7

Mar

International Women's Day

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Premchand and Manusmriti

Baba Saheb Ambedkar burnt the 'Manusmriti' in 1927, marking a significant moment in the fight against social discrimination and inequality. Premchand wrote a story titled 'Betaon Wali Vidhwa' in the same tradition of questioning regressive social norms in 1932. This story directly challenges the patriarchal dictates of the 'Manusmriti' and highlights the deep-seated injustice faced by widows in traditional Hindu society.

In the story, son Uma Nath tells his mother:

"The law is that after the father's death, the property goes to the sons and the mother has the right only to food and clothes."

Aghast at this, Mother Phoolmati asks in agony, "Who made this law?" Uma Nath, maintaining a calm but firm tone, replies, "Our sages, Maharaja Manu, and who else?" At this response, Phoolmati is momentarily speechless. She finally gathers herself and, with a voice full of pain, says, "So, in this house, I am dependent on your crumbs?"

Displaying the cruelty of a judge, Uma Nath responds indifferently, "Think as you please." This strikes Phoolmati like a thunderbolt, shaking her entire soul. In her despair, she bursts out, "I built this house; I accumulated wealth; I gave birth to you and raised you, and today I am a stranger in this house? This is the law of Manu, and you want to follow it? Well then, go get your own house! I refuse to be your dependent! I would rather die than accept this humiliation. Oh, what injustice! I planted a tree, and now I cannot stand in its shade? If this is the law, then let it burn!"

A similar incident is portrayed in Premchand's novel 'Gaban', which also questions the position of widows in a Hindu joint family. In this story, the son Manibhushan tells his mother, Ratan, "In a joint family, a widow has no right over her husband's property." Shocked, Ratan questions herself, "But who made such a law? Is a woman so lowly, so insignificant? Why?" She then turns to her son and says, "I don't know which sinner made this law. If God exists somewhere and there is justice in His court, then one day I will ask that sinner in front of Him: Did you not have mothers and sisters in your house? Weren't you ashamed of insulting them?"

 

Column at a Glance
The article discusses the significant contributions of Premchand in challenging patriarchal norms and advocating for women's rights, particularly in the context of the 'Manusmriti.' It highlights Baba Saheb Ambedkar's 1927 act of burning the 'Manusmriti' as a pivotal moment in the fight against social discrimination.
Saturday Sauce
By Virendra Yadav
  Premchand's stories, such as 'Betaon Wali Vidhwa' and 'Gaban,' depict the injustices faced by widows in traditional Hindu society, questioning the laws that deny them rights to property and dignity. Characters like Phoolmati and Ratan express their anguish over their subjugation, while Sukhda in 'Karmabhoomi' embodies rebellion against oppressive societal structures. The article emphasizes the need to recognize Premchand's later works, which reflect a progressive stance on gender equality, as part of his legacy, especially in light of ongoing struggles for women's rights today.

 

Expressing her agony further, Ratan declares, "If my tongue had the power to reach the whole country, I would tell all women: Sisters, do not marry in a joint family. And if you do, do not rest until you have built your own separate house. Do not think that after your husband's death, you will be respected and taken care of in this house. If your husband leaves you with nothing, you will have no choice but to suffer humiliation and helplessness. Even if he leaves you with something, living in a joint family will rob you of it. For you, a family is not a bed of roses but a bed of thorns; it is not a boat to take you across the river but a monster that will swallow you."

Premchand's novel 'Karmabhoomi' also presents a strong feminist voice. In one of its powerful incidents, the character Sukhda, fueled by rebellion, stands firm in her defiance against the oppressive structures of society. At times, her mind is so agitated that she contemplates breaking all bonds of social and religious constraints. She believes that men who impose these restrictions on women must face the same consequences. She asserts that if men continue to treat women unjustly, they should be prepared for their wives to rebel against them in return. Only then will they realize what it means to feel helpless. "I may cry in the name of family honour," she declares, "but this tyranny will not last forever."

Sukhda further challenges the deep-seated norms of patriarchy by declaring, "No one should be under the illusion that a wife will always accept whatever her husband does. The days are gone when a woman would wash her husband's feet and drink that water, treat him like a god, massage his feet, and feel fortunate if he smiled at her. Those days are over!"

It is worth noting that Premchand, in his early literary career, wrote the story 'Bade Ghar Ki Beti' (1910), which upheld the ideal of a joint family and emphasized the virtues of patience and tolerance in women. However, as his writing evolved, he moved toward a more progressive stance, challenging the gender biases deeply entrenched in Indian society.

Despite this evolution in his thought, the mainstream discourse around Premchand often preserves the image of him as the writer of 'Bade Ghar Ki Beti', while conveniently overlooking his later works that advocate for women's rights. The strong feminist voices present in 'Betaon Wali Vidhwa', 'Gaban', and 'Karmabhoomi' receive relatively little attention in discussions about his legacy. This selective remembrance of Premchand's work reflects the larger societal reluctance to acknowledge and address issues of gender inequality.

Premchand’s writings critically examine the oppressive structures that have historically marginalized women. Through his characters, he highlights the hypocrisy of a society that places enormous burdens on women while denying them basic rights. His stories and novels remain relevant even today, as many of the struggles he depicted continue to persist in various forms.

International Women's Day serves as an opportunity to revisit and reflect on literary contributions that challenge patriarchal norms and advocate for gender equality. It is essential that we not only remember Premchand for his early works but also give due recognition to his later writings, which boldly question and criticize the systemic injustices faced by women.

By bringing these narratives into the mainstream discourse, we honour both the legacy of Premchand and the ongoing fight for women's rights. His progressive vision, which emerged through his later works, aligns with the modern feminist movement's goals of equality, dignity, and justice for all women.

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