Chapter I: Introduction
1.1. Introduction
Novel is a form of fiction that uses words to create a view of imaginary persons and events through the report of a storyteller to the reader. Its essential quality is narration. As a literary piece, it brings us back to the realities of human situations, problems, feelings and relationships. That is why, it is capable to provide pleasure as well as psychological satisfaction. Literature definitely broadens and deepens human knowledge. Novel as a literary form, corresponds to reality, it is life like. That is the reason behind its popularity.
A novel also presents human nature through different characters. It presents a documentary picture of life Most of the characters are found to be concerned with themselves which shows their individualistic nature in the novel. The characters are found to be used from the two classes like upper and lower. So, the domination of the higher class over lower class is clear in the novel.
Human beings are social creature; the social environment impacts the human life either good or bad way. The Realistic novel usually portrays these good or bad social issues. The real society rejects human characteristics like selfishness, vice, fraud, cruelty and others. The Realistic novel portrays these issues in a particular way.
Likewise, Social realism is a literary movement that attempts to describe life without idealization or romantic subjectivity.
M. H. Abrams in A Glossary of literary Terms defines "Social realism" as a term used by Marxist critics for the novels which, they claimed, reflected social reality- that is, novels that accorded with the Marxist view that the struggle between economic classes is the essential dynamic of society" (288). Abrams further notes that a flexible Marxist critic such as Georg Lukacs, applied complex criteria of narrative realism to laud the traditional classics of European realistic fiction (288). In Oxford Learner's Dictionary the word 'Socialism' has been defined as " a political and economic theory that a country's land, transport, natural sources and chief industries should be owned and controlled by the whole community by the state" (1128).
Social realism is a political and economic theory which lies in inspiring a socialistic, revolutionary world. Social Realist novel presents stories, characters and setting that are similar to those commonly found in contemporary world. Social realism is a term that describes any manifestation of philosophical realism. It indicates that reality exists independently of observers, whether in philosophy itself or in the applied form of science and arts.
Social realism agrees with Marxist's Ideology that the society is the product of two opposing factors; so the views of the people to the same thing are different. Marxism inserts the idea that the literature is the reflection of the society which realism supports in its writing. Literature is generally the reflection of the various activities existing in the society with the development of time and situation. Everything is changing, and so is literature. Therefore, one after the others, various trends are existing, keeping it, achieve it and making it new at different periods. Nepali literature also could not be an exception.
In Nepali literature also, we can see the picture of social realities in which the social and political exploitation have been presented by different literary writers. Realism in Nepali novel has begun from Rupmati (1991) of Rudraraj Pandey. Pandey has contributed a lot in the origin and development of realism in Nepali novel. Rupmati depicts the subject matter of an aristocratic family in the town. The novel was written at the time when there was no freedom for depicting the real events from society: however; Pandey has attempted to show the conflict within family and the relationship of family with society. Laxmi prasad Devkota, B.P Koirala, Guru prasad Mainali, Lil bahadur Chhetri, are other social realist writers. Devkota's MunaMadan, Koirala's Doshi Chasma, Mainali's Naaso and Chhetri's Basain are some examples that have the elements of social realities. Nayanraj Pandey is also taken as one of the well known social realist writer. Born in 2023 B.S, Pandey has written popular navels like Nango Mancheko Diary (2044), Bikramaditya, euta katha suna (2044), Atirikta (2050) and Ulaar (2055). The novel Ulaar was first published in 2055 B.S and second edition came in 2065 B.S. It is found to have the elements of social and political exploitation. The novel is considered as one of the best among those depicting the sentiments of the marginalized people and their difficulties after the political movement of 2046. The novel examines the results and the achievements of this movement. So the topic "Political Exploitation of Marginalized People in Pandey's Ulaar" is chosen as the subject of the study.
1.2. Statement of the Problem
The research work deals with the following problems:
I. What are the responsible factors to make the rural people in so pathetic condition?
II. Why are they unable to revolt against their exploitator?
1.3. Objectives of the Study
The main objective of the study is to analyze the novel from the perspective of social realism and to find out the aspects of social realism revealed in the text. For this it has the following objectives:
I. To find out the reasons of the pathetic situation of the rural people as mentioned in the text.
II. To find the reasons behind the characters being unable to revolt against the exploitator.
1.4. Review of Literature
Ulaar was first published in 2055 B.S. and the second edition came in 2065 B.S. The novel has included the frustrations, suppressions, oppressions, sufferings and grievances of people residing in Nepalgunj, mid western part of the Terai region of Nepal. Critics have analyzed the text from different perspectives since it was published. These analyses have been reviewed here to facilitate the current study.
Shyamal writes in the preface of the novel that Ulaar is a living picture of national political inconsistency of Nepal after the people's movement of 2046. He further mentions that Ulaar is a glimpse of an unexpected unbalanced social reality between marginalized class and the Nepalese politicians, member of the parliament, ministers and so on.
Likewise, Sanat Regmi, a critic has reviewed at the process of conclusive analysis of the novel saying that Ulaar is a successful novel to reflect the image of a corner of Nepalgunj. He further mentions that the novel Ulaar has clearly reflected the Nepalese society after the restoration of democracy in 2046 B.S. The characters of the novel reflect the sufferings, grievances political evils and people;s frustrations.
Manju sri Thapa, a writer has critically analyzed Ulaar in Pustak Samikchha: Ulaar. According to her, Ulaar is very near to French realistic novel as its language is clear, easy and natural. She further writes, "Ulaar is a picture of the canvas of Nepalgunj."
In the same way, Narayan Dhakal is another critic to review the novel. He has mentioned in his article, Ulaar ra Samsad ko Sorahau Adhibesan relating the subject
matter of the Nepalese Politics after the revolution of 2046. He primarily focuses on the imbalance seen between the marginalized class and the political leaders, ministers, and the political cadres. Moreover, Dhakal mentions that Ulaar can be medicine, or a tonic for the policy makers, planners and the political leaders to improve worsening condition of the nation.
Likewise, Ghatraj Bhattarai, a writer has also praised Pandey's personality and his works of art but he has not said anything about the novel Ulaar.
Taranath Sharma , a well known critic has also mentioned the name of Nayan Raj Pandey as a modern realist figure in his article, Nepali Sahitya ko Itihas.
Rajendra Subedi, a writer has opined that Ulaar is the story of suppression, oppression and exploitation of rural people after the revolution of 2046.
Narayan prasad Sharma, a writer has given a brief introduction of Pandey's four novels in Upanyaskar Nayan Raj Pandey: Byaktitwa Ra Krititwa..
Banira Giri, a writer has expressed in her analytical article, Nayanraj Pandey ko Ulaar that the novel is more realistic than other Pandey's novels. She has compared Pandey with the French novelist Zola and says, Pandey is more aggressive than Fluvert and stronger than Mopasa.
Dr. Gopal praadd Adhikari, a critic has opined in his analytical article, Ulaar Upanayas Ra Yasle Bokeko Byatha that the result of poverty is the reason of social exploitation and feudal concept of the society.
Critics have commented on Ulaar through different perspectives. Most of them have analyzed the novel as a class novel. They have taken the novel as the class struggle of Nepalese Society. Though the novel has been studied through different angles, there is a space left to study as a social realistic novel. So, this researcher has studied this novel as social realistic novel.
1.5. Hypothesis
The study assumes that the lack of good attitudes in politics, unnecessary freedom, illiteracy, poor economic condition of people, capitalistic social structure and other false consciousness are the major responsible factors to be in pathetic condition and being unable to revolt against their opposition.
1.6. Significance of the Study
This study will be a great help for the readers and interpreters who want to study any literary text from the point of view of social realism. It will be helpful for everyone to study Ulaar from other perspectives as well.
1.7. Delimitation
Pandey's Ulaar has been studied as the major source for the study. His other works have not been included. There are many theories that can be applied to analyze the text but the theory of realism has been used to analyze the novel.
1.8. Methodology
To analyze the exploitation of the marginalized people in Ulaar, the theory of social realism is used as theoritical modality. Espicially, George Lukacs's theory about social realism is applied. However, other cross reference materials that are relevent to the study are also used in the process of analysis. Besides, library consultation, newspapers, critical reviews and different articles published in different books regarding Pandey's works are taken as secondary sources. Interlinear glossing and free translation is done since the text is in Nepali. In addition, suggestions and advices from the writer and teachers are also employed as the secondary sources.
Chapter- II: An Overview of Ulaar
A realistic novel presents stories, characters and settings that are similar to those commonly found in contemporary everyday world. This requires events to take place in the present or recent past, and the events themselves are usually organized in a linear, chronological sequence, and located in places familiar to author and audience either through direct observation or report. The characters and storylines are plausible. They desire to portray contemporary everyday life entails and requires a breadth of social detail and, as a consequence, the classes represented tend to be those categorized as working class and middle class, since these form the majority of population (Earnshaw 14).
Ulaar is the novel about Premlalwa, the protagonist, who is economically too poor and works as a cart driver. The whole story moves around him. Ulaar is the mirror that Pandey has created considering our society. The story in Ulaar is weaved around the mid west of Nepal, it represents the whole country. The class of Premlalwa, Draupati, Kaluwa, Nankau is not only in that place rather they are scattered all over the country. The presentation of the pathetic condition of suffered people after the democracy makes the readers heartbroken. The events happened in those days have been presented in realistic way in the novel. The writer looks successful in the selection of characters about either love or hatred is quite realistic in the novel.
2.1. A Brief Synopsis of the Novel
Ulaar is the fourth novel by Pandey. It was first published in 2055 B.S. and second edition came in 2065 B.S. The novel has projected about the various exploitations that the people had to bear after the democracy was brought. The main character of the novel is Premlalwa, the lonely son of his parents. Rajendraraj helps him to get compensation of his father's death from the truck owner which had caused his death. Premlalwa receives Rs. 8000/ from the incident. His cart does not support him. He starts to suffer from hunger, to get rid from that he use to have meal once a day so that he can not have to sleep hungry (Ulaar16). At the same time he gets seriously ill from pneumonia and asks Rajendraraj to help him. The conspirator Rajendraraj gets chance to plunder over the valuable land of Premlalwa. He proposes to sell his land. Premlalwa becomes obliged to sell his land in only Rs. 30,000/ worth Rs. 100,000/. He gets cured from his pneumonia after that buys a mare with the remaining money and starts his earning living.
