Author Topic: Garhwali Folk Drama, Folk Theater, Community Rituals and Traditional Plays गढ़वा  (Read 75065 times)

Bhishma Kukreti

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 Rapture of Geographical Beauty or Nature’s Imagery (Prakriti) in Garhwali Folk Drama

                   गढवाली लोक नाटकों / लोक  गीतों में   प्रकृति रस

Review of Characteristics of Garhwali Folk Drama, Folk Theater/Rituals and Traditional Plays part -65

                                    Bhishma Kukreti

          There is no Prakriti Ras in Bharat’s Natya Shastra. However, many poetic and drama scholars added new raptures as Prakriti or rapture by geographical nature. The rapture by geographical beauty or nature is part of rapture of love.
 The poems or dramas or literature related to geographical nature that creates rapture is called rapture of geographical Beauty or imagery.

ग्वीराळ फूल फूलिगे म्यार भीना
(गढ़वाली लोक गीत)
संकलन डा. शिवा नन्द नौटियाल
इंटरनेट प्रस्तुति - भीष्म कुकरेती

 
         ग्वीराळ फूल फूलिगे म्यार भीना
           माल़ू बेडा फ्यूलड़ी फूलिगे भीना
          झपन्याळी स्किनी फूलिगे भीना
          घरसारी लगड़ी फूलिगे भीना
          द्यूंळ-थान कुणजु  फूलिगे भीना
       गैरी गदनी तुसार फुलिगे भीना
         डांडयूँ फुलिगे बुरांस म्यार भीना
           डळ फूलों बसंत बौडिगे भीना
            बसंती रंग मा रंगदे भीना
            ग्वीराळ फुलिगे म्यारा भीना

 I this folk song and dance, there is description of blooming of various types of flowers and create rapture by natural geographical beauty .

Copyright@ Bhishma Kukreti 27/12/2013

Review of Characteristics of Garhwali Folk Drama, Community Dramas; Folk Theater/Rituals and Traditional to be continued in next chapter.

                 References
1-Bharat Natyashastra
2-Steve Tillis, 1999, Rethinking Folk Drama
3-Roger Abrahams, 1972, Folk Dramas in Folklore and Folk life 
4-Tekla Domotor , Folk drama as defined in Folklore and Theatrical Research
5-Kathyrn Hansen, 1991, Grounds for Play: The Nautanki Theater of North India
6-Devi Lal Samar, Lokdharmi Pradarshankari Kalayen 
7-Dr Shiv Prasad Dabral, Uttarakhand ka Itihas part 1-12
8-Dr Shiva Nand Nautiyal, Garhwal ke Loknritya geet
9-Jeremy Montagu, 2007, Origins and Development of Musical Instruments
10-Gayle Kassing, 2007, History of Dance: An Interactive Arts Approach
11- Bhishma Kukreti, 2013, Garhwali Lok Natkon ke Mukhya Tatva va Charitra, Shailvani, Kotdwara
12- Bhishma Kukreti, 2007, Garhwali lok swangun ma rasa ar Bhav , Chithipatri
 Xx
Rapture  of Natural Beauty or Geographical Beauty in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays; Rapture of Geographical Beauty or Nature’s Imagery in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Chamoli Garhwal, North India, South Asia; Rapture  of Geographical Beauty or Nature’s Imagery in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Rudraprayag Garhwal, North India, South Asia; Rapture of Geographical Beauty or Nature’s Imagery in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Pauri Garhwal, North India, South Asia; Rapture of Geographical Beauty or Nature’s Imagery  in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Tehri Garhwal, North India, South Asia; Rapture of Geographical Beauty or Nature’s Imagery in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Uttarkashi Garhwal, North India, South Asia; Rapture of Geographical Beauty or Nature’s Imagery  in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Dehradun Garhwal, North India, South Asia; Rapture of Geographical Beauty or Nature’s Imagery in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Haridwar Garhwal, North India, South Asia;
गढवाली लोक नाटकों में  प्रकृति रस  टिहरी गढ़वाल के गढवाली लोक नाटकों में  प्रकृति रस;उत्तरकाशी गढ़वाल के गढवाली लोक नाटकों में   प्रकृति रस, हरिद्वार गढ़वाल के गढवाली लोक नाटकों में  प्रकृति रस;देहरादून गढ़वाल के गढवाली लोक नाटकों में  प्रकृति रस;पौड़ी गढ़वाल के गढवाली लोक नाटकों में  प्रकृति रस;चमोली गढ़वाल के गढवाली लोक नाटकों में प्रकृति   रस; रुद्रप्रयाग गढ़वाल के गढवाली लोक नाटकों में प्रकृति   रस;

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Vatsalya Rasa or Rapture of Affection for Progeny in Garhwali Folk Dramas

                   गढवाली लोक नाटकों / लोक  नृत्य -गीतों में वात्सल्य रस

Review of Characteristics of Garhwali Folk Drama, Folk Theater/Rituals and Traditional Plays part -66

                                    Bhishma Kukreti

 In Garhwali there are tens of folk songs related to rapture of affection for children from parents. The following song is marvelous example of rapture of pathos and rapture of affection for progeny.   
 In this ong, the son is buried in bank of rivulet and his mother is remembering her dead son.

