आज की भाग दौढ़ की जिंदगी में बहुत बड़े पैमाने पर लोगों को अनियमित दिनचर्या, खान -पान, रहन-सहन आदि कारणों से कई प्रकार के रोगों ने आ घेरा हैं. आज के समय में किस को क्या रोग हो जाये, कोई कुछ नहीं सकता. इसके बावजूद हमारे आस-पास ऐसे लोगों की कोई कमी नहीं है, जो लोगों के दर्द के परवाह न करते हुए अपने आप को स्वस्थ बताते हुए लोगों का मजाक उडाने में जरा भी पीछे नहीं रहते. ऐसे लोगों की बातों से कोई दुखी आदमी क्या सोचता है, उसी सन्दर्भ में कुछ पंक्तियाँ ........
जब कोई किसी अच्छे -खासे दिखते
पर बार -बार बीमार होते आदमी से पूछता है -
'कैसे हो '
तो उसे होंठों पर ' उधार की हंसी'
लानी ही पड़ती है
और मीठी जुबां से
'ठीक हूँ '
कहना ही पड़ता है
अगर जरा भी जुबां फिसल गयी
और उसने का दिया
'नहीं वह तो बीमार है '
तो कुछ लोग समझ बैठते हैं
कि अब वह बेकार है
फिर वे कहाँ कहने से चूकते हैं
दुनिया भर की दवा-दारू बताने लगते है
कहने लगते हैं -
'अरे भई! तुम तो कुछ भी खाते -पीते नहीं हो
फिर भी बीमार हो
अरे हमें देखो! हम तो सबकुछ खाते-पीते है
पर कभी तुम्हारी तरह बीमार नहीं रहते हैं
अरे भई! सबकुछ खूब खाया -पिया करो
और हमारी तरह सदा स्वस्थ रहा करो ''
बेवस होकर वह बेचारा सोचता है कि -
अच्छे -खासे दिखते आदमी को
जब कोई रोग लग जाता है
तो क्यूँ? वह कुछ लोगों के लिए
अच्छा -खासा मजाक सा बन जाता है
क्यूँ वे लोग आकर दवा-दारू बताने लगते है
जो ज़माने भर के बेदर्द हुआ करते है.
copyright@KavitaRawat,Bhopal
उत्तराखंडी ई-पत्रिका
Tuesday, September 29, 2009
खिड़की का मरना
मेरे घर की , वो खिड़की
जिस से छनकर कभी
सूरज की किरणे अंदर आया करती थी
अब नही रही
वो मर गई है !
वो आज तक
अकेले अकेले सब सहती रही
अपना दर्द , मकान का दर्द
जो --------
खिड़की का मरना
मेरे घर की , वो खिड़की
जिस से छनकर कभी
सूरज की किरणे अंदर आया करती थी
अब नही रही
वो मर गई है !
वो आज तक
अकेले अकेले सब सहती रही
अपना दर्द , मकान का दर्द
जो --------
पल -पल , झर- झर कर
टूटता रहा / बिखरता रहा
बिना हमारी देख रेख के !
पुरखो का वो मकान
जिसमे मै,मेरे बाबा, मेरे दादा जी
पैदा हुए , पले ,बड़े हुए
जिसके आगन में हमने
खेलना सीखा .........
जिसकी दरो दीवारों से सटकर
चलना सीखा ---
और ख़ास कर उस खिड़की के
साथ मिलकर
हमने खेली थी आँख मिचोलिया
सूरज से ,समये से ,हवाओं से
वो अब नही रही
वो मर गई ....!
उसकी मौत ये से ही नही हुई
उसे मार दिया मिलकर
मैं, मेरे घरवालो ने
उसको अक्केला छोड़ कर
उसे अन देखा कर !
पराशर गौड़
कनाडा .. न्यू मार्केट ३ बजे सयाम २८ स्सित्म्बर ०९ पराशर गौड़
जिस से छनकर कभी
सूरज की किरणे अंदर आया करती थी
अब नही रही
वो मर गई है !
वो आज तक
अकेले अकेले सब सहती रही
अपना दर्द , मकान का दर्द
जो --------
खिड़की का मरना
मेरे घर की , वो खिड़की
जिस से छनकर कभी
सूरज की किरणे अंदर आया करती थी
अब नही रही
वो मर गई है !
वो आज तक
अकेले अकेले सब सहती रही
अपना दर्द , मकान का दर्द
जो --------
पल -पल , झर- झर कर
टूटता रहा / बिखरता रहा
बिना हमारी देख रेख के !
पुरखो का वो मकान
जिसमे मै,मेरे बाबा, मेरे दादा जी
पैदा हुए , पले ,बड़े हुए
जिसके आगन में हमने
खेलना सीखा .........
जिसकी दरो दीवारों से सटकर
चलना सीखा ---
और ख़ास कर उस खिड़की के
साथ मिलकर
हमने खेली थी आँख मिचोलिया
सूरज से ,समये से ,हवाओं से
वो अब नही रही
वो मर गई ....!
उसकी मौत ये से ही नही हुई
उसे मार दिया मिलकर
मैं, मेरे घरवालो ने
उसको अक्केला छोड़ कर
उसे अन देखा कर !
पराशर गौड़
कनाडा .. न्यू मार्केट ३ बजे सयाम २८ स्सित्म्बर ०९ पराशर गौड़
Garhwali, Kumauni, Himalayan Literature
Ghananand Augean : A Drama writer and Prose maker of Garhwali language
Bhishma Kukreti
Ghananand Bahuguna was fluent in Garhwali, English and Hindi writing. Garhwalis remember him for his drama writing in Garhwali language.
Gahnanand Bahuguna was born in Pokhari village, Chalansyun Patti of Pauri Garhwal, Uttarakhand. After completing LLB, Ghananand started his law practice in Pauri city and became very famous advocate of his time. Bahuguna was a respected social worker too.
Ghananand Bahuguna published many articles in English, Garhwali and Hindi.
Ghanand Bahuguna wrote a very sensible drama in Garhwali language- Samaj
Samaj drama is an inspiring, with social awakening subject and the dialogues are in simple but pure Shrinagarya Garhwali.
Gahanand Bahuguna expired on 13th February, 1964, in Pauri
Copyright @ Bhishma Kukreti, Mumbai, India, 2009
Bhishma Kukreti
Ghananand Bahuguna was fluent in Garhwali, English and Hindi writing. Garhwalis remember him for his drama writing in Garhwali language.
Gahnanand Bahuguna was born in Pokhari village, Chalansyun Patti of Pauri Garhwal, Uttarakhand. After completing LLB, Ghananand started his law practice in Pauri city and became very famous advocate of his time. Bahuguna was a respected social worker too.
Ghananand Bahuguna published many articles in English, Garhwali and Hindi.
Ghanand Bahuguna wrote a very sensible drama in Garhwali language- Samaj
Samaj drama is an inspiring, with social awakening subject and the dialogues are in simple but pure Shrinagarya Garhwali.
Gahanand Bahuguna expired on 13th February, 1964, in Pauri
Copyright @ Bhishma Kukreti, Mumbai, India, 2009
Garhwali, Kumaoni, Himalayan literature
Shridhar Jamloki: Poet and Drama creative of Garhwali language
Bhishma Kukreti
A profound scholar of Sanskrit, Shridhar jam Loki is remembered in Garhwali literature for his poetries and drama writing .
Shridhar jam Loki was born on5th January 1920 at Ukhimath, Chamoli Garhwal of Uttarakhand. Jamloki was Sanskrit teacher in Uttarakhand Vidyapeeth, Ukhimath, Chamoli Garhwal and retired from there.
He published four poetry collections in Garhwali language -- Ashrumala (Khandkaya) , Dundabhi Dimdim (Khandkavya) , Vritmala (Garhwali Chhandshastra), and Ek Visi (Khandkavya).
Jamloki also wrote a drama in Garhwali - Sita Parityag based on the episode of discarding of Sita by Ram .
His work in Hindi literature is unpublished
Shridhar Jamloki expired on 10th January, 1984 in Ukhimath.
Copyright @ Bhishma Kukreti, Mumbai, India, 2009
Bhishma Kukreti
A profound scholar of Sanskrit, Shridhar jam Loki is remembered in Garhwali literature for his poetries and drama writing .
Shridhar jam Loki was born on5th January 1920 at Ukhimath, Chamoli Garhwal of Uttarakhand. Jamloki was Sanskrit teacher in Uttarakhand Vidyapeeth, Ukhimath, Chamoli Garhwal and retired from there.
