of his beloved once
more. He is caught kissing the lips of the dead girl and ends up in jail.
Jamalzadeh's unique ability to beat 'Akhund with Akhund's own stick' can be
seen in the story. Jamalzadeh is well versed with terminologies clerics use unlike
others who, while criticising clerics in their writing limits themselves to bare
statement like 'the clergy are a vile collection of reactionary hypocrites who bar
progress.
" .. tell me you Muslims, what crime have I committed that I don't
know about? If I am thief have any hand cut off,· if I am guilty of
something, flog me, pull out my nails, nail my ear to the gate, pull my
72
eyes out of their sockets, shod me, shackle me, pour hot water on me.
Otherwise, for God's sake, release me from the cell and from the clutches
of these mad demons. God know, I am about to go crazy. You are forcing
me to share a grave with these loonies. " 40
Jamalzadeh has mostly written about the problems of the urban masses
but sometimes he speaks about the condition of tribal people. In "Khana bi
Dush" ("Vagabond"), he portrays the tribal life where common folk accord a
princely welcome to an educated person from the city. The tribal people
consider the hero as a messiah who has come to bring them out of darkness.
Ahmad begins his work with full vigour and zeal; devotes himself to the cause
of the tribesman. With his selfless service he finds a place in the heart of every
tribesman. They also keep him dear to their lives. From imparting education to
curing children and elders, making bridges he is present everywhere working
with full energy. He is fully contented with the purity of life there He breathes
his last among the people who are pure at heart. After his death, people gave him
cult status and later started linking his lineage to Imams. They built a tomb on
his grave and visit it every day.
The story has two dimensions. In the first part, the author describes the
urban lifestyle and psyche of the people who live in cities and towns. They are
the people who are dishonest and cunning. But the tribal are simple and
ingenuous. Welcoming Ahmad in their tribal area, tribal chief says:
" .. we are tribal people, are simple and uneducated people of open
field and it is equally true that we understand the value of knowledge
and importance of reading and writing. People call us thieves or bandits
and when you get more familiar to us, you would see that the real
thieves and bandits are those with lots of oppression and many false
pretentions, rob ourselves with our wages and leave us hungry and our
40
"Farsi Shikar Ast", Yaki Bud Yaki Nabud, Kaveh, Berlin, 1958, p.29
73
children without schools. Our ailments or disease are left unattended by
doctors and are without medicines. " 41
Unlike Premchand, women 'character' does not appear as. the mam
character in the short stories of Jamalzadeh. But many shades of a woman are
nicle portrayed in the short stories of Jamalzadeh. In the story "Sawab ya
Gunah" (Divine reward or Sin) the domestic help Habiba Sultan faces much
hardship in bringing up her child. She is unable to provide food and education to
her child due to severe poverty, but she never wants to compromise with her
good morals and resort to unlawful means of earning money like stealing.
41
"Khana bi Dush", Kohne wa Nau, lntesharat e Sukhan, Tehran, p.134
74
"after having tea and hookah, I was prepared to step out from the
house, suddenly I heard a soft voice which trembled me at once ...... the
currency notes slipped from my hand...... when she bent to pick up the
currency notes her chadur (veil) slipped, I could see her pink-rose face
tree, the hairs got loosened... For a moment, it appeared the sun has
dazzled my eyes, my heart started beating fast. " 42
"beware! Do not rush for 'sigheh' and other types of things in this
city (Mashhad), as any woman or a girl comes into marriage contract
with could be your erstwhile mother. There is a probability that your
father had known her previously". 43
In the story "Bila Dig Bila Chuqandar", Jamalzadeh has nicely presented
what a foreigner says about Iranian women. In the story a European bath
attendant travels to Iran. He writes a memoir titled "People and Government in
42
"Oard-i-Dil-i-Mullah Qurban Ali", Yaki Bud Yaki Nabud, Kaveh, Berlin, 1958, p.78
43
"Aqd-i-Tamhidi", Kohne wa Nau, lntesharat e Sukhan, Tehran, p.77
75
Iran", in which he makes comments m lighter vein low presence of Iranian
women in public;
" ...... wrap themselves in black bag so thoroughly that their entire
body, from head to toe, is covered. There is no opening in the bag, not
even for breathing..... they cannot enter public places like teahouses
and the like. " 45
44
"Bila Dig Bila Chuqandar", Yaki Bud Yaki Nabud, Kaveh, Berlin, 1958, p.94
45
ibid, p.95
76
In "Shanti" ("Peace") the main character is a teenage girl who loves her
self- respect and has a much developed thought of husband and wife relations.
