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Author Topic: Articles By Bhisma Kukreti - श्री भीष्म कुकरेती जी के लेख  (Read 722005 times)

Bhishma Kukreti

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Re: Articles By Bhisma Kukreti - श्री भीष्म कुकरेती जी के लेख
« Reply #150 on: December 03, 2009, 08:59:12 AM »
Critical History of Garhwali , Kumaoni, Himalayan Literature
Epic Uttarayan : A History of Civilization, Philosophy, and Spirituality
(Commentary of Dr. Shiva Nand Nautiyal on Uttarayan an Epic by Prem lal Bhatt)
                      Translation: Bhishma Kukreti
      Uttarayan is a History, a philosophy of human life, but on top of it , it is poetry.  The poet Prem Lal Bhatt used the imagination but there is total realism in the story. The epic is about philosophy but is not beyond common men.. One of the great poets of Garhwali language Prem lal Bhat took clue from Purans but took those stories, which are needed for proving humanity as the supreme power or force. The ’Narayan’ of Uttarayan is as old as his wife ‘Laxmi’ who is ‘Chanchala’ . Other name of ‘Laxmi’ is ‘Vasana’ the desire, yearning, craving, want, wish and so on. And whole earth moves around desire .
    The cultural history of human beings is the history of ups and downs brought by power (Indriya- sensational organs) and desire (Vsana) .The desire and power together  attack first on the devotion and faith.
   Upnishad and Purans described ‘Shradha’ (devotion) with many names and forms.  The eldest wife of Dharma or Vishwash (Faith) is Shradha among his thirteen wives. Shradha is the eldest daughter of Prajapati (the creator) . Prem Lal Bhatt took this clue only - Shradha and Vishwash because Shankar and Parvati are the form of belief (faith) and trust.  If, the Shradha (trust) of Kamayani  epic by Jai Shankar Prasad , along with Manu ( Focused thinking) develops humanity; the Shadha of Uttarayan cooperates with faith/belief and culture the humanity. The name of son of Faith (Dharma )  and  Trust (Shradha ) is Shubh (auspicious or beneficial) in Uttarayan. Both Dharma (Faith)  and Shradha ( Trust) .
   For some time, for protecting their existence , Shradha and Dharma had to escape away from the kingdom of Narayan and Laxmi to Aryamandal. However, in Arymandal too, the people are divided between believers and non believers,. Here too Narayan and Laxmi (Power and desire) are  ruling to people. Dharma and Shradha  start to unite them and try to free the people from the bad effect of power and desire. Here, both happen to to meet Deena  (Poverty) and her daughter Bhakti (extreme Devotion) . Bhakti tells the story of her struggle in life to Shradha.
  Deena (Poverty) is the real fact of this earth. Karma (Acts ) always been deceiving Deena (Poverty). And those who who do not accept this immutable fact  that he does not understand Karma (Act) and Karmic (Doer). The imaginary wives - Kinchana (Having) and Kinshasa (Not having or Deprived) of Karma in Puran are objective oriented. Deena is human being who is in pain and her husband Prabhu (The God) don’t hug her but Deena is always devoted to Parmeshwar (The God).  The people exploited by Laxmi (wealthy and powerful) come under the banner of Vishwash and this ignites the Class -War in Aryamandal.
  The Class war between haves and Haves not is the central point of Uttarayan, where Shakti is essential and Shakti is also exploiter of humanity . Prem lal Bhat proves his genius in describing the Class War , which is always there from the initiating point of human being taking birth in this earth.
  Deena  (Deprived) is representative of human sensitivity and her revolution against Power and Endless- Desire is  the struggle for existence in Aryamandal. Shradha and Vishwash help to unite individual struggles of deprived class and help the humanity. Eradication of poverty is the main objective of humanity and for that the unity among deprived ones is essential ingredient.
        The imagination of Swarg (heaven)  above the earth is wishful thinking . Full of aspirated person becomes weightless and goes to Shunya (heaven) and reaches in  devious position . Desire or wsh throws the human into wandering  position. Narayan under the influence of Laxmi falls in wandering  position. But Bhakti brings him down in the reality that is in the earth. Humanity and Bhakti protects His deity characteristics.
 From today’s point of view, there is nothing  wrong if learned people perceive  the consumerism  as the real face of Laxmi and East India Company as  human face of Laxmi  too. Indian people revolt against British ia nothing but the combined struggle of Faith and devotion for saving humanity. The Indian freedom fight is the repetition of Dev- Asur Sangram (War between Demons and Deities) .
 The two attitudes Shadha and Vishwas (Trust and Faith) struggled against the Shakti and Bhogvadi Pravirti (Power and Consumerism) and got success. However, the prime objective of Shradha and Vishwash is not success but the amin aim is equality among all human beings and providing highest position to humanity in this galaxy.  This war is never ending and the exploiters/terrorists  and humanitarians will always clash with each other.
   Scientific researches never believe that blood or flesh is living matter but for scientist blood is a matter only. In Uttarayan, the poet imagined the wealthy and powerful become ‘Shila’ (Stone or heartless)
  When there will be struggle/clashes between the two  opposite attitudes, then only the humanity will get heist position in this earth . Pralayntar or after revolution, humanity will definitely win
Curtsey and Copyright Shri Prem lal Bhatt for permitting translation
Uttarayan:
A Garhwali language Epic
Poet : Prem Lal Bhatt
Publisher : Sahta Sahitya Bhandar 57-B Pocket a Phase-II
Ashok Vihar New Delhi
Internet copyright Prem Lal Bhatt, New Delhi, 2009


