Jaishankar Prasad (English: Jaishankar Prasad, born: January 30, 1889, Varanasi, Uttar Pradesh – death: November 15, 1937) holds a special place in the Hindi theater world and fiction. His contribution in the field of fiction is also important. Jaishankar Prasad was unique among those who wrote emotion-oriented stories.
Jaishankar Prasad was born in 1889 AD (Magh Shukla Dashami, Samvat 1946) in Varanasi, Uttar Pradesh, at a time when Khari Boli and modern Hindi literature were making their teenage debut.[2] The poet’s grandfather Shiv Ratna Sahu was a very respected citizen of Varanasi and was famous by the name of ‘Sunghani Sahu’ because of making a special type of Surti (tobacco). His charity was well known and scholars and artists were respected in his place. Jaishankar Prasad’s father Deviprasad Sahu also followed the tradition of his ancestors. This family was counted among the most prosperous families of Varanasi and there was no dearth of wealth and splendor. Prasad’s family were worshipers of Shiva. The parents had prayed fervently to their presiding deity for his birth. Jaishankar Prasad was called ‘Jharkhandi’ in his childhood because he had accepted the birth of a son as a result of worshiping Mahakal from Vaidyanath Dham in Jharkhand and Ujjaini. The naming ceremony of Jaishankar Prasad took place in Vaidyanathdham itself.
Jaishankar Prasad’s education started at home. Teachers were appointed for Sanskrit, Hindi, Persian and Urdu. Rasamay Siddha was prominent among them. Deenbandhu was a celibate teacher of ancient Sanskrit texts. After some time, Prasad’s name was enrolled in the local Queen’s College, but here he could study only till the eighth class. Prasad was a diligent person and studied regularly.
When Prasad was twelve years old, his father died. After this, domestic troubles started in the family and the ancestral business suffered so much damage that the same ‘Sunghanisahu’s family, which used to wallow in prosperity, got buried under the burden of debt. Within two-three years of his father’s death, Prasad’s mother also died and the most unfortunate day came when his elder brother Shambhuratan passed away and at the age of seventeen, Prasad had to assume a heavy responsibility. Most of Prasad’s life was spent in Varanasi. He traveled only three-four times in his life, the shadow of which is reflected in some of his works. Prasad got his initial inspiration to write poetry from the problems he faced at home, which were prevalent in the circle of scholars at that time.
Prasad ji’s total life span was 48 years. His creative process got reflected in different literary genres in such a way that sometimes it is surprising. His pace is the same in poetry, novels, plays and essays. But his poet is everywhere in his every education. In fact, it is the deep imagination of a poet that inspires him to make specific and personal experiments in other genres of literature. His stories have their own separate and completely original craft, their characterization, language structure and sentence structure have a completely personal foundation. Similar innovative and praiseworthy experiments are found in his plays also. He was criticized a lot for his acting skills and he once said that theater should be suitable for drama and not drama for theatre. This very statement of his proves the internal law of drama composition to be more important.
In all fields of poetry, drama, stories, novels, Prasad ji has succeeded in establishing a new ‘school’ and a new philosophy of life. He is one of the founders and pioneers of ‘Chhayavad’. However, he was the first bearer of this new experience in the field of poetry and he also had to face the first opposition. Prasad ji had to struggle as much as others to develop language style and vocabulary.[2]
Kamayani epic is the pillar of eternal fame of poet Prasad. This is a unique book of world literature in terms of language, style and subject matter. In ‘Kamayani’, Prasadji has presented the psychological development of human beings through symbolic characters and has given prestige to the integrated philosophy of life of faith and intelligence in human life.
Tears are a presentation of the poet’s heart-touching and parting words.
This is a collection of Muktak compositions.
The poems written in Prasad ji’s Chhayavadi style are stored in it.
It is a collection of poems written in Braj by Chitradhar Prasad ji.
Following are the major prose works of Prasad ji-
Chandragupta, Dhruvaswamini, Skandagupta, Janamejaya’s Nagayagya, Ek Ghunt, Vishakh, Ajatashatru etc.
Pratidhwani, Chhaya, Akashdeep, Aandhi and Indrajal are your story collections.
Butterfly and skeleton.
Poetry and art.
Other poems contain modesty, nature, love and social sentiments. In ‘Kanan Kusum’, Prasad has tried to find new directions of feeling and expression. After this, the time for stories has come. The Brajbhasha form of ‘Prem Pathik’ was first published in ‘Indu’ (1909 AD) and in 1970 the poet converted it into Khariboli. In its release, he himself has said that “I had written this poem in Braj language eight years ago.” There is an emotional story in ‘Prem Pathik’. Through which ideal love has been described.
