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Bhishma Kukreti

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Garhwali Literature, Culture , Art
 Dheet : The poems of Realism and Experiencing
(Review of  Garhwali poetry collection ‘Dheet; of Dr Narendra Gauniyal)
                                         Bhishma Kukreti
    Madan Duklan an eminent poet and critic of Garhwali poetry says that  the work of Dr Narendra Gauniyal in Garhwali poetry is equal to the  works of Irish poets Spikes Milligan , C S Lewis, Seamus Heaney,  Eamon Grennan ,  Evan Boland, Eileen Carney Hulme, James Joyce for making Irish poetry modern and taking the Irish poetry to the International level.
   The works of Dr Narendra Gauniyal is the result of Dhad Poetry Movement in rural Garhwal and love for his motherland Garhwal. Gauniyal praises his motherland, a tender love. When the kind hearted poet experiences wrong happening from various agencies, groups or individuals dr Gauniyal expresses the pain through his modern styled poems.
   Dr Narendra Gauniyal is born on 10 th December 1964 in Jamandhar of Gujud patti of Pauri Garhwal.
      Narendra is medical practitioner by profession and  he sings a kind of beauty that shows the realism of rural Garhwal and his own experiences about changing the human society from the angles of cultural, social, political human values . There is austere grace, simplicity in his poems.
  There is pathos in his poems when Gauniyal narrates History of earth and says through his poem Itihas that the kings or army men did not create history  but the workmen farmers who dig the lands for agriculture and  no historian is interested in searching their hardship and eagerness for  creating new  human civilization .
 Dheet poem is fantastic piece of poem of reality and philosophy  and is about describing the ‘Desire ‘ (Dheet) . Pathran a symbolic poem wherein the poet shows the way normal human being forgets those who helped him the most and the helping hands are always in sacrificing mood. The readers will enjoy many other philosophical simple and easily understandable poems in this volume. The style, simple words used in such poems attract the readers and those poems are not just message providers flat poems but compel the readers for deep thinking on the  subject of each poem.
    Many poets described ‘the Mother’ but Dr Narendra describes the mother’s love and sacrifice differently and with modern style of verse creation.
  Many poems of Dr Gauniyal are against the discriminations for female child, women found in the past society and even today, these discriminations persist in the modern society.
  Many poems deal directly with  life and Gauniyal uses reality as symbols.  The poet very much feels the pain of changed environment due to unnecessary disturbances to ecology by human beings ( badlendo mausam ar adhkachi khichadi)
  There many small poems in this volume and dr Narendra Gauniyal is perfect in narrating bigger aspect  through lowest numbers of words. This quality of explaining big issue in smallest possible words makes Dr Narendra Gauniyal  an important signature in Garhwali poetic field .
  There are eighty poems of Dr Gauniyal in this volume and each poem has different aspect of life and different taste   . The wording is very simple and understandable, The poet uses both type of symbols old and new as well. Many of his imagery poems are of class apart.
  Most of his poem are of new school that is prose form but are full of tenderness and lyric taste
 Poets  Lalit  Keshwan, Kanhayalal Dandriyal, Baulya did put the foundation of realism and experimentation in Garhwali poetry and poets as Dr Narendra Gauniyal are able to expand the same legacy .
Dheet (Poetry collection of Dr Narendra Gauniyal )
Year of publication: January 2003
Dhad Prakashan, Connaught Place, Dehradun, Uttarakhand , India
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Bhishma Kukreti

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History of Poetry
History of Indian Literature
History of Himalayan Languages Literature
Critical History of Garhwali literature
    Dwi Akhar : Insight of  Rural Garhwal
 (A review of Dwi Akhar a poetry collection of Uma Bhatt )
      Bhishma Kukreti
  As British  admire  the female poets as Ann Taylor, Juliet Wilson, Adrienne Rich, Ruth Padel, Claire Nixon, Sophie Hanah, Helen Dunmore, jenny Joseph for enriching English poetry, Italians appreciate the work of Italian female poets as Alda Merini, Anna Cascella, Amelia Rosselli, Cristina Campo, Armanda Guiducci, Dacia Maraini, Daria Menicanti, Margherita Guidacci, Rosana Ombers, Luciana Frezza, Biancamaria Frabotta ; Germans are proud of their female poets as Igeborg Bachmann, Lisel Muller; French people respect Anais Nin, Leslie Kaplan, Michelle Grangaud, Anne Portugal, Josse Caperer , Jacqueline Risset ; Spanish  think highly of  Sapnish female poets Pilar de Valderrama; Elisabeth Mulder; Rosa Chacel; Josefina de la Torre Concha Méndez; and Ernestina de Champourcin or critics appreciate the works of Hispanic women poets as Sandra Cisneros, Julia Alvarez, Isabel Allende, Julia de Burgos, Dutch are proud of Fenny Sterenborg , Carla Boogaards, Anna Enquist and Elly de Waard ; Uttarakhandi are proud of Garhwali women poets Vasundhara Dobhal, Vidyavati Dobhal, Veena Pani Joshi, Neeta Kukreti, Beena Benjwal, Beena Kandari, Shakuntala Ishtwal and Uma Bhatt for providing vibrant, intuitive, varied subject Garhwali language poems.

    There are sixty poems in the volume Dwi Akhar a first Garhwali poetry collection by Uma Bhatt . The poems are of varied subject and nature , insight, emontions but one thing is common in all the poems that all poems are regarding rural Garhwal or hills of Uttarakhand. However, most of the poems are related to a common rural Garhwali woman and the subjects surrounding her .
      The readers  may find the spiritual inclination of a female poet when Uma Bhatt prays Jalmukhi god (Village deity) for her creation and for benefiting the human beings and living organisms. The readers enjoy the symbolic and imagery poems of Uma Bhatt about villages, geographical description of Upper Garhwal and Kedar valley.  The readers start viewing the hills, springs, woods, scanty or dense bushes, xerophytes and other plants of  Upper Garhwal, valleys, rivers and rivulets, birds and Himalayan animals,  tracking lanes of villages, hilly farming fields,   all types of seasons in  verses as ‘ Ar Hyun Galni ‘, Gham , Veen Barkha Ma’, Matu Dharti, Ganga Jamuna.
   The poet is successful in portraying the life sketch of female from child to being mother or grand mother  in her as poems  Myar Balpan , Gon Mudi Dhari’
  She describes the seasons of Kedar valley differently than the poets of south Garhwal in verses ‘Vee barkha Ma’ or meghdoot Aige’
In the introductory note of this volume , renowned folk literature expert dr Data Ram Purohit says that Uma Bhatt has been successful in describing Kedar valley village life and culture of Nagpur , Badhan , Rudraprayag regions and the poems are of world class ..
 Uma Bhatt also created poems related to various relationship, wrong happenings in social lives and political circle of Garhwal.
  Famous garhwali story writers congratulate Uma Bhatt for her depicting  the village life, the insight of rural women, the struggles of females in Garhwal and her narration of philosophical subjects as in ‘Waqt Beej Ni Khand’.
   As Dr Data Ram Purohit appreciates Uma Bhatt for using common Garhwali symbols, proverbs, images, shorter verses of Garhwali folk stories or poems  in her poetry. Bhishma Kukreti appreciates loudly Uma Bhatt for using regional dialects and protecting linguistic exclusivity and characteristics of Chamoli and Rudrprayag regions (Upper Garhwal) in her all verse of this volume ‘Dwi Akhar’.
     Uma Bhatt has been successful in creating varied emotions in each poems of this volume and she is not stereotype in any poem
            Australians are proud of their women poets as Dame Mary Gilmore, Dorothia Mackeller, Chris Mansell, Judith Wright; Japanese have pride on their female poets as Kimiko Hahn, Fukao Sumako, Yosano Akiko, Yagi Mikajo, Nakamura Teijo, Hashimoto Takako, Mitsuhashi Takajo, Baba Akiko, Anryu Suharu , Hatsui Sizue, Okamoto Kanoko Chino Masako, Uyemaruko Shizuko, Kikusha ni ; Korean love their women poets as Yi Hyangji, No Hyangnim, Na Huidok, Ho Sugyong, Pak Sowon, Ko Chinghai , Kim Sanghui, Yi Chinmyong, Kim Hyson, Hwang Insuk, Chong Hwajin, kang Ungayo, Mun Chonghui, Yi Kyongnim; Malaysians love the poetries of Dan Ying, (Madame Lew Poo Chan) ; same way Himalayan people are proud of Uma Bhatt a Garhwali language poet for her work in Garhwali language poetic field.
Dwi Akhar a Garhwali poetry collection
Poet: Uma Bhatt
Year of Publication: 2010
Publisher: Winsar Publication,
K C City Centre Dehradun, UK, India
Copyright @ Bhishma Kukreti, Mumbai, India , 2010

