Translator’s
Note
K. Damodaran was part of the Jeeval
Sahitya Prastanam (life oriented
literature movement) was the Kerala regional branch of the All India
Progressive Writers Association. As part of my second translation exercise, I
have translated certain excerpts from K. Damodaran’s essay, ‘What is
Progressive Literature? Why?, which was presented for discussion at the Malabar
Progressive Writers’ Conference which
took place in Nellayi from 6-8th May [year 1937]]
What is Progressive Literature? Why?
After the world economic crisis
from 1929-33, to explain more clearly, after the onslaught of the army of
fascist dictatorship against all cultural values, a new movement arose in word
literature called progressive literature. The writers’ conference held in Paris
in 1934[1][sic] under the presence of world
literary figures like Henri Barbusse, Louis Aragon and Romilot [Romain Rolland?]
laid the foundation for this new literary movement. As a result of the efforts
of Sajjad Zaheer and other anti-imperialist Indian writers who attended the
Paris Conference, an all India Progressive Writers’ meeting was conducted in
Lucknow in 1935 which was chaired [and addressed] by the emperor of Hindi
Literature, Shri Premchand. The All India Progressive Writer’s Association took
form after that meeting and its Kerala division was born under the name of Jeeval Sahitya Prastanam [Life oriental Literaature
Writers ‘Association] in 1937. It is known as the Progressive Writers’
Association since 1942.
New Literary Movement in the Modern Period
The progressive literature
movement emerged in order to accomplish certain obvious social requirements. It
is the movement of those who consciously create literature for the progress of
society.
The economic crisis of 1929-33
and the developments in the changing socio-economic-political context following
that not only affected the material living conditions of man but also brought
about enormous transformations in the emotional and mental realms. The
conflicts within social life reflected in the mental sphere. On the one side,
endless literary cultural activities were taking place to justify and uphold
[maintain] the exploitation and attempts of war by the time extinguished forces
of imperialism; and on the other, new literary cultural activities that stand
firm and rooted with the people arose to oppose attacks on cultural values and support
the growth of forces of freedom and peace; writers of progressive literature
sprang forth as representatives of the second one.
In that period when British
imperialism continued to keep India under the fetters of slavery, the chains of
imperialism stood as a hindrance in various ways to the growth and development
of Indian society. In order to produce literary works that would inspire
[stimulate] common people to tear down these binding shackles, the institution
of progressive literature was invoked. The first progressive writers’ meeting
accepted a small announcement in lieu of the goals of the body of progressive
literature. It was declared that progressive writers should create literature
that will assist the struggles against British imperialism. The Jeeval Sahitya Prastanam in Kerala also
acknowledged this declaration.
In brief, the association of
progressive writers was conceived to carry out certain historical social
necessities and to accomplish renewed responsibilities of changing cultural
aspects.
The Role of Movements in World Literature
Some argue that perfect [ideal] literary
works are not produced as a result of movements, hence such movements and
institutions are not necessary and instead they only lead to further confusion
and disarray. What such people do is close their eyes towards history. It is so
because during various epochs in history, many movements arose in literature in
response to changing conditions of social life. Literature, similar to social
living, progressed through organisation. Whenever any new movement that fuelled
and inspired new social forces emerged, the [stubborn] defenders of antiquity
[old traditions] have displayed frenzied resistance against it. For example,
during the period of 14-16th century, when factories, industries and
capitalist social relations emerged, a new benevolent and humanitarian literary
movement called the humanist literature came up to resist and oppose existing
scholastic literature. Literary figures like Petrarch and Boccaccio were the
leading proponents of this movement. Classical literature which was of
significance in 17th century and Romantic Literature which came up
in the 18th century were all new literary movements in their own
periods.
In 18th century
France, new literary movements sprang forth against the dominance of the church
and aristocracy, in association with revolutionary socio-political movements of
that period. Challenging existing spiritual and philosophical thoughts,
literary leaders like Voltaire and Diderot started portraying the progress of people
in literary-cultural platforms. Romantic literature, which emerged with the
efforts of exemplary literary figures like Victor Hugo, Shelley, Hayne et
cetera fought for the freedom of forms from the rigid postulates [canon] of
classicism and to include and portray the progress and lives of people against
the dominance of aristocracy.