Being brought up in an in open atmosphere, she believes that love must flow
from both sides; a husband must treat his wife as an equal partner and not as a
subservient being. The girl does not want to give in her self-respect and wants to
be treated fairly; like an equal partner. Moreover, the husband wants his wife to
be subservient to him. The husband leaves the house due to the conflict and the
wife commits suicide. The relationship is severed, but the mother adores her
daughter's death, who fought for her right. The mother says;
" my Sunni was really a goddess. ... man does not live to cry for
whole life. When one comes to know that there is nothing left in life
except, woes and miseries, what is the use of living such a life? Just to
eat, sleep and die ....... the mother of a martyred son feels happy at her
son's courage .. so my daughter was equally courageous as a martyr. " 46
" ... when a man insults another man, he feels angry, but when a
woman insults a man, he feels remorseful. Birbal Singh (the Inspector)
could not dare to stand before the womanfolk" 47
46
"Shanti", Mansarovar, vol.l, Prakaskan Sansthan, New Delhi, 2004, p.66
47
"Julus", Mansarovar, vol.ll, Prakaskan Sansthan, New Delhi, 2004, p.41
77
Thus, we see that Premchand has been successful in the highlighting the
spirit of nationalism and mass-awakening for the freedom struggle.
78
C. METHOD AND STYLE OF WRITING: A COMPARISON
The chief aim of fiction is to provide a suitable, artistic setting for these
every day events, and thus make them both attractive and entertaining. The
short-story is a form of fiction intended to present a word-picture of a single
event of human experience in an artistic setting. This setting must consist of
plausible, influential circumstances, striking occurrences, and remarkable
incidents so deftly massed as to emphasize the laugh, the tear, or the thrill
which the event holds. It is a literary genre of fictional, prose narrative that
tends to be more concise and to the point than longer works of fiction such as
novellas and novels.
Short stories have their origins in oral story-telling traditions and the
prose anecdote, a swiftly sketched si~uation that comes rapidly to its point. With
the rise of the comparatively realistic novel, the short story evolved as a
miniature version tends to be less complex than novels. Usually a short story
focuses on only one incident, has a single plot, a single setting, a limited
number of characters, and covers a short period of time. In longer forms of
fiction, stories tend to contain certain core elements of dramatic structure.
However, the endings of many short stories are abrupt and open and may or
may not have a moral or practical lesson. As with any art form, the exact
characteristics of a short story will vary by author. The simple narration of an
event, disconnected from its antecedents, while it may possess a passing
interest, is not entertaining because of its commonplaces.
79
Because of their length, short stories may or may not follow this
pattern. Modem short stories only occasionally have an exposition. More
typical, though, is an abrupt beginning, with the story starting in the middle
of the action. As with longer stories, plots of short stories also have a climax,
crisis, or turning point. Determining what exactly separates a short story
from longer fictional formats is problematic. A classic definition of a short
story is that one should be able to be read it in one sitting. Other definitions
place the maximum word length at 7,500 words. In contemporary usage, the
term short story most often refers to a work of fiction no longer than 20,000
words and no shorter than 1,000. Stories less than 1,000 words are usually
referred to either as "short short fiction" or "short shorts."
PLOT
Plot is a series of events and character actions that relate to the central
conflict. The conflict is a struggle between two people or things in a short
story. It is a link in the chain which is the story. A simple definition of plot is
this: A narrative in which an obstacle is interposed to interrupt the free action
of the chief character or characters of the story, and thus to complicate
matters. The great news stories are those which give or strongly indicate all
the links. There is no story without these, the essences. Humour and pathos,
subtle tenderness, suspense, philosophy, surprise, dramatic climax-all these
may be added, giving colour, flavour, spice; but plot and character, the
essences, must be there or the whole will fall flat. No directions have ever
been written for manufacturing a plot.
Plot refers to the systematic chain of events which make up the short
story. Each link in this chain helps to build suspense and to solve a problem.
80
The main character is presented with a situation which presents a problem or
conflict which he must resolve. The largest part of the story will deal with the
main character's struggle to resolve this problem or conflict. The conflict can
exist within the main character himself (internal conflict) or it may exist
between the main character and outside forces (external conflict). The point in
the story in which the conflict is resolved is the high point or climax of the
story. The adolescent finds himself at odds with parents, teachers and other
authority figures. His resulting alienation from the adult world often leads him
to his contemporaries for solace and as a result he often becomes the victim of
peer pressure, another external conflict.
CHARACTER
81
or tear-is reached. Such an arrangement of the antecedents of an event is
popularly called the plot of the story.
SETTING
Setting or the time and place of the action in a short story have a definite
impact on the character development and plot. The setting is often found in the
exposition of the plot and readily establishes time and place. Frequently it plays
an important role in the conflict giving credence to the rising action as a climax
or turning point is approached.
SEQUENCE
The necessity for a close study of sequence is shown by the fact that
this quality is one of the essentials in good writing. Its presence or its
absence shows the difference between an amateur and a finished writer. The
lack of it shuts out a composition from consideration by editors and readers
alike. Such deficiency indicates not only the lack of capability in writing, but
also the poorer quality of mind; the mind stuff that is produced by the
childish, the garrulous, the insane. Every one, be the writer or no, should
look after the continuity of his thought, both for his own sake and that of the
people with whom he comes in contact.
