Author Topic: उत्तराखंड पर लिखी गयी विभन्न किताबे - VARIOUS BOOKS WRITTEN ON UTTARAKHAND !  (Read 129672 times)

Bhishma Kukreti

  • Hero Member
  • *****
  • Posts: 18,808
  • Karma: +22/-1
History of Indian Language Literature
History of Garhwali Literature
Critical History of Garhwali Poetry
Anwar : The Poems of Different Facets and Emotions by Girish Sundriyal
(Review of Anwar a poetry collection of Girish Sundriyal)
                                       Review  by Bhishma Kukreti

                           Garhwali critics position Girish Sundriyal in Garhwali poetic field as critics appreciate the works of poets of West Indies as Derek Walcott, Edward K. Brathwait,  E.A Markham, grace Nichols, fred D’Angiar,  James Berry , Linton K. Johnson, Luis Bennett, Loma Goodison, Oliver Senior, Martin Carter, Mervyn Morris, Michael Smith for making Garhwali poetry competent enough to stand with international modern poems, or Spanish poets as Claudio Rodriguez , Félix Grande , José Ángel Valente , Francisco Brine, Ángel González , Carlos Barral ,José Agustín Goytisolo for  his simplicity In narrating lyrical poems, making lyric rich poetries, creating social verses, praising rural world and harmony in community in elated way , providing experimental touches, bridging social poetry with next generation,.
      Madan Duklan a famous critic and editor states about the poems of Girish Sundriyal ,” The poetry is the result of fine blending of emotion, thinking, focused  thinking, experiencing and expression. However, we may call a poem successful when it communicates to readers directly to their  heart and brain and provokes the readers. Girish Sundriyal is successful in these parameters.”
   There are seventy two poems (mainly Geet or lyrical poems)  in this first poetry collection of Girish Sundriyal and each poems is of different facet, different subject, different flavor and different emotions.
   The subject varies from comparison between past and present changes out of which many are damaging or harmful wither for environment, culture, auspiciously, environment, amicable social structure or humanity.
    Most of the poems are concerned for need of individuality  for the society, humanity and environment. The poet talks about individuality but as part and partial of society and humanity .
   When the poet narrates about the experiences of women of rural Garhwal, it seems as if Girish Sundriyal is in the form of women of rural Garhwal.  This is speciality of Girish that his poems speak as if Girish is women, child, tree, Dharud (drinking water source  ), domestic or wild animal. . The simple  narration in simple Garhwali wordings make the poems readable, enjoyable and provocative too .
  Madan Duklan states tha many times, it is just impossible for the  poet in tolerating  regionalism, caste /sect related classicism, corruption at all levels, migration, unemployment and such poems accuse the culprits bluntly and boldly.
  The poets touched many contemporary subjects as worsening  political scenario, non balance between modernism and protection of culture, no proper futuristic education availability, carelessness in administration etc and Girish is successful in inciting the readers.
  The language of all poems is simple, understandable and Girish does show not have any greed for showing his intellectuality/superiority  for using unnecessary Sanskrit and Hindi words as many Garhwali language creative do. Girish takes symbols and images form experiences, from daily happenings,  and from community. These common symbols and images in his poems are the specialty that readers are engaged  to his each poem. Rhythms and lyrical style in creating poetry is the style of  Girish which make him exclusive among his contemporary.
    Overall,  Girish Sundriyal  is successful in showing the images of contemporary rural Garhwal in Anwar (the first poetry collection of Girish )   and proved that Girish is one of the remarkable, sensitive, social oriented,  poets of Garhwali language of his time and proved that the next generation poets have to follow him in may aspects of poetry creation. 
 Anwar (A Garhwali Poetry Collection)
By Girish Sundriyal
Year of Publication: 2006
Publisher :
Himalay Lok Sahity avm Sanskriti Vikash Trust
C/O Madan Duklan, 16 A Rakhshapurum (ladpur)
P.O Raipur, Dehradun, 248008
Copyright@ Bhishma Kukreti, Mumbai, India, 2010






Bhishma Kukreti

  • Hero Member
  • *****
  • Posts: 18,808
  • Karma: +22/-1
History of Indian Literature
History of Himalayan Literature
History of garhwali Kumauni Literature
Critical history of Garhwali poetry
Apnyas ka Jalda:  Sharp Satirical Poems 
      Bhishma Kukreti
          Reading the sharp satirical poems of Puarn Pant Pathik, the readers do not smile but feel sorry for the wrong happenings and become angry on the wrong doers. Due to sharp words, many times, his poems leave the covering of satire , wit , sarcasm and humour become the sharp criticism.  Characteristics of Puran Pant is that the readers find less of humour in his poetry.
     Apnyas ka Jalda is the fourth satirical poetry collection of Puran Pant and shows that Puran is totally dedicated to satire and satire . Pant attacks on the foolishness happening in the society and administration, after reading sixty poems of Apnyas ka Jalda , it seems Puran Pant believes the saying of Lord Byron who once said,” I will publish right or wrong. Fools are my theme, let satire be my song”
  You read any poem of Apnyas ka Jalda and you will agree “ A satire should expose nothing but what is corrigible, and should make a due discrimination between those that are and those that are not the proper objects of it.” said by Joseph Addison.
  The subject of poems in this collection of Puran Pant Pathik are of varied nature. The poems attack on each components of our society , changing mannerism, government agencies and governing bodies.
  The poems of  Puran Pant differ from other satirical poets of past and present that he uses sharper words of Garhwali than other poets. Many times, reader feel that he is abusing as :
Apni bwai ka mais
Hola vo/
Jo
Hamari jikudi ma
Ghaitna rain/
Ghaitna chhan
Keela/vada/danda
Jo hamari nau par….
Ham tain ullu ka pattha samjhikai
Mauj masti -maturate kairikkai
Apnee mavasi banan par misyan chhan
  For creating satire and little bit humour, Puran uses many known or new symbols and images for his poetries and Pant is successful in his this work. Realism is is his way of creating poetry and readers feel that they have experiences of what Pant said in his poems.
   Puran Pant never criticizes the advocates of standardized Garhwali . However, Putran Pant uses regional dialects of Kingodakhal, Pkhadablock,  Salan Garhwal . His uses of proverbs, saying, special Garhwali words for wrong doers perfectly and that make his poems enjoyable.
    On the whole, the poetry collection ‘Apnyas ka jalda’ is one of the important poetry collection book for Garhwali language poetry world and without referring Puran Pant Pathik, historian  can not complete  history of Garhwali poetry.
Apnyas ka Jalda
Poet: Puran Pant Pathik
Year of Publication: 2005
Yugvani Prakashan
14-B Cross Road, Dehradun, Uttarakhand
Copyright @ Bhishma  Kukreti, Mumbai, India, 2010

