Author Topic: Articles By Bhisma Kukreti - श्री भीष्म कुकरेती जी के लेख  (Read 724808 times)

Bhishma Kukreti

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Epics of Asia

 Nagraja Part -2 : Portraying  Krishna as Common Man of Garhwal

(Review of Nagraja – part -2 a Garhwali epic by Great Poet (Mahakavi ) Kanhayalal Dandriyal )

                         Bhishma Kukreti

   (  Nagraja first part was ready in 1965 but due to financial problem Kanhayalal Dandriyal could not publish. The first episode of epic Nagraja was published in 1992 , second episode was published in 1993. The third and fourth episodes were published after death of Great Poet (Mahakavi) Kanhayalal Dandriyal.)

     Great Epic of Asia, Nagrja Part 2 is all about the reason of birth of Krishna, his life and his actions as Deveshawr and Yogeshawr .. Krishna is allover Garhwal in village temple as Nagraja, in Ghadela in folk proverbs, in folk songs, in Jagar, in many religious literature. Most of common Garhwalis also know about Krishna by listening the stories of Mahbharat. Most of Garhwalis don’t miss Shrimad Bhagwat Satsang wherein they listen the minutest part of stories about Krishna. Shrimad Bhagwat also narrates the spiritual wisdom , soul and its existence, Krishna as philosopher and hence, common Garhwali has some kind of knowledge of Atma-Paratma. Therefore, it is difficult for any poet to narrate the story of lord Krishna as the story is already known by Garhwalis and Indians. The beauty of great epic of Asia Nagrja part -2 is that once the reader starts reading first title of the epic, the reader can’t stop reading great epic of Asia Nagrja -2 because not diminishing  the super human quality of Krishna , great poet Dandriyal made Krishna as common Garhwali (no doubt the place is Mathura , Dwarika, Hastinapur) . In this epic Krishna is simple Garhwali farmer’s son who believe in the finest part of Garhwali culture, tradition, belongings , relationship, .

Great poet (Mahakavi) Kanhayalal Dandriyal created this great epic of Asia Nagraja part -2 fulfilling the same objective as William Collins writes,  , “In unsettled times like these, when world cultures, countries and religions are facing off in violent confrontations, we could benefit from the reminder that storytelling is common to all civilizations. Whether in the form of a sprawling epic or a pointed ballad, the story is our most ancient method of making sense out of experience and of preserving the past”. The reading of epic is more relevant in this age than any other age.

        Famous author C.S. Lewis writes that in each poem, there are two important aspects- the purpose of poet in saying the subject and in reality the poetry as thing is made by the poet.  Great Poet (Mahakavi) Kanhayalal Dandriyal successfully gained both aspects in creating great epic of Asia Nagraja -2 . Great Poet (Mahakavi) Kanhayalal Dandriyal did not disturb the mythological aspects, the spiritual aspects, the historical aspects of lord Krishna available in Mahbharat, Shrimad Bhagwat and in folk literature of Garhwal and at the same time adding culture and daily life of Garhwal in serious philosophical subjects as Vandana, Panch Mahabhoot ( Earth, water, Fire, Air or Ether, and sky-the Zero) , Indriya  Vandana, Paratma Vandana take the example of birth of Lord, the  Mother in law, Jithani (wife of elder brother of husband)  are making understand the mother of Lord about Sweel Hon (process of delivering a  child) .
       सिरवाणी फर ढयबर  मट्ठा. द्वरूं  फर थमाळी धौर
आग ताप अंग्यठि फरें मोर पर कण्डाळी को टैर
झुल्ली मुल्ली दूर गाड, वखि नयेणु  जै सदान
पीण खुणी एक बन्ठी धौरी द्यूंल़ा हम ब्वल्यान
 चूळ  तीन गौंत प्यई , गुड़ज्वळी मा  मा घी  सपोड़
ठंड से बचाणु  नौनु , अफु तू भुयां सुदि नी पोड़ी
      In any poem there is opinion of the poet (as what the poet wants to express) and other is what a reader understands in reality. In today’s period readers dislike the direct preaching but an epic cant be without philosophical, spiritual or social  preaching . Great Poet ( Mahkavi) Kanhayalal preached various subjects as if they are informal ones with various cultural rituals as Namkaran Sanskar, or with common most children activities as Mato Khan, Hat Dadan, Thai leen, Chhalyan, darano, Lukkachori, Tuktaulya, Foftiavoiding many food by a mother, slipping of lord from balcony, , tagging the hands and feet of lord by mother and at those times the lord tells the Devine Knowledge as
न भवो न भवो मै त ब्यठुली छौं
रै तू ख्यलणु   सद्यनी, मै तेरी ब्व़े बौणु 
नित्य पूजित म्यरी शांकी ह्व़े तू सद्यनी
नाम तेरी लेन जीव दुःख से तारिन 
    Hennery Miller explains about epic creation as “There is the happiness which comes from creative effort. The joy of dreaming, creating, building, whether in painting a picture, writing an epic, singing a song, composing a symphony, devising new invention, creating a vast industry.” Great Poet Kanhayalal Dandriyal create great epic of Asia Nagraja -2 as picture some canvas. When great poet describes the various food of Garhwal in the following words , the readers feel deeply involved with the happenings of the great epic of Asia :

 क्वादु मेरो मन नी ब्वादु झंग्वरू मेरो दिल को हट
भत्ति मेरी सरका हत्ती, कौणी देली त  मारलु खट
छांछिडि मेरी करद पछिंडि  , वगरा गिंजडि  बडि  अजिंडि
ल्ह्ब्सी हो त चाखुल जरा सी , बाडि देल त छुटल छट
हो कल्यो कि रोटी भ्वरीं घ्यू मा रंगसल्यूं  सि
 नौणी मा चुनळी ताती बासी देली त मारलु खट
तसमई च औ तख्मै, दाळ  भात ल्हौ यखमै
खैड़्वडि बि भलु माणदो . ह्वीं पत्युड खौंलु चट
फाणी  मसफाणी धबडि ना पकौ  रोट ढबड़ी
स्वाळी , अरसी, भुड़ी, पटुडि , ल्हौ इखम्मी करलू  चबट
च्वार मा कु लूण पिसली , अदछळी  सि छाँछ पिवैली
कफळवणी चटणी या झ्वळी क्या पकैल चट 
       Great poet Kanhayalal Dandriyal ‘s poems in this great epic of Asia epic are imagery , realistic, fulfills all the parameters of a great epic, the flow in each poem is natural and with fantastic treatment; the most important aspect is that words or phrase make this great epic of Asia easily readable and understandable to common readers.

         Uses of emotions and raptures are marvelous in this great epic of Asia Nagraja


 It is true as Henry R. Luce states , “Cut quarrels out of literature, and you will have very little history or drama or fiction or epic poetry left”, there are quarrels, confrontation in the epic and that is bound to happen . However, by adding the descriptions of various customs as Dwarachar bhoj, Lagn, mahasankalp, Bardali, Pallaband and the daily life of farmers , Kanhyalal Dandriyal made philosophy and spiritual wisdoms very simple to the readers.

