HUMAN VALUES IN KHASI SHORT STORIES
ABSTRACT
The written Khasi short story may be said to have originated
between 1885 to 1896 when John Roberts introduced the short story
element in the biblical stories published in his Khasi Readers. Needless
to say the projected values are the Christian values. Coming to the
present study, the selected stories provide not only delightful reading but
project wide ranging themes on human values. It is this value
preoccupation, which the present scholar found to be of immense
literary significance. Therefore, the topic "Human Values in Khasi Short
Stories" was chosen for study and research to establish the literary worth
of the Khasi Short Stories.
The choice of the topic is also made on the basis that no serious
research has been taken up in this area. Therefore, it is hoped that the
study projects the parameters in value reflection and as such the
potentialities and signposts for future literary endeavour. This will raise
the status of the Khasi short stories along accepted standards.
During the preliminary consultation of Khasi texts and scholarly
books, certain facts have been observed. These are - (i) the complex
nature of human values involving consideration of types of values
within its category, (ii) the significance of the Khasi traditional values,
and (iii) the projection of more than one value, a fact emphasised by
Thomas Gullason in contrary to the single effect criterion propounded
by Edgar Allan Poe.
The Scope and Limitation of the Study
The selected stories are confined to the period 1968 to 1990. Two
reasons account for this selection. Firstly, the study of human values
compared to the study of themes is not limited to a single theme but
includes all projected values as part of the author's overall value
awareness while narrating the story. Secondly, and more importantly,
the period has the credit of a number of stories with significant value
projections.
The study in chapter II starts the discussion on the place and
meaning of human values in literature as highlighted by Walter Besant,
Knickerborger and Andrew Michael Robert. In particular, Besant's
emphasis on "the presentation of humanity from any point must stand to
the increase of certain virtues-sympathy, pity" is found to meaningfully
articulate the place and the meaning of human values in literary
expressions. Karen Homey also asserts that being human is "to be
associated with basic human qualities as these are values which men are
expected to manifest in their lives". However, as per scholarly views,
the concept human also implies human strengths, possibilities and
weaknesses manifested in types, facets and nuances of human values.
Therefore in understanding the nature of being human, three approaches
are also considered. These are the Aristotelian view on man's rationality
and social nature; the humanist's theory of individual potentialities
directing attention to personal traits including wit and humour, man's
sensibility and man's baser aspects; and the well-being theory projecting
man's ability to survive and the value possibilities refreshing and
enriching man's everyday life.
The facts projected by above views explained human values in the
moral, ethical, spiritual, social, personal, the prudential, the humorous,
the witty and human possibilities. In the light of these aspects, the two
approaches theory of Ethics-wide and Ethics-narrow offered by May
Edel and Abraham Edel is found relevant to be used as the basis for
analyzing the selected stories. Ethics-wide includes wide ranging values
for man's good. Ethics-narrow pertains to the moral, sympathetic and
spiritual nature of man.
Linkage between the Western and Khasi Concept
The same chapter then examines the Khasi value concepts of
'Tip-Briew, Tip-BleV (literally meaning, know-man, know-God) and
'Kamai ia ka hok' (to earn righteousness). Based on the views of
prominent authors as U Sib Charan Roy, R. S. Berry and H.O. Mawrie,
the first implies a value condition of being attuned to man's and God's
expectation, the second is to act, live, work in such away so as to earn
righteousness. Further, traditional values of polite behaviour, kinship
values of 'Tip-Kur, Tip-Kha' (literally meaning, know one's maternal
and paternal relatives) and the position of the maternal uncle in the
Khasi society are found to be significant in this study.