 




Bhishma Kukreti

  • Hero Member
  • *****
  • Posts: 18,808
  • Karma: +22/-1
Garhwali, Kumaoni, Himalayan literature
Aunar : The Poems of Varied Subjects and Varied Formats
(Review of Garhwali poetry Collection by Chinmay Sayar )           
                            Bhishma Kukreti
   Renowned , knowledgeable Garhwali language critic Bhagwati Prasad Nautiyal  states that fundamentally, Chinmay Sayar is the Garhwali poet of philosophy and positions Sayar as the critics positioned George Santayana , Lucretius , Dante , Goethe and including   Lorna Bailey,  Coleman Barks,  Sri Chinmoy,  Thomas Crowe , Daniel Ivan Granger,  Thich Nhat Hanh,  Jane Hirshfield,  Alan Jacobs,  Daniel Ladinsky,  Silent Lotus,  Mary Oliver as the poets of philosophy. The basic reason for Natiyal’s statement is that that Chinmay has the poetry subjects of substances and he tell us many things , which we are unable to see . For example an almond nut is simple nut but Chinmay says through his poetry  that always, the almond nut takes happiness and sadness with same feelings :
Akhod
Sukham dukham
Katka pyar ch
Dacha
Katha putuk
Myala ch
     The famous political, social and cultural historian of Garhwal and pot dr Khyati Singh Chauhan criticizes Bhagwati Prasad Nautiyal for limiting Chinmay Sayar  as philosophical poet. According to Chauhan, Chinmay Sayar is the poet of varied subjects and styles.
   Both critics are right in their  statements and perceptions. Bhagwati Prasad Nautiyal rightly sees spirituality and philosophy in the poems of Chinmay and  Khyat Singh Chauhan finds variations and many raptures or emotions in the verses of Chinmay Sayar
  It is better I provide an introductory note on a discussion of Philosophy and Literature: Poets and Philosophers as under (Ref-1) :
“  Throughout history, and not least in the modern period, where genres and disciplines have become blurred, poets and philosophers have inspired one another reciprocally. Sometimes the philosophers reveal how their most essential insights could never have been reached without the suggestions envisioned by some–at least for them–elect poet. Furthermore, in some cases, powerful philosophical interpretations of poetic masterpieces have founded new modes of thinking and experiencing or shaped entire epochs of culture, defining their distinctive outlooks”
  If the poet sees amazing attractive smell in sweating, Nautiyal is right in recommending chinmay Sayar as philosophical poet. At the same time when  Chinmay Sayar says that :
Mafiya kanunau dhaji udaik chatkanu ch
Ar neta
Kanunai dhauni ma baithik sapkanu ch
Khyat singh Chauhan rightly tells that Chinmay sayar has variation in the subjects of his Garhwali verses.
   As far as the poems of latest poetry collection ‘Anaur’ (2010)  by Chinmay Sayar are concerned , they are in varied in nature , style and narration .There are forty poems selected in this volume and some  poems are old from earlier four poetry collections by Chinmay and many are latest creation .
    The subject varies poem to poem in this volume of Sayar. The subject are related to spirituality, wrong happenings in the social life, political life, very good happening in the nature and many poems are showing frustrating  conditions at all levels.
 There are raptures as love, humour, laughing, disguise, peace, paradoxes, frustrations, zeal, apprehension, cruelty, hope, hopelessness and many more emotions in the poems of Sayar .
  The for of poems are also of varied in style and format. There are Kundaliyan , Doha (couplets),  geet (lyrics), ksanikayen (short poems) and prose poem (hybrid of poem and prose) in this volume.
  The language is very much with full of dialects of Rikhnikhal (Tahseel Lansdowne ) and many supporters of so called Standardization in Garhwali Literature will definitely criticize Chinmay Sayar for using Salani dialects, however , this author fully supports Sayar for bringing regional touch in his poetry. Though his poetry is full of Salani dialects, the language of each poems is simple and well understandable by non Salani too.
  Over all , the poems of Chinmay are intellectual ones and intellectual genes will enjoy the poems of Sayar of this latest volume
Aunar
Publishing year: 2010
Avichal Prakashan
3/11 Hydal colony
Bijnor, (U P ) 246701
India.
Reference
1- Philosophy and Literature : Poets and Philosophy, ...
sitemason.vanderbilt.edu/files/bE74s0/CLT%20360%20Philosophy%20and%20Literature.doc
Copyright @ Bhishma Kukreti, Mumbai , India 2010