   Great poet Kanhayalal Dandriyal showed by example that Epic can be popular in this machine age , in this age where corruption, selfishness is on peak provided the readers are involved with the seious subject as he did in Nagraja – 2
Nagrja part -2 Available at
dandriyal Prakashan
B Block, 5234 Gali number 115/2
Sant nagar, Buradi, Delhi 110084
Copyright @ Bhishma Kukreti bckukreti@gmail.com


Bhishma Kukreti

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Epics of Asia
           Nagraja Part 3-: A Great Epic by Great Port Kanhayalal Dandriyal
                    (Modern Garhwali Literature, Modern Himalayan Literature )
                                      Bhishma Kukreti
                      Nagraja epic created by Great Poet Kanhayalal Dandriyal is a mile stone in modern Garhwali literature which is published in four parts. The epic Nagraja is one of the outstanding epics of modern literature of all languages. The Great Poet (Mahakavi ) Kanhayalal narrated old mythological stories in Mahabharat style and woven the stories in context of culture, society , economical structure, spiritual thinking or philosophy exist in nineteenth and twentieth centuries in Garhwal region. Kanhayalal Dandriyal successfully wove the mythological stories with prevailing customs of present Garhwal. Therefore, the common readers feel the philosophical and spiritual stories his own and as if he is witness of those stories.
              Nagraja Part -3 published in 2009 Ad after the death of Great Poet.  In Garhwal , there two types of stories exist about Narsingh . One is Narsingh as  incarnation of lord Vishnu and other  common stories of Garhwali Jagar ar Nine  Narsingh as disciples of Guru Gorakhnanth The present epic deals with the mythological subject of Narsingh incarnation of lord Shiva described in Shrimad Bhagvat Puran but with Garhwali touch with and various Garhwali characters as ranRautu, Chetandas, Ramola , Ramoli village, Gangu Ramola and places like --Seem , Mukheem.
There are following chapters in Nagraja part -3
                        Khand -1 (Srishthi )
Vinti
Ranu Rau tar Chetandas
Dharti ka Janm
Dharti ko Dubanu
Dharti tain Bachanu
Bhogbad
             Khand – 2
Hirankasyp ko  Tap ar Vish Vijay
Shotalo
Mi Bhagwan Chhaun
Rajdhani
Prahlad ko uday
Kumhaar ko Aud
Janm Maran ko Gyan
Ram ki Bhakti
Raja Tain Khabar
Prahlad tain sanjhan
Prahlad k uttar
Mantriyon kee salah
Gurukul
Ram ki Bhakti
Mantri ko Sujhav
Narad ko samjano
Hirankasyap ko uttar
Nagun ma Dansan
Kaydhu ki vinti
Daity ko uttar
Ranu Kaydhu ki vinti
Parvat dhikano
Kashyap ko samjhano
Kritya
Holika
Mantra ki salah
Loh Khambh
Narsingh Avtar
Shri hari ki Maya
Narsingh Stuti
Tatv gyan
Yoga r Tantr Gyan
   Bhishma Kukreti stated in  an issue  ofa garhwali  magazine Chitthi Patri (a special issue for memories of Great Poet Kanhayalal Dandriyal) that Kanhyalal Dandriyal incarnates into women when he creates poetry. Writing preface of  this epic too famous writer Pitambar Datt Devrani states that Great Poet portraits the woman as the symbols of sacrifice, earth as mother, dedication, devotion, service, pathos, tragedy,  kindness, tenderness, gracefulness.
     Pitambar Datt Devrani analyzed the  epic and says that the language of epic is simple, understandable without loosing the seriousness of philosophy. The Great Poet Kanhyalal Dandriyal shows his greatness for poetic craftsmanship in terms of lyrical effects, words or phrases as per emotions , . This part -2 of Nagraja epic is full of spirituality and philosophy and shows the knowledge of Great Poet . There are all raptures and fifty two emotions in Nagraja -2 and the poems prove the  great poem creation capability of Great Poet Dandriyal. The epic demonstrates that Great Poet Kanhayalal was master of  using  different figure of speeches as per requirement. The flow in each poem compels the reader to read the poem till end. Pitambar Datt Devrani states that the subject of Nagraja -2 shows that Dandriyal had immense power of observations of smallest thing happening in the society as a whole .
 No doubt, Great Garhwali Poet (Mahakavi) Kanhayalal Dandriyal is no more with us but his epics and other poems make him immortal.
Nagraja Part 3 and 4
By Kanhayalal Dandriyal
Available at :
Dandriyal Prakashan
B Block, 5234 Gali Number- 115/2
Sant nagar, Buradi, Delhi 110084
Copyright Bhishma Kukreti bckukreti@gmail.com



Bhishma Kukreti

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Literary Riddles in Asian Literature 
             Riddle  Poetry by Great Poet Kanhayalal Dandriyal : A New Addition in Modern Garhwali Poetry
                कन्हयालाल  डंडिरियाल की कह मुकरियाँ : आधुनिक गढ़वाली साहित्य में एक नई कड़ी
                             (Riddles in Modern Garhwali Literature, Riddles in Modern Himalayan Literature )
                                         Bhishma Kukreti
     In every folk literature, Riddles, Puzzle , Enigma , Charade are a common aspect. For example, historically, there have been riddle poems in  Anglo Saxon, Teotons and Vikings cultures as these esisted in garhwali culture as maina Ghalan , In Kamsutra  a Sanskrit classic, , Vatsayan called riddle creation as important art among 64 arts. before that Shukraneeti also called riddle creation as important art among 64 arts.  However, riddle type of poems were  not there in modern Garhwali poetry
Great Poet Kanhyalal Dandriyal brough Kah Mukariyan concept /riddles in Modern Garhwali poetry field.
kah Mukariyan means, at the end to deny. The speaker provides hints about the exactness of his saying. the speaker goes on providing hints by hints . At the end when the audience asks the speaker to tell the truth , the speaker provides the answer which surprises the audience. In other way, Kah Mukriyan means  small poem which requires answering fist by audience and then by poet
 As Lewis Carrol , Emily Dickinson , Freidrich Schiller, Charls Simic, Franz von Brentano,  A.A Milne  enriched peotry by creating riddle peotries, same way, Kanhayalal Dandriyal is famous for doing newer experiements in Garhwali Poetry
 there a following couples of riddle poems are love rapture riddle poems by Great Poet (Mahakavi) Kanhyalal Dandriyal . the readers come across the delight of love as well as surprise by opening of secret . Famous literature critic Abrahms states that the specific point of riddle is control over words. Kanyalal Dandriyal was real master of using proper words in Garhwali poetry and following poems are the proof.However, there is no  doubt that modern Garhwali riddle poetry is derived to old tradition in oral poetry of Garhwal and Richard Wilbur states for literary riddle as , " Poetry's Debt to Poetry"
 
भली लगदी मैं वींकी तान, , फूलूं का बागवान
रुवाई जांद मी कैको प्यार, हे तेरु गेल्या ,  ना अनगार ---१
फजल ब्यखुनी बस वैका ध्वार , काखुम बैठी खुटी पसार
जलत्यरू , खाण पकाणो भलो , , हे त्यारो गेल्या ? ना स्यू ना ,  चुल्लू --२
हाथ खुटों पर चुनगी दीन्दा , रात उ सैरी त सीणि  नि दीन्दा
मनदा   नी चा नाक बि घुरसू, हे तयार स्वामी ? न ये न , सरसु --३
वै से म्यारो भारी प्यार वै के सैन सोला सिंगार
वैन ही बिंदी स्युन्द संवारण , हे त्यारो स्वामी ? न ये न , दर्पण  ४
दूर कखी बटी कबि ऐ जांद , मेरो निर्स्युं प्राण सस्यांद
बात बिगोंदा कै इतवार , हे तेरी दगड़या  , न ये न, रैबार -5

