Author Topic: Articles By Bhisma Kukreti - श्री भीष्म कुकरेती जी के लेख  (Read 717037 times)

Bhishma Kukreti

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Spiritual Folk Literature of Garhwal Kumaun , Himalayas

               Nagelo  Jagar : The Song of Getting Fame and Success

            नगेलो जागर : यश व धन धान्य प्राप्ति का मन्त्र जागर           

                          Bhishma Kukreti

     From the day, human being got mind and language, human being created deity too. There are deities in most of the society. For example there are deities in Greek representing different works for fulfilling the human desires as Aphrodite for love and beauty; Apollo for Ares for war, courage, civil order ;Artemis for hunt, wilderness ; Athena for wildness; Demeter for wisdom; Dionysus for wine, festivals; Pluto god of dead; Hera for good marriage and women;  Hestia for good health; Hermes as god of travel; Hestia the god of home, cooking etc; Poseidon the god of river, flood etc and Zeus is the king of god.

 In Egyptian mythology we find the god and goddess  as Aker as double  lion god; Amun the hidden god;  Ammut –the god of devourer ; Hapi – father of all god; Aten as lord of all; Khunum the lord of cool waters; min the chief of heaven; Petah –the opener; Sobek as the god of fertility; Thothas god of measurer . the Egyptian goddess are ---Bastet l the goddess of tearer; Hathor the mistress of heaven; Maat the goddess of truth; Nyphthys as the goddess of hose; Shesat the goddess of library; nut the goddess of sky

 If we study the ancient roman deities they are more than hundred deities and major deities are Apollo, Ceres, Diana, Juno, Jupiter, Mars, Mercury, Neptune, Venus, Vest and Vulcan     

Same way , in Kumaun and Garhwal area , there are tens of god and goddess for specific blessings

Nagela a deity of Garhwal-Kumaun is the god of fame and success and this Jagar states so :           

               
                   नेगेलो का जागर

     द्यूल नगेलो  आयो जसीलो दिबता
    द्यूल नगेलो  आयो जसीलो भक्तों देंद जस
     द्यूल नगेलो  आयो  मुलक  लगे भेऊँ
      द्यूल नगेलो  आयो  रमोली की थाती
       द्यूल नगेलो  आयो  बजिरा की गादी
       द्यूल नगेलो  आयो तै मोतू का सिर 
       द्यूल नगेलो  आयो चै मैना का बालक
      द्यूल नगेलो  आयो भौंकरूं का रुणाट
      द्यूल नगेलो  आयो घांडियों  का घमणाट
       द्यूल नगेलो  आयो पर्चो बतौन्द
      द्यूल नगेलो  आयो जो बणोन्द चौंळ
      द्यूल नगेलो  आयो हरियाली जमौन्द
      द्यूल नगेलो  आयो लैंदी देंदी दूध
     द्यूल नगेलो  आयो मनखी देंद दूध
       द्यूल नगेलो  आयो औता देंद पूत
      द्यूल नगेलो  आयो क्वांरा देंद ब्यौउ
Song from Dr Shiva Nand Nautiyal : Garhwal ke Lok Nrity
    Copyright @ Bhishma Kukreti

Bhishma Kukreti

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Folk Literature and Culture of  Kumaun – Garhwal Himalayas

                                 Saampu Nriya Geet : Devotion to Nagela Deity
                                 साम्पू नृत्य गीत : नगेलो देवता को समर्पित नृत्य गीत
                                  Bhishma Kukreti
 
    There is less doubt that prior to Khas dynasty took over Garhwal and Kumaun, there were Nag inhabitants in both the areas. Nag vanshi dynasty were before Vedas too and there is mention of Nag vansh in Rig-Veda and Atharv-Veda ( A.B Keith and Dr Bhagvat Sharan Upadhyaya ) . There are many characters of nag Vansh in Mahabharat and there is mention of serpant castes or division in Mahbharat. Puran etc also describe Nag vansh

 As far as Garhwal Kumaun is concerned, it seems that Khas dominated over Nag of the area and changed the culture

Serpent is part and partial of Indian people and that is the reason , there many deities related to Nag . In Kumaun and Garhwal if we study village’s old temples or Math we may find instead of Idols there are  Snake iron sculptures inside the temples . the reason is valid that Garhwalis , Kumaonis and Nepalese worshiped Nag deity from the beginning of civilization in the area

 Snake is not only worshiped in India but in other parts too and there is worship and dance for snake worship in many parts of world . Hopi people of North America performed the annual snake dance , Fijians worship snake god as Ndengei; in Egyptian mythology there are many snake gods and even- Apep is evil god;  in east Asia, Dragon is nothing but derived god from serpent ; in Hittite mythology , the name of snake god is Illuyanka ; Bobbi-Bobbi is the huge snake god of BinBinga tribe of North Australia ; Tefnut is snake goddess for moisture of ancient Egyptians ;  in very ancient age in Africa, the snake god was Dahaomy  and there is snake god in Nordic civilization too

 There is snake dance or serpent dance or sarp nrity in many parts of world as in Africa, and in Asia;; there  used to be in culture of Native American  and in Maya culture too .

  Same way, Garhwalis and Kumaonis worship Snake god in the names of Nagraja and Nagelo . nagelo is the god of fame, prosperity, success and fertility. The worship method is Ghadela but in many parts there is dance and song for nagelo in normal time too. The following song is sung and danced in Lasya Patti of Tihri and Uttarkashi regions . there are amny varieties of dance and all dances are nearer to Snake dance in groups

 The song itself narrates the story of place and two gods- Nagelo and Pitaseen too :
द्यूळ  नागेलो नाचलो बल द्यूळ नागेलो
पिटासीणि का धोरा, बल नाचलो द्यूळ नागेलो नाचलो
लस्या थाती का बिच ,  बल नाचलो द्यूळ नागेलो नाचलो
भौकारों का  रुणाट ,  बल नाचलो द्यूळ नागेलो नाचलो
पायाल़ा  ल़ेण नाचलो ,  बल नाचलो द्यूळ नागेलो नाचलो
ढोलूं  का दौर नाचलो,  बल नाचलो द्यूळ नागेलो नाचलो
लून्गालों का पैल नाचलो ,  बल नाचलो द्यूळ नागेलो नाचलो
साठी फसल काटण  नाचलो , बल नाचलो द्यूळ नागेलो नाचलो
भैन्स्यों का बैराट बल देखलो ,   नाचलो द्यूळ नागेलो नाचलो
पअयाग  बल नाचलो द्यूळ नागेलो नाचलो जाणो नाचलो , 
स्युंरता की रात नाचलो ,  बल नाचलो द्यूळ नागेलो नाचलो
 बजरा की थाती नाचलो,  बल नाचलो द्यूळ नागेलो नाचलो
औतुं पुतर देलू,  बल नाचलो द्यूळ नागेलो नाचलो 
Ref: manuscript from Dr Purushottam Dobhal and edited by Dr Shiva Nand Nautiyal
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Bhishma Kukreti

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Culture and Folk Literature of Kumaun –Garhwal Himalayas

          Nanda Jat Jagar : A Great  Concern Over Foeticides

          नंदा ज़ात जागर : महिला -पुरुष अनुपात  के प्रति सम्वेदनशीलता

 

                         Bhishma Kukreti

     Many new generation young people take folk literature as useless culture and never cares for the real values hidden in those people sayings by means of proverbs, folk stories, folk songs and Jagar.

    Today, all over India, anthropologists, women activists, social activists and government agencies are worried over foeticides in many places and the decrease in female child  ratio against male children. In most of the cases, it is found that the fetus is destroyed after detecting  the female embryo in pregnancy .this custom will bring many social and economical problems in India .

Our forefathers were very much aware about equal balance between male and female ratio and that is why our society created the following Jagar while worshiping Nanda Jat in her Jatra. This Jagar is performed when Nanda deity starts her journey to her in laws house from her Mayaka. The song of Jagar is very tender and women folk start weeping listening this heart breaking Jagar song .