He published four poetry collections in Garhwali language -- Ashrumala (Khandkaya) , Dundabhi Dimdim (Khandkavya) , Vritmala (Garhwali Chhandshastra), and Ek Visi (Khandkavya).
Jamloki also wrote a drama in Garhwali - Sita Parityag based on the episode of discarding of Sita by Ram .
His work in Hindi literature is unpublished
Shridhar Jamloki expired on 10th January, 1984 in Ukhimath.
Copyright @ Bhishma Kukreti, Mumbai, India, 2009
Garhwali, Kumauni, Himalayan Literature
Damodar Prasad Thapaliyal: The Dramatist and Editor
Damodar Prasad Thapaliyal is one of the Garhwali creative of post independence era who spent his whole life for development of Garhwali literature . He wrote dramas and staged them and is famous editor of Garhwali magazines.
Damodar Prasad Thapaliyal was born on 2rd March, 1923, in village Palkot, Khatsyun Patti of Tihri Garhwal.
He was teacher in Gandhi Inter College Dehradun and retired from there.
Along with Professor Bhagwati Prasad Panthari , Thapaliyal established Garhwali Sahitya Parishad, Dehradun . This organization staged many Garhwali plays, did mini and large conferences, kavisammeans, and motivated Garhwali creative for writing in Garhwali language. Garhwali Sahitya Parishad also distributed pamphlets in Garhwali language related to freedom movement of Tihri Garhwal.
Damodar Thaplaiyal edited two Garhwali language magazines --Phyunli and Ranko.
He wrote dramas in Garhwali, staged them and those are -‘Mankhi ‘, ‘Auns Ki Rat ‘, Tibbat Vijay’, ‘Prayaschit’
Damodar Prasad was also prose maker in Garhwali. His articles and stories as Garhwali Bhasha Kilai, Magna Pween, Baiju bamnee are the class prose of Garhwali literature.
Damodar Prasad Thapaliyal expired on 12th November, 1977 in Dehradun
Copyright@ Bhishma Kukrti, Mumbai, India, 2009
Damodar Prasad Thapaliyal is one of the Garhwali creative of post independence era who spent his whole life for development of Garhwali literature . He wrote dramas and staged them and is famous editor of Garhwali magazines.
Damodar Prasad Thapaliyal was born on 2rd March, 1923, in village Palkot, Khatsyun Patti of Tihri Garhwal.
He was teacher in Gandhi Inter College Dehradun and retired from there.
Along with Professor Bhagwati Prasad Panthari , Thapaliyal established Garhwali Sahitya Parishad, Dehradun . This organization staged many Garhwali plays, did mini and large conferences, kavisammeans, and motivated Garhwali creative for writing in Garhwali language. Garhwali Sahitya Parishad also distributed pamphlets in Garhwali language related to freedom movement of Tihri Garhwal.
Damodar Thaplaiyal edited two Garhwali language magazines --Phyunli and Ranko.
He wrote dramas in Garhwali, staged them and those are -‘Mankhi ‘, ‘Auns Ki Rat ‘, Tibbat Vijay’, ‘Prayaschit’
Damodar Prasad was also prose maker in Garhwali. His articles and stories as Garhwali Bhasha Kilai, Magna Pween, Baiju bamnee are the class prose of Garhwali literature.
Damodar Prasad Thapaliyal expired on 12th November, 1977 in Dehradun
Copyright@ Bhishma Kukrti, Mumbai, India, 2009
Garhwali, Kumauni, Uttarakhand, Himalayan Literature
Vinay Prasad Joshi : Creator of Astrology book in Garhwali Language
Bhishma Kukreti
Garhwali society will always remember Jotishacharya Vinay Prasad for his contribution to add astrological subject in Garhwali language literature.
Vinaya Prasad Joshi was born in Sandhar village, Sandhar Patti of salan , Pauri Garhwal Uttarakhand in 1920.
Vinay Prasad is a true social worker . Inspired by Vinovba Bhave, Vinay Joshi donated a sizable portion of his land to landless Sohan Lal of Saindhar village.
He wrote and published Garhwali Panchang (astrological book in Garhwali ) . In this treasure book, we may find the data of past thousand years and coming thousand years too . The reader may find complete information of date, time, day, month of thousand years back and future .
This Garhwali Panchang by Vinay Joshi is unique from the point of view of astrology and Joshi did hard work for years to write such memorable book on astrology in Garhwali language.
Copyright @ Bhishma Kukreti, Mumbai, India, 2009
Bhishma Kukreti
Garhwali society will always remember Jotishacharya Vinay Prasad for his contribution to add astrological subject in Garhwali language literature.
Vinaya Prasad Joshi was born in Sandhar village, Sandhar Patti of salan , Pauri Garhwal Uttarakhand in 1920.
Vinay Prasad is a true social worker . Inspired by Vinovba Bhave, Vinay Joshi donated a sizable portion of his land to landless Sohan Lal of Saindhar village.
He wrote and published Garhwali Panchang (astrological book in Garhwali ) . In this treasure book, we may find the data of past thousand years and coming thousand years too . The reader may find complete information of date, time, day, month of thousand years back and future .
This Garhwali Panchang by Vinay Joshi is unique from the point of view of astrology and Joshi did hard work for years to write such memorable book on astrology in Garhwali language.
Copyright @ Bhishma Kukreti, Mumbai, India, 2009
Garhwali , Uttarakhand, Himalayan Literature
Prof. Bhagwati Prasad Panthari : Garhwali , Story writer, Poet, Dramatist, Editor , Freedom Fighter, Historian and Educationist
Bhishma Kukreti
Professor Bhagwati Prasad Panthari was a very versatile and respected of Garhwal. . He wrote dramas and stories in Garhwali language, was one of the founder editors of Yugvani a weekly newsletter along with Acharya Kothiyal and Tejram Bhatt, wrote many history books on medieval era and was Vice Chancellor of kasha Vidya Peeth. He also fought the fight of independence from Tihri King along with Shridev Suman, Gairola and was poisoned by Tihri king.
Bhagwati Prasad Panthari was born in Tihri in 1914.
He studied in Kashi and was brilliant scholar . He was worried about the poor conditions of Tihri Garhwal and for making awareness among people he wrote two dramas in Garhwali .
Garhwali Literature by Panthari :
His dramas Adhah Patan (1938) and Bhuton Ka Khoh (1941) are masterpieces of drama and are very inspiring . The language is pure Tihryali (spoken in Tihri district) . The dialogue are very simple bur effective to make audience emotional to act upon against devils. However, his both the books were banned in Tihri regime. He also wrote stories in Garhwali language . He published his story collection in Garhwali - “ Panch Phhol’.
‘Bansuli’ is his poetry collection published in 1942. Panthari used to distribute pamphlets regarding freedom movement in Garhwali language and he arranged many mini conferences for the development of garhwali literature along with late Damodar Thaplaiyal Tejram Bhat and late Acharya Gopeshwar Kothiyal in Dehradun and Mussurie area. Bhagwati Panthari founded a literature organization by name - Garhwali Sahitya Kutir in 1938
Panthari’s all works in Garhwali language literature are mile stones in Garhwali literature
As Educationist and Historian :
Bhagwati Prasad Pantahri became professor in Kashi Vidyapeeth, Banaras and retired from there as Vice Chancellor.
Professpr Panthari was a profound historian and was expert of Medieval era. His books on history Yavana Itihaskaron ka Bharat varnan, Harshvardhan -Shiladitya, Kalpi, Mughal Rajmahlon Ka Jeewan, Ashoka, Harshvardhan aur Unka Yug, Rajvans Maukhari aur Pushyabhuti, Maurya Smarajya ka Smskrika Itihas are gems of Indian History .
Bahgwati Prasad Panthari expired in 1997
Copyright @ Bhishma Kukreti, Mumbai, India, 2009
Bhishma Kukreti
Professor Bhagwati Prasad Panthari was a very versatile and respected of Garhwal. . He wrote dramas and stories in Garhwali language, was one of the founder editors of Yugvani a weekly newsletter along with Acharya Kothiyal and Tejram Bhatt, wrote many history books on medieval era and was Vice Chancellor of kasha Vidya Peeth. He also fought the fight of independence from Tihri King along with Shridev Suman, Gairola and was poisoned by Tihri king.
Bhagwati Prasad Panthari was born in Tihri in 1914.
