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wg_v hLb wg_v bq: Rv`yeveev`i GKwU `vkwbK

chvjvPbv
mq` wbRvi Avjg 1
f~wgKv
eveZv wbgvYi bvbvwea iciLv, wPv I gbbi AKjn, Rv`y I
wevbi msNvZ I msNli GK Abe` mwkxjZvi bvg Rv`yeveev`|
hwKZv ebvg mvnbkxjZv, cvvZ ebvg cvwKZvi ecixZg~jK mKi
cwZdjb wnme Ewbk kZKi klvai AbZg iZc~Y wk Av`vjbi
GKwU aviv Rv`yeveev` | Rv`yeveev` ay jvwUb AvgwiKvi wk Av`vjbB
bq eis Zv MZ cvuP `kK cwiYZ nqQ ZZxq weki Ges WvqvmdvwiK
jLK`i Av`vjb| Rv`yeveev`i weKvki `ywU chvq iqQ| c_g chvq
Gi weKvk NU c_g wekhyvi RvgvwbZ| Di-Awfewev`x (PostExpressionism) wk Av`vjbi GKwU aviv wnmve Gi Avwefve NU hv
cieZxZ dvm, b, BUvwj, AvgwiKvmn wewfb `k wevi jvf KiQ|
weki `kK Rvgvwbi Rv`yeveev`x wP wkx`i cZq wQj Avgv`i Pvicvk
Qwoq _vKv Bw`qMvn RMZK bZzb Ki `Lv| g~jZ, ei ga _vKv inm I
weqKi Dcv`vb wQj Zv`i Dcvcbi welqe| wZxq chvq Rv`yeveev`i
weKvk NU jvwUb AvgwiKvq| hv AvNvZ nvb cvvZ vbZ I ivRbwZK
`wfwZ| jvwUb AvgwiKvi Rv`yeve mvwnZi welq- AvaywbK mvwnZ ev`
cov cvi cvwKi ^i; Zv`i wPv-fvebv I mswZ| jvwUb AvgwiKvi
cvwKi eveZvi aviYv wevbgb hywev`x BDivcxq f`jvKi aviYv _K
wfb| Rv`y-Cki-`eNUbv; hv BDivcxq`i `wZ wg_v| GB wg_v jvwUb
AvgwiKvq wg_v bq| Zv Zv`i cwZw`bKvi eveZvi Ask| Avjn
KvicbwZqvi (1995: 87) jvwUb AvgwiKvi GB eveZvK ejQb
AvgwiKvi weqKi eveZv (American marvellous realism)|
Rv`yeveev`x mvwnZi welqe jwUb AvgwiKvmn ZZxq weki Abvb `ki
weqKi eveZv; hv AvaywbKZvi bvg ewkK A_bxwZi meMvmx Qvej _K
1

mq` wbRvi Avjg, mnKvix AavcK, `kb wefvM, Rvwe|

wg_v hLb wg_v bq: Rv`yeveev`i GKwU `vkwbK chvjvPbv

euP hvIqv A-DcwbewkZ ev we-DcwbewkZ Aev| ZvB Rv`yeveev`x mvwnZ

Dcvcb Ki - wfb Kvb mgq hv Avgv`i mgqi evwnii; weqKi Kvb
mswZ Avgv`i msKwZi ga, ARvbv Kvb vb hv Avgv`i ewkK vbZi
Ask nIqvi Acvq| mKviY Rv`yeveev`x mvwnZK AzZ mbvnbx
(strange seductiveness) wnme AvLvwqZ KiQb dWwiK Rgmb
(1986:302)| wK Rv`yeveev`x mvwnZ AzZ mbvnbx nIqvi ciI ievZv
MbRvjm (Hegerfeldt, 2005:11) mn Aviv AbKi `wZ Rv`yeveev`
Zxq `wKvY _K mvik~b Ges `yej| ZvB GB cei AbZg cqvm
Rv`yeveev`i `vkwbK chvjvPbv|
GB cei c_g Ask AvjvwPZ nqQ BDivcxq Rv`yeveev`i
BwZnvm Ges ^ic| c_g wekhy&-Di BDivci Av_mvgvwRK Ges ivRbwZK
cwimi wKfve Rv`yeveev`x wPvi weKvk f~wgKv ivL Ges GKB mv_
Awfewev`x (Expressionism) I civeveev`x (Surrealism) Zi
mv_ Rv`yeveev`i chvjvPbv Kiv nqQ| AvjvPbvi avivevwnKZvq cieZx
Ask jvwUb AvgwiKvi Rv`yeveev` weKvki BwZnvm, Zvi Awawe`v I
vbZ mK AvjvKcvZ Kiv nqQ | AvjvPbvi klvsk GKwU Z~jbvg~jK
AvjvPbvi ga w`q Rv`yeveev`i mv_ eveev`, Di-Dcwbekev` I DiAvaywbKZvev`i mZv chjvPbv Kiv nqQ|

Rv`y hLb Rv`y bq: BDivcxq Rv`yeveev`

BDivc Ke Kv_vq Rv`yeve kwU eenvi Kiv nqQ Zv wbq
MelK`i ga weZK iqQ| AvgwiKvb mgvjvPK wmgi gbUb Zvi The
True History of Magic Realism Mi Rv`yeveev` I Rv`yeve ki
eenvii BwZnvm wbq wevwiZ AvjvPbv KiQb (Bowers, 2004:8)|
hw`I mvwnZ mgvjvPK ievZv MbRvjm gb Kib Rv`yeve ki eenvi
mwKZ Kvb mywbwZ Z_ cvIqv hgb me bq, wVK Zgwb Rv`yeveev`i
mwZ BwZnvmI LyuR cvIqv KwVb| Ze mgKvjxb mgvjvPK`i AbKB
hgb Avgvwiqvj PvbwW, wmgi gbUb, jBm cviwKbmb Svgiv Ges DqbwW
dwim gb Kib Rvgvb wP mgvjvPK dvbrm in (1890-1968) Rvgvb fvlvq
Rv`yeve kwU c_g eenvi Kib| 1925 mvj in RvgvwbZ PwPZ DiAwfewev`x wP Kjvi Dci Post- Expressionism, Magic Realism:
Problems of the most Reeent Europian Painting bvgK GKwU eB wjLb|
mB eBZ wZwb c_g Rvgvb k Magischer Realismus eenvi Kib|

