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Garhwali, Kumaoni, Himalayan literature
Murli Manohar Sati ‘Gadhkavi’: The Poet of Optimism, Imagery, Symbolism and Personification
    Less discussed by critics in Garhwali literature , Murli Manohar Sati ‘Gadhkavi’ has been contributing Garhwali poetry development for many decades and is called the poet of people ‘Gadhkavi’. his poems are full of understandable figures of speech, symbolic symbols, imagery and related to the life style of common men in rural Garhwal.
   Murli Manohar Sati ‘Gadhkavi’ belongs to Devsthan village of Bichhla Nagpur , Chamoli Garhwal , Himalaya. Sati is born on 17th October, 1915.
    Murli Manohar Sati belongs to a Karmkandi Brahmin of Upper Garhwal . Hence the spirituality, religious symbols, fear and benefits of religious rituals are commonly found in the poems of Sati .
  Murli Manohar Sati is credited for more than seven poetry collections in Garhwali language and each collection plays significant role in Garhwali poetry field. The poetry collection ‘ Gadhwal  ki Jhanki published in 1949 narrates the life of rural Garhwal specifically Nagpur area and shows the social, religious, economical structure of rural Garhwal. The poems of Gadhwal Jagran (197) are inspirational poems and the poet dreams about a happy, prosperous and spiritual Garhwal where poverty is not seen but there is no infighting or jealousy for the ownership. The poems of ‘Panchayat raj ki Jhalak‘ (1952) ‘ are influenced by Gandhian philosophy that India is the country of villages and villages are the backbone of Indian economy, political structuring, social alignments, agriculture the back bone of Indian advancement .
Dhad lagaundi  dharti tumtain
Jhatpat kara gudai
‘            The poems of Gopi Geet ‘ (1965), ‘Gadh Gitika’ (1965)  and  ‘Banyt Chandrika (1978) are having narration of different subjects as social engineering, social causes, agro-economy, role of spirituality and philosophy in day to day life, natural beauty of Garhwal , ritualism .
        Murli Manohar Sati is expert of using different metaphors or figurative words-sentences, proverbs, symbolic words and weaving perfectly to the subject or objectives , uses of imagery to take the readers into different world. 
      Murli Manohar Sati has been also successful in personification of Ghughuti the  common bird of Garhwal in his poems as
Hey Ghughti !jayeen chhe mal, lauti ayege apna gaun
Meen te bhair khud lagyeen sachi bonu chhaun tero saun
 The language of Sati is very simple and readers feel at home in listening the poems. Murli Manohar Sati did not avoid using dialects of Nagpurya Chamoli Garhwal, The uses of Nagpurya dialects create exclusive place for Mulri Manohar
  This author read the commentary of Abodh Bandhu Bahuguna about Murli Manohar Sati in his edited historical book  ‘Shailvani and Bhishma Kukreti don’t hesitate to criticize Bahuguna for his miseries in praising the poet as Murli Manohar Sati Gadhkavi’ as per his contribution, potentiality and his capabilities , The poetry critics of Garhwali poetry require revision in reviewing the poems of Murli Manohar Sati. This author is also shocked that Abodh Bandhu Bahuguna can position  himself ‘Pran and Mahakvi of Garhwali poetry , then Abodh Bandhu should have written more about Murli Manohar Sati as has every right to be praised by critic like Bahuguna  .
  Bahuguna did not mention the best uses of personification and perfect uses of symbols in his many poems by Gadhkavi Idf Kalidas is praised for using cloud as the symbols of messenger, Murli Manohar Sati used Ghughuti for a married female of rural Garhwal and even then the poem ’Mal ki Ghughti’ is  easily understandable by illiterate person too. Sati has been successful in creating sadness , aloofness by separation from the lovers, and the poet also successful in narrating the jungle scenes of Garhwal with emotional values. No doubt, Sati took the base of Garhwali folk songs ‘Baramasa’ but  he modernizes the narration of ‘Baramasa differently as per the requirement of creating  modern poetry in Garhwali language .
This author feels that Murli Manohar Sati ‘Gadhkavi’ requires another review for his contribution to the Garhwali literature
 Copyright @ Bhishma Kukreti, Mumbai, India 2009.

Garhwali, Kumaoni, Himalayan literature
Taradatt Lakheda ‘Naxatra’: A Garhwali poet
                                   Bhishma Kukreti
       The poetries of Taradatt are of various raptures but Lakheda iss master in creating poetries of pathos and love.
 Taradatt Lakheda was born in  Jakhand village of Tihri Garhwal, Himalaya.  Lakheda published three collections of Garhwali language poetries- Satya Prem, Virahani Vala and Ma.
  Taradatt has created many types of poems but his expertise is praised by critics for his depiction of pain of separation, love rapture and the love with dedication  for mother .
  The critics as Bahuguna 91981) state that Taradatt Lakheda had been one of the pillars in popularizing  Garhwali literature   among common man.
Copyright @ Bhishma Kukreti, Mumbai, 2009