He studied in Kashi and was brilliant scholar . He was worried about the poor conditions of Tihri Garhwal and for making awareness among people he wrote two dramas in Garhwali .
Garhwali Literature by Panthari :
His dramas Adhah Patan (1938) and Bhuton Ka Khoh (1941) are masterpieces of drama and are very inspiring . The language is pure Tihryali (spoken in Tihri district) . The dialogue are very simple bur effective to make audience emotional to act upon against devils. However, his both the books were banned in Tihri regime. He also wrote stories in Garhwali language . He published his story collection in Garhwali - “ Panch Phhol’.
‘Bansuli’ is his poetry collection published in 1942. Panthari used to distribute pamphlets regarding freedom movement in Garhwali language and he arranged many mini conferences for the development of garhwali literature along with late Damodar Thaplaiyal Tejram Bhat and late Acharya Gopeshwar Kothiyal in Dehradun and Mussurie area. Bhagwati Panthari founded a literature organization by name - Garhwali Sahitya Kutir in 1938
Panthari’s all works in Garhwali language literature are mile stones in Garhwali literature
As Educationist and Historian :
Bhagwati Prasad Pantahri became professor in Kashi Vidyapeeth, Banaras and retired from there as Vice Chancellor.
Professpr Panthari was a profound historian and was expert of Medieval era. His books on history Yavana Itihaskaron ka Bharat varnan, Harshvardhan -Shiladitya, Kalpi, Mughal Rajmahlon Ka Jeewan, Ashoka, Harshvardhan aur Unka Yug, Rajvans Maukhari aur Pushyabhuti, Maurya Smarajya ka Smskrika Itihas are gems of Indian History .
Bahgwati Prasad Panthari expired in 1997
Copyright @ Bhishma Kukreti, Mumbai, India, 2009
Garhwali, Uttarakhand, Himalayan literature
Badrish Pokhariyal : The Encourager of new generation creative
Bhishma Kukreti
Badrish Pokhariyal is famous for his encouragement to new Garhwali literature creative and showing them path of writing style or subject .
For a long time, Badrish Pokhariyal was with in editorial board of Shailodaya weekly being published by Dr Shaiva Nand Nautiyal. He used to call, write letters, visit the creative for contributing in Garhwali literature or write about Garhwali and Garhwal. When Badrish was with Sahityik Mandal Delhi, he published many books of Uttarakhandi literature.
Badrish Poklhariyal was born in 1918, in village- Timlalikhatsyun of Pauri Garhwal, Uttarakhand.
Badrish is famous for creating poetry in Garhwali and Hindi .
He translated Meghdoot of Kalidas and Kamayani of Jayshankar Prasad . These translations are enjoyable as original Meghdoot and original Kamayani.
He also published two poetry collections in Hindi- Yadon ke Jharkhand Se and Kala.
He is master of Garhwali vocabulary that his way of translating Sanskrit poetry becomes unique that the readers do not feel that the poems are the work of translation.
Copyright @ Bhishma Kukreti, Mumbai, India, 2009
Bhishma Kukreti
Badrish Pokhariyal is famous for his encouragement to new Garhwali literature creative and showing them path of writing style or subject .
For a long time, Badrish Pokhariyal was with in editorial board of Shailodaya weekly being published by Dr Shaiva Nand Nautiyal. He used to call, write letters, visit the creative for contributing in Garhwali literature or write about Garhwali and Garhwal. When Badrish was with Sahityik Mandal Delhi, he published many books of Uttarakhandi literature.
Badrish Poklhariyal was born in 1918, in village- Timlalikhatsyun of Pauri Garhwal, Uttarakhand.
Badrish is famous for creating poetry in Garhwali and Hindi .
He translated Meghdoot of Kalidas and Kamayani of Jayshankar Prasad . These translations are enjoyable as original Meghdoot and original Kamayani.
He also published two poetry collections in Hindi- Yadon ke Jharkhand Se and Kala.
He is master of Garhwali vocabulary that his way of translating Sanskrit poetry becomes unique that the readers do not feel that the poems are the work of translation.
Copyright @ Bhishma Kukreti, Mumbai, India, 2009
Garhwali, Uttarakhand , Himalayan Literature
Braj Mohan Kavtiyal: The Garhwali poet of social awareness
Bhishma Kukreti
Braj Mohan Kavtiyal was born in 1933 in Vikashnagar, Kotdwara. He wrote many articles and poetries in Garhwali. His ‘Vartayen’ were regularly relayed by Akashvani, Nazibabad.
He translated Ramayan in Garhwal and published.
His poetry collection ‘ Gadhchetna’ is the collection of more than twenty Garhwali poems. These poems are about social awareness , geographical environment and social environment as well. In his life , he is true follower of Mahtma Gandhi. He was very active in literature and cultural activities in Kotdwara
Copyright@ Bhishma Kukreti, Mumbai, India, 2009
Bhishma Kukreti
Braj Mohan Kavtiyal was born in 1933 in Vikashnagar, Kotdwara. He wrote many articles and poetries in Garhwali. His ‘Vartayen’ were regularly relayed by Akashvani, Nazibabad.
He translated Ramayan in Garhwal and published.
His poetry collection ‘ Gadhchetna’ is the collection of more than twenty Garhwali poems. These poems are about social awareness , geographical environment and social environment as well. In his life , he is true follower of Mahtma Gandhi. He was very active in literature and cultural activities in Kotdwara
Copyright@ Bhishma Kukreti, Mumbai, India, 2009
Garhwali, Uttarakhand, Himalayan Folk Literature
Dr Shiv Dayal Joshi : Who wrote about Raptures in Garhwali Folk Songs
Bhishma Kukreti
Dr shiv Dayal Joshi was born in village, Poni, Patti Basar of Tihri Garhwal . After completing his post graduation in Hindia he did research on Folk Songs of Garhwal.
He was awarded for his research oriented article “ Samajik Kala Shilip: Premchand” by Panjab Saurabh
His notable work is on the raptures and emotions in Garhwali folk songs and he published his work as “ Lok gee ton men Ras Yojna” in 1985. This book is about various emotions and raptures in folk songs.
He also published more than thirty articles on various aspects of Garhwali folk songs
Copyright @ Bhishma Kukreti, Mumbai, India, 2009
Bhishma Kukreti
Dr shiv Dayal Joshi was born in village, Poni, Patti Basar of Tihri Garhwal . After completing his post graduation in Hindia he did research on Folk Songs of Garhwal.
He was awarded for his research oriented article “ Samajik Kala Shilip: Premchand” by Panjab Saurabh
His notable work is on the raptures and emotions in Garhwali folk songs and he published his work as “ Lok gee ton men Ras Yojna” in 1985. This book is about various emotions and raptures in folk songs.
He also published more than thirty articles on various aspects of Garhwali folk songs
Copyright @ Bhishma Kukreti, Mumbai, India, 2009
Garhwali, Uttarakhand, Himalayan literature
Mahant Shri Yogendra Puri : A Versatile Garhwali poet
Bhishma Kukreti
Mahant yogendra puri was born in August, of 1895, in Kilkileshar, Patti Chaiuras of Tihri Garhwal.
He is famous for his creating Garhwali poetry of telling the social facts of his time, describing nature, uses of Sanskrit words, religious and inspirational poetries .
He published seven poetry books ---Phulkandi, Dharmopadesh, Kaljugi Bhagwat, nal Damayanti, Sat Sautela and Vikash Mala in Garhwali language .
His two poems -’ Paun tu pran myaree’ and ‘ In jindagi ko din ek alo’ are famous most poems.
He studied Sanskrit from Vanaras Sanskrit Vishvavidyalaya and from Lahor, he was also Ayurvaidic doctor and used to do medical practices free to all.
He expired in 1957
Copyright @ Bhishma Kukreti, Mumbai, India, 2009
Bhishma Kukreti
Mahant yogendra puri was born in August, of 1895, in Kilkileshar, Patti Chaiuras of Tihri Garhwal.
He is famous for his creating Garhwali poetry of telling the social facts of his time, describing nature, uses of Sanskrit words, religious and inspirational poetries .
He published seven poetry books ---Phulkandi, Dharmopadesh, Kaljugi Bhagwat, nal Damayanti, Sat Sautela and Vikash Mala in Garhwali language .
His two poems -’ Paun tu pran myaree’ and ‘ In jindagi ko din ek alo’ are famous most poems.
He studied Sanskrit from Vanaras Sanskrit Vishvavidyalaya and from Lahor, he was also Ayurvaidic doctor and used to do medical practices free to all.