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cieZx Kvj wbk Realismo MagicoGes BsiwRZ Magic

RealismAbyev` Kiv nq|

Rvgvb wP mgvjvPK in weki `kKi cbi Rb wPwkx; AUv wW,

gv AvibU, Avjvvi KvbjWv_mn Abvb`i AbixwZi welqe
chvjvPbv KiZ wMq j KiwQjb- Zuv`i AvjvKwPi gb ^Q Ges
wevvwiZ, wK cwicwZ c_vMZ cvvZ Awfewev`x wkx`i _K wfb|
AUv wWi GKwU Qwe Match Seller I (1920)Z `Lv hvq dzUcvZ em
_vKv GKRb cy, hvi wekvj Pnvivi Zzjbvq `n AZ QvU Ges GKwU KzKzi
Zvi cvq gyiZ| wW Avgv`i cwiwPZ eveZvK bZzb ic Dcvcb Kib
hv Awfewev`x wP mgvjvPK`i KvQ ixwZwm gb bvI nZ cvi Ges Zv
mvjfv`i `vwji civeveev`x wPixwZ _KI wfb|

Match Seller I (1920)

Awfewev`x wP Bwgj bjW, KvKvkKv, eKgvbmn Abvbiv wkKg

eMZ ^ici Dci iZ bv w`q Afixb DcjwK iLv I is Gi gvag
Dcvcb Kib| Zviv gvbe gbi PigZg Abyf~wZK ev AevK iLv I is Gi
gvag cKvk Kib| dvbrm in AUv wWmn Abvb`i KvRi ga cvw_e
c`v_i ga Acvw_e PZbvi cKvk j KiwQjb|
gvbyli mv_ gvbyli mK, gvbyli mv_ Pvicvk Qwoq _vKv c`v_ ev e i
mK vwbK Ges KvwjK| Zv mgqi mv_ mv_ cwieZbkxj| Zv inmgq Ges

wg_v hLb wg_v bq: Rv`yeveev`i GKwU `vkwbK chvjvPbv

AbK mgq `wi AMvPi _vK| in Gi gZ, Avgv`i Pvicvk _vKv ei

inmgq PwiB Rv`y| Zv Dcvcb Rv`yeveev`i j| wK Uweji
inmgq Pwi ay Uweji Qwe Ab KijB Dcvcb Kiv me bq| ZvB
cPwjZ Ab ixwZZ Zv Dcvcb me bq| ZrKvjxb Rv`yeveev`x wkxMY
wewfb fveei inmgq Pwi cKvk KiQb| in Gi gZ, GB wewfb cKvk
fw cwiwPZ eK Ki ZzjQ AcwiwPZ| ZvB Zvi gZ, Rv`yeveev`x wkThe things, the object, must be found anew. (Bowers, 2004:8)|
gvwM Gb evIqvimi gZ, AvaywbKZvi AbZg PZbvi K` h Rxeb I RMZ,
Zv mK cig mZ I Dcjw cKvki gvag LuvRvB wQj Rv`yeveev`x
wkx`i AbZg cPv| wZwb ejbMagic realist painting shares with modernism an attempt
to find a new way of expressing a deeper understanding of
reality witnessed by the artist and writer through
experimentation with painting and narrative techniques.
(2004:7)

jvwUb AvgwiKvi Rv`yeveev`x jLK KvicbwZqvi gb Kib BDivcxq

Rv`yeveev` gwK ceYZv Ges Rbgvbyl wewQb GKwU aviv| wkevv mviwRIm
wgLvjw (1994) Aek wfb gZ cvlY Kib| wZwb gb Kib, Rv`yeveev`
c_g wekhyvi Rvgvb mgvRi egvwK AwiZvi ewntcKvk| c_g wekhyi
mgq BDivci cwZwU `k mvgvwRK Ges A_bwZKfve wZM nq|
BDivci GKwUI Mvg cvIqv hve bv hv GB fqvenZvi wkKvi nqwb|
BDivci cwZwU cwievii KD bv KD gviv wMqQ c_g wekhy| wK hyi
fqvenZvi wkKvi bvix-cyil mKj njI cyili gZzi nvi bvix _K AbK
ewk _vKvq hyvi BDivc bvix-cyili ^vfvweK AbycvZi fvimvg nvwiq
dj, mw nq wewfb aibi mvgvwRK Aeq Ges AwiZv| GQvov KqKk
eQi wekRyo Dcwbeki ga w`q BDivc h m` I mgw ARb Ki Zv
cvq asm nq hvq hyi mgq| hyvi A_bwZK I mvgvwRK msKU mePq
fqven ic aviY Ki RvgvwbZ| hy i Kivi `vqic civwRZ kw wnme
BDivci Abvb `kK wZc~iY w`Z nqwQj RvgvwbK| dj Rvgvwbi
A_bxwZ cvq asm nq wMqwQj| Abw`K 1918 mvj KvBRvii wbevmbi ci
_K Wvb I evgcx wecex`i gZv `Lji cPvi KviY Rvgvwbi ivRbxwZ
Awi nq IV| 1920 mvj GWjd wnUjvii bvkbvwj mvwmqvwj Rvgvb
IqvKvm cvwU cwZvi ci cwiwwZ Aviv Lvivc nq| DP g~jwwZ, wekvj