 


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Bhishma Kukreti

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Re: Articles By Bhisma Kukreti - श्री भीष्म कुकरेती जी के लेख
« Reply #151 on: December 07, 2009, 09:23:30 PM »
History of Garhwali, Kumaoni, Himalayan Literature
      Brief Notes on Poetry Collections of Different Poets in One Book
          Bhishma Kukreti
      The publication of Garhwali language poetry collection of various poets in one book started from 1932 and till date, eleven such volumes of poetry collection have been published.
1- Garhwali Kavitavali : Vishwambhar Datt Chandola edited this poetry collection and published in 1932. There are poems of poets as Shashishekranand Sakalni, Sanatanand Saklani, Devendra  Datt Raturi, Girija Datt Naithani, Mathura  Datt Naithani, Sur Datt Saklani, Ambika Datt Sharma, Ratnambar Chandola, Devendra Datt Saklani, Daya nand Bahuguna and Sada Nand Kukreti in this first volume of Garhwali poetry collection of various poets.
2- Veer Garhwal (1950) : Pundit Vishal Mani Sharma edited this second collection of various Garhwali poets in one volume in the name Veer Garhwali in 1950. There are poems of Baldev Prasad Deen, Bhawani Datt Thapliyal and others .
3-  Hisar (1955): Buransh Prakashan Dehradun published this volume of Garhwali verses of various poets .
4- Bugyal (1960) : Ganesh Sharma published Bugyal from Garhwali Sahitya Mandal, Delhi in 1960.
5- Maulyar (1960) Girdhari Lal Thapliyal ‘Kankal’ edited and published Maulyar in 1960
Rant Raibar (1963) Dr Govind Chatak edited Rant Raibar
6- Chham Ghunghuru Bajla (1964) : dr shiva Nand edited and published Chham Ghughuru Bajla through Shyam Book Depot Dehradun in 1964
7- Sar (1964): Dr Shiva Nand Nautiyal edited this volume of Garhwali sad poems (khuded Geet) from Shyam Book Depot in 1964.
8- Buransh (1965):  Ganesh Sharma edited this volume of four Garhwali poets - Kanhaya lal Dandriyal, Jaya Nand Khugsal ‘Baulya’, Sher Singh ‘Gadhdeshi’, and Jagdish Bahuguna ‘Kiran.
9- Shailvani (1981): Shailvani is a mile stone in the history of Garhwali, Himalayan literature. Abodh Bandhu Bahuguna edited the collection of more than hundred poets and he also wrote historical, critical details of Garhwali poetry. Himalaya Kala Sangam Delhi published this historical timeless volume in 1981.
10- Gwathni Gaun Bate (2002) : Madan Duklan edited Gathwani Gaun Bate (2002) . Girish Sundriyal is associate editor of this volume. There are poems of Narendra Singh Negi, Madan mohan Duklan, Chinmay Sayar, Beena Baijwal, Devendra Prasad Joshi, Preetam Apachhyan Veena Pani Joshi, Girish Sundriyal, Niranjan Suyal, Balbir Singh Rawat, Harish Juyal ‘Kutz’, Neeta Kukreti, Sanjay Sundriyal, Shashi Bhusan ‘Raja’, Sukhdev ‘Dard’, Hemvati Nandan bhatt, Ganesh Khugsal ‘Gani’ and Ashish Sundriyal. All the poems are of high standard . Samay Saxya, Dehradun  published this volume
10-Biji Gyayee Kavita  (2004):  Madhusudan Thapliyal edited this volume of poems of eighteen  poets.  There are poems of  Tota Ram Dhundiyal, Khyat Singh Chauhan, Om Prakash Semwal, Vishwa Prakash Baudai, Satish Balodi, Veerendra Panwar, Girish Pant,  Devesh Joshi, darshan singh Bisht ‘Rangeela’. Shiv Dayal ‘Shailej’. Sukhdev Dard, Mayaram Dhoundiyal ‘Vikal’. Leela Nand Raturi, Ramesh Chandra Santoshi, Ashok Uniyal, Gajendra Nautiyal, Mahendra Dhyani, Hemvati Nandan Bhatt . Dhad Prakashan published this volume of poem collection.
11- Gwai:  Gwai has a specific place  in Garhwali literature. The poets are related to a specific area Syunsi Baijrao. The poets are either born in that area or they were serving in that are. There are  poems of Shakuntala Inshtwal, Vishwa Prakash Baudai, Dr Rajendra Prasad Bhatt, Govind Singh Rawat, Shiv Dayal Shailaj, Bachi Ram Baudai, Sanjay Dhoundiyal, Chitra Singh Kandari, Anil Kumar Shailani, Ranveer Datt Chandan, Sushil Chandra, Ashok Uniyal ‘Agya’, in this volume of poems. Dhad -Syunsi Baijaron published this volume .
Copyright@ Bhishma Kukreti, Mumbai, India, 2009
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Bhishma Kukreti