The third chapter focuses on the values reflection in the short
story through its comparison with the folktale and the novel. Whereas
the folktale shows the moral reflection in the imaginary, simple and
direct mode, the novel and the short story reflect value experiences in a
realistic manner. These values are projected through a causal plotting of
the story and character study. The uniqueness of the novel, as aptly
noted by Paul J. Hunter is in explaining values in terms of the "varied,
circumstantial and individual outcome" and on the fact that "the social
and adjustable had to be an important part of any narration". But each
form reflects human values in the moral, social including the humorous
and the prudential
Against the full-scale projection of the novel, the distinction of
the short story in value reflection has been described by Arthur
Waterman as 'fragments from someone's life'. In this context, Thomas
GuUason states that the stories "closely approximate the reality and truth
of everyday life" and therefore pointed out that to writers like Ernest
Hemingway, "the novel - not the short story is the artificial form". The
reason is that the short story "captures life as it really is, in process,
revealing perceptions and understanding that are only briefly
uncovered". Of significance also is Virginia Elwyn's observations on
the presentation of "significant or even crucial moments" of truth and
change. These points are illustrated by references to English and
American Short Stories like E.M. Forster's The Rock, Ernest
Hemingway's Walls Like White Elephant and Katherine Mansfield's
The Garden Party.
The fourth chapter is a crucial chapter in the study as it presents
the textual analysis of the stories in value reflection. A sizeable number
of stories are considered. These include those of S. J. Duncan, Hughlet
Warjri, Wan Kharkrang and Paul Lyngdoh. While the most important
values found to be projected are moral, ethical and social, there are
remarkable samples of the humorous, the witty, the prudential not
ignoring the value possibilities of the uncommon and the adventurous.
Firstly, in order to avoid confusion, the scholar focuses on the
general meaning of moral and ethical values. As clarified by Paul
Roubiczek and John Dewey, moral values pertain to man's innate moral
sense involving his will power, while ethical values are principles of
'ought' and 'ought not' guiding man's moral life.
In the moral context, altruistic values of sympathy, compassion,
concern, love and kindness are manifested by all authors. In Duncan's
''U Khynraw" (The Youth), the moral compulsion of deep concern and
sympathy is sharply projected by details of sympathy and kindness of
the boy to the wounded dog, in contrast to the cruel treatment of his
neighbours. Further, it is noted that the presentation of the tragic end of
the dog rendered with exquisite dramatic effect, meaningfully illustrates
the universal nature of compassion and kindness. In Warjri's ''Ka
Jingbha ia ki Briew Baroh" (Goodness to All Men), feelings of
compassion and consideration are thrown into relief when Mietshai
defies his mother's displeasure by showing kindness to the poor family
of Kong Sian. Paul Lyngdoh's lyrical portrayal of human suffering in
''U Bieif (The Fool) influences sympathetic attitude, while Kharkrang's
projection of the helplessness of the weak and ignorant against the
heartless and corrupted government officials conveyed moral
indignance. Of significance alsois the moral consciousness affected
through the depiction of negative tendencies such as envy in Duncan's
and Warjri's powerful character projections. A value finding is the
authors' keen insight into man's innate moral sense in which characters
with baser traits of envy, greed, self-centredness and pride are shown as
undergoing a change of heart during moments of self-realization.
Though evident in all the authors, such moments are more explicit in
Duncan and Kharkrang.
In the projection of social values, the analysis clearly brought out
the expressed concerns of S. J. Duncan and Paul Lyngdoh on issues of
''Ka imlang ka sahlang" (social life of the Khasis). In Duncan's story
''Ki Mad ia ka Shillong" (The experience Shillong), the author
highlights the corruption of social values of hard work and
responsibility by the negative attraction of city life. Presenting the
progressive corruption of the lives of young Kyrhai and Rimai, the story
also gives a bird's eye view of social evils affecting Khasi society, due
to winds of change. Paul Lyngdoh's observation in "Ka Khmat ba Phuh
Samrkhie" (A smiling face) focuses on the corruption of family values
of love and security through family infidelity leading to alcoholism and
broken homes. Here the details oi'U khyllahjaif (a popular derogatory
reference to a non-Khasi) in the mother's immoral relationship points to
the negative impact of social changes. Paul Lyngdoh's contribution is
particularly significant in the context of modem vices displayed in "Ka
Ri ki Jingphohsniew" (The land of dreams). It projects the moral
corruption of young boys through viewing of immoral films. The
important place assigned to children and young people clearly brought
out the author's deep concerns for the present and the future of the
Khasi society.
