Divya Read online

  Yashpal’s writings are thought provoking. He never spares the conservative and orthodox value system attacking them in his stories and novels. When he picks up a historical theme, it is not only a journey through history to investigate the past, he puts forward an advanced, modern outlook. This objectivity elevates him much higher among his contemporaries. It is for this reason that he discusses different aspects of the Lokayata philosophy.

  In Divya Yashpal also writes about the relationship between the ruling class and its subjects. Even when preparations are going on in Sagal for a war against the approaching Greek ruler of the neighbouring state, in such a crucial atmosphere, highly placed military commanders indulge in nepotism and merriment. There is also the additional burden of war tax on the subjects as also the forceful recruitment by military officials. Traders have a good time, as such territorial wars always provide a golden opportunity for business, while the sufferings of the common people go unheard. Dangers of war loom large, but conspiracies are hatched in the palace. There is a state of total anarchy and the disgruntled class tries to cash in because the Indo-Greek ruler of Sagal, Mithrodus, has embraced Buddhism. He is very old and is involved in religious discourse most of the time.

  Social realism is an important feature of this novel. Yashpal goes into minute details and presents a complete picture of the complex situation. He gives a comprehensive account of the slave trade. In his preface he declares that it is a fictional tale. That may be true, but the political scenario, social system and historical events are borne out of real life. Though there are certain rules and regulations in every territorial war, they are invariably flouted. A pregnant Divya is sold to a slave trader, Pratool. The fact that Divya is pregnant and belongs to a respectable Brahmin family is concealed by him because a Brahmin could not be sold as a dasi (slave), but everything seems fair in trade.

  There are research documents which give proof of human trafficking that took place in the thirteenth century. Contract papers prepared at the time of sale show that everything was in favour of the buyer, who was the master of the slave. These historical documents also show that the master had the right to keep him or her at his will; to punish, torture, mortgage or re-sell as per his desire. On possible suicide by the slave, a very clear note states that the master will not be considered guilty. He would remain as clean as he would be after having taken a bath in the Ganges. The document cautioned the slaves that if they committed suicide they would be reborn as very lowly creatures—dogs, asses, chandals (untouchable among untouchables, those who carry dead bodies). The intent was to use religion to frighten them to such an extent that they dare not even think of dying. After all, the traders and masters had spent money to buy them.

  Yashpal attacks this sort of religious exploitation and hypocrisy not only in Divya but also in his other novels and short stories. Apsara ka Shap is based on the famous Sanskrit epic Abhijnana Shakuntalam. It exposes the hypocrisy of the ruling classes and their attitude towards women in ancient India. Stories like Karva ka Vrat and Gyandan are also known for this kind of exposé. His characters are humane, with capabilities, strengths, a fighting spirit as well as weaknesses and frailties. His female characters are in search of their identity, social respect and equal status. Shail is a representative character of his first novel, Dada Comrade. She is energetic, bold, politically conscious, and participates in the Trade Union Movement. She is sympathetic to a group of young revolutionaries and extends a helping hand when required. She has a soft corner for Harish, a revolutionary and a trade unionist. A time comes when Harish is in extreme desperation, and to give him a healing touch and solace, she offers herself to him. Later on when Harish is given a death sentence, she decides to carry on with her life and gives birth to his child. Shail and Divya are two of Yashpal’s immortal characters.

  Yashpal encourages his readers to be critical. He makes it clear that no institutionalized religion is ready to give equal status to women. The novel gives an insight into understanding the true spirit of feminism and meaning of the liberated woman. The three main male protagonists Rudradhir, Prithusen and Marish represent three different schools of thought, that existed during that time—the Brahminical Hindu religion, Buddhism and the materialistic Charvak philosophy respectively.