Refrence: Kah Mukariyan by Kanhyalal Dandriyal; Burans (1965) , A Garhwali Poetry  Collection , edited by Ganesh Sharma (Bahuguna) page -1
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Bhishma Kukreti

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Modern Literature of Asia

   Sestet form of Poem by great Poet Kanhayalal Dandriyal

 महाकवि कन्हया लाल डंड़रियाल की कुंडलियां

 ( Modern literature of Garhwali , Modern Himalayan Literature)

                          Bhishma Kukreti

Worldwide, there are Bajuband Kavya, Doha,  Chaupaya, Chalisa, Shloka, Richa, Pantoum, Acrostic, Carnia Figurata , Sestina, Samhita, Sonnet , Rondeau,  Jintishi  ,  Rounded, Villanelle , Triolet, Rondelet, Canzone, Haiku, Tanka, Rubia, Ode, Sijo, Ghazal, Cliquain  Gogyokha , Minnesang, Linerick,Fixed Verses, Postourelle, Lune, Murabba, Stey, Yolk etc as major forms of poetry . There is a specific form of poetry specially in north Indian languages and dialects called Kumadaliyan . there are six lines in a Kundaliyan fprm of poem.

Kundaliyan is somehow same as Sestet part of Petrarchan form of Italian poetry but in Italian Sestet , the six lines are part of forteen lines Petrarchan form of poetry.

 Till great Poem Kanhyalal came in the field of modern Garhwali poetic filed, Kundaliyan was unheard or less known. . Kanhyalal Dandriyal brought this form of poetry in modern Garhwali poetry and an example is as under and Kanhayalal followed the old style of this form that  a poet preaches through Kundaliyan as Kabeer, Girdhar , Ganga Das used Kundaliyan for preaching
                                     
रुंदा छिं आपणा दुखल , दुनिया मा सब्बी लोग
हैंका दुःख मा रोई जो , इनु छ कैको जोग
इनु छ कैको जोग , जु हैंको दुःख उठावा
डुबदो लै द्यो छाल , पवड़द थैं उबो उठावा
बोद 'कन्हैया ' इनो मनिख क्वी बिल्लो हूंदा
जो उन्द्यो  हंसे द्याख जौँ थै रुंदा
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Bhishma Kukreti

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Humour in Asian Literature 

                       Bwari  : A Most Distinguished Humorous Poem of Asia

                        ब्वारी :  महाकवि कन्हैया लाल डंडरियाल रचित कालजयी हास्य कविता

                        (Humor in Garhwali Literature, Humor in Himalayan literature Humor in Indian literature)

                     Bhishma Kukreti

                           Humour is defined by various philosophies and literature critics. In modern time , the psychologists have been  busy in carrying out  various researches to find out the cause and effect  of humor creation by various medium. For example Ritter et all (1974) found humor explanation from philosophical lexicon of German language and stated that humor is used in every language for all laughter phenomenon, occurrences, experiences etc.

        Humor is recorded in many old texts of all civilizations available with us as in Greek (Ruch, 2007), Egyptian  old manuscripts, old Sanskrit literature .In a Sanskrit classic, Natty Shashtra, Bharat explains to use of humor in poetry and drama. Ritter (1974) detailed psychology of humor according to age and in context of Europe and stated that since 1565, humors were  used to described unstable behaviour or mood, negative or positive mood states as bad humor or good humor .. Roeckelein (2002) and Ruch (2004) stated that by beginning of 17th century in Europe, good humor  or positive mood making humor referred to temperament/disposition trait or habit.

                      The research scholar of University of Fribourg, Andrea C. Samson describes that humor has two system. First is from aesthetic view where humour designates only one element of comic and is distinguished fro other wit or ridicule. Notable, in this theory the base of humor  is sympathy  and is benevolent.

According to Andrea, the other system describes humor is used as Umbrella term for all funny happening s, events or phenomenon. Usually, currently humor is recognized as

1- Playful recognition, enjoyment or and creation of incongruity 

2-A composed, tranquil view on adversity and creates good mood or is positive.

3-   Capability of others smiling and or laughing

Ruch (2004, 2007 ) stated that here, humor is treated as neutral term and is not restricted to positive meaning.

Suls (1972) assumed that there are two stages in humor process that first the incongruity or absurdity is detected and then and then it has to  be resolved which is similar to a problem solving solution. While, psychoanalysts as Attardo , Koulson, Kutas assumed three stages of humor process- 1- Encoding 2-Detection of Absurdness or incongruity 3-Incongruity resolution (problem solution) . It is definite that each stage may overlap on each other.

           From non sense humor point of view, McGhee (19900 assumed three types of nonsense humor

1-The punch line may not provide resolution at all

2- Provide a partial resolution

3-Actuality creates new absurdness

McGhee assumes that in nonsense humor, the resolving information creates the impression of making sense out of the absurdness actually without doing so.

    Rothbart and Pien (1977) suggested  to differentiate between possible and impossible incongruities and in between complete and incomplete resolution

A-Impossible absurdness or incongruity are the elements which are unexpected , not guessed and are also impossible given one’s present knowledge of the world or within the audience’s current society 

B- Possible Absurdness elements are which are unexpected but there is complete or mere possibility of there being here or somewhere.

C-Complete Resolution is the initial absurdness or incongruity follows completely from resolution information or informing medium

D- Incomplete Resolution is the initial absurdness or incongruity follows from resolution information in the same manner but is not made completely meaningful due to the reason that the real situation is impossible

     Due to lack of valid psychological researches , there are many general theories of humour too as the theory of Semantic Script Theory of Humor by  Raskin and General Theory of Verbal Humor (GTVH) by  Attardo and Raskin . from literature point of view the vocabulary of GTVH is very interesting as

1- Language (LA): According to them , the language is verbalization of the text word, choice, placement of functional elements etc. The example of LA are punning and position of punching line

2-Nnarrative Strategy : The narrative strategy is narrative structure of humour or genre . The examples of Narrative strategy are narration, riddles, question –answers dialogues.

3- Situation: The situation in GTVH is the situational embedding jokes, characters, activities, objects, setting etc. The examples are Doctor’s jokes and jokes about blondes .

4- Target : The Target in GTVH  is that often humor aims at (social) stereotype as ‘butts and example is Austrians and  Scott etc

5- Script Opposition: From the view of GTVH, the script opposition is the central requirement for the generation of humorous effect due to opposition as good verses bad or possible verses impossible .

6- Logical mechanism: The logical mechanism from the GTVH angle is cognitive operation needed to achieve resolution (partial) by incongruity or absurdness as - juxtaposition , false analogy, figure ground reversal.

 

                           Bwari : a Great Asian  Poem by Dandriyal

                          When the reader will study the following poem of  Great Poet (Mahakavi) Kanhayalal Dandriyal, they will find that the blending of Hindi phrases with Garhwali phrases, the language ( Words used in this poem) , the narration, the specific words, happenings against the expectation or against customary wisdom , the wholeness of poem , script, and logical mechanism created by various figures of speeches make this poem a great Poem of Asian Literature . The great poet also did experiment with form .