Premlalwa goes with his cart in the victory ceremony of Shantiraja and happens to hear that Shantiraja has paid 5 lacks amount to Rajendraraj for his 70% of vote. He gets confused with disbelief and drags himself away from such conversations. In spite of his objection, more people climbed in his cart and due to the overload of the people makes his cart get unbalanced and Basanti dies. Premlalwa again goes to Rajendraraj who writes a letter to Shantiraja in a cigarette cover. Then he goes to meet Shantiraja. Shantiraja tells him to come to Kathmandu. Then his journey to Kathmandu begins. Premlalwa comes to Kathmandu and wanders to quarter, ministry, party offices and many more other places to get compensation of Basanti's death but he does not find Shantiraja anywhere. Finally, an old man from Baluwatar suggests him satirically to return to his village that is why he returns home being hopeless and helpless. While reaching his home, Premlalwa gets another dismiss seeing his home crumbled down because of heavy rain and his cart too has stolen.
The distitute Premlalwa has not lost his faith in Rajendraraj and again goes to him with is land ownership document. The fraud Rajendraraj gets surprised to see him but he does not ask anything to Premlalwa whether he has met Shantiraja or not. Then the conspirator Rajendraraj proposes Premlalwa to sell his home in Rs.90,000 but Premlalwa receives only Rs.30,000. The innocent Premlalwa things he would not sell his property in less than 60,000 if not obliged. Then he buys a cart and horse with the same money which was the cost of his valuable home. Finally, he meets a decision after the mental collision and irritations to not let Rajendraraj and his family ride free on his cart and not to accept the heavy load of Shantiraja.
Ulaar is the story of hope and expectation for many people and it brings together the exploitation of country's two major weakness- mass poverty and lack of education. Exploitation by politicians of the masses and the immediate effects faced throughout society are reiterated on numerous occasions. Democracy was in the place and the political parties were revived and the new ones were being formed. The local leaders fiercely organized partisan groups to campaign on their behalf but secretly worked out political games with money and promises of state patronage when returned to power after election.
2.2. Setting
The novel is set in the mid western part of Nepal, Nepalgunj. Setting in the realistic novel presents the interdependent connection between human beings and the environment. The realistic novel presents the social issues. All the things that surround someone or something at a particular time and place including the events that take place or environment is known as setting in the novel.
Broadly defined, setting refers the general local, historical and social circumstances in which the action occurs. In the simplest term, it refers to the place where the story happens (Mishra 151). Oxford Dictionary defines that setting is a place and time at which the action of a play, novel etc. takes place (1389). The overall setting of a narrative or dramatic work is the general locale, historical time, and social circumstances in which its action occurs; the setting of a single episode or scene within such a work is the particular physical location which it takes place (Abrams 284). According to Swingwood, writers use the quality available in the particular time, place and environment in their works. Though works are guided by universal theme, they include the universal theme along with the originality of particular place and time (32/33). Ulaar seems to have the expression of social description in the contemporary time. It presents the live explanation of houses, roads, and other natural things in plane region realistically.
The social condition and geographical environment influence the literature of that time and place because there is dual relationship between the society and literature. Likewise, the events happened along with time are also highlighted. The writer's own experience, his gender, his psychology, his literary features and others are included in the text through the characters. The novel has a live relationship with social, political, racial and other issues. Pandey has presented lives and struggle of the poor people in the realistic way. The country has undergone various movements but lives of Premlalwas are being always Ulaar. And such picaresque lives of the lower and marginalized class is presented. The lives of the people are always miserable and they have to carry on hard work all their life that heavily supports their meager livelihood. Those who constitute the underclass provide essential service for the elites of the society. Draupadi is commercial sex worker and Premlalwa is a cart driver whose class is viewed as the class something undesirable and unwelcome and a bit of embarrassment by its opposite, the middle and upper class. Unwashed and underfed and under worn the underclass may be out the other class but can not live without them. The works of Premlalwa, Draupadi, Kaluwa and Nankau represents these things.
In Nepali context, the underclass is providing the services such as farm hands, street vendors, barbers, rickshaw pullers, cart drivers, porters, bus/taxi/tempo driver, masseurs, entertainers of myriad kinds of including side singers, dancers, magicians, traditional sex workers e.t.c. The area of the underclass is considered as the corrupted and the violated one but how could they be such violated and corrupted where such sincere class of Premlalwa lives. The society and mentality of its agents themselves are corrupted which can not empathize how miserable the class is living.
The authors find the life in margin of a rich source to create a fictional world where various conflicts among the various social classes can be projected. They carried away by their humanitarian spirit make commitment for social change, justice for deprived and taking cudgel to fight the social evils of all kinds. Thus, the tradition of the literature of commitment or fiction in the mode of social realism comes. Ulaar, meaning loss of balance in a loaded cart or within a social political system presents a fresh take at Nepali society and its dark forces that prey on the hapless poor and shiftless population who because of sheer tenacity service and seek sustenance wherever they can and do not give up the face of unspeakably inhuman circumstance. That is why; this project of Pandey represents the fresh breeze to lighten the bleak scene of social realism in Nepali fiction writing.
2.3. Characters
The people in a novel are referred to as characters. They are assessed on the basis of what the author tells us about them and on the basis of what they do and say (Mishra 149). Character is an element that describes the attitude of human being and non human things existed in the novel. Character is the representative, which is used to express the point of view of the writer. Characters make the plot lively and provide a proper movement to it. It is the character on whom the writer depends on to express his/ her personal as well as literary views. The characters in the novel are depicted on to express the writer's personal as well as literary views. That is why, as the different behaviors and attitude of common people, they are different to each other and having different qualities to each other. As the different behaviors and attitude of common people and their general role in human life; characters are different to each other and having different qualities and attitudes towards the human life and social aspects.
All the human and non human things that have a role in the subject matter are known as character. Some works include non human beings like animals in their story as characters. Characters are divided in terms of gender, working capacity their tendency, attitude, presence, life consciousness and affiliation in the story. In these classifications, the characters are analyzed as male and female, protagonist and antagonist, major and minor, round and flat and so on.
One of the important point of the book is its characterization. They are all strong and have definite sense of purpose and beliefs that make them almost too real. Pandey looks very careful about characters selection in his novel Ulaar. The characters in the novel are simple, but they have represented all sorts of people in the society; some represent the leaders, other represent the workers, some represent the ruler and other represent the tradition. But most of the characters in the novel represent from lower class. The main hero solves his hand to mouth problem driving tanga. He drives it in low cost and takes meal only once a day because of the fear he may not have to sleep hungry. Another minor character Kaluwa is postering for years living the job of cutting grass which his mother and a wife are doing till the days. He gets only five rupees for hundred posters and hardly manages earning forty-fifty rupees a day and the grass cutters not more than seven a day. Draupadi who is bringing up her whole family selling herself represents the other kind of struggle for her life. Thus, the characters in the novel are the representative characters of the contemporary society of Nepal.
Beside the protagonist Premlalwa, there are other characters like Draupadi, Kaluwa, Nankau, Bhaujee and so on. Draupadi is the main female character in the novel. The name Draupadi is satirical one. Her name was Sita before she became Draupadi. Sita is allusion from Ramayan and she stands for virginity. Draupati is also another allusion from Mahabharata. She is the wife of five Pandavas. Sita in Ulaar remains Sita until she handles and replaces her mother from her job as prostitute and Draupadi has to bear such hundreds of Pandavas. Sita has become Draupadi in course of time according to her profession. Draupadi is a slang word people use to tease her. Society is the priest who gives her the name Draupadi. Men use her body at random but she is unable to resist because of the obligation imposed upon her that baadi people are not allowed to work beside the prostitution. They have to exchange themselves with "very low price or sometimes for free too, bearing pain and earn their daily habitants for the whole family" (47). Draupadi is the representative of the baadi childern that do not have their father identified. Sita is the name of three generations in same house; Draupadi was Sita before she started her job, her daughter's name is also the same and Draupadi was surprised to know her mother's name was also the same. The name Sita, perhaps, is the name that is being long inherited and continues to be so.
The love between Premlalwa and Draupadi is realistic in the novel.Though Draupadi seems prostitute in her profession but really great in her humanity.Their innocent love indicates the philosophical view of love that love is neither sacrifice nor achievement but feeling. Real love always accept reality. It is far from any illusion, any hesitation. Other supporting characters like Nankau, Kaluwa and Bhaujee also play the realistic role in the novel. Including Premlalwa and Draupadi they represents the dominant class where as Rajendraraj, Shantiraja and Shilababu represents the ruler class of the society. The ruler class exploit the dominant class in different ways.
2.3.1. Premlalwa
Premlalwa, the central character of the novel is an orphan from his early childhood. He belongs to the lower and the marginalized group of the society. He was born poor and remained same or made poorer. He had nobody to support in his childhood. There was goodness personified Rajendraraj who provided profound help and supported Premlalwa to lead his life. Rajendraraj is the person who gave identity to Premlalwa as a cart driver and managed to earn his meal once for a day. Rajendraraj helped him in getting compensation from the negligent truck driver who caused the death of Premlalwa's father. He helped him in having the bank account. After some time, he showed the way to drive the horse cart. For the same purpose he gets a cart, cart driving license and citizenship cart too.
