7

Dalit Literature and Aesthetics

7.1 INTRODUCTION

assert that Dalit literature should be critiqued

Savarna critics
assert that it is totally inappropriate to
strictly as literature. They
rreat this literature from a reverential or sympathetic perspective

simply because it has been created by Dalits. According to them,

of this literature should be based on
rhe literary evaluation
literary criteria. They say that this may well be Dalit literature,
but the reader will read it only as literature. Therefore,
extra-literary considerations will have to be disregarded in its
appraisal. But Dalit writers reject this point of view. It is their
opinion that a middle-class criticism cannot properly evaluate
this literature.

7.2 MARATHI CRITICISM AND DALIT CRITICISM

Savarna critics do not consider Dalit literature to be a separate

stream. Besides this, or along with it, other literary streams with
their own characteristics have also appeared in Marathi.
Alongside Dalit literature, people trom many other strata,
engaged in different professions, have begun to write. Literatures
have emerged from Dalits, villagers, Adivasis, Muslims,
Christians, Jains, etc. In addition to contemporary literature,
discussions have taken place about other literary forms as well,
including science, workers, children's and feminist literatures.
Literary circles in Vidarbha, southern Maharashtra, Mumbai,
Konkan, Goa, Andhra Pradesh, Karnataka and Madhya Pradesh
have worked for the development of literature. The discussion
 104 Towards an Aesthetic of Dalit Literature

of Dalit literature has been influential in al these devclonma

However, from sants to Shudras, Marathi criticism has used th he
same criteria to judge and test all literary expressions.

7.2.1 Opposition to the Monopoly of Dalit Writers

In 1967, a seminar on Dalit literature was organized at

Mahabaleshwar as part of the regional literature conference of
the Maharashtra Sahitya Parishad. Along with Dalit writers,
non-Dalit speakers such as Bhimrao Kulkarni, V D Ghate
Vidyadhar Pundalik and Kavi Anil participated in this seminar.
While putting forward his position, Kavi Anil said: "Literature
sympathetic perspective on Dalit lite is Dalit
Written With a
At first glance, this point of view seems
literature.
magnanimous. But behind this, a second view is
invisibly at
work. Kavi Anil does not accept that only Dalits will write Dalit
literature. His position is that non-Dalits can also write Dalit
literature, that it is not the monopoly of Dalit writers.
Vidyadhar Pundalik expressed the view that the belief - only

Dalits can grasp the sorrow of Dalits - is true in a limited sense:

It is possible to express the experience of Dalits with he power
of imagination.' But Mr Pundalik does not make it clear as to
where the imaginative power of non-Dalit luminaries has been
hiding until now. Removing and cutting dead animals-how
will non-Dalits write about this experience of Dalits with the
power of their imagination? How will they feel the anger rising
in the hearts of untouchables on the basis of their helpless
imagination? Vidyadhar Pundalik himself does not wantt
outside the boundary of the village, but the force of his
imaginative power does! ls this not something? To answer
Pundalik in his own terms, the abilitry of savarnas to express Dalit
consciousness on the basis of their imaginative power is true only
in a limited sense.

Other critics too have debated on who can write Dalit

literature. Nirmalkumar Phadkuleand Narhar Kurundkar hold
that 'A savarna can also create Dalit literature. For this,it is not
rharthe writer should
have been as born untouchable.
 Dalit Literature and Aesthetics 105

because the basis of Dal1tliterature doesnot lie in one's birthh in

a particular caste. It isin social consciousness (Phadkule 1986,
27. Kurundkar 1981, 96-97). Narhar Kurundkar shares Phadke's
opinion that the basis of Dalit literature is the caste system that
prevails here and the inspirational force behind this literature is
the suffocation of enduring slavery from birth to death-therefore,
non-Dalit writerscan createDalitliterature'. However,this view
s not acceptable to M5 Patil: BeingDalitis significant,because
it gives a distinct shape to consciousness (Patil 1981, 3).
Dalit literature is that literature, which is written by one who)
is Dalit by birth, which is filled with rebellion and rejection, and
which gives expression to Dalit consciousness. It is not possible
to convey imaginatively the caste-specific experience of Dalits.
Today, savarna critics think along rwo lines on this issue: 1. A
non-Dalit writer can write Dalit literature with the power of
imagination. 2. Only a Dalit writer can write Dalit literature.
Between these two, the latter argument seems more realistic. The
first is essentially based on imagination.