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NvUwZ-evRU, ivRbwZK AwiZv, wewQbZvev`, wbivcvnxbZv Ges `yej

miKvi Rvgvb RbmvaviYK AwbwZ fwelZi wPvq nZvk Ki Zvj|
Abw`K BDivci Abvb `ki A_bwZK DbwZZ Zv`i ga mw nq
wewQbZvi Abyfe | wkx I wkevv GB Abyf~wZi evwni wQjb bv| GB
wewQbZvi AwbqZv Rvgvb`i ZvwoZ Ki UKkB eveZvi w`K; bZzb Ki
eveZvK Avwevi KiZ| hv in Gi Rv`yeveev`i g~j Dk| G eveZvi
Abymvb Awfewev`x wk-Av`vjbK Qvwcq wMq AvVviv kZKi KvwmKvj
eveev` wdi hvevi cZq bq eis Zv cvw_e RMZi Dcvcbi cZq| ZvB
Rv`yeveev` c_g wekhyvi Rvgvb mgvR I mgq _K wewQb bq, Zv H
mgqiB `vwe| miRwRIm wg_vBjw G mK ejbUltimately, it was a reflection of German society at that
time, torn between a desire for and simultaneous fear of
unconditional modernity, between sober, objective
rationality and residues of Expressionist and rationalist
irrationalities.(1994:13)

ZrKvwjb Rvgvb PZbvi gZ in Gi Rv`yeveev`x wk PZbvq

BDivcqxq g~j avivi wk Av`vjb _K ^Z ceYZv jYxq| civeveev`x
wk Av`vjb Di-Awfewev`x wk Av`vjbjvi GKwU Ges cvqB AbK
Rv`yeveev`ev`x wkxi KvR civeveev`x gb nZ cvi| wK
Rv`yeveev`ev`x I civeveev`x wk Av`vjbi welqe Ges PZbv wfb|
24 g Ryb 1917, Kwe Gcvwjwbqi Zvi 1903 mvj wjLv Les Mamelles de
Tirsias bvUKwUi cwiPq w`qwQjb myiwiqvwjv (Drama Surrealiste) ej|
1919 mvj Auv` euZ AwfZvi ^Zt~Z cKvkK civeveev` ej AvLvwqZ
Kib| wZwb gb KiZb, gbtmgxY ^ci wewP `kMZ A_ev DcjwMZ h
weklY c`vb Ki KvePPvq Zvi wekl iZ iqQ| c_g w`K Av`vjbwU
cavbZ KvePPvq mxgve _vKjI cieZx Kvj Abvb wkxivI GB Av`vjb
mvwgj nb| 1924 mvji ci _K civeveev` cfvekvjx AvaywbK wk avivq
cwiYZ nq| civeveev`x wkx`i AbZg Rvqvi wgiv nv Aic, gvK kvMvj
Ges mvjfv`i `vwj| gbtmgxY Gi RbK wmMgy dqW gb Kib, gvbyli
mPZb-gb Aaqbi gvag gvbyli c~Yv cvVvvi Kiv me bq| gvbyli
AePZb ev APZb gb Zvi wPv fvebvq Mfxifve cfve ivL| ZvB
civeveev`x wki AbZg cqvm ewi mB AePZb Dcvcb Kiv, hv
gvbyli Kbv-^cjvK Kvbfvm ewntcKvk Ki|

wg_v hLb wg_v bq: Rv`yeveev`i GKwU `vkwbK chvjvPbv

Rv`yeveev` I civeveev`i ga jYxq cv_K iqQ| Rv`yeveev`

hLvb cvw_e ei ga w`q RMZi AyZ inmgqx mK Dcvcb Ki
mLvb civeveev` KvwbK-Aeve Dcv`vbi gvag gvbyli AePZb Ges
APZb gb Dcvcb Ki| hgb mvjfv`i `vwji The Persistence of
Memory (1931) cwiwPZ ei GK Aeve Dcvcbv| Avgv`i cwiwPZ Nwo
hv avZzi Zwi wK Zv big ggi gZ Mj coQ| Zvi Dci _vKv cvKv jv
mB avZzi Zwi Nwo Lq PjQ| G aibi Nwo ev cvKvi Kvb AwZ
Avgv`i eve RMZ bB| `vwj GB Qwei gvag wZi qi gZ gvbexq
aviYvK Dcvcb KiQb|

The Persistence of Memory (1931)

Abw`K ini Rv`yeveev`x wkKg Avgv`i Pvicvk Qwoq _vKv cvw_e

ei gvag RMZ I Rxebi inm I AvhmZK Dcvcb Kiv nq _vK|
AUv wW Gi Match seller I (1920) Zvi ga AbZg Rv`yeveev`x
wPKjv| mLvb wZwb GK cyi dzUcvZ em _vKvi Qwe Ab Kib| Zvi
Pnvivi AvKvi `ni evwK Aski mgvb Ges KvUzbi gZ gyL _K wewfb k
ei nQ| em _vKv Aevq GKwU KzKzi Zvi Dci g~ ZvM KiQ| `ywU Qwei
ga g~j cv_K ay welq eMZ bq eis QweZ DcvwcZ ejvi RMZ
AwZi gaI we`gvb| `vwji QweZ avZzi Zwi Nwo hv big ggi gZ Mj
hvQ, Zv Avgv`i mvgb GK aibi Aeve AevK wb`k Ki| Abw`K
wWi weK gvbe I KzKzi eve RMZi Ask wK Zv eveZvi GK bZzb w`K
wb`k Ki hv Rv`yeveev`i j| ZvB Gb wm. nMviwd (2005) gZ-