Garhwali, Kumaoni, Himalayan Literature
 Vidyawati Dobhal : A poetess of Social Awareness
                                Bhishma Kukreti
  Vidyawati Dobhal has been famous for her social activities in Dehradun . Her works of freedom movement, social awareness about the rights of women in the society, philosophical thinking is visible in her works of Garhwali poetries.
           Vidyawati Dobhal was born in 1902, in village Sainj (Niyali) of Tihri Garhwal, Himalaya. She worked with mahatma Gandhi from 1916 to 1936 for freedom movement and late on she devoted herself for development of women of Dehradun and Garhwal.
 She was a prose writer and poet of Hindi language but wrote tens of poems in Garhwali too.
  Mohan Babulkar (1989) informed that Vidyawati published a couple of collections of Garhwali poems but Bahuguna is silent on her contribution as poet except providing an example of only on poem in Shailvani, which is an authentic book on history of Garhwali language poetry.
Babulkar wrote that Vidyavati Dobhal created Garhwali verses for many subjects and in many forms . Vidyawati Dobhal being a social activist and freedom fighter and therefore, her works of social awareness, freedom fight movement is clearly visible in her work of Garhwali poetries. She is famous for directive poetries, pathos and directive or inspiration poems in Garhwali language.
Vidyawati Dobhal expired in 1998 in Dehradun.
Copyright @ Bhishma Kukreti, Mumbai, India, 2009

Garhwali, Kumaoni, Himalayan Literature
Gunanand Thapliyal : As a Garhwali poet
                                   Bhishma Kukreti
      Gunanand Thapliyal is famous for his contribution in Hindi than writing in Garhwali. His few Garhwali poems are appreciated by critics.
 Gunanand Thapliyal was born in Thapli-Ad badri of Chamoli Garhwal in 1942.
 He was editor of many Hindi magazines as ‘Doot’ of UNESCO
   In Hindi, he has written stories, poems and plays.
In Garhwali language, Gunanand Thapliya created a couple of poems . Those poems are related to philosophy and rituals. No doubt from the poetical point of view, the potries of Gunand are appreciable  but  Gunanand was much influenced by Hindi and Sanskrit that Gunanand used Hindi words frequently in is Garhwali poems ,
Gajab cha gajab cha  prabhu  teri maya
Kakhi sheet -garmi kakhi dhoop chhaya
Tyari chhaya maya se ya duniya banee cha
Tyari hi daya se y prithvee khadee cha
 Copyright@ Bhishma Kukreti , Mumbai, India

Garhwali , Kumaoni, Himalayan Literature
Gunanand Dangwal ‘Pathik’: The Translator of Rama Story in Garhwali
                                             Bhishma kukreti
   Gunanad Pathik has versatile personalities. In true sense, Gunanad Pathik was a born revolutionary person but at the same time, Gunanand respected those cultural aspects which are important for  humanity at all levels. In garhwali literature, Gunanand Daangwal ‘Pathik’ is considered for his translation of Ramayan in melodious song style and useful for playing Ramlila long play in Garhwali language .
  Gunanand Dangwal was born in 1913 in a Himalayan village of Tihri Riyasat . His father a moneylender was a millionaire from today’s angel. However, father of Gunannad  never appreciated Gunanand that Gunanand goes to school for higher study. His father wanted that Gunannad manage the money lending business and be devotee of Tihri Maharaj but Gunanad refused to obey his father and choose to be with freedom fighters.
    After independence, Gunanand shifted to Dehradun. Gunanand has been a poor man for ever in his life. 
 Gunanand wrote hundred of  poems in Garhwali and published Garhwali poetry collections as ‘Paun pani’, Uljhare Parani, Bigul Raibar, Gandhi Ji ka Pyara harijan, and Geetang Gailya etc.
 Gunanand is always remembered in Garhwali literature for his book Gadh Bhasha Lila Ramayana. The story is the universally told story of Rama  but Gunanand Dangwal Pathik was successful in his work that Garhwalis feel that the happenings of Ramayana are happenings in their area. Gunanand  created the scenes related to Garhwali culture and rituals in his Lila Ramayana .
The language of gadh bhasha Lila Ramayana is very simple and i created in melodious tone. Gunanand Pathik used conventional tone of Garhwali folk songs  for writing the dialogues of Lila Ramayana. The aim of Gunanand was that ramlila is played in Garhwali language than in the Khadi Boli of Radheshyam bachak. Gunanand has been successful in gaining his objective . The first staging of this Ramayana was started on 23rd November 1977 and ran for twelve days. The Ramlila in Garhwali language became so popular that people came to watch the play for twelve days in the winter night of November too.
 Gunanand used Garhwali symbols, images, proverbs, sayings, life style of Garhwal in narrating Ramayana that average Garhwali was attracted to watch the play.
                  Gunanand Dangwal Pathik is no more with us but his created heritage Gadh Bhasha Lila Ramayana will always remembered in Garhwal and Garhwali literature.
Copyright @ Bhishma Kukreti, Mumbai, India, 2009