 
गढ़वाली लोक नाटकों में वात्सल्य  रस
जैं रौली सियों च लाडो म्यारो ,
वीं रौली जौंलो कि न ?
भूख लगीं होली दूदी मांगलो,
कळेजा कु कत्तर रूणू ह्वालो
खुद मा मेरी टपराणु ह्वालो
कुयेड़ी माँ होलो बाटो बिरड़णु
बिन ब्वेको म्यारो होलो रूणू। 
 (गीत संकलन: डा शिवा नंद नौटियाल, श्याम गढ़वाली लोक गीत) 
 Translation
My beloved son is sleeping in rivulet (buried after death)
Should I visit that rivulet or not to visit that rivulet?
My son would by crying due to hunger
He would be searching mother for milk
My part of heart (dad son) would not find his mother and he would be crying alone
He would be searching mother here and there
Now, the valley is covered by cloud
He would have lost the pat in cloudy valley
My son the motherless (dead son ) will be weeping without mother




Copyright@ Bhishma Kukreti 27/12/2013

Review of Characteristics of Garhwali Folk Drama, Community Dramas; Folk Theater/Rituals and Traditional to be continued in next chapter.

                 References
1-Bharat Natyashastra
2-Steve Tillis, 1999, Rethinking Folk Drama
3-Roger Abrahams, 1972, Folk Dramas in Folklore and Folk life 
4-Tekla Domotor , Folk drama as defined in Folklore and Theatrical Research
5-Kathyrn Hansen, 1991, Grounds for Play: The Nautanki Theater of North India
6-Devi Lal Samar, Lokdharmi Pradarshankari Kalayen 
7-Dr Shiv Prasad Dabral, Uttarakhand ka Itihas part 1-12
8-Dr Shiva Nand Nautiyal, Garhwal ke Loknritya geet
9-Jeremy Montagu, 2007, Origins and Development of Musical Instruments
10-Gayle Kassing, 2007, History of Dance: An Interactive Arts Approach
11- Bhishma Kukreti, 2013, Garhwali Lok Natkon ke Mukhya Tatva va Charitra, Shailvani, Kotdwara
12- Bhishma Kukreti, 2007, Garhwali lok Swangun ma rasa ar Bhav , Chithipatri
 Xx
Rapture  of Affection for Progeny in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays; Rapture  of Affection for Progeny in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Chamoli Garhwal, North India, South Asia; Rapture of Affection for Progeny in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Rudraprayag Garhwal, North India, South Asia; Rapture of Affection for Progeny in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Pauri Garhwal, North India, South Asia; Rapture of Affection for Progeny in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Tehri Garhwal, North India, South Asia; Rapture of Affection for Progeny in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Uttarkashi Garhwal, North India, South Asia; Rapture of Affection for Progeny in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Dehradun Garhwal, North India, South Asia; Rapture  of Affection for Progeny in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Haridwar Garhwal, North India, South Asia;
गढवाली लोक नाटकों में   वात्सल्य रस  टिहरी गढ़वाल के गढवाली लोक नाटकों में वात्सल्य रस;उत्तरकाशी गढ़वाल के गढवाली लोक नाटकों में    वात्सल्य रस, हरिद्वार गढ़वाल के गढवाली लोक नाटकों में वात्सल्य रस;देहरादून गढ़वाल के गढवाली लोक नाटकों में  वात्सल्य रस;पौड़ी गढ़वाल के गढवाली लोक नाटकों में वात्सल्य रस;चमोली गढ़वाल के गढवाली लोक नाटकों में   वात्सल्य रस; रुद्रप्रयाग गढ़वाल के गढवाली लोक नाटकों में  वात्सल्य  रस;

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             Rapture of Affection for Parents in Garhwali Folk Dramas

                   गढवाली लोक नाटकों / लोक  नृत्य -गीतों में प्रति वात्सल्य रस

Review of Characteristics of Garhwali Folk Drama, Folk Theater/Rituals and Traditional Plays part -67

                                    Bhishma Kukreti
  The rapture of affection for parents is demonstrated by deep relationship between parents and children. The daughter or son usually talks about her/his parents favoring, protecting, and adoring their children.
Here, in the following folk song and dance , a motherless married woman is remembering her mother that had her mother would alive she would invite her (daughter) to Mayaka (Parental home) in spring time.
The following folk song also depicts images of post spring months of Garhwal.
 
गढ़वाली लोक नाटकों में प्रति वात्सल्य  रस

उलारी मैनों कि ब्वै , ऋतू बौड़ि गे। 
हौरि ह्वैने डांडि ब्वै , फूल फूली गैने।
घुघती घूरलि ब्वै , डाळि डाळयुं  मांज।
मैतुड़ा बुलालि ब्वै ,बोई होलि जौंकी।
मेरी जिकड़ी मा ब्वै, कुयेड़ी लौंकी।
लाल बणी ह्वेली ब्वै ,काफुळ की डाळी।
 खांदा होला ब्वै , लूण राळि  राळी।
गौंकी दीदी भूलि ब्वै , जंगळु मा जाली।
कंडी भोरि भोरि ब्वै , हिसर बिराली।
बाडळि लागलि ब्वै, आग भभराली।
बोई बोदि होली ब्वै , मैत आलि आली।
याद औंद मीतै ब्वै , अपणा भूलों की।
मेरी जिकड़ी मा ब्वै, कुयेड़ी लौंकी।
ल्हाली कुरी गाडि ब्वै , गौंकी बेटी ब्वारी।
हरी -भरीं होली ब्वै , गेंउ जौ की सारी।
यूँ बार मैनों कि ब्वै ,बार ऋतू आली।
जौंकि बोई होलि ब्वै , मैतुड़ा बुलाली
मैतु ऐ गे होलि ब्वै , दीदी भूलि गौंकी।
मेरी जिकड़ी मा ब्वै, कुयेड़ी लौंकी।

(गीत संकलन : डा शिवा नंद नौटियाल, खुदेड़ गीत )

The above folk song is very good example of rapture of affection for parents.