He expired in 1957
Copyright @ Bhishma Kukreti, Mumbai, India, 2009
Garhwali, Uttarakhand, Himalayan literature
Shri Mahant Harsha Puri Gusain : The Initial stage Garhwali Poet of Modern time
Bhishma Kukreti
Harsha puri was born in 1820 and was the chief priest of Kinkleshwar temple Shrinagar Garhwal
Mahant harsha Puri created poetry in Garhwali and published them in Garhwali , a monthly magazine.
He was also the poet of Braj Bhasha and Khadi boli. This is the reason his Garhwali and the subject is influenced by Braj language and its spiritualism. His poems are with full of tenderness and melody. Social awareness orientation, Inspirational or idealistic subjects is the specialty .
Mahant Harsha Puri expired in 1905 .
Copyright @ Bhishma Kukreti, Mumbai, India, 2009
Bhishma Kukreti
Harsha puri was born in 1820 and was the chief priest of Kinkleshwar temple Shrinagar Garhwal
Mahant harsha Puri created poetry in Garhwali and published them in Garhwali , a monthly magazine.
He was also the poet of Braj Bhasha and Khadi boli. This is the reason his Garhwali and the subject is influenced by Braj language and its spiritualism. His poems are with full of tenderness and melody. Social awareness orientation, Inspirational or idealistic subjects is the specialty .
Mahant Harsha Puri expired in 1905 .
Copyright @ Bhishma Kukreti, Mumbai, India, 2009
Garhwali, Uttarakhand, Himalayan Literature
Leela Nand Kotnala : A Garhwali poet of initial stage
Bhishma kukreti
Leela Nand Kotnala is the contemporary of Atma Ram Gairola , Chandra Mohan Raturi , Daurgadutt Rudola .
He was born in Shrinagar and used to use nick name ’ Aleksandra -tat-Vasi’
His poem ’Lat Ripan ’ is famous Garhwali poem wherein he advocated the equality between white and black skins or he attacked on discretion for black people by white people.
Copyright@ Bhishma Kukreti, Mumbai, India, 2009
Bhishma kukreti
Leela Nand Kotnala is the contemporary of Atma Ram Gairola , Chandra Mohan Raturi , Daurgadutt Rudola .
He was born in Shrinagar and used to use nick name ’ Aleksandra -tat-Vasi’
His poem ’Lat Ripan ’ is famous Garhwali poem wherein he advocated the equality between white and black skins or he attacked on discretion for black people by white people.
Copyright@ Bhishma Kukreti, Mumbai, India, 2009
Garhwali, Uttarakhand , Himalayan literature
Atma Ram Gairola : The Inspiring Garhwali Poet
Bhishma Kukreti
Atma Ram Gairola is the Garhwali poets who initiated creating garhwali poetry in the form of Hindi. He is the contemporary creative of Satya Sharan Raturi,, Mahant Harsha Puri, Daurgadutti Rudola .
Atma Ram Gairola was born 25th April, 1855 in Lal Dhung, Pati Badiyargarh of Tihri Garhwal.
He used to publish his Garhwali poems in a monthly magazine- Garhwali , His Garhwali language poetry collection as Garhwali Kavitavali. His poems are called as inspiring poems in Garhwali. He used to inspire other Garhwalis to write poems in Garhwali rather than in Khadi boli.
Chala gwero ! Goru hum charola bhyun ki raw, vakhi machha marla, dhungali bhi vakhi pakaula
Tara Dutt Gairola is famous for his uses of pure Garhwali words in poem and was stern advocate of Garhwalism , Gairola pointed attention on the village system of Garhwal by his poems.
Tara Dutt Gairola expired on 22 June, 1922
Copyright @ Bhishma Kukreti, Mumbai, India, 2009
Bhishma Kukreti
Atma Ram Gairola is the Garhwali poets who initiated creating garhwali poetry in the form of Hindi. He is the contemporary creative of Satya Sharan Raturi,, Mahant Harsha Puri, Daurgadutti Rudola .
Atma Ram Gairola was born 25th April, 1855 in Lal Dhung, Pati Badiyargarh of Tihri Garhwal.
He used to publish his Garhwali poems in a monthly magazine- Garhwali , His Garhwali language poetry collection as Garhwali Kavitavali. His poems are called as inspiring poems in Garhwali. He used to inspire other Garhwalis to write poems in Garhwali rather than in Khadi boli.
Chala gwero ! Goru hum charola bhyun ki raw, vakhi machha marla, dhungali bhi vakhi pakaula
Tara Dutt Gairola is famous for his uses of pure Garhwali words in poem and was stern advocate of Garhwalism , Gairola pointed attention on the village system of Garhwal by his poems.
Tara Dutt Gairola expired on 22 June, 1922
Copyright @ Bhishma Kukreti, Mumbai, India, 2009
Garhwali, Uttarakhand, Himalayan literature
Bhola Dutt Devrani : A Garhwali poet of melody and imagery
Bhishma Kukreti
Bhola Dutt Devrani was born in Village-Dundekha of Palla Langur, Pauri Garhwal, in 1904,
Bhola Dutt Devrani worked in Central Secretariat , New Delhi.
Devrani published Garhwali poetry collection books by the names- ‘Pakha Ghaseri’. Bhola dutt Devrani also published ‘ Juo ar Janani’ based on the story of Nal Damayanti, maletha ki Kool. Devrani also translated rhymes of abhigyan Shankutalam and Shrimad Bahgwad Geeta in garhwali poetic form. His poems are with full of symbols, imagery and are melodious.
Bhola dutt Devrani expired in November, 1956 , in New Delhi
Copyright @ Bhishma Kukreti, Mumbai, India, 2009
Bhishma Kukreti
Bhola Dutt Devrani was born in Village-Dundekha of Palla Langur, Pauri Garhwal, in 1904,
Bhola Dutt Devrani worked in Central Secretariat , New Delhi.
Devrani published Garhwali poetry collection books by the names- ‘Pakha Ghaseri’. Bhola dutt Devrani also published ‘ Juo ar Janani’ based on the story of Nal Damayanti, maletha ki Kool. Devrani also translated rhymes of abhigyan Shankutalam and Shrimad Bahgwad Geeta in garhwali poetic form. His poems are with full of symbols, imagery and are melodious.
Bhola dutt Devrani expired in November, 1956 , in New Delhi
Copyright @ Bhishma Kukreti, Mumbai, India, 2009
Garhwali, Uttarakhand, Himalayan Literature
Sada Nand Jakhmola : Who proved the greatest poet Kalidas was from Garhwal
Bhishma Kukreti
Sada Nand Jakhmola created Garhwali literature by the nick name ‘ Santat’ .Sada Nand Jakhmola is also famous for his devotional work in proving that the all time Greatest poet Kalidas was born in village, Kaviltha, Chamoli Garhwal.
Sada Nand Jakhmola was born on 10th July, 1900, in Chanda village, Sheela Patti of Pauri Garhwal, Uttarakhand.
He spent his life as teacher in Bhabhar, Kotdwara.
He published Garhwali poetry collection - Garhwali Guntyali and Raibar, he also wrote prose in Garhwali.
He translated Meghdoot with the name “Raibar’. Raibar means message in Garhwali.
He put his logic that a person can not describe Himalaya unless he did not spent his childhood in Garhwal Himalaya. Sada Nand Jakhmola provided examples from Abhigyam Shakuntalam Kumar Sambhav and Meghdoot that Kalidas was born in Garhwal and spent his childhood in Garhwal before migrating to Dhara Nagari .
Sada nand Jakhmola wrote two books on Kalidas- Mahkavi Kalidas and Kabvashram ka Parichaya’ in Hindi
Sada Nand Jakhmola expired on 29th October, 1977, Motdhang, Bhabhar, Kotdwara, Pauri Garhwal.
Copyright @ Bhishma Kukreti, Mumbai, India, 2009
Bhishma Kukreti
Sada Nand Jakhmola created Garhwali literature by the nick name ‘ Santat’ .Sada Nand Jakhmola is also famous for his devotional work in proving that the all time Greatest poet Kalidas was born in village, Kaviltha, Chamoli Garhwal.
Sada Nand Jakhmola was born on 10th July, 1900, in Chanda village, Sheela Patti of Pauri Garhwal, Uttarakhand.
He spent his life as teacher in Bhabhar, Kotdwara.