7.3 CRITICISM OF DALIT LITERATURE BY SAVARNA CRITICS

Dalit writers believe that Dalit literature is a movement. They

see their literature as a vehicle for their pain, sorrow, questions
and problems. But when readers read the works of Dalit writers
exclusively as 'literature', the common ground berween the writer

and the reader is disturbed.

Dalit literature is lite-affirming literature. All the strands of
this literature are tied to life. It is the clear assumption of the
Dalit writer that: "My literature is my lite, and write tor
humanicy. How thencan there be a purely aesthetic criticism
of this literature? It needs to be decided whether the criticism of
an artistic creation should be consistent with the writer's

perspective or the critic's. When the writer and the critic view
literature from the same perspective, there will be no
fundamental inconsistency between a literature and its criticisnm.
But when perspectives are different, the note of inconsistency
will inevitably increase.
 Towards an
Aesthetic of Dalit Literature
106
of Dalit writers is regarded as an arrid
Istic
When the literature conventional artistic
stic
creation,
the question
arises whether
values
sutticicnt.
criteria
are
and literary

7.3.1 Artistic Standards

of any artistic creation o ly

the significance
When mcasuring others are irrelevantthe
values should be employed, all
artistic to have a place,
it would be minor
are meaningless. they
were
If
according to PS Rege, art should
1968, 29). In other words,
(Rege art. Dalit
literature, being "Dalit, cannor
be considered only
as
It will have to be evaluated
artistic yardsticks.
demand separate standards of art. To
autonomous
and independent
according to the literature is like attempting
aesthetic for Dalit
different
demand a
justification for Dalit
create a separate province
-there is no
to
criticism. If their literature is great,
writers to develop a separate
values are not destroyed
time. Artistic
it will stand any test, any to Balkrishna

they rejected. And, according

have been
Dalit literature will be
because

Kawthekar, if these values are rejected,

1981, 12).
of a framework
for evaluation (Kawthckar
deprived be assessed on the
Kawthekar insists that Dalit literature must
There are universal values
theories.
basis of traditional critical This contention

embedded in literature, which never change.

literature to be critiqued
questions: How is Dalit
raises certain
values:
are these universal
on these universal values? What
based How
determines them? What are these literary yardsticks?
Who or were they
were these developed? Did they originate in India, standards
imported from western literature? Do these literary
If they
change with time? Do they remain universal eternally?
do change, when, and under what circumstances? Have critics
prepared some mould or measure of these yardsticks for literary
evaluation?

Such questions cannot be answered with the words: 'Universal

values cannot be refused. Dalit writers find these literary criteria
obsolete. They believe that traditional Marathi aesthetics, which
is based primarily on Sanskrit or English literary theories, cannot
do justice to Dalit literature.
lit llesatAe RA
ahen tyemd eas hte>oah
o e Ue thadihonml lileras yAdhcks
1dmcka
to e N a l u o r l e Dalt titeaks
iail Dalit Literature and Aesthetics 107

The act of imag1nation callcd art is

impermancnt and evcr-
changing. tcraturc changes WIth changng culturc. Unless the
Vardsticks change, the rclationship
betwcen literature and
iism will be fractured. In India, there are tremendous
Aferences in levels and proccsses of taste. What is tasteful to
ane person may not appear so to another. In thesc circumstances.
it will be wrong to insist on fixed standards. Like literature,
criticism, too, is apt to change. Just as the course of literature
has changed from one period to another, so has the mode of
criticism. To assert that someone's writing will be called
literature only when our literary standards can be imposed on
it is a sign of cultural dictatorship. The yardsticks of literature
do not remain standstill for all time. With changing times,
iterature changes, and there remains the possibility of change in
its criticism too. New literary trends cannot be evaluated with
traditional literary yardsticks.
Thus, two trends can be identified in the criticism of Dalit
literature: 1. Dalit literature should be evaluated on the basis of
universal literary values. 2. Literary standards do not remain
fixed for all time, therefore, the criticism of Dalit literature
cannot be based on traditional measures. Dalit critics are in
agreement with the latter, because they have broken with
traditional middle-class values. MN Wankhede holds that Dalit
writers should abhor values determined by middle class writers
andcritics (Wankhede 1981, 77).
Even if there was something fixed or definite about the criteria
for evaluating uses of the imagination, a mechanistic approached
must be avoided. COtherwise, the practice of criticism will be
impeded. Critics use different approaches. This is the natural
process of criticism; it is never of one kind or form. Criticism
has to analyze and discriminate between artistic creations and
point out deficiencies. More than one set of yardsticks should
be used in evaluating an artistic creation. For the proper
assessment of the many dimensions of a work of art, exceptional
ommonality between artist and critic, anda multi-faceted way
of thinking are necessary. It would be inappropriate to insist on
fxed yardsticks, if there is to be a proper evaluation.
 108 Touwards an Aesthetic of Dalit Literature