7
A significant value expression in the reflection of social values is
the sense of social responsibility for which Kharkrang earned special
credit. This is through his exposure of the blatant flouting of ethical
norms in public services in his stories ''Ki Jingiakynduh Jong U Bah Ta
En" (The Experiences of Bah Ta En). His choice selection of doctors,
savers of men's lives, and policemen, guardians of law, testified to the
conscious use of his skill for desired results. In addition, the projection
of the shameless oppression perpetrated on the weak and helpless
persons like Bah Ta En, confirms the moral value of social ethics in a
materialistic society. A departure from these trends is the depiction of
social foibles manifested in the social behaviour of the Khasis. In a
realistic manner, Duncan directs attention to the negative and dangerous
consequences of gossiping and spreading false rumours. The stories
"Nga kyrteng u Skeil Sa LeiV (Shat if my names a Deer!) and '^Phim
Ngeit I" (Don't You Believe I) enhance the values of rationality,
temperance and prudence for a quality social life.
Of special interest is the unique distinction of the stories in
reflecting the Khasi world view of "Know-man, Know-God". Duncan's
stories ''Ka Akor kaba Tarn" (Politeness is the Best), ''UMen Mali" (The
Old Gardener), ''Ki Mad ia ka Shillong" (They Experienced Shillong)
are found as exquisite examples in interpreting traditional values. The
first gives insight into the Khasi polite behaviour through a comparative
presentation of the materialistic buyers and the well-behaved Kpa u Bor
(Bor's Father) thereby underlining precepts of 'know-man'. Its
prudential edge is subtly suggested in the wife's artfiilness in dealing
with people. While '"UMen Mali" (The Old Gardener) is significant for
8
capturing kinship values incorporated in the status and position of the
Khasi 'kni' or maternal uncle. Personified in the disciplined and
confident character of the old gardener, its intrinsic value is brought out
in the moral passion of his commitment in carrying out his duties at all
costs. Its added interest is the projection of the uncle's humanity
manifested by the fact that his principled stand in not selling ancestral
lands, does in no way lessen his love and concern for his clan. This is
evident in the heart-rending songs at the memory of his estranged
relatives. Indeed in the projection of his stand, the author emphatically
underlines the unique value in the Khasi social fabric. The last story "AT/
Mad ia ka Shillong" (The Experienced Shillong) expressed R. S. Berry's
approved social tenets through their presentation of the Khasi way of
life before the onslaughts of the winds of change on the society as a
whole.
In addition, are significant expressions of 'Tip-Kur, Tip-Kha'
(Know one's relatives) in Paul Lyngdoh's "^! Bkr (Oh! God), virtues
of 'Tip-Briew, Tip-Blei) (Know-man, Know-God) in JCharkrang's
projection of Bah Rang's character in "U Blei U lohi ia kiei kiei Baroh"
(God sees All Things) and Warjri's projection of the poor but honest
young brothers in ''Ka Bek Pisa" (The Wallet). However, in the
traditional context, the scholar found the value significance of the stories
not only on in the reflection of values but also their awareness of the
relevance of traditional beliefs and practices in the light of change
development. Therefore, in the authors' scale of values, Wan Kharkrang
questioned the rationality of having a feast on the occasion of death in
spite of poverty and hardships and Duncan pinpoints the validity and
seriousness of the naming ceremony when conducted by a drunken
elder, resulting in a ridiculous name. Paul Lyngdoh's deep concern is at
the social prejudices and superstitious belief in "U Thlen" (the Khasi
demon worship). These led to tragic and traumatic consequences as
experienced by the young daughter Wanda Jingkmen.