There are two phases of the subject for the writer, one dealing with the
visible forms of sequence, and these are very important both as an aid to the
reader and also as a means of keeping the mind of the writer steady; and the
other phase is, in fact, but the enlargement of these visible aids to the whole
82
field of correlated thought. In dealing with the 'visible forms of sequence'
the relationship is indicated by words of retrospective and prospective
reference. The pronouns, pronominal adjectives, certain adverbs,
conjunctions where there is a choice or rejection of choice, all of these and
some others are the links of the great chain of connected ideas. In the perfect
adaptation of these to a production of thought we find great pleasure in the
reading; without, there is none.
POINT OF VIEW
A critical part of the maturation process involves the ability to see things
from the perspective of another. The adolescent is very often so involved with
his own concerns that he does not even recognize the points of view of others.
The adolescent point of view is very often limited to self. The understanding of
others points of view is a crucial part of life and that the short story can serve as
a vehicle in which to help students to understand the positions of others.
The action in a short story can be seen through 1) omniscient point of view the
narrator knows all, the thoughts, motives and feelings of each character 2)
detached observer the narrator can describe the characters and what they do and
say but not their thoughts and feelings 3) first person the main character tells
his own story and refers to himself as "I".
83
persuade him that that character's actions and emotions are his own, that the
story-teller's success must be gauged.
CLIMAX
The plot is the planned series of incidents that makes up the action of the
story. In a short story the important incidents are a succession of crises or
complications against which the character struggles, successfully or
unsuccessfully. Thus, plot is action-the developing struggle through crises to
climax to outcomes, whereas, theme is the significant points, the observed truth
that the author wishes to reveal in telling the story. The plot is designed to let the
reader himself live through the experience so that he may arrive out the truth. It
84
is the nucleus of the story; the detailed working out of the nuclear idea requires
integrity. In the story ""Farsi Shikar Ast" ("Persian is Sugar"), the plot is well
formed. The story starts actually when the author is detained by a passport
official in cell. Inside the cell he meets two more inmates, one a Europeanised
Iranian and the other, a cleric. The conflict starts when the main character of the
story, a young boy wants to reason out why he was detained and put in a dark
cell? Desperate, the young boy goes to cleric for an answer, but does not
understands his verbose way of talking which contains more Arabic words that
Persian. He then goes the Europeanised Iranian to seek an answer to his worry.
There he hears Persian mixed with Europeanised word. The situation becomes
complex. Out of desperation he starts wailing. The author comes in the story to
resolve the crisis, when he speaks simple Persian the situation starts improving.
All the four detainees including the narrator are soon released.
85
when he was a child. The hallucination effects coming up in the minds of a child
has been vividly and explicitly portrayed. The piece is a memoir narrating a
childhood incident .The story lacks the essential 'movement' of action leading
toward resolution of a conflict or a crisis.
Apart from having a basic plot, the story "Atash Zir-i- Khakistar" ("The
Fire under the Ashes"), has sub plots too, the first part of the story deals with the
social condition prevailing at the time of the last Qajar king. Although elaborate
description of the contemporary society in which the 'characters' live is
generally out of scope of a short story .It hampers the brevity and compactness of
the story. The story revolves around the main character "Rahmatullah" but the
characters "Enayat" and "Siyamak" are discussed under sub-plots. The main plot
and the sub plots appear to be disparate and disjoint with one another hampering
the movement of the story.
The smooth movement of the story with a definite plot and setting can
be observed in the story "Dard-i-Dil-i-Mullah Qurban Ali" ("The Grievances of
Mullah Qurban Ali"). The writer is able to involve the reader in the story with
efficiently applying 'character' development, progress of the events and action.
In the story an infatuated Mullah tells about his reckless love for the daughter of
a neighbouring merchant. The girl dies and the unfortunate Qurban Ali of whose
love the girl's family knows nothing, is invited to spend the night beside the
coffin praying off her soul. During the night he cannot quench the temptation to
see the beautiful face of his beloved once more. He is caught kissing the lips of
the dead girl and ends up in jail. In the beginning of the story, there is elaborate
description of the narrator and his uninteresting sermons. The actual story starts
when the narrator recounts his experience. The short stories of Jamalzadeh's are
mostly anecdotal type where the plots plays important role along with the action
to move on the events. The stories externally appear to emerge out of some
event or incidents and progresses forward with the help of actions surrounding
the characters.
