User:Sarah Susan Yedla

मुख्य मेनू खोलें Wikipedia Wikipedia में खोजें आपके लिये कोई अधिसूचना नहीं है। Sarah Susan Yedla Joined १ year ago सदस्य पृष्ठ चर्चा ध्यान हटाएँ योगदान संपादित करें More Hindi literature (Hindi: हिन्दी साहित्य, romanized: hindī sāhitya) includes literature in the various Central Zone Indo-Aryan languages which have writing systems. It is broadly classified into four prominent forms (styles) based on the date of production. They are:

Vir-Gatha kal (poems extolling brave warriors) – 11th–14th century↵Bhakti kal poems (devotional poems) – 14th–18th century↵Riti or Shringar kal poems (poems of romance) – 18th–20th century↵Adhunik kal (modern literature) – 20th century onwards↵The literature was produced in dialects such as Khadiboli, Braj, Bundeli, Awadhi, Kannauji, as well as Marwari, Magahi, Bhojpuri and Chhattisgarhi.[1] From the 20th century, works produced in Standard Hindi, a register of Hindustani written in the Devanagari script, are sometimes regarded as the only basis of modern literature in Hindi.[2]

Adi Kal or Vir-Gatha kal (c. 1050 to 1375)➞संपादित करें↵Literature of Adi kal (c. before the 15th century CE) was developed in the regions of Kannauj, Delhi, Ajmer stretching up to central India.[3] Prithviraj Raso, an epic poem written by Chand Bardai (1149 – c. 1200), is considered one of the first works in the history of Hindi literature. Chand Bardai was a court poet of Prithviraj Chauhan, the famous ruler of Delhi and Ajmer during the invasion of Muhammad of Ghor.

Jayachandra, the last ruler of Kannauj gave more patronage to Sanskrit rather than local dialects. Harsha, the author of Naishdhiya Charitra, was his court poet. Jagnayak (sometimes Jagnik), the royal poet in Mahoba, and Nalha, the royal poet in Ajmer, were the other prominent literary figures in this period. However, after Prithviraj Chauhan's defeat in the Second Battle of Tarain, most literary works belonging to this period were destroyed by the army of Muhammad of Ghor. Very few scriptures and manuscripts from this period are available and their genuineness is also doubted.

Some Siddha and Nathpanthi poetical works belonging to this period are also found, but their genuineness is again, doubted. The Siddhas belonged to the Vajrayana, a later Buddhist sect. Some scholars argue that the language of Siddha poetry is not an earlier form of Hindi, but Magadhi Prakrit. Nathpanthis were yogis who practised the Hatha yoga. Some Jain and Rasau (heroic poets) poetry works are also available from this period.

In the Deccan region in South India, Dakkhini or Hindavi was used. It flourished under the Delhi Sultanate and later under the Nizams of Hyderabad. It was written in the Persian script. Nevertheless, the Hindavi literature can be considered proto-Hindi literature. Many Deccani experts like Sheikh Ashraf or Mulla Vajahi used the word Hindavi to describe this dialect. Others such as Roustami, Nishati etc. preferred to call it Deccani. Shah Buharnuddin Janam Bijapuri used to call it Hindi. The first Deccani author was Khwaja Bandanawaz Gesudaraz Muhammad Hasan. He wrote three prose works – Mirazul Aashkini, Hidayatnama and Risala Sehwara. His grandson Abdulla Hussaini wrote Nishatul Ishq. The first Deccani poet was Nizami.

During the later part of this period and early Bhakti Kala, many saint-poets like Ramanand and Gorakhnath became famous. The earliest form of Hindi can also be seen in some of Vidyapati's Maithili works.

Bhakti kaal (c. 1375 to 1700)➞संपादित करें↵The medieval Hindi literature is marked by the influence of Bhakti movement and composition of long, epic poems.