The special characteristic of this Jagar song is that Nanda Devi curses her Mayka that they will not have female human beings and female calves because the male oppressed the females .. This Jagar song is to preach people not to oppress females and be aware about equal male –female child ratio.

           नंदा ज़ात जागर
सटेडि  पुंगडि मैत्यों की सुखा पोड़ी  जैन
झंगरेडी पुंगड़यों   मैत्यों की झड्या    ह्व़े जैन
कोदाड़ी पुंगडों मैत्यों की चाली जामी जैन
गेंवाड़ी पुंगड़ी  मैत्यों की फ्यूंळी फूली जैन
भैसों का खरीक मैत्यों का बागी इ बागी ह्वेन
गायों का गुठ्यार मैत्यों का बोड़ इ बोड़ ह्वेन
भायों की संतान मैत्यों की नौनि ना ह्वेन
सिसुर जाण की बेला कैकु ना ऐन
Reference : Abodh Bandh Bahuguna :Dhunyal
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Bhishma Kukreti

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Culture  and Folk Literature of Garhwal-Kumaun , Himalayas

             Kaintura Ranraut Jagar : A Ranbhoot Legend folklore

 

                Bhishma Kukreti

  Ranbhoot means the soul of a brave personality or souls of brave soldiers who died in a battle .  Ranbhoot are equal to deity and goddesses . There is worships of Ranbhoots under Ghadela

         We may put them as the folklore  of  Odysseus , Philosopher’s Stone,  King Arthur and Knoghts of Round of the Round Table Legends of Africa , Atalantis  ,Tarjan Wars, Helen and Troy , the  Irish Ballads area as Follow me up to Carlow, Alasdair, The sash , jackets Green , The woods of Trugh etc

  The Ranbhoot are brave personalities who sacrificed their lives for community or for their loves ,. The following Ranbhoots are famous legends and people keeps Ghadela to worship them :
1- Kaitura -RanRaut, 2- Teelu Rautela 3- Surju Kaunl, 4- Gadhu Sumyal 5- Kaffu Chauhan 6- Jagdev Panwar 7- Brahm Kunvar 8- Asha ar hari hindwan 9- Kali harpal 10-Madho Singh Bhandari 11- rama Dharani 12- Malu rajula 13- Bhanu Bhopela 14- Kalu Bhandari
  The following Ranbhoot Jagar is famous Jagar of Kantura-RanRaut . The story is like as King Arthur  ; some how also reminds the love story of Hsu Sheng and many tragic love and war stories all over the world
  The beauty of poem is that the creator used many Upma Alankar (similarity and comaparision) very effectively . The excellence of poem also fit in poetic form. the raptures as Pathos, chivilary, love are well wooven. There is ample proof that the crator of this folk poem was knowing human psychology and knew dream psychology very well too. Story telling is simple and seems that in every age the poetic form changed with time and narrator. the story provides glimpose of Kaintura Raj and many Gadhis in Garhwal around third century
             कैंतुरा रणभूत जागर
 

होलू कालू भंडारी मालू मा कु माल
अनं का कोठारा छया वैका , बसती का भंडारा
गाडू घटडे छई , धारु मरूडे
धनमातो छौ , छौ अन्न्मातो
जीवनमातो छौ कालू स्यौ भंडारी
आदि रात मा तै  सुपिनो होयो
सुपिना मा देखी विनी स्या ध्यानमाला   
देखी वैन बरफानी कांठा
बरफानी कांठा देखे ध्यानमाला को डेरा
चांदी का सेज देखे , सोना का फूल
आग जसी आँख  देखी , जिया जसी जोत
बाण सी अरेंडी देखी , दई सि तरेंडी
नौंण  सी गळखी देखी , फूल सि कुठखी
 हिया सूरज देखे , पीठ मा चंदरमा
मुखडी को हास  देखे , मणियों का परकास
कुमाळी  सि ठाण देखे , सोवन की लटा
तब चचडैक  उठे , भिभडैक  बैठे
तब जिया बोदे क्या  ह्वेलो मेरा त्वाई
आज को सुपिनो जिया , बोलणि आंदो 
ना ल़े बेटा कालू सुपिना को बामो
सुपिना मा मा बेटा , क्या नि देखेंदु
कख नि जयेन्दु , क्या नि खायेंदु
मैन ज्यूण मरणा जिया हिन्वाला ह्वेक औण
तख रौंद माता, वा बांद ध्यानमाला
कालू भंडारी मोनीन मोयाले
तब पैटी गे वो तै नवलीगढ़
भैर को रखो छौ कालू भीतर को भूखो
कथी समजाई जियान वो
चली आयो वो ध्यानमाला को गढ़
ध्यान माला औणी छै पाणी का पन्द्यारा
देखी  औंद कालू  भंडारीन वो
हे मेरा प्रभू वा बिजली कखन छूटे
सुपिना मा देखी छै जनी , तनी छा  नौनि या
आन्छरी सि सच्ची , सरप की सि बची
अर देखे ध्यानमालान कालू भंडारी वो
बांको जावन छौ वो बुरांस को सी फूल
तू मेरी जिकुड़ी छे बांकी ध्यानमाला
त्वे मा मेरो ज्यू छ
सुपिनो मा देखी तू तब यख आयूँ
आज तू मै तैं  प्रेम की भीख दे
तब ल्ही गे वो ध्यानमाला  अपडो दगड
कुछ दिन इनि रेन वो गुप्ती रूप मा
तब बोल्दो कालू भंडारी
कब तैं रौण रौतेली इनु लूकी लूकिक
तब ध्यानमाला का बुबा धरम देव
 कालू भंडारी मिलण ऐगे
सुण सूण धर्मदेव धरमदेव
मै आया डांडा टपीक, गाडू बौगीक
मैं जिउण   मोरण राजा
तेरी नौनि ध्यानमाला ल़ाण
ऐलान्दो बैलोंदो तब राजा धरमदेव
मेरा राज मा अयाँ होला
हैंका राज से पांच भड
साधी लौलो ऊँ तैं जु कालू भंडारी
ब्यावोलो त्वे ध्यानमाला
कालू भंडारी का जोंगा बबरैन
वैका छाती का बाळ जजरैन
उठाए वैन तब नंगी शमशीर
चली गये हैंका हैर भड़ू साधण
इतना मा गंगाडी हाट का रूपु
आयो ध्यानमाला हाथ मांगण
ब्यौ को दिन तब नीछे    ह्व़े गये
पकोड़ा पकीन, हल्दी रंगीन
नवलीगढ़ मा कनो उच्छौ छायो
कालू भंडारी लड़दू रेगे भड़ू  सात
तै के कानू मा खबर नी पौंची
पिता की मर्जी , अपणी नी छें वींकी
बरांडी छे किरांदी छे वा नौनि ध्यानमाला
तब सुमरिण करदी वा कालू भंडारी
तेरी मेरी प्रीत दूजा जनम ताई
किस्मत फूटे मेरी बिधाता
जोड़ी को मलेऊ फंट्याओ   
तब देखे वैन ध्यानमाला रोणी बराणी
जाणि याले वैन होई गे कुछ ख्ट्गो
रौड़दो -दौड्दो आयो माला का भौन
हे मेरी माला क्या सोची छै मैन
अर क्या करी गये दैव
कालू भंडारी , हे कालू भंडारी
मेरा पराणु को प्यारो होलो कालू भंडारी
मेरा सब कुछ तू छ मैं छौं तेरी नारी
देखे वीं कालू भंडारी क्वांसी आन्ख्युन
हात बुर्याँ छा वैका , खुटा छा फुक्यां
कांडो सि होयुं छौ वो सुकीक
मेरा बाबा यें कतना तरास सहे
गला लगाये वीन तब कालू भंडारी
मरण जिउण ही जाण
तब बोल्दु कालू भंडारी
तेरी माया ध्यानमाला मैकू सोराग समान
कु जाणो क्या होंद बिधाता को लेख
पर मैं औंलू ब्योऊ का दिन
तू मेरी माला आखिरें फेरा ना फेरी
तब वखन चलिगे वो कालू भंडारी
कुछ दिन बाद आये ब्यो का दिन
गंगाडी हाट मा तब बारात सजे
ब्यौ का ढोल दमौं घारू गाडू गजीन
नवलीगढ़ राज मा भी बजदे बडई
मंगल स्नान होंदु माला लैरंदी पैरंदी
धार मा की गैणा सि दिखेंदी माला
बोलदी तब वींको जिया मुलमुल हंसी
ध्यानमाला होली राजौं का लेख
गंगाडीहाट का रूपु गंगसारा की
तब नवलिगढ़ बारात चढ़े
मंगल पिठाई हुए षटरस भोजन
तब ब्यौ को लग्न आये , फेरों का बगत
छै फेरा फेरीं मालान , सातों नी फेरे
मै अपण गुरु देखण देवा
तबरेक ऐयीगे तख साधू एक
कालू भंडारी छ कालू भंडारी
पछाणी मुखडी वैकी मालान
वींको आंख्यी मा तब आस खिलगे
प्रफुल ह्व़े गे तब वा ध्यानमाला
मेरा गुरुआ होला तलवारी नाच का गुरु
मै देखणु चांदु जरा नाच ऊंको
तब गुरु स्सधू बेदी का ध्वार आइगे
नंगी शमशीर चमकाई वैन
एक फरकणा फुन्ड़ो मारी एक मारी उन्डो
पिंडालू सि काटिन वैन गोद्डा सी फाडींन
कुछ भागिन , कुछ मारे गेन
मारये गे वू रूपु गन्गसारो भी
तब बल मु ध्यानमाला ही छुटी गये
लौट आन्दु तब वीमुं कालू भंडारी
ओ मेरी माला आज जनम सुफल ह्व़े गे
अगास की ज़ोन पायी मैं फूलूं की सि डाळी
तब जिकुड़ा लगैले हातून मा धरिले वा
आज मेरो मन क मुराद पुरी होए
तबरे लुक्युं उठै रूपु का भाई
लूला गंगोला वैकु नाम छायो
मारी दिने वैन कालू भंडारी धोखा मा
रोये बराए तब राणी ध्यानमाला
पटके जन उखड़ सि माछी
मैं क तैं पायूँ सुहाग हरचे
मैंक तैं मांगी भीख खतेणे
कं मैकू तैं दैव रूठे
रखे दैणी जंगा पर वीन कालू को सिर
बाएँ जंग पर धरे वो रूपु गंगसारी
रोंदी बरांदी चढ़े चिता ऐंच
सती होई गे तब ध्यानमाला 
References:
Shambhu Prasad Bahuguna in Virat Hriday
Dr Govind Chatak : Garhwali Lok gathayen
Dr Shiva Nand Nautiyal Garhwal ke Lok Nrity Geet
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Bhishma Kukreti

