by Premchand
In the Hindi story the protagonist is named Babu Chaitanya Das, whereas in the Urdu story his name is Munshi Ulfat Rai, though the names of other members of their families are the same.
After Death
First published in Urdu with the title ‘Ba’d az Marg’ in Subh-e Ummeed (August–September 1920), but not included in any Urdu collection. Now available in Kulliyaat-e Premchand 10 (2001). It was published in Hindi with the title ‘Mrityu ke Peechey’ in Prem Prasoon (1924), and later collected in Mansarovar 6 (1946). It has been transliterated from Hindi to Urdu for Kulliyaat-e Premchand 10 (2001).
The Blessed Illness
First published in Urdu with the title ‘Marz-i Mubarak’ in Prem Batteesi 1 (1920). Now available in Kulliyaat-e Premchand 10 (2001). It was published in Hindi with the title ‘Mubarak Bimari’ in Gupt Dhan 1 (1962).
Life Force
First published in Urdu with the title ‘Rooh-e Hayat’ in Zamana (January 1921), and not collected in any volume for a long time. Now available in Kulliyaat-e Premchand 10 (2001). It was published in Hindi with the title ‘Rooh-e Hayat/Jeevan ki Pran Shakti’ in Premchand ka Aprapya Sahitya 1 (1988).
The Problem
First published in Hindi with the title ‘Bhisham Samasya’ in Prabha (January 1921), and later collected in Prem Pacheesi (1923) and Mansarovar 8 (1950). It was published in Urdu with the title ‘Muamma’ in Zamana (March 1921), and collected much later in Kulliyaat-e Premchand 10 (2001).
A Special Holi
First published in Hindi with the title ‘Vichitra Holi’ in Swadesh (March 1921), and later collected in Prem Pratima (1926) and Mansarovar 3 (1938). It was published in Urdu with the title ‘Ajeeb Holi’ in Khaak-e Parwana (1928) and collected much later in Kulliyaat-e Premchand 10 (2001).
The English translation was first published in Literature and Nation: Britain and India 1800–1990, ed. Richard Allen and Harish Trivedi, London: Routledge/Open University, 2000, 310–14. It has been extensively revised by the translator for this anthology.
The Hidden Hand
First published in Urdu with the title ‘Dast-e Ghaib’ in Zamana (April 1921) and later collected in Khwab-o Khayal (1928). Now available in Kulliyaat-e Premchand 10 (2001). It was published in Hindi with the title ‘Prarabdha’ in Shree Sharda (April 1921), and later collected in Prem Pacheesi (Hindi edition; 1923), and Mansarovar 7 (1947).
An Audacious Act
First published in Urdu with the title ‘Bazm-e Parishaan’ in Zamana (April 1922), and collected much later in Kulliyaat-e Premchand 10 (2001). It was published in Hindi with the title ‘Dussahas’ in Aaj (June 1921), and later collected in Prem Pacheesi (1923) and Mansarovar 8 (1950).
The Red Ribbon
First published in Urdu with the title ‘Laal Feeta’ in Zamana (July 1921), and later collected in Khwab-o Khayal (1928). It is now available in Kulliyaat-e Premchand 10 (2001). It was published in Hindi with the title ‘Laal Feeta ya Magistrate ka Isteefa’ in Pustak (April 1921), and later collected in Prem Chaturthi (1928). Now available in Premchand: Kahani Rachanavali 2 (2010).
When Rivals Became Friends
First published in Hindi with the title ‘Laag-Dant’ in Prabha (July 1921), and later collected in Prem Prasoon (1924) and Mansarovar 6 (1946). It is not available in the Urdu version and has been transliterated from Hindi to Urdu for Kulliyaat-e Premchand 10 (2001).
A Positive Change
First published in Hindi with the title ‘Vidhwans’ in Aaj (July 1921), and later collected in Prem Pacheesi (1923) and Mansarovar 8 (1950). It was published in Urdu with the title ‘Tahreek-e Khair’ in Humayun (April 1922), and collected much later in Kulliyaat-e Premchand 10 (2001).
This story has two radically different endings in the two versions. This is the alternate ending in the Hindi version:
. . . He looked towards the oven of the old woman and his entire body rankled with an anger that spread like fire. She did not even have an inkling of doubt that she was doing something against the zamindar. She could not even imagine that anger can have such an eternal life. A gifted man can have so much malice against a poor, frail woman; she had no inkling of such a thing. Given her nature, she considered human character much higher than that. But lo! Unfortunate one! You’ve grown grey hair without gaining any wisdom!
