Garhwali Prose Maker-3
Introductory Notes Writers of Garhwali Poetry Collections
Bhishma Kukreti
The writer who writes introductory notes for a collection of poetry or prose book plays a significant role that she/he is the first official reader of the literature created by the said creative. She or he has to read all the matter from start to end . The writer of introductory notes not only read whole book but has to analysis (though for positive points) . Therefore, she/he is the only reader who reads the literature of writer thoroughly. The introductory notes writer is atype of critic only who writes o the positive points of the creative and therefore, is very important in the Garhwali literature.
In this small note, the author will bring out those writers who wrote introductory notes in Garhwali language or Hindi language . The paper will serve a purpose in finding out Garhwali prose makers of Garhwali criticism.
Garhwali Kavitavali , first Garhwali poetry collection of poems of various poets, edited by tara datt Gairola and published by Vishambar Datt Chandola (1932): The introductory note of Tara Datt Gairola is in Hindi
Fur Ghindudi , a long poetry by Girdhari Lal Thapliyal ‘Kankal’ (1959) : Famous dramatist and drama activist wrote a fine introductory note in Hindi.
Suna Bain, a long poetry based on a folk story by Kankal (1960) : The publisher wrote introductory notes in Hindi language. The publisher reveals since, the audience used to enjoy this poems in Kavi Sammelan, it was urgency to publish the long poetry
Buransh , a poetry collection of four poets (1965) : the editorial introductory note of Ganesh Bahuguna ‘Sharma’ is in Hindi.
Parvati , a poetry collection by Abodh Bandhu Bahuguna (1966 and 1994): Introductory notes by dr Chatak, Dr Shiva Nand Nautiyal are in Hindi
Pitarun Raibar , a poetry collection by Gukula Nand Kimothi (1979) :Brigadier Jagmohan Singh Rawat wrote introductory note in Hindi
Umal, a verses collection by Prem lal Bhat (1979) : There is no introductory note by other than Bhatt himself
Dhai , a poetry collection of eight poets (1980) : The introduction is in poetic form and stresses on realism in poetry and thre is hint for readers to be dedicated to Garhwali literature too.
Ankh Pankh , a children poetry collection by Abodh Bandhu Bahuguna (1980) There is no introductory note
Samlaun , a poetry collection by Jaggu Nautiyal (1980) : dr Parth Sarthi Dabral wrote introductory note .
Garh Geetika , a poetry collection by Balwant Singh Rawat (1980): The publisher brief in hindi about the need of publishing the Garhwali songs of Balwant Singh as these songs had been poplar among audience .
Shailvani , a poetry collection of poets from 1875 till 1980 , critical history of Garhwali poetry and critical notes on each poet by Abosh Bandhu Bahuguna (1980): Dr Govind Chatak wrote introductory note in Hindi
Gaon Jaun ya Shahar , a Hindi and Garhwali poetry collection by Tota Ram Dhoundiyal (1981); There is no introductory note by other than Totaram
Gitang , lyrical poetry collection of Gunanand Pathik as major poet and two other lyric creators (between 1980-1990): The famous social worker of Dehradun and Garhwali novelist stresses that experiences or struggle of person makes him poet. He emphasizes that the ignorance of community about not sponsoring the local literature is very dangerous for the community and nation as well.
This author is unable to understand that critics of Guna Nand Pathik whose poems are there in this volume paid much attention on his struggle or poor conditions than his poetries.
The publisher Guru Prasad Uniyal also invites the community members to be part of developing Garhwali literature.
