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)
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Gajendra Thakur
Do not judge each day by the harvest you reap but by
the seeds that you plant.
- Robert Louis Stevenson
………………………………………………………………………………………………
Videha: Maithili Literature Movement
Parallel
Literature in Maithili and Videha Maithili Literature Movement
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)
Parallel
Literature
The
references to parallel literature are found in Vedas, where Narashanshi is
referred to as parallel literature.
Parallel
Literature in Maithili
The
need for parallel literature in Maithili arose due to the constant onslaught on
literature and dignity by the Public and Private Academies, for example,
Maithili-Bhojpuri Akademi of Delhi, Maithili Akademi of Patna, Sahitya Akademi
of Delhi, Nepal's Prajna Pratishthan, all of which are government Academies. In
addition to these Academies, the onslaught on Maithili Literature and dignity
was constantly done by the so-called literary associations which were
recognised by the Sahitya Akademi and were the main tool for usurping all the
literary space meant for this language. Besides these, the funding to these and
other parochial associations and organisations led to the presentation of an
interface in the name of Maithili, which was mediocre and non-representative.
The
Book of Bihari Literature (Abhay K. Editor)
This book contains five translations from non-representative Maithili
short stories into English by Vidyanand Jha. Nagarjun (Maithili's Yatri) and
Usha Kiran Khan are from the Hindi quota though both got the Sahitya Akademi
prize from the Maithili quota. Vibha Rani and Rajkamal Chaudhary are from the
Maithili quota though both wrote in Hindi also.
This book is edited by Abhay K. who has read Samskrit only up to
high school. Yet he pretends to translate Arthashastra directly from Samskrit
into English. I am Kovid in Samskrit and from the quality of the translation, I
can presume that he has used some intermediary language in translating Samskrit
texts into English. It is a matter of ethics to acknowledge the source.
Vidyanand Jha's translation is below par, for example, he has no
inkling what would be the English word for 'olak sanna', and there are plenty
of such instances. I have some suggestions for him: First, read A Bird's Eye
View on Mithila by Rajnath Mishra, it mentions all the terms for which you
could not find English equivalents. Then go to the Videha archive
(www.videha.co.in) and look for Umesh Mandal's Picture Dictionary containing
vegetation, animals and skill sets of Mithila, here you will find the actual
photographs too. Further, under A Parallel History of Maithili Literature
(Videha www.videha.co.in), you will find sample English translations of some
Maithili short stories. Therefore, what Vidyanand Jha is presenting as exotic
is the original thing of the Maithili Language (but not that of Maithili
literature, as was two decades ago). Interestingly his choice of short stories
reminds me of Contemporary Maithili Short Stories (Maithili short stories
translated into English) edited by Murari Madhusudan Thakur and published by
the Sahitya Akademi in 2005. It seems that the stories in this selection are
leftover material from that collection. Rip Van Winkle awoke after two decades
but Vidyanand Jha is still in slumber not realizing the changes that have
happened during the period.
If you compare the translation of this selection vis-a-vis the
English translation of Latin American Spanish literature, you would be able to
understand the difference.
But these types of selections are not known for their literary
excellence, Harper Collins publishes these types of selections for five-star
hotels and Airport lounges. The publishers announced this book on March 22,
2022. So, in 6-7 months, you will get old materials only.
The
Bride: The Maithili Classic Kanyadan by Harimohan Jha (1908-1984) translated
into English by Lalit Kumar (Assistant Professor, Department of English, Deen
Dayal Upadhyaya College, University of Delhi)- Harper Perennial (Harper Collins
Publishers)
I had pre-ordered the book, which was scheduled to be delivered to
my kindle account on the 1st of December 2022, but the delivery date was postponed,
and it was delivered to my account on the 14th of December 2022.
When Maithili was recognised by the Sahitya Akademi (National
Academy of Letters- of India) way back in 1965, Late Ramanath Jha stated that
his Maithili language is saved now (Maithilik Vartman Samasya, Ramanath Jha).
