Unit 3

This section discusses the development of the languages Hindi, Hindavi, and Hindustani over
time. It explains how these languages were connected in the past and how their forms evolved
in different periods of history. The excerpt from Amrit Rai's "A House Divided" explores the
complex ways in which the term "Hindi" has been understood at different times.

Amrit Rai, a well-known writer and critic, looks at how Hindi and Urdu evolved from a common
origin, known as Hindavi, up until the 18th century. The evolution of Hindi and Urdu has been
debated for a long time, with people arguing about whether they were always different or shared
many common features. Political, historical, and social factors have played an important role in
shaping these languages.

The famous poet Amir Khusrau (1253-1325) is recognized for using Hindavi, the language that
later became Hindi and Urdu. He composed poems in Hindavi, which was a mixture of Persian
and regional dialects like Khari-boli. Hindavi itself was a blend of languages, borrowing from
Persian and Sanskrit, and it was written in different scripts, like Nagari and Persian.

By the early 20th century, Hindi and Urdu had become distinct languages. However, the two still
influenced each other, especially in literature. Writers in both languages, like Manto, Bedi, and
others, used a common style called "Hindustani," which could not be strictly labeled as either
Hindi or Urdu. The story "Lajwanti" by Rajendra Singh Bedi is an example of this mixed
language.

The political decisions made after India's independence also played a role in shaping the
language situation in the country. Some people accepted English as an official language, while
others, like poet Raghuvir Sahay, criticized it. His poem "Hindi" expresses his disagreement with
the continued use of English as an official language in India.

Introduction - A Conspectus
Amrit Rai

Amrit Rai's text, "A House Divided: The Origin and Development of Hindi/Hindavi", explores the
history of the Hindi/Hindavi language and its development into two separate languages: Hindi
and Urdu.

1. Amrit Rai:
Amrit Rai was a famous Hindi novelist, critic, and translator. He is well-known for his biography
of Premchand and his novel Qalam ka Sipahi, which won major literary awards. He also wrote
about the Hindi-Urdu debate, with A House Divided being one of his most important works.

2. What Does Hindi/Hindavi Mean?:

The term Hindi is used in the text to refer to the language spoken in India, not just by Hindus but
by all Indians, including Muslims.

Amir Khusro, a famous poet, used the term Hindi to refer to the language spoken in
North-Western India, especially in the regions where Muslims first came into contact with the
local population. Khusro believed that the Hindi language was expressive and strong, equal to
Persian, except for Arabic, which he considered the best.

3. Hindi and Hindavi:

In the past, the terms Hindi and Hindavi were used interchangeably. Khusro and other poets like
Masud Sad Salman used "Hindavi" to refer to the same language we call Hindi today. This
language had elements from Sanskrit, Arabic, and Persian.

Some scholars, like John Gilchrist, used the term Hinduwee (similar to Hindavi) to refer to the
old language of India, which existed before the Muslim invasions. Gilchrist said this language
formed the base of what would later become Hindustani or Urdu, influenced by Arabic and
Persian.

4. The Evolution into Two Languages:

Over time, the language Hindavi/Hindi split into two distinct languages—Hindi and Urdu. This
happened because of several factors, including cultural influences and language purism (where
people tried to keep the languages "pure" by adding more words from either Sanskrit or
Arabic/Persian).

Hindi became associated with Sanskrit-based vocabulary, and Urdu developed with more Arabic
and Persian influences. This created the modern versions of both languages, which are now
officially recognized as separate languages in India.

5. Scholars' Views on the Relationship Between Hindi and Urdu:

Some linguists believe Hindi and Urdu are actually the same language at their core. The
difference in vocabulary (Sanskrit vs. Arabic/Persian) and script (Devanagari for Hindi and
Arabic for Urdu) doesn't make them two separate languages.

Gyan Chand, a famous Urdu scholar, argued that calling Hindi and Urdu two different languages
is not scientifically correct because they share the same grammar and basic vocabulary. He
compared it to how Malaysia and Indonesia have the same language (Malay) written in different
scripts.

On the other hand, some people still view them as different languages because of cultural and
political reasons.