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Re: Articles By Bhisma Kukreti - श्री भीष्म कुकरेती जी के लेख
« Reply #152 on: December 07, 2009, 09:25:03 PM »


History of Garhwali, Kumaoni, Himalayan Literature
Pithai Pairalo  Buransh : The Poems of Himalayan Concerns
( Commentary of Dr Govind Chatak on poetry Collection Pithai Puralo Buransh by Veena Pani Joshi)
                                 Translation  : Bhishma Kukreti
  The poems of Veena Pani Joshi in Garhwali language poem collection Pithai Pairalo  Buransh are the verses of a deep thinker, super  sensitive to the society and environment, and conscious poetess. Today, wherein , many Garhwali poets are busy in creating poems of jokes and attracting audience in Kavisammelan for a while  just by wordings without depth in the subjects; Veena Pani Joshi created poems on the real issues and happenings in Garhwal, India and around the world. The poems of Veena Pani Joshi are not limited to Garhwal but they are related to humanity and international panorama. At one ploe, Veena Pani tells about conventional culture of her motherland Garhwal that is the beneficial wordings of Rishis or sages and at another side,  she narrates the pains, joys of new era too. She is conscious about the changes taking place around us specially the emergence of ugly non-humanitarian culture. She is the poetess of big panorama. The is auspiciousness , beneficial demand in her each poem as she demands from goddess Sarswati  -- chitan ko diyo banaulun/sardha ko runwan bati chadhoulu/khairi pahad ki ansdari tel jot jagaulun/daina human.
   The poems related to Garhwali women  are the verses of of mother’s affection and rebellions . The Garhwali women are busy always in hard work and are the axis of Garhwal’s economy and social struture. Veena Pani sees Leonard de Vinci’s  Mona Lisa in their hard works.  Veena Pani Joshi does not show pity on women’s condition in Garhwal but she tries to make them aware about their super potential in the society.---teen jandari thame/gagri thame/ ganjyali gari thame/tin atp pise/ pani sare/ satti kutani rai/ utth beej-beej siyeen ni rai
   Veena Pani Joshi reminds the women that there is tender Bugyal (flower beds) on the steep ascending path. Veena appreciates for never ending hard works of Garhwali women and pleas that she requires Kutali and kalam too (hoe and pen).  Whole of Garhwal and himalayn area is facing a gigantic problem. There is problem of girl’s better education but more than that is after education, women are leaving the agriculture . Speedy migration is biggest dilemma  in rural Himalaya and the poetess is worried and says---mund mathi bharu ni cha/thanda chullon kharu nee chh/ktali dathi harchi gen /gauna pata harchi gen
    The poetess has immense affection for each part of Himalaya , all flora and fauna. In her poems, there is buransh flower ( Rhododendron flower) fuenli flowers colour the land yellow; there are kingoda, hisar, kakadi, gudadi….. There are animals as sensual, gaureya, ghughtee and there are kafu, hilans, kafal in her poems.
The poetess Veena Pani Joshi is super sensitive about wrong ecological changes by the people in Himalayan region  and says if there is no water how come frogs will voice? The readers may feel if there is shradh in village the crows will never come in the village , without bride going to her sasural, kaffu bird  will never be messenger. Veena Pani Joshi shows the deep relationship between the Himalayan people  and flora/fauna of their area. This aspect of sensitivity is new to poetry.
   Veena Pani is also insightful for changing happenings around the glob specially in Himalayan society. She narrates the loosing culture ,  beneficial culture and she also shows us  the new benefits of changes but Veena weeps on wrong changes which are dangerous  not only for Himalayan people but perilous for whole of humanity too.   
  In many verses, Veena Pani Joshi shows her ambiguity and shocks for the new unheard, unseen political perplexities and social turmoil by new changes very effectively and those poems are capable for stirring the readers . Veena Pani is shocked the readers when she shows in her poems that  that the responsible authorities for Ganges Cleaning Project search for bottled mineral water near the bank of Ganges.
   It is always dangerous to write on contemporary subjects because the creative becomes the enemy of authorities and atrocious commanders of society and religions. However, Veena Pani  does not hesitate to pen down the contemporary paradoxes of politics, society and religions. Her writings show that she is super  susceptible  for the society and environment .
  There is rhythm, there is complete poetic form, sensitivity, simplicity to understand the meanings, beauty, harmony in her poems as her father late Chakradhar Bahuguna had in his poems.
Pithai Pairalo Buransh is a remarkable collection of Garhwali language poems and is very excellent sign for Himalayan concern and Himalayan languages literature  .
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Bhishma Kukreti