Sh. Harish Trivedi has committed the same mistake. In his foreword
Harish Trivedi writes- “In Hindi, the language to which Maithili is the closest
(and of which it was indeed an integral part until it was granted recognition
as a separate language by the constitution in 1993) ….”
Harish Trivedi refers to the inclusion of Maithili in the eighth
schedule of the constitution of India. Here the year mentioned should be 2003
instead of 1993. Moreover, Maithili was a separate language in 2003, 1993, and
1965 and during the time of pre-Jyotirishwara Vidyapati. The status granted to
Maithili by Sahitya Akademi and the Constitution of India, on the other hand,
strengthened the hands of the obscurantist elements like Ramanath Jha,
Shardananda Jha (he is not a famous person but why I have taken his name, I
will explain it later) and others who gaslighted Harimohan Jha. Harimohan Jha’s
Khattar Kakak Tarang, Pranamya Devata, Rangshala and Charchari all these books
were eligible for the Sahitya Akademi Award initiated in 1966 for Maithili (because
of recognition given to Maithili by Sahitya Akademi in 1965. But a philosophy
treatise was awarded the prize in 1966, this philosophy book itself is a
horrific one, and if one has read the book to understand the nuances of Indian
Philosophy, then he will have to unlearn first to be able to grasp the
philosophical concepts from a new book on Indian Philosophy. In 1967 no award
was given for the Maithili Language.
Ramanath Jha’s obscurantism vis-à-vis Panji is evident from one
example (because Lalit Kumar also seems to have followed in his footstep,
though he gives credit for his ignorance to some other writers). He was
casteist, conservative and confused. The inter-caste marriage in Panji was well
known to him (but he chose to keep the Dooshan Panji secret- which has been
released by us on google books in 2009), and it was apparent that the great
navya-nyaya philosopher Gangesh Upadhyaya married a "Charmkarini" and
was born five years after the death of his father (see our Panji Books Vol I
& II available at http://videha.co.in/pothi.htm ). Sh. Dinesh
Chandra Bhattacharya writes in the "History of Navya-Nyaya in
Mithila".
"The family which was inferior in social status is now
extinct in Mithila- Gangesha's family is completely ignored and we are not
expected to know even his father's name.", which is a total falsehood. He
writes further that all this information was given to him by Prof. R. Jha. So
how would this casteist-conservative-confused allow the award to be given to Sh
Harimohan Jha? So, the Sahitya Akademi saved the Maithili Language by
recognizing it, as asserted by Prof. R. Jha, is wrong and so is the assertion
made by Sh. Harish Trivedi.
Mr Lalit Kumar is a young person, but he is being misused by some
obscurantist elements, who gaslighted Harimohan Jha. Harimohan Jha stopped
writing in Maithili following the recognition of it by Sahitya Akademi and was
awarded the Sahitya Akademi prize for his autobiography in 1985, after his
death, which means nothing.
Mr Lalit Kumar writes- “Yoganand Jha’s Bhalmanusha (1944) and
Shardananda Jha’s Jayabara (1946) attack such social divisions that played a
decisive role in marriages.” Yoganand Jha’s Bhalmanusha (1944) was indeed a
pathbreaking novel, but Shardananda Jha’s novel was reactionary. Prof Radha
Krishna Choudhary rightly observes- “Yoganand Jha’s ‘Bhalamanusa’ deals with
the social problems connected with the problem of marriage. As a reply to this
novel, Shardanand Jha wrote a second-rate novel ‘Jayabara,’ having little
literary merit. (RADHAKRISHNA CHOUDHARY A Survey of Maithili Literature)
Mr Lalit Kumar for his Panji-related ignorance gives credit to Mm.
Parmeshwar Jha’s ‘‘Mithila Tattva-Vimarsha.” Prof Radha Krishna Choudhary
rightly observes- “Mm. Parmeshwar Jha’s ‘Mithila Tattva-Vimarsha’ is the
history of Mithila in Maithili prose and is based mainly on tradition. Mm.
