A Parallel History of Maithili Literature- Gajendra Thakur
1.A Parallel History of Maithili Literature- Introduction
2.Rajdeo Mandal- Maithili Writer
3.Era Before and After - Literary scene in Maithili after the arrival of Jagdish Prasad Mandal
4.The Cattle Grazer Brahmin Village (Mahisbar Brahmanak Gaam)
5.The Science of Words (ShabdaShastram)
6.The Proven Mahavir (Siddha Mahavir)
7.The Robber (Tashkar)
१.विदेह ई-पत्रिकाक सभटा पुरान अंक Videha e journal's all old issues
२.मैथिली पोथी डाउनलोड Maithili Books Download
३.मैथिली वीडियोक संकलन Maithili Videos
४.मैथिली शिशु, बाल आ किशोर साहित्य Maithili Children Literature
Gajendra Thakur
Issue No. 88 (November-December 2019) of Muse India at http://museindia.com/ displays Maithili literature in an extremely poor light. Moreover, it wrongly claims to be a representative review of Maithili Literature, whereas it was only in line with the Sahitya Akademi, Delhi; a mere representation of the so-called "dried main drain". It is expected that Muse India will correct itself by announcing an issue exclusively devoted to the parallel tradition of Maithili literature.- Editor
T.K. Oommen writes in the "Linguistic Diversity" Chapter of "Sociology", 1988, page 291, National Law School of India University/ Bar Council of India Trust book: "... the Maithili region is found to be economically and culturally dominated by Brahmins and if a separate Maithili State is formed they may easily get entrenched as the political elite also. This may not be to the liking and advantage of several other castes, the traditionally entrenched or currently ascendant castes. Therefore, in all possibility, the latter groups may oppose the formation of a separate Maithili state although they also belong to the Maithili speech community. This type of opposition adversely affects the development of several languages."
T.K. Oomen further writes: "... even when a language is pronounced to be distinct from Hindi, it may be treated as a dialect of Hindi. For example, both Grierson who undertook the classic linguistic survey of India and S. K. Chatterjee, the national professor of linguistics, stated that Maithili is a distinct language. But yet it is treated as a dialect of Hindi". (ibid, page 293)
Do not judge each day by the harvest you reap but by the seeds that you plant. - Robert Louis Stevenson
...
Videha: Maithili Literature Movement
ERA BEFORE AND AFTER: LITERARY SCENE IN
MAITHILI AFTER THE ARRIVAL OF JAGDISH PRASAD MANDAL
Amartya Sen wrote about the famine of Bengal
(1942-43), talking about how lacs and lacs of people died in that famine (15
lacs as per estimates of the Famine Enquiry Commission), but that this did not
include his loved ones. Likewise in 1967, there happened a great famine in
Mithila. When Indira Gandhi (then the Prime Minister of India) visited the
area, she was shown how the people from the Mushhar community survived simply
by eating bisarh (roots of lotus and other plants).
But this tragedy was written about only in
2009 by Sh. Jagdish Prasad Mandal, over forty years after it happened. And the
reasons for that delay are obvious. In Maithili literature, there is a lopsided
tendency which has made its journey slanted and ugly. The ones writing for
mainstream Maithili literature have had no firsthand experience of tragedies of
this magnitude, so they could never write on such subjects.
The coming of Jagdish Prasad Mandal on the
literary scene simultaneously started a renaissance and a reformation movement
in Maithili literature. It commenced a shiny new era. He gets credit for
correcting the dark and ugly course the literary scene had taken. He gets
credit for filling the gap and correcting the lopsided course of Maithili
literature, which was hitherto moving on a one-way road.
Jagdish Prasad Mandal is an artist. He can
convey the facts in such an amazing way that the reader is left in a trance.
He can present the facts directionally and
purposefully. Armed with this ability he has defined the literature of the
Maithili language so greatly that we could bifurcate its history into two eras:
the era before Jagdish Prasad Mandal, and the era which comes after.
His facts are collated from every section of
society. They are not placed in his prose as ornaments. Instead, they flow
naturally.
It is as if a high tide has shaken the
coastlines of the so-called main drain of Maithili literature, which dies
completely but then regains its shape during the monsoon.
His words never present a lament. His writing
never shirks from its responsibilities. No matter what hardships they face, the
characters never lose hope or blame their lack of resources; they never grow
dismal and resolutely keep marching on.
He has respect for the lifestyles and
contributions of every stratum of society, and that is very exceptional. This
becomes effective because there is no mismatch between his words and his deeds,
and this is because of the greatness of his personal and social life. What he
thinks, what he does, and what he writes. It makes his literature truthful.
