Sitar-i-hind Raja Shivprasad kept sermonizing on the need for an "aam-faham" and "khaas-pasand" language, that is urdu, but fate of Hindi had already decided the course. Hindi prose wanted to take which direction, this indication was very clear, whether he noticed it or not, liked it or not. When all other members of Indic language family had, since eternity, taken energy from the familiar Sanskrit, her structure, vocabullary, and continuity, how could Hindi be forced to abandon this emotional connection for adopting a foreign spirit through import of foreign words, as advocated by him? Now that Bangla, Marathi, and all her elder sisters in south had already gained the revivalist momentum, no! Hindi was not destined to be bound in stagnation of foreign imperialism. She was not ready to sever her ancient and spiritual ties with sister-languages. Born from the womb of the same mother, she was agonized on being forced to become a stranger to them. Such was the landscape, and Raja Lakshamana Singh had already seen it and did his best to preserve the movement. Need however was of some great talent to fill up her empty structures with worthy literature. That was the moment when Bharatendu Harishchandra appeared with the sanskara-s of an already rich Bengali, along with his brilliant friends, to offer the needed service to this new language at crossroads.
translated from gadya sAhitya kA avirbhAva, AchArya rAmachandra shukla, nAgarI-prachAriNI-sabhA, 1929.
translated from gadya sAhitya kA avirbhAva, AchArya rAmachandra shukla, nAgarI-prachAriNI-sabhA, 1929.