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Culture and Folk Literature of Kumaun Garhwal Himalayas
                  Jagar for Blessing : Making People Positive Thinker
                  आशीर्वचन जागर
 
                     Bhishma Kukreti
   People arrange Ghadela or Pando Nrity etc for worshipping deities. The Jagari narrates poetic story and plays musical instruments  Daunru-Thali or Dhol-Damau
  At the end Jagari on behalf of deity or Bhoot provide blessing in Jagar style (Bhaun) . This blessing  Jagar is absolutely for enhancing the self esteem, self confidence, self moral and is definitely a positive notes for those who arranged Dev Poojan /Ghadela/pando Nrity /Ranso etc and for audiance too. This is marvelous piece of enhancing self confidence of devoties . There are direct blessing words and symbolic too
I salute to creator of the poem .
  Today psychologists charge unbelievable fess for making patient postive or changing negative frame of mind into POSITIVE FRAME OF MIND and suggest them to speak as " I am Ok , I will succeed , I believe, I will be healthy, i will have wealth for future. I will get Fame ."
Our forefathers were born psychologists and they created following poem for creating positive frame of mind for whole population of village
Definitely at all ages making people in postive frmae of mind is difficult job but our folks found the way with the help of Ghadela-Mantra-tantra  etc . The said poem is still valid for who are in villages, towns, cities, metros or are travelling to Marsh
           यूँको राज राखी देवता
           यूँका माथा भाग  दे देवता
           यूँका बेटा -बेटी राज रखी देवता
           यूँका कुल की जोत जगै देवता
            यूँका खजाना जस दे देवता
            यूँका डंड़याळी भरीं रै देवता
             यूँका साग सगवाड़ी रोज रै देवता
               नाज का कुठार  दे देवता
             धन का भण्डार दे देवता
         
Curtsey : Book by Dr Shiva Nand Nautiyal
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Bhishma Kukreti

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Modern literature of Garhwal, Kumaun , Himalayas
Jeeja Sali ka Has Prahasan Majak Prasang ( Funny Moments between Sister in Law and Brother in Law) in Nagraja :

 नागराजा महाकाव्य में जीजा साली has parihas, मजाक प्रसंग

             Bhishma Kukreti

      It is common everywhere that at the time of marriage ceremony , sister in laws do fun with dulha (Groom) . In nagraja when lord Shiva got married and the Barat was returning or doing see off . At that time , his sister in laws or sisters of Gauri from her village do fun with jeeja or brother in law (lord Shiva) . The fun is marvelous and the readers will smile. There is indication of an old custom of Negi Chari when the bride family used to offer maid servants as Dehej ( dowry)  to groom family. This is the characteristics of great poet (Mahakavi) Kanhayalal Dandriyal to narrate the serious story with local atmosphere and custom. The Nagraja is all about philosophy and mythology related to marriage of Lord Shiva with Sati but Dandriyal did not make it serious but made it as part of Garhwali society of nineties. No body can challenge the art, capacity and capability of great poet (MahakavI) Kanhayalal Dandriyal for  fine blending and  mixing  realism with philosophical and religious subject


                    कै बुद कैकी     बामण , करदा बिदा         बरात
                     दगडया ऐ गेन तब गौरी की ब्व्दीन जोडिहात
जीजा क दगड त्वडे   नि देई
जाओ नेग हमारू यू चुकाई
निम्णि   मुखडी देखी स्याळीयूँ  की
कुम्पळी स्वाणि जनी फ्यूंळी की
ब्वल्दी शिव तुम दगडू नि त्वाडा
नातो भलो प्रेम को ज्वाडा
चलो दगड कैलास हमारा
दास छंवां   बिन मोल तुम्हारा
विजया बोद जंगी छें छिन क्या
गाणी करदौ  गिच्ची टपटये  या
ल्हाओ नेग की झगुली बिकाओ
जोगी कर्ज हमरु ल्ही जाओ
            नन्दीश्वर ल़ा  बोली तब , झगुली मोल नी ह्वेली
            तवे तैं छोडि नी जौंलू हम  छे तू   प्यारी स्याळी
(महाकवि कन्हया लाल डंडरियाल : नागर्जा , भाग -१ शीर्षक - बिदै  , पृष्ठ २३० )
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Modern Literature of Garhwal, Kumaun and Himalayas

 Garhwali Sanstha : A Realistic Poem by   Great Poet (Mahakavi ) Kanhayalal Dandriyal

             (Garhwali Realistic Poem, Himalayan Rrealistic Poem)

                                      Bhishma Kukreti

       Learned critics as Dr Jadali, Dr Nand Kishor Dhoundiyal, Dr Manjula Dhoundiyal , Bhagwati Prasad Nautiyal , Bhishma Kukreti, Himanshu Sharma and famous poets as Parashar Gaud, Madan Duklan, Puran pant, Virendra Panwar , Jai Pal Singh Rawat state that Mahakavi Kanhyalal Dandriyal is one the 200 Greatest Poets on this earth ever born.

                The poem 'Garhwali Sanstha' of great poet (Mahakavi) Kanhaya Lal Dandriyal is another example for Dandriyal being a great poet.