7.4 THE NATURE OF CRITICISM OF DALIT

BY SAVARNA CRITICS
LITERATURE
Savarna criticism of Dalit literature ditfers in nature fros
criticism. G M Kulkarni asks: Isn't it miraculous thar f
siv volumes should have been produced rapidly on Da
Titerature, which came and gathered momentum after
literature, and not a single book tak1ng the pulse of
rural
rural
literature should exist? (Kulkarni 1984, 9). The implicatin
of
this question is obvious. Kulkarni regrets that there has been
no
criticism of rural literature, though it has existed since 1925
Sadly, he complains how Dalit literature, which developed later,
suddenly gathered such momentum that so many works of
criticism came out in short order. In fact, he seems displeased
in having to acknowledge this prolitic discussion of Dalit
literature.
According to V L Kulkarni, even if the narrative in a Dalit
text appears ordinary, it_still has the undoubted capacity to
convey pain to the readers_(Kulkarni 1998, 56-58). If 'giving
extraordinary pleasure is considered an artistic value, why
cannot giving extraordinary pain too be recogn1zed as an artistic
value? Being technically ordinary or artistic has to do with craft.
Isartistic technique moreimportant than meaning in a work ot
art? When an artistic creation definitely disturbs, even though it
is 'artless , either its lack of artifice will become a minor 1ssue,
or it will have to be acknowledged that this quality of 'artlessness
is, in fact, its literary value.
N S Phadke has propounded that novels cannot be written
NPhadke

based onincidents in the livesof untouchables: "The kinds of

Dalts
contexts and events that are needed to add colour to a novel are
eneme
1eCat

not found in Dalits lives (Phadke, 152). The firm and solid
ueel isfoundation on which the majestic structure of the novel stands
not to be encountered in untouchable life. Phadke finds it
difficult to build this structure from the hut of the untouchable,
but Arun Sadhu, Jaywant Dalvi and Madhu Mangesh Karnik
have writren novels on Dalit life. Dalit writers have published
numerous novels. Because of his formalistic perspective, Phadke
 Dalit Literature and Aesthetics 109

see events and contexts n the lives of Dalits as

worthy
cannot
of gripping fictuon.

it is difficult for Dalits

In Kusumavati Deshpande's opinion,
skilled because thev
s fnd an articulate voice and technically
be

deprived of
all sanskara (Deshpande 1987, 3). This implies
are
non-Dalits possess an articulate voice
that all
rthat sanskara-cquipped
skill. But this is not the ground reality. Further
and technical Dalits, how can it be
inflict such torture on
when non-Dalits
Said that they are cultured? lt is a sign of their middle-class
that Phadke cannot find impressive contexts and
mentality
cannot see culture in it. At
events in Dalit lite,
and Deshpande
on Dalit literaturein
the Maharashtra Sahitya Parishad seminar
that: 'the irritation
Mahabaleshwar, Bhimrao Kulkarni posited
twisted
and anger of Dalits are false, while their complaints are

In order to forestall any misconception that may

and ridiculous.
to reter to what Babasaheb
result from his view, it is necessary
such accusation:
Ambedkar had said, evidenty anticipating just
an

is one of aggression.
The allegation against us is that our policy
As a result, people
We do not make our demands humbly.
turn
who are disposed in favour of removing untouchability,
me that those who
make this
us. But it seems to
against at least in their
objection should feel shame, if not publicly,
is as courteous and
minds. Who else in this whole world
we not been courteous
for
helpless as the untouchable? Have
us lessons in courtesy
hundreds of years? Please do not teach
are habitually arrogant,
and humility now. It is not as if we
discourteous attacks. Whether we will
or we like to indulge in
even after a day's hardship,
this
find food for our stomachs
is to food.
Worry is our daily companion. Humanity superior
the simplest rights of humanity do
not escape your
Since even

clutches, we have to struggle. (Ambedkar 19286)

writers need to go
Balkrishna Kawthekar suggests that Dalit
rebellion and revenge, and see people people
as
beyond rejection, Dalit writer
1981, 16-17). Does this mean that the
Nawthekar
Kawthekar not know that
S not VIew people as people? Does
is the focal point of
Dalit
De ordinary, exploited person
110 Touwards an Aesthetic of Dalit Literatur

