THE ALMIGHTY'S SATIRE - The intervenion of God in the modern short stories

This article examines short story of two writers known for their contributions to the Hindi literary world. Mohan Rakesh (1925-72) and Harishankar Parsai (1924-95) are famous for their critical opinion on societal issues like corruption, erosion of values and materialism. Having similar views on society the two writers differ in style. Harishankar Parsai has a simple and direct style of writing, whereas Mohan Rakesh’s writing created rage amongst his reader towards the modern nature of mankind. Through this article I want to examine if both the stories i.e. Bholaram Ka Jeev and Parmattma Ka Kutta represent divine interventions in the modern world of the Nayi Kahani writers. The use of satire and element of mobility of thoughts, values and divine rather than physical being and objects. The story revolve around corruption, but in both the dynamic and static element of movement are different. Aspects of mobility might not be felt in the story but the idea it covers is mobilising. The mobility the story has covered from comparison of pre independence India to post independence where corruption has rooted itself in the very nature of human and society. Thus their stories are reflection of the grievance of the common man.

Introduction

Nayi Kahani movement started a wave of modern stories highlighting the  social, political and economic relation that exist in the post independence India. Though they were not based on a particular ideology or concern, they represented the realitites of the middle class society. In times where change is so evident and powerful, literature becomes a part of it. As whatever happens in the society is more or less reflected in literature making it a manuscript to refer in the future. Mohan Rakesh and Harishankar Parsai with their stories Parmatta ka kutta and Bholaram ka jeev respectively have made them self a part of this fight against corruption with their strong opinions.

The stories have been written in a time period between  two massive events in the history of India after Independence, the communal bloodsheed followed by war with China (which India lost) and Indira Gandhi declaring emergency. There was a major set back in economy faced by India leading to poverty and helplessness among the citizens where the political leaders and officials fourished with wealth. This was the time where the seed of corruption planted ages back started appearing before the human eye clearly. Speculation turned to turth and later into reality. The effects of economic models, policies and regulations in a democratic India seem to surface negatively. I remember my teacher saying ,” पहले हम अंग्रीज़ो के ग़ुलाम थे, और आज आपने भ्रष्ट नेताओ के।” (Appendix 1) when we taught us ‘Bholaram ka jeev by Harishankar Parsai.

At the time when the stories were written people were quite aware of what one suffers in a corrupt environment – it was every man’s story either he was suffering, benefitting or simply ignorant. The characters developed as the story moved forward. Revealing more as the layers of character peeled, explaining the readers ‘why’ the character said or did a certain thing. The focus of Mohan Rakesh was always the characters in the background of the issue he addressed, but it was the opposite for Harishankar Parsai. What also differed the two writers was their approach with comedy and satire. Harishankar Parsai saw satire as a very positive tool. He believed that satire is not about giving lessons or pointing out the negatives, but a way of showing one still believes in a better future. But compared to Parsai, Mohan Rakesh’s works reflect darker and metaphorical satires most evident in his plays.

I selected these short stories as they talk about a problem that India is still facing, thus the question of what does mobility mean in this short story.

Mobility here is not defined to a particular space, but travels through different time periods and universe. Mobility is seen between reality and mythology, or in other words between real experience and incongruence.

I personally also liked the characteristics both the stories represented in their similarities as well as their difference. It seemed like one mans story narrated by two individuals i.e. the God himself in ‘Bholaram ka jeev’ and the brother in ‘Pramatma ka kutta.’

Satire

Harishankar Parsai says that if everything works in order and there are no shortcomings in society or in one’s life, in such a situation there can be humour but, no satire. He comes from a mediocre background, someone who was given responsibilities at a very young age after his mother died. He had seen death at young age and his time away from problems was his satirical writing. Just like his life, his thoughts were very simple and direct, one of the reasons why readers enjoy his stories. His stories begin with lines saying something which immediately grips a reader mind and makes them think about the plot or the possible twist.

“ऐसा कभी नहीं हुआ था ……..” (Appendix 2)

The opening lines of ‘Bholaram ka jeev’ sets readers to work thinking what is this narration based on. It is later that one understands that the story is based on corruption and bribery set in modern government office.

What makes it more interesting is the introduction of historic divine characters, who are not represented in accordance to the usual norm.

‘Power corrupts, but absolute power absolutely corrupts.’