Bhishma Kukreti

  • Hero Member
  • *****
  • Posts: 18,808
  • Karma: +22/-1
History of Himalayan Literature
History of Indian literature
History of Garhwali Kumaoni Literature
Critical History of Garhwali Poetry
Baagi Uppan Ki Ladai: The Poems of Freedom Fight , Worsening Happening after Independence in Symbolic Style
(Review of Long Poetry (Khand Kavy) Baagi Uppan Ki Ladai by Kanhaya Lal Dandriyal)
                       Bhishma Kukreti
              Kanhaya Lal Dandriyal had  been a great poet of Garhwali poetry world. The critics and readers call Dandriyal as ‘Maha Kavi” and there is no doubt about  his great craftsmanship, choosing subjects, using simple but effective words for narrating complex subject and on top of it doing experiments for developing Garhwali verses. Bagi Uppan ki Ladai is long poetry ( Khand Kavy ) and this poetry collection in Garhwali language is the best example of symbolic poetry apart from imagery poems narrating images of  Garhwal .
        With reference to Bagi Uppan ki Ladai , Dr Maju Dhoundiyal a Hindi literature critics, Madan Duklan (editor of Hamari chitthi), Puran Pant Pathik  in personal conversation with this writer say that Kanhaya Lal Dandriyal has same position in Garhwali literature for using symbols of animals to describe the present society as the critics appreciate William Blake, Alfred Jerry , Antoni Lange, Albert Aurier, Albert Giraud, Albert Mockel, Albert Samain,  Alexander Block, Andrie Bely, Arthur Rimbaud, Auguste Villiers de I.Adam, Caspar David Friedrich, Charles Baudelaire, Dante Gabriel, Isidore  Lautreamont, Dimcho Debelyanov, Dmitry Merezhkovsky, Eldgar Allan Poe, Emile Nelligan, Emile Verhaeren, Francis  V Griffin, Fyodor Sologub, George Bacovia , George Rodebach, Gustavo , Innokenty  gustave Flaubert , Annesky, Kahn,  Henride Regneir, Jean Moreas, Joa da Cruz Sousa, Josip M Aleksandroy, Jurgis Baltrusaitis, Jules Laforgue, Konstantin Bafmont,  Maurice Maeterlinck, Mateiu Caragiale, Maxmilian Voloshin,  Mikaloius K Ciurlionis , Otokar Brezina, Paul Adam, Paul Fort, Paul Valery , Paul Verlaine, Rachilde, Remy de Gourmont, Stanislaw K Brzozowski, Stephane Mallarme, Stuart Merril,  Tendeusz micinski , Valery Bryusov, Vyacheslay Ivanov, Zinaidia Gippius for their creating symbolic verses or literature.. Dr Nagendra Dhyani, a learned Garhwali literature critics of Garhwali literature states that Kanhya Lal Dandriyal uses animals in his long poetry successfully as Vishnu Sharma uses animals in the stories of Sanskrit classic Panchtantra .
    The story of Bagi Uppan ki Ladia is chivalry story and the plot is of Goath (when the farmers take their domestic animals in the field from May to October and look after their in the field for so many months) . There is very deep friendship among animals as bulls, buffalos, rams, he goats, goats, sheep etc.  An insect Uppan (which is a medium of  plague bacteria too) attacks to the flocks of domestic animals. The mosquitoes, bugs, and many other harmful insects are with Uppan but  take part in attack on later stage of the story . , The brave and strong buffalo (Bagi) takes the charge of his army to defend the animals of Goath and bull is always the advisor. There is ups and downs in tha fight between buffalo  with other animals and Uppan . However, after much bloody struggle, the domestic animals win the battle. After winning the battle, the fighters were thrown out of the kingdom and the corrupted culprits, evilly animals take the charge of symbolic kingdom. Even the lion asks separate nation “Sheristhan”.
  In between , the poet describes many real happenings of the contemporary society.
   In fact, with the aid of animals, the great poet of all languages, Kanhaya Lal Dandriyal narrates the story of either Freedom Movement and thereafter the worsening situation in India or struggle of Uttarakhand Movement and then worsening situation after becoming separate state Uttarakhand that who struggled for the state could not get the honour but politicians as Narayan Datt Tiwari and others,  who never supported the movement,  got all the positions in separate Uttarakhand .
  One of the greatest poets of the world language Dandriyal could narrate the story in symbolic way and he successfully create all raptures -love, bravery, pathos, laughter, smile, satire , horror, anger, abhorrence, peace, spiritual and philosophical awareness apart from every human emotions.
 There are twenty four parts in this long poem (Khand Kavy) and each part has many chapters. There are 367 chapters in this Khand Kavy - Bagi Uppan ki Ladai. All poems are Chaupaya and in the style of Bravery style (veer Rasiy Chhand) as found in Allha Uddal poetry.
 There is another poet Jai Pal Singh Rawat ‘Chhipadu dada’ (the disciple of Dandriyal) in Garhwali language  who creates symbolic poems with the aid of animals but he never created long poetry as Kanhya Lal could create .
 The symbols are easily under stable for intellectual Garhwalis and every body will appreciate the wording construction, Garhwali words of past, images of Garhwal and rural Garhwali society  and the total realism of this long poetry of late Dandriyal. Once, the intelligent reader starts reading first poem the reader can not leave reading till he finishes the whole poetry. There is magnetism in the poems of Kanhaya lal Dandriyal.
   The long poetry Bagi Uppan ki Ladai is the proof the reason behind calling Kanhaya Lal Dandriyal the Mahakavi (Great Poet)  of not only  Garhwali language but all languages of this earth.
Copyright@ Bhishma Kukreti, Mumbai, India, 2010