 







Bhishma Kukreti

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History of Indian  Literature
History of  Himalayan  Language Literature
History of Garhwali Poetry
Fur Ghindudi : A Long Dramatic Poem for Common Man’s Enjoyment
( Review of poetry collection Fur Ghindudi of  Girdhari  Lal Thapliyal “Kankal“ )
                  Bhishma Kukreti
        English Literature critic Professor Radha Ballabh Dobhal describes two basic characteristics of Garhwali poems of  Girdhari Lal Thapliyal ‘Kankal’ and editor of famous monthly Hilans late Arjun Singh Gusain  supported Dobhal that the poems of ‘Kankal’ are intellectual ones but are enjoted by common men equally. Secondly, the uniqueness of poems is that verses of Thapliyal are more enjoyable, vibrant, provocative when the readers read them loudly as the poems- "She Walks in Beauty", by Byron "The Song of the Western Men", by Robert S Hawker , “The Frog", by Jean Dao ,"One Art", by Elizabeth Bishop  ,,"A Small Elegy", by Jiri Orten , "The Tyger", by William Blake ,"Meeting at Night", by Robert Browning ," ,,"November in England", by Thomas  Hood   ,"Dream Variations", by L Hughes,"The Jackdaw of Rheims", by  Thomas Ingoldsby  ,"Sea Surface Full of Clouds", by Wallace Stevens  ,"Silver", by Walter de la Mare ,"How to Tell a Story", by Robert Warren  ,"On Westminster Bridge", by William Wordsworth  , “To put one brick upon another", by Philip Larkin  ,"Paul Revere's Ride", by Henry Wordsworth Longfellow  ,"Adventures of Isabel", by Ogden Nash  ,"Nothing but Death", by Pabolo Neruda  and “ Ozymandias “ by  Percy Bysshe Shelley  are more enjoyable and tell their unique points when read loudly.
      The long poem published in book form in 1959 but the poem had already gained popularity among all Garhwalis of Garhwal as well other places of India..  Famous Garhwali  and Hindi dramatist , journalist, Lalit Mohan Thapliyal states that the reason behind the popularity of Fur Ghindudi is that the poem has story, dramatic style and lyrical form with modernity in the subject.. The story style is conventional Tota Maina ‘s love story but describing the habits and habitats, pains, sufferings, reasons of poverty, shallow prides, desires, enjoyment medium,  confusing psychology of Garhwalis for and against migration,  realism of rural Garhwal of fifties .
  Literature historians, Garhwali readers will remember “Kankal” and his long poem Fur Ghindudi for his cleverly using of right words, figure of speeches, proverbs, correct way of indicating emotions, using raptures in natural form, using poetic excellences correctly that readers wish to read his poes loudly without any hesitation.
   The poem is narrated in conventional Tota-Maina form that is poems in dialogues between parrot love pair. This is unique style of Thapliyal of creating poetry in conventional form or style but expressing the reality of rural Garhwal.  Girdhari LAL Thapliyal ‘Kankal’ had been successful in creating various true images og Garhwal of forties and fifties. The symbols and images of the long poem are effective in  creating impressions of  realism in the mind of reader. 
   Puran Pant ‘Pathik’ the editor of  weekly ‘’Garhwali Dhai’ states that the poems of ‘Kankal’ inspired the new generation Garhwalis for creating verses in Garhwali language than in Hindi. 
No doubt, the long poem Fur Ghindudi is created in fifties but the content is stll relevant and its lyrical form, dramatic narrating style is capable of attracting new generation readers.
Fur Ghindudi
By Girdhari Lal Thapliyal ‘Kankal’
Year of publication :1959
Published by Kalyan Singh Rawat , Delhi.
Copy Right @ Bhishma Kukreti , Mumbai, India, 2010

Bhishma Kukreti

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History of Literature
History of Indian Literature
History of Himalayan  Languages literature
Critical History of Garhwali Literature
Introduction note by Publisher of ‘Garhwali Kavitavali‘ the first Poetry Collection in Garhwali
                              Bhishma Kukreti
     Garhwalis will always remember 18th July  1932 a very important and celebrating dayr for the publication year of first ever poetry collection of various poets  in Garhwali language . Pundit Vishvambar Datt Chandola (the editor of Garhwali newspaper) was the publisher and editor. Rai Bahdur Pundit Tara Datt Gairola also was editor of this historical Garhwali poetry collection .
 Pundit Vishvamber Datt Chandola wrote an introductory note as :
                                        A Requesting Note  from  Publisher
    It is our pleasure to offer to esteemed readers the Garhwali poetry collection published time to time in ‘Garhwali ‘
 There are poems of this time (1901-1930) and before this time (around 1870-1880)  in this poetry collection. By these poetries, the readers will guess/know the thoughts of the poets and the situation of that time when the poets created their poems . The readers will know the characteristics of each poem only reading them.
     If readers will appreciate this poetry collection, we shall arrange publishing old Garhwali poetries.
      Late  Pundit Sanatana Nand Saklani helped a lot in collecting/editing/arranging the poems of beginning   part in this volume. It is very sad that before the publication of this Garhwali poetry collection, Saklani ji expired . His soul will be happy to see the publication.
Garhwali Press                                                                       Vishvamber Datt Chandola                                                                                               
18th July 1932                                                                          Publisher
Courtesy Mrs Lalta Vaishnav
50 Taigor Colony, Dehradun
(Mrs Lalit Vaishnav is daughter of late Vishvamber Datt Chandola who published second edition of Garhwali Kavitavali in 1984)
Copyright@ Bhishma Kukreti for comments and Mrs Lalita Vaishnav for Garhwali Kavitavali)
                      Introductory Note for Garhwali Kavitavali by   Rai Bahadur Pundit Tara Datt Gairola
                       Translation by Bhishma Kukreti
   Many of my good friends asked me .“Whether we should create poems in Garhwali -‘Prakrit ?’ Garhwal is a small nation whose population is merely seven or eight lakhs. There are many provincial languages spoken in this small nation. There are a few learned Garhwalis who create poems in Garhwali language. Many learned personalities suggests from many reasons behind not creating Garhwali poetry that there is no advantage in creating Garhwali poems. However, my friends as the very learned creative of Sanskrit, Hindi and English  late Chandra Mohan Raturi could have created amusing poetries written in any of these languages. His view was that  Garhwali poets (who write in Hindi or English) should write poetries in Garhwali language because it is easier to bring tenderness, raptures, emotions in your own language which, is not possible in other’s language. I also support the views of late Chandra Mohan Raturi. I researched a lot on Garhwali folk  songs, Garhwali bhadwali (ballad  etc) and came to conclusion that our folk creative created high standard poetries. Once, after my initiation, a Jagri sand songs before late Chandra Mohan Raturi . Pundit Chandra Mohan Raturi ji shouted that it is not possible to create  better poems than these Garhwali language poems and it is our duty/responsibility that we collect and publish these marvelous pieces of poetries. It is very painful that Chandra Mohan Raturi ji expired at early age. His death a big loss to Garhwali literature. I collected many Garhwali folk songs. These poems are amusing and emotional ones. The poems edited in this volume (Garhwali Kavitavali) are modern Garhwali poems and these  poets created modern Garhwali poems on the basis (copying) of style, forms, of Hindi and Sanskrit poetry.
                   Many Garhwali learned persons attracted educated Garhwali community by publishing Garhwali poetries in ‘Garhwali news paper’ being published for last twenty six years. We should call this time (birth of Garhwali news letter) as the birth time of modern Garhwali poetry. Late Chandra Mohan Raturi was the first garhwali poet who published first Garhwali poem in ‘Garhwali news paper‘.  These first  ever published Garhwali poems are ‘Devvan’ and ‘Viirah Vasant Vilap’ .These marvelous and highly standard poems of late  Raturi inspired other learned Garhwali literature  and educated Garhwalis so much that other learned and educated Garhwali creative started publishing their Garhwali poems in Garhwali news paper. Late pundit Satya Sharan Raturi was famous Hindi poet whose poetries used to publish in ‘Sarswati ‘(a very high standard Hindi magazine) started writing  Garhwali language poems too and provided a pride to Garhwali literature. No body  had knowledge about the poetic power of late Atma Ram Gairola also published his amusing Garhwali poems in ‘Garhwali newspaper’ We did not find the lyrical sweetness, tenderness, inspirational thoughts, patriotism, and simplicity in other Garhwali poems as we find in the poems of late Satya Sharan Raturi. Garhwali community will respect his poems ‘Suryoday’,’Betuli’, Panchhipanchak’ and Tiree’.The poems of late Chandra Mohan Raturi are difficult (for intellectuals only) and are full of figures of speech . There is no exaggeration that the position of late Pundit Chandra Mohan Raturi is not lesser than Shelly and Keat. It is awful  that god called him in his early age. The life of Raturi ji was also of high standard. Apart from poems in this volume, Raturi ji created many classic Garhwali poems.
   Now, we are confident that the poems of this volume will eradicate the doubts of question that we should create poems in Garhwali or not .I don’t get enjoyment in other language poems which, I get from reading Garhwali verse. Who will not enjoy the poetry written in the language which, he spoke in his childhood?
  At the end, I expect that the newly educated Garhwalis will respect their mother tongue(Garhwali) and will enhance the pride of Garhwal nation. We should remember that  Rabindra Taigore was well versed with English language but he used to create poetries in his own language Bengla 
Shanti Ashram                                              Tara Datt Gairola
Pauri, Garhwal
21st Gate, Chitr Samvat 1989
Copyright @  and Mrs Lalta Vaishnav , Dehradun
             

