Girdhari Prasad Thapliyal ‘Kankal’: A Poet of Simple, Lyrical and Metaphoric Poetries

Critical and Chronological History of Modern Garhwali (Asian) Poetry – 48

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                    Literature Historian:  Bhishma Kukreti

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       Girdhari Prasad Thapliyal ‘Kankal’ is one the important signatures of Garhwali poetic field in sixties. Girdhari Prasad ‘Kankal’ is one of the poets those changed the style and tones of Garhwali poetries.

     Girdhari Prasad Thapliyal ‘Kankal’ was born in 1927 in Shrikot of Khatsyun, Pauri Garhwal.  Girdhari Prasad Thapliyal ‘Kankal’ expired in 1987 in Delhi

     Girdhari Prasad Thapliyal ‘Kankal’ was connected various Garhwali literature and cultural organizations of Delhi. ‘Kankal’ took part in organizing seminars and other activities in promoting Garhwali literature in Delhi. Girdhari Prasad Thapliyal ‘Kankal’ was one of the poets who popularized Garhwali ‘Kavi Sammelan’ (poetry readings before audience) in Delhi and other places.

      Girdhari Prasad Thapliyal ‘Kankal’ published his first Garhwali poetry collection by name ‘Pawan’ (Start or initiation) in 1956.There are thirty poems. The poems deal with pain of women, nature illustration, own experiences. The poems are full of common proverbs, sayings cultural, and simple language with full of melody. ‘Kankal’ is famous for melody.

     Girdhari Prasad Thapliyal ‘Kankal’ published his long poetry ‘Soona Bain’ based on a folk story in 1960. The story is of seven brothers and their single one sister. The melodious style and fast poetic flow make ‘Suna Bain’ a historical poetry collection.

   In 1963, ‘Kankal’ edited and published a twenty four poetry collection of twelve poets by name ‘Maulyar’. Famous Folk Literature and Garhwali literature expert Mohan Babulkar states that first time, Garhwali poets started using style of epistrophe.

  In 1984, Girdhari Prasad Thapliyal ‘Kankal’ published his last poetry collection ‘ Tumhare Liye’ Tumhare Liye is memory of his late wife.

  His way of describing various facets of Love rapture is marvelous. He illustrates successfully, perfectly and pleasure some the various emotions of love rapture as separation, pleasure, grief, anger, zeal, stunning, envy, fainting, bashfulness etc

'फुर घिंडुड़ी आजा : पधानु का छाजा'



प्यार की त छुईं इनि कुछ नि लांदो मोल
घिंड्वा घिन्डुड़ी मा ब्वल्द औ बणौला घोल। 
फुर घिंडुड़ी आजा !
पधानु का छाजा !!
चाड़ नी जु छ्वीं लगऊँ ,
केकु तेरा नेडु अऊँ ,
इन्ना समझि तन्नी छऊं ,
कुछ नि तेरो काsज 
पधानु का छाजा !!
तन्नी छै तु कैन बोलि
अपड़ा मनै बात खोलि,
मिन ता सोचि थकीं होलि
इच्छि थौ ता खा जा !
पधान का छाजा !!
जाण कनै कैकि रीत ,
मर्दु कि क्या च प्रतीत ,
दुन्या झट म्यसौन्द गीत,
अपड़ा अपड़ा बाठा जा जा !
पधान का छाजा !!
इति हस्यार तू चलाक ,
तड़तड़ी छ कुंगळि नाक
संगुळि सी लटकीं बुलाक,
भलि दिंदौ बिराजा
पधान का छाजा !!
xx xxxछाल ल्हैलो साड़ी ल्हौ लो
त्वेको मी गौणा बणौलो
अब कबी नि दिल दुखौलो
राणि तू मि राजा !
पधान का छाजा !!

  Kankal’ used various subjects and styles in Garhwali poetry as following poetry is definitely based on ‘Chhayavad (Neo-romanticism) –

 तुम द्यबता मी दासी

तुम रोज रोज सौदा होंदा

मी होंदी जांदी बासी

तुम लाली मि घांडी

 In this poem, Kankal showed the soul inferior than the Lord.

Copyright @ Bhishma Kukreti Mumbai, 2016

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