He published Garhwali poetry collection - Garhwali Guntyali and Raibar, he also wrote prose in Garhwali.
He translated Meghdoot with the name “Raibar’. Raibar means message in Garhwali.
He put his logic that a person can not describe Himalaya unless he did not spent his childhood in Garhwal Himalaya. Sada Nand Jakhmola provided examples from Abhigyam Shakuntalam Kumar Sambhav and Meghdoot that Kalidas was born in Garhwal and spent his childhood in Garhwal before migrating to Dhara Nagari .
Sada nand Jakhmola wrote two books on Kalidas- Mahkavi Kalidas and Kabvashram ka Parichaya’ in Hindi
Sada Nand Jakhmola expired on 29th October, 1977, Motdhang, Bhabhar, Kotdwara, Pauri Garhwal.
Copyright @ Bhishma Kukreti, Mumbai, India, 2009
Garhwali, Uttarakhand , Himalayan literature
Guna Nand Juyal : The Expert of Garhwali-Kumauni Phonology
Bhishma Kukreti
Dr Bhawani Dutt Upreti , the profound expert of Kumauni Phonology and grammar writes about Dr Guna Nand Juyal, “ From the point of view of Kumauni language, the work of Dr Guna nand Juyal is the initiating attempt in understanding the phonological aspects of Kumauni language and Garhwali language”.
Dr Guna Nand Juyal was born on 8th May , 1905, in Jivai village, Patti- Bangarsyun of Pauri Garhwali, Uttarakhand.
After passing B.Sc, he joined Survey of India but he did not like the administrative works in Survey of India and while working in SOI, he started to study further . He passed M.A. in Sanskrit and passed M A in Hindi with highest distinction in the University. He left Survey of India and joined Bareli College, Bareli as professor.
Dr Juyal is remembered for his notable work in phonological study of Garhwali and Kumauni languages.
He did research on “ Madhya Pahadi Bhasha (Garhwali-Kumauni) ka Anushilan aur uska Hindi se Sambandh’ He was awarded Ph.D. degree on the said subject and he published the book by the same name in 1967.
Dr Juyal explained many unresolved questions about Kumauni and Garhwali in the book “ Survey of Indian languages” by George Griarson.
Dr Guna Nand Juyal expired on 28th February, 1985 in Badyun
Today, the book, “ Madhya Pahadi (Garhwali and Kumauni) Bhasha ka Anushilan “ is referred by each researcher of Kumauni and Garhwali languages from phonological point of view.
Copyright: Bhishma Kukreti, Mumbai, India, 2009
Bhishma Kukreti
Dr Bhawani Dutt Upreti , the profound expert of Kumauni Phonology and grammar writes about Dr Guna Nand Juyal, “ From the point of view of Kumauni language, the work of Dr Guna nand Juyal is the initiating attempt in understanding the phonological aspects of Kumauni language and Garhwali language”.
Dr Guna Nand Juyal was born on 8th May , 1905, in Jivai village, Patti- Bangarsyun of Pauri Garhwali, Uttarakhand.
After passing B.Sc, he joined Survey of India but he did not like the administrative works in Survey of India and while working in SOI, he started to study further . He passed M.A. in Sanskrit and passed M A in Hindi with highest distinction in the University. He left Survey of India and joined Bareli College, Bareli as professor.
Dr Juyal is remembered for his notable work in phonological study of Garhwali and Kumauni languages.
He did research on “ Madhya Pahadi Bhasha (Garhwali-Kumauni) ka Anushilan aur uska Hindi se Sambandh’ He was awarded Ph.D. degree on the said subject and he published the book by the same name in 1967.
Dr Juyal explained many unresolved questions about Kumauni and Garhwali in the book “ Survey of Indian languages” by George Griarson.
Dr Guna Nand Juyal expired on 28th February, 1985 in Badyun
Today, the book, “ Madhya Pahadi (Garhwali and Kumauni) Bhasha ka Anushilan “ is referred by each researcher of Kumauni and Garhwali languages from phonological point of view.
Copyright: Bhishma Kukreti, Mumbai, India, 2009
Garhwali, Uttarakhand, Himalayan literature
Bhagwati Prasad Chandola : Garhwali Drama Creative
Bhishma Kukreti
Bhagwati Prasad Chandola wrote poetries in Garhwali and Hindi languages by the nick name ‘Sukumar’. he is famous in Garhwali literature for his drama writing
Bhagwati prasad was born on 6th July 1911 in Dehrdun. He completed his higher secondary education from Dehradun. Chandola was brilliant student and was praised by his teachers. After passing completing schooling from Dehradun, he went Shantniketan for higher studies.
After completing studies from Shantiniketan, he returned back to Dehradun and became head of the department of Hindi in Doon School, the world famous school.
He wrote a few stories in Garhwali and Hindi but his Garhwali language drama ‘ Aj Also Chhod Dyava’ was praised by audience than other language creativity . This drama is inspirational with lot of wit and sharp words accusing lazy people.
Bhagwati Prasad Chandola expired on 20th August 1983, in Dehradun.
Garhwali language literature will rember for his drama ‘ Aj Also Chhod Dyava”
Copyright@ Bhishma Kukreti, Mumbai,India, 2009
Bhishma Kukreti
Bhagwati Prasad Chandola wrote poetries in Garhwali and Hindi languages by the nick name ‘Sukumar’. he is famous in Garhwali literature for his drama writing
Bhagwati prasad was born on 6th July 1911 in Dehrdun. He completed his higher secondary education from Dehradun. Chandola was brilliant student and was praised by his teachers. After passing completing schooling from Dehradun, he went Shantniketan for higher studies.
After completing studies from Shantiniketan, he returned back to Dehradun and became head of the department of Hindi in Doon School, the world famous school.
He wrote a few stories in Garhwali and Hindi but his Garhwali language drama ‘ Aj Also Chhod Dyava’ was praised by audience than other language creativity . This drama is inspirational with lot of wit and sharp words accusing lazy people.
Bhagwati Prasad Chandola expired on 20th August 1983, in Dehradun.
Garhwali language literature will rember for his drama ‘ Aj Also Chhod Dyava”
Copyright@ Bhishma Kukreti, Mumbai,India, 2009
वीरबाला तीलू रोतेली
यह गढ़भूमि तब धन्य हुई थी
जब मां मैना ने वह चंडी जनि थी
संवत १७१८ में जन्मी थी
इसी गढ़देश की वह सिंघनी थी
वीर भाई भगतु - पत्वा ने
बहन नहीं दुर्गा पाई थी
15 की बाल उम्र में खड़ग उठाया
सोचो कैसी वह तरुनाई थी
कैसी वीर मां थी वह जिसने
बेटी को रन में था भेजा
सच में वह क्षत्राणी खून था
और था साहसी कलेजा
यह गढ़देश स्वतंत्र करने का
वीरांगना ने प्राण लिया था
सात साल तक लड़ती रही
तनिक भी न विश्राम किया था
तूफ़ान सा आ रहा था उधर
वीरबाला के कदम उठ रहे थे जिधर
निकली भी न थी म्यान से तलवार
की कतर गए थे चार सर
बह रही थी नदियाँ लहू की
कट रहे थे सर दुश्मनों के
वीरबाला रणचंडी बनी थी
उखड गए थे पग अशव तक के
जय हो जय नागिर्जा नरसिंघ
कह कह कर शत्रु संघार किया था
समूल विनाश करके दुश्मनों का
गढ़ वीरता को जता दिया था
मां दुर्गा ने अवतार लिया था
वीरबाला का देह धारण किया था
दुश्मनों का संघार करके
गढ़वासियों का भय हर लिया था
पर हर गए थे प्राण वीरांगना के
अंत में जय विजय पाकर
धोखे से पीठ पर वार खाया
चीख गूंजी थी नयारतट पर
हाय हमने देवी को खोकर
स्वतंत्रता को पाया था
धन्य वीरबाला सो सो बार तुम्हारा
जो इस देश में जन्म लिया था
(सर्वाधिकार सुरक्षित,उद्धरण, प्रकाशन के लिए कवि,लेखक की अनुमति लेना वांछनीय है)
Regards
Arun Sajwan
+91 9718675509
New Delhi
जब मां मैना ने वह चंडी जनि थी
संवत १७१८ में जन्मी थी
इसी गढ़देश की वह सिंघनी थी
वीर भाई भगतु - पत्वा ने
बहन नहीं दुर्गा पाई थी
15 की बाल उम्र में खड़ग उठाया
सोचो कैसी वह तरुनाई थी
कैसी वीर मां थी वह जिसने
बेटी को रन में था भेजा
सच में वह क्षत्राणी खून था
और था साहसी कलेजा
यह गढ़देश स्वतंत्र करने का
वीरांगना ने प्राण लिया था
सात साल तक लड़ती रही
तनिक भी न विश्राम किया था
तूफ़ान सा आ रहा था उधर
वीरबाला के कदम उठ रहे थे जिधर
निकली भी न थी म्यान से तलवार
की कतर गए थे चार सर
बह रही थी नदियाँ लहू की
कट रहे थे सर दुश्मनों के
वीरबाला रणचंडी बनी थी
उखड गए थे पग अशव तक के
जय हो जय नागिर्जा नरसिंघ
कह कह कर शत्रु संघार किया था
समूल विनाश करके दुश्मनों का
गढ़ वीरता को जता दिया था
मां दुर्गा ने अवतार लिया था
वीरबाला का देह धारण किया था
दुश्मनों का संघार करके
गढ़वासियों का भय हर लिया था
पर हर गए थे प्राण वीरांगना के
अंत में जय विजय पाकर
धोखे से पीठ पर वार खाया
चीख गूंजी थी नयारतट पर
हाय हमने देवी को खोकर
स्वतंत्रता को पाया था
धन्य वीरबाला सो सो बार तुम्हारा
जो इस देश में जन्म लिया था
(सर्वाधिकार सुरक्षित,उद्धरण, प्रकाशन के लिए कवि,लेखक की अनुमति लेना वांछनीय है)
Regards
Arun Sajwan
+91 9718675509
New Delhi
"तू बिराणी चीज"
क्या तरसेण त्वै फर,
प्यारी सुवा तू,
जन, नारंगी की दाणी,
चोळी तरसदी जन,
बोदि, सरग दिदा पाणी.