                                          ब्वारी
                      (  महाकवि कन्हैया लाल डंडरियाल रचित कालजयी हास्य कविता )
                       भाई जी ने मैखुणि  कि ब्वारी क्या खुज्याई है
                                             कपाळी हुंच्याई  है मेरी थुंथरी थिचाई है
                        अफ्फु को त भात , मैकू झंगोरा पकाती है
                                              मेरा बांठा  बाडिम वा दबळी बि नही चलाती है
                            मैंने माँगा मांड उसने आंखी भ्वंराई  हैं
                                                  गालुन्द मेरा  बंसतुळी से  परछोणी खल्याई है
                         की मैंने कम्पलेंट भाई जी के पास में
                                                   ही मेरी पेशी झट  बौऊ के इजलास में
                         भौत गन्ग्जाये हम अपणी सफाई में
                                                   हार गए केस कोई मिली नहीं गवाही है
                          चचराने  लगी वह मैंने खा शट अप
                                                 बिलकी चट शांक्युं फर ह्वेगे मैकू टपटप
                           खैंची मैंने भिटुलि , उसने चुप्पा झम्मडाई है
                                                  पड़ी गे ऐड़ाट  मेरो , वह भि डगड्याइ है
                          चढी तब  नडाक मुझे , बौंळी  चट बिटाई है
                                                  करता हूं मै सळपट तैने क्या चिताई है
                          बर्बराई  चट , वा , उसने मुछ्याळी उठाई है
                                               भागे लुकणो वैबरी तिखन्डी खुज्याई है 
    Copyright @ Bhishma Kukreti, bckukreti@gmail.com


,

Bhishma Kukreti

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Humour in Asian Literature 
                       Bwari  : A Most Distinguished Humorous Poem of Asia
                        ब्वारी :  महाकवि कन्हैया लाल डंडरियाल रचित कालजयी हास्य कविता
                     (Humor in Garhwali Literature, Humor in Himalayan literature Humor in Indian literature)
                     Bhishma Kukreti
                           Humour is defined by various philosophies and literature critics. In modern time , the psychologists have been  busy in carrying out  various researches to find out the cause and effect  of humor creation by various medium. For example Ritter et all (1974) found humor explanation from philosophical lexicon of German language and stated that humor is used in every language for all laughter phenomenon, occurrences, experiences etc.
        Humor is recorded in many old texts of all civilizations available with us as in Greek (Ruch, 2007), Egyptian  old manuscripts, old Sanskrit literature .In a Sanskrit classic, Natty Shashtra, Bharat explains to use of humor in poetry and drama. Ritter (1974) detailed psychology of humor according to age and in context of Europe and stated that since 1565, humors were  used to described unstable behaviour or mood, negative or positive mood states as bad humor or good humor .. Roeckelein (2002) and Ruch (2004) stated that by beginning of 17th century in Europe, good humor  or positive mood making humor referred to temperament/disposition trait or habit.
                      The research scholar of University of Fribourg, Andrea C. Samson describes that humor has two system. First is from aesthetic view where humour designates only one element of comic and is distinguished fro other wit or ridicule. Notable, in this theory the base of humor  is sympathy  and is benevolent.
According to Andrea, the other system describes humor is used as Umbrella term for all funny happening s, events or phenomenon. Usually, currently humor is recognized as
1- Playful recognition, enjoyment or and creation of incongruity 
2-A composed, tranquil view on adversity and creates good mood or is positive.
3-   Capability of others smiling and or laughing
Ruch (2004, 2007 ) stated that here, humor is treated as neutral term and is not restricted to positive meaning.
Suls (1972) assumed that there are two stages in humor process that first the incongruity or absurdity is detected and then and then it has to  be resolved which is similar to a problem solving solution. While, psychoanalysts as Attardo , Koulson, Kutas assumed three stages of humor process- 1- Encoding 2-Detection of Absurdness or incongruity 3-Incongruity resolution (problem solution) . It is definite that each stage may overlap on each other.
           From non sense humor point of view, McGhee (19900 assumed three types of nonsense humor
1-The punch line may not provide resolution at all
2- Provide a partial resolution
3-Actuality creates new absurdness
McGhee assumes that in nonsense humor, the resolving information creates the impression of making sense out of the absurdness actually without doing so.
    Rothbart and Pien (1977) suggested  to differentiate between possible and impossible incongruities and in between complete and incomplete resolution
A-Impossible absurdness or incongruity are the elements which are unexpected , not guessed and are also impossible given one’s present knowledge of the world or within the audience’s current society 
B- Possible Absurdness elements are which are unexpected but there is complete or mere possibility of there being here or somewhere.
C-Complete Resolution is the initial absurdness or incongruity follows completely from resolution information or informing medium
D- Incomplete Resolution is the initial absurdness or incongruity follows from resolution information in the same manner but is not made completely meaningful due to the reason that the real situation is impossible
     Due to lack of valid psychological researches , there are many general theories of humour too as the theory of Semantic Script Theory of Humor by  Raskin and General Theory of Verbal Humor (GTVH) by  Attardo and Raskin . from literature point of view the vocabulary of GTVH is very interesting as
1- Language (LA): According to them , the language is verbalization of the text word, choice, placement of functional elements etc. The example of LA are punning and position of punching line
2-Nnarrative Strategy : The narrative strategy is narrative structure of humour or genre . The examples of Narrative strategy are narration, riddles, question –answers dialogues.
3- Situation: The situation in GTVH is the situational embedding jokes, characters, activities, objects, setting etc. The examples are Doctor’s jokes and jokes about blondes .
4- Target : The Target in GTVH  is that often humor aims at (social) stereotype as ‘butts and example is Austrians and  Scott etc
5- Script Opposition: From the view of GTVH, the script opposition is the central requirement for the generation of humorous effect due to opposition as good verses bad or possible verses impossible .
6- Logical mechanism: The logical mechanism from the GTVH angle is cognitive operation needed to achieve resolution (partial) by incongruity or absurdness as - juxtaposition , false analogy, figure ground reversal.
 
                           Bwari : a Great Asian  Poem by Dandriyal
                          When the reader will study the following poem of  Great Poet (Mahakavi) Kanhayalal Dandriyal, they will find that the blending of Hindi phrases with Garhwali phrases, the language ( Words used in this poem) , the narration, the specific words, happenings against the expectation or against customary wisdom , the wholeness of poem , script, and logical mechanism created by various figures of speeches make this poem a great Poem of Asian Literature . The great poet also did experiment with form .
                                          ब्वारी
                      (  महाकवि कन्हैया लाल डंडरियाल रचित कालजयी हास्य कविता )
                       भाई जी ने मैखुणि  कि ब्वारी क्या खुज्याई है
                                             कपाळी हुंच्याई  है मेरी थुंथरी थिचाई है
                        अफ्फु को त भात , मैकू झंगोरा पकाती है
                                              मेरा बांठा  बाडिम वा दबळी बि नही चलाती है
                            मैंने माँगा मांड उसने आंखी भ्वंराई  हैं
                                                  गालुन्द मेरा  बंसतुळी से  परछोणी खल्याई है
                         की मैंने कम्पलेंट भाई जी के पास में
                                                   ही मेरी पेशी झट  बौऊ के इजलास में
                         भौत गन्ग्जाये हम अपणी सफाई में
                                                   हार गए केस कोई मिली नहीं गवाही है
                          चचराने  लगी वह मैंने खा शट अप
                                                 बिलकी चट शांक्युं फर ह्वेगे मैकू टपटप
                           खैंची मैंने भिटुलि , उसने चुप्पा झम्मडाई है
                                                  पड़ी गे ऐड़ाट  मेरो , वह भि डगड्याइ है
                          चढी तब  नडाक मुझे , बौंळी  चट बिटाई है
                                                  करता हूं मै सळपट तैने क्या चिताई है
                          बर्बराई  चट , वा , उसने मुछ्याळी उठाई है
                                               भागे लुकणो वैबरी तिखन्डी खुज्याई है 
    Copyright @ Bhishma Kukreti, bckukreti@gmail.com

