Author Topic: Exclusive Garhwali Language Stories -विशिष्ठ गढ़वाली कथाये!  (Read 46235 times)

Bhishma Kukreti

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Harsu: Story Criticizing Spanking (beating) and Exploring Non Physical Forms of Disciplining Children    
Critical Review of Modern Garhwali Short Stories -157
Modern Garhwali short Story by Om Prakash Semwal -2
Critical review of Garhwali Story ‘Harsu’ (2009)
                            Let Us Celebrate Hundredth Year of Modern Garhwali   Stories!
                           Review by Bhishma Kukreti
[Notes on Story Criticizing Spanking (beating) and Exploring Non Physical Forms of Disciplining Children; Garhwali Story Criticizing Spanking (beating) and Exploring Non Physical Forms of Disciplining Children; Uttarakhandi Story Criticizing Spanking (beating) and Exploring Non Physical Forms of Disciplining Children; Mid Himalayan Story Criticizing Spanking (beating) and Exploring Non Physical Forms of Disciplining Children; Himalayan Story Criticizing Spanking (beating) and Exploring Non Physical Forms of Disciplining Children; North Indian Story Criticizing Spanking (beating) and Exploring Non Physical Forms of Disciplining Children; Indian Story Criticizing Spanking (beating) and Exploring Non Physical Forms of Disciplining Children;  Indian subcontinent Story Criticizing Spanking (beating) and Exploring Non Physical Forms of Disciplining Children; South Asian Story Criticizing Spanking (beating) and Exploring Non Physical Forms of Disciplining Children; Asian Story Criticizing Spanking (beating) and Exploring Non Physical Forms of Disciplining Children; Oriental  Story Criticizing Spanking (beating) and Exploring Non Physical Forms of Disciplining Children]
          There have been discussions on the theories of motivating children for studying and getting excellent. One way is to spank, smack, slap, hit, strike, beat, bang, hammer, thump, thrash, pound or punch the children or student that they study seriously and get excellent marks. The present psychologists proved that non physical punishment is better than physical punishment.
           In general, spanking or physical punishments result to behavioral and emotional problems for children or students. In Garhwali story ‘Harsu  ‘, a teacher by profession, story writer Om Prakash Semwal also vouches that strict discipline and physical oppression to children by parents and teachers do not motivate students for smooth study .
        Kishan Singh beats his son Harsu that he gets excellent marks in the examination. Kishan also sees that Harsu does not play and is always busy in studies. One day Kishan beats Harsu very badly and Harsu leaves his village in the mid night and reaches to Mumbai. The readers become engaged in suspecting whether Harsu becomes successful in his life or not.   
         Om Prakash Semwal is successful in compelling readers to think about the motivating factors for children or students are rewarding, caring, explaining, showing examples but the physical punishment, spanking, beating, over disciplines are anti-motivating factors for children taking interest in studies.
  The story writer took pain in developing main characters and dialogues are suiting to characters. The story engages the readers due to weaving many factors of emotions. The tension and conflicts make the story readable till the end. However, story end seems to be copy of Hindi film style and is the weakest  part of the story.
Copyright@ Bhishma Kukreti 15/11/2012
Critical Review of Modern Garhwali Short Stories to be continued…1587
Modern Garhwali short Story by Om Prakash Semwal to be continued…3 
    Comments on Story Criticizing Spanking (beating) and Exploring Non Physical Forms of Disciplining Children; Garhwali Story Criticizing Spanking (beating) and Exploring Non Physical Forms of Disciplining Children; Uttarakhandi Story Criticizing Spanking (beating) and Exploring Non Physical Forms of Disciplining Children; Mid Himalayan Story Criticizing Spanking (beating) and Exploring Non Physical Forms of Disciplining Children; Himalayan Story Criticizing Spanking (beating) and Exploring Non Physical Forms of Disciplining Children; North Indian Story Criticizing Spanking (beating) and Exploring Non Physical Forms of Disciplining Children; Indian Story Criticizing Spanking (beating) and Exploring Non Physical Forms of Disciplining Children;  Indian subcontinent Story Criticizing Spanking (beating) and Exploring Non Physical Forms of Disciplining Children; South Asian Story Criticizing Spanking (beating) and Exploring Non Physical Forms of Disciplining Children; Asian Story Criticizing Spanking (beating) and Exploring Non Physical Forms of Disciplining Children; Oriental  Story Criticizing Spanking (beating) and Exploring Non Physical Forms of Disciplining Children  to be continued…     
              Let Us Celebrate Hundredth Year of Modern Garhwali   Stories!

Bhishma Kukreti

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Fajitu: Story depicting struggle of poor blacksmith (Low caste person) 
Critical Review of Modern Garhwali Short Stories -158
Modern Garhwali short Story by Om Prakash Semwal -3
Critical review of Garhwali Story ‘Fajitu’ (2009) by Om Prakash Semwal 
                            Let Us Celebrate Hundredth Year of Modern Garhwali   Stories!
                           Review by Bhishma Kukreti
 [Notes on Story depicting struggle of poor blacksmith (Low caste person); Garhwali Story depicting struggle of poor blacksmith (Low caste person); Uttarakhandi Story depicting struggle of poor blacksmith (Low caste person); Mid Himalayan Story depicting struggle of poor blacksmith (Low caste person); Himalayan Story depicting struggle of poor blacksmith (Low caste person); North Indian Story depicting struggle of poor blacksmith (Low caste person); Indian Story depicting struggle of poor blacksmith (Low caste person); South Asian Story depicting struggle of poor blacksmith (Low caste person); Asian Story depicting struggle of poor blacksmith (Low caste person); Oriental Story depicting struggle of poor blacksmith (Low caste person)]
       Om Prakash takes his characters from the society and depicts their struggle of uprising. Semwal is famous for is moralistic or idealistic stories.  Fajitu is an orphan blacksmith by caste and is indirectly a bonded labor of landlord.  Landlord arranges for Fajitu everything necessary to live. The landlord also arranged his marriage and his wife left Fajitu after their son becomes one year old. When landlord dies his two sons became out of line in terms of earning and behavior. Once the two brothers were beating their wives, Fajitu resisted their beating women. Both brothers bate Fajitu and people take Fajitu to hospital. 
      The story is simple and style is also conventional. Semwal develops the character of Fajitu very well. The story writer shows successfully the struggle and emotion of aloofness of Fajitu. As usual, the dialects are of upper Garhwal-Kedargahti.
Copyright@ Bhishma Kukreti 15/11/2012
Critical Review of Modern Garhwali Short Stories to be continued…159
Modern Garhwali short Story by Om Prakash Semwal to be continued…4 
Comments  on Story depicting struggle of poor blacksmith (Low caste person); Garhwali Story depicting struggle of poor blacksmith (Low caste person); Uttarakhandi Story depicting struggle of poor blacksmith (Low caste person); Mid Himalayan Story depicting struggle of poor blacksmith (Low caste person); Himalayan Story depicting struggle of poor blacksmith (Low caste person); North Indian Story depicting struggle of poor blacksmith (Low caste person); Indian Story depicting struggle of poor blacksmith (Low caste person); South Asian Story depicting struggle of poor blacksmith (Low caste person); Asian Story depicting struggle of poor blacksmith (Low caste person); Oriental Story depicting struggle of poor blacksmith (Low caste person) to be continued…
                                  Let Us Celebrate Hundredth Year of Modern Garhwali   Stories!