Premlalwa was never showed the way to be literate. As a result, he is always seeking guidance from the powerful people of the society and becomes habituated on it. Rajendraraj never feels hesitated to grab the opportunity to exploit the poor people and their property. Premlalwa has become an object for him to exploit and to take advantage of every difficult mode. He is manipulated and used according to his personal interest. Premlalwa has no option except selling his valuable land located in the main road of the city when he suffers from pneumonia. Rajendraraj makes Premlalwa sign his finger print on the document of one lacks amount and tells lie to Shilababu but gives him less than one third of the amount. Innocent and illiterate Premlalwa did not know why he said this nor did he deserve thinking of it. Innocent Premlalwa's level does not know how dirty and corrupted the game of politics is. Rajendraraj has been successful in fooling Premlalwa. So, he refuses to believe his ear in the victory rally that Rajendraraj sold his 70% of votes in amount of five lacks to Shantiraja. But at last Premlalwa knows the fact of that dirty game of politics is the only cause after his miserable condition of his life. His life has been Ulaar itself- seriously and completely imbalanced. The elite people and their ambitions and benefit minded instincts are responsible for such situation of the lower class people.
2.3.2. Draupadi
She is the main female character of the novel. Her name was Sita before she became Draupadi. Draupadi does not know who her father is. She is the representative of the baadi children. Sita has become Draupadi in course of time according to her profession. Draupadi is a slang word people use to tease her. Society is the priest who gives her the name Draupadi. Sita is the name of three generation in same house; Draupadi was Sita before she started her job, her daughter's name is also the same and Draupadi was surprised to know her mother's name was also the same.
Draupadi works as a prostitute to feed her whole family. Directly or indirectly, she is in love with Premlalwa.Though she seems as a prostitute according to her profession but great in her humanity. She has been accustomed to sell herself because of her class and cast are prohibited to adopt the job except of prostitution. Her classes are made obliged to sell themselves unwillingly and earn their daily bread and butter. They accept sex service as the means of livelihood. It is never hypocrisy of the society that patronizes sex services and refuses to acknowledge the existence of the class of people among themselves. To Premlalwa's question:
ta kina yesto ghinlagdo pesa garches?
" Why do you handle such disgusting occupation?" ( Pandey 26)
Draupadi answers straight away:
ta kina tanga: cala:uchas?
" Why do you drive your horse cart?" ( Pandey 26)
In the above conversation, we can see no trace of sentiments and frustration or the feelings of hesitation. As the mythical character, Draupadi from Mahabharata is shared as common wife by five Pandavas, Draupadi from Ulaar is rearing not from five but thousand of people.
2.3.3. Rajendraraj
Rajendraraj is one of the antagonist character who is introduced as the beginning and continued up to the final stage having different modes and attitudes. He is negatively depicted in the novel. He represents the elite class in the novel. As a politician, his works should be something better for the society but he pretends only for doing so. He is successful to deceive simple and illiterate people like Premlalwa. Humanity must not be cruel. People should far from selfishness, vice, treachery and fraud but Rahendraraj accept these things smartly. He is habituated to exploit the poor people. He makes Premlalwa sign his finger print on the document of one lacks and tells lie to Shilababu but gives less than one third of the amount. Premlalwa's class is unable to know the dirty and corrupted games of politics. Perhaps, Ralendraraj's class is able to fool the Premlalwa's class.
2.3.4. Shantiraja
He is another local Politician. He is introduced in the beginning of the novel as the winner of the local election. He also represents the elite class in the novel. He wins by the great margin in the election. He gets 70% vote of Rajendraraj. Premlalwas are unknown about this conspiracy. Shantiraja looks like a political opportunist in the novel. After winning in the election he becomes minister. When Premlalwa reaches to him with cigarette cover letter, Shantiraja shows the real image of the politicians and the democratic leader. Premlalwa finds him nowhere.
2.3.5. Shilababu
He is another political leader. He also represents the elite class. In the beginning, he and Ralendraraj were in same party. Both had good friendship. Rajendraraj was a local leader where as Shilababu in central level. He is also ahead in exploiting poor people. He makes party office in the land of Premlalwa.
2.3.6. Kaluwa
He is the friend of Premlalwa. Like Premlalwa he also represents the dominant class. He gives his hand in each difficult mode of Premlalwa. As a profession, he is postering for years leaving the job of cutting grass which his mother and wife are doing till the days. He gets only five rupees for hundred posters and hardly manages earning forty- fifty rupees a day.
2.3.7. Bhaujee
She is the wife of Kaluwa and represents the dominant class.
2.3.8. Nankau
He is another friend of Premlalwa. He is also a cart driver. He looks not so closed with Premlalwa like Kaluwa but in difficult situation he supports Premlalwa and his class. Unlike Premlalwa, he is favors to Shantiraja and looks proud to carry the load of Shantiraja.
The characters in the novel seem not the imaginary one. The main protagonist of the story drives the cart, drinks, goes to cinema, uses slang word and goes to Gagangunj and loves Draupadi, a sex worker and he weaves the dream to spend his life with her. Their lifestyle, language, profession and culture themselves are sufficient in reflection the exploitation in characters. Closer to the ordinary life of the people Ulaar is ornamented with the cruelty of bitter reality of Nepalese society that is why it has become the incredible masterpiece depicting of the real Nepali society.
2.4. A Brief Introduction to the Writer
Nayanraj Pandey, a story writer, director, lawyer, poet and novelist was born in 2023 B.S in Nepalgunj, Banke district. After completing secondary school, he moved to Kathmandu for further education and finished B.L and worked as a lawyer for some time in supreme court, kathmandu. Living in Basundhara of the capital city is involved in Aarko cinema p. ltd. nowadays.
He has written many novels, stories and plays where he has been rewarded from different prizes. His famous novels are Nango Manche ko Diary (2044), Bikramaditya, euta katha suna (2044), Atirikta (2050) and Ulaar (2055). Similarly, he has written collection of stories like Khorbhitra joker (2060) and Nidaye jagadamba (2065). His coming novel Loo is going to be published.He has been rewarded from Sarbasrestha natak lekhan puraskar (2045), Rasrtiya Prativa Purasdkar (2053), Lokendra Shayitya Puraskar (2058), Moshan Picture Award (2058), Garima Samman Puraskar (2062) and so on. He has been working in so many films and serials as a wrier and director too.
Chapter III: Realism in Literature
The word 'Realism' is formed of 'real'+ 'ism'. The word 'Real' is derived from Greek word, 'Res' which relates to object. Thus the meaning of realism is the reflection of object. Realism accepts the physical world as what it is like the things experienced by senses as the truth.
The philosophy of realism was first developed in seventeenth century where against idealism. Till sixteenth century idealism had rooted in human world, though it was not useful. Idealism believed supernatural world and the world of divinity. In Renaissance, in all Europe, the people began to believe real human life rather than supernatural world. It helped to develop humanism. The new scientific search caused to make failure the conventional value, superstitions, traditionalism, hypothetic, religious and belief to Divine authority and people began to believe in real things. The people suppressed from religious restriction and strict supernatural faith thought idealism was useless because it was completely failure to show way of fulfillment of human needs and answer any scientific questions. As a result, people began to analyze the life with their reason. Therefore, realism was established, and it was thought to be truth on material and real world.
For Marxism, an ideology is a belief system, and all belief systems are products of cultural conditioning. For example, capitalism, communism, Marxism, patriotism, religion, ethical systems, humanism, environmentalism, and astrology are all ideologies. Marxism, a non repressive ideology, acknowledges that it is an ideology. Marxism works to make us constantly aware of all the ways in which we are products of material/historical circumstances and of the repressive ideologies that serve to blind us to this fact in order to keep us subservient to the ruling power system. Although Marxist theorists differ in their estimation of the degree to which we are "programmed" by ideology, all agree that the most successful ideologies are not recognized as ideologies but are thought to be natural ways of seeing the world by the people who subscribe to them (Tyson 56-57).
From a Marxist perspective, the role of ideology in maintaining those in power is so important that we should briefly examine a few more examples so that we can see how it works. Classism, for example, is an ideology that equates one's value as a human being with the social class to which one belongs: the higher one's social class, the better one is assumed to be because quality is "in the blood," that is, inborn. From a classist perspective, people at the top of the social scale are naturally superior to those below them: those at the top are more intelligent, more responsible, more trustworthy, more ethical, and so on. People at the bottom of the social scale, it follows, are naturally shiftless, lazy and irresponsible. Therefore, it is only right and natural that those from the highest social class should hold all the positions of power and leadership because they are naturally suited to such roles and are the only ones who can be trusted to perform them properly (Tyson 59).
Marxist literary criticism maintains that a writer's social class, and its prevailing 'ideology' have a major bearing on what is written by a member of that class. So instead of seeing authors primarily autonomous 'inspired' individuals whose 'genius' and creative imagination enables them to bring forth original and timeless works of art, the Marxist sees them as constantly formed by their social contexts in ways which they themselves would usually not admit (Barry 158).
Realism is commonly associated with "reality". The representation of realism varies in fields like philosophy, art and literature. For the field of philosophy there were lots of controversies whether there is reality. In terms of art the realist painters are those who painted the ordinary life. In literature realistic novel was written for lower class. Novelist would describe any detail in their stories while painters would paint as most detail as possible.
For Marxism, literature does not exist in some timeless, aesthetic realm as an object to be passively contemplated. Rather, like all cultural manifestations, it is a product of the socioeconomic and hence ideological conditions of the time and place in which it was written, whether or not the author intended it so. Because human beings are themselves products of their socioeconomic and ideological environment, it is assumed that authors cannot help but create works that embody ideology in some form (Tyson 66).
Realism gives us characters and plot as if we were looking through a window onto an actual scene taking place before our eyes. Our attention is drawn not to the nature of the words on the page but to the action those words convey. Indeed, we frequently forget about the words we're reading and the way the narrative is structured as we "get lost" in the story. Part of the reason we don't notice the language and structure, the form, is because the action represented is ordered in a coherent sequence that invites us to relate to it much as we relate to the events in our own lives, and the characters it portrays are believable, much like people we might meet (Tyson 66).
Realism, or Realist or Realistic are terms that describe any manifestation of this philosophical realism, the belief that reality exists independently of observers, whether in philosophy itself or in the applied arts and sciences, in this broad sense it is frequently contrasted with Idealism. (Wikipedia). Literary realism most often refers to the trend, beginning with certain works of nineteenth century French literature and extending to late nineteenth and early twentieth century authors in various countries, towards depictions of contemporary life and society "as they were."(Wikipedia).