Copyright@ Bhishma Kukreti 1/1/2014

Review of Characteristics of Garhwali Folk Drama, Community Dramas; Folk Theater/Rituals and Traditional to be continued in next chapter.

                 References
1-Bharat Natyashastra
2-Steve Tillis, 1999, Rethinking Folk Drama
3-Roger Abrahams, 1972, Folk Dramas in Folklore and Folk life 
4-Tekla Domotor , Folk drama as defined in Folklore and Theatrical Research
5-Kathyrn Hansen, 1991, Grounds for Play: The Nautanki Theater of North India
6-Devi Lal Samar, Lokdharmi Pradarshankari Kalayen 
7-Dr Shiv Prasad Dabral, Uttarakhand ka Itihas part 1-12
8-Dr Shiva Nand Nautiyal, Garhwal ke Loknritya geet
9-Jeremy Montagu, 2007, Origins and Development of Musical Instruments
10-Gayle Kassing, 2007, History of Dance: An Interactive Arts Approach
11- Bhishma Kukreti, 2013, Garhwali Lok Natkon ke Mukhya Tatva va Charitra, Shailvani, Kotdwara
12- Bhishma Kukreti, 2007, Garhwali lok Swangun ma rasa ar Bhav , Chithipatri
 Xx
Rapture  of Affection for Parents in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays; Rapture  of Affection for Parents in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Chamoli Garhwal, North India, South Asia; Rapture  of Affection for Parents in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Rudraprayag Garhwal, North India, South Asia; Rapture  of Affection for Parents in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Pauri Garhwal, North India, South Asia; Rapture of Affection for Parents in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Tehri Garhwal, North India, South Asia; Rapture  of Affection for Parents in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Uttarkashi Garhwal, North India, South Asia; Rapture of Affection for Parents  in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Dehradun Garhwal, North India, South Asia; Rapture of Affection for Parents in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Haridwar Garhwal, North India, South Asia;
गढवाली लोक नाटकों में   प्रति वात्सल्य  रस  टिहरी गढ़वाल के गढवाली लोक नाटकों में  प्रति वात्सल्य  रस;उत्तरकाशी गढ़वाल के गढवाली लोक नाटकों में  प्रति वात्सल्य   रस, हरिद्वार गढ़वाल के गढवाली लोक नाटकों में प्रति वात्सल्य  रस;देहरादून गढ़वाल के गढवाली लोक नाटकों में  प्रति वात्सल्य  रस;पौड़ी गढ़वाल के गढवाली लोक नाटकों में  प्रति वात्सल्य  रस;चमोली गढ़वाल के गढवाली लोक नाटकों में  प्रति वात्सल्य   रस; रुद्रप्रयाग गढ़वाल के गढवाली लोक नाटकों में  प्रति वात्सल्य   रस;

Bhishma Kukreti

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          Alankar or Figure of Speeches in Garhwali Folk Dramas

                   गढवाली लोक नाटकों / लोक  नृत्य -गीतों में अलंकार

Review of Characteristics of Garhwali Folk Drama, Folk Theater/Rituals and Traditional Plays part -68

                                    Bhishma Kukreti

            According to Bhama Sastri (Kavyalankar), defines Kavya (poetry) as word and meaning taken together constitute ‘Kavya’ (Poetry). It is of two kinds ‘prose’ and ‘verse’. According to Bhama Sastri, drama comes under Kavya or Poetry.
  Ornamentation or stylish devices are necessarily used in every literature.
         The words or phrases those beautify the drama /poetry or other literary segment is called ‘Alankar’ or figure of speech. 
          Figure of speech is using word/words or phrases that excel its literal interpretation.
        According to Dr Shiva Nand Nautiyal, there are following characteristics of uses of Figure of Speeches in every Folk Drama –
1-The beautification of words or phrases are must for folk songs or drama.
2- The words or scene should create sensitivity and figure of speeches should be used for effect.
3- There should be relevancy in using figure speeches
4- Figure of speeches should not be pushed from outside but should be part of poetry or drama. 
 According to Jensen (2008),, there are following main components of figure of speeches (rhetorical operations ) –
1-Addition (repetition/expansion/superabundance etc)
2-Omition (lack/subtraction/abridgement)
3-Transportation (transferring)
4-Permutaion (switching/interchange/substation/transmutation

          Figure of speeches are used in both the form of folk dramas that is in folk prose and folk poetic dramas.
 Some uses of Figure of Speeches in Garhwali folk drama-
Adnomination Figure of Speech: repletion of words with same root word.
स्यु अणबुल्या अणछण्या ग्युं तक नि लै सौक.
Alliteration: Series of words that begin with same consonant
1-कुखुड़ कुकरौं डौरी कोड़ि पैथर चली गेन अर कुकर कुकडुंक कुछ नि बिगाड़ सकिन I
  2- चोरुंक चर चर बचन I   
          In the following chapters, we shall discuss various types of figure speeches of Sanskrit and English as well.



Copyright@ Bhishma Kukreti 2/1/2014

Review of Characteristics of Garhwali Folk Drama, Community Dramas; Folk Theater/Rituals and Traditional to be continued in next chapter.