86
In terms of short story writing, Premchand is an idealist; he adheres to
the fundamentals or ideals of the genre. He gives ample time to work out his
'plot' and build 'character'. He generates a crisis and develops it gradually up to
the climax before giving an end. He gives much effort to maintain the brevity in
dealing with the events, as for example, in "Thakur ka Kuan" ("Thakur's well")
he starts the story by placing a situation which needs to be resolved; a poor and
sick outcaste is groaning of pain he is severely thirsty but cannot drink the
stinking water they have . The main character is the wife of the sick person. She
decides to bring water from other wells; ready to do a forbidden job. The writer
moves towards the resolution of crisis gently and reaches to the climax when the
wife has almost drawn water out from Thakur's well. But when she suddenly
hears the door of Thakur's house flung open, she drops the water pot; thus
giving an anti climax to the situation. The story ends with last scene; the wife
returns empty-handed and sees her husband drinking the same malodorous
water, holding his nose tight. In the story, the 'character' wins the sympathy of
the reader from the beginning as the writer is able to strike the reader
psychologically; the main character being a woman, taking a giant stride against
the age-old oppression of upper caste. The action of the hero is justified by the
simple reason that every one struggles for existence; here, it is matter of
someone's life and death. One more striking feature of the story is that the
characters are not introduced as done in a conventional style, rather 'type'
character is used; one representing the upper caste, the other the outcaste . This
is one of unique styles of Premchand where he involves the reader in the story.
Here, he does so by leaving the reader to imagine the 'character' according to
their perception.
87
Nawab of Lucknow, Wajid-Ali Shah before their eyes; but do not move. The
story very clearly portrays the last phase of the downfall of Moghul Empire.
88
experienced the writer, the wider are his themes and more diversified are his
characters. To weave a psychoanalytical story the writer has to know the basic
elements of human psychology. Premchand writes "an incident cannot be a story
unless it demonstrates a psychological truth"
The 'characters' are the living creatures involved in the events and crises
of the story. The impression that one form about 'character's stems from a
number of sources: what the 'character's do; what they say about them; what the
author may say about them in description or in passing. The eyes through which
one sees the 'character' is called- the point of view. The story can be told in the
first person; the narrator can be merely an observer or both an observer and an
actor. The author can use the method of third-person narration; the narrator can
either see or report everything (the omniscient narrator) or he is limited to a
specific view. A 'character' may be presented with only surface detail or in
depth; but the development of the 'character's must be in keeping with the plot,
theme and setting of the story.
89
winning their love and gratitude for teaching children. When he dies his tomb is
venerated and turns into a place for pilgrimage.
Most of the 'characters' created by the writer belong to middle class, but
occasionally we also find hermit type of 'character' dispelling philosophical
ideas, sage remarks and discussing super natural phenomena. In "Darvish-i-
Mumiyai" (Mumified Darvish), the hero is an outcast. Though a learned and
conscientious student, he has locked himself up in a room in Geneva, without
proper food or sleep. He is brooding on abstract ideas such as existence of God,
the secret of creation, free-will and predestination. He is a bookworm and lives
like a hermit.
90
In "Aqd-i-Tamhidi" ("Facilitative marriage") the story starts with a chat
room discussion on "Motaa" (Limited period marriage) and then everyone
shares his own observation of the marriage institutions in different parts of the
world. The elaborate introduction is a deviation from the set-style of a typical
short story. The main plot appears when the house owner 'Kaab-ul-Akhbar'
comes to narrate his experience of a special type of marriage prevalent in the
city and narrates a story in this regard which formed the theme or a title of a
story. There appears an irrelevant discussion in the story, which seems to be
detached from the story. The story looses brevity and compactness. However,
the second part of the story which starts with a new plot is more interesting.
The 'characters' in the stories of Jamalzadeh are from all walks of life. It
seems that he has mastery in presenting Europe-returned Iranian youths and
religious cleric or mullah. While demonstrating the West-returned Iranian youth
he excels as he is able to grasp the complications in the minds of the youth. In
the story "Khana Bidush" ("The Vagabond") the inner self of a foreign returned
Iranian youth finds peace and solace when he joins a group of nomadic tribe
people and serves them. He finds pleasures in his work. The crises created and
their denouement is touching. The story concludes with a happy ending.
91
robe and head gear in "Farsi Shikar Ast" ("Persian is Sugar") or Mullah Qurban
Ali in "Dard-i-dil-i-Mullah Qurban Ali" ; all are 'type' characters belonging to
a specific class called Shaykh or Akhund. The writer does not require any
development in these 'characters' and focuses himself on the 'plot' and the
'action' of the story. When Jamalzadeh presents these type 'characters' in his ,
he deals in a critical way, criticizing them for their moral corruptions, religious
dogma, snobbery and pompousness.
92
make the life of the aged woman a hell and she dies heart-broken. Faramarz
becomes legal master of the property and later abandons Farida too, and starts
looking for another woman. Apparently, the story appears restricted to the main
hero, but actually it symbolizes the moral corruption and exploitation of women
through 'marriage' for material gains.
93
Jamalzadeh stresses more on 'plot' and 'action' rather than on
'character'. Having spent most of life outside Iran, his 'characters' either
emanate from his child memories or intermittent brief stay in Iran during his life
time. There is a dearth of wide range of 'characters', but surely his observations
and experiences of being in European country is an added advantage to him. He
is able to present various pathos of a European educated Iranian youth returning
homeland more interestingly than his contemporaries and no doubt, a master in
this art. In contrary to the stories of Premchand, 'character's appears directly in
drama-style in stories of Jamalzadeh.