Realism as a movement in
literature came up in 19th century with the demand to sincerely and
veraciously portray the unpleasant and dreadful aspects of life along with its
wonderful aspects. It later developed into naturalism. Naturalism is the
depiction of everything that is visible in the surrounding with photographic
precision [verisimilitude]. Critical Realism emerged in response to this with
the insistence that the realities of life should be observed and reflected upon
critically. It is a literary movement that aimed to expose the evils of
existing capitalist order with veracity by studying and observing the realities
of life in detail. Stendhal, Balzac, Dickens, Thackeray and similar other
literary figures were the proponents of critical realism.
Critical realist writers were
able to genuinely portray the perversions and ugliness of existing social life.
But, they could not realise and identify the crucial forces that were pushing
this social order into its inevitable downfall. It was a period when the
working class was not yet fully conscious of its own strength.
In order to resolve this lack, in
the beginning of 20th century, that is, when capitalist regime was
overthrown and the age of workers’ revolution began; a new literary movement
called Socialist Realism began under the guidance of Maxim Gorky. It is a
movement that not only honestly depicts social life, but also reflects where it
is headed along with examining how [social realities] change as a result of
people’s struggles.
It can be noticed that Malayalam
literature was also hit by the waves of these specific movements which occurred
in world literature. Malayalam literature came into being as part of a movement
to release itself from the hold of Sanskrit and Tamil and to earn the right to
produce literature in its own language. There were Romantic and Realist
movements in Malayalam literature as well. Similar to the movement for
replacing Sanskrit terms and concepts with folk terms and concepts, there have
been strikes [movements] to include socially relevant aspects instead of mere
descriptions of gods and goddesses and nature in Malayalam literature. As
workers and peasants movements strengthened, there have been movements in
Malayalam [literature] to portray ordinary workers, farmers, harijans (Dalits)
and manual scavengers as protagonists and existing oppressing classes as
degenerate classes.
To summarise, it is through the
conflict between old and new and movements resonating social growth in various
epochs of time that literature has grown [in time]. Ideal literature has never been impartial; it
has always stood by novelty and innovation in the face of conflict between old
and new and abating social forces and strengthening social forces. It is
precisely because of this that it is considered ideal literature.
Who [all] are Progressive Writers?
Progressive literature emerged
after wrestling with regressive literature that represents imperialist forces. The
foundational principle of such regressive literature is subjective [and
individual] spiritualism. In opposition to truth, realism and critical realism,
regressive literature in the grab of various terms such as futurism,
surrealism, existentialism, cosmopolitanism[sic]
and so on try to confuse the people and impede their progress. Despair, mysticism,
the thought that man is helpless and incapable of building one’s own future complete
degradation, sexual vagaries, respect
for war and massacres, condescension to cultural values, faith in the evil of
man and the disbelief in the generosity of mankind, hatred towards ideals, all
of these are the main trends of regressive literature.
Such regressive trends are advertised behind a veil of
arguments which state that art does not have any other responsibility beyond
that of being art in itself. Their intention is to protect the existent
established [dominant] order by drowning majority of people into the depths of ignorance,
superstition, uncertainty and inaction. In opposition to such regressive trends
and other positions which expound art for arts’ sake, the Jeeval Sahitya movement came up and grew by arguing that the
production of literature should have a thoughtful and conscious aim.
Along with the growth of workers’ movements and peasants’
movements in Kerala, the influence of socialism began to spread gradually
around the country. It was in that period that some anti-imperialist youth
writers who were also leaders of the rising
bahujan[2]
movements came forward with poems, stories and plays which attempted to inspire
and motivate the demonstrations and strikes of workers and peasants by placing
the goal of socialism ahead of them. Many among them were not even skilled with
artistic expertise and maturity. Even then, their works contained aspects of
socialist realism. It was under their leadership and guidance that jeeval sahitya movement began in 1937.
Around the same time, the number of writers who attempted
to reveal the malice and ugliness of existing social order through their
writings were increasing though they did not overtly propound socialism and Marxism.
There were also many other writers who envisioned social equality and took the
pen to write against untouchability, caste hierarchy and so on. Most of their
works imbibed critical realism. All of them combined to form the progressive
literature movement.
Progressive Literature is, hence, much more vast and
extensive than socialist realist literature. It encompasses not only socialist
realism, but also critical realism.
