Shri Kanaiyalal Munshi, a name engraved in golden letters for his significant contribution in the field of historical novels in Gujarati strove throughout his life to enhance the glory of Gujarat through a variety of literary forms. He is held in high esteem for his consistent efforts in enlightening the Gujarat consciousness in his historical novels. In spite of being born in a humble Gujarati family, he was influenced by both, Indian as well as western ideologies. Among Indians scholars, Dayanand Saraswati, Shri Aurobindo Ghosh, Bankimchandra Chattopadhyaya and Mahatma Gandhi left an indelible impression on his mind whereas the Western writers like Sir Walter Scott, a Scottish novelist and Alexandre Dumas, a well-known French novelist provided a model for his historical novels. Munshi was also influenced by the William Shakespeare, a leading dramatist of the Elizabethan era of England whose dramas left an everlasting impression on his mind that is well perceived in his writings. The present paper concentrates on revealing Munshi's skill of narrating the historical incidents in a dramatic manner and his ability of combining historical facts and his imaginative faculties through effective dialogues and display of piquant emotions in his novels.

Munshi's historical trilogy consisting of Patan-ni-Prabhuta (The Glory of Gujarat), Gujarat-no-Nath (The Master of Gujarat) and Rajadhiraj (The Emperor) depicts consolidation of Gujarat in the days of the Chalukyan kings in the ninth and twelfth century. The trilogy is based on the most splendid period of Hindu Gujarat, the reign of Siddharaj Jayasinh. The kings of this dynasty were called 'Chaulakyan' in Sanskrit whereas they were known as 'Solanki' in Gujarati. Munshi's other novels - Jaya Somanth and Bhagna Paduka deal with the fall of the Chalukyans whereas his novel Prithvi Vallabh unfolds the romantic tale of magnificent Munj and glamorous Mrunaldevi. Prithvi Vallabh became so popular that it was translated into various regional languages of India as well as in English and Hindi languages. It was staged and screened in Gujarati and Hindi languages too. Through historical novels, Munshi attempted to make lifeless pages of the history of Gujarat appear real and tangible to the readers.

Munshi's sole intention was to recreate the magnificence and glory of Gujarat of the Solanki period His historical novels are the stories of extraordinary events of life of exceptionally great characters. The pivotal characters of his most celebrated novels are not the kings of Gujarat, but their chief ministers who are mighty, intelligent and dedicated to the well-being and prosperity of Gujarat. The art of Munshi lies in the fact that he reconstructs imaginatively the life of the past, permitting neither historical facts to impede his fiction, nor his fiction to violate the significance of historical facts.

In the first novel of the trilogy, Patan-ni-Prabhuta, Munshi has very artistically presented the relationship of Minaldevi, the Queen of Patan and Munjal Mehta, the Chief Minister of Patan. Though Munshi has portrayed Minaldevi as a very powerful and dignified queen, yet her expression of powerful gush of emotions for Munjal Mehta is extremely fascinating. The best scene of the novel occurs in the chapter 'Hradaynath' (The Ruler of Heart) when Minaldevi pathetically implores Munjal to forgive her for injustice done to him by her. She passionately exclaims:

Munjal, please forget for a moment all that has happened in the last few days. If you are angry, punish me. Don't look upon me as the princess of Chandrapur, nor as the Queen of Patan, nor as the Queen Mother. I am Minal, the girl who, fifteen years ago, went mad no sooner than she saw you… Munjal, Munjal, have you forgotten those days? I fell in love with Gujarat because you tempted me with your words…Munjal, I beg of you. Forget all that has happened. Be to me what you have ever been. I have gone mad. I have lost my senses. (Raval 1962: 58)

Another conversation between Minaldevi and Munjal is equally touching:

Munjal, why have you ceased to be mine?
You rejected me that day. Again you have rejected me the day before, says Munjal desperately.
But, why have you changed? Munjal I am faithless, but you can't be. Minal overbearingly says.
No, I am not changed, says Munjal, shaking his head, to suppress his overpowering emotion.
Really? A fierce wrath surged out of Minal's eyes.
Munjal puts his head down; Devi Minal, shouts Munjal helplessly, and in his voice is heard the twang of the bow of the Lord of Love.
(Patan- ni –Prabhuta: 197 trans: mine)

In the second novel of the trilogy, Gujarat no nath, Munshi's patriarchal outlook of life is evident in the poignant confession of Manjari's love for Kak:

Are you a man or a fiend?'
……………………………
What are you doing, colonel?
Don't you have eyes to see?
Why do you torment me so?
The longing inside me is killing me!
Don't you have heart?
Doesn't my longing find the slightest echo inside you?
O colonel, colonel!
(The Master of Gujarat: 471)

Munshi kept aside in his novels, everything that was unnecessary, unwarranted and redundant. He avoided the needless stretching of the matter, pointless discussions and digressions in his novels. His priority was to focus on innovative subject matter, lively vigorous characters, dramatic incidents, poignant dialogues and interesting plot structure. He never bothered about the question of morality or immorality; his concentration was on depicting intense passion, stirring patriotism and psychological probing of the characters in his novels. All this led him secure a unique place among the leading historical novelists of Gujarati literature.