Realism is applied by literary critics in two diverse ways: (1) to identify a movement in the writing of novels during nineteenth century that included Honore de Balzac in France, George Eliot in England, and William Dean Howells in America and (2) to designate a recurrent mode, in various eras and literary forms, of representing human life and experience in literature.(Abrams 260). Oxford Learner's Dictionary defines Realism as "an attitude of mind in which one accepts a situation as it is and is prepared to deal with it, without pretending it is different. (Hornby 969).
According to George Lukacs, bourgeois society is disharmonious and so the art created in such society loses its aesthetic pleasure. To illustrate this, he sets movements of Enlightenment, idealism and Realism in a Marxist version of history in which the old harmony of the ancient Greek is forever lost, thought nostalgia for it remains. Realism proceeds to reject harmony and beauty as allusions. The opposition of idealism and Realism explicates the division in humanity that is the product of bourgeois society. Lukacs calls for a reawakened social humanism that would heal the breach between life and beauty and create a new harmony that would be worldly (Chhetri and Poudel 282).
From a Marxist perspective, differences in socioeconomic class divide in ways that are much more significant than differences in religion, race, ethnicity, or gender. For the real battle lines are drawn, to put the matter simply, between the "haves" and the "haves-nots," between the bourgeoisie- those who control the world's natural, economic, and human resources- and the proletariat, the majority of global population who live in substandard conditions and who have always performed the manual labor- the mining, the factory work, the ditch digging, the railroad building-that fills the coffers of the rich (Tyson 54).
The social formation is a structure in which the various levels exist in complex relations of inner contradictions and mutual conflict. This structure of contradictions may be dominated at any given stage by one or other of the levels, but which level is to be is itself determined ultimately by the economic level. For example, in feudal social formations religion is structurally dominant, but this does not mean that religion is the essence or centre of the structure. Its leading role is itself determined by the economic level, though not directly (Selden 39).
In the social production of their life, men enter into definite relations that are indispensable and independent of their will, relations of production which correspond to a definite stage of development of their material productive forces. The sum total of these relations of production constitutes the economic structure of society, the real foundation, on which rises a legal and political super-structure and to which correspond definite forms of social consciousness. The mode of production of material life conditions the social, political and intellectual life process in general.....with the change of economic foundation the entire immense superstructure is more or less rapidly transformed. In considering such transformations a distinction should always be made between the material transformation of the economic conditions of production, which can be determined with the precision of natural science, and the legal, political, religious, aesthetic or philosophic- in short ideological forms in which men become conscious of this conflict and fight it out (Waugh 143).
Many Marxist insights into human behavior involve the damaging effects of capitalism on human psychology, and those damaging effects often appear in our relationship to the commodity. For Marxism, a commodity's value lies not in what it can do(use value) but in the money or other commodities for which it can be traded (exchange value) or in the social status it confers on its owner (sign exchange value). An object becomes commodity only when it has exchange value or sign exchange value, and both forms of value are determined by the society in which the object is exchanged (Tyson 62).
A commodity, by definition, has value not in terms of what it can do (use value) but in terms of the money or other commodities for which can be traded or in terms of the social status its ownership confers. An object becomes a commodity only when it has exchange value or sign- exchange value, and neither form of value is inherent in any object. Both are forms of social value: they are assigned to objects by human beings in a given social context. Commodification, then, is the act of relating to persons or things in terms of their exchange value or sign- exchange value to the exclusion of other considerations (Tyson 69).
The exploitation of one social class by another is seen especially in modern industrial capitalism, particularly in its unrestricted 19th century form. the result of this exploitation is alienation, which is the state which comes about when the worker is 'deskilled' and made to perform fragmented, repetitive tasks in a sequence of whose nature and purpose he or she has no overall grasp. By contrast, in the order 'pre- industrial' or 'cottage industrial' system of manufacture, home and workplace were one, the worker completed the whole production process in all its variety, and was in direct contact with those who might buy the product (Barry 157).
Realism takes the physical world as a truth. What senses perceive is the physical world: the earth, the sun, the trees, sky, animals, etc are perceived by senses and they are parts of the physical world. These things are accepted as a truth by realistic thought. According to Sharma, "Realism means a belief or theory which works upon the world as it seems to us"( 263). Realism is a theory in which the world is described in the way what we see it.
The history of realism finds its origins somewhere around the second half of the nineteenth century, mainly from 1830 to 1870. Among its main principles realism establishes itself as a way of thought more than a movement within a specific genre. It seeks to express an object, scene or even a subject through that which is perceivable, negating all romanticism and subjectivism or any other elements which may distort something as it really exists. These realists, also known as positivists, found their faith in the fact that all knowledge obtained from science and its objectives would, in essence, solve all human problems.
Realism in arts concerns the depiction of subjects as they appear in everyday life. The philosophy of realism believes in reality of everything. The things outside the world are real and their existence is free from human experience or things remain unchanged by experiencing them. The realists think that there is the existence of everything whether it is known or not it is felt or not, Realism finds its subjects in everyday life. Writers of realistic fiction tend to use simple, direct prose to depict ordinary men and women in everyday situations. They value the individual above plot, creating stories that explore the psychology of their characters.
For Marxism, getting and keeping economic power is the motive behind all social and political activities, including education, philosophy, religion, government, the arts, science, technology, the media, and so on. Thus, economics is the base on which the superstructure of social/political/ideological realities is built. Economic power therefore always includes social and political power as well, which is why many Marxists today refer to socioeconomic class, rather than economic class, when talking about the class structure (Tyson 54).
Marxism believes on the changing nature of the truth rejecting the final truth because we see every event according to our economic condition. So, everything is viewed with the class division. What is true for the upper class is false to the lower class and vice versa. Marxist theory is the outcome of dialectical realism and historical materialism. It believes on the class division and urges that the truths are multiple because they are the products of different thoughts and concepts.
As a literary term, realism has two meanings- one general, the other historical. In general sense, realism refers to the representation of characters, events, and setting in ways that the spectator will consider plausible. This sort of realism does not necessarily depend on factual description or documentation but more on author's ability to draft plots and characters within a conventional framework of social, economic and psychological reality. In historic sense, Realism refers to a movement in nineteenth century European literature that rejected the idealism.
The stories, characters and setting in the Realist novels are similar to those commonly found in the contemporary everyday world. The place, where the setting takes place, the author and audience are familiar either through direct observation or report. The characters and storylines are plausible. The contemporary everyday life involves and requires a breadth of social detail and the classes represent the working class and middle class, since this form the majority of population. Earnshaw writes, "Characters, events, places, should all be true in the sense of being 'verifiable', where that means being true to the experience of the readership, or to what it knows or believes to be true." (15) The characters in Realist novels represent the middle class or working class of people who are in majority in the society. Realistic novel is a true literary genre that mirrors the society; either it is bad or good.
Luckacs ' 1938 essay "Realism in the Balance", as the title indicates, argues for realism and against anti- realist and avant- gardist literary literary currents such as surrealism. Luckacs maintains the avant- gardist literature that aspires to startle bourgeois consciousness and, ultimately transform society falls victim to the representation of immediacy. Avant-gardist' artistic creations revolve around the importance of experimentation and spontaneous expression and, as much they are only able to capture a fragmented, and thus temporary, Purchase on the socio political reality (encyclopedia).
The words 'realism' or 'realistic' refers to the representation of reality. What we are not doing is usually the word in it's common everyday sense to refer to facing the facts of a situation, as we do, for example when we say of someone that he or she has a realistic approach to life. Although the novelist may also be realistic in this later sense , the novel is first of all a verbal text and, as such, it is an imitation of reality. Further, unlike a film, say, it cannot imitate reality directly. It uses words to give the illusion of reality (Walder 18).
For some Marxists, realism is the best form for Marxist purposes because it clearly and accurately represents the real world, with all its socioeconomic inequities and ideological contradictions, and encourages readers to see the unhappy truths about material/historical reality, for whether or not authors intend it they are bound to represent socioeconomic inequities and ideological contradictions if they accurately represent the real world. Marxist fans of realist fiction often have been inclined to reject nonrealistic, experimental fiction for being inaccessible to the majority of readers and for being too exclusively concerned with the inner workings of an individual mind rather than with the individual's relationship to society (Tyson 66).
The material interests of the dominant social class determine how people see human existence, individual and collective. Legal systems, for example, are not pure manifestations of human or divine reason, but ultimately reflect the interests of the dominant class in particular historical periods. The conflict of social classes establishes the ground upon which ideological sphere, but possess a relationship to ideology which is even less direct than is found in the case of religious, legal and philosophical systems (Selden 25).
The Realistic novelists mostly include the social issues as the subject for their novels; therefore, the setting of realistic novels is the society. The subtitle of George Eliot, in her novel Middlemarch, presents the social environment, and this directs the readers to the fact that a certain type of social environment is the unifying feature and central focus of attention for the novel. This is quite typical for realist writing. The subtitle indicates that the certain type of behavior- provincial life-is to be objectively observed. Earnshaw writes, " It is enough that setting in the realist novel is not merely incidental, but often demonstrates the wholly interdependent connection between humans and environment" (Earnshaw 20).
Luckacs, from the beginning, certainly saw the novel as in some sense reflecting reality, but he had a special idea of what kind of reality it reflected. For Lukacs, the novel reflected a total social reality. For him the greatness of the novels of Walter Scott, Honore de Balzac and Leo Tolstoy was based on their depiction of the underlying forces of social change (Walder 16).
Lukacs' use of the term 'reflection' is characteristic of his work as a whole. Rejecting the down to earth 'naturalism' of the recent European novel, he returns to the old realist view that the novel reflects reality, not by rendering its mere surface appearance, but by giving us 'a truer, more complete, more vivid and more dynamic reflection of reality'. To 'reflect' is 'to frame a mental structure' transposed into words. People ordinarily posses a reflection of reality, a consciousness not merely of objects but of human nature and social relationships. Lukacs would say that a reflection may be more or less concrete. A novel may conduct a reader 'towards a more concrete insight into reality', which transcends a merely common-sense apprehension of things. A literary work reflects not individual phenomena in isolation, but 'the full process of life'. However, the reader is always aware that the work is not itself reality but rather' a special form of reflecting reality' (Selden 29).