Awadhi and Braj Bhasha were the dialects in which literature was developed. The main works in Avadhi are Malik Muhammad Jayasi's Padmavat and Tulsidas's Ramacharitamanas. The major works in Braj dialect are Tulsidas's Vinaya Patrika and Surdas's Sur Sagar. Sadhukaddi was also a language commonly used, especially by Kabir in his poetry and dohas.[4]

The Bhakti period also marked great theoretical development in poetry forms chiefly from a mixture of older forms of poetry. These included Verse Patterns like Doha (two-liners), Sortha, Chaupaya (four-liners) etc. This was also the age when Poetry was characterised under the various Rasas. Unlike the Adi Kaal (also called the Vir Gatha Kaal) which was characterised by an overdose of Poetry in the Vir Rasa (Heroic Poetry), the Bhakti Yug marked a much more diverse and vibrant form of poetry which spanned the whole gamut of rasas[permanent dead link] from Shringara rasa (love), Vir Rasa (Heroism).

Bhakti poetry had two schools – the Nirguna school (the believers of a formless God or an abstract name) and the Saguna school (the believers of a God with attributes and worshippers of Vishnu's incarnations). Kabir and Guru Nanak belong to the Nirguna school, and their philosophy was greatly influenced by the Advaita Vedanta philosophy of Adi Sankaracharya. They believed in the concept of Nirgun Nirakaar Brahma or the Shapeless Formless One. The Saguna school was represented by mainly Vaishnava poets like Surdas, Tulsidas and others and was a logical extension of the Dvaita and Vishishta Advaita Philosophy propounded by the likes of Madhavacharya etc. This school was chiefly Vaishnava in orientation as in seen in the main compositions like Ramacharitamanas, Sur Saravali, Sur Sagar extolling Rama and Krishna.

This was also the age of tremendous integration between the Hindu and the Islamic elements in the Arts with the advent of many Muslim Bhakti poets like Abdul Rahim Khan-I-Khana who was a minister to Mughal emperor Akbar and was also a great devotee of Krishna. The Nirgun School of Bhakti Poetry was also tremendously secular in nature and its propounders like Kabir and Guru Nanak had a large number of followers irrespective of caste or religion.

Riti-kavya kal (c. 1700 to 1900)➞संपादित करें↵In the Ritikavya or Ritismagra Kavya period, the erotic element became predominant in the Hindi literature. This era is called Riti (meaning 'procedure') because it was the age when poetic figures and theory were developed to the fullest. But this emphasis on poetry theory greatly reduced the emotional aspects of poetry—the main characteristic of the Bhakti movement—and the actual content of the poetry became less important. The Saguna School of the Bhakti Yug split into two schools (Rama bhakti and Krishna bhakti) somewhere in the interregnum of the Bhakti and the Reeti Eras. Although most Reeti works were outwardly related to Krishna Bhakti, their emphasis had changed from total devotion to the supreme being to the Shringar or erotic aspects of Krishna's life—his Leela, his pranks with the Gopis in Braj, and the description of the physical beauty of Krishna and Radha,(Krishna's Consort). The poetry of Bihari, and Ghananand Das fit this bill. The most well known book from this age is the Bihari Satsai of Bihari, a collection of Dohas (couplets), dealing with Bhakti (devotion), Neeti (Moral policies) and Shringar (love).

The first Hindi books, using the Devanagari script or Nāgarī script were one Heera Lal's treatise on Ain-i-Akbari, called Ain e Akbari ki Bhasha Vachanika, and Rewa Maharaja's treatise on Kabir. Both books came out in 1795. Munshi Lallu Lal's Hindi translation of Sanskrit Hitopadesha was published in 1809. Lala Srinivas Das published a novel in Hindi Pariksha guru in the Nāgarī script in 1886.[5] Shardha Ram Phillauri wrote a Hindi novel Bhagyawati which was published in 1888.

Chandrakanta, written by Devaki Nandan Khatri in 1888, is considered the first authentic work of prose in modern Hindi.[6] The person who brought realism in the Hindi prose literature was Munshi Premchand, who is considered the most revered figure in the world of Hindi fiction and progressive movement.

Adhunik kal (c. 1900 onwards)➞संपादित करें↵In 1800, the British East India Company established Fort William College at Calcutta. The College president J. B. Gilchrist hired professors to write books in Hindustani. Some of these books were Prem Sagar by Lallu Lal, Naasiketopaakhyan by Sadal Mishra, Sukhsagar by Sadasukhlal of Delhi and Rani Ketaki ki kahani by Munshi Inshallah Khan.