Bhishma Kukreti

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As: Story discussing difference between parental utility of sons and daughters
Critical Review of Modern Garhwali Short Stories -159
Modern Garhwali short Story by Om Prakash Semwal -4
Critical review of Garhwali Story ‘As’ (2009) by Om Prakash Semwal 
                            Let Us Celebrate Hundredth Year of Modern Garhwali   Stories!
                           Review by Bhishma Kukreti
[Notes on Story discussing difference between parental utility of sons and daughters; Garhwali Story discussing difference between parental utility of sons and daughters; Uttarakhandi Story discussing difference between parental utility of sons and daughters; Mid Himalayan Story discussing difference between parental utility of sons and daughters; Himalayan Story discussing difference between parental utility of sons and daughters; North Indian Story discussing difference between parental utility of sons and daughters; Indian Story discussing difference between parental utility of sons and daughters;  South Asian Story discussing difference between parental utility of sons and daughters;  Asian Story discussing difference between parental utility of sons and daughters;  Oriental  Story discussing difference between parental utility of sons and daughters]   
               Om Prakash Semwal is teacher by profession and his poems, songs, dramas and his stories discuss many social subjects. There are many reasons that parents prefer sons against daughters in south Asia or East Asia. Om Prakash Semwal depicts and discusses a few reasons for preference of sons by parents in his story ‘As’.
             Bhadu and Vimla are happy married couple. Vimla is happier than Bhadu that they have two sons and their Bhadu’s cousins have daughters. Vimal is more happy that all properties of Bhadu’s cousins would ultimately come to her sons.  Bhadu’s elder son Manu takes works in village and younger son goes to Delhi and takes employment there. When both sons are married they are separated. Parents are also divded along with properties. Badu had to leave village to live with his younger son Saunu. Vimla lives with Mainu in village. However, Bhadu does not adjust with the new metro life. He returns back to village and is shocked to see very bad condition of his wife. Now Vimla talks about need of daughters.   
             Semwal is successful in raising the questions of parental utility of sons and daughters in this story. He keeps the story simple and engages readers. The dialogues are from real life and also fit to characters. Most of the characters act as if they are from real life.  Semwal leaves the question of preference for son and daughters to the readers.
Copyright@ Bhishma Kukreti 22/11/2012
Critical Review of Modern Garhwali Short Stories to be continued…160
Modern Garhwali short Story by Om Prakash Semwal to be continued…5 
Commentary  on Story discussing difference between parental utility of sons and daughters; Garhwali Story discussing difference between parental utility of sons and daughters; Uttarakhandi Story discussing difference between parental utility of sons and daughters; Mid Himalayan Story discussing difference between parental utility of sons and daughters; Himalayan Story discussing difference between parental utility of sons and daughters; North Indian Story discussing difference between parental utility of sons and daughters; Indian Story discussing difference between parental utility of sons and daughters;  South Asian Story discussing difference between parental utility of sons and daughters;  Asian Story discussing difference between parental utility of sons and daughters;  Oriental  Story discussing difference between parental utility of sons and daughters to be continued…

               Let Us Celebrate Hundredth Year of Modern Garhwali   Stories!

Bhishma Kukreti

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Dhuna: an Example of Realism in modern Garhwali Fiction/story 
Critical Review of Modern Garhwali Stories -159
Modern Garhwali Stories by Chinmay Sayar -2
‘Dhuna ‘a Modern Garhwali Story (Shailvani, 16/11/2012) by Chinmay Sayar -a critical Review and Analysis
Let Us Celebrate Hundredth Year of Modern Garhwali   Stories!
                              Review by Bhishma Kukreti
[Notes on Realism in modern Fiction/story; Realism in modern Garhwali Fiction/story; on Realism in modern Uttarakhandi Fiction/story; on Realism in modern Mid Himalayan Fiction/story; on Realism in modern Himalayan Fiction/story; on Realism in modern North Indian Fiction/story; on Realism in modern Indian Fiction/story; on Realism in modern Indian subcontinent Fiction/story; on Realism in modern South Asian Fiction/story; on Realism in modern Asian Fiction/story; on Realism in modern Oriental Fiction/story]
Sada Nand Kukreti (1913) initiated realism in modern Garhwali fiction. Thereafter there are examples that Garhwali writers tried realism in Garhwali fiction. 
A few characteristics of realism in fiction are –
1-The realistic story must be real life mirror.
2-The realistic story deals with complex situation.
3-The good realistic fiction deals with people, problems of people and their challenges.
4-The characters of realistic story /fiction should be believable.
5-The realistic story should reflect the culture and class in realistic way
6- The realistic story also deals with results of conflicts as violence, *ual oppression or other negativism as real and not for sensitization.
7-The language of realistic story should reflect the characters
8- There should be sensitivity to all people in the realistic  regardless to race, *, age, *ual orientation, social group, socioeconomic groups, religion,
9-The place may be imaginative but should look like real in realistic story
10- The time may be of any time or timeless in realistic story.
11- The tone of realistic story should be true
  The present story ‘Dhuna’ by Sayar is a realistic story of a widow. Maya becomes widow. Her in laws harass her and her elder brother in law wants to sell her. She comes to her ‘Mayaka’ for sheltering. However, they remarry her with an alcoholic person. Her drunk husband comes to home in morning and wants to take full benefits of her body.
 'रात कख छया तुम " वीन पूछी दे
" त्वे मतलब !' कुशली खिर्सयुं सि बुलण लगे " रांड ते क्य चैंद ..झुल्ला अर गफ्फा ..." अर जनि उ फिर वीं पर अंग्वाळ ब्वटणै झपटणु छौ व उतडैक भैर चौकं ऐ गे


 The story ‘Dhuna’ by Sayar is a realistic story from all angles and deals with the pain of a widow remarried to a wrong person.
Copyright@ Bhishma Kukreti 24/11/2012
Critical Review of Modern Garhwali Stories to be continued…160
Modern Garhwali Stories by Chinmay Sayar to be …3
Commentary on  Realism in modern Fiction/story; Realism in modern Garhwali Fiction/story; on Realism in modern Uttarakhandi Fiction/story; on Realism in modern Mid Himalayan Fiction/story; on Realism in modern Himalayan Fiction/story; on Realism in modern North Indian Fiction/story; on Realism in modern Indian Fiction/story; on Realism in modern Indian subcontinent Fiction/story; on Realism in modern South Asian Fiction/story; on Realism in modern Asian Fiction/story; on Realism in modern Oriental Fiction/story to be continued…
‘Let Us Celebrate Hundredth Year of Modern Garhwali   Stories!