94
writer is portraying an ideal inspector who performs his duty sincerely and
honestly and never compromises his principles. Whenever, he is in difficult
situation he listens to the voice of conscience. The character creates an indelible
impression on reader's mind. It is a psychological truth when a person is
determined that no one can buy his principles or his 'inner self, he is invincible.
The moral conflict between 'sense of duty' and 'wealth' ends with the victory of
'sense of duty' over wealth. The writer who is an observer says "Sense of duty
has trampled 'wealth' under its feet".
95
in such a skillful manner that a reader is likely to gradually forget the chain of
events in the story but the characters put deep impression on memory of the
reader. If we analyse the story minutely, we would see that a plot has been
woven from a psychological complication arising in the child's mind is.
Through the 'character' of Ameena relevant setting or scene is created.
In the story "Bade Bhai Sahab" ("The Elder Brother") the portrayal of
an elder brother and a younger brother is apt. The seriousness and sincerity in
studies is due to the elder brother, whereas the younger brother is rightly
youthful and filled with mischief and pranks. A conflict always persists in both
the 'characters'. It is related to the hours put in and 'result obtained'. It is
unfortunate that the one who works hard but yields less result. The conflict turns
into a psychological crisis as the elder has too assert supremacy over the
younger, when he goes on failing in same class. He resorts to the sage remark
saying:
" .. one day you may become my class fellow or even move to a
higher class, but the difference of 5 years which is between us, neither
you nor God can undo. I am five years older to you and shall remain
forever. You can never equal my experience of life " 48
48
"Bade Bhai Sahab", Mansarovar, vol.l, Prakaskan Sansthan, New Delhi, 2004, p.56
96
in father's heart and mind with reactions thereof, if portrayed, could
make the short story full of attraction. A bad man is never completely
bad, somewhere there is an angel in him, and this is also a psychological
truth. The job of a successful short story writer is to arouse the dormant
angel in a bad person and bring it in the fore-front. " 49
It has been seen that Premchand adheres to the models of short story
writing, accordingly to which, before discussing the plot the 'characters' must be
introduced well. Majority of Premchand' s stories start with the introduction of
'character's for example in "Bade Ghar ki Beti" ("Daughter of High Class
Family") the main 'character's 'Srikant', 'Aanandi' and 'Lalbihari' have been
introduced and developed with utmost care and the introduction of 'character's
and the main events are very coherent which facilitates smooth flow of story,
unlike Jamalzadeh where 'character's if introduced, sometimes appear to be
disjoint from the main plot. This hampers the flow of the story. Premchand
disliked the idea of writing story without proper introduction in the beginning.
He says;
In the stories of Premchand, the 'characters' are mostly static i.e. status
of the 'character' remains the same till the end. In the theme oriented story,
Premchand by dint of choosing some 'type' 'characters' weaves the story where
actions play an important part of the story and the 'character' is developed
through its action and the reader starts justifying the action of the story. In
49
Premchand ke Numainda Afsane,Qamar Rais,Educational Book House,Aiigarh,2001,p.9
so lbid,p.7
97
"Thakur ka Kuan" ("Thakurs well") 'type'; needs no introduction but the reader
attaches himself with the 'character' for the 'denouement' of the 'crisis'.
"Sahna has come, let me give the money which is kept safely, in any
way we must get rid of him. " 51
51
"Poos Ki Raat", Mansarovar, vol.l, Sumitra Prakaskan, Allahabad, 1997, p.94
98
us the knowledge that a 'character' could be the interpretation of a particular
social set up.
99
understood from the fact that Premchand starts his story by describing the details
pertaining to the locale of the story; a deviation from his own style of
introducing his 'character's first in the story . When Premchand deals with some
real life family problem or conflict he does so at the back drop of developing the
apt family set up required for the story. In the stories like 'Shanti' ("Peace"),
"Bade Ghar ki Beti" ("Daughter of High Class family"), "Sujan Bhagat" he
gives due emphasis to the development of proper locale of the story.While
describing a 'scene', or 'setting' Premchand describes it only to some extent and
then leaves it to reader to develop it according to his own perception. This is in
fact the hallmark of an outstanding story writer, who tends to involve the reader
some way or the other, as for example the 'scene' building in the story "Kafan"
(Shroud") is not elaborate but the reader makes up the complete picture of the
locale in his mind.
One can find the biting sense of humour in stories like "Kabab-i-Ghaz"
("Roast Goose"), "Palang" (Leopard) and "Nau Parast" ("Modernist'). The
stories exhibit the freshness, vigour and pathos that characterize his early
writings.