Bhishma Kukreti

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History of Garhwali Poetry
History of Himalayan literature
    Geet Ganga : Collection of Variety of Garhwali Poems
(Review of a poetry collection of Chandra Singh Rahi )
                                        Bhishma Kukreti
            Once, Delhi was mines for Garhwali literature creation . Around seventies, young Chandra Singh Rahi got the association of great Garhwali poet Kanhya Lal Dandriyal in early seventies and got inspiration to create new type of lyrics in folk style and sing them and Chandra Singh Rahi started to write lyrics with new subjects but in the style of old Garhwali folk songs. Since , Rahi was born singer his songs got notices from the audience and Rahi started singing in various Garhwali programs and literature conferences . After associating poets as Girdhari Lal Kankal, Lalit Keshvan, Abodh Bandhu Bahuguna, Sudama Prasad Premi, Lokesh Navani, Jaya Nand Baulya through Gadh Bharti an association of Garhwli creative of Delhi. By associating with creative Rahi got opportunity to write newer lyrics.
  Geet Ganga is his poetry collection of different subject and different styles in Garhwali lyrics.Howver, most of his poems are related to rapture of love.
      If Geet Lage de poem is about the aspiration of audience from the singer and lyric writer, ‘ Ve Garhwal Khujyanu Chaun’ is about new worsening changes happening in new Garhwal. And ‘danau ka bol ‘is about inspiring the youth to respect the experiences.  There are 126 poems/lyrics in this volume and subject are varied as criticism to caste system, loss by alcohol consumption, philosophies, (Bali Parya) , social issues as of environment, diminishing of old culture and art etc, As is said that most of the poems are about love and there to the narration is not monotonous but varied subject.
    Barring  Tidka and a few Ghazals the poems are in old Garhwali folk style specially in duet and are entertaining. The wordings are simple and the readers start singing the poems automatically because of melodious style . There are very popular symbols, images, and proverbs of Garhwal and his own created symbols too in the poems of Rahi
   The readers will read the poems of Rahi not for intellectuality but for simple poems and will definitely enjoy them
Geet Ganga
( A poetry collection of 126 poems)
Poet : Chandra Singh Rahi
Year of publication : 2010
Available at
Chandra Singh Rahi
S 106, Sundar Block
Shakarpur
Delhi-110092
Copyright @ Bhishma Kukreti, Mumbai, India, bckukreti@gmail.com


Bhishma Kukreti

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 Maulyar : A Garhwali poetry collection of Girish Sundariyal
                     Song Spreading :The fragrance of Soil
           
  Girish Sundariyal a well known Garhwali language poet and social activist presents Song collection Maulyar after song collection Anwar.
  There are fifty five songs in the collection and each song is different in subject than other . The form and subject are definitely contemporary .However, there is effect of folk ness of Garhwali song in his most of the poems in terms of ras sampadan.
 Madan Duklan presents translation of some of songs as follows:
The land of penance for monks,
The abode of gods and demons
The maternal home of Parvati
and in-laws of Shiva
Here is the Jageshwar dham
Here is the barricader dham
Land of gods uttarakhand
My Kumayun and Garhwal
(Rauntelo Mulak Myaro)
The valley regains the leaves
Flowers bloom everywhere
Trees looks like newly wed bride
The butterflies lead the marriage
Procession of bride-groom spring
(Maulyar aige)
The cheeks are the bloomed rhododendrons
And the lips bllomed as pomgranate flowers
The eyes are full of youthful moist feelings
The edged eyesight is like sharp knife
Same way other poems also attract the attention of readers and offer them emmence pleasure
You must call the book.
Publisher: Himalaya Loak Sahitya awam Samskriti Vikash Trust
A-16 Rakshapuram, Ladpur, P.O. Ladpur
 Dehradun
Price: Rs 50/-
 