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Re: Articles By Bhisma Kukreti - श्री भीष्म कुकरेती जी के लेख
« Reply #153 on: December 08, 2009, 07:59:25 AM »
Garhwali, Kumaoni, Himalayan Literature
Glimpse of History of Modern Garhwali Poetry in Shailvani ..Part-----1
                                Bhishma Kukreti
 Shailvani a poetry collection of eighty Garhwali poets is a mile stone in the history of Garhwali literature. Abodh Bandhu Bahuguna did hard research and edited this remarkable book and Himalaya Kala Sangam published Shailvani  in 1981. Dr Govind Chatak wrote the introductory note for the book and president of Himalaya Kala Sangam Lalt Mohan Keshwan wrote the objective of the book.
   Apart from poetries of eighty poets, Abodh Bandhu Bahuguna wrote a small history of Garhwali poetry upto 1980 as ‘Bhumika’
Sanskrit Literature Creators :
 In his introduction, Bahuguna mentioned Kalidas the legendary Sanskrit poet as a Garhwal born person. Sadanand Jakhmola, Lalita Prasad Naithani, Dr Shiva Nand Nautiyal  and many scholars support with enough proof that Kalidas was born in Kaviltha Chamoli Garhwal. Logically, these learned scholars are right that unless and until your childhood is not spent in Garhwal Himalaya you can not describe so finely, minutely, about Himalaya and its life as Kalidas describes Himalaya in Abhigyan Shakuntalam , Meghdoot or Kumar Sambhav. The intention of Bahuguna mentioning Kalidas is clear that creation of poetry is not new in Garhwal are but the legacy goes beyond Kalidas. in this respect Abodh Bandhu Bahuguna is right that creation of poetry have there in Garhwal more than five thousand years. This author says that it is no secret that Vyas created Mahabharat in Garhwal . Sage Vyasa in Mahbharat mentioned elaborately about Kankhal, Tapovan, Badrikasharam, and Bhrigukhal and sage Bhrigu. It may be possible that Bhrigu sage might have created Bhrigu Samhita in Bhrig Shringi (Bhrigukhal, Udaypur patti) too.
 Further Bahuguna mentioned that there had been Garhwalis creating Sanskrit poetry or literature as Bharat Jyotik Rai, Meghakar Bahuguna, Haridatt Nautiyal, Sadanand Ghildiyal, Balkrishna Bhatt and many more created various types of Sanskrit literature.
Braj and Khadi Boli Literature by Garhwalis :
  Bahuguna does not forget mentioning the creators of Braj/Khadi Boli literature from Garhwal. Bahuguna briefs the readers about the works of Swaami Shashtra , Maularam and Chandrakumwar Bartwal in Braj and Khadi boli (Hindi). All created marvelous poetries and all used many garhwali words in their poetries
  The Tihri king Sudarsan Shah (1825) created  poems in Braj language and his poetry collection book ‘Sabhasar’ is appreciated by scholars for various reasons. Sudarshan Shah provided extract of each his Braj verse in Garhwali as
Ishwaran jakh rup dine takh samajh ni dini
Jakh samajh dine takh dhan ni deenyau
  The famous Khadi Boli poet of Pithora Garh,  Gumani Pant (1780-1846) spent some period in the Garhwal kingdom at the time of king  Sudarshan Shah. Gumani Pant will be remembered in Sanskrit, Hindi , Garhwali, Kumaoni , Nepali, Himalayan literature for creating peculiar poetry. He used to write poems in Sanskrit but the last part of stanza would be in Garhwali , Kumaoni or Nepali as: 
Uttam dhamk padanti, madhyam cha turatari
Nish dam farak padanti , kachhedi ma ch Tukituki II
Vadhurlok beerasya lamkeshwarasya , prasrmedhanadasya maydays
Rate devar hant mandodari sa, hwai rand nari gai laj sari

Continued000000000000000000..........
Copyright @ Bhishma Kukreti, Mumbai, India, 2009
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Bhishma Kukreti