Khilda Phool Hansda Pat , a poetry collection by Lalt Keshwan (1983 and 2002): Prem lal Bhat discusses the never ending debate of whether the Garhwali language poets should limited themselves to Garhwali language or should also come into Hindi literature arena. Prem lal emphasizes on the sharp observation of a poet ,which is vital source of making a creative as sensitive poet. Bhatt exposes the relation between the observing poet and becoming sensitive in creating finer poetries. Prem lal declares that there is cognate expression and the language is simple in verses, the poems definitely become successful in influencing readers. Prem la Bhatt searches the reasons essentials for creating effective and memorable satirical and humorous poetries. Prem lal reveals that less words with serious meanings can affect directly the readers
Gadhbhasha , Leela Ramayana by Guna Nand Pathik (1983) It is said that the quality literature creates a quality critic. Guna Nand Pathik wrote Leela Ramayana for the purpose of staging epic Ramayana in Garhwali language. Learned Sanskrit , Garhwali, Hindi scholar Dr Purushottam Dobhal wrote along introductory commentary of this epic(?). Dobhal explains the finest reason for creation of poetry I the chitta (mind, intellect and ego) of a poet. Prof. Dobhal states that a poet can create poetry at the finest juncture of soul awareness .
Dr Dobhal provides examples of various famous poets of tens of world languages and says that they could create poetry at the juncture of soul awareness and social values was also the centre point in awakening soul of these famous poets
The Sanskrit story touches glimpses of historical aspects of Garhwali literature and reports that stage plays in various Indian cities are attracting Garhwalis there.
Professor Dobhal analysis’s Leela ramayan from the point of views of social benefits, lyrical and staging capabilities too. Dobhal displays the similarities between the Ramayana of Tulsi and Pathik and cleverly tells the difference between two Ramayans that Pathik localized Ramayana from the angle of Garhwal and Garhwalis . Dr Dobhal also briefs the rebelian nature of Gunana Nand Dangwal Pathik against his family money lending practices and his continuous struggle in own life and literary life.
Kapali Chhamot , a poetry collection of Dr Mahaveer Prasad Gairola, (1987):
Captain Shurbeer Singh Panwar offered blessing and wishes that the poetries will inspire other creative to come in the field of Garhwali literature and the poetry collection will help in developing garhwali literature.
Manohar lal Uniyal ‘Shriman’ also wrote introductory notes. He glimpses the behaviours of poet is the basic base of good or bad poems. Dr Gairola was the advocate of different theory Spiritual Communism’ . Uniyal explains the need of spiritual communism as the present communists are deceiving the society. Gairola touches a scanty glimpse of past Garhwali poetry of olden times and find the poems of Gairola as bridging components between older poets and new generation poets. Manohar Lal telescopically probes the phrases, forms, constructing principles, the angles of old and new poetic theories, the implications of taking new style in poems, the capabilities of poet echoing the present society, the regional dialects and their problems in Garhwali language standardization.
Ilmatu Dada , a poetry collection by Jaya Nand Khuksal (1988) : Bhagwati Prasad Nautiyal notices the poetries of Jaya Nand from the perspective of psychology of apoet, the effects of various events on the mentality of a poet, the relationship between past poetries and the importance of present poet whether the poet is evolving new path or nor?, the position of poet among contemporary poetic world, techniques, formats, realim and amalgamation of realism with imagination of the verse maker, struggle of a poet as reflection of society in the poems. Kanhya Lal Dandriyal describes the emergence of Baulya as Garhwali poet as auspicious event in Garhwali literature.
Sundama Prasad Premi explores the poems from approach of poems being attractive to common men and finds the reasons for Baulya being a well known name among Garhwali audience of Delhi.
Dhanga se saksatkar , a poetry collection by Netra Singh Aswal (1988) : Rajendra Prasad Dhashmana a dramatist, a social activists and thinker postmortems the poetries created from 1870 till eighties and found that most of the earlier poets copied the techniques of Hindi or Sanskrit literature and they paid attention on aesthetic of the form . Most of the poets of early age were preachers and realism was totally lacking in those poems.
Then Rajendra Dhashma declares that Kanhya Lal Dandriyal , Vinod Uniyal and Netra Singh Aswal could successfully alter the poetry from the point of view of form , structure, displaying the realism I Garhwali poetry.