Bhishma Kukreti

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History of Himalayan Literature
History of Garhwali , Kumauni Literature
History of Garhwali poetry
Gwathani Gaon Bate: A Poetry Collection of  New Generation Poets
                                  Bhishma Kukreti
  The first collection of poetry collection in Garhwali language was Garhwali Kavitavali where the poems were of various Garhwali poets of that time. In between , eight poetry collections came in light where various poets contributed. Shailvani (1980) is a historical poetry collection, wherein poems of around eighty poets are published.
                         Gwathani Gaon Bate a poetry collection of various poets published in 2002 has different significance. All poets of this volume are of new generation and none is from Delhi. From 1947 to 2000, no Garhwali literature as this volume (collection of various poets) was not possible without contribution of Garhwali literature creative of Delhi. The contributing poets of Gwathani Gaon Bate are either from Dehradun or Garhwal region. The volume is witness of shifting of Garhwali literature capital from Delhi to Dehradun too. The poets of this volume were of new generation barring a couple of poets and most of them are the result of Uttarakhand movement. Therefore, this volume has very specific significance in Garhwali poetry world.
   Yong poet, editor of Chitthi Patri Madan Duklan is the editor of this volume. Samay Saxy is the publisher. Again, the publisher Ranu Bisht is of new generation and perhaps she is the first Garhwali female coming in the field of publishing regional language literature. Emergence of Ranu Bisht is also an historical aspect that a female Garhwali entered in the business of publication of regional language literature.
     The poems are representatives of new thinking, new way of watching the world, endurances by poets for bringing new style in Garhwali poetic field, conveying the realism with bold but emotional ways and means and at the same time caring for diminishing of beneficial old culture. The poems show clear difference between the old thinking and new thinking. The pets of this volume  seem to be more sensitive to the time changing than their  predecessors and see the world with realism than by the eyes of preachers.
   There are poems of following poets in Gwathani Gaon Bate
1- Narendra Negi
2-Madan Duklan
3-Chinmay Sayar
4-Devendra Prasad Joshi
5-Preetam Apachhyan
6-Veena Pani Joshi
7-Girish Sundriyal
8-Niranjan Suyal
9-Balbir Singh Rawat
10- Harish Juyal Kutz
11- Neeta Kukreti
12-Sanjay Sundriyal
13-Shashi Bhusan Raja
14-Sukhdev dard
15- Hemwati Nandan Bhatt Hemu
16-Ganesh Khugsal Gani
  The poems are of varied subjects and varied styles too. This volume also shows the transformation of Garhwali poems from conventional style towards free style or the contemporary style of poetries of other Indian language.
    The poems deal with humanity, complexities in life because of new changes taking places all over world and frustrating state of common men. Many poems deal with finer images of rural Garhwal and again different way than the past poets.  The subjects vary from inspiring Garhwali youth for own identity (Dainu Hwe ja), daily struggle  and sacrifice of a rural Garhwali woman (Va Bhi) , images of rural Garhwal ( daphnia ki Chhai) philosophy (Maya 1 and 2, Kya Sochi Chhau) , the autocracy of Uttar Pradesh government for suppressing the Uttarakhand movement (Rampur Tiraha) , confusion between hope and hopelessness (Ainsu Sal), new way of experiencing and explaination of spiraled or philosophy ( Aj Kilai, beech kwadad …, Khidki) , the specific sacrifice of mother (Bwai), frustrating state in rural Garhwal even after getting new state Uttarakhand (Raj Milan par), struggle of untouchable and indifference with them by upper caste people  in rural Garhwal (pahad par nyutana), the importance of deep rooted culture and parenting (Jalada), the importance of protecting environment (Gaura Bani ge Dali), the arts of Garhwal as our heritage and protecting the arts ( Hamara Kuda) , a daily life and dream of Garhwali female in village, struggle of females  (Vai holi, Cheena ki danI), love and pian of separation (Mel muskil) pain of separation from husband  by a Garhwali women( Vo ainsu bi ..), the development on papar but not in reals sense ( Sadak ar Vikash) , frustrating state of common man in Garhwal (Pahad ma ) satiric way of telling the meaning of national anthem (mulyankan) different emotions and figure of speeches in poems of Gisrish Sundriyal , images of village  describing through description of different flowers (rang), a will power of Garhwali (bhinchol), importance of touch a philosophy ( Tala), a love for son and waiting for his coming from plains by a Garhwali mother (lata), the indifferences by migrated Garhwalis for their villages (Boda Ji and Nibudu)  , the increase in consumption of alcohol in rural Garhwal, (Om Namo guru ko Adesh), humorous and satirical  poems by Harish, praises for spiritual wisdom in Garhwal (Dev Bhumi), descrition of seasons differently than Baramasha (saun ki..nad Vasant geet), wrong development in Garhwal (Sadak), various wrong happenings in rural Garhwal in the poems of sanjay Sundriyal, diminishing cultural values in the era of globalization ( Bhagwan ji, Adim, Degree), pains of migration from rural Garhwal and no alternates to stopp migration (Geet, Kothi Dehradun banan, Aulu mi, Voon ma boli de, kuchh bwana chhan),
      Before this volumes from 1975 till 1990, the poets were either influenced by Abodh Bandhu Bahuguna for intellectuality and Kanhya Lal Dandriyal for realism. This volume demonstrates that the poets are in search of their own style and ism rather than depending on Bahuguna or Dandriyal. The poets of this volume , brought new symbols, images unheard in literature but were available in Garhwal.
  Gwathani Gaon bate proved that it is a mile stone in the history of Garhwali poetic world from freshness  and bringing new way of modernization in terms of subjects and style in Garhwali poetry
Gwathani gaon Bate
Editor -Madan Duklan
Asst Editor: Girish Sundriyal
Publisher : Samay Saxy, 15 Faltu Line Dehradun
Year of publication: 2002
Copyright@ Bhishma Kukreti, Mumbai, India, 2010

Bhishma Kukreti

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           Gwai :  First Step towards Regionalism and Local Color in Garhwali Literature 
                                                                                                          Bhishma Kukreti
      This author has been acute critic of standardization of Garhwali  or Kumauni languages in their literature and the stalwarts of Garhwali language as late Abodh Bandhu Augean , Mohan Babulkar criticized Bhishma Kukreti with very critical words (Discussion in Dhad, 1990-91, issue-6,7 and 8) for his opposition of standardization of Garhwali in written form.
    In a  write up in a Garhwali magazine , Chitthi Patri (June, 2204), this author again raised the issue that the Garhwali literature creative should write literature in their dialects and  the regional writers should compete with other area’s writers . Bhishma Kukreti stresses that  regionalism in Garhwali literature is the need of the hour.
   According to wikipedia , the regionalism in literature is , “ In literature , regionalism or local color fiction refers to fiction or poetry that focuses on specific features – including characters, dialects, customs, history, and topography – of a particular region. Since the region may be a recreation or reflection of the author's own, there is often nostalgia and sentimentality in the writing.”
      The Garhwali poetry collections Gwai is the collections of poems of  fourteen poets from Syunsi Baijron area of Pauri Garhwal does not fulfill the above requirement of regionalism  but Gwai tries to fit in the definition of Oxford companion as The  Oxford Companion to American Literature, explains the regionalism  "In local-color literature one finds the dual influence of romanticism and realism, since the author frequently looks away from ordinary life to distant lands, strange customs, or exotic scenes, but retains through minute detail a sense of fidelity and accuracy of description" (439).

     Gwai means the initiation of walking by a child and the collection of poems in Gai is also an initiation of bringing the poets of a particular region in one fold.  Gwai is a collection of regional poets of Dhoundiyalsyun of Pauri Garhwal. In his introduction  (Payedi ), the editor   poet Totaram Dhoundiyal proposes the importance of regionalism  in Garhwali poetry or literature that the importance of Syunsi-Baijaro (tow manids of Dhaundiyalsyun) should not be limited to the supplying centers but these two places should also denote  the emitting and displaying centers for Garhwali literature, culture and social emotions  .
   There are fourteen poets who contributed in this finely edited book .Most of the poets either are from Dhaundiyalsyun (Swyunsi Baijaron ) or  presently working there. For example the Kumauni poet govind Singh Rawat id from Kankot of Almoda district but teaches in J I C Chaukhal Dhoundiyalsyun .Ashok Uniyal is from Amaldu ,Dabaralsyun  (Salan)  had been a teacher in that region , Shakuntala Ishtwal belongs to Dharkot, Kafolsyun but is teacher in Jogmadhi , Patti-Sabali via Baijaron. 
  Shakuntala Ishtwal : Ishtwal is a known name for Kavi sammelan (reading poetry in conference) of that area.  Her all five poems are inspirational and her teaching profession dominates the poems in terms of preaching (adan wal geet) . Lapata poem is satire poem
Master ungna kursyun man
Skulyaun ko lapata