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Re: Articles By Bhisma Kukreti - श्री भीष्म कुकरेती जी के लेख
« Reply #154 on: December 08, 2009, 12:22:42 PM »
 Garhwali, Kumaoni, Himalayan Literature
Glimpse of History of Modern Garhwali Poetry in Shailvani  Part II
                                Bhishma Kukreti         
            Garhwali in Gorakhpanth Literature
  Gorakhpanth has influenced the whole psych of Garhwalis . There has been Gorakhnath panthi literature for more than eight hundred years in Garhwal. Bahuguna provides proof that Kashuraj Jaichand wrote poetry in apbhrans  language and we may find Garhwali in poems created around thirteenth century as
Je kajjiya ghala jnnu nikhala , bhotant pitant chale
 Or, the poem of 1350 is as:
Dharti agas feranta chale, ayana chale, sapna chale, , mar mar karanto maimanda chale
 There is priest crowning  in Devalgarh which was initiated by famous Sidh Gorakhnath pupil Satyanath .
    Gorakhvani literature as Dhol Sagar, Damau Sagar, Indrajal, Ghat Stahapana, Shrinath ji ko Suklais, Samaina is nothing but primitive Garhwali.
Iasan basan dand kamandal u dhyan lagaunti
Jogi jugeta mery mekhla tirsuli adhari
Continued .………..
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Bhishma Kukreti

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Re: Articles By Bhisma Kukreti - श्री भीष्म कुकरेती जी के लेख
« Reply #155 on: December 08, 2009, 05:16:04 PM »
Garhwali, Kumaoni, Himalayan Literature
Glimpse of History of Modern Garhwali Poetry in Shailvani Part --III
                                Bhishma Kukreti
Collection and Publishing of Garhwali Oral Poetries
      Bahuguna (1981) writes in Shailvani that Garhwal is fortunate to have all types of folk literature specially in poetry. ‘Daint Sanhar’ is available and there may be possible of many such manuscripts of oral literature. There are tens of ballads in Garhwali and those ballads started from Mahabharata time. Bahuguna provides the proof that  there are chivalry, love and pathos raptures in Garhwali ballads as in Mahabharata. It is important to mention about  proverbs and sayings . Pundit Tara Datt Gairola published ‘ Himalayan Folklores’ in English and included a few sayings/proverbs. Shiv Narayan Singh Bisht published the list of Garhwali proverbs/sayings/legendary stories in ‘Gadh Sumyal’ in Garhwali language in 1929.  Abodh Bandhu Bahuguna published some part of famous folklores as Jeetu Bagdwal, Hari Hindwan, Ranu Jhanku, in Dhunyal, in 1954. Bhajan Singh ‘Singh’ published ‘the folklore ‘ Surj Kaunl’. Moahan Babulkar published the analysis of Garhwali folk poetries in Garhwali Lok Geeton Ka Vivechanatmak Adhyayan’. Dr Chatak also published Garhwali Folklores. Dr Haridatt Bhatt Shailesh included above folklores and more folk poetries in Garhwali Bhasha aur uska Sahitya ‘ in 1976.
  Poetries of Mangal  (auspicious folk lyrics ) are the  symbols of agriculture culture of any area. Girija Datt Naithani published many lyrics of Magal in 1908. Tara Datt Gairola published poetries of Mangal in transformed form as ‘ Meri Ladli’ and ‘Fyunli Rauteli’. Bhajan  Singh ‘Singh’ included folk poetries as ‘ Govind Fulari’ , ‘Raghuvanshi Ghodi’ etc along with other modern poetries in ’Singh Nad’.  Chakradhar Bahuguna mentioned the old Garhwali poetry ‘ Paxi Samhar’ created by  Pundit Jaidev Bahuguna around 1750 .  Dr Hari Datt Bhatt ‘Shailesh’ published Garhwali folk poetries as Dyul, Nagelo, Garudasan, Nirankar, Uma Maheshwar, Gauri Shankar Leela, Ram Leela, Krishna Leela, Kunti Mata, Moti Dhango, Ram Gaindi (Chetak) in his famous book ‘ Garhwali Bhasha aur Uska Sahitya’.
Continued ……..
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Re: Articles By Bhisma Kukreti - श्री भीष्म कुकरेती जी के लेख
« Reply #156 on: December 08, 2009, 06:51:49 PM »

Garhwali, Kumaoni, Himalayan Literature
Glimpse of History of Modern Garhwali Poetry in Shailvani , Part 4
                                Bhishma Kukreti


Developmental Stages of Modern Garhwali Poetries

   Foundation Stage:

Though,  in real term, the modern Garhwali poetry started from 1900 but before this time, Pundit Hari Krishna  Daurgadatti Rudola, Pundit Leela Datt Kotnala and Mahant Harsh Puri Gusain of Shri Nagar Pauri Garhwali put the foundation for modern Garhwali poetries. The campaign started from 1875
  Pundit Harikrishna Daurgadatti Rudola created poetries as ganga panchak, Chetawani, Shiksha etc , which are of inspirational ones.
 Pundit Leela Datt Kotnala (1846-1926) created poems supporting Lord Ripen’s laws to demolish racism and supported British Raj by creating poem ‘Lord Ripen’. Kotnala published  a poetry collection by name - Garhwali Chhandmala’ in 1918. Virah and Holi poems are marvelous pieces of poetries in Garhwali Chhandmala. Kotnala created Garh-Geeta, Leela prem Sagar, and Garhwali Prastawawali too.
      Mahant Harsh Puri Gusain (1820-1905) created many poems and ‘Rajneesh ‘ and Buro Sang’ poems are affectionate and with pathos.
   Pundit Jakrishna Daurgadatti Rudola created poem as ‘ Vedant Sandesh’ and these poems are modern as modern today’s poems. An example of his poems is here :
   Kya chhenthadaa sadak ma kakhim ni milda?
Kya dallying harle apnee suchhaya ?
Kya suki gen nad nal sabhi jagatma ?

  Abodh Bandhu Bahuguna divided the development of written form of Garhwali poetries according to time


1- First initiating Stage (1901-  1925)
2- Second Developmental Stage (1926-1950)
3-Third Developmental Stage (1951-1975)
Continued……..Copyright@ Bhishma Kukreti, Mumbai, India, 2009
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Re: Articles By Bhisma Kukreti - श्री भीष्म कुकरेती जी के लेख
« Reply #157 on: December 09, 2009, 09:12:21 AM »
 Garhwali, Kumaoni, Himalayan Literature
Glimpse of History of Modern Garhwali Poetry in Shailvani  Part-5
                                Bhishma Kukreti
 

Initiating Developmental Stage of Garhwali Poetry (1900-1925)
   Abodh Bandhu provides details that the modern Garhwali literature started with the publication of Garhwali news paper in 1905.  Garhwali newspaper influenced Hindi readers of Garhwali origin to consider Garhwali as complete language and attracted for creating literature in Garhwali language. Atma Ram Gairola, Satya Sharan Raturi, Bhavani Datt Thapliyal, Tara Datt Gairola, Sada Nand Kukreti and Chandra Mohan Raturi were main stalwarts . ‘Sarswati’ a prominent Hindi magazine  used to publish the Hindi poetries of Satya Sharan Raturi and Tar Datt Gairola had got fame as English writer after publishing ‘ The Songs of Dadu’ and ‘ Himalayan Folklores‘ and Chandra Mohan Ratuir could write fluently in Sanskrit or Hindi . However, Raturis and Gairola choose to serve Garhwali ,
 Bahuguna mentioned that Garhwali newspaper ‘Garhwali ’ published the poems of following poets
    Poet                                                            Poetry 
1- Shashi Shekhra Nand Saklani :                  Shiksha
2- Sanatan Nand Saklani ‘Satkavidas’:           Swarth Saptak
3- Devendra Datt Raturi of Tihri :                   Daridrastak
4- Girija Datt Naithani :                                   Madystak
5-Mathura Datt Naithani :                               Swadesh Prem
6- Sur Datt Saklani                                           Umanath Ji Ki Stuti, Chetwani
7- Ambika Datt Sharma  :                                 Shri Ram Chandra Vandana Varnan
8-Kanauji :                                                         Ham Padhan at Kyun Padhan
9-Ratnambar Chandola ‘Ratna’ :                         Matribhumi, Ainsu ki rood, Bamtali
10-D evendra Saklani :                                       Karuna
11- Dayanand Bahuguna :                                 Kumbh ko Melo
12- Sada Nand Kukreti                                       Jatiya Bhajan
   Later on daughter in law of Shashi Shekhra Nand Saklani published his poetry collection as ‘ Puspanjali’.
  Vishambar Chandola published first  Garhwali poetry collection as ‘Garhwali Kavitawali’ wherein the poems of above twelve poets were published along with poems of other creators. ‘ Garhwali Kavitawali’ is a mile stone in the history of Garhwali poetry.
    Bahuguna mentioned about the poem Rami Bauraani by Baldev Prasad Sharma ‘ Deen’ (Bamsu, Tihri)
Baldev Prasad Sharma  ‘ Deen’ created lyrical poem ‘Rami Baurani’ which is still very popular today. He published another popular poem ‘Jasi’ in 1927
However, this author does not understand the mentality of Abodh Bahuguna who should have written much about Rami Baurani because Rami Baurani is the first modern Garhwali poetry which attracted not only common Garhwalis but Kumaonis too to  sing this poem or Geet. Though, in one context this author opposes Rami Baurani but he also says that no body can deny the importance of Rami Baurani. Today, most of the Garhwalis and Kumaonis presume that Rami Baurani is folk song but in reality , this song is the best example of modern Garhwali poetry who could attract the Garhwali Kumaoni psych because of its subject and lyrical value.
  In this period, Ram Prasad Khanduri of Margun, Rawatsyun published many poems in periodicals and later on published in poetry collection form. His poems ‘ France ka Judh’ and Khaudo’  poems became very popular.
  Bahuguna further writes that this is the period when Giridhari Lal Dobhal of Ghidi, Banelsyun, Pauri Garhwal, created many affectionate and memorable poems . His poem ‘ Kakh holi meri dandi kanthi’ is still popular . Later on, his daughter Vimala Barthwal (dalodi, Gagwadsyun)  published his poetry collection.
Copyright @ Bhishma Kukreti, Mumbai, India, 2009
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Re: Articles By Bhisma Kukreti - श्री भीष्म कुकरेती जी के लेख
« Reply #158 on: December 09, 2009, 10:55:24 AM »
    Garhwali, Kumaoni, Himalayan Literature
Glimpse of History of Modern Garhwali Poetry in Shailvani --Part -6
                                Bhishma Kukreti