                 References
1-Bharat Natyashastra
2-Steve Tillis, 1999, Rethinking Folk Drama
3-Roger Abrahams, 1972, Folk Dramas in Folklore and Folk life 
4-Tekla Domotor , Folk drama as defined in Folklore and Theatrical Research
5-Kathyrn Hansen, 1991, Grounds for Play: The Nautanki Theater of North India
6-Devi Lal Samar, Lokdharmi Pradarshankari Kalayen 
7-Dr Shiv Prasad Dabral, Uttarakhand ka Itihas part 1-12
8-Dr Shiva Nand Nautiyal, Garhwal ke Loknritya geet
9-Jeremy Montagu, 2007, Origins and Development of Musical Instruments
10-Gayle Kassing, 2007, History of Dance: An Interactive Arts Approach
11- Bhishma Kukreti, 2013, Garhwali Lok Natkon ke Mukhya Tatva va Charitra, Shailvani, Kotdwara
12- Bhishma Kukreti, 2007, Garhwali lok Swangun ma rasa ar Bhav , Chithipatri
 Xx
 Figure of Speeches  in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays; Figure of Speeches     in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Chamoli Garhwal, North India, South Asia; Figure of Speeches   in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Rudraprayag Garhwal, North India, South Asia; Figure of Speeches   in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Pauri Garhwal, North India, South Asia; Figure of Speeches   in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Tehri Garhwal, North India, South Asia; Figure of Speeches  in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Uttarkashi Garhwal, North India, South Asia; Figure of Speeches  in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Dehradun Garhwal, North India, South Asia; Figure of Speeches  in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Haridwar Garhwal, North India, South Asia;
गढवाली लोक नाटकों में  अलंकार,  टिहरी गढ़वाल के गढवाली लोक नाटकों में  अलंकार ;उत्तरकाशी गढ़वाल के गढवाली लोक नाटकों में  अलंकार, हरिद्वार गढ़वाल के गढवाली लोक नाटकों में  अलंकार ;देहरादून गढ़वाल के गढवाली लोक नाटकों में  अलंकार ;पौड़ी गढ़वाल के गढवाली लोक नाटकों में  अलंकार ;चमोली गढ़वाल के गढवाली लोक नाटकों में  अलंकार; रुद्रप्रयाग गढ़वाल के गढवाली लोक नाटकों में    अलंकार ;


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Purnopama Alankar (A Type of Simile Figure Speech) in Garhwali Folk Drama

                   गढवाली लोक नाटकों / लोक  नृत्य -गीतों में पूर्णोपमा अलंकार

Review of Characteristics of Garhwali Folk Drama, Folk Theater/Rituals and Traditional Plays part -69

                                    Bhishma Kukreti
    According to Sanskrit literature, there are two main Figure speeches.
1-Arthalankar or figure of Speech by meaning- Figure of speech is when the meanings create enhancement from poetry or other literature
2-Shabdalankar or figure of speech by words – Shabdalankar is when words create ornamental effects are called figure of speech by words
.

                       Arthalankar or Figure of Speech by Words 

There are following Alankars under Arthalankar -
1-Upma Alankar (Simile)
2-Rupak Alankar (Metaphor)
3-Arishayokti Alankar (Hyperbole)

                     Upma Alankar or Simile Figure of Speech in Garhwali Folk Drama

                              Upma Alankar or Simile Figure of Speech is when a person or thing is compared by words with a similar but famous or well known person or thing.
 There two important parts of Upma Alankar
Upmey or Subject of comparison or that which is compared with
Upman- Upman is by whom the subject is compared or resemblance or the standard of comparison or analogy.
In Upma characteristic of standard become very normal .For example उपमा अलंकार  का उदाहरण -
ताजमहल  जन कूड़
Here, Tajmhal is Upman and Kood or house is Upmey


          Example of Complete Simile or Purnopma Alankar in Garhwali Folk Drama

 When there are uses of object that is compared; comparable; general characteristics and message all together in a poem or drama dialogue that is called Purnopma Alankar

            पूर्णोपमा अलंकार (गुण सादृश्य)


अ -धुंआ जन धुपली -राजुला जन राणी
 बी- सेलंग डाळि सी गात की छड़छड़ी
धुंआ सी हापली पाणी सी पाथली

(Reference Dr. Shiv Prasad Nautiyal)

 This Purnopma Alankar is by characteristics or Gun Sadrishya.


 

Copyright@ Bhishma Kukreti 3/1/2014

Review of Characteristics of Garhwali Folk Drama, Community Dramas; Folk Theater/Rituals and Traditional to be continued in next chapter.