The textual analysis also significantly established the stories'
capacity in projecting diverse themes of human values ranging from the
religious, the personal to the homorous and prudential. In the religious
context. Christian values prominently featured the Christian spirit of
God's love, mercy and salvation associated with Christmas message.
Duncan's ''Ka Jingiathuh Khana Krismas I" (The Christmas Story I)
and Warjri's "ATa Jingbha ia ki Briew Baroh" (Goodness to all Men)
manifested these values through the projection of an atmosphere of
peace and joy during Christmas time. It inspires faith and hope in the
sick and dying daughter of the poor widow and dispels pride and hatred
in the shallow-hearted mother of Mietshai. As highlighted, the spiritual
experience on Christmas day leads to spiritual growth in the poor family
and changed the proud mother into a better human being.
But while religious values upholds man's spirit in life's testing
circumstance, Paul Lyngdoh's Ka Rang Jong Ka Jingkmen" (The
Colour of Joy) insightfully highlights the unique personal attitude of
Bah Enfield towards the stifling effect of the stereo office routines. Its
value effect is in sensitizingthe readers to the triumph of the human
soul to retain his humanity against the de-humanizing forces of modem
life.
10
The significance of man's well being is appreciably highlighted
by the value of humour in man's life. The human significance of
humour is convincingly conveyed by the authors' knack in displaying
the incongruities and oddities in human nature in a humorous light. This
is discemable in the fickle mindedness of Warjri's labour boy who
landed with cheaper quality pants and became poorer by twenty rupees.
In Paul Lyngdoh, "'Ki Jingpyrkhat I" (Thoughts I), it is the unexpected
turning of tables on the angry wife when the habitual late coming
husband more in fright than in anger, rains an outpour of abuses on the
unsuspecting wife, when he arrived home in the middle of the night. It
is also the satiric digs through the victorious war song of a sick but
heavily drunk officer coming down the mountain, after offering rituals
for his sickness in Kharkrang's ''Ha Ranap U Sohpetbneng" (On the
Slopes of Mount Sohpetbneng). The power of laughter is also in the
portrayal of the mean and the unkind, redeemed and purged by the
infectious sense of humour. This is in Duncan's 'Wga Kyrteng u Skei!
Sa Lei\ (So what if my name's a Deer!). Duncan's humorous stories are
significant for demonstrating the khasi mode of ka 'biria rai' and ka 'ka
biria bangja'. These stories delight while exposing the unsavory and the
petty. In all The messages of the humorous stories are values of
tolerance in the face of human pettiness and incongruities. Humour
smoothens the rough edges of life, but in the practical realities of actual
living, prudence and practical sense certainly have their values. This is
seen in Warjri's ''Sian Kum Ki Bsein" (Be Clever as Snakes).
11
In addition to humour, the facts of Kharkrang's questioning of
feast on death occasion and Duncan's exposure of the ridiculously polite
behaviour of u Kpa u Bor (Bor's Father) showed the authors' realistic
value approach in the practical context. These projections illustrate the
human significance propounded by the humanist and well-being
theorists.
Furthermore, the authors' skill in characterization meaningfully
brought out the desired human values in the life of men. In this respect,
S. J. Duncan showed special ability through the projection of intensely
individual and memorable characters. Nevertheless, the characters of the
other authors also produced life-like effects for communicating their
view. An important finding in this respect is that the representative
characters such as those of Wan Kharkrang apart from being interesting,
affects an authoritative note to the author's value statement.