 In every major city, there are migrated Garhwali sttled due to their need of employment. It is a fact that  Garhwali social organizations emerge as mushrooms and die as mushrooms only . the great poet Kanhayalal Dandriyal was aware and had experience of birthing of Garhwali social organizations and their short death too.  The great poet Dandriyal had an innovative imagination to express his views about Garhwali social organization too  . Greta poet used metaphors and many known and created symbols to express and to tell his readers in his own style. Great poet Kanhayalal Dandriyal also did experiment in style and form when in Garhwali poetry world, experiment was rare gene

The great poet shows the life style of migrated Garhwali in cities of India with  simple realistic techniques .. Kanhayalal does not do preaching as his predictors were habitual to do so . knhayalal shows the contemporary life as it is without any degree of  exaggeration

This poetry is as realistic as  poems   ‘The Millers tale of Geoffrey Chaucer,  ‘My Mistress's Eyes’ of  William Shakespeare; ‘A Description of the Morning’ of Jonathan Swift ; Peter Grimes of George Crabbe:;  Porphyries’ Lover of Robert Browning; Friends Beyond of Thomas Hardy Danny Deaver of  Rudyard Kipling; poems of Vladimir Mmayakovsky ,poems of Ramon de Campoamor ,Emilio Ferrari .

The poem is as :

             गढवाळी संस्था
           ज्ल्मी त भौत छै
पर कैन बि पूरी मन्था नि खै
कुछ कैन पणसैन  , कुछ कैन उगटेन 
तन्नी कुछ .. अफ़ी हरची गैन
हुणत्यळी छै , गुणत्यळी छै मयळी  छै
पर ..उंकी पुछ्ड़ी फ्न्कुड़ी निम्खणि छै
हाँ .. ऊंका नियम बड़ा कठोर छा
धारणा ध्येय बी विशाल छा
जो रजिसटरूंम ल्यख्यां छा
बाँधी बून्धी बस्तौं मा धरयां छा
पैलि पैलि ऊंसे सबकू लगाव छौ
नौन्याळ समजी  खुखली खिलाणो चाव छौ
तब गढ़वालै तरक्की सवाल छौ
इस्कोल , अस्पतालौ ख़याल छौ
अपणि भाषा किलै नि ब्वना 
यांको मलाल छौ
अब......
नौनि ब्यवाणा हांळ चा 
नौने नौकरी समस्या  चा
कोठी बणाणे लिप्स्या चा
जिन्दगी भर कं रै ग्याँ पाडि पाड़
यांको मलाल चा
हाँ कै बगत
एकाद सांस्कृतिक प्रोग्राम कै
खुद बिसराणे /ब्यळमाणो ख्याल च
झणि कत्गौंल अपणये  छै
फेर झणी किलै छोड़ बि दे छे
ऊन कैसे मोह नि तोड़ी छौ
कैकु दीद बि नि तोड़ी छौ
पण सुदी सुदी अपणे  आपस म
द त्वी समाळी   ल्हें रै तैंते
न त्वी भटगे  ल्हें
बडो ऐ संस्थौ वालु   .. ल्हें समाळ
जा जा त्वी घटगे ल़े
जबान समाळी बोल
जीब रूंगड़ दूंगा नथर
अरे चल बे चल
बड़ा आया गवरनल  का बच्चा
द.....
स्यूं कि  त  ह्व़े गे पछिन्डी
बणया भाजी ग्या कठुग कोच्ची ग्या
हे भै ....
क्य ह्वालू यीं को
फुकीण  दे मोरी जाण बलें 
कैरू त क्या कैरू
इनि इनि कै
कुजणि कब बटें अब तैं
उपजदी गेन
हरचदि गेन
गढ़वळी संस्था
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Culture and Folk Literature of Kumaun, Garhwal, Himalayas
                           Chhuda/Chhude Songs : Primitive Types of Song and Dance
                                           छुडा गढ़वाली लोक गीत
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                      According to the folk literature expert Dr Shiva Nand Nautiyal , the Chhude /Chhuda songs are one of the primitive types of songs of garhwali Kumaun regions.
These songs are the extraxt of various experiences or philosophy aand love songs too. In fact these songs (smallers ones ) are the next step of Bajuband Kavya of Garhwal.
 There are preacing stanzas or love with satire/humour in these songs
    There are three types of Chhuda/Chhude songs as per plcaes and time
1- Preaching by old experts as
 सवाद कै बणाणो  साग , सवाद कै बणाणो भात
जैपर लागो चित मन , तैकि  नि पुछणि  ज़ात
Or
एक ना मरयां बाला  की बोई 
एक ना मरयाँ तरुणा की जोई
बालो रोंदो  खाबूडि हटाई
तारुणो रोंदो सातुरी सोई
ढाड़  ढई जै पापी यमराज की
जैन यो मरणो कियो
( शिवानन्द नौटियाल : गढवाली  के लोक मानस)
Dr Chatak in his book Garhwali Lok Geet offere another example of Chhuda/Chhude love Songs as
चाणी रा आज को दूसरो
चाणी रा भोळ को रात
सोना की पकौनु पस्तुड़या
मोत्यां कु पकौनु भात
न रैन्दो आज की दोशरी
न रंदो भोळ की रात 
नौखिले गिरण मेरी
औटाल्टी  ब्यांदी रात
Dr Shiva Nand Nautiyal offers another Chhuda song of Khadwaal or Shepherds from the manuscript collections of Matvar Singh Negi, Communication and information officer of Chamoli Garhwal as
             ख़ड्डवाल़ो का प्रेम छुडा गीत
              Folk Love Song of Shepherd of Garhwal
गैल क  सुणेद गैलिया  तू मेरु झोलिया जाया
कामोठ्या लागौंदु फिडूळी , घर की ठकराणी दिया
 गैल क  सुणेद गैलिया , हमारी मेरु की टोली
देण को मैं दीन्दो पर स्या ठकर्वाण कू होली
सत्य धणिया चौरास लांदी , घनु बंगाँण की बेटी
सीर तैंकू मथ्यावेण , कमर चांदी की पेटी
न खांदु बल तेरी फिडूली सात दोफारी की बासी
मै ल़ी लिया लान्सू चौंरी , गाफू - गाफू धरिया मासी
गाबू चरली खिरमाखिर भेडूल़ी  चार्ली चून
आन्गुदी लोडया लासु चौंरी सूँ कौरी छुटली ऊन
तेरु सामल कु सम्लेंदु मेरु लाख्डू कु भारु
ओडुला मुई छुई , काणि , कथकू पड़यूँ   त्वे थरु
खिड को घनोर  चारि लिया भैर भुज्याल ल़ो आया
जिकुड़ी बताया उल्टी , बासली कंड़ूल आया

Bhishma Kukreti

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Modern Literature of Kumaun, Garhwal, Himalayas

        Shubh Kamna A Short Humorous Poem by Kanhayalal  Dandriyal

          शुभकामना : महाकवि कन्हया लाल kee  एक कालजयी कविता

                       Bhishma Kukreti

            Graet Poet (Mahakavi)    Kanhayalal Dandriyal offered Garhwali literature various types of literature as poetry, plays, stories and prose. However, common readers know him more for his wit, humour satire in his poetries. Kanhayalal Dandriyal provided  many styled poetries to Garhwali literature . Great Poet ( Mahakavi) Kanhayalal Dandriyal , Abodh Bandhu Bahuguna, Prem Lal Bhatt, Lalit Keshvan, Jayanand Khuksal are prominent poets who brought new style and thinking in Garhwali poetry. All did some experiments with poetry treatment too

  The following small poetry ‘Shubh Kamna ‘ of great poet (Mahakavi ) Kanhayalal Dandriyal is a marvelous piece of satirical , witty, and humorous poetry. Garhwali readers  enjoy the wit, the humor of this  poetry as the Japanese readers enjoy  the  small poems of Japanese poets as Basho, Issa, Buson , Ryoko, Sano Ryota, Tomiyasu Fusei, Yoshida Itto, Masaoka Shiki or Yano Kimbo

                    शुभकामना
                  भगवान् सब्बुं तैं
                   यशवान , धनवान
                   बलवान बणोउ
                  पर मी से बकै   ना
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Great Epics of India

