At the heart of Krishna Sobti’s novel Zindagīnāmā (A book of life, 1979) is a village of the Gujrat district (western Panjab, now Pakistan), in the Chaj Doab. The setting is contained within three bands: the outermost band is the village, where most people are Muslim but which is dominated by Śāhjī’s Hindu Khatri family, and above all by Śāhjī himself, a landowner and moneylender. Inside this band is the havelī (large walled house) owned by Śāhjī, and inside the havelī band is the large room ( baiṭ hak) where the men gather. Inside the havelī band there are also the rooms belonging to the women’s realm. Additionally there are several external settings. The village is connected to the world at large through news of events, recounted or witnessed by characters who come into contact with Śāhjī. The period covered is 1900-1916. The narrative consists chiefly of dialogue between the various characters. The language is a mixed vocabulary of Hindi, Urdu and Panjabi. The novel is highly complex, rich in incident and in its cast of characters: Hindu, Sikh and Muslim. The first distinction to be drawn is between the women’s and the men’s world. The women’s world is one of emotions. The men’s world is political in the broad sense of the word and includes Śāhjī business dealings with Muslim Jat tenants. The gatherings in the baiṭ hak of Śāhjī are well attended, and many of the guests are Muslims. Interests sometimes converge and more often diverge, but Śāhjī always handles the conversation skillfully, diplomatically changing the subject when delicate issues such as the economy, politics and, indirectly, religion are raised. Śāhjī’s work as a mediator should not be seen purely as a way of protecting his personal interests. In reality, by mediating in different areas – economic, political and religious – he keeps the village united, providing cultural cohesion. Nonetheless, in Zindagīnāmā, the economic factor emerges repeatedly as the cause of the future Partition.
In the first third of 19th century the romantic movement inspired interest in folklore. Folk art was collected, published and reworked by professional artists, especially as concerned epic folklore genres. Authentic legends, published in Vienna by Alois
Mednyanský, include a romantic novella in a remarkable way utilising a folklore theme from two different European cultures. The study traces and analyses the folklore theme used for the story and tries to reconstruct the path through which the theme from the remote Scotland reached Mednyanský. The novella intentionally
creates an impression to be a historic legend set in the times of
Hussite wars, being interlaced with strongly pro-Catholic criticism of the period happenings. The story adopts the character of the Bohemian sorcerer called Žito 74 and uses elements of Moravian life and institutions. A Moravian patrician in the role of a romantic
pilgrim sets off for a dangerous journey with a tragic end. The description of Scottish life documents profound knowledge and understanding of Scottish legends and local names by the author. In addition it documents period fascination with Scottish history. Past of the novella analyses the ritual of taghairm nan caht - its variants and functions in the traditional Gaelic culture - its description is the literary apogee of the novella and was probably taken over from the London paper The Literary Gazette.