At once Thakur shouted at her, ‘Who gave you the order?’
Bhungi was taken aback to see the venerable zamindar standing in front.
Thakur demanded once again, ‘Who gave you the permission for this?’
Scared, Bhungi said, ‘Everybody desired that I should rebuild it.’
‘I will have it dug up again.’ Having said this, he kicked the oven. The wet clay crumbled. The second kick was aimed at the trough but the old woman came in between and it landed on her waist. Now she got angry. Patting her waist, she said,
‘I serve you, where else should I look for food?’
‘Only if you stay in the village can you work for me.’
‘I can only perform my duties when I make the oven. Can’t I do my work to stay in the village?’
‘Go, leave the village.’
Bhungi stood dejected near the oven and looked at its fiery remains, reminded of the kingdom of Lanka after it was destroyed by fire.
Within moments her frail body became one with the fire. Just then the storm blew in with great ferocity. The ascending flames ran towards the east. There were many huts of the farmers near the oven; they were all devoured by the wild flames. In this way, encouraged, the flames shot up further. Nearby there was Thakur’s land, it also came under its grasp. Now there was commotion in the village. Preparations were being made to put out the fire. But the splashes of water acted as fuel to the fire. The flames flared up and Panditji’s great mansion also came under its claws. And, in no time, the mansion, tossing like a ship in tumultuous waves, was drowned in the huge sea of fire and the sound of lamentation that became apparent with the remnants of the ashes was more pitiful than Bhungi’s mournful wailing.
Extract translated from the Hindi by M. Asaduddin
A Battle of Ideals
First published in Hindi with the title ‘Adarsh Virodh’ in Shree Sharda (July 1921), and later collected in Prem Pacheesi (1923) and Mansarovar 8 (1950). It was published in Urdu with the title ‘Taalif-e Qalb’ in Tehzeeb-e- Niswan (September 1922). The Urdu version is no longer available. It has been transliterated from Hindi to Urdu for Kulliyaat-e Premchand 10 (2001).
A Philosopher’s Love
First published in Hindi with the title ‘Tyagi ka Prem’ in Maryada (November 1921), and later collected in Prem Prasoon (1924) and Mansarovar 6 (1946). It was published in Urdu with the title ‘Philsafi ki Muhabbat’ in Hazaar Daastan (November 1921), and collected later in Khwab-o Khayal (1928). Now available in Kulliyaat-e Premchand 10 (2001).
The Bridal Sari
First published in Hindi with the title ‘Suhaag ki Sari’ in Prabha (January 1922), and later collected in Prem Pacheesi (1923) and Mansarovar 7 (1947). It is not available in Urdu, and has been transliterated from Hindi to Urdu for Kulliyaat-e Premchand 11 (2001).
Witchcraft
First published in Hindi with the title ‘Mooth’ in Maryada (January 1922), and later collected in Prem Pacheesi (1923) and Mansarovar 8 (1950). It was published in Urdu with the same title in Zamana (December 1922), and later collected in Khwab-o Khayal (1928). Now available in Kulliyaat-e Premchand 11 (2001).
Victory of the Defeated
First published in Hindi with the title ‘Haar ki Jeet’ in Maryada (May 1922), and later collected in Prem Pacheesi (1923) and Mansarovar 8 (1950). It was published in Urdu with the title ‘Shikast ki Fateh’ in Hazaar Daastan (July 1922), and later collected in Khwab-o Khayal (1928). Now available in Kulliyaat-e Premchand 11 (2001).
Defending One’s Liberty
First published in Hindi as ‘Swatva Raksha’ in Madhuri (July 1922), and later collected in Prem Pacheesi (1923) and in Mansarovar 8 (1950). In Urdu,
it was published in Naubahar (1924). Now available in Kulliyaat-e Premchand 11 (2001).
Cobra Worship
First published in Urdu with the title ‘Saanp ki Ma’shooqa’ in Tahzeeb-e Niswaan (August 1922), and not collected in any Urdu anthology. It has been transliterated from Hindi to Urdu much later for Kulliyaat-e Premchand 11 (2001). It was published in Hindi with the title ‘Naag Puja’ in Prem Pacheesi (1923) and later in Mansarovar 7 (1947).
Turf War
First published in Hindi with the title ‘Adhikar Chinta’ in Madhuri (August 1922), and later collected in Prem Prasoon (1924) and Mansarovar 6 (1946). It was published in Urdu with the title ‘Fikr-e Duniya’ in Khaak-e Pawana (1928). Now available in Kulliyaat-e Premchand 11 (2001).