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(Magic Realism) the new style seeks to recreate the ordinary

object in such as manner that it would be seen in a new,
unfamiliar way, thereby imparting a sense of the mystery
inhering in the world, of the magic of being. (2005:13)

Rv`y mLvb eveZv: jvwUb AvgwiKvb Rv`yeveev`

BDivcxq wkKg Rv`yeveev`i KvR cvw_e `Lv eveZvi ga A`Lv
inm Dcvcb Kiv wK jvwUb AvgwiKvi Rv`yeveev`x mvwnZ DV GmQ
mB RMZ, hv AvaywbK BDivc _K wfb; Rv`y mLvb eveZvi Ask|
Rv`yeve mvwnZPPvi i nq Ewbk kZKi klva| ZLb jLK`i cZq wQj
c_vMZ AvaywbK eveev`x mvwnZi welqe I jLvi Xs _K ei nq jvwUb
AvgwiKvi cvi cvwKi Rxeb I mswZ hv`i eveZvi AweQ` Ask
Rv`y Ges Rv`yZ wekvm Zv`i mvgvwRK I ewMZ wmvK cfvweZ Ki|
hv`i Rxebi c~Yv eqvb me bq Rv`yi f~wgKv Dcv Ki| jvwUb
AvgwiKvi mvwnZi GB avivK AbK bZzb Dcbvm (new nobel) ejQb|
hv cieZx Kvj ZZxq wek Ges WvqvmdvwiK jLK`i ga Rbwcq nq IV|
Zv`i ga AbZg bvej weRqx Mvweqvj Mviwmqv gvKm| Zvi jLv weki
cvVK`i ga Rv`yeve Dcbvm Rbwcq I mgv`Z KiQ| AbK Rv`yeve
Dcbvm I M jLv nqQ, Zv`i ga cwZwbwaZkxj Dcbvmjv njAvjn KvicbwZqvi Gi The kingdom of the world(1975), Uvi Mvmi
The Tin Dram, mvjgvb ikw`i Midnights Children(1982), Bmvej
Gjbw` Gi La casa de los Espiritus (The House of the spirits) (1982)
I Rm nWwmb Gi The Invention of the world (1977)| GQvov mgKvjxb
Dcbvmjvi ga cUwUK mveKvB Gi Perfume (1985)Ges Uwb gwimbi
Beloved (1987) mgvjvPK`i gZ AbZg cwZwbwaZkxj Rv`yeveev`x
Dcbvm|
jvwUb AvgwiKvi Rv`yeveev`x mvwnZ PPv lvUi `kK i njI in-Gi
Rv`yeveev`i mv_ jvwUb AvgwiKvi jLK`i cwiPq NU 20-Gi `kK|
1927 mvj in-Gi eBqi Rv`yeveev` wbq wjwLZ Ask wbm fvlvq
Abyev` Kib dvbvv fjv| in-Gi Rv`yeveev` evcKfve mgv`Z nq
jvwUb AvgwiKvi jLK`i ga| jyB einR I wgMj GbRj AvmZzwim
Zuv`i AbZg| wK wKDevi jLK GwjR KvicbwZqvi jvwUb AvgwiKvi
mv_ BDivcxq eveZvi I cwieki wfbZv mK AeMZ wQjb| wZwb wek

wg_v hLb wg_v bq: Rv`yeveev`i GKwU `vkwbK chvjvPbv

Ges wki `kK cvwim iv`~Z wnme `vwqZiZ wQjb| civeveev` I inGi Rv`yeveev`x wk Av`vjbi cZ AwfZv Zvi wQj| cieZx Kvj
wZwb wKDevq wdi 1959 mvji wKDevi wece Ges jvwUb AvgwiKvi wk
Av`vjb iZc~Y f~wgKv ivLb| Zuvi Rv`yeveev`x weLvZ Dcbvm The
Kingdon of this world Gi cwiwk wZwb in-Gi Rv`yeveev` _K wewQb
Ki jvwUb AvgwiKvi Rv`yeveev`i cvcU I iciLv w`Z wMq ejbBecause of the virginity of the land, our upbringing, our
ontology, the Faustian presence of the Indian and the black
man, the revelation constituted by its recent discovery, its
fecund racialmixing [mestizaje], America is far from using
up its wealth of mythologies. After all, what is the entire
history of America if not a chronicle of the marvellous
real?(1995:88)

wZwb gb Kib BDivcxq Rv`yeveev` eyw`x gwK GKwU aviv hLvb

Rv`yi Kvb AwZ bB| BDivcxqiv Rv`yK Aeve civwYK NUbv gb Ki
ZvB BDivcxq Rv`yeveev` cvw_e RMZK inmgq Ki Zvj eqvbi gvag
hLvb Rv`y wekvmi Kvb AwZ bB| jvwUb AvgwiKvi RbmvaviY wekvm
Ki Bki-wRb-cix-f~Z-cZ| mLvb AwZeve `e NUbv eveZvi Ask|
KvicbwZqvi Gi The kingdom of this worldGi welqe wQj 1800 mvji
nvBwZi `vm we`vn| wZwb GB Dcbvm AvwdKvb cyivYi mv_ `wY AvwdKvi
jvK wekvm Ges `bw`b Rxeb Rv`yi cfve Gi mwjb NwUqQb| Zuvi
Dcbvm Rv`y, civwYK wekvm I `e NUbv eMZ Kvh-KviYi Ask| wU byqj
Zvi Dcbvmi cavb Pwii bvg| `vm we`vni mgq NUbvP m bZvq
cwiYZ nq| we`vni mgq `e gZvi AwaKvix gKvvj Zvi ez I mnhvv
wQj| m byqjK we`vn bZZ c`vb Kivi Rb Ges gZv mb Kivi Rb
ZvK AvwdKvb cyivY I Rv`ywe`v wkv `q| `vm we`vni GB NUbv g~j avivi
BwZnvmi Ask bq wK KvicbwZqvi gb Kib `vm we`vni `vm`i
`wKvY _K BwZnvm Dcvcb Kiv me bq hw` bv AvwdKvb Rv`y, cyivY Ges
`e NUbv Dcvcbv Kiv bv nq, KviY Gme Zv`i evZvi Ask| jvwUb
AvgwiKvi mswZ; AvwdKvb, gvqv, BDivwcqvb Ges AvgwiKvb Avw`evwm`i
wgk mswZ| Zv`i cwZw`bKvi Rxeb-mswZ-vcbv I wkmn Rxebi cwZwU
Ask cyivY I Rv`yi cfve iqQ| ZvB wZwb jvwUb AvgwiKvi eveZvK