  In all his writings Yashpal aims for social change. He targets the middle-class readership. Though he is critical of the opportunistic mindset of this class—which is hypocritical in its behaviour and attitude—at the same time he has faith in its capabilities. It may be a superficial class but it has created history a number of times. It has been instrumental in bringing about revolution that has ushered in social change in different societies of the world. Yashpal also knows that a writer, however committed, cannot bring about a revolution through his/her writings alone. But it is possible to influence people, to get people to change their attitude and mindset to form the basic foundation of a social system and this in turn creates a congenial social environment for further change. For this reason his readership primarily constitutes the educated middle class. The question of women’s independence becomes more pertinent through Divya’s portrait and her life. There are two options for her to choose from: one, a right to self determination and the other, a path of self-sufficiency. The former is the key to an independent entity which is next to impossible in a patriarchal system. Divya is well aware of this position. There comes a situation when she is ready to denounce the Hindu religion and expresses her desire to embrace Buddhism and lead the life of an ascetic. To her dismay she is denied her wish, as she is asked to get permission from her father, husband, son or master.

  Divya insists on her economic independence, even if it is as a prostitute. There is an interesting instance in the novel when Divya, in the guise of Anshumala, returns to Sagal, her birthplace. Devi Mallika invites her and offers her the honour of being the state courtesan. Just as she is about to be crowned, her identity is revealed by a group of people. Amidst the chaos, a verdict is issued that a Brahmin cannot become a state courtesan. Through this Yashpal exposes the double standards of caste-ridden Hindu society. Nobles of Sagal, whom she entertained in the guise of Anshumala, now oppose her being crowned as the state courtesan. She may be honoured as the Kulmata, the female head of the family, but the status of an independent woman, who has the right to take her own decision, is not possible in the varnashram social order.

  Divya may be a tale of ancient Indian society but the gender issues it raises are still relevant today. Empowerment of women is possible only when there is social development. The feminist movement in the West has had an impact here as well. Capitalism in its initial stages had a liberal outlook on social issues. This was why the British government enforced laws to ban customs like sati and child marriage. Today with the emergence of educated middle class women, gender issues are occupying centre stage. By the end of the twentieth century, the ideals of an egalitarian socialistic society had been overpowered by a new political and social order. A ‘slave’ woman, once confined within four walls, stepped out to breathe fresh air, but her path deviated, and she transformed herself into a commodity. Divya is an answer to some pertinent questions that are extremely relevant even today.

  Yashpal reflects his own ideology in Marish. The author did not support the Buddhist philosophy of renunciation because he believed it led to a passive, non-productive lifestyle. He was for a relationship between man and woman, where no one is a master or a subject. He was a follower of the Lokayata philosophy which opposes division in society along any lines whatsoever. Believing in the equality of people ought to be the religion of the masses. Yashpal wants to establish that only this kind of religion based on materialistic philosophy can assure equality and honour to women.

  The essence of Yashpal’s stories and novels makes him a writer of great stature. His personal life too had its vicissitudes; he observed life closely and critically analysed its pros and cons: whether of the revolutionary movement, Gandhism, the politics of the Congress an
d other political parties; the communist movement and the emergence of communal forces and their politics of hate and subversion. He vehemently opposed all anti-human action and philosophy with conviction and courage and attacked those tenets of Indian culture that were responsible for the plight of women and untouchables. Yashpal stood by what he believed and he expressed himself sincerely and passionately. That is why his novels and stories are universal and why they endure.

  Namita Singh

  Preface

  THE BASIS FOR DIVYA IS HISTORY, BUT HISTORY COLOURED BY imagination. It is an endeavour to portray the motives of man and the dynamics of his world. I have attempted, as a literary experiment, to add realism to a fictional tale played out against a historical background. That this portrayal may contain errors is entirely possible. We do not have extensive knowledge of that period of history, nor can I lay claim to any store of scholarly learning. I, therefore, approached the historical setting with an imagination restrained by an awareness of my shortcomings, but impelled by my fascination with this classical period of the history of India. This may not be acceptable to knowledgeable readers, who may be turned off by any resulting inaccuracies.