धणिया कू बीज सुवा,
धणिया कू बीज,
मन तरसेणु त्वै फर,
तू बिराणी चीज.
लगल्यौं कू झाड़ सुवा,
लगल्यौं कू झाड़,
जू होन्दि तू मेरी सुवा,
घुमौन्दु पहाड़.
जै भागी की होलि तू,
पराणु की प्यारी,
खुश होलु त्वै तैं हेरि,
दुनिया मा न्यारी.
रंग रूप यनु तेरु,
जन बुरांश कू फूल,
मन मेरु रंगमत,
गयौं अफु भूल.
होंसिया उमर तेरी,
होलि सोळा साल,
त्वै जनि नि देखि मैन,
कुमौ गढ़वाल.
धणिया कू बीज सुवा,
धणिया कू बीज,
क्या बोन्न लठ्याळि,
तू बिराणी चीज.
(सर्वाधिकार सुरक्षित,उद्धरण, प्रकाशन के लिए कवि,लेखक की अनुमति लेना वांछनीय है)
जगमोहन सिंह जयाड़ा "जिज्ञासू"
ग्राम: बागी नौसा, पट्टी. चन्द्रबदनी,
टेहरी गढ़वाल-२४९१२२
निवास: संगम विहार, नई दिल्ली
24.9.2009, दूरभास:9868795187
E-Mail: j_jayara@yahoo.com
प्यारी सुवा तू,
जन, नारंगी की दाणी,
चोळी तरसदी जन,
बोदि, सरग दिदा पाणी.
धणिया कू बीज सुवा,
धणिया कू बीज,
मन तरसेणु त्वै फर,
तू बिराणी चीज.
लगल्यौं कू झाड़ सुवा,
लगल्यौं कू झाड़,
जू होन्दि तू मेरी सुवा,
घुमौन्दु पहाड़.
जै भागी की होलि तू,
पराणु की प्यारी,
खुश होलु त्वै तैं हेरि,
दुनिया मा न्यारी.
रंग रूप यनु तेरु,
जन बुरांश कू फूल,
मन मेरु रंगमत,
गयौं अफु भूल.
होंसिया उमर तेरी,
होलि सोळा साल,
त्वै जनि नि देखि मैन,
कुमौ गढ़वाल.
धणिया कू बीज सुवा,
धणिया कू बीज,
क्या बोन्न लठ्याळि,
तू बिराणी चीज.
(सर्वाधिकार सुरक्षित,उद्धरण, प्रकाशन के लिए कवि,लेखक की अनुमति लेना वांछनीय है)
जगमोहन सिंह जयाड़ा "जिज्ञासू"
ग्राम: बागी नौसा, पट्टी. चन्द्रबदनी,
टेहरी गढ़वाल-२४९१२२
निवास: संगम विहार, नई दिल्ली
24.9.2009, दूरभास:9868795187
E-Mail: j_jayara@yahoo.com
"कंडाळी-सिस्यूण"
कंडाळी प्यारा पहाड़ मा प्रसिद्ध छ. कंडाळी कू त्यौहार भी होन्दु छ पहाड़ मा. कंडाळी कू साग....जू नि खै सकलु...यनु बिंगा...नि छन वैका बड़ा भाग... वीर भड़ुन...हमारा पित्रुन भी खाई छकिक......भूत भौत डरदु छ कंडाळी देखिक....
प्यारा उत्तराखंड मा, झर-झरी कंडाळी की डाळी,
गौं का न्यौड़ु पुन्गड़ौं मा, होन्दि छ झपन्याळी.
वीर भड़ुन भी खाई, झंगोरा मा राळि-राळि.
भूत भगौण मा काम औन्दि, झर-झरी कंडाळी.
ब्वै बाब डरौंदा दिखैक, छोरों तैं झर-झरी कंडाळी,
ऊछाद नि कन्नु मेरा बेटा, देख त्वैन बिंग्याली.
कथगा सवादि होन्दु छ, झर-झरी कंडाळी कू साग,
खालु क्वी भग्यान छकिक, जैका होला बड़ा भाग.
पित्रुन खाई काफलु बणैक, आस औलाद भी पाळी,
उत्तराखंडी भै बन्धु, बड़ा काम की चीज छ कंडाळी.
झूठा अर् चोर मन्खि फर, जब लगौन्दा छन कंडाळी,
वैका मुख सी छूटि जान्दु सच, देन्दु सारा राज ऊबाळी.
जुग-जुग राजि रै पहाड़ मा, बड़ा काम की हे कंडाळी,
फलि फूली प्यारा पहाड़, सदानि रै हरी भरी झपन्याळी.
(सर्वाधिकार सुरक्षित,उद्धरण, प्रकाशन के लिए कवि,लेखक की अनुमति लेना वांछनीय है)
जगमोहन सिंह जयाड़ा "जिज्ञासू"
ग्राम: बागी नौसा, पट्टी. चन्द्रबदनी,
टेहरी गढ़वाल-२४९१२२
निवास: संगम विहार, नई दिल्ली
16.9.2009, दूरभास:9868795187
E-Mail: j_jayara@yahoo.com
प्यारा उत्तराखंड मा, झर-झरी कंडाळी की डाळी,
गौं का न्यौड़ु पुन्गड़ौं मा, होन्दि छ झपन्याळी.
वीर भड़ुन भी खाई, झंगोरा मा राळि-राळि.
भूत भगौण मा काम औन्दि, झर-झरी कंडाळी.
ब्वै बाब डरौंदा दिखैक, छोरों तैं झर-झरी कंडाळी,
ऊछाद नि कन्नु मेरा बेटा, देख त्वैन बिंग्याली.
कथगा सवादि होन्दु छ, झर-झरी कंडाळी कू साग,
खालु क्वी भग्यान छकिक, जैका होला बड़ा भाग.
पित्रुन खाई काफलु बणैक, आस औलाद भी पाळी,
उत्तराखंडी भै बन्धु, बड़ा काम की चीज छ कंडाळी.
झूठा अर् चोर मन्खि फर, जब लगौन्दा छन कंडाळी,
वैका मुख सी छूटि जान्दु सच, देन्दु सारा राज ऊबाळी.
जुग-जुग राजि रै पहाड़ मा, बड़ा काम की हे कंडाळी,
फलि फूली प्यारा पहाड़, सदानि रै हरी भरी झपन्याळी.