      Second Developmental Stage of Garhwali Poetry (1926-1950)
 Abodh Bandhu Bahuguna provided details of poets and their poetries for the second developmental stage of modern Garhwali poetry in brief as :
    From 1926 0nward, the Garhwali poetry history saw new dimension in the poetic world. In term of content and style, variation started in Garhwali poetic world in this growth oriented period.
In this period, the following poets published following poetry collections or poems
Name of Poets                                   Poetry collections
1- Totakrishn Gairola                        Premi Pathik
2- Yogendra Puri                               Fulkandi
3- Chakradhar Bahuguna                   Mochhang
4-Keshva Nand Kainthola                 Man Tarang
5-Bhajan Singh ‘Singh’                     Singhnad
6- Tara Datt Lakheda                          Naxatra ki Virahani Bala
7-Bhola Datt Devrani                           Juo ar Janani
8-Sada Nand Jakhmola                                          Raibar
9- Bhagwati Charan Nirmohi                              Hilans
10-Shaligram Shashtri                                       Neeti Prakash
11- Kamal Sahityaalankar                                       Jamuna and Kartavyabodh
12- Baldev Prasad Nautiyal           Chaya ramayan (Translation of Valmiki   Ramayan)                                                               
 13-Rup mohan Saklani                 Meghdoot (Translation of Kalidas’s Meghdoot)
14- Tula Ram Sharma                                   Karmayog geeta (Translation)

                                                                               
                                Vishal Mani Sharma edited and publisheda poetry collection of different poets in one volume naming ‘Veer Garhwa’ in 1950 . There are poems of Bhavani Datt Thapliyal and Baldev Prasad Sharma ‘Deen’ in this second volume of Garhwali poetry collection of its own type that is collection of different poets,
 The following poets published their poems here and there
15- Lalta Prasad Uniyal Lalam                           Sasubwari
16- Satya Prasad Raturi     
17-Ratnambar Chandola
18-Keshva Nand Jadli   
19-Daya Dhar Bhatt
20- Dharmadhikari
   The poets of this period paid attention on inspiring the readers and social benefits nation- building, Garhwali society growth , freedom were main subject of this period in Garhwali poetry. The poets choose old legendary stories as well their own imagery creation for creating such inspirational, teaching/preaching oriented poems in Garhwali language  Most of the poems are simple in terms of  rhetoric rules. Poets started following originality in style, form and poetic subjects. Garhwali poetry field witnesses new creative geniuses .

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Re: Articles By Bhisma Kukreti - श्री भीष्म कुकरेती जी के लेख
« Reply #159 on: December 09, 2009, 07:56:21 PM »
Garhwali, Kumaoni, Himalayan Literature
Glimpse of History of Modern Garhwali Poetry in Shailvani   Part -7
                                Bhishma Kukreti