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ejQb Lo real maravilloso americano ev AvgwiKvi weqKi eveZv

|
KvicbwZqvi weqKi eveev`i aviYv cvb BDivcxq DcwbekK`i
BwZnvm _K| bi DcwbekK nvibvbWv KviUR cbi kZK gwKv
`Lj Kib| wZwb Zvi jvwUb AvgwiKvi AwfZv bi ivRv Kvijm ( V )
K RvbvZ wMq e Kib h- bZzb AvweZ gnv`ki eveZvK BDivcxq
fvlvq cKvk Kivi gZ Kvb k Zvi Rvbv bB| Zvi AwfZvq jvwUb
AvgwiKv BDivcxq vb mxgvbvi evwni| KvicbwZqvi nvibvbWvK AbymiY
Ki ejb, jvwUb AvgwiKvi wbRK wPwZ Kivi Rb cqvRb bZzb ki|
m k nj- Lo real maravilloso Americano, hv c_vMZ BDivcKw`K
hywwbfi wevbwfwK eveZvi aviYvi evwnii eveZvK Dcvcb Kie|
GB weqKi jvwUb AvgwiKvb eveZv eveev`x mvwnZ KLbv DcvwcZ nq
wb Ges eveev`x mvwnZ h eveZvK ^Ztwm gb Ki Zv cvvZ
wevbwbfi GK eveZv| hLvb Rv`yi Kvb AwZ bB| jvwUb AvgwiKvi
GB weqKi eveZv DV GmQ Rv`yeveev`x mvwnZ|

Rv`yeveev` I eveev`
KvicbwZqvi Gi weqKi eveev` ev jvvwUb AvgwiKvb
Rv`yeveev` AvVvi kZKi KvwmKvj eveev`i Ask bvwK Zvi weZic, bvwK
m~Y cwic~iK Zv wbq mgKvjxb MelK`i ga gZweiva iqQ| BDivcxq
eveev`x mvwnZi AbZg ceYZv nQ welqe I cvcUK Ggb fve
Dcvcb Kiv hvZ Ki wekl Gi ga w`q mvweK eveZvi GKwU iciLv
Dcvcb Kiv hvq| AvVvi kZK eveev` mvwnZi avivq cwiYZ njI
eveev`x mvwnZZi BwZ cvIqv hvq GwiUji jLvq| GwiUji jLvq
ZrKvjxb wMK wk fvebv cwZdwjZ nq| hv AbK ejv hZ cvi
mnRvZ wk fvebv| GwiUj gb KiZb wki KvR nQ eveZvK AbyKiY
Ki Rxeb I RMZi M~p mZK Dcvcb| gb nZ cvi GwiUj wkx A_
mvsevw`K`i K_v ejQb, wewfb vbi eveNUbvi wP ev eYbv c`vb KivB
hvi KvR| wK wZwb Zvi wkZ Aviv ejb- wk ay hv wKQz AwZkxj Zvi
eqvb bq eis hv wQj, hv ne Ges hv nIqv DwPZ ZviI eqvb| ZvB eveev`x
mvwnZi g~j wfw Zvi fvlvq-

wg_v hLb wg_v bq: Rv`yeveev`i GKwU `vkwbK chvjvPbv

It is better to convine the reader of the realism of
something impossible rather than to be uneonvincing about
something that is true. (1920:91)