Rajendra Dhashmana named Garhwali Gazal as Ganjeli and in the opinion of Bhishma Kukreti, Rajendra Dhashmana is first critic who broke the beaten path of Garhwali language criticism . No doubt, Bhagwati Prasad Nautiyal tried to criticize Garhwali poetries different than his processors in ‘Ilmatu dada‘.
Keyed , a potry collection of Kanhaya Lal Dandriyal (1990): Madan Dobhal enthusiasts the present and future generation creative that the economical poor conditions cant be obstacles in creating international standard poetries as Kanhaya Lal Dandriyal created poetries of high standard even after passing through adverse conditions .
Madan Dobhal appreciates the originality in poems of poet as such poems attract easily to readers and audience. Madan catches sight of poet from the outlook of realism and communicating capability of the poet. Dobhal also supports the freshness in the subjects and possible new path finding strategies in context of the structural constructions of poems.
Dobhal also perceives that the personality of a creative comes out in his poetries.
Kameda Aakhar , a poetry collection by Beena Benjwal (1993-94): Mohan Lal Navani and Jagdish Barthwal of Garhwali Sahity Parishad wrote introduction in Hindi
Nagaraja Part -1 an epic by Kanhaya lal Dandriyal (1993): The name of introductory note is ‘Jagar se paili’ by Dr Govind Chatak. The title of introductory note “jagar se Paili ‘ is self explanatory as the discussion is about the mental, physical and spiritual situation of the creator in creating an epic. Learned Chatak discusses the problems faced by any poet in creating an epic and shows some sign of overcoming such hurdles. When a poet takes the mythological subject for poetry , there may be various consequences. If the poet does not attach the story to the present situation , the poem may be mere a subject of methodical subject and cant be relevant for present society. When the poet attach present (as successfully done by Dandriyal) with the methodical subject , the poetry becomes relevant and more attractive. However, Dr Govind cautions directly or indirectly that a poet trying connecting present with mythological time should not destroy the basic of mythological story. Dr Chatak discusses the aspects of making mythological subject more relevant .
Daisat , a poetry collection o the subject of terror by Abodh Bandhu Bahuguna (1996); Bhaskar Bhatt wrote introductory commentary in Hindi.
Kankhila , a poetry collection by Abodh Bandhu Bahuguna (1996): There is no introduction note by other creative or poet in the book
Timla Phool , a poetry collection by Chinmay Sayar (1996 ): There is no name for introductory writer and the anonymous writer is interested to find the specialty in the poems as new symbols creating new images in the mind of readers, The commentator feels that the flow in a poetry depends on the inner awareness of the poet
Uttarakhand Geetmala , a poetry collection by Ramswarup Sundriyal (1997): Dr Chandra Mohan Chamoli wrote introductory note in Hindi. Editor Anand Singh Negi wrote editorial note on the poems of Sundriyal and Negi support the principle that a poet has social responsibility about suggesting readers for taking works of social benefits
Itni si Batiyan , a Hindi and Garhwali poetry collection by Shambhu Prasad Dhashmana (2000): Professor Surendra Singh Rawat wrote introductory notes in Hindi about Garhwali poetries
Chungti , a poetry collection by Surendra pal (2000)“ Madhusudan Thapliyal wrote introductory note. Thapliyal discuses about Dalit Sahity . Though, the suppression on harijan/Shilpkar was different in Garhwal than plains of Indian but unsociability and non ownership over land was a critical factor for Shilpkar (untouchables community ) and Madhusudan explains that such pain could be displayed through poetic form only when a poet passes through those physical and mental pains. In his introductory notes, Madhusudan thrashes out the social structure and need of changes required for bringing equaity from social fronts and economic front as well.