Bhishma Kukreti

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नै जमानौ  गढ़वळि कथाकार

 

                            भीष्म कुकरेती
 
 

(s= आधी अ ) 

 

 जैदिन बिटेन मनिखोंम बोलि आयि दगड़म कथा बि आयि .  कथा बुलण अर सुणन मनिखो ख़ास परविरति च।   कथा कैं बात तैं भलि तरां बिंगाणो एक बिलखणि अर कामौ ब्यूंत च . इलै त हरेक समाजम अपण लोक कथा छन अर अग्वाड़ी बि रालि .पुराणि संस्क्रित्युं मादे मिश्री कथौं रिकौर्ड 3500 साल पैलो  बच्यां छन। 2500 साल पैलाक यूनानी कथौं रिकौर्ड मिलदो . संस्कृतम बि 2500 साल पैलाक कथौं रिकार्ड मिल्दन।   
 
                    गढ़वळि लोक कथौं पुराणों इत्यास च .महाभारतम जो बि गढ़वाळो बाराम लिख्युं च वो रचनाकारन असलि घटना अर लोक कथौं आधार पर इ लेखि . राहुल सात्याकृतन , डा पातीराम , हरी कृष्ण रतूड़ी , डा शिव प्रसाद डबराल जन इतियासकारोन बि भौत सा इतियासौ छ्वीं गढ़वळि लोक कथौं आधार पर लेखिन .
 
                        .   गढ़वळि लोक कथौं इकबटोऴया लिख्वार

 

   गढ़वळि लोक कथौं बटोळन्देर अर विश्लेषकों  मादे   ओकले , तारा दत्त गैरोला , गोविन्द चातक , मोहन बाबुलकर , हरी दत्त भट्ट शैलेश, अबोध बन्धु बहुगुणा , भजन सिंग सिंग , चक्रधर बहुगुणा , वीणा पाणी  जोशी, जय लाल वर्मा ,  भीष्म कुकरेती , डा अनिल डबराल, जग्गू नौडियाल , पुंडीर  को नाम ख़ास छन . जौर्ज  ग्रियर्सनो प्रयास से पंडित गुणा नन्द धष्मानान गढ़वाली लोक कथाक पैलि दै रिकोर्डिंग सन 1919 मा करी
 
 

                                 नै जमानो गढ़वळि कथौं कथा

   
 
 गढ़वळि गद्यौ पवाण (शुरुवात ) बाइबलो कथौं अनुवाद (1820औ  करीब )अर गोविन्द घिल्डियालो हितोपदेसो अनुवाद (1895 करीब ) से लग

     सही मानेम नै जमानो (आधुनिक ) पैलि गढ़वळि कथा सदा नन्द कुकरेतीs  लिखीं कथा 'गढ़वाली ठाट ' (विशाल कीर्ति, 1913 ) च। 'गढ़वाली ठाट ' कथा कथ्य; कथा बुणौट/कथा गात रचण; बचऴयाण  ( डाइलोग ); वार्ता लगाणों ढंग -ब्यूंत ;चरित्र चित्रण;चरित्रोंम भेद बिभेद,तणाट/तनाव,कथाम अफिक अयुं उकाळ -उंधार; भाषा , निसाण्यु (प्रतीकों) से सै मनौ-रिखडा/मनम छैलु  (बिम्ब ) बणान;  तकरारो सै उपयोग को मामलाम 'गढ़वाली ठाट' दुन्याक उत्कृष्ट द्वी सौ कथाओं में से एक कथा च। कथा चबोड़,  अर असलियतौ उमदा मिऴवाक़ च।

       महान कथाकार सदानंद कुकरेतीऐ   जगा दुन्याक कथा संसारम ब्लादिमीर नबोकोव, फ्लेंनरी ओ'कोंनर, कैथरीन मैन्सफील्ड , अर्न्स्ट हेमिंगवे, फ्रांज काफ्का, शिरले जैक्सन , विलियम कारोल विलियम्स , डी .एच लौरेन्स , सी. पी गिलमैन, लिओ टाल्स्टोय , प्रेमचंद, इडगर पो , ओस्कार वाइल्ड जन महानतम कथाकारों दगड़ च . 'गढ़वाली ठाट ' कथा संसार की सर्व श्रेष्ट प्रतिनिधि कथाओं मादे एक च 
 
परुशराम नौटियालन 'गोपी ' जन द्वि कथा छ्पैन (1913-1936 ).

'पांच फूल' पैलो गढ़वळि कथा खौळ (संग्रह ):  भगवती प्रसाद पांथरी क'पांच फूल' पैलो गढ़वळि कथा खौळ (1947 ) च जखमा पांच कथा छन .कथा सिखंदर्या  (प्रेरणात्मक ) अर स्वांगदर्या  (नाटकीयता ) छन .हां 'ब्वारी' असलियत्या (असलियतवादी) कथा  च।
 
 रैबारओ कथा खौळ (1956 ) रैबार पत्रिकाs कथा खौळम  सतेश्वर आज़ादऔ सम्पादनम डा शिवा नन्द नौटियाल, भगवती चारण निर्मोही, कैलाश पांथरी , दयाधर बमराड़ा, कैलाश पांथरी , उर्बीदत्त उपाध्याय व मथुरा दत्त नौटियालऔ कथा छपिन .
 
उपन्यास रचनेर दयाधर बमराडाs कथा 'रैबार' पत्रिकाम छपी (1956)

डा शिवा नन्द नौटियालौ  पांच छै कथा (1960 से पैलि ) छपिन अर नौटियालो कथौंम मथि मुलक्या ख़ास पछ्याणक दिखेंद . 'धार माकी गैणी ' प्रतिनिधि कथा च .
 
भगवती चरण निर्मोही कथा 'मैती' अर 'रैबार '   पत्रिकौम (सन 1970 से पैलि ) छपेन . कथा मयळि अर  सिखंदर्या  छन

उर्बीदत्त उपाध्यायौ द्वी कथा 'रैबार'म (1970 से पैलि )छपिन

काशी राम पथिकक  शिल्पकार अर  बिठुं बीच समाजौ अर संस्कृत्या  संबंधुं सूद भेद लींदी    कथा ' भुला भेजी देई' मैती'म  (१९७७ ) छप .