  We study and analyse our past with the idea of learning about our future. In spite of our failings in the present, we find clues to our capabilities in our past. History does not repeat itself as individual incidents. History means change, but individual and collective striving for survival and progress has always been present in the sequence of change; it is the moving force behind all change.

  The study of history analyses the creative urges of an individual and his society as circumstances change. Human beings not only change their existing circumstances, they also strive to create new circumstances. Just as man changes his natural and material conditions, so also he creates his social conditions.

  History is not a matter of belief, but of analysis. History is the self-examination by man of his past. Just as the constant flow of fresh water in a river does not change the nature and the name of the river, in the same way a people does not change because of the changes brought about by the process of life and death, and social organizations. From their collective creative forces and their past attempts to alter their circumstances, they learn to resolve the present and find inspiration to create the future.

  The most spectacular truth to emerge from efforts made by man to learn from the analysis of history was that man is a creator and not a creation. The world is man’s creation. Our own sages realized this when they said: Nothing is greater than man.

  Even more powerful than man himself are his beliefs and the social structure he creates. He can be defeated by his beliefs and the social system. Then again it is in the power of man to change it. Divya is an attempt to portray that truth, by the power of imagination, playing on the background of a colourful period of our history.

  I am painfully conscious of the lack of depth in my knowledge of history. If I had not received generous help from Shri Vasudev Sharan Agarwal, PhD, Director, Lucknow Museum; Shri Moti Chand, PhD, Head of Archaeology, the Prince of Wales Museum, Bombay and Shri Bhagwat Sharan Upadhyaya, this book probably would have been full of unforgivable errors. I am also obliged to Bhadant Bhodhanand, senior monk of the Buddha Vihar in Lucknow, through whose kindness I was able to learn about the religious practices of Buddhism.

  A visit to the caves of Ajanta and Ellora was especially helpful in understanding the dress, mannerisms and the intellectual climate of the Buddhist period in our history. Art lovers of the world will forever be indebted to the artists and sculptors of Ajanta and Ellora, but I am further indebted to my friend, Dr Prem Lal Sah, for the opportunity of studying this artwork. For several years I had been planning to visit these caves, but I had felt discouraged and reluctant because of the difficult conditions of the times. The good Doctor dragged me along to see them, and this was the catalyst that gave final shape to the ideas in my mind.

  I am most grateful to the source of my inspirations, my readership, without whom no art or literature can be created.

  To preserve the atmosphere of classical times, it has been necessary to use some unusual words and verbal forms. The meanings of these words are explained in footnotes, and may add to the reader’s comprehension.

  19 May 1945

  Yashpal

  The Festival of Spring

  DEVI MALLIKA, THE COURT DANCER AND LAUREATE OF ART, STRICKEN with grief at the sudden death of her grown-up daughter, Ruchira, withdrew from art and society. For a long time she led the life of a recluse. The town of Sagal,1 sharing Mallika’s pain, remained dismal and gloomy, wearing the appearance of a place plunged in darkness. In those dark days, only her steadfast devotion to Saraswati, the goddess of dance and music, sustained Devi Mallika through her suffering. At last, after nearly two years, on the night of the full moon in the month of Chaitra she resolved to appear before the public.

  Awaiting the appointed hour, in much the same way as the waves rose in the water of Pushkarni—the broad and beautiful lake of Sagal—the crowd of people swelled on its bank long before sunset.

  In the surging throng of men and women, the pavilion erected for the festival appeared like an island surrounded by the swollen waters of a stream in the rainy season. The marquee was bedecked with spires, plantain stalks, archways and festoons of newly sprouted mango leaves and garlands of flowers. The air was heavy with the scent of blossoms and incense. Militiamen in their tall helmets, with shields on their backs and lances in their hands, stood on duty around the marquee thronged by the enthusiastic crowd as well as inside, where seats had been reserved for the members of the Republican Council, feudatory chiefs, nobles, prominent merchants, leading citizens and ladies of the noble families.

