Author Topic: Poem of kanhaiyalal dandriyal : कन्हैयालाल डंडरियाल एक कवि, लेखक,साहित्यकार  (Read 25470 times)

Bhishma Kukreti

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Modern Literature of Kumaun, Garhwal, Himalayas

        Shubh Kamna A Short Humorous Poem by Kanhayalal  Dandriyal

          शुभकामना : महाकवि कन्हया लाल ki  एक कालजयी कविता

                       Bhishma Kukreti

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

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

                    शुभकामना
                  भगवान् सब्बुं तैं
                   यशवान , धनवान
                   बलवान बणोउ
                  पर मी से बकै   ना
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Bhishma Kukreti

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Great Epics of India

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









 
             
               






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



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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
Refrence: Kah Mukariyan by Kanhyalal Dandriyal; Burans (1965) , A Garhwali Poetry  Collection , edited by Ganesh Sharma (Bahuguna) page -1
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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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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 
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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 to take 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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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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Old Age in Poems

        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 serious discussion about old age .

    In every language, there are quotes and sayings about old . 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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