Mukunda Jha Bakshi’s ‘Mithilabhashamaya Itihas’ gives an account of the
Khandawala dynasty. From the point of view of modern Maithili prose, these two
works are important, though from the historical point of view, are unreliable.
(RADHAKRISHNA CHOUDHARY A Survey of Maithili Literature)
The following excerprt from Our Panji Paband ((part I&II) is
being reproduced below for ready-reference: -
महाराज
हरसिंहदेव- मिथिलाक कर्णाट वंशक। ज्योतिरीश्वर ठाकुरक वर्ण-रत्नाकरमे हरसिंहदेव नायक
आकि राजा छलाह। 1294 ई. मे जन्म आ 1307 ई. मे राजसिंहासन। घियासुद्दीन तुगलकसँ
1324-25 ई. मे हारिक बाद नेपाल पलायन। मिथिलाक पञ्जी-प्रबन्धक ब्राह्मण, कायस्थ आ क्षत्रिय
मध्य आधिकारिक स्थापक, मैथिल ब्राह्मणक हेतु गुणाकर झा, कर्ण कायस्थक लेल शंकरदत्त,
आ क्षत्रियक हेतु विजयदत्त एहि हेतु प्रथमतया नियुक्त्त भेलाह। हरसिंहदेवक प्रेरणासँ-
आ ई हरसिंहदेव नान्यदेवक वंशज छलाह, जे नान्यदेव कार्णाट वंशक १००९ शाकेमे स्थापना
केने रहथि- नन्दैद शुन्यं शशि शाक वर्षे (१०१९ शाके)... मिथिलाक पण्डित लोकनि शाके
१२४८ तदनुसार १३२६ ई. मे पञ्जी-प्रबन्धक वर्तमान स्वरूपक प्रारम्भक निर्णय कएलन्हि।
पुनः वर्तमान स्वरूपमे थोडे बुद्धि विलासी लोकनि मिथिलेश महाराज माधव सिंहसँ १७६०
ई. मे आदेश करबाए पञ्जीकारसँ शाखा पुस्तकक प्रणयन करबओलन्हि। ओकर बाद पाँजिमे (कखनो
काल वर्णित १६०० शाके माने १६७८ ई. वास्तवमे माधव सिंहक बादमे १८०० ई.क आसपास) श्रोत्रिय
नामक एकटा नव ब्राह्मण उपजातिक मिथिलामे उत्पत्ति भेल।
So, the Srotriyas as a sub-caste arose around 1800 CE as per
authentic panji files.
Sh. Anshuman
Pandey [Gajendra Thakur of
New Delhi provided me with digitized copies of the genealogical records of the
Maithil Brahmins. The pañjīkara-s whose families have maintained these records
for generations are often reluctant to allow others to pursue their records. It
is a matter of ‘intellectual property’ to them. I was fortunate enough to
receive a complete digitized set of pañjī records from Gajendra Thakur of New
Delhi in 2007. [Recasting the Brahmin in Medieval Mithila: Origins of Caste
Identity among the Maithil Brahmins of North Bihar by Anshuman Pandey, A
dissertation submitted in partial fulfilment of the requirements for the degree
of Doctor of Philosophy (History) in the University of Michigan 2014]. Later
these Panji Manuscripts were uploaded to google books in 2009).
The so-called Maharajas of Darbhanga were permanent settlement
zamindars of Cornwallis, and there were so many in British India, but in Nepal
there were none. In the annexure of our book (Panji Prabandh vol I&II), we
have attached copies of genealogy-based upgradation orders (proof of
upgradation for cash). So, before 1800
CE, there was no srotriya sub-caste in British India and there is no
such sub-caste within Maithil Brahmins in Nepal part of Mithila even today.
Srotriya before that referred to following some education stream in British
India, in Nepal it still has that meaning.
Mr Lalit Kumar further tries to put his agenda by writing – “Harimohan
choose a middle ground in his reformist agenda.” He gives laughable reasons for
his contention viz. “he espouses the significance of local traditions,
languages, scripts, education system, and moral values” thereby meaning that these
are conservative values!