Basant geet , poetry collection by Mahesh Dhashmana : There are comments of various well wishers in Hindi
Uktata, a satirical and humrous poetry collection by Harish Juyal ‘Kutz’ (2001): Madhusudan Thapliyal wrote introductory note by name “ Kavi ar Vaiko Rachnakarm” . Madhusudan Thapliyal put light many aspects of literature creativity and his note also shows that criticism In garhwali language literature is evolving from era to era. Now Madhusudan type of critics discussing various aspects of literature when they discuss a specific creative and this is good sign for Garhwali language . Madhusudan reminds readers and intellectuals that unless and until there is a social or creative movement the rare creative gene can not take birth. Indirectly he tells that more than creative movement , there is always need of social movement for fertility of creativity. Madhusudan pin points in the discussion that the history, geography , cultural mythology of an area create the genius as Harish Juyal, Madhusudan taking clue from Juyal reveals that usually, in Garhwali poetry , the poet starts the birth of pain and ends with mental thinking or technique to reliving pain but juyal goes beyond just thinking or worrying about the prevailing wrong situation and paves the way for social mobilization to overcome wrong happenings in the society. More or less Madhusudan Thapliyal is concerned about more responsibility for creative community than other compartments of the community. Again , here, the criticism may take new avtar if the creativity has depth as Madhusudan found wholesomeness in the poems of Harish Juyal.
Andi Jandi Sans , a poetry collection by Madan Duklan (2001) : Abodh Bandhu Bahuguna stated in his introductory note that personal characteristics of a poet is always reflected in the words, lyrical senses, depth in the poems. Bahuguna sets eyes on the pomes from the angles of references, events, description , construction of poetry by suitable phrases (symbols/images) communicating capability, sensibility , perception verses meaning expressing capacity of the poet and the relevant subject of the society. His language is complex to understand for common readers. Here, Abodh Bandhu Bahuguna failed miserably to expand his own past work in critcism in Garhwali literature.
Ranu Bisht the publisher shows the problems of publisher of Garhwali literature but appreciates the guts, struggle of literature creators as Madan Duklan and publishers who are obsessed about developing the Garhwali literature .She reveals how a poet’s (Madan’s) obsession can convert the highly profit oriented business minds ( example-aim of Ranu Bisht to make profit) into serving the society
Harbi-Harbi , a ghazal collection by Madhusudan Thapliyal : Since, it was a first Gazal collection in Garhwali language, Lokesh Navani explains the basics of Ghazal and states that Urdu gazals was Love rapture oriented , Hindi gazals are beyond love and Hindi gazals makers want to connect Gazal poetry with the fundamentals of common men. Lokesh also stresses that Garhwali Gazal maker should also follow the Hindi gazal complexions by connecting the needs and aspirations of common men rather paying attention on love rapture. Lokesh investigates that the new concept Gazal in gaarhwali became easily understandable because Madhusudan uses Garhwali phrases, symbols and Madhusudan makes effectively Gazal as part of Garhwali literature. Lokesh supports that the poet should follow ,” subjective approach with objective adjustment” philosophy .
Gwathani gaon bate , a poetry collection of seventeen poets, edited by Madan Duklan (2002): Bhagwati Prasad Nautiyal wrote introductory note. This is the first poetry collection of various poets in one volume which, was published after Shailvani and after formation of separate state Uttarakhand . Without mentioning the past poetry collections by various poets in one volume , Bhagwati Prasad Nautiyal briefed in two or three sentences about responsible works by earlier age Garhwali poets and discusses about freshness in the contemporary Garhwali poetic field from the points of techniques, form, lyrical principles (seems to be the subject of Sanskrit classic Kavy prakash) , and proofed that Garhwali poetry has come in new avatar . He pin points that realism has come long way in the present poems of this volume. . Its sad that the Gathwani gaon bate has its own importance and the introductory note should have been unique because of the various newness in the volume but Bhagwati Prasad Nautiyal’s commentary is the most frustrating point of the volume. Bhagwati Prasad Nautiyal took the lead in bringing evolution in the field of criticism in Garhwali literature when he wrote introductory note for ‘Ilmatu dada’ but it seems that he did not try to evolve Garhwali criticism from that time. It does not mean that Nautiyal did not do commentary as per need but he was expected to evolve his own criticism which, he showed promise in Ilmatu dada’.