JcbvwmK I jLK nbwi RBgm mvwnZ eveev`i iZ wbq

AvjvPbv KiZ wMq ejb, mvwnZ cvVKK mePq ewk bvov `q ZLb, hLb
Zv eveRMZi Kvb Pwi Kvb NUbv ev mvebvgqx Kvb eve Aevi weeiY
w`q _vK| mvwnZ mgvjvPK Kv_wib evmj Rvgvb `vkwbK wfUMbvBbi
(1918) fvl eenvi Ki eveeev`x mvwnZi Dk mK ejb- jLKi
KvR Dcvcb Kiv; wfUMbvBb hvK ejb `Lvbv (Show), hvi gvb
eveZv mK Kvb wKQz e Kiv ev ejv (Say) bq| cvVKi KvR eqvb
_K RMZ I Rxebi ic I cwimi chvjvPbv Kiv|
eveev`x mvwnZ ay RMZK AbyKiY Ki bq eis Rxeb _K cvIqv
AwfZvK eenvi Ki KwZ eveZvi eqvb| wK Kbvi mxgviLv Kv_vq?
Avgiv Zv AbK wKQz Kbv Kwi hv Aeve bq| GB Kbvi mxgviLv Uvbb
eveev`x ZvwKMY Gwiji AmeZvi m~ ai| AvaywbKKvji `kwbK
nMj ejb- hv ewK ZvB eve, hv eve ZvB ewK| eveev`x mvwnZ
ZvwKMY gb Kib, wevb hv wKQzK hwK gb Ki Zv-B mZ Ges Zv-B
eveagx mvwnZi cvcU I welqe| Rv`y-`e NUbv-f~Z-cZ I Cki
wevb viv wm bq ZvB Zv eveev`x mvwnZi Ask nZ cvi bv|
Rv`y cKwZi inmgqx PwiK wb`k Ki| hv Avgv`i cwZw`bi
eveZvi Ask bq| Rv`y cKwZi H me NUbvK wb`k Ki hvi cQb
AwZeve ev AvavwZK Kvb kwi cfve _vK| ^vfvweK wevb Rv`yK Aeve
NUbv ej wPwZ Ki hw`I Rv`y Kvb PvZzh ev g bq| Rv`y I wevbi
mxgviLv mZZ cwieZbkxj| KqK kZvx AvM wcRg eYvjx Avjvi weQyiY
Ges Avbi gvS cvi`i `ve`vnK gahyMxq evwbKMb Rv`y gb KiZb
AvR hvi evwbK evLv iqQ| KvicbwZqvi gb Kib Rv`y-`e NUbv-f~ZcZ jvwUb AvgwiKvi eveZvi Ask| eveev`x `vkwbKMY hgb gb Kib
RMZ Avgv`i Bw`q wbicfve AwZkxj Ges Avgv`i Bw`qi gvag
RMZ mK vb jvf Kiv me, wVK Zgwb KvicbwZqvi gb Kib Rv`ymn
Abvb `e NUbv Avgv`i Bw`q wbicfve eve Ges mZ| hw`I RbU
DBUvimb, Wvwbqj I Kvd gb Kib Rv`y GK aibi mvgvwRK eveZv|
Avgv`i fvj-g` mwVK-fyj wKsev bvix-cyili Rvi aviYv Pqvi-Uweji

Theatre Studies, Vol. XXI 2014

76

gZ AwZkxj bv njI Gme aviYv gbvwK-mvgvwRK eveZv| hv Avgv`i

wPv, fvebv, wmv Uwej-Pqvii gZ AbK Zvi Pq ewk cfve
wevi Ki| mKviY, Zviv gb Kib Rv`y Ggb GK aibi eveZv hvK
Dcv Kiv me bq|ZvB Rv`yeveev` eveev`x mvwnZi Ask nq hLb
Avgiv eveZvi aviYv weZ Ki |

Rv`yeveev` I Di-Dcwbekev`
Di-Dcwbekev` GKwU we-DcwbewkKiY Z| weMZ GK kZ eQi
cw_exi gvbwPi AbK cwieZb nqQ| ^vaxb nqQ AbK `k| GB mKj
^vaxb nIqv `kmg~n c~eeZx DcwbekK`i KvQ _K mvgwiK I wKQz wKQz
A_bwZKfve gyw cjI vbZvwK Ges mvswZK cfve mLvb
GLbI eZgvb| BDivcxq vbZvwK Ges mvswZK cfve _K `kb-wevbwk-mvwnZ-fvlv-mswZ we-DcwbewkZ Kiv Ges Dcwbeki cfvejv
wPwZ KivB Di-Dcwbekx ZvwK`i AbZg j| Rv`yeveev`x mvwnZ
cvvZ DcwbekKi cwZwZ BwZnvmi Ges wevbi evBi h RMZ,
BwZnvm I vb iqQ Zv-B Dcvcb Ki| ZvB Rv`yeveev`x mvwnZ DiDcwbekx mvwnZ| Gb evqvi ejbThe majority of magical realist writing can be described as
postcolonial. That is to say much of it is set in a
postcolonial context and written from a postcolonial
perspective that challenges the assumptions of an
authoritative colonialist attitude. (2004: 90)

Di-Dcwbekev` GKwU RwUj cZq| eZgvb ZvwK`i ga weDcwbewkKiYi cwZ ck AbK weZK iqQ| GwU GK aibi mvgvwRK I
ivRbwZK `wfw, hv DcwbekK kwi weivwaZv Ki wbR^ AvZcwiPq
Abymvbi j| BDivcxq Dcwbeki `ywU iZc~Y w`K iqQ (1) mvgwiK
I A_bwZK AciwU (2) gbvwK| mvgwiK I A_bwZK gyw hZUv mnR
ZZUvB KwVb gbvwK Dcwbek _K gyw| Dcwbeki vbZvwK wfw
cwZwZ nqQ Avcb Ges cii wecixZ aviYvi ga w`q| BDivcxq
DcwbekK Zv`i wbR`i AvZcwiPq wbgvY KiQb| Zviv hywev`x wevbgb AvaywbK gbbi aviK I evnK| cvi DcwbewkZ RbMvw; Zv jvwUb
AvgwiKviB nvK ev fviZiB nvK A_ev AvwdKvi nvK Zviv Amf eei|
Zviv A-hywev`x A-wevb gb (Said, 2001:60)| Zviv Rv`y cyivY wekvm

