Expansion and Portrayal of Essential Humanity in Bisht’s Writing

V.K. Joshi

Expansion of situations, thoughts, emotions and characters in literary creations are directly related to a writer’s intensity of imagination and capability of creating appropriate forms and structures through expansive and imaginative verbal ability. Creativity at such level of expression has to go through a long duration of a sensitive absorption of the world around. Not only this much; for any such output demands a complete identification with content of creation. So, while evaluating any literary work, it is necessary to evaluate it from and at different angles: otherwise, its real significance cannot be projected before its reader. The process of analysis now must call for a painstakingly comprehensive and all- inclusive approach toward unfolding the thematic appeal of the book to all readers.

Sensibility of a writer is the foremost element in giving depth and range to experiences and observationsfor effective and convincing portrayal of mankind. Literary productions take on giant forms when a writer is capable of extending his limited local experiences and observations over to the entire humanity. The truth is that even the most localized issues can be universalized and can be put into the total psyche of humanity at large. A creative fusion of intense sensibility and profound imagination always result in creating a masterpiece. A skillful telescoping of diametrically opposite elements of the human beings and the world determines how a writer is going to affect his readers.

The renowned Hindi writer, Harisuman Bisht’s literary productions definitely confirm the above observation on creative literature.

Before going through Bisht’s creative outputs, we must have a survey of his life’s journey. He was born on January 1, 1958 at Kunhil, a small hill village in district Almora in Uttarakhand, India. It was a remote region. The place then did not have the modern facilities. In that village, the people were not at exposed to the glamorous lifestyle of the big cities. The human activities were confined mostly to everyday necessities. The inhabitants of that region were cut off from those  dreary and hectic activities of cities that were mistakenly related to culture and polish of people and were thought to be a part of status. Notwithstanding alllimitations, the region was not wanting in making life colorful. Those living there were had inherent nobility in them. They exist in Bisht’s consciousness as precious memories. A large part of his literary creations draws inspiration from it. Here we are reminded of his portrayal of the old tailor who used to stitch clothes of the author when he was a child. His frequent descriptions of those who had been in touch with him once are revived fondly through his characterization and memoirs. They are not just some vaporous beings or phantom creatures. They are living, vibrant entities who are driven on by their elemental passions. Their activities have throb of life. Their ordinary human passions contain impulses and aspirations of mankind at large. In them we see life’s image in a concrete form. Through them, Bisht has portrayed a larger canvas of humanity. Although they are very simple and are totally unaware of the world that exists beyond their immediate experiences, they are not rude and uncultured. Their community life, festivities, ceremonies, customs and traditions suggest the highest modes of the human conduct. They are, perhaps, a product of what the French philosopher, Henri Louis Bergson, has referred to asélan vital. Their passion for everyday activities is amply reflected in their spontaneous and unaffected joie devivre. Their vivid portrayal contains possible enlargement on humanity.

After finishing his primary education in his village school, Harisuman Bisht had his further education from Manila Inter College. Afterwards, he studied at the Kumaon University. He secured his Postgraduate degree in Hindi Literaturefrom there. He did his PHD from Agra University. After completing his education, he had worked for some time the Sahitya Akademi. Finally, he joined the Hindi Akademi and worked there in different capacity for several years. He held the post of Sachiv in Hindi Akademi for a few years and did admirable work for promotion of Hindi Language in various ways in his official capacity. He retired as Sachiv Maithili and Bhojpuri Akademi.

Over the years, Dr. Harisuman Bisht has contributed vastly toward the growth of Hindi Literature in two ways: 1. throughhis literary outputs and 2.through his official status. While in his office, he encouraged young and aspiring young people on the one hand and on the other, bringing on one stage creative literary figures of different languages occasionally through seminars and various other programs.

All through his life Bisht has been a sensitive observer of life and people. His portrayal of characters derives its strength from his emotive response to situations, events and actions and reactions of the people in their everyday struggles and their profound longing for survival through all ups and downs. The best aspect of his portrayal of humanity lies in allowing his characters a freedom of mind even when they are under the worst conditions and circumstances of life. Some of his characters who have been forced into very difficult state of existence and, yet, they do not feel cowed down at all. Lack of resourcefulness does not affect their awareness of their own dignity. They have been studied minutely and delineated meticulously against the backdrop of ageless hills mostly. They are endowed since birth with a robust faith in generosity of the Mother Nature. Their stability can be attributed to their absolute trust in the smooth functioning and organized system of the world they been living in. Also it is their conviction that in no case can they shun and escape the consequences of what is directed and determined by Fate. However, in spite of their firm belief in a teleological and deterministic view of the universe, they are warriors in life. Their ethical values and moral approach to everyday activities have been the main force in shaping the tenor of life. Even if they are not highly educated, they derive their enviable fortitude and equanimity from this elemental philosophy of life. The world they have been living in has its own colors and beauty. One can only appreciate it when one is willing to dissolve oneself in its charm without any reservation and is ready to put aside his cultivated and polished self. It calls for instinctual response to stimulus that emerges from the depths of the feeling self. It expects an empathetic response from the observer and the ultimate experiencer. It does not have any middle path.