भगवती प्रसाद जोशी 'हिम्वंतवासी ' को कथा खौळ 'एक ढांगा क आत्मकथा ' गढ़वळि कथौंम एक चमकदो -दनकदो  जेवर च। छूटि छूटि बथों तै रौंसदार बणाणम जोशी होशियारुं हुस्यार कथाकार छन अर  जोशी न गढ़वळि कथा संसार तै नयो ब्यूंत त द्यायि च त आम  निसाण्यु से असरदार मनौ-रिखडा/मनम छैलु (बिम्ब ) जन्माणम बि जोशी बड़ो नामि , ब्यूंतदार कथा-रचन्देर  च।
 
मोहन लाल नेगीs द्वी कथा खौळ -'जोनि पर छापु' (1967) अर 'बुरांश की पीड़' (1987) से गढ़वळि कथौम दौड़णै सक्यात आई . भौं भौं विषयुं  कथा संवेदनशील अर लोकोक्युक्ति वळि छन .नेगी भाषौ खिलंदेर च .'जोनि पर छाप 'न आजौ गढ़वळि कथौं हिटाई बढै   

आचार्य गोपेश्वर कोठियालो कथा सन 1970 से पेल युगवाणीम छपिन अर कथौंम टिहरी जिनाक छैलु (बिम्ब ) मिल्दो .

शकुन्त जोशीs कथा (1977 ) मैती 'म छपिन

 चन्द्र मोहन चमोलीs 'सच्चा बेटा 'कथा  बाडुळी '(1977)म छप

पुरुषोत्तम डोभालऔ पैलि कथा 'बाडुळी' (1979 ) पतड़ीम  (पत्रिका )  छप अर डोभालन गां गौळु (समाज ) संबंधी पांच छै कथा लेखिन .कथा  मयळि छन।
 
अबोध बंधु  बहुगुणाs द्वि कथाखौळ छपिं छन (कथा कुमुद अर  रगड्वात ). बहुगुणाs कथा बुद्धिवादी छन अर  संस्कृतण्या भाषाम छन। बहुगुणा आखरुं खिलंदर च .

 नित्या नन्द मैठाणीs कथा मौलिक मने जान्दन . शब्दुं मैनेजर  च मैठाणी 
 
गढ़वळि कथौं तै डमडमो करणम अर  परिष्कृत करणम  दुर्गा प्रसाद घिल्डियालो नाम अग्वाड़ि च .'गारी' (१९८४), 'म्वारी' (१९९८६) , और 'ब्वारी (१९८७ ) तीन कथागळ गढ़वळि कथौं खग्वळि, मुर्खल अर बुलाक छन।  घिल्डियालो कथौंम समौ समाज रौंद अर जगा -डाळ -बूट कम।
 
प्रयोगधर्मी भीष्म कुकरेतीs कथौंम या त जनानी समस्या , चबोड़ या गां -गौळु समस्या रौन्दन . बीस पचीस कथौं मादे -दाता की ब्वारी कन  दुखयारी , कैरा को कतल , बिठु पर भिड्याणो सुख , घुघोती बसोति (सम लैंगिक विषय ) चर्चा माँ रैन।कुकरेतीन विदेसी भाषों कथौं अनुवाद कौर .

रमा प्रसाद घिल्डियालो द्वि कथा हिलांसम छपिन अर द्वि कुछ कुछ समळौण्या बिरतांत लगदन

कुसुम नौटियालो द्वि कथा हिलांसम (1981-1982 ) छ्पेन .कथौंम गां -गौळ ,जगा अर प्रकृति मिऴवाक रौंसदार  च 
 
सुदामा प्रसाद डबराल 'प्रेमी ' कथा जिकुड़ेळि ( संवेदनशील), सरल रौंदन , कथौंम मुवारों प्रयोग बढिया च. डा. अनिलो मुताबिक़ भाषा ढबाड़ी (हिंदी -गढ़वाली ) च .सुदामा प्रसादों तीन कथागळ (संग्रह ) छपि गेन .
 
बीस पचीस कथौं रचंदेर डा महावीर प्रसाद गैरोलाs कथा सिखंदेरी कथा छन पण सरल छन .गैरोलाs कथाखौळ छप्युं च . भाषाम टिर्याळि सुबास खूब रौंद

  बालेन्दु बडोलान नि बि होला त तीसेक कथा त  छपै होला . कथौं विषय लोक कथौं जन छन अर ब्यूंत बि परम्परावादी च
 

सदानंद जखमोलाs   पाच कथाएछ्पेन जन ' छौं को वैद (गढ़ गौरव १९८४)

प्रताप शिखरs कथा संग्रह 'कुरेड़ी फट गे ' (१९८९) मा  कथौं  घाळ च  कथौं मा गां गौळो असलियत मिल्दी कति  कथा रेखाचित्र बि बणी जान्दन , प्रताप शिखरs भाषा टिर्याळि च ज्वा एक खासियत च .

 

पूरण पंत पथिकs  द्वि कथा   कथा (हिलांस १९८३ व चिट्ठी २१ वां अंक ) छ्पेन . कथाओंम  में कथात्व कम च  विचार उत्प्रेरणा अर चबोड़ जादा च .
 
मनोविज्ञानी कथाकार काली प्रसाद घिल्डियालs दसेक कथा छ्पेन  . काली प्रसाद की कहान्यूंम  जटिल मनोविज्ञान मिल्दो जटिल मनोविज्ञान तै सरलता दीणम काली प्रसाद घिल्डियाल ब्यून्त्दार च .

 जबर सिंह कैंतुरा 1985 उपरान्तो कथाकार च जैकि जण बारेक कथौं  मा संघर्ष , मनिख्यात , मनिख चुषणै (शोषण ) खराब आदत विषय ख़ास छन। टिर्याळि क कथगा इ शब्द गढ़वळी  बान नगीना छन .

  मोहन लाल ढौंडियालs कथा हिलांसम (1985-1988) छपिन। कथा सिखंदेरी अर परम्परा वळो ब्यूँतो छन .
 
  विजय सिंह लिंगवालs  तीनेक कथा हिलांस (1988-89)म छपेन . कथा सरल छन अर कथौंम मुवावरादार छन

   

 जगदीश जीवटs एकी रोंसेळि  कथा दिखणम आइ (धाद , 1988) 
 

 

विद्यावती डोभालs पांचेक कथा छपि होला अर 'रुक्मी' (धाद ,1989) चर्चा बि  ह्वे   

'चिन्मय सायर's  ननि अर छ्वटि दसेक कथा चिट्ठी अर शैलवाणीम  छपेन . कथा सारगर्भित छन . जादा सि समौ दिखांद (सामयिक ) कथा छन। कथौंम   बदलपुर्या भौण च 
 
विजय गौड़s 'भाप इंजिन (चिठी ) अति आधुनिक माने जांद 

विजय कुमारs पांचेक कथा छपेन . एक बाळ -कथा बि छ . कथा जिकुड़ेळि अर आधुनिक छन   

गिरधारी लाल थपलियाल 'कंकाल s एकी रौंसदार कथा 'सुब्यदरी ' (धाद १९८८)छप .

जगदम्बा प्रसाद भारद्वाज 'सच्चु सुख' (धाद १९८८ ) म छप अर . कथा अभिव्यक्ति कौंळो   उम्दा नमूना च .