            Nagraja : A Great Modern Epic of the  World
      ( Review of Nagaraja an epic by Kanhayalal Dandriyal )
                     Bhishma Kukreti
Wikipedia defines the epic as “ An Epic (from the Ancient Greek adjective ἐπικός (epikos), from ἔπος (epos) "word, story, poem  is a lengthy narrative, storyline  poetry  ordinarily dealing  a serious subject having details of heroic acts and activities  and events significant to a culture, region, people  or nation. Oral poem may be eligible as an epic, and Albert Lord and Milma Parry have discussed that the classical epics were essentially   an oral poetic form. Even so , epics have been written down at least since the literary works of Virgil Dante Alighieri, and John Milton”
The scholars divided epics according to time, subjects, nations, regions or languages . The classification of epics when they were created is better classification as it is easy to find out reasoning of creation and effects of one philosophy to another one of that time or other time.
  There are hundreds of epics created all over . However, the following epics are famous epics.
1- Epics of before 8 th century B C
The scholars claim that the initial epics in the civilized world were  Epic of Gilgamesh (Mesopotamian mythology0, Atrahasis (Mesopotamian mythology) ,Enuma Elish (Babylonian mythology) created 20th to 10th century B.C .
2-The Famous Epics from 8th to 1st  Century BC are Iliad,  (Homer ,Greek mythology),Odyssey, ( Homer Greek mythology)Works and Days ( Hesiod ,Greek mythology); Theogony,( Hesiod ,Greek mythology); Catalogue of Women ( Hesiod , Greek mythology) The Shield of Heracles ( Hesiod ,Greek mythology); Mahābhārata ( Vyasa, Hindu mythology) Ramayana (  Valmiki Hindu mythology); Argonautica  ( Apollonius of Rhodes ); Annales ( Quintus Ennius , Roman History); Aeneid ( Virgil ; Latin mythology); and De rerum natura ( Lucretius Latin )
 The details of epics of this era shows that India, Greece and Italy  were the centers of education, literature, religion, spirituality, policy thinkers and philosophy. The philosophy and social disciplines were major issues before philosophers. The epics were very much becoming the source of preaching about different policies and code of conducts to the common men
3- Notable Epics of Various Languages or Regions from 1st AD to fifth Century are Metamorphoses ( Ovid ,Latin mythology) ; Pharsalia (y Lucan Roman history) ;Punica ( Silius Italicus , Roman history) ;Argonautica ( Gaius Valerius Flaccus a Roman poet, Greek mythology) ;Thebaid and Achilleid  (Statius a Roman poet, Greek mythology) ;Buddhacarita ( Aśvaghoṣa, Indian epic poetry) ;Saundaranandakavya ( Aśvaghoṣa,Indian epic poetry) ;Silappadikaram ( Prince Ilango Adigal ,Tamil, India) ;Manimekalai  Seethalai Saathanar , ,Tamil, India); Civaka Cintamani ( Tirutakakatevar , ,Tamil, India); Kundalakesi (Buddhist Poet ,India); Valayapati ( Jaina poet , India); Posthomerica ( Quintus of Smyrna ); Evangeliorum libri ( Juvencus ); Kumārasambhava ( Kālidāsa , Sanskrit, India) ;Raghuvaṃśa ( Kālidāsa, Sanskrit,  (India) ;De Raptu Proserpinae ( Claudian );Argonautica Orphica and  Dionysiaca ( Nonnus ),   
The period and epic history witness again that India ,  Rome , Greece and nearby parts of Italy were governing literature, philosophy , political awareness and spiritual thinking . In india, the epic creation was spreading in other languages than Sanskrit and Jain or Buddhists priests also started to create . now , the epics were coming out from preaching to other raptures and other aspects of literature too. It may be called that epic in this era started expanding from one point focus to other important aspects of literature too. Definitely, kings and religious inspiration was main point of creating epics.
 China, Japan and Korea regions definitely created folk literature  or stories but from Epic point of view , German philosopher Hegel states that since, the way of thinking and observing of Chinese people (hence, Japanese and Korean as well) was prose like that there was no epic creation till late or till mid evil era.
 Cambodia, Singapore, Thailand, Vietnam and other Pacific Asian countries were under Indian control or influence and could be said that their epics are same as of India in this period.
3-The  Epics from 500to 1500 Ad are Táin Bó Cúailnge  ( Irish- Old ) Bhaṭṭikāvya, (Sanskrit , India ),Kiratarjuniya ( Bharavi, Sanskrit , India ), Shishupala Vadha ( Magha, Sanskrit, India ) ;Beowulf (Old English language) ;Waldere ( Old English); David of Sasun (Armenian) ; Bhagavata Purana (Vyas, Sanskrit, India,) Shahnameh  (Persian languagr from Persia) );Waltharius ( Ekkehard of St. Gall , Latin) ;Taghribat Bani Hilal (Arabic) ;  Harshcharitam ( Vanbhatt, Sanskrit, India ) ; Ruodlieb ( A German author in Latin Language) ; Digenis Akritas (Greek) ; Epic of King Gesar (Tibet) ; Chanson de Roland (Old French, France) ;The Knight in the Panther Skin ( Shota Rustaveli ) ;Alexandreis ( Walter of Châtillon, Latin) ;De bello Troiano and the lost Antiocheis ( Joseph of Exeter ) Carmen de Prodicione Guenonis, (in Latin ); Architrenius ( John of Hauville, Latin ) ;Liber ad honorem Augusti  ( Peter of Eboli, Latin) ; The Tale of Igor's Campaign and Bylinas ;Nibelungenlied ( German) ; Parzival ( Wolfram von Eschenbach, German) ; Brut (Layamon in Early Middle English language) ;Chanson de la Croisade Albigeoise (Occitan) ;Antar (Arabic language) ; Sirat al-Zahir Baibars (Arabic) ; Epic of Sundiata and El Cantar de Mio Cid (Spanish in Old Spanish language) ;De triumphis ecclesiae ( Johannes de Garlandia ,Latin language) ;Gesta Regum Britanniae ( William of Rennes, in  Latin language ) ;Jewang ungi by Yi Seung-hyu ( Korea) ; Gadobhavo  ( Vakapatiraja,  Prakrit- Marathi, India) ; Kumarpalcharitr ( hemchandra Suri, Prakrit-Marathi, India ) Decameron ( Giovanni Boccaccio ); Confessio Amantis ( John Gower ) ;Cursor Mundi (An Anonymous Cleric ) ;Divina Commedia -The Divine Comedy  ( Dante Alighieri, Italian language ) ;Africa ( Petrarch, in Latin) ; The Tale of the Heike (Japanese ) ; Alliterative Morte Arthure (Middle English language) ;Orlando innamorato ( Matteo Maria Boiardo ) ;Shmuel-Bukh (Old Yiddish Chivalry ); Mlokhim-Bukh (Old Yiddish )  Book of Dede Korkut ; Kamban Ramayan (Tamil, India) , Kotha Ramayan ( Madhva Kandali Asamese, India) ; Kritvasi Ramayan (  Kritbas Ojha , Bengali, India) ; Yogeshwara Ramayan ( javanese Language); Ramker ( Cambodia, Khmer Language) , Mahabasma (Pali language, Sri Lanka) ; Mahabharat (Telugu version of Mahabharata – Three poets- Nannayya, Tikkana, Errana, India) ; Vardhman Charitr ( Asaga, Knnada, India) ; Adipuran (Kannada, India); Epic in Oriya language by Sarala Das .
    The period is very long to get exact similar characteristics from epics of all countries and areas. However, there is a very specific characteristic of this era is that Sanskrit in Jamboodweep (Old India)  started to get less importance from court and literature creators and  Latin too started to get lesser importance in court and people as well. In Middle east initially Arabic creators got inspiration from Sanskrit classics and they transformed story telling methodology to new height but due to new religious, social and political changes in the area stopped further development in mythological story telling methodology.
