कमल श वर कम#$र ( )
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- Gary Roberts
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1 कम#$र ( ) The career of the writer and novelist Kamleshwar began immediately after Independence; he produced a truly impressive array of novels, short stories, and writing in other genres. Kamleshwar belonged to a group of writers keen to reflect psychological realities and to avoid any kind of romanticized idealism. Both as an influential journal editor and through his own writing, he helped established the new style of Hindi short story called simply Naī Kahānī a genre whose simple title registers an aim to portray lived realities in an unadorned style. Our passage is from a brief sketch or memoir in which Kamleshwar records his first encounter with two other authors represented in this book: the sometime revolutionary Yashpal, and Yashpal s wife Prakashwati Pal. But this sketch is actually far from simple or casual in its construction: it is written with a novelist s sensibility, and is skillfully crafted to show a sequence of impressions from an initial anticipation of what Yashpal will be like, to the corrective report of his actual character as observed in this first meeting. Yashpal turns out to be very different from Kamleshwar s expectation; and in the process of revising his view, Kamleshwar not only finds a very articulate way of telling us about Yashpal, but also exposes his own mental processes in a manner that is quintessentially autobiographical. Arriving at Yashpal s front door, Kamleshwar senses an aura of purpose and professionalism rather than the self-indulgent bohemianism that might be expected at a writer s home; but he still imagines that Yashpal will prove to be stereotypical author, well versed in the superficial niceties of social interaction and skilled at turning the conversation to his own literary works. Kamleshwar squanders no honorifics in describing such a hypothetical figure, but refers to him in the unadorned singular. This is his state of mind as he rings the bell; nobody answers, and the drama of anticipation does its work; but then he rings again, and immediately a footfall is heard: the door opens, and Prakashwati appears. When Yashpal himself makes his appearance in the second paragraph, his strong individuality makes a deep impression on his visitor; and his special place in the world of literature is indicated by his inability to fit (the English word used nicely here) the image of the pretentious littérateur. Within the space of a few paragraphs we are given a freshly engaging introduction to Yashpal and the world he inhabits.
2 Yashpal ( ) was one of the most prominent Hindi writers of his time, and is much looked up to by Kamleshwar, his junior by some three decades. To take a rather hackneyed metaphor, the visitor behaves like a camera, recording both the domestic scene and the words spoken by his host while making little of his own presence; rather than recounting his own self as observer, his focus is on the observed, and verbs that allow things to be seen, be in view (dikhāī denā), to be heard (sunāī denā) and even to be smelled (sũghāī denā) are put to very effective use a feast of impressions to challenge the would-be translator! The range of visual references extends to the very title of the piece. Kamleshwar moves easily from a simple descriptive realism to a more allusive style in which impressions are suggested rather than straightforwardly recorded in a factual manner. Frequent use of a suffixed -sā (most commonly with adjectives as in lāparvāh-sā, but also with nouns (ukhṛāpan-sā), and once with a participle, dekhtī-sī) adds to the tentative nature of his observations, carefully acknowledging the relativity of experience: things seem and are hinted at or suggested in a circumspect way, rather than being merely set down as items for bland objective report. Notice how details of physical description are used to reinforce abstractions: the structure of the house is ṭhos, solid, and so is the resonance of Yashpal s voice, and so are his thoughts. His rough complexion is that of the mature and experienced man of action, reminding us that Yashpal s role in the fight for India s independence had famously included his blowing-up of the Viceregal train (described in his own entry in this book) and was very much more hard-edged or solid than mere nominal support for the nationalist cause. Such solidity of character is the perfect foil for what follows as the sketch proceeds: the description of a banal kavi-sabhā at the house of a politician who has (in his own estimation at least) a bit of talent for versifying. The milling throng of people at this meeting stands in sharp relief to the quiet, serious and purposeful atmosphere of Yashpal s home; and the two men soon retreat from the scene. At the end of our selection, Kamleshwar withdraws from the narrative to give a summation of his view of his senior colleague; and in so doing he tells us a great deal about his own values and aspirations about his own self.