To state differently, not only those writers are
progressive writers who believe in Marxism and work towards building socialism
and overhauling the existing social order by organising workers and peasants
struggle and consolidating all the oppressed classes under the leadership of
the workers struggle. Marxism is a science that explains the functioning of
social forces lucidly and logically [with reason] by describing the tenets of
social progress. It is true that those who study Marxism not only understand
the [constitution of] society, but can also expedite the process of social
transformation by foreseeing how and where society is progressing. But it is
incorrect to state that only one who believes in Marxism can be a progressive
writer. All those writers who expose the perversions of existing social order which
has already reached its timely culmination and stand with the people for social
growth in whichever way possible, even if they do not believe in Marxism or
illustrate the means for social transformation, are progressive writers.
A progressive writer is both a literary figure and a firm
proponent of progressive thoughts. But who is a writer, what is literature,
what is the definition of progressive and what is social progress? It is
important to have a clear understanding about all of this.
Is Everything That Is Written
Literature?
Literature, by its larger definition, encompasses the
works of all kinds of writers. It could be differentiated into artistic,
political, scientific and technical, based on the nature of its contents. In
its general meaning, literature includes everything that has been written. All
writers are literary figures. Like those who write prose and poetry, the ones
who write scientific books and political books are also considered to be
literary figures.
Usually, the term literature is not used in its general
sense. Mostly creative and artistic works, for instance, poetry, stories,
novels and plays [drama] are understood as works of literature. Works which
elucidate political matters could be termed political literature and those
related to science can be called scientific literature. But those who write
such works are not usually recognised as literary figures, according to the
general understanding and definition of the term.
The boundary lines between various kinds of literature
are very narrow. At times, it is difficult to differentiate one form from the
other. There are numerous leaflets and books which appeal to maintain or
transform the practises of existing ruling order. All of them could be seen as
literature according to its larger definition.
But, the poems of Mayakovsky and Futchiks’ notes from the gallows come
under literature in hand with artistic innovation.
Some political and scientific works or certain excerpts
of these works could be described as artistic or creative. In spite of that,
they are political or scientific works; they are not art oriented literature in
the usual sense.
What is Literature?
A literary figure is also a social being like everyone
else. He [sic] writes literature in
compliance with the functioning of social forces. He represents the social
consciousness that comes as part of social growth. Literature is a form of social consciousness.
But, a literary intellectual who represents social life
is a vital human being, not a lifeless machine. Hence, he depicts the course of
his own viewpoints through literature. It is possible to gauge whether he is a
regressive or progressive writer only after identifying whether his viewpoints
are regressive or progressive.
Literary exponents are not a separate race [group] or a
separate section. They come up from various communities, races and sections of
people. Therefore, there will be literary figures that represent different
communities and races and different established interests. There will be
[literary] writers who are workers, there will be [literary] writers who are
owners and there will be [literary] writers who are landlords. Their views on
social life might not be identical. It is not easy to hold a position that is
bereft off the differences in social life or community or racial differences.
The surroundings in which a literary writer grew up and his social relations,
the books he read, the experiences he has confronted in life are all crucial in
shaping his opinions. Hence, the standpoint of a [literary] writer can either
regressive or progressive. Literature that is created and produced with a
progressive perspective is progressive literature.
Progressive stands for
[...]
But, what does the term progressive imply;
The personal choices and experiments with beliefs of
every individual need not necessarily be progressive, that is, the definition
of the term progressive is not subjective. This is because social realities,
conflicts in social life and struggles that are reflected in literature are
independent of the personal wishes and desires of the writer. A literary writer
alone is not the decisive figure in envisioning the direction of progress of
society. Social growth is commanded by certain special imperatives which are free
from the impressions and understandings of a literary writer. It is only in
accordance with these imperatives that society can progress.
Consider for example that a [literary] writer believes
that it is progressive to restore untouchability, caste hierarchies and the old
varna-dharma[3]
system. But such thoughts are not compatible and in resonance with social
realities. Untouchability and caste hierarchies are not progressive but
degenerate institutions.
Or else, assume that someone believes that a society based
on cottage industries instead of mechanised industries is progressive. Such a
belief is incongruous with social realities. This is because the growth of
industries has become indispensible according to certain economic policies
which function outside the parameters of the [literary] writers’ belief system.
If not, consider
that a person decides that aristocratic rule is progressive. But, this decision
is not harmonious with social realities. Presently despite the strength of the
ruling forces of aristocracy, it is a deteriorating institution.
No matter what the plans and desires of a [literary]
writer are, they should comply with objective [social] realities. That is, a
literary writer should be able to portray [depict] growing and deteriorating
forces in society as they are. Such a
figure is a progressive writer because he reflects social progress in his
works. He is one who creates literature that inspires the development of
society.