  : प्रसिद्ध गढवाली कवि सुरेन्द्र पालऐ  कथा 'दानौ बछरू' अर एवम 'नातो' (धाद १९८८) गढवाली कथा का नगीना छन .
 
 

मोहन सैलानीs  कथा ' घोल' (धाद १९९०) एक कळकळि  भौणै कथा च .

महेंद्र सिंह रावतs  इकु कहानी गाणी (धाद १९९० ) छप . .

सतेन्द्र सजवाण : सतेन्द्र सजवाणs  एक कहानी 'मा कु त्याग ' (बुग्याल १९९५ )मा छप .
 
बृजेंद्र सिंह नेगीs सन  २००० उपरान्त   'उमाळ ' व छिट्गा' नाम से द्वि दो कथाखौळ छपिन  कथौं  विषय गाँव, मनिखों  सम्बन्ध , अंधविश्वास , समस्या संघर्ष , जन छन जु  आम मनिखों रोजै  जिन्दगी से मुतालिक छन .. भाषा मुवावरेदार अर निपट  सल़ाणी च।
 
 

 

ललित केशवानs पांच कथा छपी गेन जादातर कथा भूतों कथा छन अर  सिरोंठी , इड्वाळस्यूंम घटित कथा छन .

ब्रह्मा नन्द बिंजोलाs  आठेक  कथा इना उना छपीं छन  ' फ़ौजी की ब्योली ' कथागळ  प्रकाशाधीन च कथा मार्मिक व गढवालऔ  जन जीवन सम्बंधीं छन कथौंम चौन्दकोट्या भाषा साफ़ दिखेन्दि .




कन्हया लाल डंडरियालs द्वीएक  कथा छपीं छन 

लोकेश नवानीs  चारेक कथा धाद, चिट्ठी , दस सालैक खबर सार (२००२) , मे प्रकाशित ह्वेन।.
 
 

गिरीश सुन्दरियालs  छैएक कथा छपिन   डा अनिल डबरालओ  लिखण च बल इन कथा  मादक, हृदयस्पर्शी , प्रगल्भ छन 

डा कुटज भारतीs  भुकण्या तैं घुरण्या ल़ीगे ' कथा   (खबर सार , १९९९ ) रौंसदार हंसोड़ी लोक लकीरऐ कथा च .

वीणा पाणी जोशी  एकि कथा ' कठ बुबा ' बिरतांत मिल्दो .

डी एस रावत : डी एस रावत की एक कथा 'छावनी' चिट्ठी पतरी , १९९९) मा छप जैंम बच्चा क नजर से सैनिक छावनी बिरतांत च .
 
वीरेन्द्र पंवारस तीन चार ननि कथौं बिरतांत मिल्दो

अनसुया प्रसाद डंगवालs अब तक दस बारह कथा छपि गेन (शैलवाणी ) . कथा सामाजिक विषयि  छन हैं. भाषा चरित्रों हिसाबन  छन  कुछ कथा बंचनेरूं तै सुचणों मजबूर बि करदन
 
 

राम प्रसाद डोभालs २०००उपरान्त छपिन

सत्य आनंद बडोनीs  एकि कथा मंगतू (चिट्ठी पतरी , २०००) दिखे .

विमल थपलियाल 'रसालs  एक दार्शनिक कथा  ' खाडू -बोगठया' ( खबर सार (२०००)  छप   

चंद्रमणि उनियालs  चिट्ठी रूपम एक कथा 'रुकमा ददि ' चिट्ठी पतरी ' ( २००१) दिखे . .

अज्युं तलक प्रीतम अपछ्याणs   पांचएक कथा २००० उपरान्त  चिट्ठी पतरीम  छपींन . कथा चबोड़ बि करदन त आजौ समौ बि दिखांदन
 
 .

सर्वेश्वर दत्त कांडपालs 'खाणी 'दादी चाणी ' (चिट्ठी पतरी २०००) दिखे अर समौ बदलाव दिखान्दि

संजय सुंदरियालs द्वी  कथा चिट्ठी पतरी (२००० परांत) छपिन .

सीताराम ममगाईंs ननि कथा ' अनुष्ठान ' चिट्ठी पतरी (२००२ ) छप .

 

पाराशर गौड़स चबोड़ी ननि ननि कथा इन्टरनेट पर छपीं छन। भाषा  निपट  असवाळस्युं की च अर कथा आधार अखबारी खबर छन .

 

गजेन्द्र नौटियालs एकि मार्मिक  कथा 'मान की टक्क 'चिट्ठी पतरी' (२००६) मिल्दि

 

ओम प्रकाश सेमवालस एक कथा खौळ 'मेरी पुफू' (2009) छपीं च अर हैंको छपण वळ च। कथा आदर्शवादी , सिखंदेरी , आशा जगांदी छन अर डांडा -कांठाओं (पहाडी विन्यास ) ऐना छन . भाषा इ ना विषयोंम बि केदारदूण ऐ पूरी छाप च .   
 
 

जनान्युं संवेदनाओ तै  दर्शाण वळी कथाकार आशा रावतज़s एक कथासंग्रह ( ' शैल्वणी' प्रकाशन कोटद्वार  (2012 )म छपी गे कथा मार्मिक, समस्या मूलक छन , बचऴयात (संवाद) कथाम तेजी लांदन .

शेर सिंह गढ़देशीs लोक लकीरै (परम्परावादी) कथा 'नशलै सुधार' एक सुधारवादी कथा च  (खबर सार (२००९)

सुधारवादी कथाकार जगदीश देवरानीs  एक कथागळ (20120) छपी गे अर कथा बिलकुल आदर्शवादी  छन।  भाषा पर लंगूर-शीला पट्टी क प्यूरी छाप च
 
 

दिनेश ध्यानीs   कथा खौळ  'न्यूतेर ' सन 2012म  में प्रकाशित  ह्वे  अर यूंकि कथौं पर छ्वीं बथा बि खूब ( चर्चा ) लगिन .



  उन त कविता अर नाटकुं बनिस्पत गढ़वळि कथौंम उथगा  काम नि ह्वे जथगा हूण चएणी छे पण जथगा बि ह्वे अमूल्य च . विषयुंम भिन्नता , लिख्वारो अपणों अपणों ब्यूंत  से लगद जु लिख्वार कथा विधा जिना आवन त गढ़वळि कथौंम बाढ़ आलि       
 








सन्दर्भ :

१- भीष्म कुकरेती, २०११, गढवाळी कथाकार अर हौरी भाषाओं क कथाकार , शैलवाणी के (२०११-२०१२ ) साठ   अंकों से बिंडी  लंगत्यारी ( क्रमगत )लेख

२- अबोध बंधु बहुगुणा , १९७५ गाड म्यटयेकि गंगा, देहली (गढवाली गद्य साहित्य का क्रमिक विकास )

३- डा अनिल डबराल, २००७ गढ़वाली गद्य परम्परा ,

४- अबोध बंधु बहुगुणा , १९९०, गढ़वाली कहानी , गढवाल की जीवित विभूतियाँ और गढवाल का वैशिष्ठ्य, पृष्ठ २८७-२९०