                 References
1-Bharat Natyashastra
2-Steve Tillis, 1999, Rethinking Folk Drama
3-Roger Abrahams, 1972, Folk Dramas in Folklore and Folk life 
4-Tekla Domotor , Folk drama as defined in Folklore and Theatrical Research
5-Kathyrn Hansen, 1991, Grounds for Play: The Nautanki Theater of North India
6-Devi Lal Samar, Lokdharmi Pradarshankari Kalayen 
7-Dr Shiv Prasad Dabral, Uttarakhand ka Itihas part 1-12
8-Dr Shiva Nand Nautiyal, Garhwal ke Loknritya geet
9-Jeremy Montagu, 2007, Origins and Development of Musical Instruments
10-Gayle Kassing, 2007, History of Dance: An Interactive Arts Approach
11- Bhishma Kukreti, 2013, Garhwali Lok Natkon ke Mukhya Tatva va Charitra, Shailvani, Kotdwara
12- Bhishma Kukreti, 2007, Garhwali lok Swangun ma rasa ar Bhav , Chithipatri
 Xx
Purnopama Alankar (A Simile Figure Speech) in Garhwali Folk Drama; Purnopama Alankar (A Simile Figure Speech) in Garhwali Folk Drama from Dhangu Garhwal; Purnopama Alankar (A Simile Figure Speech) in Garhwali Folk Drama from Lansdowne Tehsil Garhwal; Purnopama Alankar (A Simile Figure Speech) in Garhwali Folk Drama from Pauri Garhwal; Purnopama Alankar (A Simile Figure Speech) in Garhwali Folk Drama from Chamoli Garhwal; Purnopama Alankar (A Simile Figure Speech) in Garhwali Folk Drama from Rudraprayag Garhwal; Purnopama Alankar (A Simile Figure Speech) in Garhwali Folk Drama from Tehri Garhwal; Purnopama Alankar (A Simile Figure Speech) in Garhwali Folk Drama from Uttarkashi Garhwal; Purnopama Alankar (A Simile Figure Speech) in Garhwali Folk Drama from Dehradun Garhwal; Purnopama Alankar (A Simile Figure Speech) in Garhwali Folk Drama from Haridwar Garhwal; Purnopama Alankar (A Simile Figure Speech) in Garhwali Folk Drama from Garhwal, Himalaya; Purnopama Alankar (A Simile Figure Speech) in Garhwali Folk Drama from Garhwal, North India;

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Dharm Sadrishya Purnopma Alankar or Attribute Oriented Complete Simile Figure of Speech in Garhwal Folk Dramas


                   गढवाली लोक नाटकों / लोक  नृत्य -गीतों में धर्म सादृश्य पूर्णोपमा अलंकार

Review of Characteristics of Garhwali Folk Drama, Folk Theater/Rituals and Traditional Plays part -70

                                    Bhishma Kukreti
            A simile is a rhetorical figure that expresses comparison or likeness that directly compares two things through connecting words as like or as etc or verb that resembles.
                 In Dharm Sadrishya Purnopma Alankar or Attribute Oriented Complete Simile Figure of Speech, the attribute is compared as in the following Garhwali folk dance-song (Drama).

 गढ़वाली  लोक गीत -नृत्य , लोक नाटक में धर्म सादृश्य पूर्णोपमा अलंकार का उदाहरण
                                    डाळि जनि सुड़सुड़ी
                                     कंठ को सि  बाडुळी

Copyright@ Bhishma Kukreti 4/1/2014

Review of Characteristics of Garhwali Folk Drama, Community Dramas; Folk Theater/Rituals and Traditional to be continued in next chapter.

                 References
1-Bharat Natyashastra
2-Steve Tillis, 1999, Rethinking Folk Drama
3-Roger Abrahams, 1972, Folk Dramas in Folklore and Folk life 
4-Tekla Domotor , Folk drama as defined in Folklore and Theatrical Research
5-Kathyrn Hansen, 1991, Grounds for Play: The Nautanki Theater of North India
6-Devi Lal Samar, Lokdharmi Pradarshankari Kalayen 
7-Dr Shiv Prasad Dabral, Uttarakhand ka Itihas part 1-12
8-Dr Shiva Nand Nautiyal, Garhwal ke Loknritya geet
9-Jeremy Montagu, 2007, Origins and Development of Musical Instruments
10-Gayle Kassing, 2007, History of Dance: An Interactive Arts Approach
11- Bhishma Kukreti, 2013, Garhwali Lok Natkon ke Mukhya Tatva va Charitra, Shailvani, Kotdwara
12- Bhishma Kukreti, 2007, Garhwali lok Swangun ma rasa ar Bhav , Chithipatri
 Xx
Attribute Oriented Complete Simile Figure of Speeches  in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays; Attribute Oriented Complete Simile Figure of Speeches     in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Chamoli Garhwal, North India, South Asia; Attribute Oriented Complete Simile Figure of Speeches   in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Rudraprayag Garhwal, North India, South Asia; Attribute Oriented Complete Simile Figure of Speeches   in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Pauri Garhwal, North India, South Asia; Attribute Oriented Complete Simile Figure of Speeches   in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Tehri Garhwal, North India, South Asia; Attribute Oriented Complete Simile Figure of Speeches  in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Uttarkashi Garhwal, North India, South Asia; Attribute Oriented Complete Simile Figure of Speeches  in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Dehradun Garhwal, North India, South Asia; Attribute Oriented Complete Simile Figure of Speeches  in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Haridwar Garhwal, North India, South Asia;
गढवाली लोक नाटकों में  धर्म सादृश्य पूर्णोपमा अलंकार,  टिहरी गढ़वाल के गढवाली लोक नाटकों में  धर्म सादृश्य पूर्णोपमा अलंकार ;उत्तरकाशी गढ़वाल के गढवाली लोक नाटकों में  धर्म सादृश्य पूर्णोपमा अलंकार, हरिद्वार गढ़वाल के गढवाली लोक नाटकों में  धर्म सादृश्य पूर्णोपमा अलंकार ;देहरादून गढ़वाल के गढवाली लोक नाटकों में  धर्म सादृश्य पूर्णोपमा अलंकार ;पौड़ी गढ़वाल के गढवाली लोक नाटकों में  धर्म सादृश्य पूर्णोपमा अलंकार ;चमोली गढ़वाल के गढवाली लोक नाटकों में  धर्म सादृश्य पूर्णोपमा अलंकार; रुद्रप्रयाग गढ़वाल के गढवाली लोक नाटकों में   धर्म सादृश्य पूर्णोपमा अलंकार ;

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Rup Sadrishya Purrnopama Alankar: Complete Form Analogy or Form Comparing Complete Simile Figure of Speech in Garhwali Folk Dramas