A perusal of Bisht’s literature confirms our impression that in his numerous works, he has emphasized upon the dignity of women. His women characters who often go through the most excruciating circumstances in life and, even fall victims to exploitation of the ruthless males and often  violate sometimes the ethical and moral codes of the society, have been portrayed in three dimensions. Nature has bestowed upon them infinite charm and, a defense system that elevates them to a higher level of sensitivity and refines and expands their internal resources infinitely. These female characters are tough to the core and do not back out from accepting challenges from and of the outside world. Their quick and unique adaptation to inimical circumstances accounts for their power. And, yet, these women do not lack in feminine essence of the being. They are the most surprising paragons of womanly virtues. Even in the moments of weakness and disadvantage, these females never convey to us any sign of helplessness and self- pity. Their physical and mental ordeals harden them and accrue to honing their resolve to the extent of wonderment.

As a novelist Bisht has created some of the most immortal female characters in his literary voyage. In portrayal of his female character he has used a contrastive effect very effectively. Some of these females are submissive and they live by traditional rule of patriarchy; and, yet, there are those ones who challenge boldly the male authority and, even o to the extent of forcing it to abject surrender. Here one is reminded of Chana, from the novel Aasman Jhuk Raha Hai when she cuts off her father’s genitals and expresses her resentment against an unfeeling male domination and a pachydermatous society. A character like Aachhri from his novel Aaachhri-Machhri leaves indelible impression upon our mind with her tremendous will- power. She overcomes all negativities through her epic fight for survival in the midst of the most hostile environment. Her inherent aplomb drives her on to a unique and highly appreciable acceptance of life. It is this quality in Bisht’s female characters that elevates them to a higher level perceptivity. With their determination to survive in the world, they are capable of dispelling all blues and bitterness within them.

The Saga of a Mountain Girl is the English translation of Bisht’s novel Aachhri-Machhri. The translator, Manprasad Subba is a renowned Nepali poet and the Sahitya Akedemi winner for excellence of his poetry.The quality of this translation maintains its spontaneity all through in such a way as to keep its original nuances intact.

Apart from this work’s thematic significance, it portrays two very powerful female characters: Aachri, the heroine of the novel and Junjunali, who is an uninhibited life stylist, who appeals to everyone with her enviable lust for life. The ultimate appeal of this literary creation lies in a very colorful and imaginative display of the glory of females. The author’s feminist viewpoint is reflected clearly in delineation of these two women. All other female characters around them accept their superiority and, secretly envy it too. This novel suggests a step toward the changing modes of a conventional society.

Bisht’s work, Bhitar Kai Ekant, seems to be a long and highly impressive dramatic monologue. It’s All Solitude Within is its English translation. The protagonist here keeps brooding over the past and continuous changes in social, political, ethical and financial values and interpretations of events, situations, people and modalities of everyday existence. A clash of diametrically opposite value systems have been sharply outlined by the author. A vague and confused political culture is detrimental to the entire nation and its people is, perhaps, the theme of the novel. A steep decline of the moral and ethical norms of the society in the present-day India is the ultimate conclusion from the reading of this very artistic work. In this creative work Naurangi is a very powerful character. Her basic understanding of the world gives a vast expansion to all her utterances and activities. We are reminded here of her dialog with her son:“Mom is there a life in snow too?”

She laughed a lot over that. Doubled up. She was like pure stainless snow and, so were her words. She told at once, “How would snow have hardened if there wasn’t any life in it? Why would we have waited for the whole year for its falling down? Why would I give you to eat up that soft fresh snow at all? Whatever gives us energy has life in it. Whatever throbs with life is only capable of becoming soft and hard, not anything else. Do you get it now, you idiot?” She burst into laughter.

Bisht is a prolific writer. He has written novels, short stories, literary articles and screenplay and over number of other fields too. He is also a very successful translator. He has edited magazines and important literary books too. Over the years Bisht has received a number of prestigious awards in India and abroad for excellence of his writing. Some academicians have done research on Bisht and have received their doctorate on their works on him. He is also a widely travelled man here and abroad. He is also a member of several committees. His first novel, Mamta, was brought out in 1980 and his latest, the seventh one is Battis Raag Gao Mola. His forth coming novel is Apne Aranya Ki Or.

Battis Raag Gao Mola is historical novel. The theme of this creative work takes on its form and meaning by showing a clash between human emotions and sociopolitical aspirations of the humans. Mola, the artist – poet, goes through a series of physical and mental shocks. There are moments when he is torn between conflicting emotions of duty and art and love. He feels smothered. A darkness surrounds him. However, at the end when all his doubts are determined, he attains his spiritual freedom as an artist. A hitherto unfelt happiness surprises him. He is reborn through his total surrender to his impulse. The scars produced in his psyche by his horrendous experiences in the past are healed up as soon as he recognizes his real calling in life. The real import of this novel lies in the manner the writer has shown here the true glory and generosity of a Gorkha’s character through the portrayal of Amar Singh Thapa, the great general, a martial luminary from Nepal. He wins a war; and, yet, he goes to Mola’s house and pays his due respect to the artist – poet. It expresses his humility and sensibility for the finer and higher values of life. It is a very touching depiction of the real Gorkha character.

The title of the novel is a symbolic metaphor for freedom of the soul. The author wants to tell his readers that Art and Literature demand a burning out of the self to the core. Through Mola’s character, Bisht has depicted the universality of Art. Battis Raag Gao Mola suggests some kind of buried eleutheromania in any artist’s heart. It is a universal instinct: a source of infinite happiness too.