Bhishma Kukreti

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Most Memorable Women Warriors of World

Women e Warriors of Asia

             Teelu Rauteli RanBhoot Jagar : A Tribute to One of The Greatest Female Warriors

                तीलु रौतेली रणभूत जागर : संसार की महान स्त्री योद्धा  को श्रधांजलि

            ( Garhwali Female Warriors , Himalayan Women Warriors, Indian Women Warriors )

                                Bhishma Kukreti

  Teelu Rauteli is one of the great historical and mythological female warrior of Garhwal . Garhwalis do demonolatry for her braveness as Ranbhoot dance and song (Mandan)  .

As in many folk songs in all over world folk literature, Garhwalis praises Teelu Rauteli in Jagar of Ranbhoot Mandan as brave as male brave warrior and dinstinguish her as brave heroin of the era of kings Dhamshahi Kantura of Kumaun and Manshahi king of Garhwal. After the defeat of Manshah against Dhamshah , Teelu rauteli and her aids as Shibbu pokhariyal Negi Sardar, Ghimandu Hudkiya, her maids did fight on behalf of the Garhwali king

 Teelu Rauteli is one of the following Great Female warriors of the world , . Teelu rauteli is always respected with same honor as the following female warriors are worshipped by respective people of different regions and religions :

Amina  of Nigeria, Kahina  of Northern Africa, Yaa Asantewaa  of Ghana  are famous African legendary female warriors

Calamity Jane,Annie Oakley , Belle Starr , Lillian Smith , Rose Dunn ,Pearl Hart ,Etta Place ,Laura Bullion are American women warriors;

Anita Garibaldi , Maria Rosa are Brazilian warriors.

Boudica Queen Cordelia Queen Gwendolen , Ethelfleda are famous female Roman British warriors ;

Margaret of Anjou,Catherine of Aragon are female warriors of England;

Andraste Medb ,Scathach. Aife. Triple warrior goddess: Morrígan, Badb, and Macha .Gráinne O'Malley  are famous women warriors of Irish mythology .

Šárka and Vlasta  are famous female warriors of Czech .

Jeanne Hachette  and Joan of Arc of women famous warriors of France.

Teuta is legendary warrior  of Balkans,

The Amazons, Artemis .Atalanta Athena Enyo, Hippolyta  Penthesilea; all are Greek Mythological war heroines.

PausaniasAmazons Bellona  and Camilla are counted great women warriors of  Roam mythology ..Blenda , Freyja Njörðr. Freyja are renowned female warriors  of Scandnavian countries Þorgerðr Hölgabrúðr and Irpa Bruinhild are having place in of Scandinavian mythology .: Princess Olga  is an Russian warrior of female status.

Agustina de Aragón  Maria Pita , Mariana Pineda are famous warriors of Spain .

Brites de Almeida of Portguese,  Deu-la-deu Martins of Portguese 

Queen Mavia  Tanukh , Queen Zenobia of Palmyra Gordafarid  of Iran. Banu Goshasp  of Iran Ankt Sekhmet , Cleopatra of Egypt well known female figures of Arabian and Persian mythology. While ,   Ishtar  of Mesoptamian mythology

 Deborah and  Judith of Old testament are having great respects as female warriors in their respective regions and religions.

Hua Mulan   Yim Wing-chun, ,Fu Hao Mother , Lü Li Xiu ,Lady of Yue ,Qin Liangyu Sun Shangxiang, Lady Zhurong,Diao Chan are Chinese legendary female warriors ;Hangaku Gozen Tomoe Gozen , Marishi-Ten Amaterasu-ōmikami , are historical and mythological female warriors of Japan;

Trung Sisters, Phùng Thị Chính Triệu Ẩu  brave warriors are of Vietnam

Razia Sultana the Delhi queen , Chand Bibi  of Bijapur,Abbakka Rani  of Tulunadu,Tarabai the Maratha queen, Bibi Dalair Kaur a woman warrior, Mai Bhago  a Sikh womanOnake Obavva  of Chitdurga, Begum Samru of Meerut,Kittur Chennamma of  Kittur in Karnataka ,Rani Lakshmibai or Jhanshi  Ki RaniRani Durgavati of Chandel Emperor ,Keladi Chennamma of Kundapur. Belawadi Mallamma of South India, Unniyarcha of Kerala, are famous women Indian warriors

 
 