52
"Farsi Shikar Ast", Yaki Bud Yaki Nabud, Kaveh, Berlin, 1958, p.32
100
D. ANALYSIS OF COMPARISON
" .. his means of expression, his style and dictions are consistently
modern. They are brought into closer conformity with the spoken
language often enlivened with expressive vulgarisms. " 54
The present day writers of Iran are equipped with a settled brand of
modern Persian and disseminate their thoughts, ideas, and experiences to the
common masses through it. He made the clarion call for literary democracy by
53
"Farsi Shikar Ast", Yaki Bud Yaki Nabud, Kaveh, Berlin, 1958, p.30
54
History of Iranian Literature, Jan Rypka,D.Reidel Publishing Co.,Holland, p.389
101
which he meant that the language of the literature must be changed from the
style of writing ornate and decorative to the spoken language of the common
masses viz. the colloquial language. In this manner, he tried to break the
shackles of old tradition by reforming the language. His 'Yaki Bud Yaki Nabud'
was although new in form and content, but was strikingly Persian. In the preface
of a book, which served as a kind of manifesto of a new literature, the author
recommends a simplification of literary language and invited others to write in a
style closer to colloquial speech with copious use of everyday expressions. He
appended to his collection of stories a short glossary of popular idioms that are
not found in ordinary dictionaries.
The style advocated by him did not become a model until later, with
Sadiq Hidayat, in whose works the new style reached perfection. It is mainly due
to the influence of Hidayat that the present generation of writers has turned
wholeheartedly to an uninhibited use of popular speech. Jan Rypka too writes:
55
ibid, p.390
102
literature and established its viability through works, which were widely
acclaimed during his life time. He says in his preface to "Yaki Bud Yaki Nabud"
("Once upon a time") that:
"A live language is much like a runmng river: the rich and
stronger the source, the less likelihood of its contamination. As such,
even if weeds and twigs enters it the force and the energy of the water
carries them away, destroys them, or gradually assimilates them into its
own body. The real danger lies when the water becomes stagnant. Then,
soon, it loses its colour, taste and smell. It becomes malodorous and the
source of diseases. Even worse, when the source becomes dry- that will
be the end of the river, " 56
Last but not the least, the language which Jamalzadeh uses in his short
stories has the uniqueness of being consistent all the stories he has written. He
adopted a colloquial or spoken language style of writing. Therefore, with respect
to his use of language in his literatures one can safely say that he 'practiced what
he preached'.
56
Preface to Yaki Bud Yaki Nabud, Kaveh, Berlin.
57
Modern Persian Prose Literature, Hasan Kamshad,Cambridge University Press,1966,p.lll
103
The call for the simplification of language in the literary writing in India
was given by Premchand. In the Lucknow session of "Progressive Writers
Association" in 1936, he advocated the writers to use "Hindusthani" in their
writing. The connotation means the generally spoken language of the masses
which has both Hindi and Urdu words. The connotation represents the
understandable and spoken language of the Indian populace, in wider sense. He
practiced his preaching in his short stories and novels. When we analysis his
stories, linguistically, we find that he uses simple Hindi or Urdu and wrote the
story in a language near to spoken one. Premchand was a bilingual writer and
had versatile knowledge and wide experience. He was fully aware of the trends
of short story writing prevailing in the west. At the same time he had widely
read the Urdu and Hindi literature of yesteryears. He had the incomparable
ability to blend the pathos from the eastern literature into the new form of
Western style short story writing. Unlike Jamalzadeh, he is very judicious in
words and expressions. Some times his arrangement of words appears as
symmetrical design or pattern wh~re a single asymmetrical entity would ruin the
beauty of the patter. One of the biggest challenges of short story writing is its,
brevity. For being brief, there must be economy of words.
104
he was very much cautious about using simple language and style in the
. . ,58
wrztmgs.
"We ought to remain Persian, think Persian and write for Persians.
The Persian writer has nothing to do with those astonishing and bizarre
schools which are called surrealism and existentialism... Persian
literature is over a thousand years old and includes in its varied corpus
all the known genres, be they 'realist', 'symbolist' or even 'surrealist'. 5 9
58
Premchand ke Numainda Afsane,Qamar Rais,Educational Book House,Aiigarh,p.8
59
Preface to Yaki Bud Yaki Nabud, Kaveh, Berlin, 1958.
105
In broad sense of the term short story is one of the oldest forms of
narratives in Persia, although it existed under names such as Hikayat, Qessa,
Dastan etc. Jamalzadeh brought about the modern literary movement or the
renaissance in Persian letters by showing that the popular and principally old
form of narrative about the adventures, passions and other situations of the
ordinary people could be produced in the language of the people in a written
form. Hasan Abedini in his book "Sad Saal Dastan Navisi Dar Iran" ("Hundred
years of story writing in Iran") says:
In India, it was Premchand who took seriously the modern short story
as a genre and used it as a means of displaying his thought and creativity.
Although, various translations of some Western fictions had appeared before
Premchand, but it was he who actually adopted and promoted it further. The
tales or stories prior to Premchand were however, dull and insipid technically.
The characters were not individualized; little effort was made to go into the
complexities of human nature or of social situations; the plots were invariably
contrived; and there was a strong tendency to exhort and sermonize.