  Vishwa Prakash Baudai : all the eight poems of Baudai are the verses of philosophy and preaching.
Dr Rajendra Bhatt ‘Nagesh’ In true sense, Bhatt’s verse “ Syunsi-Baijaronn” is the representative example of  narrating regional color, religious faith, lore, culture, social identity and geography of Syunsi-Baijaron:
Syunsi baijaron basyan chhan=kan ee dwee ka dwee bai-baina jan
Yun dwee jagun bagdee dudhatauli dudai jan dhar
Govind Singh Rawat: Govind Singh Rawat is a Kumauni poet. ‘Baujyu ki narai’ and ‘Baujiki Kudi’ are the poems of struggle and ambitions of average hill-man . Where ‘mahima Jhangora ki’ tells us the medicinal benefits of our conventional cereals and forest produce as fruits and roots of Uttrarakhand  , the poem ‘Rupun ki Tees’ is philosophical and preaching poems.
Shiv Dayal Shailaj: Each poem from the six poems of Shailaj are different from each other in terms of subject , form and narrating style. Shailaj also create Gazal in Garhwali and is truly called ‘Ganjeli kvita’
Jaunka khutta nee, vu ghundun ka sara chhan
Jauka chhain chhan vun ka khutt gara chhan
Shailaj has potentiality of creating satire in Garhwali and if be in the same direction , he will be the poet of Dandriyalism  Bhishma Kukreti, 2009) that is satire, humor with Garhwali realism
Bachi Ram Baudai: Though, the four poems of Bachi Ram Baudai aare the poem of patriotic subjects but he finely used the Garhwali symbols, images that these poems become relevant is Garhwali regionalism
Sanjay Dhoundiyal ‘Ekant’ :  Sanjay is karmakandi pundit and famous astrologer of his area and he showes his pain of demolitions of villages due to migration from his area in two poems ‘Dhai‘ and ‘Ko lagalo hail’. The poem ‘ upman ni kara’ tells us the wrong happenings in our society and at the marriage ceremonies , festive events etc.
Kulbeer Singh Rawat ‘Chhilwat’ : When Kulbeer Singh reads poems in Kavisammelan’ his poems are the verses of Thattaism (Bhishma Kukreti, 2009B ) but in this collection , all three poems are the verses of preaching and it seems unusual.
Chitra Singh Kandari: When a society changes, the sensitive creative will express the changes. Nyuto means invitation of guests on the eve of an event and in older days, the hosts used to arrange food festival for the intimated guests but whether it is Uttarakhand or else where in India the fashion is to put the drink party on the eve of Nyuto and Kandari showed the painful changes in his nice woven poetry ‘Nyuto’. , In rural Uttarakhand, ‘bisaun’ (the place of brief resting by grass or wood loaders I.e women or men folks of village ) has specific importance in our village life. Chittra singh could express it as if he is video-shooting of ‘bisaun’ in this poem . Inau kilai verse is about wrong happenings from good deeds and Chaunfala  poem is praiseworthy description of Garhwal as a territory.
 Anil Kumar Shailani : The poem Bwai of Anil is a poem of pathos rapture and the poet narrated well about the tragedy and eagerness for mother of a motherless child. However, in author’s opinion no Garhwali poet could reach showing the pain, floundering,  anxiety, pathos of a motherless child as Jaggu Naudiyal could express in his poems in Samlaun .Anil’s  poem Anpadh beti is about importance of education to the girls and apani t soch is about inspiring the youth.
Ranveer Dutt:  After Jaggu Naudiyal , Ranbeer Dutt is the master of creating real pathos about the happenings for a motherless child. His all two  poems - Maisyan and  bwai runi ni rai are related to rapture of pathos and third poem jai far bwai is reflection of our culture of  ‘Hanatya an‘ (appearing of a spirit of a dead human in a human being ) .
Chandan: The biggest tragedy of Garhwali poetry or literature is that less is written about  Dalit sahitya (or the literature on deprived class ). Chandan tried to fill this vacume in his poetry Padidyan Log :
Jamano badal ga
Padadyan log aj bi
Ni ayee agaa
……..
Yo sacch cha bada dala mudi chwata dala ni hunda
Pan,
Paryavaran ki vyavastha ini ho
Taki patdyan mulligan
Harchan se bachi jai
The other poems of the poet are insignificant before ‘Padadyan log’
Sushil Chandra : Sushil Chandra tried to proove that he has potentiality for becoming a satire poet by  his four poems in this collection.
Ashok Uniyal: The four poems of Ashok Uniyal are of mix subjects and different raptures or emotions. His problem is that he could not understand that the poet is confused between inspirational aspects are always hidden in satiric poems and humor and  sharp criticism are exposed.
  The collection is appreciable that this is the first initiation in bringing regionalism in Garhwali literature but the biggest drawback of this collection is that except Syunsi Baijaron poem, other poems are not related to the preciseness  of Dhaundiyalsyun.
Available at
Shri totaram Dhoundiyal
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Dehradun
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Price: Rs30

 Reference:
1-http://en.wikipedia.org/wiki/Regionalism_(literature)
2- Bhishma Kukreti, 2009, Uktat: ……., http://apnauttarakhand.com/
3- Bhishma Kukreti, 2009 A,  Critics of  Sushil Chandra, Shakuntala n Ishtwal, Tota Ram Dhoundiyal , Jaggu Naudiyal in
http://younguttaranchal.com/community/index.php?topic=3260.msg100194#msg100194



Bhishma Kukreti

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 Garhwali , Himalayans Poetry Collection-6
                  Khilda Phool Hansda Pat: A Signature in Garhwali Poetry History
                                             Bhishma Kukreti
     
When Carl Sandburg  said , “Poetry is a shuffling of boxes of illusions buckled with a strap of facts.” , as if he  read Lalit Keshvan who takes on the path of fantasy but shows us the reality on the surroundings too. Keshvan .
 Lalit Keshwan is among  Trimurty (Three greats) poets -Kanhayalal Dandriyal , Lalit Keshwan and Jayanand Khuksal who transformed the Garhwali poetry into a real modern poetry. Keshwan and two others initiated for changing the form, emotional expressions, manifestations, of Garhwali poetries and tried to make Garhwali poetry competent enough to stand with other languages poems of  world . In other words, Khuksal, Dandriyal and Keshwan initiated to  bring contemporariness in Garhwali poetries in terms of form, realism, expressional aspects, experiencing, providing scope to readers or creating close relationship with the readers rather preaching the readers as their predecessors used to do , new and existing experimentations, uses of existing symbols and images into new patterns.
The Garhwali language critics as Abodh Bandhu Bahuguna, Rajendra Dhashmana, Parashar Gaud, Prem Lal Bhatt, Shivanand Nautiyal, Bhajan Singh Singh, Shambhu Prasad Augean , Bhagwati Prasad Bahuguna and other praised Lalit Keshwan for narrating the reality of rural Garhwal and Garhwalis with transparency , effectively. The readers can  experience easily the pain, pleasure, detachment of rural Himalayas in the poems of Keshwan.
    The poetry collection ‘ Hansda Pat Khilda Phool’ is the true representation of what Keshwan created in Garhwali language and will also show the reasons behind big demand for Lalit Keshwan to read his poetries in Kavi Sammelans (conferences for reading poetries) . There are thirty three poems in this collection and each verse is capable to be an International standard poem.
Phass class ho: The poem Phass class ho of Keshwan reminds the lines of famous satiric poem created by satirist Ezra Pound. Ezra writes :
O GOD, O Venus, O Mercury, patron of thieves,
Give me in due time, I beseech you, a little tobacco-shop,
With the little bright boxes
piled up neatly upon the shelves
 The modern civilization in India bringing new desire for having wife a smart, wise, beautiful and  the same time the link and characteristics of orthodox culture  too . Lalit Keshwan attack on those paradoxical desires to have two magnet poles together in Phas Class ho
 Color kwee bhi ho
Par swee swee na ho
Size medium ho
Par chal freedom na ho
Keshwan experimented mixing English with Garhwali and became successful in creating  Dhabadi kavita ( poem of dual languages)
Andi si ta : This poem is all about dream of an average migrated Garhwali for accomplishments of life. However,  Keshwan did not narrate the subject directly but he used metaphoric way in this poem and shocked the readers when he disclosed the reality of wishes for winning the Delhi state lottery. Lalt is successful in  showing  the similarity between beloved lover with winning a lottery.
Tyara nam par
Kholu dyaulu
Agarbatti factory
Aandi see t
D chuchi
Dilli ki lottery
Limba : The philosophical lines are those , which are interpreted differently by different analyzers. That is why the subject of philosophy is still a mystery. Take the example of Shrimad Bhagwat Geeta. Shankar was first scholar who interpreted Geeta  and till date, hundred of scholars interpreted Geeta with their own views. Even one western scholar could interpreted the homo*ual relation between  Krishna and Arjun from the narration of Geeta  As Gosvami (2005) analyzed homo*uality differently  from Mahabharata ‘s stories .
   Different readers will interpret the poem Limba (Lamon) differently. Philosophically, the readers may understand the poem as preaching that the day dreaming will not fetch you ascending results :
Poru
Veen
Supnyun ma
Kaiki
narangee twaidine
Ainsu
Jaika limbu tode
The literal meaning is as :
Last year, She stole   Oranges , in Dream
This  year, She stole Lemons, in Dream
However, other meaning is that  since, last year she saw positive dreams (sweetness-oranges and blessing of  Pundits in the form of  oranges in dream)  , she   is  pregnant . The  symbolic word Limba (lemon ) in this poem is also related to pregnant woman eating lemon pieces.
       A reader may also read between the lines that it is very simple that  dreams are just dreams. A few readers may infer that the wishes even in dream do not die but take newer and newer shapes. The poet is successful using subconscious mental activity by Garhwalis. Garhwalis have many symbols and their interpretation of dream out of those symbols and Keshwan created perfect poem related to reading the dream by Garhwalis .
  That is the beauty of Keshwan for creating such poems, which compel readers or audience for thinking or making many judgments out of a poem.
He meri bwe kan mori ge chhe mi: The poem is about an accident took place and how the victim suffers traumas, pains , frustrations etc physically and mentally .In low number of words, Lalit Keshwan also showed the anxiety of sufferer about the worst conditions of his family members  in case the wounded would have died at the spot. Lalit Keshwan could portrayed  the physical- mental pain, ache, hurt, fear, trepidation , horror,  twinge, throbbing  with tendered, touchy and emotional words as Jessica Zombiee (Ref-2) narrated accident and its effects on the wounded in the Crash poem and Teller (ref-3) .  The readers will definitely feel the chills of accident recited By Keshwan is this  He meri bwe kan mori ge chhe mi poem as successfully as Teller (ref:3) could revealed the chills, horror of reaching nearest to death in her poem The Final Act.
Ratyun main jab nind nee Aund: In Mahabharata, Vidur says to Dhritrashtra that one of the biggest pains in life is to be in debts and inability to return the debt in time. The ‘Ratyun main jab neend ni aund ‘ poem of Keshwan is about passing the sleepless night in the emotions of  worries, regret , pain of inability , sorrow , frustration for not completing the difficult most task, embarrassment, labor in trying to get sound sleep etc. Keshwan has been successful in creating emotions of sleeplessness nights and readers may feel those agonizes, throbbing, repentant , disturbances, irritations, discomfitures arise because of debts , which could not be returned. 
Ratyun ma jab nind ni aund
Haudu-haudu farki farki uthwapodi see honi round
…….
Jaun man lhe chhau , yunku diye nee
Ya bharman bi pwadi siye nee
Jithaa jee :  jitha ji   poem  is a poem which expresses many meanings to this author and same way readers will conclude different meanings according to their imagination.
The poem is as----
He didi
Jitha jau
Kyanko  path ch ibari