The ups and downs of the lyrical voice of the
Maithili language attracted even the great Yehudi Menuhin who, in a BBC
programme, said it was one of the sweetest languages. He talked of how his
entire body swung hearing this language. Jagdish Prasad Mandal uses the ups and
downs of this lyrical/rhythmic language to show the affinity of mutual
dependence with its society and culture.
This will bring revolution not only in literature
but also in the economic arena.
Survey of some books written by Shri Jagdish
Prasad Mandal
SHAMBHUDAS
Jagdish Prasad Mandal injects into the minds
of the readers the deity Barham Baba. He shows that both the devotees as well
as Barham Baba himself are quite cheerful. He shows the convergence of
"Shambhua" (disrespectful calling) into "Shambhu"
(respectful calling). And then he sees Shambhudas changing to Darbaridas.
The crumbling institutions of Mithila and
Shambhudas turned to rubble, which is proof that the arts practised in Mithila
have been destroyed. But the main characters of his other short stories, like
Bhaitak Lava or Bisarh, refused to crumble. So then why has Shambhudas become
Darbaridas? Is it just a simple loss of power? Or is it a change in Jagdish
Prasad Mandal, the writer, himself? Has he become tired; is he being defeated?
Looking closer we find that Shambhudas is not
in any way inferior to the heroes and heroines of Bhaitak Lava or Bisarh. Then
why is Shambhudas losing? Shouldn't he be winning? Why does the writer push him
to defeat? He is the writer, he's God as far as the characters are concerned,
why he is letting the circumstances be such that Shambhudas finds himself in a
losing position?
Jagdish Prasad Mandal's characters are not
artificial ones. And that is why they do not always win on every economic
front.
On the economic front, work is done through
hands, through labour. But culture (including literature) is a very delicate
handiwork. The characters of this story get entrenched in this handiwork.
When Jagdish Prasad Mandal's other characters
had to fight on the economic front, they fought like anything, and they
triumphed. But to serve the area of Art, Shambhudas had to migrate (unlike the
characters of Bisarh).
So Shambhudas had to become a courtesan, a
court artist. Economically it was thankless work. But doing this was the only
way of true survival in these changing times, for it represented the survival
of Art!
But here also, in what may still be seen as
defeat (for economically, it was), Shambhudas unfurled a flag of revolt.
He decided not to marry. He decided to let go
of the possibility of family life. Shambhudas became Darbaridas not for his
economic survival. Indeed, he certainly is not a utilitarian, but he had to
make the compromise for the sake of the survival of his Art. His decision not
to marry was repentance for this compromise.
The parallel tradition will topple if Art
becomes "Darbaridas". If Shambhudas loses it will be a loss for
Mithila. It is not just Jagdish Prasad Mandal who will lose, it is the entirety
of Mithila who will lose in his defeat.
Will Mithila heed this warning of Shambhudas?
BAJANTA-BUJHANTA
It is a collection of seed stories.
The title seed-story Bajanta-Bujhanta (trans.
talking-understanding) is a story of a parrot, who is Bajanta-Bujhanta. In this
collection of seed stories, there is more symbolism like these than in the
writer's other stories.
In Chaukidari we see a labourer working even
in the eighth month of her pregnancy, by tying a rope around her waist and
stomach.
The story Pator he dedicates to the famous
seed-story activist Manoj Kumar Karn (alias Munnaji), and he assigns a piece of
symbolism too. "Like a dark room which has serpents all around, like that
are we too". This moves the seed story further forward. And Samdahi says
"Oh, you have become the listener of the very language of the crow."
TAREGAN
This book lacks complex plotlines or
complicated symbols for the simple reason that it was written to instil good
values in children.
But here, the whole story is a symbol. When
Subhas Chandra Bose's father tells him that sleeping on the ground is not
enough, it leaves a remarkable imprint on his mind. What this man did later for
India is known to all. Satya Vidya Bhardwaj says that "Knowledge is bigger
than heaven."
This collection is not only of importance in
children's literature. It expands the horizons of seed stories too.
GEETANJALI
Chalu Uchitpur poem features a place called
Uchitpur, where everyone has the same body language and the same clothing. In
this land, there is no difference between fire and water.
The "new moonlike full moon" tells
us many things about the deformed "bedhab roop".
Yaar Yau is a song of tragedy. It describes
everything that has been washed away in a flood, including the washing away of
the spirit and the sense of existence.
He dedicates the song to Sh. Rajnandan Lal
Das's 'Yug-Yug', where he has described how all doors close when one is
entrapped in a spiderweb.