Third Expanding Stage of Garhwali Poetry (1951-1975)
                  This period was the period of free India and Garhwalis were getting educated and they were getting scientific knowledge too. Garhwalis as other Indians started contributing for building   new India. Education, free India, scientific knowledge, desire and ambition for building new India   affect creativity for Garhwali poetries. There were no problems of division of India, communal non-harmony in Garhwal but there were changes in cultural and social values all over. The changes in cultural and social values and employment problems provided fertile filed for Garhwali language creative. The new situations created two sects among Garhwalis . Those who were in Garhwal busy in conventional agriculture and were doing hard work . This situation was clearly visible in the Garhwali poems:
 Bhair ki patbyadi bhadun, bole -bhula buthad
Bhagi t gaine desu sab , ham chhan nirbhagi paad (Tidka-pp-7)
  Migrated to plains of other parts of India was another sect of Garhwalis . The pain of migration and memorizing the Garhwal was also clear in Garhwali poems of this period :
Haira haira ghas ka boun failyan ant n par
Launkad saun bhadon keyed dekhan laik bahar
 This means in the third expanding period, Garhwali poetic creative started to take the poetries towards hard realism, human sensitivity, human pain and joys.  Garhwali poets started expression for contemporary local, regional and national situations. Slowly, slowly, the Garhwali verse makers coming out from limitedness towards national and international panorama.
The folk literature publications also fueled for motivating new creators entering in Garhwali  poetic world. Folk poetry collections as Dhunyal of Abodh Bandhu Bahuguna (1954) Dharti ka Phool (1955), Bansuli (1955)  and Garhwali Lok geet (1956) of Govind Chatak have been an inspiring factor for expansion of Garhwali poetic world.
Garhwali poetry  witnesses the following poetry collections in this very exciting period for Garhwali poetry 
Poet                                                   Name of  Poetry Collection
1- Laxmi Prasad Painyuli                  Mikhail a long poem (1957)
2- Shail kunj Pundir                          Jonyali Rat (1960)
3- Ummed Singh Negi                      Dandi Kanthi  (1960)
4- Harsh Pati Raturi ‘Sevak’              Jeewan Sathi (1960)
5- Shiva Nand Pandey                      Ujyali (1962)
6- Jeet Singh Negi                             Geet Ganga  (1963)                 
7- Loka Nand Balodi                         Geeta ka anshu  (1954)
8-Ram Prasad Pokhriyal                    Chhunyal (1963)
9- Shiv Prasad Pokhriyal                     Jhamka (1963)
10- Jeeva Nand Shriyal                      Gadh sahitya sopan two parts (1966 and 1970)
11- Ram Prasad Gairola ‘ Vinayi’        Sudyal (1971)
12-Dharma Nand Jamloki                   Meghdoot Kavya (1971)
13- Puran Pant Pathik                         Pathik ka Geet (1975)
14- Sachida Nand Kandpal                 Raibar
15- Murli Manohar Sati                      Garhwali Jhanki
   The following poetry collections of different poets in one volume were also published in this period (1951-10975):
Name of Poetry Collection        Editor                      Remarks
1- Hisar (1955)                                                              Buransh Prakashan
2- Bugyal (1960)                       Ganesh Sharma
3-Buransh (1965)                       Ganesh Sharma
4-Maulyar (1963)                        Girdhari Lal kankal
5-Rant Raibar (1963)                      Govind Chatatk
6-Chham Ghunghru (1964)             Shiva Nand Nautiyal
7- Khuded Geet     (1964)                Shiva Nand Nautiyal
8- Vidyavati Dobhal (1975)           Garhwali Geetika
 Abodh Bandhu Bahuguna  provided list of following new poets who came in light in this third expanding period :
1- Purushottam Dobhal
2- Dr Shiva Nand Nautiyal
3-sarvesh juyal
4-Kailash panthari
5-Uma datt Naithani
6-Jagdish kiran
7-Jaya Nand Khuksal ‘Baulya
8-Keshva Nand Dhyani
9-sher singh Gadhdeshi
10-Harish Chandra Ghildiyal
11-Kali Prasad Ghildiyal
Apart from the above poets Abodh Bandhu Bahuguna details that poets as Keshava Nand Jadli, Guna Nand Pathik, Govind Ram Pokhriyal, Vasundhara Dobhal, Brij Raj Singh Negi, Sateshwar Azad, Sachida Nand Kandpal, Lalt Mohan Keshwan, Mathura Prasad Dobhal, , Mathura Prasad Baichain, Chandra Prakash Dabral, janki Prasad Barthwal, kehhava Anuragi, Keshav Dhyani, Chandra Singh Rahi, Bachram Jamloki, Leela Dhar Jugadi, Raja Khugsal Pareshwar gaur published their poetries in various periodicals. However, Bahuguna for unknown reasons did not mention that Kanhaya lal Dandriyal , Girdhari Lal Kankal  published their poetry collections Fur Ghindudi (1959)and Mangtu (1960) respectively in this period only . Same way , Bahuguna forgets to  to mention in his introduction of this period as Jaggu Naudiyal etc
   Bahuguna mentions that the poems of this period were more varied than past in terms of style, form and poetic creativity . According to Bahuguna , there is satire, romance, suspense, pathos, emotions, patriotism in the Garhwali poems of this era (1951-1975).
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