literature? He expects Dalits to

regardall human
people, because, when this happens, qucstions of beings
gSasas
rebellion and revenge would no longer arise. But, ame rejhuection,
beings, there are some who are
exploiters and others who man
exploited. The very justification for Dalit literature liesin
with the exploited and taking
If
a stance of rejection,
rebellionsidanding
revenge against exploiters. to Bhimrao Kulkarni the irrina
and anger of Dalit literature seem false, to Balkrishna Kawthel
ation
of rejection, rebellion and
ekar
its sentiments revenge appear
anti-people. In sum, the rebelliousness of Dalits is not to the
liking of savarna critics such as Kulkarni and Kawthekar.

7.5 LIMITATIONS OF THE CRITICISM OF DALIT LITERATURE

BY SAVARNA CRITICS

Non-Dalits have critiqued Dalit literature trom its early days. In

a display of their magnanimity, they have guided Dalit writers.
Many people are ready to dispense advice and provide direction.
In fact, there are more non-Dalit critics than Dalit critics.
Critical commentaries on Dalit literature have been published in
the form of books as well as articles, speeches, interviews and
forewords. Some non-Dalit critics have praised Dalit literature,
while some others have condemned it. Non-Dalit critics are
divided into two groups-supporters and opponents; there have
been friendly as well as negative criticisms.

7.5.1 Adulatory Criticism

Non-Dalit critics have praised Dalit literature out of a feeling or
intimacy. They have encouraged and worshipped Dalit writers,
and have put forth ideas to guide them. The writing of sucn
non-Dalit critics resembles the pretence of a
patron. It provides
superficial support, but it neither provokes thought nor does
inspire.
7.5.2 Negative Criticism
Iis not as if non-Dalit critics have only supported Dalit
literature,
literature, criticIzed ir
they have also criticized it. y supported Dalit
Further, they have reacted
 Dalit Literature and Aesthetics 111

negatively to the various proposals for Dalit literature. Dalit

negatively to

riters have been criticized for writing as well as for not writing.
Writ
For example, it has been alleged that a Dalit writer's output ends
after writing one autobiographical book. It has also been
suggested that since autobiographical writing does not require
scholarship and talent, the Dalit writer can write nothing else.
It has been said, too, that Dalit literature is shallow because of
lack of artistic sophistication. Questions have been raised, as well,
to the effect that since Dalits are_pilferers, thieves and criminals,
how can they be regarded as exploited?
These are some of the ways in which there has been negative
criticism and inappropriate praise for Dalit literature. Even now,
many literary critics overlook the burning inspiration present in
it and constantly harp on its shortcomings. While this carping
is certainly bad, even more misleading would be to pat Dalit
writers on the back like a guardian. Both the positive criticism
that flatters Dalit literature and the negative criticism that is
characterized by prejudice, will prove equally fatal. Dalit
literature would be able to perform its historic task well, if it
were to be evaluated with a balanced and welcoming attitude,
and an objective perspective.
7.5.3 True Criticism has not Occurred

Although non-Dalit critics have done a great deal of criticism of

Dalit literature, Dalit writers remain dissatisfied. Their complaint
IS that a proper criticism of their literature has not happened.
Many of these writers have commented on the incompleteness
of Dalit criticism by non-Dalit critics. During a personal
discussion at the Second Mandesh Literature Conference, Sangola,
Maharashtra, on 12-13 November 1991, Waman Howal observed:
My story was analyzed, but it does not end with the ending
There, too, I have to say something. But no one gets to that point.
Dadasaheb More, in conversation at Nasik on 11 February 1992,
Sa1d: What is the meaning of Dalit criticism? Critics only give
Opinions on incident and context. What kind of criticism is this:
Daya l'awar, in a personal discussion that took place during the
 Aesthetic of Dalit Literature
112 Townds an

65th All India Marathi Sahirya

Sammelan at Kolhapur on 31
January 1991, said:

the description ot social contere

Critics neither understand tin
the meaning of language. Th
Dalit literature, nor tfully grasp ey
Nor does anyone read
do not know idioms and phrases.
makes the etfort to understand. Criti
depth. No one ever
that we live in a ditterent cultural
don't even seem to realize
to the distinction between
island. They pay no attention
literature written from imag1nation
and one that is based on
lived ideas.
Uttam Bandhu Tupe contends: Critics
destroyed my

autobiographical book on Matang society (Tupe 1983, 162).