(सर्वाधिकार सुरक्षित,उद्धरण, प्रकाशन के लिए कवि,लेखक की अनुमति लेना वांछनीय है)
जगमोहन सिंह जयाड़ा "जिज्ञासू"
ग्राम: बागी नौसा, पट्टी. चन्द्रबदनी,
टेहरी गढ़वाल-२४९१२२
निवास: संगम विहार, नई दिल्ली
16.9.2009, दूरभास:9868795187
E-Mail: j_jayara@yahoo.com
Garhwali, Himalayas Poet-38
Lalit Keshwan : The Initiator of Neo Modernism in Garhwali Poetry
(Review of-- Garhwali Literature, Garhwali Poems, Garhwali folk Literature)
Bhishma Kukreti
The Garhwali, Uttarakhand , Himalayan poetry can not be described without description of Lalit Keshwan. He along with Kanhayalal Dandriyal and Jayanand Khuksal ‘Baulya’ brought new thinking, realism, new style, new form, sharp satire,
Lalit Keshwan - the Garhwali poet, prose maker and Hindi poet was born in Sirali village, Idwalsyun Patti of Pauri Garhwal in 1940.
After, completing High School from Garhwali, he came to Delhi and struggled to settle down in the capital of India. The struggle in getting suitable job till he got back office job in Ashok Hotel made him poet. The new style of living in a five star hotel-Ashok Hotel by guests inspired him to break the old pattern of poetry creation in Garhwali language. He broke all the orthodoxies of old modern Garhwali poetry creation. In breaking old pattern of Garhwali poetry, he never left the touch of attracting the audience and readers. The readers may always, enjoy the rhymical , singing ability in his prose-poetry , he also acted in Garhwali film Dhai.
Besides, Garhwali language poetry creation, he also created poetry and prose in Hindi language.
He is still in demand in Garhwali Kavisammelan ( Reading poetry in conferences) because of his sharp satiric subject, lyrical pattern, contemporariness, freshness in the subject.
His publication details are as :
1-Khilda Phool, Hansda pat (Garhwali poetry collection)
2-Hari Hindwan a historical lyrical drama in Garhwali and Hindi languages
3-Dilhyan Din Tapyan Gham ( A Garhwali verses collection)
4- Jaga Hai desh (hindi poetry collection)
5- hamari ekta Jindbad (Hindi poetry collection)
6-Sabko Gale Lagate ( children poetry)
Udan tastary (stories for children)
Dr Shivanad Nautiyal praised him for his modernity in Garhwali literature and for thrilling the readers. Parashar Gaud put Keshwan among the top most poets of world poetry. Bhajan Singh Singh the famous Garhwali poet appreciated his work for changing the scenario in Garhwali language poetry. Another signature in Garhwali poetry world, Shambhu Prasad Bahugna eulogizes him for realism in Garhwali poetry.
He was reviewed well by many famous Garhwali critics as Rajendra Dhashmana, Swaroop Dhoundiyal, Prem lal Bhatt, Netra Singh Aswal and is awarded by Navani Puruskar anfd Uttar Pradesh government too
Copyright @ Bhishma Kukreti, Mumbai, India, 2009
(Review of-- Garhwali Literature, Garhwali Poems, Garhwali folk Literature)
Bhishma Kukreti
The Garhwali, Uttarakhand , Himalayan poetry can not be described without description of Lalit Keshwan. He along with Kanhayalal Dandriyal and Jayanand Khuksal ‘Baulya’ brought new thinking, realism, new style, new form, sharp satire,
Lalit Keshwan - the Garhwali poet, prose maker and Hindi poet was born in Sirali village, Idwalsyun Patti of Pauri Garhwal in 1940.
After, completing High School from Garhwali, he came to Delhi and struggled to settle down in the capital of India. The struggle in getting suitable job till he got back office job in Ashok Hotel made him poet. The new style of living in a five star hotel-Ashok Hotel by guests inspired him to break the old pattern of poetry creation in Garhwali language. He broke all the orthodoxies of old modern Garhwali poetry creation. In breaking old pattern of Garhwali poetry, he never left the touch of attracting the audience and readers. The readers may always, enjoy the rhymical , singing ability in his prose-poetry , he also acted in Garhwali film Dhai.
Besides, Garhwali language poetry creation, he also created poetry and prose in Hindi language.
He is still in demand in Garhwali Kavisammelan ( Reading poetry in conferences) because of his sharp satiric subject, lyrical pattern, contemporariness, freshness in the subject.
His publication details are as :
1-Khilda Phool, Hansda pat (Garhwali poetry collection)
2-Hari Hindwan a historical lyrical drama in Garhwali and Hindi languages
3-Dilhyan Din Tapyan Gham ( A Garhwali verses collection)
4- Jaga Hai desh (hindi poetry collection)
5- hamari ekta Jindbad (Hindi poetry collection)
6-Sabko Gale Lagate ( children poetry)
Udan tastary (stories for children)
Dr Shivanad Nautiyal praised him for his modernity in Garhwali literature and for thrilling the readers. Parashar Gaud put Keshwan among the top most poets of world poetry. Bhajan Singh Singh the famous Garhwali poet appreciated his work for changing the scenario in Garhwali language poetry. Another signature in Garhwali poetry world, Shambhu Prasad Bahugna eulogizes him for realism in Garhwali poetry.
He was reviewed well by many famous Garhwali critics as Rajendra Dhashmana, Swaroop Dhoundiyal, Prem lal Bhatt, Netra Singh Aswal and is awarded by Navani Puruskar anfd Uttar Pradesh government too
Copyright @ Bhishma Kukreti, Mumbai, India, 2009
Wednesday, September 23, 2009
गढ़वाली बाजूबंद काव्य - 1 - Garhwali Bajuband Kavya -1 (Garhwali Love Poems )
Garhwali Bajuband Kavya -1 (Garhwali Love Poems )
presented by Bhishma Kukreti
Beauty of Lover
1- फुर्कली पौन : छाजा माँ खड़ी ह्वै धार माँ कि सी जोने/जून
२-बांज को बुरीज : धार ह्वै जा दिख्वाली कांठा सी सुरीज
३-भुजेलो गुदयूं : मुखडी उदंकार जोनी कु सी उद्यौ
३-भेसो नि च चाँद : दुनिया घुमु पण कवी न देखी त्वै जन बांद
४- लोहा गढी छेणी: पिंग्लू रंग मुखडी को नथुली नि दिखेणी
५- पानी भरिया सोत : बांदू माँ कि बांद दिया जसी जोत
६- सुतरा कि दौंली : मुखडी बतौन्दी गोरी छे बल सौंली
Courtsey : Malchand Ramola from his book; Bajuband Kavyaa
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नयन बाण (आंख्युं आंख्युं मां सैन )
८- हिसर की गोंदी: आंखी तेरी तुरबन्द कैकी मौ खोंदी
९- दही खाई माखियून : दुन्या खांदी गिच्चन तू खांदी आंखियुन
१०-दाथ्डी की धार : आंखी तेरी फूटी जैन नजर ना मार
११-बाखारा की सींगी : मयालु की माया आंख्युं आंख्युं रिंगी
१२-दरजी की कैंची : मायादार आंखे मै दियाल पैन्छी
Courtsey and collected by : Mal Chand Rramola's book
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केहरी कटी (शेर की कमर या पतली कमर अथवा आकर्षक कमर)
१-आँखों को रतन: पतली कमर हिट्नू जतन
२-पानी भार्या भर :पतली कमर tutnou डर