6. Impact of British Colonialism:

Rai argues that the division between Hindi and Urdu became more pronounced during British
colonial rule. The British used the divide and rule strategy, and in institutions like Fort William
College, they promoted Urdu as a language separate from Hindi. This created an artificial divide
between the two languages.

The British helped set up Urdu in schools and even encouraged its use in Muslim communities,
while Hindi was promoted in other parts of society. This divide wasn't based on linguistic
differences but on political and social control.

7. The Importance of This Study:

Rai stresses that understanding the true relationship between Hindi and Urdu is important
because the artificial separation of the two languages has led to social and cultural tensions in
India.

By examining the past, we can understand how political forces, like British colonialism, shaped
the way we see Hindi and Urdu today, and hopefully work towards bridging the divide between
them.

Conclusion:
Amrit Rai's text is a deep look at how the Hindi/Hindavi language developed over time, how it
split into Hindi and Urdu, and how political forces, especially during British colonial rule, played
a huge role in dividing the two languages. The study shows that these languages are deeply
connected, despite the artificial divide that has been created between them. Rai encourages a
more unified view of these languages to reduce social tension and promote understanding.

Ghazal
Amir Khusro

About Amir Khusrau (1253-1325):

Amir Khusrau was a famous poet who lived from 1253 to 1325. He was born in Patiyali, in
present-day Uttar Pradesh, India. He was a student of Khwaja Nizamuddin Auliya, a famous
spiritual teacher. Khusrau was given the title Turkullah, which means "Soldier of God." He was
also called the Parrot of India (Tuti-i-Hind) because he was known for speaking beautifully and
poetically.

Khusrau is considered to be the person who brought the mix of Persian and Indian culture to
India. He was very proud of being an Indian Turk and often wrote in different languages,
including Persian and Hindi.

Khusrau's Famous Poem (Ghazal):

The poem in question is a ghazal, which is a type of Persian poetry that expresses love and
sadness. This particular ghazal is written in both Persian and Brajbhasha, a language spoken in
parts of North India.

In the poem, Khusrau expresses the sorrow and longing of separation from a lover. He writes
about the deep sadness that comes from being apart from someone he loves, comparing his
pain to a candle burning or a restless heart. He also talks about how his heart is troubled
because he hasn't heard from his beloved.

Themes of the Poem:

Separation and Longing: The poet talks about the deep sorrow of being away from the one he
loves. He can't sleep and feels restless because of this separation.

The Beauty of Love: The poem also shows how love can be beautiful and painful at the same
time. The poet is deeply connected to his lover and cannot bear to be apart.

A Note on the Poem:

The ghazal contains both Persian and Brajbhasha (a Hindi dialect). This mix of languages
shows how Khusrau was able to blend the high-class Persian tradition with the language of the
common people, which was Brajbhasha. This was a unique feature of Khusrau's poetry and
demonstrated his ability to use different languages skillfully.

Ayyappa Paniker, the editor of a book called Medieval Indian Literature, mentions that this is the
only surviving Urdu ghazal by Khusrau available to us today.

The ghazal is often seen as a love poem, but it also has some mystical meanings. It talks about
a deep, spiritual connection that Khusrau may have shared with his friend Amir Hasan Sanjari.
There is a famous story about these two poets: They were very close friends, and when they
were forced to separate by a prince, they both suffered. To show their love for each other,
Khusrau even showed the prince the marks of a whip on his arm, which he had received when
they were punished for defying the prince's order.

Conclusion:
Amir Khusrau was not just a poet but also a key figure in bringing together Persian and Indian
cultures. His ghazals are full of emotional depth, expressing both love and pain, and his use of
multiple languages in his poetry made him a unique and important figure in Indian literature. His
works, like this ghazal, are celebrated for their beauty and complexity.

Lajwanti
Rajinder Singh Bedi

"Lajwanti" by Rajinder Singh Bedi is a story that takes place after the Partition of India in 1947. It
focuses on the experiences of women who were abducted during the violence and their struggle
to be accepted back into society.

Rajinder Singh Bedi (1915-1984) was an important Urdu writer known for his short stories and
novels. He was part of the Progressive Writers' Movement, which aimed to bring social change
through literature. He also wrote scripts for many famous Hindi films.