  As the sun sank below the horizon, the gentry made their way towards the marquee through the throngs of people teeming the roads lined with guards. They moved along on chariots drawn by powerful horses, on palanquins shouldered by nimble-footed bearers in colourful livery and on horseback. As the members of the Council and the gentry entered the theatre, before being ushered to their seats, their arrival was heralded first by trumpets and then their names along with the names of their clans and their status were announced. The chariots and palanquins, emptied of their occupants at the gate, were taken by fan-bearing slaves and personal attendants towards the southern part of the arena, where they were parked in orderly rows.

  The nobility were dressed according to their family status and in keeping with the festive occasion. Brahmin men wore red silk turbans embroidered with gold threads, with crescent marks in sandalwood paste glistening on their foreheads. Their heads were clean-shaven and around their necks they wore strings of black rudraksh beads and pearl necklaces. From beneath the silken shawls cascading from their shoulders peeped the yellow sacred thread of their caste. Their starched, milk-white dhotis reached the feet, brushing their sandals.

  The soldierly Kshatriyas were in brilliant white costumes that were embroidered with gold thread. Under their aquiline noses their moustaches pointed upwards, like the tails of scorpions. They wore ornaments studded with diamonds in their ears, round their necks and on their arms and wrists. The upper part of their body, from the broad chest down to the narrow waist, was clad in close-fitting garments. From waist to knees, they wore dhotis, while the lower parts of their legs and feet were encased in thonged sandals. The swords that hung from their waists had diamond-studded hilts. The merchants were dressed in expensive but rather shabby clothes. The members of the Republican Council were in saffron-coloured gowns. Some of the Greek nobles had on plumed hats, with flowing, knee-length woollen gowns over loose trousers. On their feet they wore slippers. Others had adopted the Aryan dress.

  The women of the nobility were dressed exquisitely. In their hair, set in different styles with the help of pearl strings, they wore crescent-shaped coronets of flowers, while chandrika1 ornaments, necklaces, garlands, bracelets, bangles and rings bedecked their bodies. Under the flimsy sto
les thrown over their shoulders, their tight bodices stretched over the swell of full-rounded breasts. Firm breasts matched firm hips accentuated by three strings of diamonds, tied to the shining navel-stud and encircling the waist. They moved to the tinkling of tiny bells strung together by girdles around their waists. Their saris spread out at the back like the tail feathers of peacocks, brushing the carpet as the women walked, and hiding from view their feet painted with red alakta2 paste and covered with ornaments. The air around them was heavy with the fragrance of different flowers. Nearly all the Greek women wore the Aryan dress.

  Soon the Chaitra sky lit up with the light of the moon. The light of torches fell on all sides of the arena and along the path. The illustrious Mithrodus, who had served as Commander-in-Chief during the reign of the righteous Greek king, Milinda, and had afterwards accepted the office of the President of the Republic of Madra, took his seat. Festive music and songs began. A herald, poised on the steps of the stage, announced the arrival of Devi Mallika, the Court Dancer, Light of the Town and Laureate of Art.

  The concourse swayed in enthusiasm at this announcement like the sea when a strong wind blows. People craned their necks towards the western entrance. An escort of torch-bearers on horseback was followed by chariots, which in turn were followed by more mounted torch-bearers. Soon the chariots approached the pavilion, passing through the turbulent stream of people. A storm of cheers greeted the arrival of Devi Mallika. Flowers and garlands were showered on her chariot, some of which fell to the ground after barely touching its sides, while others added to the heap already formed inside. With bowed head and folded hands, eyes filled with gratitude and a smile playing on her lips, she acknowledged the greeting of the people surging on all sides as far as the eye could see. When she entered the marquee and walked towards her place of honour near the President, she acknowledged the salutations of the dignitaries. In the wake of her chariot came six more chariots, carrying the troupe of her prize pupils who were to take part in the dancing competition.