(All the referred books are available for free pdf download from
the link http://videha.co.in/pothi.htm
)
VIDEHA
MAITHILI LITERATURE MOVEMENT AND A PARALLEL HISTORY OF MAITHILI LITERATURE
Therefore,
the missing portions, the ignored and non-represented aspects of society,
started to be chronicled. It led to the depiction marked by the richness of
vocabulary and experiences and was a revolution in literature and art as far as
people speaking Maithili are concerned. The quality now has not remained
mediocre. The real power of the Maithili language was realised by the native
speakers, mediocrity was replaced by excellence. This attempt at the writing of
History of Parallel Literature for the Maithili Language arose as the mediocre
agency (private and governmental) funded so-called mainstream literature, which
has no readership, and no acceptance among the speakers of Maithili continued
to be presented by these Akademies as representative literature. The mediocre
interface of Maithili literature was presented by the government radio and
television stations also. Literary journals like Museindia (www.museindia.com ) & Publishers like
Harper Collins were also used for their sinister design.
RAJDEO
MANDAL- THE POET, THE NOVELIST
The
constant shedding of Tears -Maithili poem by Sh. Rajdeo Mandal - from his
anthology of poems "Ambara"
Out
of the eyes of my beloved
tears
like a river
always
keep flowing
and
in that water of tears
people
plunge
some
feel cold
and
some feel hot
some
say wow!
and
some feel bad.
but
my blind-deaf accomplice
does
not care,
her
tears always keep flowing
but
after some time, her tears stopped coming out
now
perhaps she has emptied herself of tear
or
is
she storing it!?
The
verse is not a popular genre, but it is appreciated by a few. For a language
like Sanskrit, the volunteers who are engaged in its popularisation, are using
simple Sanskrit prose for it. They translate short stories and novels from
other Indian languages into simple Sanskrit. Here the translation of the verse
is barred as the verse is read by none. In a language, the number of speakers is
so little that a need has been felt for organising camps for its spoken form,
translation from verse into that language is considered a misuse of resources.
In
Maithili, the situation has become grave. If we envisage a situation where
there are no villages left, the number of speakers of this language would
become almost NIL. People would speak in Maithili only in seminars and
sittings. The need is already being felt for pronunciation and vocabulary
enrichment classes even for the authors and singers of Maithili.
Then
what is the purpose of writing verse in this language? What is the purpose and
what is the need for it? People write verse due to paucity of time, as the
other genres require the devotion of more time. The situation becomes even more
grave when people give the reason for writing verses in this way.
In
this situation, the happenings of the neighbourhood, personal ambition,
derogatory remarks about others; and the travelogue, all have become the
subject matter of verse. But why not use prose for these kinds of subjects? The
short stories are transformed into drama form to stage it. But what is the
purpose of converting prose into a poem?
The
answer is both obvious and simple for those who know the so-called dried main
channel of Maithili literature. The readers of the converted poems are only the
partisan-critiques. And writers of those great poems themselves throw eulogies
on themselves as they have understood the call for self-sufficiency in this
way. Why depend on others for it? They write long prefaces in prose and add it
to their collection of verses, declaring their verses as great and
path-breaking!
Who
will understand the value of the creation of verse? The personal worldly
experiences, if these are not allowed to percolate deep down, would not be able
to transform into epic poems, even though those might be in rhythm. The
spiritual and other-worldly thinking, howsoever non-concrete would still not be
able to mesmerise, if that is not able to meet the worldly and make itself
relevant, even though it is non-rhythmic or subscribes to a particular partisan
grouping or uses crutches of ideology. The essential needs of man are food, clothes,
and housing. And after that the spiritual thinking and related needs. When
Buddha asked this question to all those who were seen participating in the
festivities, asked whether they know the eventuality of death and if they do,
how can they participate in those festivities. Likewise, the modern Maithili
poets, when they find the base of their language-culture and economics missing
behind their feet, even then they refuse to accept that truth and then they try
to insert the -isms to the national-international happenings into their poems,
they want to create patronising literature for the depressed classes and the
natives, they want to become a benefactor and so it fails to have a
cutting-edge effect.