wg_v hLb wg_v bq: Rv`yeveev`i GKwU `vkwbK chvjvPbv

Ki| Zv`i wbR`i cwiPvjbv KiviI gZv bB| ZvB BDivcxq`i `vwqZ
Zv`i kvmb I cvvZ vb, wevb I mvswZK wkv w`q mymf Kiv|
G mKj Amf eei`i BwZnvm, `kb I mvwnZ DcwbekK`i vbwevbi BwZnvm vb cvq wb| eis mymf Kivi bvg DcwbewkZ wkvi
gvag GB me gvbyl`i Ki Zvjv nqQ Zvi wbRi gvwU _K wewQb GK
AvMK| Rv`yeveev`x jLK`i Rb jvwUb AvgwiKv, fviZ ev AvwdKvi
hLvbB nvK bv Kb, Zv`i jLvi welqe mB mKj gvbyli Rxeb-RMZ I
mswZ, hv`i cwZwZ BwZnvm vb bB, hviv DcbxewkZ mswZK cwZiva
KiQ, A_ev Zv`i AePZb A-DcwbewkZ gbb Gi mvb cvIqv hvq|
hv`i Rxebi AweQ eveZvi Ask Rv`y I cyivY| jLK Zv`i gaB
wbRi I RvwZi AvZcwiPqi Abymvb Kib|
A-DcwbewkZ BwZnvm I vb wUK _vK K_fvlvq| GK cRb nZ Ab
cRb cPvwiZ nq Mi ga w`q| gvKRi AbK Mi welqe Zvi `v`xi
KvQ _K bv M _K bqv| gvKmi Hundred years of solitude
LvwbKUv wewQb kni gvKz`vK K` Ki| DcwbewkZ kvmb Avgj Kjv Pvl
Kiv Qvov GB kni Kvb iZc~Y NUbvI NUwb| ZvB g~javivi BwZnvm _K
Zgb wKQz LuyR cvIqv hvq bv GB knii gvbyl I mswZ welq| wewQb _vKvi
KviY cvvZ AvaywbKZv Ges gZv _K wewQb wQj gvKz`v| wK gvKRi
jLvq DV GmQ gvKz`v knii BwZnvm, mswZ Ges inmgqx Rxeb, hv
Avgv`i BwZ c`vb Ki mvebvgqx eveZv Kgb nZ cviZ hw` Avgiv ADcwbewkZ _vKZvg| GKB mv_ BwZ Ki AvaywbKZv Ges cMwZi bvg ev
KviY Avgiv wK nvwiqwQ Zvi w`K Ges BwZ c`vb Ki Avgv`i DiDcwbewkZ Aev Kgb nZ cvi Zvi w`KI| ZvB mvvwi ejbMarvellous realism answers an emergent societys need for
renewed self-description, and radical assessment,
displaces the established categoires through which the
West had construed other cultures either in its own image
or as alterity, questions the western capitalist myth of
modernization and progress, and asserts without nostalgia
an indigenous preindustrial realm of possibility. (Sangari
1987:162)

Theatre Studies, Vol. XXI 2014

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mvwnZZvwK Ges `vkwbK wgLvBj evLvwZb gb Kib, Rv`yeveev`x

mvwnZ ay AvaywbKZvi GK bvjwRqvK wb`k Ki bv eis Zv DcwbekK
Ges DcwbewkZi mvswZK I vbZvvwZK weivwaZvi KviY ecixZg~jK
eveZvi aviYvi cv_K I weiva Kwgq GbQ | wZwb gb Kib
Rv`yevev`i iyZc~Y wZbwU ewk iqQ(1) Z eqvb `Iqvi gZv _vKvq Rv`yeveev`x Dcbvm DcwbewkK
Ges DcwbewkZ Dfqi eqvb Dcvcb KiZ cvi|
(2) `yB `wfwi I fvebvi msKU I mvebv Dcvcb Ki|
(3) mevcwi, Rv`yeveev` `yB mswZi `~iZ Kwgq Avb DcwbewkZ
gvbyli fyj hvIqv BwZnvm I AePZbi Kvgbv Dcvcbi gaw`q|
GB mKj ewk Di-Dcwbewk mvwnZi ewk Ges Rv`yeveev`x
mvwnZ Avgv`i ewkK mswZ I mvwnZ PPvq iZc~Y mshvRb |

Rv`yeveev` I Di-AvaywbKZv
mgKvjxb ZvwKMY gb Kib ceYZv wePvi Rv`yeveev`x mvwnZ
AvaywbK mvwnZi GKwU aviv hnZz Zv cwZwZ eveev`x mvwnZ aviv _K
wbR`i wewQb Kivi ceYZv iqQ| wK welqe, jLvi Xs Ges cwiekbvi
wePvi Zv Di-AvaywbK| Di-AvaywbKZvi `vkwbK wfw Di-KvVvgvev`|
Di-AvaywbKZvev` c_vMZ Kvb aviv bq hLvb cwZwZ `wfwK Lb Ki
bZzb Kvb gZev` c`vb Kiv nqQ| Di-AvawybKZvev` GK aibi cwZ|
cwZwZ vb I g~jevaK ckw e Kivi GKwU cwZ| hvi Kvb mvweK ici
LuvR cvIqv hvq bv| wVK Zgwb mvweK ic `vbi Kvb ceYZvI Zvi bB|
cKvivi, GB Z mKj cKvi mvweKZvi wei| AvaywbK `kbi AbZg
ceYZv nQ mvweK mZ Abymvb, hv Kvb vb Kvj wbfikxj bq| AvaywbK
wk-mvwnZ-BwZnvm-wevb-`kbmn cwZwU vbi kvLvq GB ceYZv jYxq|
AbZg iZc~Y Di-AvaywbK ZvwK; Rvb dvwm wjqvZvii (1984) DiAvaywbKZvi Dci weLvZ eB The postmordern condition: A Report on
knowledge- G mKj cKvi mvweKZvi weiy hy (wage war on totality) NvlYv
Kiv nqQ|
Di-AvaywbK `kbi BwZnvm wbq AbK weZK iqQ| AbK gb
Kib Rvgvb `vkwbK d`wiK wbUm Gi AbZg cev| wjqvZvi, wgkj
dzuKv, Ruv ew`jvi iZc~Y Di-AvaywbK ZvwK| AvaywbK vb-ZvwK
eqvbmg~n M~p mZi bvg h mKj evwbK Ges HwZnvwmK Z_ Dcvcb Ki