This complete collection of the song is
dedicated to Professor Udaya Narayana Singh Nachiketa'. All the songs in this
collection are lyrical.
RAIT-DIN
Baba did not understand the mischief of the
barren trees. He tilled and ploughed and planted the trees. But then those
trees became the abode of dead souls. They did not touch the soil, reaching the
sky by holding the top.
Halluk Kaaj (trans. easy work) details the
technicalities of labour tools which make the work easy. It is an experience of
satisfaction that the artists get after the completion of their work. How a
world full of empathy is created, it describes that too.
Whether it is in Patta Chhimee's syrupy
mental level or in "the huge-lad is condemned", the writer brings new
and distinct typical Maithili verse. It makes Rait-Din distinct.
INDRADHANUSHI AAKASH
We listen as someone sings Nachari (Maithili
songs about Lord Shiva Songs) while fully swinging his voice and body. The
spirituals and supernaturals have found their places. One is assembling (or
creating) and the other is disassembling. The change is a mere game.
The poet is incredibly careful in his
selection of words and subjects. Mystery, disappointment, answers, along with
questions and hope, all keep coming and going.
TEEN JETH EGARHAM MAAGH
In Ghare-Ghare every household is lit up by a
diya, but the whole village is in darkness.
In Kaushal-Jakhain we are told why the land
turned barren and how the dark village ended up in its sorry state.
In Aas Prem Sang, hope returns to the
village.
SARITA
Here, Jagdish Prasad Mandal's verse keeps
raising questions. It keeps on questioning.
His poetry shows a painful awareness of facts
and constantly brings up questions, even in its conclusion.
If you compare his poetry with his prose, you
will find much more pessimism in it, unlike his hope-filled prose. The short
length of the poems does not give him time to analyse the questions, to find
the answers. So, he keeps on raising questions and only questions, poking at
the readers to look for the solutions themselves.
This type of verse is an intriguing first for
Maithili literature.
(Language editing by Astha Thakur)
Survey of some more books by Jagdish Prasad
Mandal
Ulba Chaur: Short Story, ShrutiPublication,
New Rajendra Nagar, (New Delhi), 2013
It is a collection of thirteen short stories,
every story of this collection depicts the ups and downs of life, it investigates
the causes of the problems and puts forward solutions after giving it
modernistic solutions.
Ardhangini: Short Story, ShrutiPublication,
New Rajendra Nagar, (New Delhi), 2013
This is a collection of twenty short stories.
He depicts vividly the distress that salaried people face. On the other hand,
he compares it with the jovial life of the agriculturists. At the same time, he
takes head-on the pseudo-beliefs and other social problems faced by the village
people and offers solutions. He underlines the caste-based occupations and
delineates their importance and necessity for maintaining a good life in
villages.
Satbhaiya Pokhair: Short Story,
ShrutiPublication, New Rajendra Nagar, (New Delhi), 2013
This book has so far been run into four
editions.
Bhakmor: Short Story, ShrutiPublication, New
Rajendra Nagar, (New Delhi), 2013
The collection has nine short stories. The
web ("ojhari") and other stories deal with the post-1947 period and
deal with the degradation of democratic values and the deformation of public
institutions.
Nai Dharaiye: Novel, ShrutiPublication, New
Rajendra Nagar, (New Delhi), 2013
This novel is the fulfilment of the religion
of literary creation, which has been faithfully by the author. It reflects the
face of society through its moving depiction of life.
Krantiyog: Short Story, PallaviPrakashan,
Nirmali, Supaul, (Bihar), 2017
It contains six stories. The problem of
drainage has arisen due to the construction of highways and link roads,
high-plinth buildings, and houses. The damage to the environment and the
problem of flood arising out of this have been depicted well. The number and
area of ponds, well and orchards are declining. So, the thorny plants have
abounded leading to a loss of harvest.
Subhimani Jingi: Short Story,
PallaviPrakashan, Nirmali, Supaul, (Bihar), 2018
The author has vividly depicted the third
gender problem. An adolescent Shyama is neither a male nor female, so the
people, including the mother, decide to hand over Shyama to the Kinnars. But
the father rose in favour of the boy and decides to provide him with all such
skills necessary for a respectable life. He gives an example of Lord Shiva who
is called half male and half female (Ardhanarishwar), and of Krishna who enters
the group of females by transforming himself into Shivani. The mother, seeing
the resolve, also comes on the side of her husband.
The problem of other sex, hitherto unknown in
Maithili literature, has come to the attention of the author. Shyama is a child
that is indisputable. Shyama has every right to live a dignified and respectful
life and for that necessary skills are required and would be provided to him.