But
when Rajdeo Mandal writes:
From
the percolating drops of blood
The
earth has become freshly bathed
The
bird then asks
Asks
from its heart
In
the incoming heavy and pitch-dark night
Would
our species survive?
,
then it goes into our blood and the blood starts running fast. The species of
the poetics of the poet or the species of that bird? No nod of partisan critiques
or a self-obsessed preface is required for this poem. No cartel or crutches of
ideology are required for this creation.
So,
the poem needs excellence. It requires a base of language and culture. It does
not need imported plots and subjects, which are imported to do favours to the
poem. It also does not need the imported emotion, which would be a superficial
attempt for searching for the disappearing language, and culture, which has
gone missing, and during times of dwindling economy of the region.
A
good poem can be written on any subject, it can be written on the anxiety of
Buddha, regarding the future of humankind, for consoling the heart also
otherwise people will have to go to the pseudo-preachers, on and for the
language, culture, and economy otherwise, we will soon have to start camps for
Maithili. The transmigration of imagery is also required, otherwise, we will
have to create an artificial atmosphere for the poet; for their poems, we will
have to arrange stages, and a staging camp will have to be organised for their
artificial vocabulary and ideology. And people would have to be trained for it.
The poets of the so-called mainline of the dried drain are just doing that.
The
rhythm and ups and downs of the Maithili language, the cultural and
professional superiority of its proletariat brimming with confidence, having
all kinds of professional and cultural skills, the superiority of its
cooperative living style, cultural conservatism, polity, daily affairs, social
values, morality, economic situation and adaptation amid flood-ravaged economy;
the religion and philosophy all should be the subject of Maithili poem. And if
that does not happen it would become one-sided, it will get entrenched after
getting lopsided, would become dead, fit to be framed and put onto the wall.
To
create poetry is a necessity, a literary urge for creation fulfilling this
urge. When the people of Mithila would go to the camps for learning the Maithili
language, then can only we start questioning the need for writing poems and the
purpose for creating all types of verse forms. Only then we should discuss the
futility of writing poems in Maithili. And that day must not come, for the
poets would have to remain alert. And so is Rajdeo Mandal and that is why
"Ambara" a collection of poems written by him has become the best
collection of this genre in the first decade of the 21st Century. His anthology
of poems "Vasundhara" is the next step. The excellence of verse
created by Rajdeo Mandal is because of its foundation, the foundation of
language and culture. The excellence is because he does not have to import the
contents of his subjects. He does not import emotions either, you will find
none. The expressions of his imagery lie in the rich vocabulary that he possesses.
Creating a poem is the only way left for Rajdeo Mandal. He must create poems; it
is a literary hunger and essentiality of his literary existence. The emotions
are poured out in a spinning rhythm and become his poetry.
"Rahab
Ahink Sang"- (Will remain with you only)- From "Ambara"
Crying,
calling
My
throat dried
The
lips dried
As
if I was thirsty
The
corpses all around
Are
laughing at me
Nobody
is listening to my voice
Where
has gone
My
society
It
was necessary to break
The
conservatism
Turning
of direction
For
the future
You
all are yourself the Greats
Move
forward and leave the squabbling
No
interruption will be able to stop it
I
have not done any big crime
Hey
respected you, come here
Do
not get angry
I
will not break any law henceforth
I
will not bother any of you now-on
Keep
your kingdom
I
do not want the headgear, the throne
I
will not change my colour anymore
I
will be with you all only, peacefully.
