Raag Darbari - A Review

An Analysis of Raag Darbari
(Author : Shrilal Shukla, Translated by Gillian Wright)

-          Aniruddh Singh Jammoria
2009CH70123

 “Raag Darbari” was written by Shrilal Shukla in 1968. It got a Sahitya Academy award in 1970. Its immense popularity can be gauged from the fact that since the time it was published it has been translated to nearly 15 languages and has been adapted for television as well! The novel has gained popularity thanks to its accurate (and very graphic) description of the village, its elders (who, keeping in step with their western counterparts, are bitten by the deadly sins of greed, sloth, pride envy and so forth) and their day – to – day activities (which, of course, are not always in the best interests of the village folk). Shukla writes about a fictional village called Shivpalganj located in UP – and as described by the translator Gillian Wright, the location of the village, its description, and to some extent its characters originate from a series of experiences he had while he was working as a government officer in some rural areas of the state.

First of all, I would like to point out the historical importance of the novel. It was published 4 years after the death of Nehru. His tenure, as we all know, was one full of idealism and visions of a developed India. For many historians, the death of Nehru was seen as the final nail on the coffin of Indian idealism. Bluntly speaking, more and more people (in the 1960s) were realising the fact that at the ground level, things were not going to be as shiny and nice as had been planned in the elaborate “5 year plans” by Nehru. Therefore, one may say that the satire and the fun poked at the people in power is actually a result of the disappointment felt by the average citizens of India, something that is also called “post – Nehruvian Cynicism”.

The village has several characters, most notable of who is Vaidyaji – the big daddy of the village. He is assisted by his sons Badri Pehelwaan (or in English, Badri the Wrestler) and Ruppan. A few more notable characters are the teachers at the village school, and the principal (whose characteristic trait is to burst into Awadhi, his native tongue, whenever he is very angry or excited)

The story does not have a fixed plot as such – it is merely a series of anecdotes. It also does not have any hero or protagonist. Vaidyaji’s nephew, named Ranganath, visits his native village after completing his M. A. His health has been failing, and the doctors have advised a visit to his native village for him to gather his strength. It is funny how Vaidyaji (which means “healer”) heals the young boy’s mind in more ways than one. After his masters, Ranganath, who is a big believer in high ideals and “poetic justice”, comes face to face with the hypocrisy and the meanness of the village gang. The very first incident highlights his innocence and blind faith. In order to travel to his uncle’s place, Ranganath boards a bus. The driver is a rash fellow, who drives carelessly without regard for the pedestrians. After witnessing him nearly run over a few cows and sleeping shepherds, the young man is finally elated when a few police officials pull the bus over (from the car stepped out three peon – like – officials and one official – like – peon). From a distance, Ranganath watches them question the driver. Actually, they are trying to extort money out of him, but to mister high ideals it seems as if the driver is being punished by god for his foul deeds (as you shall sow, so shalt thou reap). There are several such incidents, one after the other, that shatter Ranganath high ideals and faith in Justice. He is a mere spectator – unable to make a mark or stand up for himself.

One of the most interesting things about the book is the fact that it still manages to keep you interested, in spite of lacking a crisis and its resolution. The narrative is held together by Shukla’s satire and excellent sense of humour. One can only marvel at the extent to which the author details his description – to the point that the imagery sometimes becomes too vivid and grotesque. From the holes in Sanichar’s underwear (and the fact that him wearing a vest signified a desire to be “formal”), to the description of Badri’s scrotum which was “displayed to the entire universe”, Raag Darbari never runs out of laughs. However, my favourite is the description of Mr. Khanna (a teacher at the school): “suddenly sitting up with knees bent and chest thrust forward in a pose made famous by the late Marilyn Monroe”

However, there is something to be said about “Lost in Translation”. I have read both the English and the Hindi versions of the novel, and personally I found the Hindi version much more engrossing (in spite of the fact that thanks to reading only English for the last 6 years has diminished my fluency somewhat). The quick – witted descriptions and the tone of the satire which is seen in the Hindi version cannot be replicated by English. Especially, the principal’s Awadhi rants (which, by the way, contain some foul and uncouth sounding words) cannot be replicated by replacing the dialogue in Yorkshire English (God bless ye). Another instance, which I just mentioned above, is the rather graphic description of Badri. In Shukla’s words it reads, “andakosh brahmand me pradarsit ho rahe the”. The use of “andakosh” (of course we all know what it means!!) keeps a certain sense of decency within the novel. Gillian bluntly translating it to “testicles displayed to the world” just does not have the same humorous impact.

I would like to conclude with my opinions on the relevance of the novel in the present times. When it was released in the 1960s, it reflected the disappointment every Indian had at the failure of the pre – independence ideals which they all had placed so conveniently on a pedestal. Then, this work would have been very much in place. Now, however, it looks very much like a comedy show. We know for the last 50 years now that our politicians are corrupt (at least most of them are) – poking fun at them, and making it into a satire will simply not be enough. What the novel fails to mention – and what is needed now – is WHAT TO DO? The story never takes a stand (Shukla being the politically correct author, always) and this is what I did not like. This diminishes the relevance of the book in the present times, in my opinion. Political satire is good, yes, and is necessary also, but present day authors must go a step further and try to explain to the public (in humorous tones, if necessary) what to do. Books can cause a great subconscious impact, mind you, and any small idea disseminated like this can go a long way.

Thank you!!