discussion on 7 January
Finally, Datta Bhagat, in a personal
Dalit literature began to be written
1997, remarked: 'Criticism of
literature. This is why the
alongside the creation of Dalit
criticism has been so imprecise. New presented
commentators

criticism. In fact,
their criticisms after reading the existing
criticism should be done after reading the literature.
critics is not
The complaint that the criticism of non-Dalit
accurate and truthful is understandable.
But we must also
reflect on how many Dalit writers have written on Dalit
literature. Dalit writers only write forewords to the books of

emerging writers. They speak in literary conferences and

seminars. They like to present their views as conference

presidents and guests. However, they do not write about the

work of other Dalit writers. When a new work by a Dalit
writer appears, it is received in silence. In the meantime,
non-Dalit critics discuss and critique Dalit literature. The tact
is thar the discussion of Dalit literature survives because of the
writings of non-Dalit critics.Established Dalit writers do not
write on the works of new Dalit writers. This narrowness on
heir natt should also be taken into account. In this context,
Gangadhar Pantawanc's books, Vidrobache Paani Petale Aahe
(1976), and Vadal che Vansaj, are significant.

1. Translator's note: Dr Gangadhar Pantawane, educationist, critic, (contd)

 Dalit Literature and Aesthetics 113

the narrow focus of the Dalit

hand, there is
On the one
in the
and, on the other, are the shortcomings
Writers,
n o n - D a l i t critics. Dalit
criticism is stuck within
sments by boundaries have not been
boundaries.
Because these
these suffers from its own limitations. For
criticism
savarna
hroken,
example, a consid derable proportion of
savarna critiques of Dalit
suffers
shallowness. Also, there is a distinct
from
literature
one-sided, m o n o t o n o u s and
expose
the instances of
to
rendency found in Dalit literature.
hctandard writing and publishing the Dalit
in savarna critiques to sever
attempt
There is also
an
And, finally, there is a
with tradition and culture.
links
writers
of sociological literary
yardsticks. AlI these
total absence criticism.
a Dalit literary
to the need for
limitations point

DALIT LITERATURE
7.6 AESTHETICS OF

literature received an
discussion of the aesthetics of Dalit
The
from Sharad Patil's Abrahmani Sahityanche
impetus Dalit literature
Saundaryashastra.He made us a w a r e that since
Brahmanical
own aesthetics, it
had to rely on
did not have its counter-revolutionary
aesthetics: It must be considered why
the weapon of aesthetics,
but revolutionary
literature possesses
literature does not' (IPatil 1988, 6).
aesthetics as a weapon, and believes that
Patil refers to
Because he has
revolutionary literature must acquire this weapon.
literature as Brahmanical or
described middle-class, upper-caste
therefore, be conceded that the
counter-revolutionary, should it,
a weapon? How
does it
aesthetics of Marathi literature is like

as the elder
statesman' of
(contd.) of many Dalit writers, is respected
mentor

Maharashtra's Dalit literature movement. He was principal

of Milind College,
at this college that the early
Aurangabad, founded by Dr Ambedkar. It is In
discussions of the need, form and purpose of
Dalit literature took place.
Asmita later called
1967, Dr Pantawane launched the literary journal,
of Dalit
Asmitadarsha, which has played a critical role in the development
of Dalit
iterature. He is the author of numerous works of critical appraisals
writers.
114 Towards an Acsthetic of Dalit Literature

Has Marathi literary

anyway? acsthetics
matter
Dalit literature? lt is
not
becn lsed
already as a weapon against necessary to
explore these questions.

7.6.1 Aesthetics of Marathi Literature

The idea of beaury has been discussed in the criticism of Mararh:
literature. B C Mardhekar, R V Patankar, Surendra Barlinge
Narhar Kurundkar, MP Rege, Sharatchandra Muktibodh, D V
Kulkarni and Prabhakar Padhya have made important
contributions to the literature on aesthetics.