                         तीलू रौतेली रण भूत जागर
         डा शिवानन्द के अनुसार , "   वीरांगना  तीलू रौतेली गढवाल कि झांसी कि राणी कहलायी जाती है . तीलू कि याद में रण भूत नचाया जाता है . जब तीलू रौतेली नचाई जाती है तो अन्य बीरों  के रण भूत /पश्वा जैसे शिब्बू पोखरियाल, घिमंडू हुडक्या, बेलु -पत्तू सखियाँ , नेगी सरदार आदि के पश्वाओं को भि नचाया जाता है . सबके सब पश्वा मंडांण   में युद्ध नृत्य के साथ नाचते हैं"
                   ओ कांडा का कौथिग उर्यो
                   ओ तिलु कौथिग बोला
                   धका धे धे   तिलु रौतेली  धका धे धे     (Read  धे as Dhai )
                  द्वी बीर मेरा रणशूर ह्वेन
                   भगतु पत्ता को बदला लेक कौतिक खेलला
                 धका धे धे तिलु रौतेली धका धे धे
                 अहो रणशूर बाजा बजी गेन रौतेली धका धे धे
                बोइयों का दूध तुम रणखेतु बतावा  धका धे धे
                तीलु रौतेली ब्वादा रणसाज सजावा धका धे धे
                इजा मैणा यूं बीरूं टीका लगावा , साज सजावा ,धका धे धे
                 मै तीलु  बोदू जौंका भाई होला , जोंकी बैणि होली
                                                 ओ रणखेत जाला धका धे धे
                 बल्लू प्रहरी टु मुलक जाइक धाई लगै दे धका धे धे
                                           बीरों के भृकुटी तण गे धका धे धे
                                           तीलु रौतेली धका धे धे
                ओ अब बूड़ी सलाण नाचण लागे धका धे धे
                 अब नई जवानी आइगे धका धे धे
                 बेलू देबकी द्वी सखी संग चली गे धका धे धे
                 ओ खैरा गढ़ मा जुद्ध लगी गे धका धे धे
                  खड़कु रौत तखी मोरी गे  धका धे धे
                                       तीलु रौतेली धका धे धे
                   ओ काण्ड को कौतिक उर्यो गे धका धे धे
                   तीलु रौतेली तुम पुराणा हथ्यार पुजावा धका धे धे
                   अपणि ढाल कटार तलवार सजावा धका धे धे
                   घिमंडू की हुडकी बाजण लगे धका धे धे
                  ओ रणशूर साज सजीक ऐगे तीलु रौतेली धका धे धे
                   दीवा को अष्टांग करी याल धका धे धे
                    रण जीति घर आइक गाडुल़ो छतर रे धका धे धे
                    धका धे धे तीलु रौतेली  धका धे धे
                   पौंची गे तीलु रौतेली टकोली भौन धका धे धे
                    यख बिद्वा कैंत्युरो मारियाले धका धे धे
                   तब तीलु पौंची गे सल्ड मादेव धका धे धे
                     ओ सिंगनी शार्दूला  धका धे धे
                   धका धे धे तीलु रौतेली धका धे धे
                   येख वख मारी कैकी बौडी गे चौखाटिया देघाट धका धे धे
                     बिजय मीले पण तीलु घिरेगे धका धे धे
                    बेल्लू देबकी रणखेतुं मा इखी काम ऐन
                   इथगा मा शिब्बू पोखरियाल मदद लेक आइगे धका धे धे
                   अब शार्दूला लड़द पौंची कालिंकाखाळ
                सराइंखेत आइगे घमासान जुद्ध ह्व़े धका धे धे
                शार्दूला की मार से कैंत्युरा रण छोडि भाजी गेन धका धे धे
                रण भूत पितरां कल तर्पण दिंऊला  धका धे धे
                यख शिब्बू पोखरियाल तर्पण देण लग्ये  धका धे धे
                सराईखेत  नाम तभी से पड़े धका धे धे
                यख  कौतिक तलवारियों को होलो  धका धे धे
                ये तें खेलला मरदाना मस्ताना रणवांकुर जवान धका धे धे
                सरदार चला तुम रणखेत चला तुम धका धे धे
                धका धे धे तीलु रौतेली धका धे धे
                ओ रणसिंग्या रणभेरी नगाड़ा बजीगे  धका धे धे
                ओ शिब्बू ब्वाडा तर्पण करण खैरागढ़ धका धे धे
                अब शार्दूला पौंची गे खैरागढ़ धका धे धे
                यख जीतू कैंत्युरा मारी , राजुला जै रौतेली अगने बढी गे धका धे धे
                 रण जीति सिंगनी दुबाटा मा नाण लगे धका धे धे
                  राजुलात रणचंडी छयी अपणो काम करी नाम धरे गे धका धे धे
                  कौतिका जाइक खेलणो छयो खेली याला
                   याद तौंकी जुग जुग रहली धका धे धे
                   तू साक्षी रैली खाटली के देवी धका धे धे
                   तू साक्षी रैली स्ल्ड का मादेव धका धे धे
                   ओ तू साक्षी रैली पंच पाल देव
                    कालिका की देवी लंगडिया भैरों
                    ताडासर देव , अमर तीलु, सिंगनी शार्दूला  धका धे धे
                    जब तक भूमि , सूरज आसमान
                     तीलु रौतेली की तब तक याद रैली
                     धका धे धे तीलु रौतेली धका धे धे
 
                   
 
 
सन्दर्भ व साभार : डा शिवानन्द नौटियाल , गढ़वाल के लोकनृत्य
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Bhishma Kukreti

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Satirical Poems of Asia

                      Samadhan : A Poem Exposing the Exploiter’s Real Game Plan

                         समाधान : कमजोर को कैसे दबाया जाय पर एक व्यंग्य

( Garhwali Modern literature, Himalayan Literature , Indian Literature )

                    Bhishma Kukreti

    The Great Poet (Mahakavi) Kanhaiyalal Dandriyal was a futuristic poet . Dandriyal created a poem around 1965 ‘Samadhan’ which, deals about the crookedness of exploiters specially the powerful nations.

   The readers will amuse that the poem predicted long ago about the nations who want to benefits from  the countries as countries of Africa in the name of helping African countries

             A news   states , “Germany, Europe’s biggest economy, says China’s dealings with African countries such as Zimbabwe are imbalanced and exploitative” (Daily News of 3rd Jjune 2011) . The news is clear that China in the name of developing China is exploiting Zimbabwe .However,  Albrecht Conze the ambassador of German to Zimbabwe forgets that german does exploits such situation.

  The staff reporter Everson Mashava of Daily News further explained the saying of German ambassador as ,“ Most of the agreements signed today by China will buy out the whole world’s raw materials and block other countries from having access to these raw materials”

           The Samdhan poem by Great Poet Dandriyal predicts such aspects of Industrialization and future International diplomatic relation will be based on exploitation of the poor countries by developed countries in the name of economic development , friendship or peace. America is biggest exploiter of poor , weak countries in the name of peace, democracy and the said poem predicted long back.

   Samdhan also attacks on the mentality as “ Atlantic Slave Trade in Africa  by European countries  in past and now the taking advantage of weak position of African countries, the developed countries have taken new weapons as undue advantages


        समाधान

    (कवि : कन्हैया लाल डंडरियाल  )
पेड़ पौधों खैकी तैं कुछ कीड़ा
हौरुं खुणि सिरदर्द बणि जान्दन
कुछ कीड़ा कीड़ों तैं खैकी
विश्व  शांति का गीत लगान्दन
कुछ अफ्फुं तैं सबुको
अर सब्बुं तैं अपणु बथैक
विराणा माल फर
हट साफ़ कै दुनिया तैं
त्याग अर तप को मार्ग बतौंदिन
(सन्दर्भ  : अन्ज्वाळ , सन २००४ का संसकरण )
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Bhishma Kukreti

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Death in Poetries of Shakespeare, Emily Dickinson, James Shirley and Kanhayalal Dandriyal

      (Review   Ritarit’ a Poem by Mahakavi Kanhaya Lal Dandriyal )

 (Modern Garhwali Literature, Himalayan Literature, Indian Modern Literature, Modern Asian Literature )

                  Bhishma Kukreti

  From the ages philosophers, scholars, scientists, doctors have been busy in explaining the Death from their experiences. Poets from the time poetry came in existence have been explaining death through  their own interpretations

 Kanhailal Dandriyal a great Poet of world literature created agreat poem Ritarit and indirectly explained

 

Great Poetess  Emily Dickinson  created a fine poetry on death but she shows death  painless but the vision of  death is very horrifying and frightening l in her classical poetry ‘ Dying’ as

                              I heard a fly buzz when I died;
                                The stillness round my form
                                Was like the stillness in the air
                                 Between the heaves of storm.

                            The eyes beside had wrung them dry,
                                     And breaths were gathering sure
                             For that last onset, when the king
                                      Be witnessed in his power.

                            I willed my keepsakes, signed away
                                        What portion of me I
                              Could make assignable,-and then
                                           There interposed a fly,

                                   With blue, uncertain, stumbling buzz,
                                           Between the light and me;
                                    And then the windows failed, and then
                                             I could not see to see.

    However, Great Poet (Mahakavi) Kanhaiyalal Dandriyal left the  experiencing of  death on the readers.