Nevertheless, they clearly reflect the turn towards social consciousness. In
contrast to the earlier trends, we find Premchand' s stories grounded in social
reality and human psychology. The stories are by and large distinguished by the
authenticity of the author's experience and his 'idealist-realism'. The writers
who followed Premchand' s style were Vishambhamath Sharma "Kaushik" and
Sudharshan. Some story writers initially adopted Premchand's style but later
deviated from it and set new trends. They were Brindavanlal Verma, Pandey
60
Sad Sal Dastan Navisi dar Iran, Hasan Mir Abedini, Voii&II,Nashar -e- Chasme,Tehran,2005, p.95
106
Bechan Sharma 'Ugra', Jainendra and Yashpal. Premchand is essentially a
writer of Urdu. He began with Urdu and the most of what he wrote was in this
language. Later, he turned to Hindi but continued writing in Urdu, too. During
his life time, he moved from reformism to revolution, from Gandhian idealism
to Marxian realism and if his writings are studied it will be found that he was
always on the side of progress. His short stories disclose a progressive evolution
of art and thought.
61
Preface to Premchand ke Numainda Afsane,Qamar Rais,Educational Book House,Aiigarh,p.8
107
restricted to Hindi and Urdu literatures, as he was a bilingual writer who has
written many short stories and novels both in Urdu and Hindi.
Like Jamalzadeh, Premchand has also used 'type' characters in his short
stories. He uses wide range of 'characters' and is widely known for his career-
oriented stories. He gives great emphasis on development of 'characters'. In the
story "Kafan" (Shroud) the characters 'Ghisu' and 'Madhav' or 'Dukhi' in the
story "Sadgati", represents the untouchable 'outcastes' who have been exploited
since long and were destined to live in destitution and poverty. Everyone knows
that 'Haiku', the farmer in the story "Poos ki Raat" ("January Night") is a 'type'
character representing thousands of poor and distressed farmers who don't have
enough money to meet their ends. The 'character' Vipraji' in the story "Sawa
108
Ser Gehun" represents the class of moneylenders who do not stop until they
have extracted the last drop of blood from their poor debtors. By the tools of
usury they used to exploit the less privileged people. 'Anandi' represents the
'untouchables' who were not allowed to take water from the well of Upper Caste
people; which forms the theme of the story "Thakur ka Kuan" ("The Thakur's
Well").
109
such a foundation, I do not feel like writing ... an incident. An incident
cannot be a story unless it expresses a psychological truth." 62
62
Premchand ke Numainda Afsane,Qamar Rais,Educational Book House,Aiigarh
110
and lack a refuge or protection, fearing the shepherd as much as they do
the wolf, having no assurance about the next day in their lives, and not
being master of their own life or property, fighting against corruption
will be to measure water in a sieve and to collect air a wicker basket. 63
63
"Namak e Gandideh", Kohne wa Nau, lntesharat e Sukhan, Tehran,2005, p.69.
64
"Atash Zer-i Khakistar", Talkh o Shirin, lntesharat e Sukhan, Tehran,2005,p.l79.
111
homeland") was in the form of a tale, yet thematically, it bore the features of
modem short story writing, that is, social criticism. In its preface Premchand
wrote:
"The literary learning of every country is the true picture of the society.
The idea which triggers the mind and emotions which fills the heart, they appear
65
in form of prose and verse clearly as an image on a mirror".
65
Touqit e Premchand, Manik Tala,Maktaba Jadid,2002,p.ll
11 J
Indeed J amalzadeh' s stories bear the hallmarks of literary revolution. It
challenged the administrators, religious clerics, law makers and was by and large
critical of the regime. For Jamalzadeh, the strength of his writing is limited to
his early works before 1925, after which he refrained from literary activities for
the next twenty years. The publication of Y aki Bud Yaki Nabud" ("Once upon a
time") had caused tremendous stir and controversy among the reading public of
Persian. Regarding Iranian reaction to J amalzadeh' s first collection of short
stories "Yaki Bud Yaki Nabud" ("Once upon a time") Jan Rypka rightly says in
his "History of Iranian Literature":
"When the stories first reached Iran, they were not very favourably
received; nor were condemnatory demonstrations lacking against the
writer who had dared to criticize his compatriots, in some places the
book was actually publicly burned. All of this only serves as proof that
the stories of Jamalzadeh were in their way, a literary revolution. The
further development of prose and the role of the short story in it
confirmed such a view" 66
66
History of Iranian Literature, Jan Rypka,D.Rektel Publishing Co.,Holland,p.395
67
Touqit e Premchand, Manik Tala,Maktaba Jadid,New Delhi,2002, p.Sl
113
Premchand was an unrelenting antagonist of the British rule. At the call
of Mahatama Gandhi during the 'Non-Cooperation Movement' ,he gave up his
government job. He actively participated in 'Puma Swaraj', 'Satyagrah
Movement' and various other movements. Under the influence of Marxism
which had gained ground in India too, Premchand wrote stories which spoke
against the British Imperialism in the same tone and tenor as the fight between
the 'proletariats' and 'bourgeois' was described in Communist literature.