Bhishma Kukreti

  • Hero Member
  • *****
  • Posts: 18,808
  • Karma: +22/-1
Himalayan (Garhwali-Kumaoni ) Literature
Basant Geet : Honoring Spring by many Angles
(Review of Poetry Collection Basant Geet by Mahesh Dhashmana Shashtri )
                                  Bhishma Kukreti
                Spring is an astounding  natural phenomenon  , spring brings many metabolic changes the earth,  plants and animals or in all living organisms . That is the reason that in every language, poets created poems related to spring (Basant) . Internationally famous poets of various languages as Tu Fu,  Alfred Lord Tennyson, Thomas Tusser, Amy Lowell, Henry van Dyke,  Walt Whiteman, Thomas Nashe, T S Elliot, William Shakespeare, Robert Frost, E.E Cummings, Robert Herrick, Emily Dickenson, Sir Thomas Malory,  E A Housman,   Algernon Charles Swinburne, M. Travis Lane, Linda Pastan, P. K. Page, William Matthews, Norwegian poet Olav H. Hauge, Michael Longley, Viennese  (German) poet Hugo von Hofmannsthal ,  Théophile Gautier , John Webster, William Blake, William Wordsworth, Christina Rosette, D H Lawrence,  Robert Louis Stevenson, Gerard Manley Hopkins, John Clare, Carl Sandburg,Denis Dunn, Dorothea Grossman, Doug Holder, Margaret James, Wayne Jarus,Guy Kettelhack, Christine Klocek-Lim, Steve Meador, Justine Nicholas, Jack Peachum, Don Rehling, Lisa Shields, Larissa Shmailo, Ingrid Toth, Melissa Varnavas, Bill Vartnaw created poetries on spring (Basant ) .
   In Garhwali language, there are many folk songs and sayings about spring. Many or most of the modern Garhwali poets created one or a couple of verses in Garhwali language.
  Mahesh Dhashmana Shastri is the only Garhwali  poet who is fully dedicated to Basant or Spring and he has been  singing  his spring related poems in various cultural conferences , Akashvani, in private or at any suitable place wherever audience is there from 1979. Akashvani has been relaying his spring poems for many years.
   In this volume Basant-Geet ( Rhymes of Spring) , thre are twenty poems of Mahesh  Dhashmana  related to spring. Only.
  The subject varies from the beginning of spring, changes in the season, blooming of various types of flowers in Garhwal, springing up many herbs from the earth, etc. Many poems are related to love songs ( happiness because of meeting of lovers and sadness by separation of lovers) are marvelous piece of poems. The poet also shows effect of migration from Garhwal in his spring poems and the readers will enjoy the symbols in such poems . A  spring poems is  for worshipping the Goddess Durga. The poet Mahesh Dhashmana also related the philosophy of Geeta to the emerging of spring and passing of spring that is  coming of summer season after spring is over. Mahesh has been successful in  narrating  the cultural activities of Garhwali folks  in the spring months (the months of song and dance)  . There is prayer of spring in this volume besides the poet describing many philosophies and human /animal activities of spring thorough his  poetries.
 The language of poems is very simple and easily understandable. The songs created are in conventional methodology. Mahesh Dhashmana used various types of figures of speech in describing or praising spring effectively.
 The history of Garhwali literature will remember Mahesh Dhashmana for his dedication to Spring in Garhwal and popularizing Basant Geet among common men through various medium .
Basant geet
By Mahesh Dhashmana Shashtri
Himalay Printing Press
Ganga Datt Joshi Marg
Kotdwara , 246149
Copyright @ Bhishma Kukreti, Mumbai, India, 2010

Bhishma Kukreti

  • Hero Member
  • *****
  • Posts: 18,808
  • Karma: +22/-1
History of Himalayan literature
History of Indian Literature
Critical History of Garhwali Poetry
Bibji Gyaee Kavita : The Reprehensive Poems of Dhad Poetry Movement
                               Bhishma Kukreti
   In this  millennium, we saw three exclusive  Garhwali poetry collections  by various poets in volume , two poetry collections along with Kumauni poetries (Ud haughty Ud and danda Kantha ke Swar complied by Gajendra Batohi)   and one along with Garhwali prose (Das Salai Yatra , compiled by Vimal Neg)  . The exclusive first Garhwali poetry collection is Gwathani Gaon Bate ( compiler and editor -Madan Duklan) , third one is Gwai (Complied and edited by Tota Ram Dhoundiyal) and second is Biji Gyaee Kavita complied and edited by Madhsudan Thapliyal. These six volumes of Garhwali poetry collections are equal to Americal Poetry : twentieth century ( Compiled and edited by Robert Hass, John Hollander) ,  Six Poets of Nineteenth Century or German poets of First World War in terms of representation of contemporary poets in one volume of poetry collection.
  In true sense, Biji Gyaee Kavita does not represent Garhwali poets but this poetry collection but this volume represents the poets who were involved in Dhad Poetry movement in Garhwal or Dehradun. The poets of Biji Gyaee Kavita are those who worked for Dhadh social organization in various capacity in their respective area.
 There poems of following contemporary poets in Biji Gyayee Kavita.
1-Tota Ram Dhoundiya
2-Khyat Singh Chauhan
3-Om Prakash Semwal
4-Vishv Prakash Baudai
5-Satish Balodi
6-Virendra Panwar
7-Girish Pant
8-Devesh Joshi
9-Darshan Singh Bisht rangeela
10-Shiv Dayal Shailej
11- Sukhdev Dard
12-Maya Ram Dhoundiyal
13-Leela Nand Raturi
14-Ramesh Chand Santoshi
15-Ashok Uniyal
16- Gajendra Nautiyal
17- Mahendra Dhyani
18-Hemvati Nandan Bhatt
 The poems of this poetry collection are of various subjects, temperaments, raptures, emotions and try showing contemporary rural Garhwal. Many poems are in praise of Garhwal, Garhwalis and their characteristics. Barring abhorrence rapture, the readers may find all raptures and their emotions in this volume.
  The readers will enjoy many old symbols, images and newly found symbols and images by the pots in this poetry collection.
  Since, this is the collection of eighteen poets, it is obvious that the readers will find old form of poetries and  new poetry formats in this  volume. However, it clearly shows that poets are avoiding latest experimentation at this stage of globalization in economical field and poetic field as well. 
     Historian and critics will definitely appreciate Madhu Sudan Thapliyal for publishing the poems of all those poets who made Dhad Poetry Movement successful in rural Garhwal.
Biji Gyaee Kavita
Comiled by Madhu Sudan Thapliyal
Dhad Prakashan, Pauri
Distributor : Binsar Prakashan
58/1Ghishi Gali, Dehradun
Copyright @ Bhishma Kukreti, Mumbai, India, 2010






Bhishma Kukreti

  • Hero Member
  • *****
  • Posts: 18,808
  • Karma: +22/-1
History of Literature
Place of Himalayan Languages  Literature in Indian Literature
Critical History of Kumaoni Garhwali Literature
Characteristics of Garhwali Poetry
  Daisat : Garhwali Poems of Fear  from Unfair Means
(Review of Daisat a Poetry Collection by Abodh Bandhu Bahuguna )
                            Bhishma Kukreti