५- ललित केशवान (२०१०) का भीष्म कुकरेती कुणि लम्बी चिट्ठी

६- अबोध अबन्धु बहुगुणा , २००० , कौंळी  किरण

7- कई कथाकारों दगड़ फोन पर छ्वीं

 



Copyright@ Bhishma Kukreti January 2012

 

Bhishma Kukreti

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Padaunn ki Rajneeti: The story about Empty mind is the Devil’s Workshop
Critical Review of Modern Garhwali Short Stories -160
Modern Garhwali short Story by Dinesh Dhyani -1
    A critical Review and Analysis of Garhwali short story ‘Padaunn ki Rajneeti ‘(Nyter –Story Collection, 2012) written by Dinesh Dhyani
                            Let Us Celebrate Hundredth Year of Modern Garhwali   Stories!
                           Review by Bhishma Kukreti
[Notes on the modern story about Empty mind is the Devil’s Workshop; Garhwali story about Empty mind is the Devil’s Workshop; Uttarakhandi modern story about Empty mind is the Devil’s Workshop; Mid Himalayan modern story about Empty mind is the Devil’s Workshop; Himalayan modern story about Empty mind is the Devil’s Workshop; North Indian modern story about Empty mind is the Devil’s Workshop; South Asian modern story about Empty mind is the Devil’s Workshop; Asian modern story about Empty mind is the Devil’s Workshop; Oriental modern story about Empty mind is the Devil’s Workshop]
                Dinesh Dhyani is a prominent Garhwali literature creative of Delhi. Dinesh has already published his Garhwali poetry collection.
    Dinesh published his first Garhwali short story collection ‘Nyuter’ in 2012. ‘Padaunn ki Rajneeti’ is first short story of the said story collection.
  ‘Padaunn ki Rajneeti’ depicts the atmosphere of contemporary rural Garhwal that people don’t have any agro-work due to various reasons. Since, people don’t have work they are indulged in various unnecessary local politics. The marriage party of Chimbwa returns with bride. There is tradition to distribute ‘Padaunn (kalyo-Sweet  gift) or sweets from bride house after the marriage party returns with  bride. The groom villagers have hundred percent right on this ‘Padaunn or sweet gift of bride house. The elders come to part the sweet for to distribute the sweet on equal portion. However, no elder comes to make parts of sweet for distribution.  The story writer opens the secret about elders not coming to part sweets for distribution among villagers.
 The story writer Dinesh Dhyani effectively creates images of village, marriage dinner party, and the worries of groom’s mother. The dialogues support the story. The story phrases and dialogues are dialects of Naini Danda region. The speed is slow as the aim of writer is to tell the new changes happening in rural Garhwal. The narration and end is satisfying. The aim of story teller is about stating that ‘Empty mind is the Devil’s Workshop’ and he is successful.
Copyright@ Bhishma Kukreti 16/1/2013
Critical Review of Modern Garhwali Short Stories to be continued…160
Modern Garhwali short Story by Dinesh to be continued…2 
[Notes on the modern story about Empty mind is the Devil’s Workshop; Garhwali story about Empty mind is the Devil’s Workshop; Uttarakhandi modern story about Empty mind is the Devil’s Workshop; Mid Himalayan modern story about Empty mind is the Devil’s Workshop; Himalayan modern story about Empty mind is the Devil’s Workshop; North Indian modern story about Empty mind is the Devil’s Workshop; South Asian modern story about Empty mind is the Devil’s Workshop; Asian modern story about Empty mind is the Devil’s Workshop; Oriental modern story about Empty mind is the Devil’s Workshop to be continued…

                      Let Us Celebrate Hundredth Year of Modern Garhwali   Stories!

Bhishma Kukreti

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                                 Chippak: Childhood memoir in story form
Critical Review of Modern Garhwali Short Stories -161
Modern Garhwali short Story by Dinesh Dhyani -21
    A critical Review and Analysis of Garhwali short story ‘Chippak ‘(from ‘Nyuter’ –a Story Collection, 2012) written by Dinesh Dhyani
                            Let Us Celebrate Hundredth Year of Modern Garhwali   Stories!
                           Review by Bhishma Kukreti
[Notes on story about Childhood memoir in story form; Garhwali story about Childhood memoir in story form; Uttarakhandi story about Childhood memoir in story form; Mid Himalayan story about Childhood memoir in story form; Himalayan story about Childhood memoir in story form; North Indian story about Childhood memoir in story form; Indian story about Childhood memoir in story form; South Asian story about Childhood memoir in story form; Asian story about Childhood memoir in story form; Oriental story about Childhood memoir in story form]
  Dinesh Dhyani wrote Garhwali short stories on different subjects. ‘Chippak’ story is all about the childhood acts and child psychology. An eight-ten years old boy visits village Bazaar for ration shop sugar and kerosene.  He is mesmerized by looking at Bus at bus stop. The boy looses the kerosene tin. The boy is afraid of his grandmother and mother for his negligence that he lost kerosene tin.
The interesting fiction plot takes the readers to old Garhwal when bus was new to people of rural Garhwal and readers feel the childhood images.  The story writer Dinesh Dhyani could create a tension in the story from the child point of view. Naration is simple that the readers easily can imagine the characters and geographical aspects of Musykhand, Dhangalgan,Kalinka of Nainidanda region. The story is in first person narration. The story writer is successful in creating an atmosphere of childhood. There are no dialogues in the story but readers don’t miss dialogues.  The language is full of Nainidanda dialects.

Copyright@ Bhishma Kukreti 17/1/2013
Critical Review of Modern Garhwali Short Stories to be continued…162
Modern Garhwali short Story by Dinesh to be continued…3 
Notes on story about Childhood memoir in story form; Garhwali story about Childhood memoir in story form; Uttarakhandi story about Childhood memoir in story form; Mid Himalayan story about Childhood memoir in story form; Himalayan story about Childhood memoir in story form; North Indian story about Childhood memoir in story form; Indian story about Childhood memoir in story form; South Asian story about Childhood memoir in story form; Asian story about Childhood memoir in story form; Oriental story about Childhood memoir in story form to be continued…

Bhishma Kukreti

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गढ़वळि  बाल कथा -4

 

                   साग- भुज्युं राजा को च ?- खांडि ( भाग) -1

 

                     भीष्म कुकरेती

  एक दै साग  -भुज्युंम जुध छिड़ी गे बल भुज्युं राजा को च ? जब वो अपण आपसम झगड़ा नि निबटै सकिन  त वो एक बुडड़िम गेन।

बुडड़िन पुछि बल ," तुम कै हिसाब से राजा की पछ्याणक करण चांदा?"