       Famous playwright James Shirley in his famous poem ‘Death : The Leveler’ (which is part of his play) conceives or states that death is a great leveler that does not keep any difference between the king or poor . Asoka and Alexander on the earth but could not defy death which is inevitable   and universal

                       THE glories of our blood and state
         Are shadows, not substantial things;
There is no armour against Fate;
         Death lays his icy hand on kings:
         Sceptre and Crown
         Must tumble down,
         And in the dust be equal made
With the poor crooked scythe and spade.

Some men with swords may reap the field,
         And plant fresh laurels where they kill:
But their strong nerves at last must yield;
         They tame but one another still:
         Early or late
         They stoop to fate,
And must give up their murmuring breath
When they, pale captives, creep to death.

The garlands wither on your brow,
         Then boast no more your mighty deeds!
Upon Death's purple altar now
         See where the victor-victim bleeds.
         Your heads must come
         To the cold tomb:
Only the actions of the just
Smell sweet and blossom in their dust.

Great poet    Kanhaiyalal Dandriyal tells just the prediction of death for all living organisms in this earth  in the  poem  Ritarit and don’t explain it

  Great Playwright and poet William Shakespeare wrote a poem on death ‘ Fear No More’ part of is play Cymbeline . The poem is about praying peace for dead soul.

     The first stanza of the poem Fear  No More is as under :

 Fear no more the heat o' the sun,

Nor the furious winter's rages;

Thou thy worldly task hast done,

Home art gone, and ta'en thy wages:

Golden lads and girls all must,

As chimney-sweepers, come to dust.

 

  Great Poet ( Mahakavi) shows the truth of death and makes it philosophical . Kanhaiya lal Dandriyal and Shirley agrees that death is same for pooer and wealthy persons, death is ame for lion and dear,  death is same for   cat and rat.


                            रिटारिट
                 पैलि त मि सिरफ़ सुणदो छयो
                   पर अब दयख़णु छौं
                  कि दुन्या रिटणि च
                    दुन्यअ  चौछडि जून रिटणि च
                  जिकुड़ी चौछ्ड़ी गाणि रिटणि च                     
                  नेतौं चौछ्ड़ी  नीति रिटणि च
                  भर्ती दफ्तरम फालतू रिटणा छिन
                   फूलूं फर म्वारी रिटणि च 
                   पुंगड्यू    ब्वारी रिटणि च
                    कीली फर बाछी रिटणि च
                    बजारुम पैसा रिटणु च
                   आंख्युं अगनै  जैंगण रिटणि च
                    मि द्यख़णु छौं
                   रिटदी असहाय जिन्दगी तैं
                    रिटदा आस्था विश्वास तैं
                    हर प्राणी क चौछडि रिटदि मौत तैं
 The style and phrase or examples provide by Dandriyal in this philosophical poem 'Ritarit 'are so simple that even a common man can understand the universality of death
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Bhishma Kukreti

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Old Age in English, Arabic, Italian, Ducch, French, Chinese, Polish, Japanese , Irqi , Garhwali Poems
Old Age in Poetries

        Budhapa  by Dandriyal : Marvelous Description of Old Age in a Garhwali Poem

 

        (Garhwali Literature, Himalayan Literature, Asian Literature)

                Bhishma Kukreti

 

   There is no human being in this earth who never talks or who never thinks about  Old Age . There is no art, science or philosophy which, did not discuss about Old Age .

         Biologists as Morris Rockstein (Ph.D) sates in his article The Biological Aspects of Aging  (The Gerontologists , 1968)  that aging implies certain quantitative , rather than qualitative changes but not completely so . Morris further discusses that the aging brings  changes which  bring decrease in the skin, muscles, nervous system, skeleton, senses, etc

  Psychologists   watch old age from various views and styles. Psychologist confirm that during old age the person feels either accomplishment or failure and experience conflict between despair vs integrity .

    From cultural angle . each culture interpret old age differently and even individual interprets old age differently too.

   Various societies emphasize on aging differently in terms of social positioning to old aged people, quality of life, health, social exclusion , providing social security either by social norms or constitutional norms etc

 Each country has different regulation for taking care of old aged persons.

 Artists of different subjects or art perceive old age differently . Old age phenomenon is so sensitive and inspiring that artists as Leonardo de Vinci , Lorenzo De Medici, Michelangelo  thousand of sculptures all over world  of all eras created art about showing old age

In every philosophy and religion, there have been  serious discussion about old age .

    In every language, there are quotes and sayings about old .age.  Oscar wild says , “  The tragedy of old age is not that one is old, but that one is young” .

 In literature, in every language and in each field of literature old age has been favorite subject for literature creators specially the poets of all languages discussed old age with their perception.

         Robert Browning’s small poem about old age is very positive and he paid importance to hope.

                   "Grow old along with me!

                    The best is yet to be,

                    The last of life, for which the first was made"

Mathew Arnorl depicts old age as morose portraits and poetically speaking brings detachment emotion of pathos rapture

 

        "  It is to spend long days
         And not once feel that we were ever young.
           It is to add, immured
               In the hot prison of the present, month
                 To month with weary pain. "

 

 

    Lord Byron details old age as mirror of  the past in his verse as

 

   

                 "What is the worst of woes that wait on age?

                    What stamps the wrinkle deeper on the brow?

                  To view each loved one blotted from life's page,

                    And be alone on earth, as I am now."

 

 

The poem of Edwin Leibfreed explains old age as winter of the life

"When life's summer grows to winter

And its roses fade and fall;

When in vain we try to hinder

Death's commissioned right to all;

When on white lips there's a last kiss

And we see her face no more,

Then it is to know what love is,

Waiting on a foreign shore."

 

"Hennery Wordsworth Longfellow explains old age as

Time has laid his hand

Upon my heart, gently, not smiting it,

But as a Harper lays his open palm

Upon his harp, to deaden its vibrations"

 

The poets and philosopher  W B Yeats  illustrates old age as regret 

"When you are old and gray and full of sleep,
And nodding by the fire, take down this book,
And slowly read, and dream of the soft look
Your eyes had once, and of their shadows deep; "

An Iraqi Poet Buland Al-Haidary wrote a very interesting poem on Old age 

“Another winter,
And here am I,
By the side of the stove,
that a woman might dream of me,
That I might bury in her breast
A secret she would not mock;
Dreaming that in my fading years
I might spring forth as light,
And she would say:
This light is mine;
Let no woman draw near it.”
“-Here,
By the side of the stove,
Another winter,
And here Am I,
Spinning my dreams and fearing them,
Afraid her eyes would mock
My bald, idiotic head,
My greying, aged soul,
Afraid her feet would kick
My love,
And here, by the side of the stove,
I would be lightly mocked by a woman.-“
“-Alone,
Without love, or dreams, or a woman,
And tomorrow I shall die of the cold within,
Here, by the side of the stove.-“

The poems  In View of fact "of  A. R. Ammons, "Forgetfulness" of Billy Collins, " Age " by Robert Creeley,"Terminus" by Ralph Waldo Emerson,"An Old Man’s Winter Night" created by Robert Frost,  "Affirmation" versed by Donald Hall,"I Look into My Glass" of poet Thomas Hardy,"   First gesture "by Julia Kasdorf,"Touch Me" by Stanley Kunitz, are the poems on old age with different temparament and different emotions

Lu Yu a Chinese poet of twelth century wrote an outsatnding poem on aging in carefree mood .Wang Wei  a Chinese poet of seventh  century did create poem on old age based on Buddhist philosophy

"Nature" crafted by Henry Wadsworth Longfellow,"Late Ripeness" of Czeslaw Milosz,"Hail and Farewell" versed by Charles Reznikoff,"Tired with All These, For Restful Death I Cry" written by William Shakespeare are reamrkable pieces of verses about old age

Hungarian poet Gyula Illyes wrote apoem on old age which is slightly similar to yeats.

