Mansarovar - 7

Munshi Premchand was the pen name of Hindi and Urdu writer Dhanpat Rai Shrivastava (1880-1936), born to Ajaiblal and Anandi Devi in Lamhi, in Uttar Pradesh. His skill earned him the title of ‘Upanyas Samrat’ (King of Novels) by Hindi literature enthusiasts. His work includes 14 novels, 250 to 300 short stories, several translations of English classics, and innumerable essays and editorial pieces. He also published and edited two literary journals: Hans (The Swan) and Jagran (Awakening).

Many of Premchand’s short stories were collected posthumously in an eight-volume series titled Mansarovar. Compact in form and style, they draw, as do his novels, on a wide range of Indian life during the British rule for their subject matter. Through simple yet rich narratives of ordinary life, he addresses topics such as caste, class, poverty, loyalty, courage, love, sin, patriotism and women's role in a patriarchal culture.

This seventh volume contains 23 stories, many of them concerning the Indian struggle for independence.

‘Jail’, the first story of the volume, is about women political prisoners during the rise of pro-independence movements in India in the 20th century. Kshama, a political prisoner with a one-year jail term, forms an attachment with Mridula, who is to be released soon. Both Kshama and Mridula are disliked by their fellow prisoners: Mridula because she cross-questioned the police in her defence during the trial and claimed that she was not a part of the protests; and Kshama for being distant with them. When Mridula is released, Kshama is afraid that she will be losing her only friend and companion. However, after her release, Mridula's family is martyred at a protest march, igniting compassion within her and driving her to join the fight against the British rule. She is arrested once again for leading a protest. This time, however, she takes it in her stride and earns the respect of her fellow prisoners.

In ‘Juloos’, Premchand illustrates how service to the British government pit Indians against their own countrymen. A procession taken out under the leadership of Ibrahim Ali meets police resistance led by Inspector Birbal Singh. The policeman, in fear of censure from his superiors and with a desire to be promoted, gives the order to lathi-charge the procession and himself causes the death of Ibrahim Ali. The story follows him as he reviews his actions and admits his wrongdoing. 

During the Non-cooperation movement, Mahatma Gandhi urged the people of India to refrain from consuming liquor. Stories like ‘Sharab ki Dukaan’ and ‘Maiku’ show how this appeal was put forth by workers on the ground and how it was received. Premchand’s protagonists give up liquor, embrace nationalism, and encourage others in the stories to do the same and rally against the British rulers. The Swadeshi movement is another major theme in Premchand's narratives. ‘Suhag ki Sari’ revolves around a woman’s dilemma when it comes to giving away her bridal sari to be thrown into a bonfire of British made clothes. She believes that burning the sari would bring ill luck to herself and her husband but relents. Her decision inspires many others in the village, and it eventually leads to the blossoming of a successful village market that provides employment to many and boosts local business.

‘Bade Ghar ki Beti’ is a story of ideologies, domestic bonds, self-respect and forgiveness. It follows Anandi who is married to Shrikanth, a generous and peace-loving man who upholds the ideal of a joint family. One day his younger brother Lal Bihari's rash behaviour towards Anandi creates a dispute between the two. The story depicts Anandi’s patience and generosity in dealing with the situation.

Many of Premchand’s protagonists in this collection are people who haven’t embraced patriotism and the freedom struggle. Events they witness throughout the narrative or encounters with social and political reformers encourage them to join the cause of Indian independence.

Focus by Fatema Kapasi.