7.6.1.1 Pleasure' as Aesthetic Value

Rather than being concerned with the torm of an object, the
concept of beauty tends to revolve around the feelings of pleasure
and empathy aroused by viewing the object. The pleasure and
empathy generated by beauty concerns aesthetes. Artists have to
tailor the beauty of their work in a way that is agreeable to the
tastes of acsthetes. The preferences of aesthetes are important for
the artist. Acstheticism believes that the impacr of a work of art
on the audience must be pleasure born of beauty.
Everyone has a sense of beauty, but only the aesthete has the
aptitude for tasting beauty. The ability to imagine beauty is the
gift of high culture. In N G Chapekar's opinion, To experien
beauty, a cultured mind, health and enthusiasm are necessary
(Chapekar, 66).
The aesthete is a product of circumstances. But in the
processes of taste, the aesthete is as important as the artist and
the artistic creation. And this is why one must recognize that
beauty-related experiences are object-specific, person-specific anda
situation-specific-there cannot be a general concept of beauty.
However, the aesthetics of Marathi literature has given primacy
to the pleasure of the aesthete.

7.6.1.2 Aesthetics and Dalit Literature

If pleasure is the basis of the
aesthetics of Marathi savarna
literature, pain or suffeting 1s the basis of the
aesthetics of Dalit
 Dalit Literature and Aesthetics
115

literature.
ill readersbe distressed or angered,
will they be or
pleasea by reading the pain and revolt expressed in Dalit
raurc? It is a literature that is intended to make readers
iterature?

tless or angry. How can the acstheticism in discussions of

restles

beauty be reconciled with the "Dalit consciousness in Dalit

Titerature?This revolutionary consciousness is based on ideas of
equality, liberty, justice and solidarity, rather than pleasure. This
Gwhy it is important for Dalit critics to change the imaginary
of beauty. In every age, the imaginary of beauty is linked to
Drevailing ideas. At one time, tor example, kings and emperors
used to be the subjects of literature. But today, the life lived in
huts and cottages situated outside the boundary of the village
has become the subject of literature. It has become necessary to
transtorm the imaginary of beaury because it is not possible to
investigate the creation of Dalit literature and its commitment
to revolt and rejection within the framework of traditional
aesthetics.
Dalit literature is a new literary stream of the post
independence period. Not only is it new, its form and purpose
too are different from those of savarna Marathi literature.

Therefore, it cannot be appraised using traditional aesthetics.

7.6.1.3 Rasa Theory and Dalit Literature

Jawdekar
adunath Thatte has proposed that, with Acharyashould be
tenth rasa, cry
aving recognized 'revolt as the
the eleventh rasa (Thatte 1990, 9). However, what
accepted as the number of rasas?
Would be the advantage in increasing
be simply tantamount to proving the
Essentially, would this not rasa theory? According to
of the prevailing
Incompleteness atter tasting, slowly
'rasa' is this-only
Madhav Aachwal: Which
taste, feel, smell, as the
and with every sip, relishing its
SIpping, in the mouth,
c a n this be known'
(Aachwal
tastiness" spreads described
literature be tasted in the way
Dalit
1972, 7). Could to be in the negative. How

Aachwal? The answer

woud
nave
by angc, ejection, problems.
rebellion,
will the of the pain,
taste ucailcnt c o n t a i n e d in Dalit literature
and ill
strupgles, injustices
 Literature
Towards an
Aesthetic of Dalit
116
slow sipping and relishing? In terme.
1s of Dalit
be known
literature,
through
the rasa theory of aesthetic appreciation seems
Yadunathhas demandems
T hatte
This is why an
insufficient. of rasas. But there has not
the number een a
increase in lity
feasibility of extending
extendino the
discussion of
the
widespread have bcen written ah
Dalit literature. A
few articles
bout
theory to literature have not taken notice of tho
ese.
it, butcritics of Dalit
the Aesthetics of
Dalit Writers on

7.6.2 Position of
Dalit Literature

literature. Consequenrly
pleasure-giVing
literature is not
Dalit literature cannot be based theon
of Dalit
the aesthetics literature that privileges pleasure
aestheticist
principles of an
there is a felt necd for a
derived from beauty. This is why
need for a separate aesthetics
aesthetics. Since the
separate Dalit demonstrated, does it
mean that
literature has been
for Dalit literature will also have to be
is bcautiful in Dalit
what is or not
determine which subjects are
to
proved? Would it be necessary
attributes?
beautiful and for what

7.6.2.1 Materialist Aesthetics of Dalit Literature

will be
In formulating the aesthetics
of Dalit literature, it
such an explication
necessary, first
of all, to explicate beauty. Is
possible do so o n the basis of imagination
possible? It is not to
abstruse
and conventions. The traditional theory of beauty
seems

beauty of an
and spiritualistic. According to this theory, the
artistic creation lies in its expression of world consciousness or
other-worldiness. This traditional theory is universalistic and
spiritualistic. The aesthetics, which proposes that the beauty or
a work of art is its artistic rendering of reality, is materialist. Dalit
literature rejects spiritualism and abstraction, its aesthetics 1s

materialist rather than spiritualist.