Hidden Wealth
First published in Hindi as ‘Gupt Dhan’ in Sree Sharada (August 1922), and later included in Prem Pacheesi (1928) and Mansarovar 8 (1950). In Urdu, it was published as ‘Dafeena’ in the annual journal Adab-e-Lateef (1939). It has been transliterated from Hindi to Urdu for Kulliyaat-e Premchand 11 (2001).
A Dhobi’s Honour
First published in Urdu as ‘Husn-e Zan’ in Zamana (October 1922), and collected much later in Kulliyaat-e Premchand 11 (2001). In Hindi, it is included in Mansarovar 7 (1947) as ‘Lokmat ka Samman’.
Hoodwinked
First published in Hindi as ‘Chakma’ in Prabha (November 1922), and later included in Mansarovar 6. Not available in the Urdu version. Transliterated from Hindi to Urdu for Kulliyaat-e Premchand 11 (2001).
Reincarnation
First published in Hindi as ‘Purva Samskara’ in Madhuri (December 1922), and later included in Mansarovar 8 (1950). Not available in the Urdu version. Transliterated from Hindi to Urdu for Kulliyaat-e Premchand 11 (2001).
Test
First published in Urdu as ‘Imtihaan’ in Chand (January 1923), and included later in Prem Chaleesi 2 (1930). In Hindi, it is available in Mansarovar 3 (1938) as ‘Pariksha’.
A Loyal Subject
First published in Hindi as ‘Rajya Bhakta’ in Madhuri (February 1923) and later collected in Mansarovar 6. Not available in Urdu. Transliterated from Hindi to Urdu for Kulliyaat-e Premchand 13 (2003) as ‘Rajya Bhagat’.
End of Enmity
First published in Hindi as ‘Vair ka Ant’ in Saraswati (April 1923), and later included in Mansarovar 7 (1947). Not available in the Urdu version. Transliterated from Hindi to Urdu for Kulliyaat-e Premchand 11 (2001).
The Fool
First published in Hindi as ‘Baudam’ in Prabha (April 1923), and later included in Mansarovar 8 (1950). Not available in the Urdu version. Transliterated from Hindi to Urdu for Kulliyaat-e Premchand 11 (2001).
Compulsion
First published in Hindi as ‘Majboori’ in Chand (April, 1923), and later included in Prem Chaleesi 2 (1930). Now available in Kulliyaat-e Premchand 11 (2001). In Hindi it is included in Mansarovar 3 (1938) as ‘Nerashya Leela’.
In the Hindi version, the story has been expanded to double its original length. While the Urdu story is close to 2400 words, the Hindi story runs into more than 4500 words. The religious identity of the couple—Hridaynath and Jogeshwari—is more sharply delineated, and the plight of widowhood and the transformation in Kailashi’s character have been shown in greater detail in the Hindi story. The missing extracts in Urdu are given below:
Pandit Hridaynath was a respected man of Ayodhya. Though not quite wealthy, he could not be called too poor either. He owned several houses whose rent served as a steady source of income. He even bought a carriage what with the recent increase in rents. He was a very thoughtful person who had also received quality education. Though quite well-versed with the ways of the world, he was not really practical about it. In his opinion, society was like an intimidating ghost, one that he should always be wary of. Displease it even a little bit, and there is no saving your hide. His wife, Jogeshwari, was a pure carbon copy. Her thoughts and aspirations were no different from those of her husband. There were no disagreements between them. Jogeshwari was a devotee of Lord Shiva while Hridaynath was a Vaishnav. And yet, both of them were equally inclined when it came to observing fasts or distributing alms. They were a devout couple, much more than what educated people often are. Perhaps this was so because their only child was a daughter. She had been married at thirteen and her parents’ only wish was for God to bless her with a child so that they could rest assured after having bequeathed their entire assets to their grandson.
But man proposes while God disposes. Kailash Kumari had not even been sent to her in-laws’, she did not even understand what marriage possibly meant when her husband died. Widowhood dealt the ultimate blow to all her aspirations.
