Dipak Kurmi
(The writer can be reached at dipakkurmiglpltd@gmail.com.)
As we grow older and gain experience, certain artists, writers, and
leaders become aligned with our personal ideologies. These individuals profoundly shape our beliefs, becoming almost sacred to us. We often reference their ideas, use their perspectives to validate our own opinions, and vigorously defend their actions in debates and discussions, sometimes to the annoyance of our family and friends. They occupy a cherished corner of our consciousness, serving as a vital source of support and sustenance for our beliefs and values.
Among the few figures I have long admired, Munshi Premchand (1880–1936) stands out prominently. His birth anniversary, celebrated on July 31st, recently prompted me to revisit his renowned short story “Idgah.” The tale narrates the touching story of a four-year-old boy, Hamid, who uses his modest three-paise savings from the Eid celebration to buy a metal tong for his grandmother, Amina, ensuring her hands are protected while cooking. While his friends indulge in costly toys, Hamid sacrifices his own desires, bravely defending his choice. His grandmother, deeply moved by his gesture, weeps and showers him with blessings, becoming childlike in her gratitude as Hamid momentarily becomes her guardian. This poignant story exemplifies Premchand’s talent, capturing the innocence of childhood, the nuances of child psychology, and the vibrant Eid atmosphere with remarkable detail. Premchand’s keen observation of society and his focus on socio-economic issues, coupled with a subtle undercurrent of humour, mark his storytelling style.
Munshi Premchand was born in Lamahi, a village near Varanasi, where he studied Persian and Urdu under the guidance of the village Moulvi. His mother, who adored him deeply, passed away when he was just eight years old, an event that profoundly impacted him throughout his life. This loss is reflected in his works, often featuring characters who, like him, experienced the early loss of their mothers. As a motherless child, Premchand spent his days playing and exploring the village, teetering on the edge of waywardness, but his passion for reading kept him on track. By the age of thirteen, he immersed himself in extensive volumes of Urdu literature, including works by Maulana Faizi, Mirza Rusva, Pandit Ratan Nath Sharshar (Afsana-e-Azaad), and Urdu translations of the Puranas published by Navalkishore Press, Lucknow. His understanding of the world was further shaped by his keen observations of society. Apart from the profound influence of his mother, his ideological development was primarily inspired by novelists rather than political or social reformers, though Gandhi’s impact on the nation as a whole was notable.
Premchand’s journalistic work spanned a wide array of topics, addressing both local and global issues with remarkable breadth. His writings covered subjects as diverse as Oliver Cromwell, Laila-Majnu, reports on Nehru’s speeches, Maxim Gorky, Hindu-Muslim relations, peasant struggles, untouchability, the freedom movement, and book reviews. These articles were prominently featured in the monthly Urdu magazine Zamana from Kanpur, published by Munshi Daya Narayan Nigam, with whom Premchand maintained a lifelong friendship. He also contributed to various newspapers and magazines. His journalistic contributions have been compiled into three volumes by his son Amrit Rai, titled Vibhinn Prasang (Various Subjects), and his correspondence is collected in two volumes titled Chitthi Patri.
Although Premchand achieved considerable popularity and acclaim during his lifetime, true prosperity remained elusive. His numerous short stories and novels were initially published in newspapers and magazines, with the burgeoning Hindi/Urdu press playing a significant role in his recognition. Even in his final months, he was dedicated to completing his novel, Mangal Sutra, hoping to secure financial stability for his family. His prominence was further underscored when he presided over the inaugural Progressive Writers’ Conference in 1936, organised by Sazzad Zahir in Lucknow. His speech at the conference is regarded as a significant historical document. In his address, he emphasised: “Literature that fails to engage our interest, provide spiritual and mental fulfilment, or ignite our passion for beauty is of no use today. It cannot be deemed true literature… Writers who cater to the affluent merely mimic their style, while those who genuinely represent the masses write in their language.”
In a letter dated December 16, 1934, addressed to Mr. Indra Nath Madan, Premchand shared his views on several topics. He revealed that his favourite novel was Rangbhoomi, and he described his characters as ideal yet flawed, reflecting a deep human complexity. Influenced by the works of Leo Tolstoy, Victor Hugo, and Romain Rolland, he was also inspired by Rabindranath Tagore’s writing, although he developed his own distinctive style. Premchand chose not to write drama, citing the poor quality of stage productions at the time, and he was unimpressed by the Parsi Theatre. He viewed novel writing as the best medium for conveying his ideas and lamented the lack of book sales in India, which made financial independence for writers challenging. His disillusionment with the film industry, due to its compromises, led him to abandon it. Premchand favoured evolutionary over revolutionary societal change and acknowledged a belief in a Supreme Deity, though he felt it had no direct influence on human affairs. He also commented on marital life, suggesting that compromise is essential and that one partner must be willing to adapt.
When asked about the high points of his life, Premchand reflected that his journey was marked by a steady, uneventful path, with few peaks but many challenges. After his passing, his reputation grew exponentially. His works, published by numerous presses, became widely accessible in bookshops everywhere, including railway station stalls, which attest to his broad readership. Premchand’s stories and novels are now integral to school, college, and university curricula and have been translated into various languages. Despite this, his journalistic writings and letters, which offer deeper insights into his life and thought, still require greater dissemination and recognition.
Throughout his life, Premchand grappled with three significant challenges, dying at the relatively young age of 56. The first was his ongoing battle with a debilitating stomach ailment, which plagued him constantly. The second was his persistent financial struggle; despite his role as a school teacher supporting his family and stepmother, he faced economic difficulties. To make ends meet, he wrote prolifically for newspapers and magazines. His involvement in the non-cooperation movement of 1921, inspired by Gandhi, led him to forgo his pension. As the owner of the ‘Hans’ and ‘Jagran’ printing presses, he found himself in perpetual debt. He also explored cinema writing, spending a year in Mumbai as a screenwriter before leaving due to dissatisfaction, despite good compensation. Notably, his powerful dialogues for the film ‘Mazdoor’ provoked such a strong public reaction that screenings were halted by authorities. His third major conflict was his tireless fight for justice and the rights of the oppressed through his writings, a struggle in which he ultimately succeeded and left a lasting legacy.
Premchand’s contributions to cinema have not received the same level of exploration as those of his Bengali contemporary, Sharat Chandra. Although his novels “Godan” and “Gaban” were adapted into films some years ago and there have been TV serials based on his works, they often fall short of capturing his essence. The notable exception is Satyajit Ray’s masterful adaptation of “Shatranj ke Khiladi,” which stands out as a rare example of successfully translating Premchand’s depth to the screen. Firaq Gorakhpuri, in his “Garden of Essays,” praises Premchand’s impact on Indian literature, noting, “His voice was a new voice in Indian literature. He made both children and adults think deeply and feel profoundly through his stories. He brought literature out of isolated circles and into the heart of Indian life, presenting the country with unprecedented sincerity. Premchand’s work bridged language barriers and made him a national figure in Indian literature, unlike any other writer of his time.” I often revisit Premchand’s works to reinvigorate and inspire myself. Each of his stories offers rich insights into various fields like sociology, history, and psychology, making them invaluable for deeper analysis. Premchand’s profound impact ensures he holds a cherished place in my thoughts, securely nestled in my intellectual sanctuary.