  Everybody knows that fear is a part of our daily life and even then we are afraid of fear and fearful conditions. Critics call Abodh Bandhu Bahuguna as leader of Garhwali language literature. This is because Bahuguna wrote in most of the segments of prose and poetry. Daisat a poetry collection by Abodh Bandhu Bahuguna is an example for critics appreciating him in Garhwali language literature. The poems of Daisat are related to fear, terror and unfair means of administration or those who command the society. Abodh Bandhu Bahuguna dedicated this volume to separate state Uttarakhand Movement. The exclusive volume of poems related to fear and terror are really the gem for the Garhwali literature.
  There are fifty two poems in this volume which speak about fear of common people and surprisingly plants are also afraid of human beings who are destroying the environment without caring for the consequences. The poems came from the heart of the reverend poet because he sees that there is danger on the humanity due to selfish od the leaders of all sections. The poet did not make fear for sensitization the matter but calling the readers to be sensitive to environment and society as whole.
    The poems are of subjects of fear and terror but in each poem there is optimism and there is hope too that if the humanity is aware the wrong happenings could be stopped. Each poem awakens the readers for knowing their duties rather than crying for their rights.
    Abodh Bandhu Bahuguna is not called a leader in Garhwali literature just because he created maximum literature from the point of view of quantity but critics appreciate him for his delivering the qualitative literature. Daisat is again a historical record of the pain and suffering of separate state Uttarakhand Movement activists . Abodh Bandhu Bahuguna had been successful in creating images of struggle of Uttarakhand movement , dedication, dreams of activists and at the same time Bahuguna is at his best in portraying the suppressions from politicians of Uttar Pradesh, repression of administration (police forces) and indifferent attitude of politicians of Uttarakhand specially Narayan Datt Tiwari.   
   The poet brought many new symbols, images and figures of speeches for describing different fear or terror at different circumstances.
 The language of the poems  is definitely for intellectuals and not for common men .
  The poetry collection Daisat by Bahuguna is definitely a mile stone in the history of Garhwali poetic field for its all poems focused on fear, terror, alarmed situation in changing time, apprehensions for the future in the mind of deprived ones , awesome situation, fright , nervousness among common people, uneasiness and like that.
Daisat
Poet: Abodh Bandhu Bahuguna
Year of publication: 1996
Publisher: Garhwali Prakashan
B-2, B 48, Janakpuri,
New Delhi, 110058
Copyright@ Bhishma Kukreti, Mumbai, India, 2010



Bhishma Kukreti

  • Hero Member
  • *****
  • Posts: 18,808
  • Karma: +22/-1
Garhwali, Kumaoni, Himalayan Literature
Danda Kantha Swar : A  marvelous Gem for  Garhwali Kumaoni Literature 
( Review of  Kumaoni-Garhwali poetry collection Danda kantha swar edited by Dr Gajendra Batohi )
                                                   Bhishma Kukreti
      Danda Kantha Swar the poetry collection of various poets has two significances . First this volume is the first ever volume wherein the Kumaoni and Garhwali poems are edited in one volume first time . Secondly, the volume is dedicated to martyrs of Kargil battle and each contributing poet offers the poem related to war. This is first verse volume in both language that poems are related to war.
            When professor of Hindi language in Mumbai University , Dr Manjula Dhoundiyal read few poems of Danda Kantha Swar  and  the contents of the volume, she immediately told, “ This volume is as important as ‘Muse of War’ ( War Poetry Collection, 1917) or the war related huge  poetry collection (1971) at Central Library Brigham”
       Dr Manjula Dhoundiyal is right in her remarks. This poetry volume reminds the readers the war and patriotism related poems of famous poets as  Bertolt Brecht , John Davidson, Thomas Moore,   Thomas Hardy, Yahuda Amichai , Allen Ginsberg, Willium Butler Yeats , Sir Walter Scott ,  Charlotte Smith, Elizabeth Barrett Browning ,    Robert Browning , Robert Burns ,William Topaz McGonagall ,Mary Darby Robinson , William Cowper , John Dryden , Henry Lawson ,Joyce Kilmer , Walt Whitman ,James Whitcomb Riley , Hugh Henry Brackenridge , John Trumbull , Ivan Donn Carswell for poetic description of the need of fighting for the country, the pain of family members  of martyrs , the pride , the sacrifice of life , the usefulness of peace and son on.
  The volume is not only very important because it has poems related to Kargil war , Garhwal Rifle or the sacrifices of Uttarakhandis for their motherland in various wars but it has very significance that ‘Danda Kantha Swar’ is the first ever effort to publish  the poetries of various poets of two main languages of Uttarakhand that is Kumaoni and Garhwali . Uttarakhandis will always appreciate Gajendra Batohi
     In this historical volume, there are Kumaoni poems of
M.D Andola (Kumaoni), Kirti Ballabh Shata ( Kumaoni), Kedar Singh Kunjwal (Kumaoni), Kailash lohni (Kumaoni), Ganesh Pandey Gajendra Batohi, Gopal Datt Bhatt , Jagdish Joshi, Jagmohan Jeena, Damodar Joshi, Devki Mehra, Navin Chand Joshi, P C Pandey, Dr Pusp Lata Bhatt , Bansidhar Pathak Jigyasu, Bahadur Bora ‘ ShriBandhu’, Vishan Datt Joshi, Mathura Datt Mathpal, Mahendra Joshi, Mahindra Matiyani, Yogendra Joshi, Vineeta Joshi : Veenu”, Vishnu Shashtra ;Saral’, Sherda Anpadh, Shr Singh Bisht, Hem Chandra Tripathi, Hemant Bisht and there are Garhwali poems of   Chandi prasad Bangwal, , Chatar Singh Chauhan ‘Gurudev’, Tota Ram Dhoundiyal, Darshan Bisht,  Dharma Nand Uniyal, Preetam Apchhyan, Beena Benjwal, Mangla Kothiyal, Mahaveer Prasad Gairola, Mahaveer Rawalta, Mahendra Dhyani, Rakesh Chand Nautiyal, Shakuntala Ishtwal, Shashi Bhusan Badoni, Sher Singh Rawat Gadhdesi, Satya Nand Badoni ‘ajak’.