This idea summarizes the functioning of bureaucracy in Indian government. In 1947 when India gained independence Nehru set up an economy controlled by the government detesting the private companies. Through his strict licensing and regulatory bodies he gave minimum scope for companies to earn a profit and tried maintaining the supply-demand equally. He didn’t believe in excess production or branding which is the only way for businessmen to earn their profit. While this idea seems fantastic as a policy in reality it led the country to face major poverty. As owner didn’t make profits, wages were minimum for employees. This system’s suppression on productivity didn’t motivate companies to improve or innovate making products unreliable. The central control involved endless approvals, layers of bureaucracy and regulation. This helped corruption creep into our systems and over time became a part of it.

In both the stories our protagonist are a victim of such a system, victims of delayed pension or injustice and cheat.

In Mohan Rakesh’s ‘Parmatta ka kutta’ the victim’s brother (the protagonist) is seen to be presenting his anger towards the government officials ignorant attitude:

“……..दो साल से अर्ज़ी यहाँ के दो कमरे ही पार नहीं कर पायी!” वह आदमी अब जैसे एक मजमे में बैठकर तकरीर करने लगा, “इस कमरे से उस कमरे में अर्ज़ी के जाने में वक़्त लगता है! इस मेज़ से उस मेज़ तक जाने में भी वक़्त लगता है! सरकार वक़्त ले रही है!.................. मैं भूखा मर रहा हूँ, और अर्ज़ी वक़्त ले रही है!” (Appendix 3)

In Harishankar Parsai’s satire ‘Bholaram ka jeev’ the victim, Bholaram’s wife is sharing her troubles with a monk (i.e. Narad) about how the officials in the petition office just don’t seem to bother about the suffering of the common man:

“क्या बताऊँ ? ग़रीबी की बीमारी थी । पाँच साल हो गये पेन्शन पर बैठे, पर पेन्शन अभी तक नहीं मिली । हर दस-पंद्रह दिन में एक दरख्वास देते थे, पर वहाँ से या तो जवाब ही नहीं आता था और आता तो यही की तुम्हारी पांसीयों के मामले पर विचार हो रहा है । (Appendix 4)

The unnecessary delay and troubles given to retired government employees has resulted in lack of youngsters interest in working for the government. The power has corrupted the centre to the extend that they cant see the suffering or the rights of their own.

So stuck are the characters Bholaram and Parmatta ka kutta i.e the protagonist from this story that their life revolves around it whether alive or dead. Looking everywhere Narad found Bholaram’s soul is found in his pension file. Poverty and hunger that his family suffered and will suffer until he gets his pension troubled him after his death too. What happened with Bholaram seems to be the fear of Parmatta ka kutta also, infact he says, “मेरा नाम है बारह सौ छब्बीस बटा सात! मेरे माँ-बाप का दिया हुआ नाम खा लिया कुत्तों ने। अब यही नाम है जो तुम्हारे दफ़्तर का दिया हुआ है। मैं बारह सौ छब्बीस बटा सात हूँ। मेरा और कोई नाम नहीं है।” (Appendix 5) He thinks in this wait for getting what is his, he will die of hunger as he has nothing. The writers have paid attention to every detail leaving a very vague line between the reality and satirical incongruence. Being a fiction the tale might not be real but the idea it represents is exactly the same.

The element of mobility appears not much in the story as it does in the mind of the reader. The petition or request filed in the office by our characters doesn’t seem to move and get passed. It is static. The entire story our characters are moving between different time periods and universe, life and death.

“……..यह मेरे भाई की बीवी है—उस भाई की जिसे पाकिस्तान में टाँगों से पकडक़र चीर दिया गया था।………… इसकी बड़ी कुँवारी बहन आज भी पाकिस्तान में है।…………” (Appendix 6)

In ‘Parmatta ka kutta’ where the petition to get the land they were allotted doesn’t seem to move from one bench to another for reviewing, the writer through the character takes us to historic events that occurred in India. In context to the above lines which seem to refer to the communal massacre in 1947 and the India-Pakistan War (1948 and 1965). As Mohan Rakesh has not quite developed this character we are not sure whether he was a victim of war or partition. One may consider him as a soldier as he has been given land by government, which they are fighting for, but at the same time he mentions about the deceased man’s daughter still being there. Thus we see mobility through reference or memories but not in that time. As the file was static on some bench and the protagonist too decided to still outside the office protesting for his right.