Danda Kantha Swar , a first attempt to bring garhwali and Kumauni languge poems by various poets in single volume, edited by Gajendra Batohi (2002) : the editorial notes are in Hindi and Kumauni. However, Batohi paid attention on the characteristics of Uttarakhand than poems in his editorial note.
Pithain Pairolo Buransh , a poetry collection by Veena Pani Johsi (2003): dr Govind Chatak wrote introduction in Hindi
The views of Arjun Singh Gusain and Rakesh Chandra Nautiyal are in Hindi too.
Dr Shiva Nand Nautiyal expressed his views in Garhwali language and he evaluates the poems from the subjects of fitting the poems to the insight of Garhwali society, classical way of analysis of raptures and their emotions in the poems delighting the readers, the importance of pure Garhwali words , construction of poetries and the impacts of these poems on Garhwali literature in coming days.
Bharat Havana , a poetry collection by Abodh Bandhu Bahuguna (2003) : there is no introductory note in the book.
Kavita Prasoon, a Hindi and garhwali poetry collection by Chakradhar Kukreti (2003): Dr Nand Kishor Dhoundiyal wrote introductory note in Hindi
Beeji Gyayi Kavita a poetry collection of 18 poets edited by Madhusudan Thapliyal (2004). Madhusudan Thapliyal wrote editorial notes of introduction . Thapliyal explains the definition of poetry and shows that there is notable evolution in Garhwali poetry from the beginning of modern Garhwali poetry, Thapliyal details about the contribution of Dhad movement in development of Garhwali literature
Khigtat , a poetry collection by Harish Juyal (2004) : Girish Sundriyal who is one of the famous poet of Garhwali wrote introductory note on this poetry collection. Criticism is just the reaction of original creativity . If the original creativity (which is being criticized) is rich, the criticism also become rich . Girish Sundriyal talks about the problem of poet when he is requested to write criticism or analysis of other poet’s poetries. The learned Karmkandi Brahmin Sundriyal talks about necessary Karmkand of poetry creation that a poet should have social awareness, self actualization for the particular subject, the knowledge of poetic principles and apart from using right words/phrase for becoming Harish Juyal as the most sought poet of his time.
Anjwal, a poetry collection by Kanhaya Lal Dandriyal (second edition -2004) Dr Govind Chatak maintains that the poet should have complete awareness about happenings around him, should know the finest points of life and at the same time the poet should have estimation of a critic too for creating fine poetries. The awareness for a poet about of past and present status of society necessary in creating sharp wit, irony, humour. Using exact phrases is another essential for satirical poetry creation.
Inma Kankwe An Basant a poetry collection by Virendra Panwar (2004): Famous Garhwali Gazal creator Madhusudan wrote preface and started defining poetry, exploring the objects of poetry and the target audience of poetry. In support of his views madhusudan takes help of renowned Hindi poet Dhumal and explains that the philosophy of life starts from humanity and the creative comes in touch with literature through poems only. There are two basic aspects for a poet’s thinking - humanity and poem. Madhusudan also appreciates the various forms of Virendra’s verses and invites others to do experimentation in form for the progress of Garhwali poem.
Apnyaso Jalad a poetry collection by Puran Pant Pathik (2005): In a small notes, Charu Chandra Chandola (associate editor of Yugvani) feels that newness in thinking, forms unique construction and new phrases , realism is beneficial to progress Garhwali poetry.