RAJDEO
MANDAL- THE FICTION WRITER
"Paro"
of Nagarjun-Yatri, (notwithstanding the unanswered question of whether it was
written originally in Maithili or was a translation from Hindi into Maithili by
the author himself) did depict first-hand hand account of the dwindling culture
of his Maithil Brahmin caste of contemporary times. He did depict the
socio-cultural situation of the period. The novel "Hamar Tol" (My
quarter of the village) by Rajdeo Mandal is a first-hand account of his
"Dhanuk" caste of Mithila and has been written in the settings of the
socio-cultural situation that this caste is peculiarly placed in. He inserts
everything in it, the belief, which is sometimes not rational; social reform,
love, hate, hope as well as disappointment. There was a void after Lalit. The
mainstream, as it is called, writers of the Maithili language got themselves
into a maze due to their chosen subjects. The dark enveloped the literary scene
wherein they found the exit tough, the going-on impossible.
The
"Hamar Tol" of Rajdeo Mandal purifies the account of the second-hand
account by Lalit in "Prithviputra;” as a result, the parallel movement of
the stream was able to take along the main course of literature and moved it forward
and made it relevant.
The
author, being a realistic writer, has been forced to make the ending a tragic
one. He refuses to see some struggles or is not able to see those, or nobody can
see these. But he gives details of those struggles too.
"Everyone
left the scene in a hurry.
There
began a fight between the Crow and the Myna. That fight remained unseen, only
the tree saw it. And the tree saw many more things, yet the tree remained
silent".
The
complexity and perplexity of that silence could be refined and presented owing
to the first-hand experiences of those unseen things by second-hand accounts.
And that is why this novel has secured its position in the literary history of
Maithili literature.
Five
short stories by Rajdeo Mandal
Rajdeo
Mandal adjudged the following five stories as the best of his short stories:
Rusal
Bauwa (An Angry Boy)
Avak
(Speechless)
Bechuak
Suiter (A Sweater for Bechua)
Electionak
Bhoot (The Ghost of Election)
and
Rakhbar (The Village Guard).
The
first one Rusal Bauwa (An Angry Boy) was written for the "82nd Sagar Raati
Deep Jaray", a night-long short story recitation programme held every
three months in the villages of Mithila, where the short-story writers read
their new and unpublished short stories. Another writer critically acclaims the
read short stories and the process goes from evening to morning. This time it
was decided that only children's literature (short stories) would be recited,
and this event was held in my village. The criticism of Rajdeo Mandal's short
story was assigned to Narayani. Narayanji noted that this short story reminded
him of Premchand's famous short-story Idgah. The story goes on like that. The
son of Fekan is angry, he wants new clothes otherwise he will not go to the
Durga Pooja fair. The son of Dhirendra Babu has new clothes. Dhirendra Babu is rich,
but Fekan is poor, but his son is much ahead of Amit, son of Dhirendra Babu in
every respect, be it study or sports. A discussion ensues between Fekan and his
wife, his wife accuses him of not fulfilling his responsibility even towards
his son. His son listens to all these discussions and consoles his father.
Avak
(Speechless) begins with some hilarious moments. Jitu reaches his in-law's
house where his brother-in-law introduces him to his friend. This person seems
to be part of the robber gang, and he saved his life.
Bechuak
Suiter (A Sweater for Bechua) deals with bonded labour, and poverty and hints at
thinking along caste lines among the police force also. The boy at the teashop
is a child labourer. It depicts entrenched corruption in the police force.
Electionak
Bhoot (The Ghost of Election) is a commentary on the electoral process and
democracy. The craft where the protagonist depicts a sequence of events, which
turns out to be happening in his dream, is a wonderful treat.
Rakhbar
(The Village Guard) is the story of Musba, the guard. His son gives a spear to
his wife (Musba's daughter-in-law) and instructs her to pierce the body of
Musba in case Musba quarrels with her. Musba, who is a terror outside is tamed
inside his house. Then the wordplay extends to the story of Sumna who attacks
him when he is behaving lecherously with her.
In
all the stories you will find the use of words and contexts which is absent in
mainstream literature. The vibrant life, the story of gloom, and cultural
paraphernalia even amid poverty were never heard of before the parallel
tradition storytellers came to the scene.
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.
अपन मंतव्य editorial.staff.videha@gmail.com पर पठाउ।
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