Therefore, the nature of his writings is undoubtedly revolutionary and his first
collection of short stories a genuine "literary revolution". Both Premchand's
"Soz-e-Watan" and J amalzadeh' s ""Y aki bud Yaki N abud" was the start of the
'literary revolution' required for the intellectual leadership to fight against the
injustice done by the regime over the masses in India and Iran respectively.
"Only with Yaki Bud Yaki Nabud did the school and style of realism
find a beginning in Iran. And this school and style in fact laid fresh and
new foundations for the art of storytelling in Persian literature; and it is
only from the time of their inception that it is possible to discuss the
appearance of the novel, tale and romance in the thousand year old
literature of Iran .. .In brief it must be stated that Jamalzadeh is for u.s
without doubt a writer who ranks equal to the best novelists of Europe.
114
Furthermore he successfully accomplished a formidable task, in that he
introduced into the thousand-year old frame-work of Persian language
the spirit and technique of European prose " 68
He chooses 'realism' as his style as his 'characters' are from the real
life and portray the picture of a slice of life from the real world. Be it "Ramazan,
Habebullah, Rahmatullah, Khanum Habebeh Sultana, Qudratus Sultaneh; all
come from real life and portray either some psychological truth hidden in one's
mind or the bare truth of real life. Life itself is a story and human beings are like
characters in it, therefore, to a reader it appears he is listening to a fellow
member of the society. It is argued that 'realism' a synonyms for unrelenting
pessimism. To some extent the shadow of pessimism can be seen in the stories
of Jamalzadeh, but overall it gives a firm base for reformation of the individual
and his society.
68
Modern Persian Prose Literature, Hasan Kamshad,Cambridge University Press,1966,p.105
115
is again, in French that its first practitioners are to be found, with Emile
Zola leading. " 69
Muhammad Ali Jamalzadeh spent most of his life outside Iran; he lived
in Beirut, Baghdad, Luazanne, Paris, Berlin and Geneva. Out of 106 years of his
life, he lived altogether 13 years in Iran including his all intermittent visits. He
used to visit Iran regularly for a short duration, but was well informed about the
socio-political and all vital developments in Iran. He had great love for his
country and has spoken about it at length in various literatures he produced. A
groups of writers accused Jamalzadeh of portraying Iran as he saw in his
childhood days. Iranian scholar, Abdullah Waziri in the book "Jamalzadeh and
his Thought" compiled by Mehrdad Mehsin,speaks thus:
" .... due to his longer stay outside Iran, Jamalzadeh was unaware of
the situation in Iran, mentality, behaviour and thought process of the
Iranian people. Jamalzadeh does not know today's Iran better and
whatever he writes about it, is mere his imagination. He sees before him
the fifty years back people and cannot see except the same narrow lanes,
houses without windows, mosques, grounds, caravanserai, the
government ... like someone who suddenly goes blind and cannot see any
picture except the picture secured in his mind when he was not blind" 70
69
New Encyclopedia Britannica, Macropedia,Vol.23,p.l32
70
Az Nima ta Rozgar e Ma,Yahya Aryanpur,lntesharat e Zawwar,2003,p.277
116
Jamalzadeh produced the entire bulk of his work outside Iran, yet the
striking thing about him is, that in his compositions one senses the life spirit and
atmosphere of Persian more than in those of any other writers living in that land
.He was only twelve when he left his country, but the impression left upon him
by childhood training and environment has proved indelible.
The dawn of the 201h century witnessed the appearance of two great
literary personalities in Iran and India who dared to speak for the common
117
masses at the turbulent times and in the process made significant contribution
towards the emerging new dimension of literature. It got transformed from
leisure reading to responsible caveat. Both Jamalzadeha and Premchand
displayed love for their motherland and their citizens through their literatures,
which is also a source of inspiration for the commoner to understand 'man and
his society' in a more realistic way.
There was a close similarity in their language and style of writing, social
criticism, portrayal of individual behaviour, using 'realism' as a literary genre,
setting new trends for future writers and the popular impacts of their short
stories upon the masses. Their association with the literary circles, organizations,
and their participations in various literary missions and movements definitely
prove that both Jamalzadeh and Premchand were aware of their responsibilities.
They were dedicated professionals and can be regarded as the chief contributors
to the world literature.
118
The dawn of the twentieth century witnessed the emergence of two great
literary luminaries from India & Iran. Muhammad Ali Jamalzadeh from Iran
and Munshi Premchand from India were the first to speak about the common
masses, at a time when the world at large, was witnessing great political and
social upheavals. Both Jamalzadeh's "Yaki bud Yaki Nabud" and Premchand's
"Soz-i-Watan" proved to be the Magna Carta for the new generation and
served as a manifesto for the literary revolution in their respective countries.
119