Deeva Hweja Daini a poetry collection, a satirical poems, long poetry , poetic drama and prayers in Jagar techniques by Lalit Keshwan (2006) . Prem Lal Bhatt a notable poet of Garhwali and Hindi languages tells about the new revelation in Lalit Keshwan . Keshwan is famous for his satirical and witty poems but in this volume we see a philosophical character in Keshwan who created philosophical or spiritual subject poetry too. Bhatt writes that the language of Keshwan is as per the subject. Bhatt appreciates the creative capability of Keshwan in creating images of Garhwal and mythological characters in Jagar technique poem
Bhagwati Prasad Nautiyal wrote a note on Gangu Ramol a long poetry (Khand Kavy) in Hindi and explains that by publishing this poetry is essential for developing the self esteem of the society
Devendra Joshi of Delhi also participated in writing introductory notes on Gangu Ramola nrity natika and takes readers to the brief historical path of modern Garhwali poetry (in Hindi language)
Anwar a poetry collection by Girish Sundriyal (2006): Madan Duklan in his introductory notes , conditions that the poem is the result of emotional -thought of poet, deep realization, experiencing and direct expression of the poet but cautions that the poet cant create remarkable poem if the poet cant connect his experiencing and deep realization with the insight of targeted audience. According to Madan , the success of any poem depends on the connectivity of insight of poet and insight of audience. Madan stresses that every poem should have perfect impact on the mind of audience. Definitely, editor, fim maker, film actor, director, poet Madan Duklan does not advocate that poem should be on the principles of “Art for Art sake’ but simultaneously pronounces that aesthetic sense of each poem has significance in affecting poems on readers.
Madan Duklan also sponsors that without showing the present society and its happiness or sadness, the poet cant connect with the audience. Madan Duklan appreciates the fine mixing of the real images and intellectual properties of poet.
Ud Ghughti Ud , a second attempt to bring Kumauni and garhwali poems of various poets in one volume, edited by Gajendra Batohi and Mahindra Dhyani , 2006 : Dr Nand Kishor Dhoundiyal wrote introductory note and his style is as ram Chandra Shukla who advocates the responsibilities of poet more for social causes.
Tup Tup , a poetry collection by Narendra Kathait (2006) : Dr Shiv Prasad Naithani wrote introductory note in Hindi
Ghangtol, a poetry collection by Deen Dayal Baluni ‘Deen” (2007): Dr Nand Kishor Dhoundiyal ‘s outlook is Lokmanagl Bhavna (social benefits approach) by poet and easily could be concluded that Dr Nand Kishor Dhoundiyal follows Ram Chandra Shukla (Hindi critic) in criticizing poetries of Garhwali language specially in terms of Lok Mangal Bhavana of poet.
Gwai, a poetry collection of regional poets of Synsi Baijaron, Dhoundiyalsyun, Pauri Garhwal, edited by Tota Ram Dhoundiyal (2007): The ‘Gwai’ is the first attempt to bring regionalism in Garhwali literature and many unheard poets got exposure through this historical volume. Tota Ram Dhoundiyal took the base of oldest form of Sanskrit classic criticism for his introductory or editorial note.
Maulyar a poetry collection by Girish Sundriyal (2008) :Ganesh Khuksal ‘Gani’ wrote commentary on the lyrical poems of Girish Sundriyal stating that Girish is successful in creating images of villages along with reflecting the happenings in present society. The language is easily understandable for common readers and Ganesh avoids using classical words in criticism which makes him exclusive critic of poetry. Ganesh observes his poetry from the angles of lyrical expertise in poems and presenting the images of natural beauty of Garhwal
Madan Duklan also wrote a small note on poetry of Girish. Madan monitors poetries from totality angle, that is the effectiveness of poetry narration and showing social behaviours and attracting readers by images and symbols in the poetries of Sundriyal.
