The Best Stories of Modern Bengal. Vol. I (Edited by Dilip K. Gupta: Translated by
Nilima Devi). Publishers: The Signet Press, Calcutta.
This is a collection of twelve Bengali short
stories rendered into English. The Publishers blurb says that they are twelve
most representative stories written by famous authors and that, as the best
among modern writers could not all be presented in one volume, a companion
volume is in preparation. “To translate Bengali literature into English,” the
blurb proceeds, “is a most difficult task. Because in spite of being the
world’s richest language English is found lacking when expressing Bengali
literature in its lyric a mystic and romantic phases.” One can well agree that
translation is difficult but the assumption of superiority made in this
sentence is rather facile. Leaving the claim open, however, it may be said that
so far as the stories include in this volume are concerned, inadequacy of
expression would appear to be the fault not of English but the translator. I
have no desire to prescribe what is correct English; yet I should say that I
felt in a number of places in reading these stories that the language was
defective. Apart from errors of grammar and idiom there is in the translations
an attempt to reproduce in English everything that may be found in the Bengali
original. That is clearly a mistake, for particles, phrases and turns of
expression that make Indian languages flexible and seem quite beautiful in our
speech do not suit the genius of English and have to be either omitted or
expanded to the full meaning implicit in the original. The indifferent quality
of the translation is, however, seen more in the dialogue than in the narrative
and as it happens that the finer stories are more narrative than dialogue, the
translation of the better stories is definitely more successful.
The stories included in the collection are of
course of varying quality and substance. ‘Harendra’ is a picture of youth and
maiden who could not marry because social etiquette demanded a payment by the
youth which he could not make, and of the blasting of their lives in
consequence. The picture is slightly spoiled by the purpose becoming obtrusive.
‘Upayachika’ (The Importunate Lady) is a picture of a young woman, unhappy in
marriage and anxious to settle with a suitable companion, who is unable to
settle so and turns Muslim and marries a fruit-seller from Peshawar.
Incidentally the story describes the notions about sex of a common young man
and a more educated friend of his. ‘Parivartan’ (The Change) shows a young wife
wishing to die when her husband is very ill and she fears he may die, and that
husband improved in health and, after that wife’s death, marrying another woman
of the same name. ‘Meghamallar’ (The Monsoon Melody) is a piece of imaginative
creation, a musician bringing the Goddess of the Arts to earth in her form and
his companion imprisoning her. To release the Goddess the man who brought her
down has to die, and he makes the sacrifice and the girl who loves him and is
away from him at a distance, dreams of him. ‘Raj-Jotak’ (The Perfect Match) is
a picture of two couples with special emphasis on one of them. In this case the
wife is a person of orthodox notions, which fact causes a lot of difficulty in
bringing a sick child and the husband wearies of the wife, feeling particularly
dissatisfied when he compares her with the wife of a friend. Later, however
that friend and his wife being away, this husband experiences a revulsion in
favour of his wife and thinks of her with tolerance and even tenderness. Siree
(The Stair) is a picture of life in flats. ‘Veronal’ is ghost fiction bringing
in incidentally the gay and risky life of Paris. ‘Banamarmar’ (Forest Murmurs)
is an attempt to conjure up the romance of a Prince and Princess of old time in
the vicinity of a ruined fort. ‘Punnam’ (The Son) describes the trying life
through which a father and mother pass in bringing up a sick child and saving
him. They are conscious that the child saved is a poor creature in contrast
with another child also sick but gentle and gracious. The father does improper
things to save this worthless piece of humanity. The other child who might have
been of greater use to mankind dies. ‘Ati Gharanti Na Pai Ghar’ (The Home-bird
Never Finds a Home) is the story of a young woman who has no children for years
after beginning married life. The mother-in-law ill-treats her horribly and her
friends help her in doing this. She escapes this torture when the husband takes
her to the city, where he is working, but there she is lonely and is reduced to
the necessity of having a make-believe child in a doll. She is in-different to
the husband one day and he marries again. She learns of this and commits
suicide. Post-mortem dissection shows that she was pregnant.
‘Go-trantar’ (He Changed his Caste) is the story of an educated young man for
whom the world has no use and who takes employment in a sugar factory away from
home and there in inferior company falls into vice and finally betrays the
woman with whom he consorted and her brother whom he has used as his ally.
‘Jalsa Ghar’ (The Hall of Entertainment) is the story of a zamindar, the last
of his line and fallen on evil days. He has the defects and qualities of his
class and, provoked by the newly-rich one-time dependent who had bought up his
estate, he revives in a last spurt the spirit of entertainment which had
depleted the fortunes of the house in the past.