↵A depiction of Surya in an 1884 book, Indrajalakala (The Art of Magic); Jwala Prakash Press, Meerut↵The person who brought realism in the Hindi prose literature was Munshi Premchand, who is considered the most revered figure in the world of Hindi fiction and progressive movement. Before Premchand, the Hindi literature revolved around fairy or magical tales, entertaining stories and religious themes. Premchand's novels have been translated into many other languages.

Dwivedi Yug➞संपादित करें↵The Dwivedi Yug ("Age of Dwivedi") in Hindi literature lasted from 1900 to 1918. It is named after Mahavir Prasad Dwivedi, who played a major role in establishing the modern Hindi language in poetry and broadening the acceptable subjects of the Hindi poetry from the traditional ones of religion and romantic love. He encouraged poetry in Hindi dedicated to nationalism and social reform.[7]

Dwivedi became the editor of Saraswati in 1903, the first Hindi monthly magazine of India, which was established in 1900.[8] He used it to crusade for reforms in the Hindi literature. One of the most prominent poems of the period was Maithili Sharan Gupt's Bharat-bharati, which evokes the past glory of India. Shridhar Prathak's Bharatgit is another renowned poem of the period.[7]

Some scholars have labelled much of the poetry of this period as "versified propaganda". According to Lucy Rosenstein: "It is verse of public statement; its language is functional but aesthetically unappealing. Earnestly concerned with social issues and moral values, it is puritanical poetry in which aesthetic considerations are secondary. Imagination, originality, poetic sensibility and expression are wanting, the metre is restrictive, the idiom clumsy." She adds, however, that the period was important for laying the foundations to the modern Hindi poetry and that it did reflect sensitivity to social issues of the time. However, she also adds that the inelegance is a typical feature of a "young" poetry, as she considers Modern Hindi.[7]

Without a poetic tradition in modern Hindi, poets often modeled their forms on Braj, and later on Sanskrit, Urdu, Bengali and English forms, often ill-suited to Hindi. The subjects of the poems tended to be communal rather than personal. Characters were often presented not as individuals but as social types.[7]

Chhayavaadi Yug➞संपादित करें↵In the 20th century, Hindi literature saw a romantic upsurge. This is known as Chhayavaad (shadowism) and the literary figures belonging to this school are known as Chhayavaadi. Jaishankar Prasad, Suryakant Tripathi 'Nirala', Mahadevi Varma and Sumitranandan Pant, are the four major Chhayavaadi poets. Poet Ramdhari Singh 'Dinkar' was another great poet with some Chayavaadi element in his poetry although he wrote in other genres as well.

This period of Neo-romanticism, represents the adolescence of Hindi Poetry. It is marked by beauty of expression and flow of intense emotion. The four representative poets of this era represent the best in Hindi Poetry. A unique feature of this period is the emotional (and sometimes active) attachment of poets with national freedom struggle, their effort to understand and imbibe the vast spirit of a magnificent ancient culture and their towering genius which grossly overshadowed all the literary 'talked abouts' of next seven decades.

Other important genres of Adhunik Sahitya (Modernism) are: Prayogvad (Experimentalism) of Ajneya and the Tar Saptak poets, also known as Nayi Kavita (New Poetry) and Nayi Kahani (New Story) of Nirmal Verma and others; followed by Pragativad (Progressivism) of Gajanan Madhav Muktibodh and other authors.[9]

Nakenwad➞संपादित करें↵Among the numerous schools of poetry which sprang up in the 1950s was Nakenwad, a school deriving its nomenclature from the first letters of the names of its three pioneers – Nalin Vilochan Sharma, Kesari Kumar, and Naresh Mehta all poets of note in their own right.[10] Apart from being poets, Nalin Vilochan and Kesari Kumar were also brilliant critics, with a wide perspective on literary history.[10] Their critical attitude is marked by a synthesis or coordination of various disciplines of human knowledge – philosophy, history, art and culture, all pressed into the service of literary appraisal and analysis.[10]