3 अपन नग ह म (1982) एक दन जब म लखनऊ गय त यशप ल क घर भ पह च स बह क आठ य स ढ़ आठ ह ग यशप ल क अभ द ख नह थ म कस ल परव ह-स प र ढ़ क नकलकर आन क प रत क ष कर रह थ म झ उम म द थ क क ई लस टम-पस टम-स व य क त अभ स मन आय ग, उसक च हर पर म झ द खत ह एक बन वट ग भ रत आ ज य ग, फर वह कमर म पह चकर ध र -ध र ख ल ग और क छ स हत यक र क ब र म अपन र य ज़ हर कर ग और अपन बड़प पन क सक क जम न क क शश म अपन रचन ओ क ब त कर ग ल कन ऐस क छ भ नह ह आ द -च र क षण म ह म झ अहस स ह गय क म कस ल खक क घर क बर मद म नह, सरक र अफ़सर क घर पर खड़ ह आ ह म न एक ब र घ ट और बज य क कस क आन क आहट ह ई व प रक शवत ज थ, और उन ह न औपच रक प रचय क ब द म झ ड र इ गर म म ब ठ दय च य क स थ-स थ यशप ल स क छ स क षप त-स ब त ह ई ल कन उनक ब त करन क ढ ग म बड़ उखड़ पन-स लग रह थ और एक उत वल पन रह-रहकर उभर आत थ म झ इस ब त स क छ पर श न ह रह थ म न द -त न ब र ग़ र स यशप ल क द ख उनम म झ क छ भ ख़ स नज़र नह आ रह थ न व क र तक र लग रह थ, और न स हत यक र ब च म ह प रक शवत ज स उन ह न कस मश न क तब यत क ह ल प छ थ म उनक र गम ल-स ख रदर च हर और फट -फट -स आव ज़ और ब त क ब र म स लझ ह आ द ष टक ण महस स कर ह रह थ क उनक नज़र म झ वक त द खत -स लग
4 म न च र तरफ़ नज़र घ म य, कह म झ घड़ नह दख य द पर क छ ह क षण म म झ लगन लग क उस घर म हर जगह घ ड़य क टक- टक क एक आव ज़ ह और च र तरफ़ वच र क आत म ए भटक रह ह और वच र क अद श य भटकत आत म ओ क घर म म झ हर च ज़ अनह न -स लगन लग, क य क हम ऐस यथ थर घर क आद थ, जह रहकर हम वच र मलत थ, पर यशप ल वच र क घर म रहत थ, जह व उन ह यथ थर क ज म पहन त थ च र तरफ़ म झ ठ स-ठ स-स नज़र आ रह थ ख़ ब ठ स पत थर और स म ट क घर ठ स आव ज़ और ठ स वच र यह नय ह अन भव थ क य क क ई हलक वच र, क ई गप, क ई ब म न कहकह, क ई अन चत ब त और क ई व यथर जज ञ स वह नह उभर नय कह न और कह न क र पर क छ मतलब क ब त ह ई और उसक प च मनट ह ब द यशप ल त य र ह कर ल ट आय ज त और म ज़ पहन ह ए, ट ई लग ह ई, ज स व कह ज न क लए तत पर ह म न वद ल त प छ, आप भ कह चल रह ह क य? नह, आप द पहर म म र स थ ख न ख इय, फर श म क म ख यम त र सम प ण र नन द ज क क ठ पर एक क व-सभ ह, वह च लय और वह स ल टकर हम ल ग क फ़ -ह उस चल ग ठ क ह न म न ह कह और द ख क यशप ल अपन लखन क म ज़ पर ज रह ह इतन ह नह, व लखन श र कर च क ह श म क हम सम प ण र नन द क क ठ पर क वग ष ठ म गय त यशप ल न कह, जब भ श र सम प ण र नन द क ई क वत त-सव य लख ल त ह, तभ ग ष ठ ह ज त ह और वह पह चकर बन रस क द सर स तर क ल खक -क वय क जमघट द खकर मन क छ उखड़ गय यशप ल क च हर पर भ रह- रहकर पर श न छ ज त थ और लग रह थ क व अपन क ठ क स फ़ट नह कर प रह थ ज स ल खक और क वय क जमघट वह थ और जस तरह व झ ठ म सकर हट और ओढ़ ह ई नम रत स प श आ रह थ, उसम यशप ल क दम घ ट रह थ ध र स यशप ल न कह, यह ह सरक र
5 प रश रय क र प और व आध ग ष ठ स ह ऊबकर उठ आय थ र स त म ब ल थ, अर स हब, न क ई स चन क ब त, न मनन करन ल यक़ क ई क वत और म झ लग क यह व य क त वच र क बन नह ज सकत यशप ल क हर वक त सम प णर त स ज न क लए वच र क एक अट ट सल सल च हए और इस लए यशप ल न कभ भ, इतन वष र क अव ध म, कस क यह महस स नह ह न दय क उनक प स कहन क लए क छ नय नह ह, य क नय और अपन द ष टक ण नह ह इतन ह नह, यशप ल न आज तक कभ यह शक यत नह क ह क उनक प स लखन क लए फ़लह ल क छ नह ह उनक आ ख म जब म त य बन द उतर आय तब भ जब म न कह न भ जन क लए लख, त यह जव ब आय क एक कह न डक ट ट करव रह ह, प र ह त ह भ ज ग यशप ल क य छ ट -छ ट ख़त, जनम हर ब र ऐस स चन मलत थ, उनक सतत अन श सन-श लत और स जनश लत क गव ह ह यह अन श सन और च स त उनक प र व य क तत व म ह और उनक व य क तत व क यह वश षत ह क उनक ब हर और भ तर ज़ दग म क ई ट ढ़ अन त वर र ध नह ह जतन स व भम न ऊपर ह, उतन ह न च ह, जतन वश व स ऊपर ह, उतन ह भ तर उसम क ई अहम मन यत, दम भ य झ ठ नम रत नह ह वह ज क छ ह, ज वन त ह, ज़ दग स ज ड़ ह आ ह यशप ल क, कम-स -कम म न, कभ अत त क ब त करत नह स न उनक आ ख म क ई ट ट ह आ सपन नह दख य दय, उनक ब त म क ई नर श नह स न य द म द र वच र क ल श क द गर न ध नह स घ य द
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