A [Literary] Writer’s
Freedom
There are many who argue that a [literary] writer should
remain just a writer, or that the free expressions of those writers who believe
in creating literature from a progressive perspective have surpassed
unnecessary and dangerous thresholds.
Some even argue that a writer is free from time enduring socio-political
problems and the limits of territorial and spatial boundaries. Is this correct?
No, it is not. Similar to those engaged in various
occupations, a [literary] writer is also bound to work within the parameters of
prevailing social relations. A writer,
even with the most idiosyncratic personality, is a social being. He will be
able to enjoy his freedom only in association with other individuals of the
society...
To summarise, it is the social conditions and scenario
which shape the thoughts and consciousness of a [literary] writer. He cannot become
a writer by standing outside the realm of social relation. Neither can he
become a conscious individual.
So, a [literary’ writer becomes free when he associates
himself with social conditions and remain committed to the progress of society.
In a society, that is rampant with social oppression and
exploitation, a [literary] writer remains muddled in the tangle of various
demands and obligations that trample his personal freedom. It is only through
conscious efforts for social progress that he can break away from them.
....
Form and Content
There is a belief that any literature could become
progressive if the form and craftsmanship is exquisite. A progressive writer
will not conform to that viewpoint. If artistic and formal flawlessness are
used to promote degenerate and regressive thoughts, then they cease to be
progressive literature. Along with form, its content should also be beautiful.
Only then will it be progressive literature.
A progressive writer does not blindly dismiss all art forms
that have developed during various periods in the cultural history of Kerala. A
progressive writer can use any of these art forms with or without changes. Be
it Ottamthulal, Kathakali, Chakyarkootu and Teyyam or novels, short stories and
shadow plays; a progressive writer can use any of these art forms with or
without modifications. If not any of this, it could also be the most
contemporary art form. It is only necessary to fulfil what is required from the
form of art. As far as a progressive write is concerned, the purpose of form is
to express the intentions of the content. If a particular form can evoke and
express the motives tastefully and effortlessly, then it has succeeded. If the
intent of any artwork with a progressive outlook can touch the depths of a
common viewers mind, then it has as much beauty and tenderness. Since people constitute the forces that push
forth social transformation, a literary or art work that has inspired people
has also contributed to the process of social transformation.
...............
Current Viewpoints
When we accept the popular principle [norm] that a
progressive writer creates literature for the progress of society, the time to
understand what entails ‘progress’ has long past us. Taking into account the
present condition of Indian society, a progressive writer should imbibe the
following viewpoints.
(1)
A
progressive writer should adopt a scientific approach towards viewing things.
Progressive writers should labour hard to eradicate superstitions and blind
practises which abound immensely in our society.
(2)
A
progressive writer should work for the freedom of women, freedom of speech and
expression, and other fundamental democratic rights.
(3)
A
progressive writer should aspire for the industrialisation of India; only an
industrialised social order can sustain India financially and economically.
(4)
A
progressive write should oppose popular established mindset and institutions
that uphold and emphasise such a mindset. We can march ahead only if we
propagate fraternity and unity in society.
(5)
We
should have an egalitarian economy without the hierarchies prevalent in the
current economic order.
(6)
A
progressive writer should strive for a united Kerala. The culture of Kerala
will develop only if united.
(7)
Administrative
procedures, education and other such matters should be carried out in the
mother tongue [regional language].
(8)
A
progressive writer should endeavour for world peace. Culture grows and
progresses only in a peaceful environment.
(9)
A
progressive writer should not isolate himself [sic] from society and continue to create art; he should take an active
part in the programmes of cultural organisations around him.
It is only by internalising these
viewpoints that a progressive write can remain unflinching and stoic in the
creation of literature and art that inspire and support social transformation.
[1]
The author is referring to the International Congress for the Defense of
Culture held in Paris in 1935. The date mentioned by the author is not the
actual date of the conference which was from 21-25 June 1935.
[2] Dalits
[3] A practice of hierarchical division
of society in Vedic period into four varnas (sections) based on their social
and economic roles and profession. The Varna system eventually founded itself
within the rigid practice of caste system in India.
Illuminating stuff, Devika! Thank you for this one.
ReplyDeleteenlightening essay for the young generation of today to get inspiration in fighting against imperial and feudal culture that is engulfing the youth of today.
ReplyDelete