भुज्युं बिटेन कथगा इ आवाज ऐन

"उमर  को हिसाब से"

"न्है ! विटामिन की मात्राक हिसाब से"

"न्है , न्है मिनरल्स को हिसाब से"

" न्है! न्है प्रोटीन, फैट -वसा, फाइबर  आदि क हिसाब से न्याय हूण चयेंद"

 

  बुडड़िन बोलि बल ठीक च मि एकैक गुणक  हिसाब से तुमारो झगड़ा निपटारो करे जालो।

सब्युंन बोले बल हां यो ठीक च।

 

  बुडड़ि- अच्छा चलो उमर को हिसाब से दिखला कि हरेकाक कथगा बड़ी उमर च धौं! एक एक कौरिक अपण बाराम  बथाओ!

 
मर्सू- म्यार बि हरा पत्ता होंदन अर पहाड़ोंम बरसातम मेरो पत्तों सागो बड़ी मांग रौंदी।

पहाड़ी मूळा- म्यरा बि हरा हरा पात होंदन अर बरसातम म्यार पत्तों बड़ी मांग होन्दि।मीमा अर पहाड़ी राइम जादा फर्क नि होंद

 पिंडाळु पत्ता - बरसातम मेरो पत्यूड़/गुंडळ बणदन

खीरा पत्ता- म्यार पत्तोंन याने टुकलूंक   भुज्जी बणदि अर फूलुंक पक्वड़                           
 
 पहाड़ी पळिन्गु - जी मि हरो पत्तों वळ पाडि पळिन्गु याने पहाड़ी पालक छौं। मेरि खेति  गढवाल अर कुमाउनी पाख पख्यड़ोंम होंद। हमार पत्तों भुजिs स्वाद  मैदानी पलक से थ्वडा अलग होंद अर पहाड़ी लोक बुल्दन बल पाडि पळिङ्गौ स्वाद मैदानी पालक से जादा सवादि होंद।

पहाड़ी राइ- मी बि हरा पत्तों वळ पहाड़ी राइ छौं। मेरि खेति बि पहाड़ो पाख पख्यड़ोम इ होंद। म्यरो पत्तों स्वाद बि मैदानी राइ याने सरसों से अलग हूंद।

लया- मि बि हरा पत्तों वळ भुज्जि छौं अर मेरो स्वाद मैदानी सरसों जन ही होंद किलैकि मेखुण मैदानोंम सरसों बुल्दन।

 ओगळ- मि बि हरो पत्तों वळ साग छौं। मेरो पत्तों बढिया साग बणदो। उन अब पहाड़ी लोग मेरि खेति नि करदन पण कबि बग्वाळ उपरान्त जब भुज्युं अकाळ होंदु छौ   मि बड़ो कामौ साग छौ।

प्याजौ पत्ता - जब गर्म्युंम पहाड़ोम भुज्युं अकाळ ह्वे जांदो छौ त  म्यार पत्तों से साग भुज्जि बणदि छे, अज्युं बि

पापड़ी- मि जंगली छौं, गदनोम पाए जांदु   अर कुछ लोग म्यार पत्तों साग बणान्दन

लिंगड़-खुंतड़ - हम बि डाँडो जंगळोम हूंदा अर पुराणों जमानम गर्म्युंमा काम की भुज्जि होंदा था   

 सूंट, लुब्या, छीमि  मूळा आदिक फोळि/ फुळड़- हम जब हरा रौंदा त  हमारो साग बणदो   
 
 

 बुडडि - चलो तुम सौब हरा पत्ता छंवां। इन बथावा तुमर उमर क्या होंदि ?

सौब - जु हम अपण डाऴयूं दगड़ इ सुकि जांदा।

 बुडडि- अर जब  डाऴयूं से काटिक भुज्जि बान पत्ता रौंदा त तुमारि उमर कथगा रौन्दि ?
 
 सौब - बस द्वी-तीन दिन। अर तीन चार दिन बाद हम ल्हतम डै जांदा।



  बुडडि- मतबल उमर का हिसाब से पत्ता अर फुळड़ कम उमरि क भुज्जि छन। जावो अपण जगाम बैठि जावो।  अब बारी च बरसाती लगलों वळ भुज्युं



लम्यंड, गुदड़ि, तुमड़ी, करेला, मिठ  करेला  आदि - हम बरसातम लगलों पर लगदां। लगलो सुकण पर हम बि सुकि जांदा अर मनिखों तुड़न पर हम द्वी चार दिनुम खराब ह्वे जांदा।

  बुडडि- मतबल तुमारी उमर बि छ्वटि च।अब जरा फल वाळ भुजि अपण उमरो हिसाब त द्याओ!

बेडू-तिमल, क्याळा, घ्वाघा क कच्चा फल- हम जब कच्चा रौंदा त  लोग हमर भुजि बणान्दन अर हमर कच्चा फल तीन चार दिन बाद खराब हूण बिसे जांदा       

 बुडडि- मतबल तुमारो बि उमर कमि च।

बसिंगु,क्याळा फूल   - हम तुड़नो बाद द्वी तीन दिन से जादा ज़िंदा नि रै सकदां 

बुडड़ि -  मतबल तुमारो बि उमर कमि च। कंद मूल वळि भुज्युं बि सुणे जावु।

 

पहाड़ी मूळा- उन जब मनिख मै तै उपाड़दो त मि पांच छै दिनम कबासले जांदा।  उपाड़नो बाद दुबर  खड्यारण/गब्याण   पर मेरि उमर तीन चार मैना तलक बढ़ी जांद

 पिंडाळु, तैडू - हम पांच छै मैना तलक त ठीक रौंदा पण फिर  हम गळण बिसे जांदा 

अलु - जु मि पाड़ी अलु होलु त सालेक तक ठीकि रौंद पण जु मि मैदानि अलु रौलु त नौ मैना तलक ठीक रौंदु

खीरा - हमकुण मैदानोंम कद्दू /घपला बुले जांद। पकीं दशाम मि बारा तेरा मैना तलक खराब नि होंदु 

प्याजक दाण  - म्यार दाण खीरा से जादा दिन तलक ठीक रै जांदु   

   

 बुडड़ि - उमरो या ड्यूरेबिलिटी हिसाब से त प्याज भुज्युं महाराजा अर खीरा राजा ह्वाइ।

सबि - न्है ! न्है ! यो न्याय-निसाब  ठीक नी च, कै माँ क्या क्या विटामिन , क्या मिनरल च यांको बारं बि सूत भेद लिये जाण चयेंद।

       
 
 बुडड़ि - ठीक च कैं  भुजिम क्या क्या विटामिन छन,  क्या क्या मिनरल छन पर भोळ बात होलि।

सबि - हम सब भोळ औंला  अर आपक न्याय निसाब सुणला   

         

 