The editor is justified in claiming that the
stories help us to get a picture of Bengal. Short notes at the end of the
volume give some idea of the writers of the stories. Some sentences in these
notes are rather recondite but the notes are on the whole helpful and well
written. It appears from them that the writers of the stories are all less than
fifty years old and that they have had very varied kinds of life. Two of them
are working for cinemas and one is a member of the Indian Civil Service. The
literature represented in this book comes therefore from many levels of social
life and this enhances its value. The preference of a particular reader should
not receive too much emphasis but a reviewer might be permitted to indicate his
own reactions to the stories without insisting on them. The stories of
Jyotinmoyi Devi, (Raj jotak), Premendra Mitra, (Punnam), and Shylajananda
Mukherji, (Ati Gharanti….), show a knowledge of domestic life and insight into
character which are truly admirable. Maneck Banerjee’s picture of flat life is
convincing. So are Subodh Ghose’s description of life around a sugar factory and
Tara Shankar Banerjee’s picture of the decadent aristocrat. Narrative skill
reaches notable levels in ‘Punnam’ and ‘Ati Gharanti’ and ‘Jalsagarh’.
All the stories are well worth reading and should
be welcome to lovers of literature in the rest of India and elsewhere. That
there should be so much work of such quality in one province in our country is
very encouraging. I make this statement remembering that the province is Bengal
and wealth of talent is what one would expect there.
The title of the Volume should perhaps have been
“Best Short Stories” instead of and not merely “Best Stories.”
I congratulate the Signet Press of Calcutta on its
enterprise and wish that literary workers in other Indian Provinces should
follow this example and bring out volumes containing work of quality, which is
to be found in their languages.
Folk Dances of India: By Miss Hildegard L. Spreen, M.A., (Columbia):
Published by Humphrey Milford. Oxford University Press. Price Rs. 4/8/-
The origins of all highly developed dance systems
in the world can b traced to the folk dances of their respective countries and
peoples. These simple dances have not only been the original sources of
classical dancing but also contributed from time to time to nourish and
invigorate the developed systems when they become anemic or too highly
sophisticated.
Notwithstanding the fact that the classical dance
in India came to be developed with highly complicated technique and conventions
even from pre-historic times her folk dances did not disappear but continued to
flourish with their simple steps and natural movements, as an inseparable part
of social customs and manners. In a vast country like India with various type
of populations, it is but natural that their folk dances too should have
innumerable varieties and most of them were appreciated and enjoyed popular
favour too till two or three generations ago.
But owing to various factors like English education
and changes in the economic and social life of the people, a general loss of
interest in their own culture and arts affected the people of this country for
a time. Thanks to the efforts of the pioneers who laboured and fought hard for
the resuscitation of classical dancing, especially in South India, it is again
coming to its own bringing in its wake a corresponding interest in folk dances
as well. Such a revival naturally leads, in the initial stages, to confused
attempts and methods of all sorts to bring back to life many forgotten things.
At such a juncture, Miss Hildegard L. Spreen’s book
dealing in the main with the Kummi and Kolattum dances for which
South India is noted, is not only an index of such a widespread revival of
public interest, but also timely, as a useful service to regularise and
standardise those forms for the benefit of all who want to make use of them,
especially teachers and school children.
The talented authoress has in this book taken up
for study some of the typical forms of folk art as found in Tamil Nad and
Malabar and brought to bear on it a scientific mind. She has dealt with the
practical aspect in all its details. Along with the songs in their respective
South Indian languages she has also given their translations in English and
rendered some of them in Indian notation as well as staff notation. The poses
of the hands and patterns of movements are also illustrated by a few sketches.
A book of this kind is bound to be useful not only to teachers in schools in
India but also to westerners who want to form a fair idea of this country’s folk
dances.
The authoress has done well to include a few songs
of the late C. Subramania Bharathi, the famous patriot-poet of modern times.
However, in the translation of his beautiful verse entitled “Senthamil’Nadu”,
(on page 42), the meaning given for the line ‘Ten vandu payadu kadinile’ is
‘Our ears are pierced by the honey of delight! The sweet honey (of the
name of Tamil Nad) can only flow in or pour in and not pierce!
Except for an error of this type, due perhaps to
the difficulty in catching the correct spirit of one language in translating it
into another, the book is valuable. The size and get-up of the book also add to
its attraction.
E. Krishna Iyer.
Towards Lasting Peace: Edward Benes, A Padma Publication. Pp. 34. Rs.
1-2-0.
This is a collection of three lectures by President
Benes. “The Present and the Future peace”, “The Future of the small
Nations and Idea of a Federation”, and “Towards a Future and a More
Lasting Peace”. As the title of the booklet suggests, it is a consideration
of the possible lines on which we may progress towards a lasting peace. Among
many usual suggestions the author makes out a brief case for a political
reorganization of the European continent into federal blocks and this, without
the least interference from the so-called Big Threes and Big Fours. The author
draws attention to the follies of the past like Germanophobia and the absence
of any check or sanctions or international police to safeguard the peace of
Europe.