In the last novel of the trilogy Rajadhiraj, Munshi has given a moving description of Manjari who is compelled to send her children away from the fort of Bhrugukacchha due to acute scarcity of food. Her agonized mind finds expression in the following words:

What kind of a mother I am? I am abandoning these kids for the sake of my pride? What will happen to them?… Whose I am? Of my commander or the children to whom I have given birth?…If your mother does not guard you, then who will do it? No! No! I am not yours, I am his. He is dearly loved, that is why you are loved. I can do without you, but not without him…Hai! Hai!… I am not a mother - I am a witch… Am I unworthy? I am fond of children, because I am mother; I am fond of reputation, because I am a wife…Oh -Oh- Oh. Whether I should be a mother or a wife? Revama!… Show me the path! (Rajadhiraj: 378-79)

As regards the narrative style of Munshi in Rajadhiraj, it is spirited, sharp, unfailing and majestic. Even though simple, Munshi's language is vigorous and energetic. His consistency of language becomes the chief fascination of his novels. His artistry lies in his use of easy, forceful, cultured and energetic language. Every single word employed by him is throbbing with passion exuberance. Truthfulness, straightforwardness, lucidity and brevity are the paramount features of his novels. His knack of dialogue writing involving stimulating and graceful flow of the language entices the readers; the description of the passionate internal struggle of the characters between morality and immorality and their consequences are artistically presented by Munshi. Manjari, Kak and King Jayadev are the most significant examples of Munshi's ingeniousness of of presenting the characters in a dramatic manner.

In another novel Jaya Somnath, Munshi has painted the character of Samant as a man endowed with a great passion for his nation and a strong believer in the power of Lord Somnath. Samant's tete-a-tete with Kundla justifies the argument:

The dancer bent low and said softly: 'Today is the festival of Tripurasundari. Come. I have no one else with me. You will be able to wash away all your sins.'

Tripurasundari's festival!'
…………………………..
`How can I come?' he [Samant] asked.
`I am not fit for worship.'
`Of course, you are. Last night the great goddess came to me in my dream and … `What?'
The Goddess Tripurasundari said to me that you are her real devotee.'
`I!' exclaimed Samant with surprise.
`Yes.' The Goddess, the spouse of the Lord, said: `A warrior would be sitting weeping in the hall of the Lord's temple. Bring him. He would preserve my shrine and my Lord's.'
`Are you telling me the truth?
`Yes. The Goddess Tripurasundari said to me that you are her real devotee.'
…………………………………………
`Who are you?'
`I am Kundla Devdasi. Come with me.
(Jaya Somnath: 144)

Munshi does not follow the prevailing theories of life and morals, yet he succeeds in presenting the real drama of life. He is concerned about the interpretation of individual personality, of dynamic individual power in the affairs of life. It is typical of Munshi that he not only preached the gospel of romantic love through his novels, but he also showed the courage of his belief by practicing what he preached. Munshi's marriage with a widow Lilavati, indeed a daring act supports the contention made by Munshi. Also in the famous trilogy written by Munshi, his depiction of love between Minaldevi, the Queen of Patan and Munjal Mehta, the Chief Minister reveals his psychology that love conquers all. R I Patel rightly observes:

What the world denies to him (Munshi), he finds in the imaginary world of literature which he fashions after his own heart. Thus he uses literature as a means of self-expression in a manner that makes up for the deficiencies of actual life; and it is this fact that gives to his art the vitality and intensity that enrich with deeper significance the essentially romantic tales which he embodies in his novel. (Patel 1959: 3)

Munshi relies more on dialogue rather than the narrative as he wishes that the story should speak for itself through the conversations of the characters.

Munshi is at his best in his historical romances in which he finds the best scope for the dramatic presentation of romantic tales. The skilful and artistic weaving of the story by Munshi makes his novels extremely appealing. Munshi makes ample use of accidents, chance coincidences and revelation of carefully hidden secrets in his novels. He builds suspense and elevates it to its climax and then relieves it at the moment of highest tension through sensational surprise. Dr Rajendra Prasad, Free India's first President, remarks about Munshi's contribution to literature that "If I were to give my evaluation of Shri Munshi's work, personally I would say that I bow to him for his versatility. But he is more. He is a live wire and whatever touches or undertakes, he puts new life into it and makes it a living institution." (Ramakrishnan 1987: 289)

Munshi's novels throb with the modern thoughts and ideologies such as unrestrained individual freedom, proud and self-respecting womanhood, opposition to colour prejudice and obliteration of exploitation and slavery. His art of telling the romantic story in a dramatic manner and fusing together character and action by means of brilliant dialogues explains his popularity among readers of all groups. As a story teller, Munshi is outstanding; his style is neither dull nor heavy. The flow of his thoughts is so smooth that the readers are simply carried away with them. Such is the power of his vision that while the readers read his novels, the joys, sorrows and passions of his characters become part of the reader's own emotional experience. With Munshi, the readers no longer read a story, they in fact live it. History therefore becomes in Munshi's hand, an interpretation of life. A sense of largeness is experienced in Munshi's romances and his indigenous art of storytelling simply astounds and overwhelms the reader.

Works Cited:
1. Munshi, Kanaiyalal M. Patan ni Prabhuta 'The Greatness of Patan'. Ahmedabad: Gurjar Sahitya Bhavan, Prakashan, 2009. Print
2. Munshi, Kanaiyalal M.Gujarat no Nath 'The Master of Gujarat'. Trans. N. D. Jotwani. Bombay: Bhartiya Vidya Bhavan, 1995. Print
3. Munshi, Kanaiyalal M.Jaya Somnath. Trans. H. M. Patel. Bombay: Bhartiya Vidya Bhavan, 1998. Print
4. Munshi, Kanaiyalal M Rajadhiraj 'The Emperor'. Ahmedabad: Gurjar Prakashan, 2007.Print
5. Patel, Ramanbhai I. The Novels of Munshi, Surat: Chunilal Gandhi Vidya Bhavan, 1959.Print
6. Raval Ravishankar. M. Munshi's World of Imagination, Bombay: Bhartiya Vidya Bhavan, 1962. Print
7. Ramakrishnan, S. 'Munshi: The Many-splendoured Genius''Kanaiyalal Munshi Birth Centenary Granth. part IV. eds. Broker, Gulabdas et al. Bharuch, 1987. Print