A 'correct' reflection of reality, therefore, according to Luckas, involves more than the mere rendering of external appearances. Interestingly, his view of reflection undermines at the same time both naturalism and modernism. It seems true to say that a randomly presented sequence of images may be interpreted either as an objective and impartial reflection of reality or as a pure subjective impression of reality. The randomness can be seen either as a property of reality or of perception. Either way, Luckas rejects such merely 'photogarphic' representation. Instead, he describes the truely realistic work which gives us a sense of the 'artistic' necessity' of the images presented (Selden 30).
Lukacs is able to insist on the principle of underlying order and structure because the Marxist tradition borrowed from Hegel the 'dialectical' view of history. Development in history is not random or chaotic, nor is it a straightforward linear progression, but rather a dialectical development. In every social organization, the prevailing mode of production gives rise to inner contradictions which are expressed in class struggle.(Selden 30).
It is clear that the subject matter for the Realist novel is anything found in everyday life. The novels often engage with the social issues of the day, for instance, employment relation, or the place of women in the society. As part of the drive to be accurate, the representations are often given in detail. The realist world is one in which cause and effect explains everything, in that one event happens as a direct consequence of an event (Earnshaw 14).
The dominant paradigm in novel writing during second half of the nineteenth century was no longer the Romantic idealism of the earlier part of the century. What took hold among the great novelists in Europe and America was a new approach to character and subject matter, a school of thought which later came to be known as Realism (online literature.com).
Realism is the new thoughts that is opposite of idealism. The realists want to portray the real life in their creation. They do not place the impossible things in their composition. Realism opposes idealism. The intention of realists is like the intention of photographers. The photographer can't catch the picture what he wants in his camera, in the same way, the realists make all subject in their writing. They portray local customs, value, belief and tradition in the realistic way (Poudel 102).
Gorky and Tolstoy, two writers who were totally different in style, though both of them condemned the corruption of Russian society before the Revolution in the same way and in almost the same period. Mother by Gorky has been regarded as a literary masterpiece of socialist realism. It depicts the image of mother, who was an uneducated working woman, being gradually awakened to the class nature of society from a desire to protect her only son, who had been thrown into prison on charges of revolutionary movement (Wikipedia). Also the founder of socialist realism in literature, Maxim Gorky (1868-1936), stated the following about socialist realism:
For us writers, it is necessary in our life and in our creative work to stand on the high viewpoint- and only on that viewpoint that can see clearly all of the filthy crimes of capitalism, all of its mean and bloody intentions, and all of the greatness of the heroic activities of the proletariat (Wikipedia).
There is an assumption that realism depends upon a readily accessible language, and that language is transparent: Realists give the impression that words and language can give unmediated access to reality whereas in fact language either inherently distorts the world it describes, or at a more extreme level it asserted that language creates the world.
In literature, the terms "realism" and "naturalism" are used to identify literary movements in Europe and United States in the last half of the 19th century and early years 20th. Both movements had their origins in France; both placed a high premium on fidelity to actual experience, and any nonmaterial source of value. Also they did not depend on writing technique and only partly on subject matter. Naturalism is sometimes claimed to be an even more accurate picture of life than realism. But naturalism is not only, like realism, a special selection of subject matter and a special literary manner; it is a mode of fiction that was developed by school of writers in accordance with a special philosophical thesis.
About language of Realism, Aurbach says, "language itself as a medium which is mastered differently and employed differently at different times" (234). Language is a medium of understanding the world. The language of Realism is the clear picture from which the world is well- known to the people.
According to George Levine, "Whatever else it means; it always implies an attempt to use language to get beyond language, to discover some nonverbal truth out." He points that unlike the movement in France, Realism in England does not focus on the dregs of society on the degradation and degenerations of humans in bondage to social and cosmic determination (Levine17).
Language is a medium, through which the reader see the world. The society and the things, either good or bad, happened in it, can be known through language. We can express the same thing in different way that is language. It is the system of various matters used by humans to expose their thoughts and feelings.
Realism involves not only a selection of subject matter but, more importantly a special literary manner as well; the subject is represented in such a way as to give the reader illusion of actual experience. The realist novelists often render commonplace people so well that they often convince the reader such people really lived. Jane Austin is more realistic in subject and manner than Sir Walter Scott. Her novels contain many realistic passages (Abrams 147).
Eliot's use of provincial setting is typical for English Realist novels. Provincial in this usage means a great importance of civilized society. The setting and the type of people to be found in that setting are co-dependent. Trollope's The Warden, the first novel in the Barchester Chronicals, opens by giving a sense of Barchester and what, there are likely to expect from such a place. Like other writers from realistic period, Mark Twain also represented the life in realistic manner. Huckleberry Finn is one of the most important representations of his Realism. Twain explodes social conventions and depicts the hypocrisy of civilized society.
George Lukacs supported the aesthetic doctrine of social realism. He was interested in the works of Solzhenitsyn and praised his work as a rebirth of noble beginnings of Socialist Realism. For him realism was not a "style" but "the basis of every literature" (Lukacs 220).
Lukacs is able to insist on the principle of underlying order and structure because the Marxist tradition borrowed from Hegel the 'dialectical' view of history. Development in history is not random or chaotic, nor is it a straightforward linear progression, but rather a 'dialectical' development. In every social organization, the prevailing mode of production gives rise to inner contradictions which are expressed in class struggle. The capitalist mode of production developed by destroying the feudal mode, and replacing it with non-individual, 'socialized' mode of production, which made possible a more efficient productivity. In a series of brilliant works, especially The Historical Novel (1937) and Studies in European Realism (1950), Luckas refines and extends the orthodox theories of Socialist Realism. However, in The Meaning of Contemporary Realism (1957) he advances the Communist attack on modernism (Selden 30).
Lukacs suggested the three types of novels. The first was the novel that was interested purely in society as an entity and not in the life of individual within it. A second kind tended to be interested in the inner person alone, without paying much attention to their external circumstances, such as society they live in. He does not support either types of novels, for neither of them fulfills the role of true realism, which is to present the whole picture, of how individuals and society are interwoven. This is how he puts it:
Realism is the recognition of the fact that a work of literature can rest neither
on a lifeless average, as the naturalists suppose, nor an individual principle
which dissolves its own self into nothingness. The central category and
criterion of realist literature is the type, a peculiar synthesis which originally
binds together the general and particular both in characters and situations (223).
Lukacs commitment to realist aesthetic is a commitment to an organic society, and his notion of the type is one of a character who reveals any particular given epoch. Works which are overly subjective or sociological fail to properly render societal structures. There is underlying this view a sense of history as defined by specific epochs, and history itself as an unfolding of potentiality, typical of Marxist thought.
The fact that literature grows out of and reflects real material/ historical conditions creates at least two possibilities of interest to Marxist critics: (1) the literary work might tend to reinforce in the reader the ideologies it embodies, or (2) it might invite the reader to criticize the ideologies it represents. Many texts do both. And it is merely the content of a literary work- the "action" or the theme- that carries ideology, but the form as well or, as most Marxists would argue, the form primarily. Realism, naturalism, surrealism, symbolism, romanticism, modernism, postmodernism, tragedy, comedy, satire, interior monologue, stream of consciousness, and other genres and literary devices are the means by which form is constituted. If content is the "what" of literature, then form is the "how". (Tyson 66).
Chapter IV: Textual Analysis
Analyzing the twentieth century novel, Arnold Kettle writes:
The chief technical achievements of the American social realist novelists of
between the war period were the performing of a very effective narrative style
particularly suited to the conveying of a scene of physical action and the capturing
of a tone of conversation at once colloquial and pointed . These writers were
concerned above all to reflect the sensibility of working people, of the common
man as opposed to the refined one, to take the novel right out of the genteel
atmosphere of middle class living. It cannot be said that they were truly
successful. What they tended to reflect was the sensibility not of the mass of the
working class but of men and women on the periphery of that class- merchant,
sea man on leave, professional sportsman, hoboes, conscripts, jailbirds,
prostitutes, gangsters, bar tenders, intellectuals, students, bohemians and
adventurers (154).
It seems Pandey has inherited from these writers. He has depicted different characters belonging to the society from different groups to indicate that society consists of varieties. His novel Ulaar is the reflection of each and every aspects of social life that take place in the mid western region of Nepalgung. Indeed, the society consists contradictions. There is always contradiction between good and bad, rich and poor, honesty and dishonesty and so on.
According to Bakhtin, the novel is constituted by a multiplicity of divergent and contending social voices that achieve their full significance only in the process of their dialogic interaction with each other and with the voice of the narrator resulting into carnivalesque nature of fiction with flouting of authority and invession of social hierarchies (310).
The social formation is a structure in which the various levels exist in complex relations of inner contradiction and mutual conflict. The structure of contradictions may be dominated at any given stage by one or other of the levels, but which level is to be is itself determined ultimately by the economic level. For example, in feudal social formations religion is structurally dominant, but this does not mean that religion is the essence or centre of the structure. Its leading role is itself determined by the economic level, though not directly.
Literature is not as an object that reflects reality as a mirror reflects things placed in front of it. Literature is a knowledge of reality, and knowledge is not a matter of making one-to-one correspondence, between things in the world outside and ideas in human mind. Reality exists prior to human knowledge, but it has shape. It is a dialectical totality where all the parts are dynamic and in conflict with each other. To be reflected in literature, reality has to pass through the creative work of the writer.
4.1. Issue of Exploitations
In spite of the restoration of democracy, the feudal system is still in full effect, and the people are suffered by the modern feudal oppressors. It is not unreasonable to apply a marxist criticism because the novel indicates class struggle and bourgeois oppression, and is thus, very open to Marxist criticism.
The novel opens with historically something important assigned to political leaders, so it can be assumed that these men, though political leaders, they are the oppressors and the others, though not working as laborers in the factory refers to the lower class.