                   गढवाली लोक नाटकों / लोक  नृत्य -गीतों में  रूप सादृश्य पूर्णोपमा अलंकार

Review of Characteristics of Garhwali Folk Drama, Folk Theater/Rituals and Traditional Plays part -71

                                    Bhishma Kukreti
                 When in a drama, there is complete simile form comparison by form the Alankar or figure of speech is called Rup Sadrishya Purrnopama Alankar or Form Analogy or Form Comparing Complete Simile Figure of Speech in Dramas or poetries or in any literature.
 The following is an example of Form Analogy or Form Comparing Complete Simile Figure of Speech in Garhwali Folk Dramas -


गढ़वाली  लोक गीत -नृत्य , लोक नाटक में रूप  सादृश्य पूर्णोपमा अलंकार का उदाहरण

              *दौंता  कि सी कमरी जनि कुमाळी सि ठाण



 (*Reference- Dr Shiva Nand Nautiyal)
Copyright@ Bhishma Kukreti 5/1/2014

Review of Characteristics of Garhwali Folk Drama, Community Dramas; Folk Theater/Rituals and Traditional to be continued in next chapter.

                 References
1-Bharat Natyashastra
2-Steve Tillis, 1999, Rethinking Folk Drama
3-Roger Abrahams, 1972, Folk Dramas in Folklore and Folk life 
4-Tekla Domotor , Folk drama as defined in Folklore and Theatrical Research
5-Kathyrn Hansen, 1991, Grounds for Play: The Nautanki Theater of North India
6-Devi Lal Samar, Lokdharmi Pradarshankari Kalayen 
7-Dr Shiv Prasad Dabral, Uttarakhand ka Itihas part 1-12
8-Dr Shiva Nand Nautiyal, Garhwal ke Loknritya geet
9-Jeremy Montagu, 2007, Origins and Development of Musical Instruments
10-Gayle Kassing, 2007, History of Dance: An Interactive Arts Approach
11- Bhishma Kukreti, 2013, Garhwali Lok Natkon ke Mukhya Tatva va Charitra, Shailvani, Kotdwara
12- Bhishma Kukreti, 2007, Garhwali lok Swangun ma rasa ar Bhav , Chithipatri
 Xx
Form Analogy or Form Comparing Complete Simile Figure of Speeches  in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays; Form Analogy or Form Comparing Complete Simile Figure of Speeches     in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Chamoli Garhwal, North India, South Asia; Form Analogy or Form Comparing Complete Simile Figure of Speeches   in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Rudraprayag Garhwal, North India, South Asia; Form Analogy or Form Comparing Complete Simile Figure of Speeches   in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Pauri Garhwal, North India, South Asia; Form Analogy or Form Comparing Complete Simile Figure of Speeches   in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Tehri Garhwal, North India, South Asia; Form Analogy or Form Comparing Complete Simile Figure of Speeches  in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Uttarkashi Garhwal, North India, South Asia; Form Analogy or Form Comparing Complete Simile Figure of Speeches  in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Dehradun Garhwal, North India, South Asia; Form Analogy or Form Comparing Complete Simile Figure of Speeches  in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Haridwar Garhwal, North India, South Asia;
गढवाली लोक नाटकों में  रूप  सादृश्य पूर्णोपमा अलंकार,  टिहरी गढ़वाल के गढवाली लोक नाटकों में  रूप  सादृश्य पूर्णोपमा अलंकार ;उत्तरकाशी गढ़वाल के गढवाली लोक नाटकों में रूप  सादृश्य पूर्णोपमा अलंकार, हरिद्वार गढ़वाल के गढवाली लोक नाटकों में  रूप  सादृश्य पूर्णोपमा अलंकार ;देहरादून गढ़वाल के गढवाली लोक नाटकों में  रूप  सादृश्य पूर्णोपमा अलंकार ;पौड़ी गढ़वाल के गढवाली लोक नाटकों में रूप  सादृश्य पूर्णोपमा अलंकार ;चमोली गढ़वाल के गढवाली लोक नाटकों में  रूप  सादृश्य पूर्णोपमा अलंकार; रुद्रप्रयाग गढ़वाल के गढवाली लोक नाटकों में   रूप  सादृश्य पूर्णोपमा अलंकार ;

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Kriya Sadrishy Purnopama Alankar or Verb comparing- Complete Simile Figure of Speech in Garhwali Folk Drama

                   गढवाली लोक नाटकों / लोक  नृत्य -गीतों में  क्रिया सादृश्य पूर्णोपमा अलंकार

Review of Characteristics of Garhwali Folk Drama, Folk Theater/Rituals and Traditional Plays part -72

                                    Bhishma Kukreti

When a complete simile is created by comparison of verb too the simile is called Verb Comparing Complete Simile Figure of Speech as in following two Garhwali folk poetries -

गढ़वाली  लोक नृत्य-गीतों  , लोक नाटक में क्रिया  सादृश्य पूर्णोपमा अलंकार  का उदाहरण *

पाळिन्गा की सी डाळी , हलै जांदी बथौं लै
--------
मारे तैन मछली सी उफाट

---------
तैन काचि  मुंगरी खैन  सुंगर  जन बुकैन

(*Reference- Dr Shiva Nand Nautiyal)
Copyright@ Bhishma Kukreti 6/1/2014

Review of Characteristics of Garhwali Folk Drama, Community Dramas; Folk Theater/Rituals and Traditional to be continued in next chapter.