President Benes emphasises the need for recognising
sovereignty and nationhood, which in this scheme of political thinking “is an
absolute value. Ignoring it is to build upon shifting sands.” He illustrates
this with the example of his own country. “Peace is indivisible and the
insecurity of the smaller nations will always mean the insecurity of the Great
Powers as well.” Regarding the nature of the Union into which Dr. Benes wants
the smaller nations to come, he suggests the pattern of the British
Commonwealth not the U.S.A. The kind of democratic regional decentralisation
suggested is to be free of exaggerated local nationalism, and rigidity, and it
must recognise the political equality of the member states.
The last lecture deals with some of the aims of the
Second World War, and also a consideration of the problems of Peace.
B. S.
A Case For Constructive Pacifism. By Aldous Huxley. World Federation Series. Aundh
Publications Trust.–A Padma Publication. Pp. 48, As. 12.
This small pamphlet makes out a strong case for a
practical and constructive peace in a world federation. The author makes a
psychological approach to the problem nor does he forget the fact that the
‘unconscious has also its significant role’ to play.
The author proceeds to consider next a series of
objections from an anti pacifist-heckler and disposes of them.
The first of these objections making it out that
pacifism is against nature whereas war is not is met by the author who says ‘a
fight, a scramble or a conflict, the expressions of the pugnacity instinct,
should not be dubbed a war of the human (inhuman?) kind that is fought between
man and man.’ The anti pacifist then takes cover under the biological pretexts
that war is expression of the struggle for existence and natural
selection. But even assuming that the best survives biologically after the
struggle for existence and natural selection, what is it that is left after a
war in a war-ridden country? Helpless orphaned women, children, invalids, old
men, the infirm, mentally and physically. What a joke to call these the
survivals of the “fittest”! The next the imagined indispensability of war in a
civilization of the progressive kind. The author shows the hollowness of this
objection by instancing the Indus Valley Civilization, which was possible
without wars. That force is a necessity to preserve order in society is the
next argument of the antipacifist. The author convincingly argues that the
present existence of society is made of possible only because more co-operative
forces are at work than disintegrating forces like wars.
Is there an alternative to War? Yes. The author
considers the alternative in a practical way. His solution is peace,
constructive, preventive and much as it may sound a paradox, combative also,
and be evolves a technique of his own, quoting a mass of evidence from present
history and contemporary progressive political tendencies.
It is a stimulating essay.
B. S.
The Future of Indian States: By V. B. Kulkarni. Published by Thacker, Ltd.,
Bombay. Price Rs. 4-8-0.
The present publication aims at giving a vivid, and
accurate picture the condition in the Indian States, and attempts to solve the
several problems to which the peculiar position and tradition of the Indian
States have given rise. The author refutes the contention that the assistance
given by the Princes to the British Government during the last War and now is
an instance of their firm faith in and loyalty to democratic ideals. The States
are “the product of a capricious, and arbitrary political demarcation.” Misrule
is more often the rule than the exception in an Indian State, and with a few,
notable exceptions like Mysore, Travancore and Baroda, the States are ruled by
self-complacent princes, who are impervious to all progressive ideas. The
section on “The Problem of the Small States” shows how they constitute a
hindrance to natural progress and how the deliverance of the States consists in
their agreeing to form a strong federal union. The last chapter argues that it
is the duty of the Paramount Power to persuade and, even to force the Princes
to give up their antiquated notions and do their duty by their subjects. The
book is a warning, none too early, to the Indian Rulers in general, that their
best security is in the welfare and progress of the people as a whole.
H.G.S.
Our Agricultural Plan: By D. S. Dubey, Kitab Mahal, Allahabad. Rs.1/8.
Prof. Dubey, Reader of Economics, Allahabad
University, draws up a bold and revolutionary plan in this book for the
rehabilitation of our agriculture, so that a 200 % increase in the standard of
living of the rural population may be secured. The pivotal assumptions in the
Plan are the establishment of Village Panchayats enjoying large powers of
autonomy, collective farming, (through Co-operative Societies), for which the
Professor has generally drawn upon the Russian example, and liberal grants from
state funds to finance all round rural reconstruction. It is difficult to share
the author’s view “that there is nothing in our Plan which the present
Government cannot undertake”–no constitutional difficulty perhaps, but the want
of will to put through a scheme that implies a practically revolutionary
outlook, property rights, and the view-point of the average revenue official
who belongs to the ‘ruling class’ are big hurdles to get over. All the same the
Professor deserves our gratitude for the care with which figures have been
worked out and for the emphasis laid by him on rural development. We trust the
Plan will get the attention it deserves when the proper time arrives.