There are other subject poems too in Dnad Kantha Swar but most of the poems are war based poems . There are following thematic war poems in this volume:
1- Call for people
2-Motherland,
3-Pain of separation,
4-Praise of martyrs
5- Sacrifice for country and Trio Colour Flag
6- Message of a soldier to his wife and sacrifice of women folks
7- Patriotism
8- The memoriam
9-Lfe and Death 
  There are many poems which are not related to war but are of various subjects related to rural Uttarakhand as loss from migration, discriminations  against  women, environment etc
 On the whole , each poem is capable for creating different mood and emotions in the reader’s mind.
    This is appreciable task to offer the literature of both the main languages of Uttarakhand state and Dr Gajendra Batohi  should be congratulated for his efforts in calling poems from Kumaoni and Garhwali poets , editing and publishing them successfully .
Danda Kantha Swar
Avichal Prakashan
3/11 Hydil Colony, Bijnor (Uttara Pradesh)
Year of Publication: 2002
Copyright @ Bhishma Kukreti,  Mumbai, India 2010
 
 

   


Bhishma Kukreti

  • Hero Member
  • *****
  • Posts: 18,808
  • Karma: +22/-1



History of literature
Critical History of Garhwali, Literature, Kumaoni , Nepali Himalayan Literature
Dhai: A Garhwali Poetry Collection for Paving the Way for  Modernizing Garhwali Poetry and inspiring Next Gene Poets for  Experimenting
                                   Bhishma Kukreti 
 Dhai is a Garhwali Language poetry collection of eight young Garhwali poets of their time (1980-AD). There is historical importance of this book for cooperative poetry movement in Delhi by poets, The book Dhai has historical significance for bringing adhering the path of Kanhaya Lal Dandriyal, Jayan Nand Baulya for bring realism in Garhwali poetry by  Lalt Keshwan, Chandra Singh Rahi, Parshwar Gaud, Lokesh Navani, Netra Singh Aswal, Deen Dayal Banduni, Vinod Uniyal, Yashwant Rawat. The Indian literature will remember Dhai for accepting the new experiments in terms of  form and style in  garhwali poetry by the new generation poets as Gaud, Uniyal and Aswal or Keshwan
   The biggest importance of Dhai in Garhwali literature is that a Shilpkar poet got place in a poetry collection of different poets Every Garhwali will always appreciate the selectors and conveners  of poetry collection for Dahi----Netra Singh Aswal, Vinod Uniyal, Pareshwar gaud and Lokesh Navani for placing the poems of Chandra Singh Garhwali in Dhai
 As happened in the field of Caribbean Literature, it happened with Garhwali literature too. The following passage for Wikipedia (Ref:1) will clear the condition of the literature of both the territories:
“Many—perhaps most—Caribbean or  West Indian writers have found it necessary to leave their home territories and base themselves in the United Kingdom the USA or Canada  in order to make a living from their work—in some cases spending the greater parts of their careers away from the territories of their birth. Critics in their adopted territories might argue that, for instance, V S Naipaul ought to be considered a British writer instead of a Trinidadian writer, or Jamaica Kincaid  and Paule Marshall American writers, but most West Indian readers and critics still consider these writers "West” .”
Same way, Garhwalis have to migrate from Garhwal for earning and settled many parts of India. However, migrated Garhwali did not leave their roots as Caribbean were attached to their culture, historical aspects, love for motherland  and native languages.
                        As the Caribean writers as Dereck Walcott (Trinidad and lived   in the United States)  since then; and V S Naipaul ( Trinidad and resident in the U K , Saint John Perse, Earl Lovalac, Austin Clark, Claud McKey, Orlando Patterson Andrew Salkey, Edward K. Brathwaite Linton Kwesi Johnson,  Michelle Cliff caryl Philips, Edwidge Danticat, Andrea Levy Colin Chanar Marlon Jamesto name a few  served the West Indian literature (in English or their native language) , same way, migrated Garhwali in Delhi or other parts of India contributed Garhwali literature
   There are poems of eight migrated Garhwalis in Dhai a Garhwali poetry collection published in 1980 from Delhi by Garhwali literature creative ‘Garh Bharti.
   The introductory poem (Preface in form of modern styled poem ) provides speculation to the readers that the poems of Dhai  are very near to realism, humanity, and the poems are because of self experiences of each poet. The introductory poem indicates that the poems of Dhai are fresh, newer in terms of subject, exciting in terms of experiencing of the poets and the poets are more concerned to the common man than creating poetry for the sake of creation only. The introductory note is right and the poets fulfill the promise in the prefacer note
  There are five poems of Lalit Keshwan dealing with different subject in each poem. The poems are satiric poems and attacks on the system with sharp wits. Keshwan created poems in new format.