 Copyright@ Bhishma Kukreti 30/1/2013



साग- भुज्युं राजा को च ?- खांडि ( भाग) -2 म जारी

Bhishma Kukreti

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Bhaun ku Kauthig ar Piply-Chaukhty: Short Story depicting images of regional historical events 
Critical Review of Modern Garhwali Short Stories -161
Modern Garhwali short Story by Dinesh Dhyani -3 
    A critical Review and Analysis of Garhwali short story ‘Bhaun ku Kauthig ar Piply-Chaukhty ‘ (from ‘Nyuter’ –a Story Collection, 2012) written by Dinesh Dhyani
                            Let Us Celebrate Hundredth Year of Modern Garhwali   Stories!
                           Review by Bhishma Kukreti

[Critical Notes on Short Story depicting images of regional historical events; Garhwali Short Story depicting images of regional historical events; Uttarakhandi Short Story depicting images of regional historical events; Short Story  from Nainidanda region depicting images of regional historical events; Short Story  from Dhumakot area depicting images of regional historical events; Short Story of Border areas of Garhwal and Kumaun depicting images of regional historical events;  Mid Himalayan Short Story depicting images of regional historical events; Himalayan  Short Story depicting images of regional historical events; Indian Short Story depicting images of regional historical events; Asian Short Story depicting images of regional historical events; Oriental Short Story depicting images of regional historical events]

         The modern Garhwali short story writer Dinesh Dhyani depicts images of his birth land Dhumakot, Nainidanda in most of his fiction. In the short story ‘Bhaun ku Kauthig ar Piply-Chaukhty’, Dinesh depicts the images of villages as Chaukhty, Maira, Padkhndai, Dhangalgan, Pokhaar, Ryo, Tolyundand, Dundera, Badagad, Simtand, Kwee, Chinwadi. Dinesh first arrests the attention of readers that he is talking about the area of famous brave woman Tilu Rauteli and he would talk about fair and festivals of Dhumakot Nainidanda. The story is about the fair of Bhaun Devi temple and the fair of Baisakh. 
             The story is about the fight between the two regions Chaukhty (Chaukhty, Maira, Padkhndai, Dhangalgan, Pokhaar, Ryo, Tolyundand villages) and Piplya (Dundera, Badagad, Simtand, Kwee, Chinwadivilaages) in old time for the supremacy.
 The story does have many twists due to infighting depiction. The story writer is successful in illustrating the images of Bhaun temple and its worshiping sequences.  Dinesh touches today’s situation of fair in Bhaun temple.  Dhyani shows the temple through photograph and also provides three folk songs related to fair and festival of Bhaun Devi temple.
  The story form is in an old man telling story to his grand children. There are no dialogues and is in descriptive form. The readers get perfect images of the area and its people of old time. The dialects are from Nainidanda block of Pauri Garhwal.   
Copyright@ Bhishma Kukreti 30/1/2013
Critical Review of Modern Garhwali Short Stories to be continued…163
Modern Garhwali short Story by Dinesh Dhyani to be continued…4 
Critical Notes on Short Story depicting images of regional historical events; Garhwali Short Story depicting images of regional historical events; Uttarakhandi Short Story depicting images of regional historical events; Short Story  from Nainidanda region depicting images of regional historical events; Short Story  from Dhumakot area depicting images of regional historical events; Short Story of Border areas of Garhwal and Kumaun depicting images of regional historical events;  Mid Himalayan Short Story depicting images of regional historical events; Himalayan  Short Story depicting images of regional historical events; Indian Short Story depicting images of regional historical events; Asian Short Story depicting images of regional historical events; Oriental Short Story depicting images of regional historical events to be continued…

Bhishma Kukreti

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                      Nirbiju: First Garhwali Novel for Children and Youth
 Critical Review of Garhwali Language Novel-1
Critical Review of ‘Nirbiju’ (2013) A Garhwali Novel by Dr. Umesh Chamola
                                     Bhishma Kukreti
[Notes on First regional language Novel for Children and Youth; First Garhwali Novel for Children and Youth; First Uttarakhandi regional language Novel for Children and Youth; First Mid Himalayan regional language Novel for Children and Youth; First Himalayan regional language Novel for Children and Youth; First North Indian regional language Novel for Children and Youth; First Indian regional language Novel for Children and Youth; First South Asian regional language Novel for Children and Youth; First Asian regional language Novel for Children and Youth; First Oriental regional language Novel for Children and Youth]
  There are a few novels in Garhwali language and could be counted on fingers. Baldev Prasad Nautiyal wrote first Garhwali novel (around 1940) Daya Dhar Bamrada, Abodh Bandhu Bahuguna and Harsh Parvteey are other Garhwali novelists. 
 ‘Nirbiju’ is a mini novel and attracts children and old aged readers with same intensity. It may be said that ‘Nirbiju’ is first Garhwali novel suitable for children and youth.
   Novel writing in Garhwali started in 1942 but still it is in orphan stage from numbers of novels are concerned. ‘Nirbiju’ is one step of fulfilling the need of novel suitable for children and youth.
 ‘Nirbiju’ has two meanings in Garhwali- the plant don’t  grow through seeds but through other means as sugarcane, ginger etc nd such plants are called ‘Nirbiju’. There are seeds those don’t have capacity to give birth to plant and those seeds are also called ‘nirbiju’. The novel writer took ‘Nirbiju’ for seeds those don’t have capacity to give birth to a new generation. 
              The story plot is of old kingdom style but the subject is related to contemporary needs. The king Mahendra Pratap of Shergarh attacks the Saurgarh kingdom. There was bloodbath in the battle. The princess of Saurgarh Rupani preached Mahendra for love and peace.  Mahendra Pratap was influenced and stop battle. Both fell in love and they married each other.  Their married life was an example for lovers. However, one day the king fell in love with court dancer Mohani and marries her. The dancer and her relatives took over the kingdom charge though appointing their relative on key positions.  The well wishers of king Mahendra and queen Rupni cautions the king for new happenings in the court but King does not pay attention. Rupni dies due to deception of Mohani. The king kills the relatives of Mohani  but at the end Mahendra Pratap is also killed. There was no body for new generation (Nirbiju).
   The story construction is so tight and cryps that readers would like to read novel many times.  The dialogues are small and very appropriate as per the characters. The characterizations are of great style and are as per the theme. There are proverbs those provide speed to story and pleasure to the readers.
  The dialects are from upper Garhwal-Chamoli region.
The novelist is successful in discussing the values without any dry preaching.
The novel promises for Dr. Umesh Chamola being a great novelist in future.

Copyright@ Bhishma Kukreti 22/3/2012
Critical Review of Garhwali Language Novel to be continued…2

  Notes on First regional language Novel for Children and Youth; First Garhwali Novel for Children and Youth; First Uttarakhandi regional language Novel for Children and Youth; First Mid Himalayan regional language Novel for Children and Youth; First Himalayan regional language Novel for Children and Youth; First North Indian regional language Novel for Children and Youth; First Indian regional language Novel for Children and Youth; First South Asian regional language Novel for Children and Youth; First Asian regional language Novel for Children and Youth; First Oriental regional language Novel for Children and Youth to be continued…                   

 

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