The opening lines of the novel reflect the dishonesty and fraud of the so called leaders in accountancy with the poor people and work for them for day to night and it shows their selfishness and treachery, celebrations in the sorrow of others. Premlalwa becomes angry and blames his fellow workers for not honoring their word to support Rajendraraj which for him appeared a loss of dignity and self respect. Rajendraraj thrive in such betrayal and secret deals. This marks a powerfully ironic situation in the story that Premlalwa can not believe that serious candidates at election withdraw from the contest taking money from the rival to end their challenge.
dhanna tetikhera usle daru kha:na sikeko thiyena, natra mahinama bis din bhokai hunthiyo, daru nakhanu ko nafha yeti matra bhayeko thiyo ki bis din ko satta das din matrai bhokai basnuparthiyo.
"Premlalwa was benefited by not drinking alcohol. He had to remain unfed only ten days except of twenty. So, he used to eat only once a day so that he may not sleep hungry some day"(16).
In the above extract, we can find the real meaning of life and death. It supports the Darwin's view that there is always struggle for existence. If we want to get one thing we must have to omit another. The sacrifice of alchol has given Premlalwa a lots of support to continue his hand to mouth problem. The definition of life and death, sacrifice and achievement indicates that the novel has presented the real activities.
Marxism believes on the changing nature of the truth rejecting the final truth because we see every event according to our economic condition. So, everything is viewed with the class division. What is true for the upper class is false to the lower class and vice versa. Marxist theory is the outcome of dialectical realism and historical materialism. It believes on class division and urges that the truths are multiple because they are the product of different thoughts.
Marxism is best understood as a philosophy of history, as an endeavor to formulate a scientific theory of human societies and suggest a program of political action to bring about the desired change in society, redeeming it from exploitation. The propounders, then, had no idea to associate their theory with problems of asthetics. Even Marx, who was himself a man of letters and a sensitive critic, did make no attempt to think over this fact. Marxist literary criticism is thus a development of post- Marx period.
The novel Ulaar also shows the contradictions between the rich and the poor people, between the shrewd politicians and the simple minded people, between the people in the centre and in the margin, between the bureaucrats and the ordinary citizen.
"Realism demands artists and writers must be brought back into the bosom of the community, at least, if the latter is considered to be ill, they must be assigned the task of healing it" ( Lyotard 305)
In this sense, Pandey not only brings us to the bosom of the community but also traces its ills and provides solution. At the end of the novel, the protagonist is not going to make compromise with Rajendraraj who has manipulated and managed to push him from the centre to the margin. He also becomes aware of the repressive bourgeoisie ideology which treat poor people like Draupadi as prostitute in the name of culture. Because in the Nepali culture Badi Women are not allowed to get married and settled in family life. But he is determined to marry her defying the age old custom.
Pandey attempts to unify art and life. A work of art for Luckas is " reflection of objective reality". As he claims, "The literature of realism aiming at a truthful reflection or reality, must demonstrate both the concrete and abstract potentialities of human beings in extreme situation of this Kind" (201).
buzhis ? ma tero ba:rema: katha: lekhdaichu
"Do you understand? Iam writing story about u (60)."
In the above extract, we can find another treachery by the shrewd people in the positive language. The elite class shows their sympathy to the poor in their act to grab each and every opportunity, but they feel hesitation to give real empathy. such reality is reliable in the novel. Nirakarji gives sympathy to Premlalwa saying that he will write the story about him, but he drains his pocket in every statement. This is the real evidence how the upper class exploit the innocent heart.
Different groups reflect different realities of the society. The underclass people almost loss their share of bargain like Premlalwa is accustomed to allow the free ride on his cart and Draupadi and the other women are bound to deliver their free service to the elities in their time of choice. But the class never rebel or protest over their exploitation because they need assistance and patronage of those would be power brokers at the crucial moments of crisis. No doubt, the class of Premlalwa accounting for largest group is much valued during elections, political rallies, other protests, strikes and demonstrations. But at last the same political leaders refuse knowing them who work for them day to night.
Humanity must not be cruel. Honesty should be rewarded and dishonesty should be punished. Constitution, law, order, rule and regulations are the common principles of democratic system. A young cart driver, orphaned in his early childhood, lives the life by his faith on hard work. He never cheat or take advantage of others. His attitudes should make him rewarded but he comes under the exploitative grip of Rajendraraj Sharma who cuts huge profit for himself at every difficult mode of him. Premlalwa's honesty and simplicity can not imagine such soft speaking; gentleman and helpful personality can treat different way. Premlalwa believes:
bada: gauprani chan Rajendraraj, harek kaam ma sahayog garchan, janma dekhi marda samma hareklai gun lagauchan, garibharuko lagi jo sita pani ladna bhidna tayar.
"Rajendraraj is goodness personified. He comes forward to help those in need of at every turn. He is just there to assist everyone in need, from the moment they are born till death. He is ever ready to fight anyone, on behalf of the poor"(15).
In the above extracts, the ironic twist on the part of the poor and crooked behavior of rich and powerful makes story rich and leads to black humor and full of poignant scenes at several point. Premlalwa needs some money to continue his profession after he gets rid of pneumonia. The helpful, gentle Rajendraraj suggests him to sell his house and made sign for the one third amounts of it actual price. Though, Premlalwa likes to believe Rajendraraj must not be evil man. Thus, Ulaar has projected the same exploitation of the poor people and elite class that celebrate over the miseries of the same poor and make their misfortune profitable for themselves. Here is the vast gap between power holders and the poor people in Ulaar. The sweat of the poor people does not have any meaning in front of their evil wish and interest. That is why the class of Premlalwa is being suckled and the class of Rajendraraj is growing day by day.
Realism is commonly associated with "reality". The representation of realism varies in fields like philosophy, art and literature. For the field of philosophy there were lots of controversies whether there is reality. In terms of art, the realist painters are those who painted the ordinary life. In literature realistic novels were written for the lower class. The novelists would describe any detail in their stories while painters would paint as most detail as possible.
In some ways, Philosophy is something but not everything. The reality of life is greater than philosophy also where we drink a glass of water, eat a plate of food. Such reality is also included in the novel. In the pathetic mode of life, Premlalwa does not look anything, he just look his life, his cart and his Basanti.
The realist novelist writes on behalf of the proletriates. The novel shows a real possibilities for the revolutionary change in the society. The protagonist realizes the causes of being victimized by the shrewd politicians who have managed to snatch his property (land) that was in the center and have pushed him towards the margin geography. No difficult to watch, Premlalwa is continuously being dragged away from the mainstream. Rajendraraj waits for the right time to grab the opportunity to take the advantage of the poor people and kick them away. The Pathetic hero at last of the story could remember his father's saying:
mainroad bata surkhet road, surkhet road bata koreanpurwa, koreanpurwa bata paraspur, ma ra ma jastaharu sadhai dhakelinchan.
"From main road to Surkhetroad, then to Koreanpurwa and Parasapur from it. I and same are always being pushed away" (78).
The so called leaders do not see the sufferings of the poor people rather they run after the extreme height of their ambitions. Rajendraraj and Shantiraja are the lively example. At the very beginning of the story, they are the chief contestants of the election and run the promotional campaign of election sharply focused on demolishing each other and people in large number join the campaign.
Towards the end of the campaign the two candidates assigned a secret deal of five lacks for 70% vote of Rajendraraj to Shantiraja. Premlalwa and the supporters feel betrayed. Premlalwa waits at the pooling booth till the final result of the vote counting were announced. Nobody tells him that his candidate had backed down from the race in account to five lacks. Everyone was puzzled hearing Shantiraja betrayed his candidates and sold his candidacy in huge profit.
ashi bishnu a:yo ra usla:i gizolna thlyo sa:la: phirima: dinuparcha tyo pani dukha sahera
" Asai Bishnu came and started to sex her, the sex is to be free and in pain, how sad." (47).
Because of power, elites like the local security personals Bishnu Bahadur pays for no cost at all. Draupadi curses him to serve them free though tolerating pains. Such characters of Ulaar have become object that could be kneaded at random by the elite males whenever they want. Missing their duty, bureaucrats like Bishnu Bahadur are crazy to exploit the naked body of Draupadi. Because of tradition and feeble economic situation, Draupadi's class have to bear such disrimination. Otherwise, their family would be unable to manage the situation to live in that society because they are inferior and can not raise the voice against them and revolt against such suppression.
Bhaujee says, a:zka:l bikram tempho chalchan, tanga kam hudaicha, tangawala ghas lina audainan
"The tanga owners do not come for grass, vikram tempos are available nowadays, and carts are being disappeared"(51).
The poor people are always the matter of suppression and they are being exploited in some or the other ways and they are also being made jobless and homeless and being replaced by the powerful and rich people from their traditional profession. The access of power causes their poor condition, so, the gab between poor and the rich is increasing day by day.
From a Marxist perspective, differences in socio economic class divide in ways that are much more significant than differences in religion, race ethnicity, or gender. For the real battle lines are drawn, to put the matter simply, between “haves” and the haves-nots” between the bourgeoisie-those who control the world’s natural, economic, and human resources and the proletariat, the majority of global population who live in substandard condition and who have always performed the manual labor- the mining factory work, the ditch digging, the railroad building that fills the coffers of the rich.
Premlalwa's home belongs to single bed, he sleeps having partitioned his room for him and his mare Basanti. These are all his property. The characters in the way seem physically poor. But inwardly their inner hearts are materialized with profound love and affection for others. The difference is in its return- the upper class return back only the pain and sufferings. The family of the grass cutter is hardly earning their basic needs. Kaluwa and Vaujee, are daily wage labors and grass cutter respectively, give affordable money to Premlalwa hiding from each other. Draupadi gives her ornament to Premlalwa. Premlalwa, too, wanted to give Draupadi some money but she refused to take it. Anybody can observe such kinds of love and affections of characters in the novel Ulaar. Their love for the animals is not less than of it. In Premlalwa's words:
uThna sakches? Aspatal za:ne?
" Can you stand up? Do you go to hospital?"(35).