   The memorable event , the cheerful aspect in the garhwali poetic field is emerging of Chandra Singh Rahi as modern poet and first representative poet of Shilpkar community of Garhwal region. Before the famous singer  Chandra Singh Rahi , no Garhwali poet raised the voice of deprived class, the psych of Shilpkar community (Schedule Caste ) so loudly through Garhwali poems and his poems are marvelous pieces of modern Garhwali poetry with full of realism too. 
    There are three poems of Chandra Singh Rahi in this collection of Garhwali poems. ‘Jat aur That ‘ is to show inhumanly gesture by keeping untouchability and Jatiya culture (Caste system in India) . Ransingha Bajai de ‘ is all about the injustice by the upper caste to the Art creating class I.e.  Shilpkar community . The language is very sharp and vociferous against the suffering of deprived class of Garhwal. The poem Gadh ma ka lal ’ is definitely an inspirational poem that Garhwalis  become competent community  .
    The Garhwali poetic world will position Chandra Singh Rahi in the same respect and reverence as the Black Art movement position  and praise the literature /art creators Amiri Baraka, Gwendolyn Brooks, Ed Bullins, Eldridge Ceaver, Jayne Cortez, Harold Cruse, Mari Evans, Hoyt Fuller, Nikki Giovanni, Lorraine Hansberry, Gil-Scott Heron, Maulana Ron Karenga, Etheridge Knight, Adrienne Kennedy, Haki R. Madhubuti, Larry Neal, Ishmael Reed, Sonia Sanchez, Ntozake Shange, Quincy Troupe, and John Alfred Williams for contributing enhancing the self esteem, pride of deprived black community all over world.
  The poems of Pareshwar Gaud .(The first Garhwali movie producer ) are with newer subjects of his time in Garhwali poetry. All his poems are of newer forms (Atukant) . The narration is simple but compell the readers for thing specially the poems Leesa and Doodh aur Boli.
   By nature very calm, the father of Garhwali Kavita (Poetry) movement in rural Garhwal Lokesh Navani is very calm but his poems of this collection are rebellion nature. The poems are of Geet form but subject and the poetic presentation is different than the conventional Geet.
  The famous Garhwali dramatist, social activist and critic Rajendra Dhashmana says abot the poems of Netra Singh Aswal that he was one of the noted Garhwali poets who broke the ild fashioned form and old preaching style of Garhwali poems. There are five poems of netra singh Aswal and are not only conscious about Garhwal, Garhwalis, Garhwalism but poems take us for thinking about humanity, wrong happening the nation and state of affair of India in international forums. The format and style is fresh of his time (that is eighties ).
  The poems of Deen Dayl Banduni Deen  are in conventional format and subjects are related  imagery, nature, the pain of women of Garhwal, etc. The poems compel the readers for new thinking  .
   Garhwali literature will remember Vinod Uniyal for his contribution in organizing Garhwali literature creative in Delhi and inspiring them for new creation. There are two poems in this volume and both are satire on the intellectuals, administration, politicians and the lowest cader of administration in rural Garhwal. The language is with metaphores and he used the symbolic words of Dabralsyun, Ganga Salan Garhwal for narrating his poems The poems of Vinod Uniyal compel the readers not only thinking but  readers wanting to take some action against wrong happenings.
 There is only one poem of Yahswat Rawat deals with the migrated garhwali in foreign places . The poem is capable of creating pathos rapture in the reader’s mind.
  All poets of this collection Dhai are different in subject and narration and all tried their best for modernizing Garhwali poetries.
  The woks of Vinod Uniyal, Keshwan, Gaud, Rawat, Rahi, banduni Aswal and Navani is milestone and still inspire the new generation poets to do experiments,  be with humanity and common man.
                 As  in late nineteenth century,  Latin American literature creative  Nicaraguan Rubin Dario, Jose Marti, Manuel Gonzalez , Jose Carlose Mariategui, Jose Maria Argued as , Jose Enrique , Rosario Castellanos, Jorge Luis Borges, Roberto Arlt, Mario de Andrade , Oswald de Andrade, Carlos Drummond , Juan Rulfo, Miguel Angel Asturias
contributed for  , Modernismo or Modernization of Latin American literature , Lalti Keshwan, Vinod Uniyal, Chandra Singh Rahi, Deen Dayal banduni, Netra Singh Aswal Pareshwar Gaud, Lokesh Navani Yashwant singh Rawat contributed in modernization of Garhwali poetry by publishing ‘Dhai’ in 1980 from Delhi
Reference:
1- Indian".”http://en.wikipedia.org/wiki/Caribbean_literature
Acknowledgement: The author is  indebt to Lalit Keshwan Delhi for posting me this book Dhai . The book was published by Garh Bharti a literature organization Delhi but the organization is no more and book may b e available with Lalit Keshwan  196. Gali number -7, Sarpanch Bada , Mandawali, Fajalpur, Delhi-92
Copyright@ Bhishma Kukreti, Mumbai, India, 2010