wg_v hLb wg_v bq: Rv`yeveev`i GKwU `vkwbK chvjvPbv

Zv ay mZ bq, Zv GK aibi `wfw| hv mvswZK, agxq Ges mevcwi

ewi g~jeva aviv cfvweZ| AbK Gmei ga Avevi ^weivwaZv
iqQ| GB AvaywbK vb-wevb Dcwbeki nvZ ai hgb ewkK ic aviY
KiQ wVK Zgwb BDivc Zvi weKvki cQb Zvi gZvi cfveI iqQ|
Di-AvaywbK `kbi wePvi Kvb vb ewkK bq, mKj vbi weKvk Ges
cvcUI vwbK| h KviY cvvZ wevb Rv`y-`e NUbvK AmZ Ges
AhwK weePbv Ki Zv vbZvwKfve hZ bv k wfwi Dci cwZwZ Zvi
PqI ewk cwZwZ gZvi ej| ZvB wevb wbfi cvvZ h mZ RMZi
K_v ej, Zv ayB GKwU `w fw Qvov Avi wKQz bq|
GKB aibi K_v ejb gvKmxq `vkwbK dWwiK Rgmb BwZnvmi
welq| wZwb ejb h, cwZwZ BwZnvm ay Ac~Yv Zv-B bq, AbK
AmZI eU| wK gZvq _vKv ew I Mvw Zv`i Aevb Ges myweavi Rb
Zv cPvi I cmvi Ki _vK| mKviY wjqvZvi ejb- Puts forward the
unrepresentable in presentation itself (1984:77)| ZvB mvaviYZ
Rv`yeveev`x mvwnZi PZbv Zvi cwZwZ BwZnvm hv DcvwcZ nq wb ZvB
Dcvcb Ki Kvb ew ev Mvwi `wKvY _K| mvjgvb ikw` Zuvi
Midnights Children G g~j Pwi mwjgi eqvb- 1919 mvji
AvgwiZmvii `vv, evsjv`ki gywhy hfve DcwZ nqQ Zv cwZwZ
BwZnvm _K wfb| ik`xi jLvq h Di-AvaywbK BwZnvm wPv cfve iqQ
Zv dzU DV Zvi mvwnZ welqK jLv Imaginary Homelands G
History is always ambiguous. Facts are hard to establish, and
capable of being given many meanings. Reality is built on
prejudices, misconceptions and ignorance as well as on our
perceptiveness and knowledge. (1991:25)

Dcmsnvi
BDivc ei inmgq AwZ Dcvcbi cZq wbq Rv`yevev`i weKvk
NUjI Zv cwic~YZv cvq jvwUb AvgwiKvq| GB `yB Aji Rv`yeveev`i
^ic I cvcU wfb njI Zv wQj mgqi `vex| c_g wekhy Di AwwZkxj
BDivc wk mvwnZi wewfb avivi De nq hgb: AwZe v`, civeveev`,
hwK cZev` I Rv`yeveev`| Ze Rv`yeveev`B GKgv aviv hv wfb
gvv I cwimi wePvi mvwnZi AbZg avivq cwiYZ nqQ| wKy jvwUb
AvgwiKvq GwU mvwnZi avivB ay bq, GKwU mvswZK Av`vjbI eU|

76

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AvaywbKZvi bvg DcwZ ewkK A_bxwZ I mvvRev`x mswZi cwZivai

GKwU AgvN bvgI Rv`yeveev`| AvaywbKZvi bvg Avgiv h Rxeb hvcb Ki
PjwQ , Zvi KvbwKQzB Avgv`i Quzq hvq bv eis AKvi nvwZ `Lvi icK
Abyhvqx Zvi AwZ z` Ask `L wbR`i AZK Avovj Kivi Kkj i Ki
PjwQ| Avgv`i GB ceYZv Avgv`i eveZv _K wewQb I bvjwRK Ki
PjQ| Rv`yeve mvwnZ AKvi Avjvi gZ Avgv`i mvgb DcwZ Ki ADcwbewkZ eveZvi aviYv| AZxZ wdi hvIqv hgb Ame wVK Zgwb
HwZnI cybtwbgvYi `vq Gwoq hvIqvI me bq| ZvB Rv`yeveev` ewkK
cwimi Avgv`i HwZnwbfi AvZcwiPq wbgvY Ki| ZvB ejv hZ ci
Rv`yeveev` Avgv`i mvwnZ, ZZxq weki ewkK eveZv Abyavebi mvwnZ|

Mcw
Aristotle (1920) Poetics, Oxford: Clarendon Press.
Bowers, M. A. (2004) MAGIC(AL) REALISM, London: Routledge.
Carpentier, Alejo [1949] (1975) The Kingdom of this World, trans. Harriet
de Onis, Harmondsworth, Middlesex: Penguin.
Carpentier, Alejo [1949] (1995a) On the Marvelous Real in America,
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History of Literature 10, Manchester: Manchester University Press.
Mrquez, Gabriel Garca [1967] (1972) One Hundred Years of Solitude,
trans. Gregory Rabassa, London: Penguin.
Michalski, Sergiusz (1994) New Objectivity: Painting, Graphic Art and
Photography in Weimar Germany, 19191933, Cologne: Benedikt Taschen.

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Rushdie, Salman [1981] (1982) Midnights Children, London: Picador.
Rushdie, Salman (1991) Imaginary Homelands: Essays and Criticism
(19811991), London: Granta.
Said, E. W. (2001) ORIENTALISM, India: Penguin Books.
Sangari, Kum Kum (1987) The Politics of the Possible, Cultural Critique,
7, Fall, 15786.
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Painting
Dal, Salvador (1931) The Persistence of Memory in

http://en.wikipedia.org/wiki/The_Persistence_of_Memory
Dix, Otto(1920) Match seller I in

http://www.staatsgalerie.de/