Premlalwa asks these questions to Basanti like a mother to her child. The love between human beings and non human beings is so extraordinary in the novel that Premalawa and Basanti are like a two wheels of a cart, without one no existence of another. Their past, present and future depends in the existence of each other. The elite class has no meaning of it but for the dominant class gets a lot of support. The elite class treats the dominant class as non human beings but the dominant class treats non human beings as human beings. The elite class feels hard to believe that death and sorrow are common to all.
The pathetic hero Premlalwa goes to Kathmandu thinking of buying a cart and carry three generation of Shantiraja (55). But he is treated as non human being in Kathmandu. He is warmly welcomed 'marshya', just for asking the direction to the minister's quarter. The owner of the hotel told him to sleep in the dirty bed (60). A drunkard named Nirakar also takes the benefit of Premlalwa. He assures him to arrange his meet with the minister, Shantiraja and takes eighty rupees money from Premlalwa. But next morning Premlalwa finds him escape from the hotel (62). This shows that one can not shake of one's nature. Beside the proper rule and regulation, illiterate people like Prenlalwa have to be exploited for ever and ever.
During the days in Kathmandu, Premlalwa manages drinking three cups of tea, eats meal three times and takes three dozes of medicines for his stomach pain. His attempt to meet minister was becoming like impossible and futile. He went Singha Durbar, Baluwatar and several other places to get relief of Basanti's death but could get nothing. At last, in the minister's party office, he got the bitter taste of reality at top. A failed political character asked Premlalwa:
Mantrile talai cincha?
"Does the minister know you well?"
Khai ali, ali, usle jawaf diyo
"Not that well but I think he will know me." He replied (64)
teso bhaye za: a:zi ghar pharki, bithama yo kaThmandu ko jadoma, za: tero ka:m bandaina, za: baru a:phnai jillama za:, rajniti gar,a:Th das barsama ta a:phai mantri hunchas, yeha a:yera ta jastale mantrilai bhetnu bhanda tyai chado huncha
"In that case you better go back to your home today, right away. It's no use in this cold of Kathmandu. You better leave, your work will never make, go back to your home district. Join in politics. You will become a minister yourself in seven or eight year's a time. That would be faster than people like you get a chance to meet the minister"(64).
Option less Premlalwa again goes to Rajendraraj with his property ownership document. Rajendraraj gets surprised and says:
hera, Premlalwa, kura bhanya safaa, mathi partibata nabbe hazar a:yeko cha, kaagaj nabbekai bancha, tis talai, tis malai, tis Shilababulai.
"Look Prewmlalwa, clearly to say that the central party office has allocated ninety thousand rupees where the document will be the same amount. You will get thirty thousand where as me and Shilababu will also get the same amount"(75).
Ulaar has pictured the experiences and the world views of the dominant characters but the voices of the powerless people does not come forth to be heard. The grief of the marginalized people and their experiences are only seen but not heard. The upper class attempt to represent them but in a wrong way.
Finally, the pathetic hero is determined not to allow the fraud politicians like Rajendraraj and Shantiraja to manipulate him. Furthermore, he is able to overcome his false consciousness. He finds his affinity with Draupadi and asserts his decision to marry her breaking the social nerms.
alikati ma:ya: alikati adhika:r ra alikati a:grahasahit Premlalwa zoDle kar:yo- 'Draupadi'..
" With little love, little right and little request Premlalwa strongly cries, "Draupadi"(79).
Thus, the suppressions, oppressions and exploitations of marginalized people are lively pictured in Ulaar. None of the characters in the novel can speak for themselves. This is the main reason that they have been exploited from the elite class. Isn't it responsible for Rajendraraj and Shantiraja to help Premlalwa in his pathetic condition? Aren't they the leaders of the people? Don't they have to follow the rule and regulation? There are so many questions raised? But the class of premlalwa can not stand in this way. Perhaps, they have no answer.
Chapter V: Conclusion
After the comprehensive exploration of the issues of exploitation in Ulaar by Pandey, this thesis comes to the conclusion that every exploitation is harmful for the reformation of the society. Including other reason, exploitation is also the major reason that Nepalese people are suffering from alms and starvation. The primary duty of the Politician is to serve the people and the country without any reason but the negative attitudes what they have has made all the contributions of people's movement futile. There should be clean and close relationship between democracy and the people.
Pandey in Ulaar has tried to represent the voice of the exploited people. He has picked the issues of those marginalized people who are suffering from selfishness, vice, fraud, cruelty, treachery and so on. The thesis has raised the racial questions of the exploitation on marginalized people by the rich and elite people who caused the protagonist to lead his feeble life by taking advantage of his condition.
The novel also practices the use of Marxist thoughts and concepts in its plot as well. Marxism believes that the development and change of the society is mainly based on the conflict between two classes like proletariat and the bourgeois and everything is viewed in terms of market value system. The novel clearly presents the characters from two classes and the domination of higher class over the lower one by the use of their different power. Rajendraraj, Shantiraja and Shilababu represents the higher class where as Premlalwa, Draupadi, and Kaluwa represents the lower one.
The marginalized people lack consciousness, so, can not resist against such exploitations. Premlalwa is the representative of the proletariat class who is always being victimized by the elite, the political leader, Rajendraraj Sharma. He makes Premlalwa sign his finger prints on the papers and gives less than the one third of the amount than his property worth and pushes him away gradually from the mainstream to the remote village many times. Similarly, Rajendraraj takes most of the compensation money Premlalwa is supposed to get as a compensation for his father's death in the accident. It reflects that the suffering of the poor people is always the matter of celebration to the elite class. On the other hand, Draupadi is rearing thousands of pandavas of her society for her livelihood. She is exploited by her own class, the authority or the agents of the local authority. The class of Draupadi is always unsecured in the hands of local security agencies.
Furthermore, we meet another true conclusion that generally politicians are not wise people who work for public welfare and the betterment of the society. Infact they are greedy, selfish, moneyminded, vice, and fraud who do everything to meet their vested interests, do not hesitate uprooting the people and snatching even their basic needs.
Appendix: Prasnawali and Ulaar Rachana Garva
As I managed to include Ulaar Rachana Garva by Nayanraj Pandey. Last week I went to Kathmandu with some questions for interview but unfortunately Pandey was too busy in releasing his new novel Loo. I am happy to say that his Loo is released (8 April 2012) now. Again, I sent these Questions through Yahoo mail. He has sent me Ulaar Rachana garva which I have included here thinking that something is better than nothing.
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Tof] b[Zokl5 PsfPs dnfO{ g]kfnuGhsf] ;Demgf eof] . ;'Gwf/fdf b]lvPsf] Tof] dw]zL o'jfl;t d]/f] lrghfg / bf]x/f] s'/fsfgL ePg . t/ d}n] sNkgf ug{ yflnxfn]F, Tof] d]/f] g]kfnuGhsf] o'js x'g'k5{ . s'g} jfWotfn] sf7df08f} cfPsf] x'g'k5{ . lsgeg] d nueu cfh;Dd klg :ki6 5', sf7df08f}df ul/a dw]zL cfpg'sf] cy{ xf], ls pm ;jf]{Rr cbfnt;Dd k'u]sf] cfkm\gf] s'g} k'/fgf] d'4fsf] tfl/vdf cfPsf] xf], ls pm cfkm\gf] lgjf{rg If]qsf ljhoL ;f+;bl;t s'g} ;xof]usf] cfzfdf cfPsf] xf] .
;femf a;kfs{ ;'Gwf/fdf b]v]sf] Tof] b[ZonfO{ s'g} syfsf] ljifo agfpg rfxGy] d . s]xL lbg ToxL lx;fan] 3f]l/PF klg . t/ o;k6s :d[ltdf /x]sf / cleJoQm x'g g;s]sf d]/f rl/qx?n] ;f/f] b'Mv lbg yfn] . To;kl5 d]/f] :d[ltdf cfP k|]dnnjf, b|f}kbL, sn'jf / ggspmx? . To;kl5 :d[ltdf x:tIf]k ug{ cfP /fh]Gb|/fh, zflGt/fhf / lznfafa'x? .
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pkGof;df rl/q / kl/j]zsf] lgdf{0f ug{ jiff}{F klg nfU5 . t/ d]/f nflu of] ;xh ljifo lyof] . lsgeg] rl/q klg d}n] b]lv/x]s}, lrlg/x]s} lyP . kl/j]z t emg\ d}n] d]/f] afNosfnb]lv b]v]s}, v]n]s} 7fpF lyof] .
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s}n]sfxLF d}n] To:tf b|f}kbLx?sf] ;d"xnfO{ nIdL lrq dlGb/ gfds ToxfFsf] k'/fgf] / yf]qf] l;g]df xndf klg b]Vby]F . pgLx? y8{Snf;df a;]/ l;g]df x]l//x]sf x'Gy] . xndf k|foM h;f] aQL lgle/xGYof] / ToxL df}sf 5f]k]/ s]xL cfjf/f s]6fx? pgLx?nfO{ ;dfTg k'luxfNy] . xf]xNnf x'GYof] . em}emu8f x'GYof] . ?jfjf;L klg x'GYof] . b|f}kbLx? ldn]/ s}n]sfxLF cfjf/f k|]ldx?nfO{ e'TNofpFy] klg . Toltv]/} d}n] a'em]F, j]Zofn] klg ;Ddfg rfxG5], OHht rfxG5] . pm 7fpF s'7fpF a]OHht x'g rfxGg .