7.6.2.2 Aesthetics of Dalit Literature and Ambedkarism

Ambedkar's thought is the inspiration for Dalit writers. While
critics certify that the artistic creations of some Dalit writers are
 Dalit Literature and Aesthetics 117

o standard, they label others sub-standard. If all Dalit writers

who create these supposedly standard and sub-standard literary
wOrks share the
same source inspiration, why is there a
ot
aualitative difference among them? The answer will lead us to
acsthetic for Dalit literature.
the source of an
All Dalit writers are inspired by revolutionary Ambedkarite
thought, and articulate life-affirming values in all their literary
creations. However, Dalit literary works cannot be accepted as
beautiful for these reasons alone. (The standard of a work of
literature dependson how much and in what way an artist's
ideas embedded in the work - affect the reader. Dalit writers
will have to decide how best to express Ambedkarite thought in
their literature. That work of Dalit literature will be recognized
as beautiful, and, therefore 'good', which causes the greatest

awakening of Dalit consciousness in the reader.

First of all, Dalit writers will have to become one with their

inspiration. They will need to acquire a heightened

to
Consciousness of literature in order to give literary expression
their inspiration and their experience of
it. The deeper the
with Dalit writer's inspiration, the
Telationship of readers a
artistic
work. The artist, the
Breater will be their liking for the
are important
components of
creation, and the reader-all three
and
reflected in the work,
process. The artist's personality is
is reflection. The artist
ne reader's personality is
unified with this
This meeting
the artistic c r e a t i o n .
and the reader become o n e in values. The
their possessing common
Othe two depends
on
feel the Dalit writers
readers will
with which Dalit readers. On the other
ntensity non-Dalit
be shared by the degree to which
Cperience, will n o t difference in
also be a
Dalit writers
writers
hand, there will readers
will find the
Dalit is a part of
the Dalit
non-Dalit and the e x p e r i e n c e
unique,
because
i n mind that
while the
CXperience also kept
be
life. It should be a universal
readers' daily cannot
literature

in D a l i t be of
expressed in it
can
beaury
Concept of inspiration
Ambedkarite

Concept, the
universal value.
 Towards an Aesthetic of LDalit Literature
118

7.6.2.3 Dalit Literature and the uestion of Preference

Aestheticist criticism examines how a work of art

art inflso
influences the
mind and heart of the reader. The artist, the creation and
aesthete form the basis of this criticism. In it, primacy is gie
the
to the aesthete's response. Evaluation and taste holdgivenan

important place in the any literature. Withous hese,

review of
criticism remains incomplete. When matters of evaluation and
taste are raised, it becomes indispensable to discuss the issue of
the reader's preference. In this context, a number of propositions
can be formulated: The reader is an important participant. This
formed. The reader has
reader's preference is already or yet to be
that precede reading. The
certain pre-determined assumptions
are challenged or
reader examines whether these assumptions
liked by one reader,
confirmed by the text. The same work is
mindset is informed by
and disliked by another. The reader's
class and caste. The reader's capital is
his or her prior read1ng.
is crucial. And
This consideration of the reader's preference
and the creation, the artist also plays
an
along with the reader
artist's creation.
important role, the work of art being the
Dalit literature cannot be fully appraised
without knowledge
and
of the Dalit writers' experience, their anger, rejection
context
rebellion vis-à-vis traditional values, as well as the social
untamiliar
Any disjuncture between the experiences found in an
in
and those in the critic's life becomes an obstacle
literary text
the process of enjoyment. Enjoyment of literature is relatea t
proximity, and that depends on the mind and heart of tnc
not
connoisseur. The art that entertains the connoisseur uo
Cs
cause problems of preference. But the art that
contt
tradition obstructs the process of enjoyment by casting a shaoow
on the conscious and ons
unconscious prejudices and assup
held by the reader.
Dalit writers give priority to problems
entertainment of readers. They express their of society
feelings ovc
in
literature. They do not create literature
mind, Their effort is to
with urbane readers
transport the aesthete-readers to
own level of experience. Because Dalit t
writers are not focuse
 Dalit Literature and Aesthetics 119

nthe aesthete-reader, traditional aesthetic values, which are

on
sthete-read centred, are not applicable to the evaluation of
their literary productions.