Bhai didi
Vut ladies ma ji
Lagda chha achha
The meaning of poem is as :

Hey elder sister!
Elder brother in law (your husband and my husband‘s elder brother) ---
What is his part  (in Drama)?
Listen younger sister  !
He told , this year, he will  perform the role of Dashrath (in Ramleela)
And children will play the roles of females
O ! elder sister---
He is better in  female roles
The poem looks very simple that a person used to play part of females in Ramayan drama. This year, he is supposed to play the role of Dashrath that is role of male. However, his younger brother’s wife appreciates him playing the roles of females than playing the role of male. But the poem is not so simple as it looks from the surface. Jtha ji is somehow also indicating illicit relation between  the person and his younger brother’s wife and the younger brother’s wife is not satisfied with the manhood of her husband’s elder brother. That is why she says that Jitha Ji  (husband’s elder brother) fits in the role of females and not on role of males.
    Indirectly, Keshwan is also indicating traits of lesbianism among females for their liking female characters played by males in the stage drama.

Pani ! :  Keshwan has created poems for children too. Therefore, Lalit  knows the psychology of children and is well versed with the curiosity of children, the unanswerable questions to elders by children. And the irritation of elders from the questions raised by innocent children. Ann Skea  (2000) , while reviewing a world famous poet  Ted Hughes, who created poetry for children wrote, “Ted Hughes  learned that children’s  world "is not just a miniature world of naive novelties and limited reality" but a world where there is still much to be explored. And Ted Hughes  gained knowledge  that children discover the world with curiosity, perception, a keenness to modify and "a no-holds-barred approach to problems" which mature people, mostly, have lost.”.  Same way, the poem Pani witnesses  that Lalit Keshwan has knowledge about children discovering the world and the children want to change this world from their angles. Keshwan does not treat children as miniature adults but innocent discoverer of this galaxy.
  Lalit Keshwan , successfully could show the innocent but logical curiosity of children about the ratio of water that is there is two third water and one third land in this earth. However a question by a child is always unanswerable for a  common man that what is the destiny of water which came in this earth.
Chala , aunu bhi holu
T janu kakh holu
Pandit ji you ithga panee?
Badi Jhangora khai-khai ki : There has been regular talk that Garhwali language is in danger or may extinct by end of this century (Bhishma Kukreti, 2008-9). UNESKO, SIL Organization, Michel E Kraus, S.Tapani, Mark Abley, Lyle Campbell, Nicholas Evan, K.David Harrison,  Patric McConvell, T Nicholas, Marianne Mithun, T Sebeok, Kangas, Skutnabb, William Shetter,  Tasaku Tsunoda, and many more researchers, social activists showed their grieve concern over endangering of languages from the globe. A report of UNESC says that 192 Indian languages and 2500 our of 6500 language of the world will diminish very soon.
  The true poetry is the reflection of the contemporary society. Lalit Keshwan  showed his concern over the worsening position of Garhwali language in 1982, when there was less talk about endangering of hundred of languages. Badi Jhangora khaiki-khaiki ki is the example of senility of Keshwan for social issues. He cautioned all Garhwalis that the language is walking to extinction because its speakers are leaving speaking in Garhwali.
Apni pani boli mna
Apni apni bhasha man
Sabi rvaine, sabbi hansnai
Ham mand pe peki, badi jahngora khaiki ki
Na hansi sakna chha na roi sakna chhan
  In  his introductory note of this collection, Prem lal Bhatt interprets this poem that the poem Badi jhangora …shows the hassles of Garhwal .
Dam: There have been corruption, misuses of public money and authorities, carelessness among government staff for public utility works, no serious concern for durable building or water reservoirs among politicians and government work force, It is common fact everywhere in India that the dams are built this year and these dams can not sustain water pressure next year. Keshwan explained such painful status of developmental works or public works in India in only twelve words .This poem shows the vocabulary power of Keshwan and he used figure of speech to express his views in lowest possible words. If profound Urdu story writer Manto is the craftsman of story telling in least words, in Garhwali poetry world, Keshwan is an expert of using minimum possible words to tell the volumes of story as :
Poru parar
Sune
Bal banige dam
Aiswa basgyal
Sune
Bal pwadige ‘dam’
The meaning of the poem is
Year before,
Built the Dam
This year,
The Rain
Collapses the Dam
A grave penalty for us !
Dam poem shows the high sensitivity, awareness, concern , care, worries of Keshwan for bad happening in the society. Dam is one of the best created satiric poems of Garhwali language. In Garhwali language “Dam’ means to brand or burn by read hot ion rod and another meaning of ‘Dam’ word is used as punishment. Keshwan used  the word ’Dam’ for water reservoir and grave penalty as well. This poem proves  that words are slaves of Keshwan .
Ghunda Hilai:   From the early time of civilization, human beings are  busy in discussing and trying to conclude about which is important the luck or the action and till date , there is conclusion. The poets and philosopher also created literature about luck and the importance of industriousness in becoming achievers. An American poet, Dickson (1955) created a poetry as :
Luck is not chance-
Its Toil -
Fortune’s expensive smile
Is earned
The Father of Mines
Lalit Keshwan supports that apart from depending on the luck or superstitious acts  the human beings should rely on industriousness  in his famous poetry Ghunda Hilai.
 At the end of poem, he says :
Par han
Kakhi tu
Yankai bharwasu na rai
Jara
Apna bi ghund hilai
The meaning of above verse is :
But, (For getting child)
Wholly,
Don’t depend on hocus-pocus
Shake your knees too
   Ghund Hilai , poem is one of the most heard and talked poems of Keshwan.
Apart from humorously preaching, the poet is successful for providing space to the readers for imagining the *ual intercourse . Keshwan, Kanhayalal  Dandriyal have been successful  , in providing the space and scope to the readers that they expand the poem themselves. This is one of the reasons that Dandriyal and Keshwan are called the heroes of neo-modern Garhwali poetry.
Gwair Chhwara: Gwair chhwara is a satiric and humorous poem  and shows the escapism among Garhwalis for education and   struggle for more civilized condtions. The world’s one of the best story tellers Prem Chand also narrates a condition in the story Kafan that when society witnesses that when struggle and industriousness do not fetch the results the society adopts the path of escapism. In this poem , In poem -Gwair Chhawar, Keshwan describes the cause of escapism in the society with wit and humour 
……….
Chwara bachyun ralo
T gor charalo
………..
If son is alive
At least
He can survive as shepherd
