Hindi Nationalism
Hindi Nationalism
This piece on Hindu nationalism, written by Alok Rai, deals with the coming of modern Hindi in the late 90s and the early 20s. Alok Rai who is also known as a critical thinker, theorist and also the grandson of Premchand makes his readers aware of the process of modernization in the case of language. In this essay we get to witness a connection between Hindi (old Hindi) and “Hindi” (new Hindi). Making of Hindi as a modern language connects to the programme of the imagining the nation largely in a broad manner.
Today when we speak of Hindi, we talk about larger conflicts and controversies based on language. For instance the language conflict between Tamil and Hindi. There is a problem with this assumption, because Hindi here is viewed as one language and due to this the inner conflict of Hindi is forgotten. If seemed as if Hindi had no internal problems. Controversies based on Braj Bhasha and Khari Boli were not taken into account, but in this piece we identify two languages, which is known as Khari Boli Hindi and Braj Bhasha in terms of legitimacy and sexuality, which deals to the question of purity. Khari Boli was called rustic and stiff, and it was contrasted with Braj Bhasha, which is associated with mellifluousness and soft fluency. Braj Bhasha was said to be an old woman. Hindi was described as the loyal eldest daughter of divinely perfect Sanskrit. It was also “the good faithful but unglamorous first wife”, whereas Urdu, the mincing courtesan, was given the status of a second wife. Bharatendu, the father of Khari Boli called Urdu the language of dancing girls and prostitutes. Urdu gradually became the language of male excess, while Hindi was used by Hindu women.
In the case of Hindi, there was a genuine demand and there was a radical element in the demand to make Hindi a modern language. There was an ambition amongst the people, which was to become modern. Once Bharatendu Harishchandra addressed a hypothetical or virtual
This piece on Hindu nationalism, written by Alok Rai, deals with the coming of modern Hindi in the late 90s and the early 20s. Alok Rai who is also known as a critical thinker, theorist and also the grandson of Premchand makes his readers aware of the process of modernization in the case of language. In this essay we get to witness a connection between Hindi (old Hindi) and “Hindi” (new Hindi). Making of Hindi as a modern language connects to the programme of the imagining the nation largely in a broad manner.
Today when we speak of Hindi, we talk about larger conflicts and controversies based on language. For instance the language conflict between Tamil and Hindi. There is a problem with this assumption, because Hindi here is viewed as one language and due to this the inner conflict of Hindi is forgotten. If seemed as if Hindi had no internal problems. Controversies based on Braj Bhasha and Khari Boli were not taken into account, but in this piece we identify two languages, which is known as Khari Boli Hindi and Braj Bhasha in terms of legitimacy and sexuality, which deals to the question of purity. Khari Boli was called rustic and stiff, and it was contrasted with Braj Bhasha, which is associated with mellifluousness and soft fluency. Braj Bhasha was said to be an old woman. Hindi was described as the loyal eldest daughter of divinely perfect Sanskrit. It was also “the good faithful but unglamorous first wife”, whereas Urdu, the mincing courtesan, was given the status of a second wife. Bharatendu, the father of Khari Boli called Urdu the language of dancing girls and prostitutes. Urdu gradually became the language of male excess, while Hindi was used by Hindu women.
In the case of Hindi, there was a genuine demand and there was a radical element in the demand to make Hindi a modern language. There was an ambition amongst the people, which was to become modern. Once Bharatendu Harishchandra addressed a hypothetical or virtual