In India after eighteen Purans, the Sanskrit epic creation got almost total setback.
                Dan Ben-Amos the famous critic reviewing the remarkable book “  Oral Epics from Africa: Vibrant Voices from a Vast Continent. Edited by John William Johnson, Thomas A. Hale, and Stephen Belcher” quoted the theory of writers as,  “  Epics were uncommon in Africa, or so it was consideration. Back in the thirties H. Monro and Nora K. Chadwick stated n their  research  The Growth of Literature (1932-1940) that the researchers duo could  not found any trace of developed narrative poetry in Africa. Monro and Chadwick  attributed this lack of material not only to the state of the record but, more significantly, to the lack of "prolonged efforts on the part of the African composer or recite." Twenty years and a war later, C. M. Bowra, a  distinguished scholar, stated unequivocally that African tribes have in general no daring, gallant or heroic  poetry, characteristic this require to the failure of the oral poet outlook which is "limited to the actual present, and this failure to conceive great events in objective setting."  By that time pragmatic or empirical evidence began to mount and refute any preconceived notions about the creative incapacity of poets and dramatists or performers in Africa. In 1967 Jan Knappert researched the publication of epics of the Ankole, Bushong, Fulani, Hoausa, Luba, Malinke-Soninke, Nkundó, Rwanda, Songai (Songhay) and Swahili,  but three years later Ruth Finnegan chose to ignore these texts, and adhering to a strict criteria of length and verse, argued again that -Eepic hardly seems to occur in sub-Saharan Africa.”.   The opening statement of the book review byf Dan Ben Amos clarifies for non creation epics in earlier period in Africa.
 This era witnessed epic creation in Japan and Korea too .Yiddish, the language of migrated Jews of Europe  also started flourished by means of epics. Old French old English and old German or Italian languages started to get more prominence in their particular region as far as literature creation is concerned.
 The period studied in context of epics, also suggest that Greece stopped influencing the heroic, philosophical and spiritual writings.
   Due to Islamic rulers, Sanskrit was losing its high position as it had in past in India and local language creators started creating Khand Kavy or long poems and Mahakvya or epic in their languages . however, it is witnessed that the subjects of local language epics in India had been from ramaya, Mahbharat of Purans with liitle exception that local heroes were made deity or supernatural human beings.
4-  Epics from 1500 till Date are Orlando furioso ( Ludovico Ariosto ) ; Os Lusíadas ( Luís de Camões )La Araucana ( Alonso de Ercilla y Zúñiga ) ; La Gerusalemme liberata (Torquato Tasso )Ramacharitamanasa (Goswami Tulsidas , Awadhi language, India) Lepanto by King James VI of Scotland (1591) Matilda ( Michael Drayton )The Faerie Queene ( Edmund Spenser )DandiRamayan  ( Balram Das, Oriya language, India );  Setubandh ( Prakrit language, India) , Ramchandrika ( Keshav Das, Braj, India ) ; Veersinghcharit  ( Keshav Das, Braj, India) ;The Barons' Wars ( Michael Drayton );The Purple Island ( Phineas Fletcher ) ; Szigeti veszedelem,(Known under the Latin title Obsidionis Szigetianae, a Hungarian epic by Miklós Zrínyi ) ; Davideis ( Abraham Cowley ) ; Paradise Lost by John Milton (1667) ;Paradise Regained by John Milton (1671) ;Wojna chocimska ( Wacław Potocki ) ; Prince Arthur (Richard Blackmore); King Arthur ( Richard Blackmore (1697) ; Chhatraprakash ( Gorelal, Khadi Boli , India) ; Raj Vilas ( Man, Old Hindi); Eliza ( Richard Blackmore ); Columbus ( Ubertino Carrara );Redemption  ( Richard Blackmore ); Henriade ( Voltaire ); La Pucelle d'Orléans ( Voltaire ); Alfred ( Richard Blackmore ); Utendi wa Tambuka( Bwana Mwengo ) ;Leonidas ( Richard Glover ); Epigoniad ( William Wilkie ); The Highlander ( James Macpherson )  ;The Works of Ossian ( James MacPherson) ;O Uraguai  ( Basílio da Gama ); Caoineadh Airt Uí Laoghaire** ( Eibhlín Dubh Ní Chonaill ); Der Messias ( Friedrich Gottlieb Klopstock ) ; Rossiada by Mikhail Matveyevich Kheraskov ) ; a An epic by Mikhail Matveyevich Kheraskov ;Athenaid  ( Richard Glover _Joan of Arc ( Robert Southey); Hermann and Dorothea by Johann Wolfgang von Goethe (1797) ; Hmairraso (Jodhraj, Old Hindi local dialect, India) ; sujancharit ( Sudan, Hindi old version, India) ; Mahabharat ( Sabal Singh, Old Hindi-local regional dialect, India); Braj Vilas ( Brajwasi Das , Local Hindi, India) ; rameshwamedh ( Madhusudan Das, regional Hindi, India); Krishn Chandrika (  Guman Mishra, Regional Hindi, India) ; The Conquest of Canaan ( Timothy Dwight ) ;Ramakein ( Thailand) ;Mahabharat ( Moropant, Marathi Mhabharat, India) Mahbharat (unknown poet, Kashmiri language, India) ; Ramayana (unknown Poet, Kashmiri Language, India) ;Narsimha Puran ( Pitambar das, Oriya Language, India) ;Harivansham  ( Achyutanand Das , Oriya, India); Markandey puran  and Vishnukeshari puran ( both by Mahadev das Oriya, India)  ; Vishnugarv puran ( Chaitanydas, Oriya, India) ; Naga ( Thai  version of Indian Sheshnag ); Mhayatri ( Radhnath, Oriya, India) ; Pannyatsachadok  or  Thai version of Sanskrit Jatak Kathayen   commonly known or referred as  Tales of Prince Samuttakote; The Tale of Kiều ( Nguyễn Du); Thalaba the Destroyer ( Robert Southey ); The Lay of the Last Minstrel ( Walter Scott); Madoc ( Robert Southey ) Faust part one and two ( Johann Wolfgang von Goethe )  ;Columbiad ( Joel Barlow ) ;Milton: a Poem by William Blake ) ;Marmion (poem)  (Walter Scott ) , Epic poem ( Walter Scott ); The Vision of Don Roderink  (Walter Scott );  The Curse of Kehama  ( Robert Southey ); Rokeby and The Bridal of  Triermain  ( Walter Scott ) ;  An Epic by Shelly ; Roderick, the Last of the Goths  ( Robert Southey )  ; The Lord of the Isles  ( Walter Scott ); Alastor, or The Spirit of Solitude  ( Percy Bysshe Shelley );  Revolt Islam (Percy Bysshe Shelley ) ; Harold the Dauntless ( Walter Scott ); Endymion, ( John Keats ) ;The Battle of Marathon ( Elizabeth Barrett Browning ) ;Hyperion, (1818), and The Fall of Hyperion  (John Keats ) ; L'Orléanide, Poème national en vingt-huit chants ( Philippe-Alexandre Le Brun de Charmettes ) ; Phra Aphai Mani ( Sunthorn Phu ) ;Promessi Sposi ( Alessandro Manzoni ); Don Juan by Lord Byron (1824) ;Prometheus Bound ( Elizabeth Barrett Browning ) ;Pan Tadeusz ( Adam Mickiewicz ) ; Krst pri Savici ( France Prešeren ) ; The Seraphim ( Elizabeth Barrett Browning ); Smrt Smail-age Čengića ( Ivan Mažuranić ) ; Evangeline ( Henry Wadsworth Longfellow ) ;Gorski Vijenac ( Petar Petovity Njegosh ); Kalevala  ( Elias Lönnrot , Finnish mythology) ;Kalevipoeg ( Friedrich Reinhold Kreutzwald , Estonian mythology) ;The Prelude ( William Wordsworth ); Song of Myself ( Walt Whitman ) ;The Song of Hiawatha ( Henry Wadsworth Longfellow ) ; La Fin de Satan  ( Victor Hugo ) ;La Légende des Siècles - The Legend of the Centuries ( Victor Hugo ); The Anarchiad ( David Humphreys, Joel Barlow, John Trumbull, and Lemuel Hopkins );The Anathemata ( David Jones ) ;The Adagios Quartet ( Judith Fitzgerald ) ,Canto general (Pablo Neruda ); Parsifal ( Richard Wagner ); Fredy Neptune ( Les Murray );The Ring and the Book  ( Robert Browning ) ; Martín Fierro ( José Hernández ); Idylls of the King ( Alfred Lord Tennyson) ;Clarel by Herman Melville ) ; Krishngatha ( Mlayalam language, India); Shrikrishncharitam manipravalam ( Kunchan Nambiar, Malayalam language, India) ; L'Atlàntida ( Jacint Verdaguer ) ;The City of Dreadful Night ( James Thomson ) ; Eros and Psyche  ( Robert Bridges ) ; Four Quartets ( T. S. Eliot );   Canigó ( Jacint Verdaguer ) ;Lāčplēsis (' Andrejs Pumpurs , Latvian Mythology) ; The Wanderings of Oisin  (William Butler Yeats ) ;Lahuta e Malcís ( Gjergj Fishta ) ; Drake: An English Epic,; , The Torch-Bearers ( Alfred Noyes ); The Ballad of the White Horse ( G. K. Chesterton ) ; Mensagem ( Fernando Pessoa) ; The Cantos ( Ezra Pound ) ;The Hashish-Eater; Or, The Apocalypse of Evil  ( Clark Ashton Smith ) ;The Bridge ( Hart Crane ) ;Ramvatar Charitra (Prakash Ram, Kashmiri language, India) ;Jangikhaveer, (Ali Shah Haril, Kashmiri, India);Jangital (Ali Shah Haril, Kashmri, India) ; Jangi jaakoom (Ali Shah Haril, Kashmiri, India) ; Jangi Amiri hamja ( Ghulam Mohmad Hanfi, Kashmiri , India); Samnama ( Bulbul, Kashmiri, India); Kurukshetra ,, Rashmirathi ), Urvashi ), Hunkar by Ramdhari Singh 'Dinkar' in Hindi, India;  Savitri  ( Aurobindo Ghose ) ;   The Odyssey: A Modern Sequel ( Nikos Kazantzakis ) ;Dymer  ( C. S. Lewis) ;A Cycle of the West ( John Neihardt ) ;"A" ( Louis Zukofsky ) ;Paterson ( William Carlos Williams ) ;Victory for the Slain ( Hugh John Lofting ) ; The Maximus Poems  ( Charles Olson ) ;Libretto for the Republic of Liberia ( Melvin B. Tolson ) ;Aniara ( Harry Martinson ) ;Mountains and Rivers Without End  ( Gary Snyder ) ;Helen in Egypt (Hilda Doolittle ) ;The Changing Light at Sandover  ( James Merrill ) ;The Battlefield Where the Moon Says I Love Youby Frank Stanford ) ;The Legend of Te Tuna ( Richard Adams ) ;Genesis: An Epic Poem ( Frederick Turner ) ;Omeros by Derek Walcott ) ;The Levant ( Mircea Cărtărescu ) ;Astronautilía Hvězdoplavba ( Jan Křesadlo); The Descent of Alette  ( Alice Notley ) ;Cheikh Anta Diop: Poem for the Living ( Mwatabu S. Okantah ) ;  Portvcale  ( Tiago Lameiras ) ; Ramchandravilasam ( Azakath Padmanabha Kurup, Malayalam Language,  India );Rukmanigadacharitam (Pandalam verma, Malayalam , India ) ;Five epics  Pandavodayam, Savitrimahatyam, Goshrisadityacharitam, Vanchisavamsham and Mallayamkolam ( Kodungallar Kochuni , Mlayalam, India ); Shriyashuvijayam (Kattakayam Cheriyan, Malayalam, India);  Keshaviyam ( K.C Keshva , Malayalam)  Umakeralam ( Ullur, Malayalam, India) ; Chitrayogam  ( Vallathol, Malayalam, India) Three epics or Mahakavya – Raghuveercharitam ,Raghavabhyudayam and Uttarabharatam ( Vatakkuma Raja Raja Verma , Malayalam , India) ; Arymritam ( Madhom Parmeshwaran Namburi , Malayalam , india);  Chitrodayam ( Govind Pillai) Isharyelvamsham ( Devassya, Malayalam, India)  Shrikrishnaabhyudayam (  T N Nair, Malayalam, India) ; Vishvdipam ( Putthankavu Mathan Tharakan, Malyalam , India) ; Madhvante Mahakavyam ( M.madhva, Malayalam, India); Urmila ( K K. Kurup, Malayalam, India) ;  Mhaprashthanam ( Devassya, Malayalam , India) , Marthoma Vijayam ( Maris Raninjaa, Malayalam, India) ;  Mahamadam ( Syed Mohammad , Malayalam, India) ; Khamba Thoribi Sheireng  ( Hijam Anganghal Singh, Manipuri Language, India);  Basudev Mahakavya ( Chngangbam Kalachand Singh, Manipuri, India)  Mhakavy based on story of Panipat by Veer Savarkar ( Marathi Language, India) , Bhanubhakta ki ramayan ( Nepali languge , Nepal); Shakuntal ( Laxmiprasad Deokota, Nepalese , Nepal) ; Kavita Gucchchhar ( Devidatta Parajuli, Nepalese, Nepal);   Four  epics Sulochana , Bankusum, mahrana Pratap, and  Pramithas (Dekota  Nepalese, Nepal) ; Adarsh Raghava ( Somnath Sigdel), Nepalese language, Nepal) ; Tarun tapsi ( Lekhat Paudyal, Nepalese); Cheeso Chuhlo   (Balkrishn Shma Nepalese, Nepal) ; Mahamanav (  Modnath Prashrit, Nepalese, Nepal); Davala  (Bikram Pyas, Nepalese, Nepal) Teelu Rautela ( Roop Saklani, Garhwali, India)  Bhumyal ( Abodh Bandhu Bahuguna , Garhwali language, India), Uttarayan ( Prem Lal Bhatt, Garhwali, India) Nagraja part -1 ( Kanhayalal Dandriyal, Garhwali, India) , Nagraja  Part -2 ( Kanhayalal Dandriyal, Garhwali, India ) Nagraja – part 3 and 4 ( Kanhayalal Dandriyal, Garhwali, India) ; Rana Surat Singhi (Bhai Veer Singh, Punjabi, India) Gurudev ( Surendra Singh Kohli, Punjabi, India) ; Three epics  Mard Agmara, Vishva Noor, and Mohan Bali ( Avtar Singh azad, Punjabi, India) ; Malvendra ( Sant Indar Singh  Chakravarti, Punjabi language, India)  nanakayam  (Mohan Singh, Punjabi, India) Pasram Purukh ( Indrajeet Singh Tulsi, Punjabi, India)  Mat Ganga toi Gujari Mat (Niranjan Avtar, Punjabi, India) , Narmad ( A Gujrati language epic, India ) ;Exact Epitome of the Four Monarchies ( Anne Bradstreet ).
 In Bengali, Meghnad Vadh ( by Madhusudan), Viritra Samhar ( hemchandra Benreji) , Raibatak Kurukshetra ( Navinchandra Sen) are major epics. In Assamese, Abhimanybadh ( by Ramaknat Chaudhary), Shitaharan (by Bholanath das), Leela Kvya (By Padmnath g Barua), Kamtaput Dhwanskavya and Tirotan Atmauday ( by hiteshwar Barburua), are major works of epic
         The significant characteristics of this era especially in India is that small population language creators also started creating epics in their own local languages. The subjects, in nineteenth and twentieth century are in varied nature. The epic subject and narration started expanding from religious heroes to realistic heroes or it may be said that contemporariness of the present society has also seen in many epics. Sanskrit and Latin were no more the languages of epics. In Arabic countries, due to social changes , the epic creation came at halt. Countries as in South America or Australia –New Zealand , the epics creation depended on the stories of native lands from where the migrants migrated .
                          Nagraja – Part 1
   Though great poet ( Mahakavi) Kanhaya Lal Dandriyal started writing epic Nagraja from November 1965  and  completed by May 1966. However, the fist part of Nagraja epic was published in 1993 due to economical problems as in Garhwali literature, the writer has to publish and distribute himself. By then Abodh Bandhu Bahuguna published ‘Bhumyal’ epic and Prem lal Bhatt published ‘Uttarayan’. All three epics are different in subject and poetic treatments with keeping characteristics of epic intact.
  In Garhwal and in Garhwali language, the Jagar are the oral source of religious history / Jagar are narrated at the time og Ghadela or Pando  ritual  performances. In one Ghadela, the Jagari ( the narrator and musical instrument player)  . The Jagri narrates one story and depending upon time and the worshiper’s demand , Jagari narrates many stories with main religious theme . All stories are interrelated with each other because deities and goddesses of one theme are definitely related to deities and goddesses of other theme.