Freedom as Aesthetic Value

76.2.4
Are human beings only beaury-mad? Do they only want
pleasure? The answer to both questions is no, because hundreds
of thousands of people appear to be passionate about freedom,
love, justice and equality. They have sacrificed themselves for
these ideals. This implies that for them social values are at least
as dear to their lives as, if not dearer than, values of art. Equality,
freedom, justice and lovearethe basic sentiments of people and
sociery. They are many times moreimportant than pleasure and
beauty.
There has never been a revolution in the world for the sake
of pleasure and beauty. Many governments have been overturned
for equality, freedom and justice. This is history. The literature
that glorifies pleasure gives central place to the pleasure-seeking
aesthete. The literature that promotes equality, freedom and

Justice is revolutionary, and it emphasizes the centrality of the

human being and society. If pleasure-givingliterature arouses joy
and sympathy people, revolutionary literature awakens
in
difference must be heeded in
consciousness of self-respect. This
literature: 'It
the context of P S Rege's remark on revolutionary
Is not possible for literature to be larger than revolution (Rege
Voltaire and Karl Marx
1968, 22). The writings of Rousseau,
of Phule and
Caused revolutions. Because of the writings
have emerged, and continue
Ambedkar, strong mass movements
dictum does not apply to every kind of
o emerge. Rege's
literature. concerned with the
of the exploited is primarily
The literature
to it. All aspects and
Search for freedom, and giving expression
seen in it.
We should remember that
dimensions of frecdom are
has an aesthetic
as aspect, much
the imaginary or idea of freedom
social and moral facets. The
as it has political, economic,
in Dalit literature not only as
Sentument of freedom is present
120 Towards an Acsthetic of Dalit Literatu

its life essence, but also as beauty. The three valuee.c.

of life -
cquality, freedom and solidarity-can be regarded as constituti
the essence of beauty in Dalit literature, The aesthetics f Dalit
literature rests on: first, the artists sOCial commitmenr: seee
thelife-affirming values present in Uie artistic creation; and thi
ond,
the ability to raise the reader s consCIOUSnCSSof fundamental
hird,
values likeequality, treedom, justiceand fraternity,
Babasaheb Ambedkar's thoughts are the inspiration for Dalit
literature, and Dalit consciousness underlies the creation of this
literature. It is a consciousness against slavery. Values of equality,
freedom, justice and solidarity are inherent to this literature. This
Dalit consciousness motivated by Ambedkarite thought occupies
a central place in the aesthetics of Dalit literature. It we examine

why it is necessary tor Dalit writers write, the relationship of

to
the artist to the work of art and the society is clarified. The
description of the aesthetics of Dalit literature is hidden precisely
in this consideration.

7.6.2.5 Standards of Dalit Literature

The following standards can be set down for the evaluation of
Dalit literature.
Artists must be motivated by their experience.
Artists must socialize their experiences.
Artists experiences must have the strength to cross
provincial boundaries.
Artists' experiences must seem relevant to all time.

Although the aesthetics of

Marathi literature developed Dy
savarna Marathi critics
savarna critics have not
privilege pleasure, it is not a weapon. I
been able to use such aesthetics irr
context of Dalit literature. u

7.7 CONCLUSION

Savarna Marathi critics have

written voluminously
literature from its beginning. There on Dal
are more
savarna than Dan
 Dalit Literature and Aesthetics 121

literature. Their critique of Dalit literature is

Dalit
critics of It comprises of flattery, advice,
in the issue
of taste.

encouragement. Dalit writers do

mired
not
direction and sympathetic
criticism genuine.
find this favourable and
in
savarna critics have engaged
The
Dalit literature, and
unfavourable criticism. One group supports
The latter believes
another opposes the unquestion1ng approval.
be appraised as literature and not be
that Dalit literature should
Dalits. In its opinion,
worshipped simply because it is written by
savarna critics have insisted that
the criticism of Dalit
though
does not seem as if
literature should draw on eternal values, it
criticism.
the critics have actually undertaken this kind of
standards and
Dalit writers have rejected traditional artistic
aesthetics oft
aesthetics, and have attempted to develop a separate
theatrics ot
their own. But there is no need to indulge in the
their entire intellectual prowess in proving the
staking established
incompleteness and incompetence of traditional, the
aesthetics. What is the point of asking for the name of village
difterent. Our direction
to which one is not going? Our path is
1s different. Therefore we should spend our energies in traveling
direction.
Our own path and seeking o u r own