In ‘Bholaram ka jeev’ mobility seem to occur between life and death, heaven and earth. After learning from YamaRaj about the missing soul of Bholaram, Narad decides to visit earth in search of the soul.

नारद बोले , “मामला बड़ा दिलचस्प है । अच्छा, मुझे उसका नाम-पता तो बतलाओ । मैं पृथ्वी पर जाता हूँ।” (Appendix 7)

Harishankar Parsai with his humour covers another issue in society which people as everyday passes are getting comfortable with, Bribery.

उस बाबू ने उन्हें ध्यानपूर्वक देखा और बोला, “भोलराम ने दरखवासते तो बेज़ी थी, पर उन पर वज़न नहीं रखा था, इसलिए कही उड़ गयी होगी ।”

नारद ने कहा, ”भाई, ये बहुत-से पेपर्वेट तो रखे है । इन्हें क्यूँ नहीं रख दिया ?”(Appendix 8)

The tone an attitude with which the officials address Bholaram’s case when asked by the monk seem casual, like nothing was wrong. Whereas the monk seemed confused about what exactly did they mean by ‘वज़न’. It was later clarified to him that the officials were asking for a bribe in cash or kind. The representation of the current materialistic world we live in that has the creators of this world also confused.

In ‘Parmatta ka kutta’ also this attitude is spoken about.

“सालों ने सारी पढ़ाई ख़र्च करके दो लफ़्ज ईज़ाद किये हैं—शायद और तकरीबन। ‘शायद आपके काग़ज़ ऊपर चले गये हैं—तकरीबन-तकरीबन कार्रवाई पूरी हो चुकी है!’ शायद से निकालो और तकरीबन में डाल दो!” (Appendix 9)

Mohan Rakesh seems to bring out the character’s frustration with the above lines. As I said before both these stories compliment each other well. Where one is about God coming in search for  a soul and is confused with the human systems, the other represents the frustration of human with their systems.

Where the satire in Harishankar Parsai’s story comes with divine’s confusion on where mankind has come to. Mohan Rakesh’s satire seems darker with the anger as he even refuses to address the officials as ‘ बाबू’ but, call them ‘ सल्लो ‘ and ‘कुत्तों।‘

Divine Intervention and Death

It is the era of the Kaliyuga according to the Hindu Vedic scriptures. It is said in the Rig Veda that if a human being die of starvation in this world, it is a signal that corruption has made its way in the society. A society where the non-divine followers want honour, power and wealth for themselves and they have been multiplying over ages. Ethics and community welfare seems to loose themselves in this new world and corruption becomes stronger with economies being inert.

In ‘Bholaram ka jeev’ legendary character from Hindu epics and scripture like Dharmaraj, Chitragupt and Narad play a role in this modern tale of corruption on earth. Harishankar Parsai has developed this character in accordance with the current time. Dharmraj known for his righteousness and justice plays a different role in Parsai’s  tale. “ धर्मराज लाखों वंशों से असंख्य आदमियों को कर्म और सिफ़ारिश के आधार पर स्वर्ग या नर्क में निवास-स्थान ‘अलॉट’ कर्णते आ रहे थे-“ (Appendix 10)

Chitragupt, who records every human’s actions good or bad in his register seems to have no significance in a world where everything is not in order.

The writer jokes about the corrupt humans who reside in hell have benefitted with developing it. It is taught that God is the almighty and powerful. But this satire presents a case where God is made to realize that tables have turned and he is no more considered powerful on earth. Trying to get Bholaram’s pension Narad is asked to give his veena (an instrument) as वज़न  (bribe). The story also represents the karmic cycle of life and death. It shows how the soul in today’s world does leave the body but no more to start a new beginning. It stays clings to its worries of the previous birth as Bholaram in his pension file.

“तुम सब भी कुत्ते हो, और मैं भी कुत्ता हूँ। फर्क़ सिर्फ़ इतना है कि तुम लोग सरकार के कुत्ते हो—हम लोगों की हड्डियाँ चूसते हो और सरकार की तरफ़ से भौंकते हो। मैं परमात्मा का कुत्ता हूँ। उसकी दी हुई हवा खाकर जीता हूँ, और उसकी तरफ़ से भौंकता हूँ। उसका घर इन्साफ़ का घर है। मैं उसके घर की रखवाली करता हूँ। तुम सब उसके इन्साफ़ की दौलत के लुटेरे हो। तुम पर भौंकना मेरा फर्ज़ है, मेरे मालिक का फरमान है। “ (Appendix 11)

In ‘Parmatta ka kutta’ God doesn’t seem to come down to solve problems to the protagonist stands as a spokes person of his almighty telling all of the wrongs they have been practicing. Where the previous story talks about the God loosing his power to control the mortals and immortals, this story compare the position of the senior official to that of God.