Pani, a long poetry by Narendra Kathait (2008): In introductory note, Bhagwati Prasad Nautiyal provides many examples and explanations for explaining important poems of Narendra Kathat . He tries to attach the poems with historical happenings in Garhwal
Kigali , a poetry collection by Prem Lal Bhatt (2009): There is small note about collection by publisher in Hindi
Garhwali Mangal , collected and edited by Tota Ram Dhoundiya, 2009 : Lokesh Navani discusses three issues in his introductory notes. He tries to tell the readers how folk songs related to spirituality and auspicious occasions. The emotions of auspicious occasion are same in all areas of Garhwal but expressing dialects of auspicious songs differ from region to region. He argues winningly that there is more need of Mangal types of folk songs in the globalization era. He stresses that in an economical global village, the songs as Mangal will be more relevant than past. Clearly, Lokesh Navani is witnessing the erosion in cultural damnation of Garhwal.
Dhunyal, apoetry collection by Dhanesh Kothari (2009): Virendra Panwar wrote introductory note, Panwar feels that a poet can create relevant poetry only after self realization about a particular subject. Virendra Says that the culture and geographical nature are related to each other and he is worried about erosion in both areas. Panwar senses that there should be a movement within society for emerging relevant creative who can create relevant literature. Virendra tells the readers that a poet definitely is witnessing the happenings surrounding him but the creative as poet should research the basic reasons behind happenings too.
Ker , a poetry collection by Drashan Singh Bisht (2009) : Totaram Dhoundiyal wrote introductory note in Hindi
Dwee akhar , a poetry collection by Uma Bhatt (2010) : The expert of folk drama Dr Data ram Purohit wrote introductory note in Hindi.
Aunar , a poetry collection by Chinmay Sayar (2010) : Dr Khyat Singh Chauhan wrote introductory comments in Hindi .
Geet ganga , a poetry collection by Chandra Singh Rahi (2010): Ballabh Dobhal provided commentary in Hindi, Sudama Prasad Dabral ‘Premi’ provide commentary of poems of this volume in Garhwali with oldest fashion and di not try much to explore the poetries from new angle.
Ukal Undar , a poetry collection by Parashar Gaud (2010) : Suman kumar Ghai wrote preface of this collection in Hindi .
It is obvious that the criticism of poetry also developed along with the development of Garhwali poetry and shaped accordingly. The major concern for Garhwali criticism in the form of introductory note on poetry collections is that most of critic followed either Sanskrit classical theories or criticism in Hindi principles. No critic could develop an original Garhwali Criticism Form in terms of explaining poetry and creating or selecting words of criticism in Garhwali language. Garhwali language has at least 13000 proverbs in record which, means that Garhwali language cant be without words used for criticism in day to day words. If Garhwali critics could not provide pure Garhwali vocabulary for literature criticism it has many meanings . First, the critic is not taken serious job in Garhwali literary field. The critics either don’t read the literature whom they are writing analysis or they just does the formality in writing introductory note. The criticism of Garhwali poetry did not start in writing in Garhwali but in Hindi (Garhwali Kavitavali, 1932) and later on the critics followed same pattern of Hindi criticism or who had knowledge of Sanskrit language , they followed classic way of criticism for Garhwali literature . The critics as Abodh Bandhu Bahuguna, Bhagwati Prasad Nautiyal, Dr Nand Kishor Dhoundiyal, Devendra Joshi (Dehradun) whose contribution is the highest in Garhwali criticism brought freshness at the initial stage but later on they became victim of their own set of pattern in criticism. Even , the critics as Madhusudan, Madan Duklan, Girish Sundriyal or Virendra Panwar gone away from the beaten path , but they never tried to collect ‘phrases’ from Garhwali language store for Garhwali criticism vocabulary nor they ever tried to create new criticism vocabulary for garhwali language . This aspect also shows that the literature creative did not take criticism serious job.
No doubt , critics did not take any ism or principle (as communism , expressionless, surrealism, etc) as single factor to analyze the poetry but they also failed to create exclusive way of criticism in Garhwali literature too.
However, from various problems being faced by Garhwali literature, it may be said that certainly, there is progressive development in criticism as separate literature segment from 1932 till date .
Copywrite Bhishma Kukreti bckukreti@gmail.com