K.S.G.
Indian Music: An Introduction: By D. P. Mukerji (Kutub Publishers, 242
Shukrawar, Poona. Price Rs. 5-0-0).
The author possesses a historical sense combined
with a deep appreciation of the finest traditions of Indian music and cultured
sympathy for progressivism. The book was originally prepared for the benefit of
western readers. The author has expounded the subject in all its essentials,
combining brevity with accuracy. But one wonders if even a masterly academic
exposition of this kind can convey to foreign readers, in any measure, the subtleties
and the fascination of the art. Indian music lovers should also find much in
this little book, to say the least. There are three important ideas set forth.
The first is that Western music and Indian music are not essentially different,
the difference being only one of emphasis on certain features. The second idea
is that “there is no Pakistan in music,” that some of the most significant
contributions to Indian music have been made by Muslims. The last, and the most
important idea, is that Indian music has always been inspired by the people:
who have ever kept in them unimpaired by the buffetings and ravages of fortune
in other departments of life, their love for the really great and pure.
“Vulgarity of public taste in music is a myth artificially created and
deliberately fostered. If it is anywhere, it is to be found in the drawing
rooms of the educated and the new rich. But they are not Indians.”
The author has dealt with the classification of
Indian music, on the basis of notes, on other bases. There is a fund of useful
information enabling the reader to a due appreciation of the highly organised
character of Indian music. The contemplative aspect of our music is rightly
emphasized. Its philosophic significance in relation to our very attitude to
life in general is brought out. The author in this connection speaks of the art
of listening to Indian music: listeners are only helped by the musician to
catch the glimpses of the eternal pattern of notes, and enjoy it by sympathy.
At the end of the book, the author outlines the
achievements of the great “musical pedagogue” Tagore who invented new, melodic
forms. “Tagore’s chief contribution is on the side of release and progress.”
The West has played its part too in new-shaping Indian music. Looking historically
at the music of India as it has evolved from the proud and pure Dhrupad style
of singing to the Khyal style acquiring and incorporating new graces, one
cannot help feeling that the three-dimensional music of the West would impart
to Indian music a new fascination. Experiments are going on, and, possibly
before very long, Indian ears will surely respond to the appeal.
At the end of the book there are an explanation of
the notation system, scales, and lakshana geetas of certain ragas.
The book is printed on hand made paper and contains
coloured reproductions of three Ragini pictures.
H. G. V.
Niagara: By Ramdoss, Anjaneyulu, Subrahmanyam. Publishers: Navya kala Parishad,
Narasaraopet, Guntur Dt., Pp 58, Price Re. 1
These three poets introduce themselves well in this
short but representative compilation of their writings. As all the poems have
been written after 1940 they bear the inevitable stamp of war and its problems.
They are swift and carpingly critical in mood and passionately denounce the
existing state of society and form of government. In form, there is an echo of
Sri.–Sri’s metreless writings, but the composition is more diluted and
repetitive. The content is “progressive” in character and fervent appeals are
made to create mass rebellion against the exploiting classes. Every event of
history is view with the glasses of class struggle. Ramdoss judged by his
earlier works has turned over a new leaf in the strength of expression,
sincerity of thought and directness of appeal. Anjaneyulu is sober and critical
but is well confident of a communist Utopia! Subrahmanyam is genuinely poetic
in his “Thakur chandra Singh” but, later on, had to become a victim of his own
convictions. Anyhow this book, as part of propaganda literature in favour of
communistic ways of life, serves its purpose well.
D. V. Krishniah.
Samyukta: By Vemuri Venkata Ramanadham, Andhra University, Guntur. Publishers:
Jyotirmayi Publications (Illustrated), IV + 37 Pp. Price AS.10.
The time-honoured epic of the princess of Kanouj is
the theme of this booklet restated in sweet verse-dialogues with some
deviations from the traditional story here and there.
The author is very strong at Tatsama diction
and though at many places the poems are verbose and roundabout, they maintain a
pleasing atmosphere. Both modern and mediaeval metres are used and it become
clear that whenever old vrittas are attempted, the composition smacks of
the Prabandhic spirit especially of Mukku Thimmanna. The long and spirited
repentance of Jayachandra is soothing to the embittered nerves of readers,
irritated over the undeserved success of Ghori. The modern interpretation of
the incident of Kanouj and its repercussions, whether justified or not, are
expressly stated through all the characters. This makes the whole angle of
vision intensely patriotic. But the characters here are expressing more than
they could have ever suspected in their own days.
On the whole, the first attempt of the author is
well begun and shows considerable promise.
D. V. Krishniah.