                 References
1-Bharat Natyashastra
2-Steve Tillis, 1999, Rethinking Folk Drama
3-Roger Abrahams, 1972, Folk Dramas in Folklore and Folk life 
4-Tekla Domotor , Folk drama as defined in Folklore and Theatrical Research
5-Kathyrn Hansen, 1991, Grounds for Play: The Nautanki Theater of North India
6-Devi Lal Samar, Lokdharmi Pradarshankari Kalayen 
7-Dr Shiv Prasad Dabral, Uttarakhand ka Itihas part 1-12
8-Dr Shiva Nand Nautiyal, Garhwal ke Loknritya geet
9-Jeremy Montagu, 2007, Origins and Development of Musical Instruments
10-Gayle Kassing, 2007, History of Dance: An Interactive Arts Approach
11- Bhishma Kukreti, 2013, Garhwali Lok Natkon ke Mukhya Tatva va Charitra, Shailvani, Kotdwara
12- Bhishma Kukreti, 2007, Garhwali lok Swangun ma rasa ar Bhav , Chithipatri
 Xx
Verb comparing- Complete Simile Figure of Speeches  in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays; Verb comparing- Complete Simile Figure of Speeches     in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Chamoli Garhwal, North India, South Asia; Figure of Speeches   in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Rudraprayag Garhwal, North India, South Asia; Verb comparing- Complete Simile Figure of Speeches   in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Pauri Garhwal, North India, South Asia; Verb comparing- Complete Simile Figure of Speeches   in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Tehri Garhwal, North India, South Asia; Verb comparing- Complete Simile Figure of Speeches  in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Uttarkashi Garhwal, North India, South Asia; Verb comparing- Complete Simile Figure of Speeches  in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Dehradun Garhwal, North India, South Asia; Verb comparing- Complete Simile Figure of Speeches  in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Haridwar Garhwal, North India, South Asia;
गढवाली लोक नाटकों में क्रिया  सादृश्य पूर्णोपमा अलंकार,  टिहरी गढ़वाल के गढवाली लोक नाटकों में क्रिया  सादृश्य पूर्णोपमा  अलंकार ;उत्तरकाशी गढ़वाल के गढवाली लोक नाटकों में क्रिया  सादृश्य पूर्णोपमा  अलंकार, हरिद्वार गढ़वाल के गढवाली लोक नाटकों में  क्रिया  सादृश्य पूर्णोपमा  अलंकार ;देहरादून गढ़वाल के गढवाली लोक नाटकों में  क्रिया  सादृश्य पूर्णोपमा  अलंकार ;पौड़ी गढ़वाल के गढवाली लोक नाटकों में  क्रिया  सादृश्य पूर्णोपमा  अलंकार ;चमोली गढ़वाल के गढवाली लोक नाटकों में  क्रिया  सादृश्य पूर्णोपमा  अलंकार; रुद्रप्रयाग गढ़वाल के गढवाली लोक नाटकों में    क्रिया  सादृश्य पूर्णोपमा  अलंकार ;

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Luptopama Alankar - Missing one Component in Simile Figure of Speech in Garhwali Folk Drama

                   गढवाली लोक नाटकों / लोक  नृत्य -गीतों में  लुप्तोपमा अलंकार

Review of Characteristics of Garhwali Folk Drama, Folk Theater/Rituals and Traditional Plays part -73

                                    Bhishma Kukreti
 In Sanskrit, Upma or Simile figure of speech has four components -
The thing/living organism that is compared
The thing/living organism compared by another thing
Description
Attribute of comparison
             If any single component from the above four components of Upma (simile) is missing from poetry line/lines or sentence the line of sentence is called Luptopama Alankar.
गढ़वाली  लोक नृत्य-गीतों  , लोक नाटक में  लुप्तोपमा अलंकार   का उदाहरण
 
दीवा जनी जोत
फ्यूंळी जनि रौतेली
बुरांस जनि फूल
गितांग जनि गौळी
केला जनि हतेली

In the above folk dance song, the attribute is missing.


(*Reference- Dr Shiva Nand Nautiyal)

Copyright@ Bhishma Kukreti 6/1/2014

Review of Characteristics of Garhwali Folk Drama, Community Dramas; Folk Theater/Rituals and Traditional to be continued in next chapter.