Chapter V highlights the language and also the narrative style and
literary techniques used for projecting value perceptions. Important
examples are in the use of diction in which words such as 'pongding
kharaV in ^^Ka Akor Kaba Tarn''' (Politeness is the Best), indicating a fat
man with bulging stomach achieves to create a mental image of greed
and insensitiveness to people's feelings. In Paul Lyngdoh the use of
'Khura' in ''U Bieif (The Fool) articulated the mental havoc impacted
by the tragic accidents in the life of the fool. The authors also achieved
telling effects through sentence arrangement. This is displayed in the
slow cadence in Duncan's description of sweet revenge savoured by the
envious mind of Worsing, the hero oi^'Wat ai Nishan ia Kiwei" (Do not
12
Falsely Accuse Others). In ''Ka Jingbha ia ki Briew Baroh" (Goodness
to All Men), the mother's tempestuous emotions of anger and hatred
against the poor family is vocally comunicated through the galloping
pace of the mother's bitter outpour. In addition, are the uses of similes
and metaphors. Of these, Duncan's metaphorical definition of men as
the 'Two-footed animals'; Kharkrang's simile describing the pointing
mustache of heartless policemen to be "as sharp as the forget-me-not
thorn" and Lyngdoh's comparison of the gambling mother reduced to
poverty "as a feathered Crow" lid up the meaning of the author's views.
In the narrative style, the achievement of the authors is clearly
evident in the use of even difficult narrative styles such as the first
persons plural, the dramatic narrator and the authors' combinations of a
variety of styles for expressive effects. The scholar found these
projections as the fulfillment of the objectives "the manner and extent
in reflecting human values in the stories" and "the styles and techniques
used by the authors to express the value perceptions" in the expression
of varied human values.
Conclusion
The study and investigation of human values in the selected
stories established beyond doubt their literary value. The selected stories
are remarkable for their wide-ranging human values. Of these, the
reflection of the moral, social and spiritual are found insightful and
genuine in articulating their values to man as a human being. Further the
analysis while projecting the objective approach in the presentation of
the tradition, also brought out the unique capacity in reflecting more
13
than one effect. In addition, the reflection of facets, degrees and nuances
of human values testified to the potentialities of the Khasi Short Stories.
These facts point to an advanced stage of development and a literary
achievement of the selected stories.
The second unique literary value of the stories is their capacity in
expressing the values of their age. In spite of the brevity constraints, the
stories have attained a niche in the Khasi literature in view of their
breadth of vision in projecting the strengths and weaknesses of their age.
Two eras are projected. The Duncan era, which includes S. J. Duncan
and Hughlet Warjri, presents the age of respectability and decorum,
human considerateness as enshrined in the Khasi world view. The
second is the post Duncan era represented by Wan Kharkrang and Paul
Lyngdoh. It presents a world of eroded values, of greed, selfishness and
human depravity at its most loathsome.
These broad trendsof the respective periods significantly
influence the authors' overall attitude to life and impacted their style and
mode of presentation. This is seen in the use of language and character
projection. Whereas Duncan's language is charaterised by a tone of
politeness and tolerance, wit and good-natured humour, Warjri's
language impressed us with a moral note. On the other hand the style
and language is satiric and unsparing and at times bordering on the
distasteful whereas that of Paul Lyngdoh surfaces in poetic expression
conveying the sense of nostalgia at the loss of values. Similar findings
are noted in characterization. Duncan's treatment is marked for its basic
humanity, in which even the petty and the unkind are projected with
14
tolerance, understanding wit and humour. In the younger authors the
portrait of the debased characters is harsh and appeared almost beyond
redemption. Interestingly, in Duncan also the dark characters, mostly
non-Khasis, are shown as being totally devoid of moral values, which
indicates the uncompromising stand of the author where evil is
concerned.
From the literary point Duncan's stories obviously excelled that
of the other authors selected in this study. The important merits are the
exquisite dramatic effects, which is evidently lesser in the other authors.
Secondly, S. J. Duncan's objective approach achieved through the use of
the first person plural and the dramatic narrator, gave an elegance and
poise, which other authors are yet to achieve. In comparison, in the
younger authors, there is a pronounced intrusive element resulting from
their increase use of the summary and commentary and the use of the
first person style. These are certainly the signposts for future writers.
Therefore, it is obvious that the Khasi Short Stories within the
brevity constraints of its form deserved due recognition as a credible
form of literary endeavour.
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