Relationship of Characters in The Chess Players by Premchand in english.
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Answer:
the relationship during chess is not good because each player need to out the another player
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Near the end of his life, Premchand was asked to explain how he wrote his stories. He replied with a short essay in which he maintained that every story needed to develop toward a climax of some kind:
I do not write a story just for relating an incident. I want to depict some philosophical and emotional truth in it. Until I find some such basis my pen does not move. On find- ing the basis I create my characters....I cannot write a story until and unless it is fully developed from the be- ginning to the end in my mind. I develop the characters from the point of view that they should be in accordance with the story. I do not consider it necessary to make an interesting incident the basis of my story. If in a story there is a psychological climax, then it may be related to any incident, I do not care....
The point about the climax was an important one, and he elaborated it. He denied that a story could be created "merely by using beautiful and smart words, and a brilliant style." Rather, a story must have "a climax, and that also a psychological one." And the whole story must "move in such an order that the climax should keep on drawing nearer."/1/
Any reader of Premchand's stories knows that his practice follows his theory. Characters are developed "in accordance with the story," the action moves steadily toward a climax, and the climax itself is not only "psychological" but also designed to "depict some philosophical and emotional truth." Such climaxes occur at the end of virtually all Premchand's stories. In some the climax is apparent to the characters; it is a turning point in their lives; it causes marked changes in their attitudes or behavior. "Bare bhai sahab" (My Older Brother), "Mukti-marg" (The Path to Salvation), and "Pus ki rat" (A January Night) are stories of this kind. In other stories, however, the characters do not change, but merely carry their typical behavior further and further until it reaches some final extreme. This extreme is so striking, so egregious, that its impact on the reader forms a real "psychological climax" to the story. Some of Premchand's most successful pieces are of this latter kind--stories like "Kafan" (The Shroud) and "Dudh ka dam" (The Price of Milk).
Another work which belongs in this latter group is the Hindi story "Shatranj ke khilari" (The Chess Players), first published in 1924. This work offers, as we will see, a particularly clear example of Premchand's commitment to his theory of narrative structure. And the story is noteworthy for another reason as well: in 1977 Satyajit Ray made it into a Hindi (or rather, Urdu) film. This film, also called Shatranj ke khilari, was Ray's first big-budget Hindi film and has received a great deal of critical attention. Out of Premchand's 288 or so stories, Ray chose this one to film. Those familiar with Ray's great gifts as a filmmaker may well wish to look at the original story, and especially at the ways in which Ray has transformed it.
Premchand's story takes place in the colorful, cultivated Lucknow of Nawab Vajid Ali Shah's day; the climax of the story coincides with the British [66] annexation of the nawab's whole kingdom of Avadh in 1856. Here is how Premchand begins his story:/2/
[passage 1:] It was the time of Vajid Ali Shah. Lucknow was absorbed in vilasita [enjoyment,