                 References
1-Bharat Natyashastra
2-Steve Tillis, 1999, Rethinking Folk Drama
3-Roger Abrahams, 1972, Folk Dramas in Folklore and Folk life 
4-Tekla Domotor , Folk drama as defined in Folklore and Theatrical Research
5-Kathyrn Hansen, 1991, Grounds for Play: The Nautanki Theater of North India
6-Devi Lal Samar, Lokdharmi Pradarshankari Kalayen 
7-Dr Shiv Prasad Dabral, Uttarakhand ka Itihas part 1-12
8-Dr Shiva Nand Nautiyal, Garhwal ke Loknritya geet
9-Jeremy Montagu, 2007, Origins and Development of Musical Instruments
10-Gayle Kassing, 2007, History of Dance: An Interactive Arts Approach
11- Bhishma Kukreti, 2013, Garhwali Lok Natkon ke Mukhya Tatva va Charitra, Shailvani, Kotdwara
12- Bhishma Kukreti, 2007, Garhwali lok Swangun ma rasa ar Bhav , Chithipatri
 Xx
Missing one Component in Simile Figure of Speeches  in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays; Missing one Component in Simile Figure of Speeches     in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Chamoli Garhwal, North India, South Asia; Missing one Component in Simile Figure of Speeches   in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Rudraprayag Garhwal, North India, South Asia; Missing one Component in Simile Figure of Speeches   in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Pauri Garhwal, North India, South Asia; Missing one Component in Simile Figure of Speeches   in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Tehri Garhwal, North India, South Asia; Missing one Component in Simile Figure of Speeches  in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Uttarkashi Garhwal, North India, South Asia; Missing one Component in Simile Figure of Speeches  in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Dehradun Garhwal, North India, South Asia; Missing one Component in Simile Figure of Speeches  in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Haridwar Garhwal, North India, South Asia;
गढवाली लोक नाटकों में  लुप्तोपमा अलंकार,  टिहरी गढ़वाल के गढवाली लोक नाटकों में  लुप्तोपमा अलंकार ;उत्तरकाशी गढ़वाल के गढवाली लोक नाटकों में  लुप्तोपमा अलंकार, हरिद्वार गढ़वाल के गढवाली लोक नाटकों में  लुप्तोपमा अलंकार ;देहरादून गढ़वाल के गढवाली लोक नाटकों में  लुप्तोपमा अलंकार ;पौड़ी गढ़वाल के गढवाली लोक नाटकों में  लुप्तोपमा अलंकार ;चमोली गढ़वाल के गढवाली लोक नाटकों में  लुप्तोपमा अलंकार; रुद्रप्रयाग गढ़वाल के गढवाली लोक नाटकों में    लुप्तोपमा अलंकार ;

Bhishma Kukreti

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Malopama Alankar or Imperfect Simile Figure of Speech in Garhwali Folk Dramas

                   गढवाली लोक नाटकों / लोक  नृत्य -गीतों में  मालोपमा  अलंकार

Review of Characteristics of Garhwali Folk Drama, Folk Theater/Rituals and Traditional Plays part -74 

                                    Bhishma Kukreti

                    When a conjunction expresses comparison or when there is common attributed being omitted in the dialogue sentence, line or poetic verse the figure of speech is called imperfect simile or Luptopma Alankar. When the description attributes are lacking it is called imperfect simile by omitting description or Malopama Alankar.
 Dr Shiva Nand Nautiyal provides the following example of Imperfect Simile Figure of Speech in Garhwali Folk Dramas-

गढ़वाली  लोक नृत्य-गीतों  , लोक नाटक में  मालोपमा अलंकार   का उदाहरण

कांठा की जुन्याळी छुमा उजाळा की मूठ


(*Reference- Dr Shiva Nand Nautiyal)

Copyright@ Bhishma Kukreti 8/1/2014

Review of Characteristics of Garhwali Folk Drama, Community Dramas; Folk Theater/Rituals and Traditional to be continued in next chapter.

                 References
1-Bharat Natyashastra
2-Steve Tillis, 1999, Rethinking Folk Drama
3-Roger Abrahams, 1972, Folk Dramas in Folklore and Folk life 
4-Tekla Domotor , Folk drama as defined in Folklore and Theatrical Research
5-Kathyrn Hansen, 1991, Grounds for Play: The Nautanki Theater of North India
6-Devi Lal Samar, Lokdharmi Pradarshankari Kalayen 
7-Dr Shiv Prasad Dabral, Uttarakhand ka Itihas part 1-12
8-Dr Shiva Nand Nautiyal, Garhwal ke Loknritya geet
9-Jeremy Montagu, 2007, Origins and Development of Musical Instruments
10-Gayle Kassing, 2007, History of Dance: An Interactive Arts Approach
11- Bhishma Kukreti, 2013, Garhwali Lok Natkon ke Mukhya Tatva va Charitra, Shailvani, Kotdwara
12- Bhishma Kukreti, 2007, Garhwali lok Swangun ma rasa ar Bhav , Chithipatri
 Xx
Malopama/malopma Alankar or Imperfect Simile Figure of Speeches  in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays; Malopama/malopma Alankar or Imperfect Simile Figure of Speeches     in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Chamoli Garhwal, North India, South Asia; Malopama/malopma Alankar or Imperfect Simile Figure of Speeches   in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Rudraprayag Garhwal, North India, South Asia; Malopama/malopma Alankar or Imperfect Simile Figure of Speeches   in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Pauri Garhwal, North India, South Asia; Malopama/malopma Alankar or Imperfect Simile Figure of Speeches   in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Tehri Garhwal, North India, South Asia; Malopama/malopma Alankar or Imperfect Simile Figure of Speeches  in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Uttarkashi Garhwal, North India, South Asia; Malopama/malopma Alankar or Imperfect Simile Figure of Speeches  in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Dehradun Garhwal, North India, South Asia; Malopama/malopma Alankar or Imperfect Simile Figure of Speeches  in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Haridwar Garhwal, North India, South Asia;
गढवाली लोक नाटकों में  मालोपमा अलंकार,  टिहरी गढ़वाल के गढवाली लोक नाटकों में  मालोपमा अलंकार ;उत्तरकाशी गढ़वाल के गढवाली लोक नाटकों में  मालोपमा अलंकार, हरिद्वार गढ़वाल के गढवाली लोक नाटकों में मालोपमा अलंकार ;देहरादून गढ़वाल के गढवाली लोक नाटकों में मालोपमा अलंकार ;पौड़ी गढ़वाल के गढवाली लोक नाटकों में  मालोपमा अलंकार ;चमोली गढ़वाल के गढवाली लोक नाटकों में  मालोपमा अलंकार; रुद्रप्रयाग गढ़वाल के गढवाली लोक नाटकों में   मालोपमा अलंकार ;

 

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