    In Nagraja (Part 1 to 4 ) , many stories of deities and goddesses  are narrated in the style of Mahabharata wherein one story is related to other stories by many means. Nagraja (1 to 4)  is Mahbharata of Garhwali language in terms of many stories woven by the creator of epic.
 The first part of epic Nagraja is all about lord Shiv Jee There are following parts in fist episode (part -1) of Garhwali epic Nagraja
Khand – 1
Ganesh Pooja
Brahma Vandana
Srijan
Tam Shrishthi
Sat shrishthi
Lokantar
Kal gati
Daksh Kal
Kashyap yug
Marudgan
Khand -2
Shiv Sumiran
Shiv Uptpati
Daksh Tap
Sati Gatha
Vinti
Bardan
Shiv Sati Sanjog
Prayag Raj
Daksh Yagy
Uttarakhand
Sati Ko lakshy
Rees
Vinash
Karm fal
Shiv Bilap
                                                 Khand – 3, Part - 3
Divy Bardan
Gauri Ko janm
Tap ko bato
Tadasur Prakaran
Kamdevai bhumika
Madan vinas
Rati Vilap
Gauri Viyog
Tap sankalp
Gauri ko tap
Kalyan Karm ko agrah
Pariksha
Adhirata
Divy baman
Sapraunu
Shiv swaroop
Shiv darshan
Gauri ki Prarthana
Parvati ko Gharbaud
Utsav
Natraj
Shiv se Dyabton prarthana
Vaishanav Baman
Sapt rishi
Mangder
Samjhaun
Vakdan
Shiv kee mangan
Himavan ki Taiyari
Barat
Syapata
Virdosh
Maina Tain samjan
Parvati prarthana
Divy Barat
Vedi
Sasu Bhet
Nyuter
Vidai ki taiyari
Karm siksha
Kailash Dham
Skandh janm v tadasur Prasang
Veerbhadr tadsur Khirtu
Tadasur Vishnu Yudh
Tadasur skandh sangram
Tadsur Man
Ganesh Prasang
Ganesh Utthan
Ganesh Vivah
Kartikey Bairgya
Shubhkamna
 The story of this epic is about the life and struggle of Lord Shiva. Great Poet Kanhayalal Dandriyal showed lord Shiva as a person looks after caws and bulls in forest (Gwer)  who nourishes caws and bulls in the jungle . This personification of lord Shiva as  Gwala makes this epic  great epic. Great Epic creator Kanhayalal Dandriyal takes readers to show many facets of life of lord Shiva . In showing the life of lord Shiva , Dandriyal narrates many known mythological stories at India level, many stories related to lord Shiva known in Garhwal and many more which were uncommon either at India level or at Garhwal region.
  The surprising important aspect of Nagraja part -1 is that Kanhaya Lal Dandriyal did show various customs of Garhwal while narrating the stories of lord Shiva and this aspect makes this epic more relevant for Indian people as Shiva looks like a great common man than deity with  lot of inborn power. Here in Nagraja, Shiva struggles as common man and readers relate the struggle of Shiva with his own struggle and by this way readers become part of Nagraja epic.
 As Himasnhu Sharma explains that many contemporary Garhwali customs, jewelries, dressings , farming techniques, the aspects of Shiva as  Gwer/ Charwaha (who takes domestic animals to forest for grazing) , the daily life of Shiva  as a Gwer , the fun aspects in marriage process and marriage ceremony make the epic a realistic poetry book too. The important attraction of epic is that while the aspects of customs and daily life matches with a common Garhwali of nineteenth century , Kanhayalal Dandriyal narrates the stories of Shiva in old Sanskrit Purans and folk stories prevailing in Garhwal. Kanhayalal shows his mastery over blending realism and mythology in this epic. Blending of philosophy with realism is the key central aspect of Nagraja – partas ---
 Jeeja Sali ka Majak Prasang ( Funny Moments between Sister in Law and Brother in Law) in Nagraja :
      It is common everywhere that at the time of marriage ceremony , sister in laws do fun with dulha (Groom) . In nagraja when lord Shiva got married and the Barat was returning or doing see off . At that time , his sister in laws or sisters of Gauri from her village do fun with jeeja or brother in law (lord Shiva) . The fun is marvelous and the readers will smile. There is indication of an old custom of Negi Chari when the bride family used to offer maid servants as Dehej ( dowry)  to groom family. This is the characteristics of great poet (Mahakavi) Kanhayalal Dandriyal to narrate the serious story with local atmosphere and custom. The Nagraja is all about philosophy and mythology related to marriage of Lord Shiva with Sati but Dandriyal did not make it serious but made it as part of Garhwali society of nineties. No body can challenge the art, capacity and capability of great poet (MahakavI) Kanhayalal Dandriyal for  fine blending and  mixing  realism with philosophical and religious subject
  Kanhayalal Dandriyal showed various images of present Garhwal in terms of geography and society. At the same time, Dandriyal also showed more than fifty emotions in this epic too.
 The style of poems is conventional
The story telling style of the epic  is similar to Jagar style of Kumaun, Garhwal and Nepal  . the Jagar style makes the philosophical narration easy to audience to relate them with story and  audience feel involved themselves into the subject. Kanhayalal is expert of using correct and simple phrases of the language but extremely related to the time, place and class of characters  of the story . that is the reason that Sanskrit, Hindi, Urdu, Arabian  and Persian words used in the epic  seems as if they were Garhwali words. Kanhayalal is the master of choosing relevant words and phrase.
  Dandriyal  is also authority on raptures and emotions of poetry. Dandriyal successfully used relevant emotions to create specific rapture and also shows that the poet  also has the mastery over dissolution of rapture and creation another rapture immediately .
                According to Answer.com, there are following 9 key characteristics of an Epic Poem:
1- The epic  opens in the midst of the story (medas res)
2- The setting of an epic poem is vast and it covers many nations, the world and the universe.
3- The epic poetry  usually,  starts  with an chant to ponder.
4-The epic long verse  starts with a statement of the theme.
5 There is use of Epithets in  epic poetry.
6- The epic  includes long lists.
7- The epic poem  features long and formal speeches.
8- In most cases, the epic  shows divine intervention on human affairs.
9- The main performers or Heroes of epic symbolize the values of civilization.
 Kanhayalal Dandriyal’s  Nagraja Part -1 fulfils all the above criteria for being one of the greatest and remarkable epics in the world history
   The epic shows that Kanhayalal Dandriyal has the power of creating best poetry and the epic proves the reason behind Dandriyal as  one of the  greatest poet among 200 greatest poets of this earth ever born.
 The contribution of Kanhayalal Dandriyal for world class literature is immutable. Whenever there will be talk of memorable epics in the world literature forum, the name of Kanhayalal Dandriyal will become essential.
Nagraja Part -1
Epoic Creator: Great Poet ( Mahakavi) : Kanhyalal dandriyal
Published by : Garhwali Sahity Parishad , Kanpur
Available at
Dandriyal prakashan, B Block 5236, Gali no. 115/2 , Sant Nagar , Buradi, Delhi, 110084
Copyright @ Bhishma Kukreti, bckukreti@gmail.com









 
             
               







 

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