The poems as ---" A su Retrato” a Spanish poem by Sor Juana Ines de la Cruz,Like as the Waves Make Toward the Pebbled Shore" by William Shakespeare,"Young men dancing, and the old" versed by Thomas Stanley, "Tithonus" written by Lord Alfred Tennyson,  " Do Not Go Into That Good Night created by Dylan Thomas take the readers to think seriously about the aim of life

In japan , many Zen oriented poems on old age are written by various poets at various era

"The Descent" by William Carlos Williams, " After Retirement , After Reading Lear" written by David Wright, "Sailing to Byzantium" by William Butler Yeats, "Written In a Carefree Mood" created by Lu Yu, "Warning" versed by Jenny Joseph and many more are marvelous examples of poems about ‘Old Age’ . No doubt every poet perceived old age differently .

The follwing poem of a Japanese poetMuso Soseki  is fine example of Buddhist philosophy on old age

 

"Old Man in Retirement"  (A Japanese Poem)

By Muso Soseki 

I stop worrying about anything
 I give up activities
  I'm full of my life

I no longer
 go to the temple
  evening and morning
If they ask me
 “What are you doing
  in your old age?”

I smile and tell them
 “I'm letting my white hair
  fall free.”.."

 

 The famous Arabic poet Ibn Daher describes Old Age as

You can not prevent  Allah's Will to make us Old

bBut perhaps he will reward us for enduring Old Age

          The Noble Lauret a Polish poet CzeslawMilosz also wrote fine poetry on old age

     Swami Chinmay transformed the sayings of Lord Buddha about old age  into a poem as :

The glorious chariots of the kings wear out;
the body also comes to old age;
but the virtue of good people never ages;
thus the good teach each other

              Great Poet (Mahakavi) Kanhaiyalal Dandriyal depicts old age philosophically, spiritually rather than just the transformation of physical body. As person Kanhaiyalal Dandriyal was very religious person too and his religious spirituality shines in his each verse. The functionality of the poem is towards various directions as conflict, reflecting contrast and ironies of life. The poem definitely is preaches too  directly or indirectly. The poem opens many truthful facets of life and many times the poem creates detachment too.  Kanhaiyalal Dandriyal depicts various ups and downs in life to carry a human life. The great poet shows the mirror to all whether the person is teen aged,  young, mature or an old person that the end is death.  Dandriyal differentiates between  the acts through code of conducts and acts due to greed or ego with perfect narration  using least quantity of words. For describing old age, the great poet took instances and characters  of Mahabharata, Ramayan, Puran and classic poems of Sanskrit for narrating  modern aspects of social security, the frustration of not achieving, the living aspirations, a animal instinct to protect the genes, and inability of all  human beings  to stop aging and death too .

Kanhaiyalal Dandriyal used various figures of speeches to make understand the serious subject. His words, symbols, phrases make a clear image of subject as per perception of the poet .

     The Great Poet Dandriyal successfully could create the emotions as grief, awe, detachment, remorse, depression, anxiety, delusion, illusion, agitation, stupor, dejection, eagerness, epilepsy, insanity, death, deliberation, stunning, tears in the poem ‘Budhapa” (old Age)

The style in Budhapa poem is free and near to prose type poetry

The great poet is always master of using simple and understandable words, phrases, examples, symbols to make serious subject very easy for all

    बुढापा
मिल जनम ल्हें
ये संसार क अंत मा
अर सब्बुं  चै पैलि
यान मि
सब्ज्यठ्यु बि छौं
अर निकाणसो
झणि कब बटे
येई ढुंगम बैठ्युं छौं
यई ढुंग मुड़ी
एक संहिता च
एक नक्शा च
सैन्वार , उकाळ अर
उंदार को तिराहा च
यखम बटे  सब कुछ देखी सकदा तुम
वो द्याखो ..
जैकी सिर्गितिम छिन
उफरदी कूम्प 
हैंसदा फूल
नाचदा नौन्याल
य सैन्वार च
 
अर द्यखणा छ्याँ
यीं तड़तड़ी  उकाळ तैं
उचयीं  गौळी
अधिती तीस तैं
बस्ता बोकी जांद नौन्याळ तैं
एक हांक तैं पिछान्दा तरुणु तैं
गृहष्टि क ....
बोझ मुड़ी रड़दा अद्कुडू तैं
 
यो यीं तरफ जख
लम्डदा ढांगा गौड़ी भैंसी
कथगै अभाग मनिख
रड़दा डांग झड़दा पत्ता
फ्ल्दी मारदा छिन्छाड़ा
भ्यटेंदि बौंळी 
अर झणि  कख जाणे कैबे मा
अटगदा बटवै दिखेंदन
या च उंदार
जु पट रौल पौन्छंद
 
एक हैंकु
बाटु बि च
 अमर पथ
जैक दुछव डि
सत्कर्म का
डाळ छन
पर उपकार से
जनम्यां  फल छिन
पुरुषार्थ का
पसीना से धुईं ढुंगी छिन
परिश्रम्युं की
पैतुल्युं से पवित्र हुईं धूळ   च 
ये रस्ता फर हिटदिन
भाग्य तै संवरदा  कर्मबीर
सर्वस्व त्याग करदा सिद्ध
 
जु म्वरद स्यू होंद अमर
यई त च अकल़ाकंट 
किलैकि मि
म्वरण  णि चांदु
द्यखण चांदु ....
अपण ह्तुन रळयाँ बीजूं तैं
अन्गर्दा उफ़रदा फुल्दा फलदा
बचपन नचदै कुदद मरद
जवानी ह्न्सदै ख्यल्द
पर मि ..
उगससी भरि भरी बि
बचण चांदु
अजी तैं
बच्युं छौं
 
कथगा दों
मिन ययाति बणि   
नौनो मैं ज्वनी मांग   
च्यवन बणि
यौवन खुणि तरसणु रों
दवाई खाणु रों
कैकयी की खातिर
राम तै बणवास दे
राम तैं रावणन
कै दिने घुल्याल
पर मि अबी तैं
बाटु निहळणु छौं
चिट्ठी बि ऐ रामै
चिट्ठी रसां तैं
पुच्छणु  छौं
 
मि स्वार्थ मा अन्धो
धितरास्ट्र छौं
जैक लडिकुकि
हरेक महाभारत मा
कटघळ लगणि रै
फजला ब्यखुन तार आणे रैं
संजय नौ नौ ल्हेक बथाणु रै
मि टक्क लगैक सुणणु रों
हुन्गरा देणु रों
युधिष्ठर क दियां
पेंसनपट्टा क सार फर
मेरी लाटी आशा गांधारी
ल्हसौं क ऐंच चैढी बि
आम लिमाणि च
म्यारा चौछडि
रिटणि छिन समल़ोण
लौंकणु च भय भ्रम
खुदेणु च पराण
दगडि देणि  च चिंता
दिखेणी च चिता
(अन्ज्वाळ कविता संग्रह पृष्ठ ११५-११७ )
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