Remembering Narmad: Legacy, Literature, and Linguistics

The 24th of August marks a day when the spotlight shines on one such linguistic gem – Gujarati Bhasha Divas, a celebration that pays homage to the indomitable spirit of Narmadashankar Lalshankar Dave, affectionately known as Narmad. As we commemorate his 190th birth anniversary, let’s remember him and discover the essence of Narmad’s contribution to the world of Gujarati language and literature.

Narmad’s significance in the realm of language cannot be overstated; he is often hailed as the pioneer of modern Gujarati literature. He was a playwright, essayist, orator, lexicographer, and a reformer; his legacy radiates through time, igniting the flame of change that still illuminates Gujarat and its Literary traditions. 

As we celebrate Gujarati Bhasha Divas, we immerse ourselves in the legacy of Narmad. It’s more than a commemoration; it’s an exploration of life. So, let’s take a moment to remember the man who not only crafted verses but also sculpted a path for the language to evolve.

The Narmakosh wasn’t your run-of-the-mill dictionary. No, it was a linguistic voyage, an endeavor that showcased Narmad’s unparalleled commitment to language. This monolingual Gujarati dictionary wasn’t just ink on paper, it was the very essence of the language.

His poetry, which was taught in schools, added a fresh literary flavor. His unique approach, which used Sanskrit-origin vocabulary, perplexed youthful minds. Narmad replied by creating a dictionary of the words he had weaved into his poetry, with the goal of providing pupils with clarity and knowledge. This effort broadened the scope, embracing all aspects of the Gujarati language that may enlighten the way to learning. Narmakosh, a dictionary, took 9 years and several editions to complete from inception (1860). The dictionary became a beacon guiding students through the labyrinth of language.

“Some of the words in my poems used to be difficult for school students to understand.” As a result, I decided to create a ‘vocabulary’ of all such terms by grouping them alphabetically. When I began compiling the list, I realized that there were way too many terms. This inspired me to design a dictionary that would include the bulk of Gujarati terms. Dr. Dhirajram agreed, and on November 10, 1860, I began this collection.”

― Narmad, Mari Hakikat, p. 58

The dictionary was published in various volumes – the first in 1861, the second in 1862, and the third in 1864. A pause ensued before the culmination in 1873 when the fourth and final volume was let out. This edition was more than a compilation; it was a journey through the intricacies of Gujarati language norms. The prologue held not just the keys to comprehension but also his iconic creation, “Jai Jai Garvi Gujarat,” unfurling its splendor for the very first time.

An anecdote that I recall involves him dispatching a Bullock Cart to his friend. The cart had some components labeled, and he requested his friend to identify the unnamed parts and relabel everything according to their local names.

Before Narmad’s endeavor, Gujarat had witnessed diverse attempts at dictionary creation, each incorporating both English and Gujarati. However, Narmad’s creation set itself apart as a monolingual marvel, a milestone that etched his name in history. Narmakosh held a treasure trove of 25,268 words.

1873. M. Jhaveri thought it was one of Narmad’s greatest works, saying, “It has remained a model dictionary ever since it was published in 1873.”

Narmad authored his autobiography, Mari Hakikat, in 1866, when he was thirty-three years old. This was an unusual occurrence in Gujarati language and literature history. Narmad was the first person to write an autobiographical tale in Gujarati. “It may appear disrespectful to our people for someone like me to write his own story, let alone print and publish it during my lifetime. I am not a scholar, a warrior, a religious leader, or a wealthy benefactor.”  Despite this understanding, Narmad opted to break with the past in a self-conscious manner. Narmad understands that autobiography is fundamentally an internal view, a private act. As a result, he claims, “I am writing this narrative not for others, but essentially only for myself.”

In the beginning of the book Narmad writes.

“The book’s story is incomplete; it is simply a jotting down of notes.” However, I will not include in the book anything that I believe is inappropriate. But everything I write will be based only on the truth as it is known to me, without regard for public opinion or my personal interests.”

— Narmad, Mari Hakikat

Mari Hakikat is not written in continuous prose and contains various notes. Narmad began taking notes in 1854, and the first draft was based on information given to him by his father and family, papers in his house, his expenditure book, and his memories. He compiled all available data into a timetable and filled in the gaps with other data. He had labeled his autobiography as “incomplete” and “draft,” with the intention of rewriting it at a later date.

In September 1864, he launched Dandiyo (lit. “drum stick”), a fortnightly periodical styled after the British monthly The Spectator. It had a stridently reformist stance, attacking Hindu society’s orthodox practises.It was published until 1869, when it merged with The Sunday Review.

Dandiyo, dated 1 September 1864, first issue, page 1 Dandiyo, dated 1 September 1864, first issue, page 1

In March 1875, he returned to Bombay, where he met Dayanand Saraswati, a reformer and founder of Arya Samaj, and began to become extremely devout. His health suffering as a result of the stress of opening a hostel, he resigned on July 19, 1885. He died of arthritis on February 26, 1886, in Bombay, after an eight-month illness.

In summary, the celebration of Gujarati Bhasha Divas on the 24th of August is a tribute to the remarkable legacy of Narmadashankar Lalshankar Dave, or Narmad, who left an indelible mark on the world of Gujarati language and literature. This year we celebrate the 190th anniversary of the person who played a pioneering role in modern Gujarati literature.

— An article by Poojan Patel