Naren cha :  If birth is a truth, the death is also a truth, as Benjamin Franklin says in his one poem, “ But death is sure all he (death god) can get”.  It is just not possible that the poems on the death phenomenon, orally or in written form, is not created in any language, Every poet has different experiences and unlike objectives for creating poetry on the subject of death. Poets as G K Chesterton, Ella Wilcox,  Herbert Trench, Arthur Conan Doyle, Anne Finch,  William Blake, Aleister Crowley, Walter de la Mare, John Dryden, R.L Stevenson,  Sir Walter Scott, P.B . Shelly, and many more  created poetries on death and each poet wrote differently with varied purposes. The top most  notable  French renaissance poet Pierre de Ronsard ,  also wrote poetry  about death .We may find many poems related to death written by European poets in Sonnets of Love and Death (European Poetry Classics) (Paperback), (Author: Jean De Sponde and translated by David R. Slavitt) .
               Garhwali language literature is also rich about the poems about death. However, most of the poets as Sushil Chandra or Jaggu Nautiyal .There is extreme pathos in the death related poems of Naudiyal or Sushil Chandra  . The poem  Naren Cha in this volume of Keshwan is about death. However, Keshwan described death as philosophical happening. In the Narain cha poem, Keshwan depicts a cheerful, mockery expert, helpful, agile, amicable, playful character who died suddenly and without any pain. This poem again clears scope and space for finding the questions of causes of death and becoming sad themselves too. Lalit Keshwan does not create any sad scene in the poem but leaves everything on the audience for becoming dejected or sad . This is a specialty of Keshwan to describing serious subject in light version without let loosing the seriousness of centre axis of the poem.
Rotya ban :  Hunger, poverty, sleep without taking food had been the reality all over world. The poets of all languages depicted hungry people, hungry children in their poems.
 For example, famous Irish poets as  John O’ Hagan, James Tighe, Jane Francesca Wilde (Mother of Oscar Wilde). Amelia Branford  (Ref-7)created fine and memorable poetries related to hunger, famine and they all became successful to attract the attention of the audience.
    Rotya ban poem by Keshwan is of international standar and is also very memorable poem about the hunger of child and sleep without food by whole family. The specialty of ‘Rotya ban ’  poem is that Keshwan humanized  the whole room, wall, earthen oven, vessels to  weep on the weeping of a child’s hunger because parents do not have anything to feed the child.
Vai dekhik
Sairo bhitar rwai
Bihtaro pali rwain
Chauka rwai, chula rwai
Patgaband:  Patkaband means to stop or to close.  This poem is all about population control. However, Keshwan did not provide any preaching but in light mood, humorous way, he , successfully, could impress about the importance of small family . This is the difference between Keshwan and old Garhwali poets as Chandra Mohan Raturi, Mahant Giri, Rudola etc is that old genres preach/teach  directly but Keshwan say the same subject in humour and light version.
Mangan: ‘Mangan’  means engagement. Keshwan describes the Garhwali engagement ceremony as it is happening before you . However, the best part of this poem is the ending stanzas, which portray the uniqueness of Garhwali community. Garhwalis have an uniqueness about relationship between Jeeja-Sali and Samdhee Samdhan (father of son/daughter and mother in law of son/daughter.) .
Poet describes:
Yan se badi bat kya hon
Jab samdani n ithga boli de
Ki tum nauna ka pita ji chha
Bada chha
Janni meri sundri ka pita ji chhan
Tanni tum bi chha
This author positions the poem ‘Mangan’ with the status of famous Garhwali poem ‘Satyanarayan brath katha’ by Kanhayalal Dandriyal.
Bhair Gadaa: According to famous Garhwali poet and critic Prem Lal Bhatt , the poem ‘Bhair gadda’ is a humorous and satire verse. There is no disagreement on the note of Bhatt. However, the poem is fine example of poetry with humour, satire and realism too. A person may be world famous person but he requires honor, respect at his own family too. The poem is about perusing wife for recognizing her husband’s greatness at outside world.
Umrausingh Bada : Aging is an universal truth and world famous  poets as William Shakespeare,
Donald Hall, William Butler Yeats, Jenny Joseph, Lu Yu, David Wright, William Carlos Williams,  Lord Alfred Tennyson, Dylan Thomas, Reznikoff, Czeslaw Milosz, Thomas Stanley,   R. Ammons, Robert Creely, R W Emerson, Julia Kaddorf, Henry W Longfellow, S. Kunitz, Thomas hardy and many more wrote about aging . Each great poet portrays aging from her/his own angle and created superb poetry. Laly Keshwan is not behind for creating the marvelous poetry on aging and his poetry is an emotional poetry with difference that the person became old not by age but by migrating or displacing his own motherland.
Sabbi goal:  The dowry has been an evilest custom in Indian subcontinent and in other regions of the world. Tamil poetess , Vaaransi Banumuty  Rao (2002) writes, “Dowry is the social evil in INDIA. Thousands of young brides, women are dying and committing suicides everyday.” . Poets of all Indian languages wrote against Dowry as Tamil poet Vaaransi Banumuty Rao (2002) and  Saliha Rashid (Ref-10) etc wrote fine poetry against dowry, Lalit Keshwan also attacked  dowry but with his own style in humorous and with sharp satiric words. The poem Sabbi Goal of Keshwan  makes you laughing but wounds you by the net result of dowry custom.
Chhain ch Kuchh: When the nation or society faces the political or government author’s corruption at each level, the sensitive poet can not resist creating criticizing corruption through their poetries. As Japanese poet Ishikava  Takboku   , Korean poet Pak Tujin, John Gey,   or Indian poet Naunihal Singh of English language created poetries against political/authorities corruptions, Keshvan also wrote many poems against the corruption . Chhain ch kuchh is a poetry about corruption in police department. As usual, Keshwan dealt police corruption with wit, absurdity, hilarity, and criticizes the system which brings corruption at the lowest level in Chhain cha Kuchh  poem.
Bhukha petan, nanga gatan:  It is a fact of matter that in Asia, Europe, Africa and Latin America , many poets created poetries about hungry children, children without clothing in hard winter. The author have already provided the example of best poems related to hunger or famine from Irish poets. All the referred poems and the poem ‘I had been hungry all the years ‘ by  Emily Dickinson  (Ref-11) . All the referred poems are touchy and have pathos rapture or emotion. The poem of Keshwan ‘Bhukha…’  is also touchy but with difference. Keshwan  brought here a specific culture of Garhwal that is hantya. In this poem, the dead parents or their souls watching the hungry and naked children. The souls are experiencing the pain of children. This innovative  type of narration in the poem makes Keshwan exclusive or different from all poets of the world who wrote poetries on hunger and pain of hunger.
Lalangi Gaudi: From the surface ‘ Lalngi Gaudi seems to be a humorous poem wherein a myopic visionary person perceives a woman as a cow and describes the cow , which also fits with the description of the woman too. However, if the readers study the poem carefully and understand the wordings the poet attacks on the way we make wrong perception about anybody. English poet Jones Faye (Ref-12) also says the same thing that :