Her parents wept, the entire house was in mourning, but Kailash Kumari just stared dumbfounded at everyone’s faces. She simply could not understand why everybody was crying. Being the only daughter of her parents, she never considered any third person to be of any importance in her life. Her idea of happiness had yet to make room for a husband. In her opinion, women only lament their husbands’ deaths because husbands maintain and support them and their kids. There’s nothing lacking on that score in this house. What do I have to worry about when it comes to what to eat or what to wear? I’m sure my parents will take care of everything that I need. So, why cry at all? Though she wept whenever she saw her mother in mourning, it was not out of any sense of grief over her husband’s death, rather out of her love for her mother. At times, she thought, Perhaps my parents cry because they’re afraid I might ask for something that they won’t be able to afford. But why on earth would I ever ask for something like that? Even now, I make no demands whereas they keep bringing me something or the other every day out of their own sweet will. Do they really think that I’ll become someone else now?
Jogeshwari, on her part, would cry endlessly as soon as she saw her daughter’s face. Her husband’s condition was even more pitiable. He even stopped coming to the inner apartments of the house. He would sit alone in his room, all sad and brooding. But what really hurt Kailash Kumari was that even her friends stopped playing with her. So, when she asked her mother’s permission to visit them, Jogeshwari burst into tears. Seeing her parents like this, Kailash Kumari stopped bothering them, and kept herself busy reading tales and short stories. But her solitude was interpreted quite differently. The very thought that their daughter was wasting away because of her sorrows was enough to break the couple’s hearts.
One day Hridaynath told his wife, ‘I feel like leaving this place forever. I simply can’t bear to see her like this.’
Jogeshwari replied, ‘My only prayer to God is to grant me death. I mean, there is a limit to patiently enduring something, after all.’
Hridaynath: ‘Somehow or the other, we’ll have to keep her diverted so that she doesn’t give in to despair. Seeing us sad and grieving, her sorrows weigh even heavier.’
Jogeshwari: ‘I simply don’t know what to do.’
Hridaynath: ‘Her life is in imminent danger if we keep on hurting like this. Take her out sometimes on a trip or to the theatre. A bit of song and music every now and then would also help. These things will keep her occupied.’
Jogeshwari: ‘The moment I see her, I can’t help crying. But I’ll try to restrain my emotions from now on. Your idea is quite interesting. Her sorrows cannot be mitigated without any diversions.’
Hridaynath: ‘I’ll also try to humour her. I’ll get a peep show tomorrow and make a collection of some really good pictures. The gramophone can be ordered today itself. Just make sure to keep her busy with something or the other. Solitude fans the flames of grief.’
From that day on, Jogeshwari made every effort to make sure that Kailash Kumari was kept happy and entertained. When Kailashi appeared before her mother, she no longer found tears in those eyes, rather a beaming smile on the lips. Jogeshwari would chuckle and say, ‘Beti, come, let’s go to the theatre. They’ll be putting on quite a show today.’
Sometim
es they would take a bath in the Ganga. There, the mother and daughter frolicked during their excursions by boat. Gradually, all her friends too started showing up. They sometimes played cards, while on other occasions they sang or played some musical instruments. Hridaynath, on his part, arranged for Kailashi’s means of entertainment. As soon as he saw her, he would delightfully say, ‘Come, beti, I’ll show you pictures of Kashmir today.’ Sometimes, he said, ‘Come, we’ll see the excellent sights of Switzerland and the splendour of waterfalls.’ On other occasions, he would play the gramophone. Kailashi would thoroughly enjoy these diversions and outings. She had never spent her days so happily until now.
Two years went by in this fashion. Kailashi was so used to amusements and excursions that she got restless even if she could not go to the theatre for one single day! Entertainment is a slave to modernity, and gives rise to disparities. The passion for theatre was soon followed by cinema. Then came mesmerism and hypnotism! New records for the gramophone were also ordered. She had acquired a taste for music. If there was a cause for celebration within the community, Jogeshwari and Kailashi made it a point not to miss that. Kailashi was literally obsessed with these things. While walking, she always hummed something or the other. Even when she talked to others, it was all about cinema and theatre. She had lost touch with the material world and the only thing that mattered now was the world of fantasy. She even lost her capacity to sympathize with others. A new lack of restraint characterized her behaviour even as she became quite arrogant about her good taste. She would unreservedly boast before her friends, ‘People here are a foolish lot. They’ll never be able to appreciate movies. Only the ones in the West can. There, entertainment is as important as the air that one breathes. And that is why they remain so happy as if they don’t have a care in the world. Here no one has a taste for it. Even those whom God has blessed with the wherewithal retire to their beds by evening. Her friends would listen to all this and praise her even more. In a bid to ridicule them, Kailashi herself would become a subject of ridicule.