The story begins with Sundar Lai, whose wife, Lajwanti, was kidnapped during the Partition.
After the violence, many people, including Sundar Lai, formed committees to help those who
had been hurt. However, there was one issue that was largely ignored—how to help the women
who had been abducted. These women needed to be welcomed back into society with kindness
and acceptance, but many people opposed this idea.

Sundar Lai became part of a committee to help these women, and he worked hard to raise
awareness about their suffering. Despite his personal pain and worries about his own wife, he
focused on helping other women. He often walked with his friends, singing a song about the
"lajwanti" plant, whose leaves curl up when touched—this symbolized how fragile and hurt the
women’s hearts were.

Sundar Lai’s past with Lajwanti was not a happy one. He had treated her badly, often beating
her over small things. She was a thin, graceful village girl, and Sundar Lai worried about her
health at first. But over time, he became cruel to her. Despite the abuse, Lajwanti was a
forgiving person and would laugh and forgive him quickly, even after the worst fights.

Lajwanti, like many women, accepted that it was normal for husbands to mistreat their wives.
She used to sing a song that joked about marrying a city boy like Sundar Lai, who would make
cruel jokes about women. But despite this, she fell in love with him. She didn’t care about his
harsh ways or his heavy boots; she was drawn to him.

Now, after the Partition, Sundar Lai regretted how he had treated her. He wished he could go
back and show Lajwanti how much he loved her. He believed that society should accept these
women, who were victims of violence, and not blame them for what had happened. He wanted
to convince others to treat them with the same love and respect that any woman deserved.

In the neighborhood where Sundar Lai lived, a committee was formed to support these women.
They held rallies and spoke out about the need to "rehabilitate them in our hearts." They did this
early in the morning, when people were still asleep, so their words could make a lasting impact.
Some people listened to their message with patience, while others were annoyed by the
early-morning noise.

Eventually, some of the abducted women were returned through a process of exchange
between India and Pakistan. Some women were welcomed back by their families, but others
were rejected. Some families, including husbands and fathers, refused to recognize these
women, considering them to be dishonored and "tainted." Many women, feeling ashamed and
rejected, chose to end their lives rather than face this humiliation.

Sundar Lai continued his efforts, even though he faced resistance. He believed that these
women were victims and deserved compassion. He spoke out against the harsh treatment they
received, comparing their suffering to the story of Sita from the Ramayana, who was rejected by
her husband, Ram, despite being innocent.

Sundar Lai’s emotions ran high as he passionately fought for these women’s rights. He broke
down in front of the crowd, crying for all the women like Lajwanti who had suffered. His words
affected the people more deeply than the speeches of others. Some even joined his cause,
chanting slogans of support.

Sundar Lai hears that Lajwanti might still be alive, and this gives him hope. However, he isn’t
sure if it’s really her.
Sundar Lai is trying to understand what happened to Lajwanti after she was kidnapped during
the Partition of India. Lai Chand is telling Sundar Lai that the woman they saw at the border was
indeed Lajwanti. He describes her tattoos, which are the same ones Lajwanti had, one on her
chin, one on her cheek, and another on her forehead. Sundar Lai remembers how these tattoos
were part of Lajwanti’s modesty. She used to hide them, afraid that people would judge her.

Lai Chand explains that Lajwanti was part of an exchange of abducted women at the Wagah
border. At first, there was an argument because people were unhappy with the women being
exchanged. Some people pointed out Lajwanti, saying she looked much younger and more
beautiful than the other women who had been returned. Lajwanti was trying to hide her tattoos,
but eventually, it was clear who she was. There was chaos, and Sundar Lai tried to call out for
Lajwanti, but soldiers pushed him away.

Sundar Lai begins to think about how violence continued even after Partition, just in different
forms. People now treated these women, like Lajwanti, as objects, like cattle at a market, where
they were examined and traded by their appearance. Sundar Lai realizes that even though the
violence may have stopped, society still disrespects these women.

When Sundar Lai hears that Lajwanti has returned, he rushes to the town of Amritsar to see her.
But when he sees her, he is surprised. She looks healthier than he imagined. He thought she
would be weak from her suffering, but instead, she looks plump and strong. He wonders why
she would return if she was happy in Pakistan, and he even wonders if the Indian government
forced her to come back.