The siblings convince the mother but after the stories of Shiva and Krishna are
placed before her, she goes in repentance as to why she was not taught these
stories earlier. The third sex, particularly in the village society, has been
shown with a new perspective. Other stories of the collection also throw light
on other aspects for example the issue of "Mathas" and asceticism in
"Babak Bag-Bagiya" and the resolution of disputes in a village in
"Kukurpan". In "Herayal Jingi" the issue of development in
the village post-independence has been described with the example of Kamalpur
village, the issue of caste and faulty development model has been given a fresh
treatment.
Subhimani Jingi (A respectful life) 2018 is a
collection of short stories consisting of eight stories. The second short story
is named Subhimani Jingi, which is the title of the book also. This book was
written between the 23rd of January 2018 and the 9th of March 2018. Pallavi
Prakashan has published this book, Nirmali. A night-long tri-monthly reading
session of short stories (Sagar Rati Deep Jaray) is held in Maithili at
different venues. The 97th such reading session was held on 24.03.2018 at Berma
village in the convener ship of writer Sh. Kapileshwar Raut. This village
happens to be the village of Sh. Jagdish Prasad Mandal also. On that occasion,
this book was launched (released).
All eight stories of this book depict the
constant changes in the life of a village person vividly.
The eight stories of this book consist of:
1. Kekra Lel Kelau: written on 23.01.2018
2. Subhimani Jingi: written on 28 Jan 2018
3. Babak Bag-Bagiya: written on 3 Feb 2018
4. Ab-Tab: written on 7 Feb 2018
5. Agilah: written on 11 Feb 2018
6. Kukurpan: written on 28 Feb 2018
7. Herayal Jingi: written on 5 Mar 2018
8. Asha Par Paani Phir Gel: written on 9 Mar
2018
1. Kekra Lel Kelau:
This short story begins with a conversation
among people sitting around a bonfire on winter days. Bhogilal bhay is an
Ayurvedic Doctor who is not able to keep his health well. His family also
became disconcerted, all his family except his wife migrated to cities. The
conversation goes on regarding the environment and other aspects of the
socio-environment of village people, which has changed for some people who were
not able to cope with it.
2. Subhimani Jingi
The author has vividly depicted the third
gender problem. An adolescent Shyama is neither a male nor female, so the
people, including the mother, decide to hand over Shyama to the Kinnars. But
the father rose in favour of the boy and decides to provide him with all such
skills necessary for a respectable life. He gives an example of Lord Shiva who
is called half male and half female (Ardhanarishwar), and of Krishna who enters
the group of females by transforming himself into Shivani. The mother, seeing
the resolve, also comes on the side of her husband.
The problem of other sex, hitherto unknown in
Maithili literature, has come to the attention of the author. Shyama is a child
that is indisputable. Shyama has every right to live a dignified and respectful
life and for that necessary skills are required and would be provided to him.
The siblings convince the mother but after the stories of Shiva and Krishna are
placed before her, she goes in repentance as to why she was not taught these
stories earlier. The third sex, particularly in the village society, has been
shown with a new perspective.
3. Babak Bag-Bagiya
This short story deals with the issue of
"Mathas" and asceticism. Goverdhan Das was a poor child whose parents
died while he was young. He becomes the successor of Mahant Gokul Das. Through
his story, the author travels to the hinterland and presents the untouched
states of village life. Through his gardens, the Baba was getting remembered
but now these gardens are vanishing due to poor upkeep.
4. Ab-Tab:
The vegetable articles used during the
village feast are the medium through which the author takes the issue of
development affecting village life.
5. Agilah
Pakshadhar's Uncle returns to the village
after retirement. Munilal is his cousin. Munilal's daughter is widowed. Munilal
and his daughter Savitri are the objects through which Pakshadhar wants his
reform agenda to go through.
6. Kukurpan
The method of resolution of disputes in the
village is the subject matter in "Kukurpan". The resolution can be
provided only by a person who is capable of being so.
7. Herayal Jingi
In "Herayal Jingi" the issue of
development in the village post-independence has been described with the
example of Kamalpur village, the issue of caste and faulty development model
has been given a fresh treatment.
8. Asha Par Paani Phir Gel
Lalit is a literate agriculturist. He starts
farming sunflowers. Through his experiments, the author finds space for
detailing actual problems faced by the agriculturists, the ravage of nature and
so on.
Dekhl Din: Short Story, PallaviPrakashan,
Nirmali, Supaul, (Bihar), 2018
A family which is lived for three generations
in a village and a family whose second generation has migrated to the town have
been compared. The superiority of the former has been established in the title
short story of the collection.