There is many a time
You seem to read my mind.
But in the end
You can't know what I intend.
Your view of my actions
Are clouded by your past attachments.
But Keshwan says this matter of perception with hilarious way and with lot of Garhwali symbols too. That is why Keshwan becomes a one of the world class poets in the world poetry world.
Matai Goli:  Child abuse, child beating by adults is a social crime but this crime is happening every second in every society. The child abuse leaves a psychological wound  in the mind of child and this scare  is dangerous for the natural growth of a child. The sensitive poets as Misty Nicole Ramsey (2009), Kyara Lee (2006) , Pamela (ref-15) created very fine pieces of poetries and these poetries are enough to disturb the readers about the consequences of child abuse. ‘Matai goli’ poem by Keshvan is also fine piece of poem about child abuse and proves that Keshvan is also authority on writing on the subject of subconscious mind .
 The other poems in this volumes are also likable by Garhwali readers but those are meant to entertain and there is very little for compelling  the readers for thinking or there is less scope and space for the readers to expand the poetry further , which is specialty of Keshvan.
 Keshvan broke the conventional path of Garhwali poem running from 1850 or so in many terms. Structurally, he totally transformed the structure of conventional poetic form that is Doha, Chaupaya etc.  he is one of he Garhwali poets who brought realism and experiencing aspects. Keshwan proved by this volume of poems that he is the master of fine blending satire, humour and realism together that attract the readers and at the same time, readers are compelled to think about the subject too. His one specialty is that the readers start expanding poem further by their own too . Keshwan also used the scope and utility of describing subconscious mind in Garhwali poems.
  He used the symbols and imagery in the poems which make his poems simple and understandable easily or by symbols and imagery, the readers feel the poems are created for them from their own life.
  Whenever, necessary, Keshwan used Hindi , Urdu and English words to enhance the readability of poems. Keshwan never backs from doing beneficial experiments and does not do experiments for the sake of experiments only.
 Keshwan also narrates his experiences easily that readers are hooked to the poems.
  Lalit Keshwan has the same place in Garhwali poetry world as W.H. Auden, T.S. Elliot, Robert Frost, James Joyce, Robert Lowell, Marianne Moore, Ezra Pound, Wallace Stevens, William Carlos Williams, William Butler Yeats in English;   Baudelaire, Hugo,  Lamartine, Mallarme, Rimbaud,  Verlaine ,  John Perse, Paul Claudel of French language; Xu Xhimo, Guo Moruo  and  Wen Yiduo who broke  Chinese poetry from past conventions; Masaoka Shiko who brought modernism in Japanese language poetry; Vicente Aleixandre,  Antonio Machado, Federico Garcia Lorca, Jorge Guillen in Spanish poetic field; and  Umberto Saba,  Eugenio Montale and Giuseppe Ungaretti of Italy  have places in their respective languages.

 Khilda Phool Hansda Pat’ is one of the mile stones of Garhwali poetry world.





References:
1-  Gosvami, Hridayananda Das ,  February 2005, Vaisnava Moral Theology and Homo*uality,
http://namahatta.org/en/node/1234
2- Jessica Zombiee , Crash,
http://allpoetry.com/poem/5386653 (Accessed d on 20th September, 2009)
3-Teller, Lisa , The final Act,
http://www.netpoets.com/poems/sad/0028006.htm (Accessed  on 21st September, 2009)
4- Skea, Ann, 2000, TITLE: Ted Hughes: Collected Poems for Children
http://ann.skea.com/THCPC.htm (Accessed on25th September, 2009)
5-Kukreti, Bhishma , 2008-9, Ava Garhwali bhasha tain Moran s e bachava, Shailvani, Kotdwara, India,
6-Dickson, Emily ,1955,  Luck is not chance , The 1350th poem of  Complete Poems of Emily Dickson.
7- http://www.nde.state.ne.us/SS/irish/unit_7.html (Accessed on 26th Sept, 2009)
8-Poems about Aging
http://www.poets.org/viewmedia.php/prmMID/5877 (Accessed on 27th September, 2009
9- Rao, Vaaransi Banumuty, Dowry, July, 7, 2002
http://www.authorsden.com/visit/viewPoetry.asp?id=19683 (Accessed on 21st September, 2009)
10- Saliha Rashid, The Curse of Dowry,
http://sachet.org.pk/home/fad/poems_dowry_01.asp
11- Dickson, Emily, All the referred poems andhttp://www.familyfriendpoems.com/sad/poetry.asp?poem=18656 the poem ‘I had been hungry all the years’ http://www.poetry-online.org/dickinson_i_had_been_hungry.htm
12-Jones, Faye , Perception,
http://www.netpoets.com/poems/life/0068016.htm
13-Ley, Kyara, Speechless, 2006,
14-     Misty, Ramsey, Misty,
http://ashmash.glogster.com/misty/?offset=6
15- Prentiss , Palmela,  ‘There is no peace”
http://www.dayofthechild.org/dc98/poems.htm
Copyright @ Bhishma Kukreti, Mumbai, India 2009





Bhishma Kukreti

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History of Literature
Himalayan , Garhwali Kumaoni Literature
Harbi - Harbi : First Garhwali Gazal collection
(Review of Harbi Harbi Gazal Collection by Madhusudan Thapliyal )
                            Bhishma Kukreti

It is wrong misconception among most of people that Gazals are about subject of Love. However, most of Gazal makers offered us very fine philosophical poems too. Famous Urdu gazal makers as Raghupati Sahay alias  Firq Gorakhpur , Gani Aijaj, Ullaundin Naiyir, Iqbal, Shakeel, Akhtar Sheerani, Ahmed Faraz, Zarina sani, Vinay waikar, Najish Pratapgadhi, Meer, Jauk, Ghalib, Jaheer Gazipuri , Abr wrote vey fine philosophical gazals too
Madhusudan created varies subject Gazals in garhwali and created philosophical gazals too
  There were farmers, all types of creative, migrated Uttarakhandis , social workers, teaching community, government servants, shop keepers and all for Uttarakhand movement . Every body dreamt that new state Uttarakhand will be a Ram Rajya a model new province/state not only for India but the  best example for developing countries too that new state will fulfill the aspiration of people of lowest demographic level. However, the dreams of all people in Uttarakhand and Uttarakhandi outside shattered down by politicians and government agencies and corrupted people . Garhwali Gazal samrat Madhusudan tells the maddening, wearisome conditions of the new state in his Gajals with stress :

      Uttarakhandis of all places  will never forget the non democratic attitude  , inhumanly behaviour of Uttar Pradesh administration at the time of Uttarakhand movement and specially the approach of so called socialist Mulayam Singh Yadav then Chief  Minister of Uttar Pradesh  who used many dictatorial practices to stop Uttarakhand movement . All Uttarakhandis will always remember Ram Pur Tiraha when Uttar Pradesh Police men showed their wickedness and suppressed the movement activist for going to Delhi .  The new state movement activists wanted the capital of Uttarakhand in rural Uttarakhand (Gairsain) but the central government choose Dehradun as the capital of Uttarakhand . Most of the poet of garhwali language did wrote about Uttarakhand movement , Ram Pur Tiraha and the behaviour of administration for not making capital of Uttarakhand in rural Uttarakhand. In these circumstances, the poet Madhusudan Thapliyal addresses for unity and for initiating another movement with force.
     In his introductory note of Harbi Harbi gajal collection , Madhusudan writes that the poetry is for the benefits of people and not only for intellectual enjoyment of the poet.  Gazal is also written for hidden meanings and in the following Gazals , Madhusudan Thapliyal alerts the people for recognizing the real culprits   who are taking the resources  of  the people and people are deprived of their fundamental rights .
   Before, British era, Uttarakhandis used to use conventional and sustainable technology and knowledge for agriculture , horticulture, husbandry , reproduction of domestic animals . However, later on, the planning from centralized system brought many problems for rural Uttarakhand. Uttarakhandis were knowledgeable for protecting the water resources but the central and planning planners brought non-conducive planning for development and this new developmental applications created many new problems as drying of old water reservoirs. The planners brought he buffaloes/ oxes from plains , which were unable to adjust the hilly environment or the Uttarakhandi cattle were unable to mate with strange cattle brought from plains. This nonadjustable planning harmed the development . On top of it, the inhabitants of Uttarakhand  are indifferent to the development. Garhwali Ghazal Smarat showed these aspects of wrong planning and laziness of males in his Ghazals

 

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