Lajwanti, on the other hand, is afraid to face Sundar Lai because of how badly he treated her in
the past. She is trembling, not sure what to expect. She wears her dupatta in a way that shows
she doesn’t really know the difference between Muslim and Hindu customs anymore. She is
caught between two worlds.

Sundar Lai feels conflicted. He notices that Lajwanti seems to be doing better physically, but
deep down, he can’t understand the pain she has been through. He wonders if she was happy
in Pakistan, but he doesn’t ask her about it. Lajwanti says she lived with another man named
Jumma, and she assures Sundar Lai that he was kind to her. This shocks Sundar Lai, and he
feels ashamed because he had treated her so badly before. He apologizes, promising never to
hurt her again.

Lajwanti is overwhelmed with emotions. She wants to tell Sundar Lai everything, but he stops
her and says they should forget the past. He tells her that she was never to blame for what
happened, and it’s society that is at fault for how it treated her. Even though Sundar Lai is trying
to comfort her, Lajwanti feels a mix of happiness and uncertainty. She can never go back to who
she was before; the trauma has changed her.

Sundar Lai continues to do his work with the Rehabilitation Committee, trying to improve how
society treats people like Lajwanti. But he doesn’t fully understand the emotional scars that
Lajwanti has. He starts treating her with extra gentleness, but this only makes Lajwanti feel even
more fragile. She doesn’t know how to react to this change in him, and she feels distant from
the person she used to be.

Despite all Sundar Lai’s good intentions, he can’t truly grasp the depth of Lajwanti’s inner pain.
She feels like she has been broken by what happened to her, and now she struggles with her
new identity. Sundar Lai, though, keeps going with his work, trying to heal the community. The
story ends with a reminder of how fragile and delicate the women who suffered are, symbolized
by the "lajwanti" plant, which curls up when touched.

A Note on the Story

"Lajwanti" is an important story about the pain caused by the Partition of India. It focuses on the
suffering of women during that time. The story is written in Urdu, using the Persian script, but
the language is simple and close to how people speak in North India. When the story is
translated into English, this natural way of speaking doesn't come through clearly.

Notes
Rehabilitation committees: After Partition, many people, especially women and children, lost
their homes and had to move to different places. Thousands of people went missing. To help,
the governments of India and Pakistan set up programs to find and help the women who were
taken during the riots. One important person who worked on this was Mridula Sarabhai, a social
worker, who led the effort to help these women.
Boccaccio: Boccaccio was an Italian writer from the 14th century. He is famous for a book called
The Decameron, which is a collection of 100 stories told by a group of people hiding from the
plague.

Hindi
Raghuvir Sahay

Raghuvir Sahay (1929-1990)

Raghuvir Sahay was a famous Hindi poet, short story writer, translator, and journalist. He is best
known for his poetry, especially his collection Log Bhool Gaye Hain (They Have Forgotten,
1982), for which he won the Sahitya Akademi Award. Sahay's poems were about the lives of
ordinary people, topics that were rarely covered by other poets. He also wrote very sensitively
about women. His poetry talks about how common people are treated unfairly, the lies and tricks
of powerful people, and the violence in society.

Poem: Hindi
In this poem, Sahay talks about the fight for Hindi to become the national language of India after
independence. He says that the struggle for Hindi isn’t just about the language, but about the
power and freedom of the people.

Sahay starts by saying that people fought for Hindi as a symbol of freedom, but in the end, they
didn’t succeed. He wonders if those who fought for Hindi were really fighting for the common
people or if they were just helping the powerful people in charge.

He criticizes the use of Hindi by the government because it replaced English, but the rulers still
prefer English. This is hypocrisy, says Sahay, because the powerful people still control
everything, using English instead of Hindi.

Sahay believes that true freedom will come when someone speaks Hindi in a way that truly
represents the thoughts and feelings of ordinary people.

A Note on the Poem

Sahay's poem "Hindi" was written after India became independent. Sahay was upset that the
leaders did not make Hindi the national language. His frustration reflects the feelings of many
people at that time who wanted to leave behind English as a symbol of British control. This
poem is political and can be understood in different ways.