In ‘Bholarma ka jeev’ it is Legendary characters that mobilize in search of the human. But in the other story God speaks through the protagonist.

Conclusion

Writing was not a weapon to fight for both the writers, but a medium for self-protection and self- development. Where Harishankar Parsai felt humour and satire was the best way to address issues in a society where domination, cheat, injustice and selfishness is spread on all sides suffocating the common man like Bholaram’s soul in his pension file. But Mohan Rakesh’s writing seems to attack the topic without trying to create a background of the suffering faced by the protagonist brother. He focuses on the plight of the family rather than what the victim had faced which Parsai shows in his tale.

What is beautiful about both these writers is their approach to mobility of thought in their stories, which we have spoken about. But the writers themselves have also mobilized in their life. They have mobilized from period before independence and lived in India after 1947, thus making their description vivid and realistic. Where Mohan Rakesh has spent his life in two politically active cities – Amritsar and Delhi, Harishankar Parsai has been in Jabalpur and Nagpur giving him a little exposure.

Being written by the writer of the ‘Nayi Kahani’ movement, their stories have no fixed structure or ideology, which makes it more interesting and relatable. Both the writers have experimented with their styles. Where Harishankar Parsai has made satire more free and independent by writing in different forms like short stories, novel, essays, etc. He has given a new identity to it.

But Mohan Rakesh has made his stories come alive through his vivid description and use of words that wouldn’t be invident classic stories. Thus minimizing the line between reality and fantasy or storytelling.

Appendix (A)

A 1 – First we were the slaves of the British and now of our own corrupt political leaders.

A 2 – Such a thing had never happened before.

A 3- “…..It has been two years that I have filed a petition, but it has not moved across rooms.” that man said as if he was sitting in a rally and making a speech. “It takes time for the petition to go move from one room to another! It also take time for it to move from one bench to another! Government take time! …………… Here, I am dying of hunger and all my petition and government is doing is taking time.”

A 4 – “It pains me to tell you,” she said, “He was suffering from penury. He retired from service five years back but he did not get even a paisa against his pension, which was legally due to him. Every fortnight or so he would send a petition to the government but to no avail. Either there was no response and if at all a reply came it was couched in the same stereotyped language that the matter was receiving the government’s attention. “

A 5 – “My name is twelve hundred twenty six over seven! The name given to me by my mother and father has been eaten away by these dogs. Now this is my name given to me by the government officials. I am twelve hundred twenty six over seven. I have no other name.”

A 6 – “……this is my brother’ widow - of that brother who was tortured and ripped apart by his leg which led to his death. ………..his elder daughter and the elder sibling of these children is still in Pakistan………”

A 7 – “A very interesting case indeed,” Narad said. “Well, give me his name and address. I intend going down to Earth.”

A 8 – The man listened intently to Narad and when he had finished the man said,” I’m convinced with Bholaram’s case. He had sent several petitions but they didn’t have any weight over them and hence flew away.”

Narad  said,” Bhai I see many paper weights on your table. Why didn’t you use one of these to keep the petition from flying?”

A 9 – “After years of education and spending these officials have learnt only two words: ‘Maybe’ and ‘Almost’. Maybe you petition has moved forward - the investigation is almost over. Maybe gets replaced by almost and almost gets replaced by maybe.”

A 10 –  For aeons Dharmaraj had been assigning places to the dead in Heaven or Hell on the basis of the sum total of good or bad deeds performed by them in the course of their sojourn on this Earth. But what had transpired in this particular case was something exceptional.

A 11 – “You all are bloody dogs, and so am I. The only difference is you all are Government’s dogs - who suck on common people’s blood and bones and bark for the government. I am my Almighty’s dog. I breathe his air that keeps me alive and bark from his side. His house is the house of justice. I am the caretaker of that house. You all are the thieves of his treasure of justice. Thus barking at you becomes by duty, My Almighty’s decree.”