‘Karunalaya’ has been composed on the basis of Gitinatya. Its first publication was in ‘Indu’ (1913 AD). This is also there in the first edition of ‘Chitradhar’. It was published independently in book form in 1928 AD. It is the story of King Harishchandra. ‘Importance of Maharana’ was published in ‘Indu’ in 1914 AD. This was also compiled in ‘Chitradhar’, but it was published independently in 1928 AD. It contains the story of Maharana Pratap. ‘Jharna’ was first published in 1918. Some changes were made in subsequent editions. Most of its poems were written between 1914–1917, although some appear to be later. In ‘Jharna’, Prasad’s personality has been clearly revealed for the first time and the tendencies of modern poetry can be seen in a more vocal form in it. This is considered to be the establishment of Chhayavad era. ‘Aansoo’ is a special composition of Prasad. Its first edition was released in 1982 (1925 AD).
The second edition was published in 1990 AD (1933 AD). ‘Aansoo’ is a great lyric poem, in which the poet’s feelings of love are expressed. Its basic tone is of sadness. But in the last lines there are notes of hope and faith. Prasad’s best poems are compiled in ‘Lahar’. It contains the major works of the poet. It was published in 1933 AD. ‘Kamayani’ is Prasad’s essay poetry. Its first edition was published in 1936 AD. The poet’s pride increased greatly with the creation of this epic. It is the story of the primitive man Manu, but the poet has considered the important questions of his era.
‘Prasad’ is the originator of the Chhayavadi trend in Hindi poetry. ‘Aansoo’ and ‘Kamayani’ are indicative of your shadow poetry. All the characteristics of Chhayavadi poetry are found in your works. Prasadji makes precise use of symbols to provide intensity and concreteness of emotions. Prasad’s poetry gives the message of effort and hope to human life. Prasad’s poetry is representative of the overall upliftment and consciousness of humanity. There are notes of human welfare in it. Poet ‘Prasad’ has presented innovative pictures of diverse, glorious forms of women in his works.
art side
The art aspect of ‘Prasad’s poetry is also completely strong and balanced. His language, style, ornamentation, rhyme scheme, everything is at the level of a great poet.
Language
Many forms of Prasad ji’s language are visible in the development journey of his poetry. You started with Braj language and then adopted Khariboli and made it your poetic language in the form of a refined, flowing, Sanskrit based language. Prasad ji’s choice of words is also coordinated with phonetic beauty; Such as-
Khag Kul Kul Kul-like speaking,
Kislay’s zone was shaking.
Prasad ji has created poignant beauty in his works by using figurative vocabulary.
There is a beautiful coordination of traditional and modern expression skills in Prasad ji’s poetic style. It has the harmony of all three qualities – vigor, sweetness and prasad. The mature use of various styles as per the subject and sentiment is found in his poetry. Descriptive, emotional, figurative, aphoristic, symbolic etc. style forms provide completeness to their expression. The skill of word painting in descriptive style is visible.
Prasad ji’s focus has always been on symmetrical ornaments. The figures of speech have come spontaneously. Metaphor, metaphor, metaphor, simile, symbol etc. are your favorite figures of speech.
Prasad ji has given successful expression to poetry through various verses. The change in rhyme as per the mood is visible in ‘Kamayani’. The verses of ‘Aansoo’ are absolutely favorable about him. Prasadji has also made successful use of songs. The similarity of language does not affect the lyricism and rhythm of the verse. As the author of ‘Kamayani’, Prasadji is not only a personality of Hindi literature but also of world literature. You have presented the universal references of Indian culture and by bringing before the glorious pages of history, you have given the happiness of self-pride to every Indian heart. Prasad ji is the gift of Mother Saraswati for Hindi literature.
Jaishankar Prasad established Chhayavad in Hindi poetry, through which the rasasiddha stream of pleasant melody flowed in Khari Boli poetry and it became the proven language of poetry. He was not only the founder of Chhayavad but also became a great poet who wrote melodious musical songs on the Chhayavaad method. The basis of Prasad’s fame in the field of poetry is ‘Kamayani’. This unique epic of Khari Boli, written on the basis of Manu and faith, gives the message of making humanity victorious. This is also an allegorical story in which the metaphor of achieving unbroken happiness through the combination of mind, faith and Ida (intellect) has been combined on the basis of Pratyabhijna philosophy. This work of his is a vivid example of the poetic dignity of Chhayavad and Khari Boli. Sumitranandan Pant considers it ‘equivalent to Taj Mahal in Hindi’. From the point of view of craftsmanship, style of language and expression, it cannot be compared with any poetry of Khari Boli. Rejecting the tradition of Parsi theater of his time, Jaishankar Prasad created unforgettable plays bringing forward the precious characters of India’s glorious past. In his plays Skandagupta, Chandragupta etc., it seemed as if a sleeping country was being inspired to wake up by highlighting the golden past. The tone of patriotism is very visible in his plays and many very beautiful and famous songs are found in these plays. The songs of his plays like ‘Himadri Tung Shring Se’, ‘Arun Yeh Madhumaya Desh Hamara’ have been famous.[3]
Jaishankar Prasad ji died on 15 November, 1937 AD. Prasad ji was adept in presenting the living atmosphere of India’s advanced past. There are many of his stories in which a successful attempt has been made to protect Indian culture and ideals from beginning to end. And ‘Aansoo’ gave words to the pain of his heart which suddenly came as a guest in his life and enriched the Hindi language.