Bhishma Kukreti

  • Hero Member
  • *****
  • Posts: 18,808
  • Karma: +22/-1
Garhwali Poetry Collection-7
                 Garhwali Poetry tour through   Dhanga se saxatkar
     (A review of poetry collection of Netra Singh Aswal By Rajendra Dhashmana)
                                                       Translation : Bhishma Kukreti
( Dhanga se saxatkar a Garhwali language poetry collection of Netra Singh Aswal is one of the mile stones in Garhwali poetry world . The author wanted to write review on this poetry collection and when he read the commentary of Rajendra Dhashmana , the translator felt that it is the best for Garhwali language that the author (translator ) translates the review of Rajendra Dhashmana. This author never saw such intelligent and precise commentary in Garhwali language as Rajendra Dhashmana did. When this author met Rajendra Dhashmana in Mumbai , he told Rajendra Dhashmana that social works of Dhashmana snatched a remarkable creative and critic from Garhwali language. You will also vouch the author that had Rajendra been in Garhwali literature than social works he would have given marvelous literature to Garhwali language)
               Garhwalis started creating modern poetry from around 1850. Later on, inspired by Hindi movement , Garhwali creative created poetries on the line of Hindi poetries. The Garhwali poets used all the poetic styles and figure of speech of Sanskrit and Hindi . Usually, Garhwali verse creator who worked more  on the form of poetry, was called great poet of his time.
           The above situation remains for many decades. It is also found   that barring a couple of Garhwali words, the words were of Hindi. This situation of copying style, form, wordings, figure of speeches from Hindi and Sanskrit was never found in Garhwali folk songs or lore or rarely established. Garhwali folk songs and lore were original in form, style and subject. Copying form, style, poetic styles from outside, the Garhwali poems could not get originality nor could attract the readers due to lacking of Garhwalism or  Garhwali taste.
As said before, Garhwali poets started trying creating Garhwali poetry in vese form from 1850, we may enjoy the verses of Chandramohan Raturi in his collections of poetry “Devva’ and ‘Virah vasant Vilap” published in the beginning of twentieth century. Taradutt Gairola says that Raturi is Keats of  Garhwali poetry .
(However, here, Bhishma Kukreti blames Chandra Mohan Raturi for diluting Garhwali language by Hindi words and making Garhwali literature the slave of Hindi and Sanskrit. The titles of His poetry collection Devvan and Virah Vasant Vilap are no where of Garhwali words.) . Pundit Satysharan Raturi and Atmaran Gairola were also top most Garhwali poets of that time. These poets criticized unwanted social customs , selfishness, and poverty. Poems as ‘Suryodya’, ‘Betuli’, and Panchhi -Panchak’ of  Atmaram Gairola were very popular poems of his time. Since, these versifiers were well  acquainted  with Sanskrit , English and Hindi, their way of versification was same as the poets of these languages.
  However, the subject of struggle in life of common man  is missing in the poems of this era. Read the examples of a couple of poems of that initial time of modern Garhwali poetry:
Savinay ‘gadhwali’ ya chh vinti hamari
Nij nij tum apno swarth yaro sambhalo
Vipul dhan kamala pas dig run ka leva
Unnati tab chha sara desh ki hun wali
                        ---Atmaram Gairola
Swadesh ka hetu videsh java
Vidya nayi jo sabi seekhi ava
      --------------Devendra Dutt Raturi
Let us pay attention on the verses of Gairola
Naunyal pyara chhan jo tumara
Sada vichara ar murkh bhair
Bhuka pyasa maila kuchaila
Kulli! Pahadi !firdan desu
 The poet was more bothered about knowledge gaining for   English and earning money. For that matter, if people go foreign country , the poet does not have any opposition.
No poets of that era did not think about the medium of education and earning should be in rural Garhwal.
  However, today’s poets are more vociferous and effective for the same matter:
Mi vides jan de tu
Chain gaffa kahn de tu
Kuchh kamai lhan de tu     
                  Fir Jhumailo jaj
Logun ka bhand mathaili
Par lagal jel jaili
Thokryon man din bitaili
                          Tu vides ni ja
Raunla raunla dagdi raunla
Rukho sukho jan bhi kahunla
Jhumka todla geet gaula
-----------Kankal from Phur Ghindudi
Iyun dandyun bati/gaul gauli
Baug/baugi saub undu janu chha
Tai roka
Na ho tab/kai din
Ham sab gaul jan /ham bi baug jan
   -------------Lalit Keshwan
Up to, certain extent, most of the poets of older generation (before independence) performed their role as “Master Ji ‘(preacher or teacher). These poets took the responsibilities for teaching/preaching -“what to do, when to do, what not to do, how to become gentleman , what are better things, , how to create poetry ….”. These teacher a could not recognize the reality of their time. Atmaram Gairola commented adversely on  freedom movement  thinking that the rule of Tihri Maharaj is as Swaraj :
Swaraj vasta chhan jan mal
Nyochhawar karna roana chillana
Kapali fodna pai ni sakana
Syo raj hamku chha milun milayun
Let be there attention on Gairola ji’s these lines, wherein he praises English Raj:
Garhwal ka tu hitkarni chai
Teri kripa se such chain sabku
         Leeladutt Kotnala wrote a poem  praising Lord  Ripen :
Bharat ka tol sab bharat ka tol
He lat ripan tero raige bol
Bharat badhai sab bharat badhai
Jab bati ai sab gharu gharu gyai
  The poets of Tihri Raj-Bhakt or devoted to British rule wrote the chivalry poems praising soldiers not for the benefits of Garhwal, Garhwali or Garhwalism but with an intention that Garhwalis would choose British armed forces.
  From this point, the poems of next generation were more sophisticated and with fantasy. The poems ‘Sadei’ of Tardutt Gairola, ‘Paun Tu’ of Yogendra Puri, ‘Dundo’ of Chakradhar Bahuguna and Beera of Jeetsingh Negi are the heritage of Garhwali poetry.
The poems ‘kakh holi meri dnadi va kanthi’of Shridhar dobhal and ‘Rami Baurani’ of Baldev Prasad bamsu’Deen’ became very popular.
  Bhajan Singh ‘Singh’ is important signature in Garhwali poetry world but he never could digest the change in structural forms happening Garhwali poetry. No doubt, Bhajan Singh ‘Singh’ played a great role in cultural awrness in Garhwali society. Though, his couplets (Doha) are of old style and form but they prooved to be very sharp in criticizing ‘poverty’, ‘bad customs’, and bias. Abodh Bandhu Bahuguna also has same capacity and style as of Bhajan Singh ‘Singh’ (This is written about earlier work of Bahuguna) .
  From late eighties and early nineties , many poetry collections were published but there have not been any significant evolution in Garhwali poetry. Definitely, a couple of poets tries to connect their verses with the  time. There is satire and strength from language angle in the poems of Kanhaya Lal Dandariyal but he lacks strong identity because of his using dual language (Hindi and Garhwali)
     Vinod Uniyal and Netra Singh Aswal are trying to pay attention on temperament and disposition in the poems than the structure and form or decorative poetry creation.  In past, there have been many trials for changing the for and style.
 Let us talk on the poetry collection of Netra Singh Aswal:
Though, each person feels perplexed  after many thoughts emerging in mind. However, there are few who can reach to the root cause of disorder or hassles. There are people could be counted on fingers who feel restlessness for the thought of worry . The poet is a gene  who feels restlessness for  mishappening  and his emotions comes out from mind in the form of poetry. In fact, creation of poetry is fight against those  powers who are busy in weakening the humanity. Those powers are trying to convert humanity into commodity for market or bazaar. Netra Singh tells about what is poem:
Hwa at in hwa -
Jyanl bagat pun par
Tudai saka-mankhya-bagha dant
Netra Singh becomes frustrated on coy cats who don’t find new ways or don’t fight for their rights:
Namesake un khuni
Ju vote denai chhan-deendai jana chhan
Phir kapali par hath lagai phatt phatt
Hyali gadi gadik
Loktantra khuni runa chhan
Aswal tries to change the path of Garhwali poetry in second  part of this collection. In these poems his virility and splendor is clearly visible:
Hamari chari taraf
 lagni rai aag 
Ar ham tahin sunana rain-swala bhwada ka geet
                                          Dhungla pakanau khikchat
Ham mundane raun
Ar hamar kandud putak kuchyana rain
                                  Shudh hunai mantar
 We may find sharp satire in his poems written on conventional style    in first part of this collection. The style, subject and  tone are capable to awaken the readers. ‘Nirgut chhaun’    chhwwara, ma, poems have dreadfully prickly lampoon. In my opinion the poem should be aimed on a conference than non-alignment principle of India because non-alignment is our foreign policy.   No body criticized our foreign policy of non alignment . Jikudi ma jamghat is also very powerful poem of awakening the readers and disturbing them.
Gazals.  from   the point of views of vajan, kafia, radif   are satisfactory but still, a few  gazals are nearer to   geet and najam     . In Garhwali, we should call Gazal as Ganjeli ( pestle ) because  Gazal also hit by last stanza as last part of pestle.   
‘namesake‘, myara desai tasveer, govind hun chhaun, kranti ar ek dhanga se saxatkar  poems are very sharp, capable of hitting the mischievousness.   
These poems are attractive and enjoyable   
Ek Dhanga Se Saxatkar
 By
Netra Singh Aswal
Publisher:
Gadhbharti
New delhi
Year of publication-1988       



 

Sitemap 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22