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pnf/df ;a} gf/L rl/qsf gfdx? kf}/fl0fs u|Gysf zlQmzfnL gf/L rl/qsf gfdx?af6 p4[t u/]sf] x'F . b|f}kbL, ;Ltf, s'GtL, clxNof . d rfxGy] pgLx?sf] ;'U3/, ;kmf / jhgbf/ gfd / pgLx?n] ef]lu/x]sf] xn'ª\uf], kmf]x/ / 3LgnfUbf] hLjg ldn]/ Pp6f lj/f]wfefifk"0f{ kl/j]zsf] lgdf{0f xf];\ . / To;kl5 ;a}n] ;f]r'g\, s] To:tfsf] dgdf klg k|]d efj x'G5 < s] To:tfnfO{ klg s;}n] k|]d ug{;S5g\ < c?n] s] u5{ yfxf 5}g, t/ d]/f] k|]dnnjfn] eg] b|f}kbLnfO{ k|]d u/\of] . / cfkm\gf] k|]dnfO{ ;fy{s kl/0fltdf k'/\ofpg] lxDdt klg u/\of] .
rl/q l6Kg] t ;dfhaf6} xf] . xfd|} jl/kl/sf] kl/j]zaf6} xf] . xfdLn] glrg]sf, gb]v]sf, ga'em]sf JolQmx? xfd|f] /rgfsf kfqx? t aGg ;Snfg\ t/ rl/q aGg ;Sb}gg\ . ltgn] rl/q aGg'sf] ul/df / uDeL/tfnfO{ axg ug{ ;Sb}gg\ .
sltn] ;f]W5g\, pnf/ n]Vg slt dlxgf nfUof] < / d}n] cfh;Dd k|foM o;sf] pQ/ lbgaf6 klG5g] u/]sf] 5' . cr]n pkGof; n]Vg / k'gn]{vgsf nflu k|z:t ;do nufpg' k5{ eGg] dfGotf :yflkt h:t} eO;s]sf] 5 . o;df d klg s]xL xb;Dd ;xdt 5' . l//fO6 ug]{ kl/kf6L xfdL sxfF Psbd} sd 5 . km]l/ oyfy{ of] klg xf], k|z:t ;do nufP/ n]lvPsf /rgfx? ;a} ;zQm x'G5g\ / yf]/} ;dodf n]lvPsf /rgf ;a} sdhf]/ x'G5g\ eGg] klg 5}g . snd ;dfP/ jf lsaf]8{ lyr]/ n]Vg a:g' Pp6f :y"n sfo{ xf] . t/ l;h{gfsf nflu cfjZos kg]{ rl/q, kl/j]z / 36gfqmdx? t n]vssf] dl:tisdf jiff}{Fb]lv cª\lst e}/x]s} x'g;S5g\ . pnf/sf rl/qx?, kl/j]zx? / 36gfqmdx? d}n] /ftf/ft lgdf{0f u/]sf xf]Ogg\ . tL d}n] snd rnfpg'cl3 g} lgld{t e};s]sf lyP . d}n] ltgnfO{ zAbdf aofg dfq} ul/lbPsf] x'F .
pnf/ d}n] nueu Pp6} d"8df n]v]sf] x'F . syfgssf] cfGtl/s lj:tf/ pkGof;s} eP klg afx\o lj:tf/ Pp6f nfdf] syfsf] h:t} ePsf]n] Pp6} d"8df n]Vg ;lhnf] klg eof] . n]lv;s]kl5 d}n] d}n] To;df kl/dfh{g jf k'gn]{vg ul/g . syfdf d}n] ToltGh]n km:6 /fOl6ª\unfO{ g} ;f]em} k|sfzgsf nflu lbg] uy]{F . l//fO6 ug]{ afgL klg lyPg . l//fO6 ul/;s]kl5 /rgfnfO{ cem kl/is[t ug{ ;S5' eGg] cfTdljZjf; klg lyPg . zfob To;}n] d}n] pnf/df yk k'gn]{vg ug'{ cfjZos 7flgg .
n]lv;s]/ d}n] ;a}eGbf klxnf ;dfnf]rs tyf ldq k'?iff]Qd ;'j]bLnfO{ k9\g lbPF . pxfF g} pnf/sf] k|yd kf7s xf] . d}n] pkGof;df of] s'/f pNn]v klg u/]sf] 5' . kf08'lnlk k9]kl5 pxfFn] tfl/km ug'{eof] . nuQ} d}n] slj ZofdnnfO{ klg k9\g lbPF . pxfFn] klg lgs} Plk|l;P6 ug'{eof] . To;kl5 t dnfO{ klg 7Ls} n]v]5' eGg] nfUof] . csf]{ /dfOnf] s'/f s] eg], d}n] pkGof;sf] klxnf] cWofo cf/De ug'{cl3 g} o;sf] zLif{s klg ;f]lr;s]sf] lyPF . syf n]Vbf klg d k|foM zLif{s klxn] g} /fVg] ub{5' . ToxL afgL pnf/sf] xsdf klg nfu' ePsf]] x'g;S5 . To;sf] csf]{ sf/0f klg x'g;S5, pkGof; z'? ubf{ g} d}n] To;sf] ;dflKt sxfFg]/ ub}{5' eGg] s'/fdf d :ki6 e};s]sf] lyPF . To;}n] d :ki6 lyPF, d}n] lrGtgxLg /fhgLltn] c;Gt'lnt agfOPsf] cfd dflg;sf] hLjg—syf n]Vb}5' / To;sf nflu pnf/ ;a}eGbf pko'Qm zLif{s x'G5 .
d}n] pkGof; ;fkmL klg ul/g . a? n]vgqmdd} s]xL ;fdfGo s]/d]6 ePsf lyP xf]nfg\ . t/ d}n] To;nfO{ bf]x/\ofP/ ;fg]{ sfd ul/g . d}n] Pp6f kftnf] 8fo/Ldf pnf/ n]v]sf] lyPF / kl5 @)%# ;fnsf] tGg]/Lsf] s'g} cª\sdf pnf/ 5fKg] ;xdlt ePkl5 To;sf k|sfzs ljb'/ uf}tdnfO{ ToxL 8fo/L g} lbPsf] lyPF .
pkGof; k|sfzgsf nflu nfUg] vr{ sd ug{sf klqsfs} ;fdu|LnfO{ g} kfFr ;ok|lt a9L 5fKg] / To;}nfO{ cfj/0f / e"ldsf yk]/ lstfasf] ?kdf k|sflzt ug]{ of]hgf lyof] . g]kfnuGhsf] kl/j]znfO{ glhsaf6 a'em]sf] / d]/f] lk|o n]vs klg ePsf]n] d}n] e"ldsfsf] lhDdf ZofdnnfO{ lbPF . pxfFn] e"ldsf klg n]lvlbg' eof] . t/ s]xL sf/0fn] tGg]/Ldf k|sflzt ePkl5 ;dodf To;nfO{ lstfaL ?k lbg ;lsPg / cGttM To;sf] Kn]6 klg x/fof] . e"ldsf klg x/fof] . To;kl5 To;nfO{ lstfaL ?kdf ;fj{hlgs ug{ hfFu/ rn]g .
em08} b'O{ jif{kl5 @)%% ;fndf aNn 5kfOsf] rfFhf]kfFhf] ldNof] . t/ o;k6s To;nfO{ n]6/k|];df 5fKg] lg0f{o ul/of] . lsgeg] lstfa kftnf] lyof] / sDo'6/ 6fOkdf Tof] emg\ kftnf] b]lvg] lglZrt lyof] . Zofdnn] bf]x/\ofP/ e"ldsf n]lvlbg' eof] . Go"/f]8af6 /Ghgfxn k:g] af6f]sf] bflxg]lt/ /x]sf] kGhfaL /]i6'/]G6 P08 af/sf] dflyNnf] tnfsf] cFWof/f] Soflagdf a;]/ lr;f] lao/ Ko'Fb} pxfFn] rf/—kfFr 306fdf pnf/sf] klxnf] k':tsfsf/ ;+:s/0fsf] zfgbf/ cfj/0f klg tof/ ul/lbg' eof] .
ca s;}n] dnfO{ pnf/ slt dlxgf jf lbgdf n]v]/ l;Wofpg' eof] eGg] k|Zg ul/xfn]df d}n] k|Zgaf6 :s]k gug]{ ljrf/ u/]sf] 5' . ca d]/f] hjfkm oxL xf]—pnf/ d}n] sf7df08'df @)%@ ;fnsf] Psbd lr;f] dlxgfd} n]v]sf] lyPF . jiff}{Fb]lv rl/q, kl/j]z / 36gfqmdx?n] dgdl:tisdf v}nfa}nf dRrfO/x]s} lyP . To;}n] dgsf] s'/f sfuhdf ptfg{ dnfO{ rf/ lbg dfq} nfUof] .
h] xf];\, pnf/n] kfPsf] k|z+;faf6 v'lz 5' . kmfOg lk|G6af6 em08} bz jif{kl5 o;sf] k'gk{|sfzg ePkl5 o;n] emg\ rrf{ kfof] . o;n] k'gk|{sfzg x'g] cj;/ klg kfpg] lyPg, olb slj -ca pkGof;sf/ aGg] t/v/df_ a'l4;fu/sf] l;kmfl/;df kqsf/ o1;n] pnf/ gkl9lbPsf] eP . pnf/ k9]kl5 pgL k|efljt eP / To;kl5 pg}n] kmfOglk|G6sf clht a/fnl;t ;Nnfx u/]/ bf];|f] ;+:s/0fsf] rfFhf]kfFhf] ldnfOlbP .
oL ofjt\ s'/fx? cfh ;Dembf /dfOnf] nfu]sf] 5 . t/ b'Mv Pp6} s'/fsf] 5, d}n] h;sf b'Mv, lgolt / ;ª\3if{nfO{ n]v]F, ltg} k|]dnnjf / b|f}kbLx?n] pnf/ k9\g EofPsf 5}gg\ . emg\ emg\ lbzfxLg x'Fb} u}/x]sf] jt{dfg /fhgLltn] pgLx?sf] hLjgnfO{ cem} klg b'?x / c;Gt'lnt agfO/x]s} 5 . pgLx?sf] hLjg?lk 6fFuf cem} klg pnf/ s} l:yltdf 5 . of] pnf/ cyf{t\ c;Gt'ngl;tsf] pgLx?sf] ;ª\3if{ clxn] klg lg/Gt/ hf/L 5 .
To;}n] pgLx? km';{bdf 5}gg\ / cfkm\g} hLjg—syfnfO{ k9\g EofO/x]sf 5}gg\ .
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