Gapak Piyahul Lok: Short Story,
PallaviPrakashan, Nirmali, Supaul, (Bihar), 2018
This is a collection of thirteen short
stories. The title short story deals with have depicted the society existing at
the time of the permanent settlement-Zamindars. The resources were held by a
few, the system continued in Independent India. The people started capturing
the lands resulting in litigation. The title short story depicts one such
litigation involving thirty-five people along with Deenbandhu Kaka. On the day
of the judgment of the case, there happened a bus accident which was carried.
Lahsan: Novel, PallaviPrakashan, Nirmali,
Supaul, (Bihar), 2018
BIRTHMARK (Lahsan): It is a story of a person
from a village, who gets disenchanted with city life, where morality- both
social and personal- has no meaning. It describes vividly the village and city
life, and in that description, one finds no charm in city life for ordinary
class people. Its plot revolves around personal upheavals, but the actual
beauty of the novel lies in its vivid presentation of city and village life
from the point of view of economically lower-class people.
Rahe Joker Pariwar: Short Story,
PallaviPrakashan, Nirmali, Supaul, (Bihar), 2020
The loss of livelihood is the major reason
for the migration from Mithila. But the people who migrate include the
well-offs also who migrate for an easier life. So, thirty years ago, despite
being well off Shantinath left Chanpur and migrated to Shati Niketan (Shanti-
peace!!) in search of peace. And even when some people from his village found him,
he had no regret. Unlike his other books, this migration of the well-off in
search for peace compares and depicts the tussle around the social life of
Mithila.
Gamak Jingi: Short Story, ShrutiPublication,
New Rajendra Nagar, (New Delhi), 2009
This collection of short stories contains nineteen
short stories. The author was given Tagore Literature Award (Sahitya Akademi)
for this book. Every story in this book depicts the hardness of village life.
The people have to bow before natural calamities. However, the people in these
stories rebound without exception and refuse to let down or migrate.
Maulayal Gachhak Phool: Novel,
ShrutiPublication, New Rajendra Nagar, (New Delhi), 2009
It is his first novel which deals with the
problem of migration from the villages. The novelist envisages the rejuvenation
of worn-out systems which will stop migration.
Utthan-Patan: Novel, ShrutiPublication, New
Rajendra Nagar, (New Delhi), 2009
Even the laziest can move forward if he has a
desire for economic improvement. Shyamanand brings technology to agriculture.
Unity is essential if one has to stop the breaking of and migration from
villages.
JingikJeet: Novel, ShrutiPublication, New
Rajendra Nagar, (New Delhi), 2009
The writings which deal with village life are
full of negative forces. The author puts a break on the disappointment arising
out of such negative writings about village life.
Mithilak Beti: Drama, ShrutiPublication, New
Rajendra Nagar, (New Delhi), 2009
This is a drama dealing with the miserable
life of daughters in the villages of Mithila. There are many forms of
discrimination, the author has chosen the deformation of relations after the
marriage of the female. The reason for it is enshrined in the unequal treatment
between daughter and son from the day he or she is born.
Taregan: Inspirational Story Compilation,
ShrutiPublication, New Delhi, 2010
This is children's literature and is a
collection of 111 inspirational seed stories which includes the gist of some
masterpieces from the world literature curated for the children.
Jeevan-Maran: Novel, ShrutiPublication, New
Rajendra Nagar, (New Delhi), 2010
The spiritualism in the author comes to the
fore, the real life would be the afterlife.
।
JeevanSangharsh: Novel, ShrutiPublication,
New Rajendra Nagar, (New Delhi), 2010
The author compares two villages the
Banspura, which he tells us is the less developed and the Sisauni, which is
comparatively more developed. The comparison is based on the perception of
developed and less developed among the people of the villages, which is the
view of the author as well. The Sisauni people have a middle school, they have
their Public Durga Pooja in their village and the fair is organized there. But
the Banspura people have none of these although they do organize on an
individual basis a 24-hour kirtan and public langars occasionally. But the
Barharba village is more developed than these two villages. They have a High School,
and they organize more public functions. And lo! Here comes the Katharba
village. It is the most developed where besides the High School, there is a
hospital also, and they organize several other public functions.
Bajanta-Bujhanta: Seed Story, Shruti
Publication, New Rajendra Nagar, (New Delhi), 2013
This is a collection of sixty-eight seed
stories which has been woven around different social issues. The ensuing social
changes and upheavals going around the villages at the individual and social
levels are the theme for the stories of this collection.
अपन मंतव्य editorial.staff.videha@gmail.com पर पठाउ।
