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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