३-लगुली को मोड़ : पतली कमर टूटी जाली को लगालू जोड़
दंत छटा
१- मांजी जाली छन्नी : रुब्सी दान्त्युन् हंसी दही खतेनी जनी
२-सुतरा कु तार : दान्तु चौक खुली मुखडी उदंकार
केश -पाश
१-दाठुडी दराज : स्युन्द की लटुली छुटी अर मुखडी बिराज
तिल सौंदर्य
१-बन्दुकी कु गज : गल्वाडी कु तिल, मुखडी बिराज
----------------------------------------------------------------------
चाल या हिटन
१- घट को भगवाडी : रुब्सी खुट्योंन तू चल अग्वाडी
२-बन्दूक कु गज : तू चल अग्वाडी मैं देखलू सज
मधुर वाणी
१-केला तोडी फली --- कै जगह सुणेली तेरी मोछंग सी गौल्ली (मोछंग एक वाद्य का नाम है )
२- घुघती को घोल ---गुद-बुद्या गिच्चिन हैक्कू बोल बोल
३-घुघती को घोल--- पाथो रुपया पड़ी जयां तेरी जुबानी को मोल (पाथो --अनाज नापने का लकडी का बर्तन )
४- बाखरी को रान : सौ रुप्यौं की दांती हजार की जुबान
सुकुमारता
१-साग लाई तोर --- नाक -डंडी tutige नथुली का जोर
कुच-कांति अथवा स्तन सौंदर्य
१-धनिया को बीज ----छाती का अनार तेरा तर्सौनिया चीज
----------------------------------------------------------------------
यौवन मद-जवानी की बौल (नशा, मदहोशी )
१- गुलेर कु गारू --- ज्वानी को नशा चढी पिलो फूल की सी दारू
२-साग लाये आलू ---ज्वानी को धध्कारू सौण सी छालू (धध्कारू ---एकदम पकडी आग)
३- कुठारी कु देण -- तरूणाई जवानी तेरी कैक होली देण
४-मोल गाडी भेली ---द्वी दिन की ज्वानी , रणु हंसी खेल
५-साग लाई कोइ --ज्वानी को मडू द्वी दिन को होई
६-डाल्ला पक्या आम --तरूणी जवानी उड़ीगे ऊड्यारी सी घाम (उड्यारी ---गुफा )
----------------------------------------------------------------------
प्रेम (माया )
१--रिंगाली की माणी--जौर न मुंडारु, क्या ह्वै होलू जाणी (जुआ- बुखार, मुडारू -सिरदर्द)
2--नथुली -फूलु- डाल्ली अध्फूलीन दूली भंवर
3--फूली जाली लाई ---तरूणी ज्वानी को सज माया देणी लाई (माया -प्रेम, )
4-माच्छा मारिन ऐन---द्वालेंदू प्राण क्या बिसारी मैन
5- नथुली पंवर-- फूलूँ डाली झकझोर रिंगी जा भंवर
6- सोनू टोली रती - माया को बीज कु-जगा नि खौती
7- लोहा गाडी छेणी --परदेशी की माया पैली जांच लेणी
८- हीरू पिस्या जीरू - इन लाण माया जू पाणी ना छिरू
९- डान्दू मर रीक --त्वै सरीकी जोड़ी पौंदु मांगी खांदी भीक (यदि तेरी सरीखी मिलती तो भीक मांगने में हर्ज न था)
१०- छतरा को तार --त्वै जौंला भाग होंदा छुड़ी छाकदु हार (यदि तुम मिलती तो हर्ष खुसी की कोई सीमा न होती )
Curtsey__ Mal Chand Ramola Ji's Bajuband Kavya
----------------------------------------------------------------------
माया --प्रेम
११- हरिया जौ का कीस--जन जन पे ठंदू पाणी तन तन बड़ी तीस
१२- यकुली को कंसो -माया लाण मन, शूरबीर करदू सान्सू
१३-सोना गढी संकल-- कित ब्यौना जयमाला की त रौलू खन्कल (खन्कल--अविवाहित)
१४-कुठारी कु खाना - अमीरू की माया छोडी फकीरूं बना
१५- कमोली को घ्यू --इन लाणी माया , माछी जन ज्यू
१६--- फूली जालो आरू- गौं पर की माया नजरूं कु सहारू
१७-- बखरा की सींगी ---फूल माथि भौंर बैठ्यूं त क्या करदी रिंगी
१८- सेरा लाई कूल ---रस चूसी भौंर ल्हीगे , रेगे बेरस फूल
१९- पाणी भरी घौडू-- परदेशी भौंरू कबी नि होन्दू अपडू
२०- बाखरा की सींगी - मायालू कु मायादार आंख्युं रिंगी
----------------------------------------------------------------------
भैंस को नाम छ चाँद ---मायालू की मायादार बांदू माँ की बांद
२२- कलम की रेक --बान्दून दुन्या भरीं मेरी मन की तू एक
२३-तिम्ला की पात ---सज्जन को संजोग लम्बी ह्वै जा रात
२४-नथुली पौंर---डाल्यूं डाल्यूं रस लेंदू रस-लोभी भौंर
२५-मालू तोड्या taantee ---घौन् gaon का baatoo नि आणू माया जांदी बाँटीं
----------------------------------------------------------------------
Garhwali Love Poem, Garhwal's Love Poems , Love Poems of Uttarakhand , Folk Love Poems of Garhwal -----
Maya, Prem or True Love
26 --तिमला को पात ----मन मिली माया लाणी, नी poochhnee जात
27---तमाखू की धिन्डी--तराजून तोली ल्योल्या कैकी माया बिंडी
झंगोरा की घाण ---- कैकी माया बिंडी, आंख्यूं माँ पछ्याण
सोना गढी रती ----तेरी माया गला गला मेरी माया कती
कुठार को खाना ---गौं की लाज रूबी तेरी माया का बाना
----------------------------------------------------------------------
Love Poems in Garhwali, Folk Garhwali Love Poems Love Poems of Garhwal, Garhwali Love Poems
Prem Love, Prem, Affection
३१- जडी खौंनी बूटी ----हिलनू मिलनू नी छोडी माया जांदी टूटी
३२--दान्त्यी गढी पाती ---केका सिर्वाना रैली चुदी भरीं हाती
३३--शिकारी का बूर --मायालू की माया क्या न्याडू क्या दूर
३४--पाणी को नरम--ऊंदो करी द्यू कॉल बचन धरम
३५- बखरा कू मॉस -जू करलू धोका विकी ज्वानी कु तमाशू
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Love poems of Garhwal गढ़वाली लोक गीत , Garhwali Folk Song, Folk verses of Uttarakhand
माया (प्रेम, Love)
Collection: Malchand ramola
Prsented by Bhishma Kukreti
३६-चांदी का बटण ---एखारी मायन क्या पूरी पटन
३७- चांदी का बटण ---माया लाणी सौंगी निभानी कठन
३८- थाकुली को कांसू --माया लाण मन शूरों को सांसू
३९- रिंगाली की माणी ---बाली माया त्वैमं लाई तुटली तू जाणी
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खुद, खुदेड़ कविता ( विरह, वियोग, विप्रलंभ श्रृंगार रसयुक्त कवितायेँ ,Poems of Pain of Separation )
Notes by Bhishma Kukreti
Bharat in Natyashashtra (6,45,prose form ) says about the pain of separation
There is another love rapture . In the code of Courteson, there are ten conditions of Separation.
Separation is related to eagerness and anxiety and anxiety, sigh, lassitude,are characteristics of
Separation, There are ten conditions of love of separion--because of arragnce, envy,disorder or accident or calamity,
use of abusive words or acts, irritation, false pride, depression, death, terror etc
Garhwalis who did not study any thing about principles of Poetry or dramas , they created marvelous love poems by
experiencing emotions :
१- घास कट्या kandaaroo ---कै पापीन करी माया कु मुंडारु
२- खालियानी को दांदो--माया को मुंडारो ज्यू कोरी कोर्रे खांदो
३- दुपट्टा रंग्युं --दुरु की माया बुरी होंदी ज्यू रौंदू tangyoo
४- पाणी भरी मग्गा-- झीट नि देख्नौ ज्यू रौंदू जगा
५- झंगोरा की बाल --तेरा बाट हेरी हेरी आणखी हवाएँ लाल
संग्रहकर्ता --मालचंद रमोला
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खुदेड़ बाजूबंद गीत (विरह श्रृंगारिक कवितायेँ Folk Songs of Separation)
१- तिमली को पट: बाटा हेरी मरयूं ठाडी कपाली हात
२- बखरी बिन्वार : कै पर देखुलू तेरी अन्वार
३- परोठो दूध को : मुखडी को पाणी सुकी तुमारी खुद को
४-चरीजालू भैरो : जादा नि खुदेणु रंग जालो तेरो
५- डाला पकी बेर : आज कु मिलणु ह्वै गे बरसू को फेर
संग्रह कर्ता : मालचंद रमोला
प्रस्तुति: भीष्म कुकरेती
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बाजूबंद काव्य में खुद (गढ़वाली हिमालय लोक गीतों में विरह वेदना )
Rapture of Pain of separation in Folk Love Songs, Poems of Garhwal , हिमालायास
११- सेंदूर की डब्बी --ज्यू जान बचीं रैली मिली जौंला कब्बी
१२-लगोठी का बाद --घडी घडी आन्द तेरी माया की याद
१३- तौलो पाक्यौ भोज ---तुमारी खुदन होई आधी रोटी रोज
१४- डाली बूणी घेरू --औन्दी तेरी याद ज्यू कटेंदू तेरो
१५- अखोड की सांई -- उच्चू डान्दू निस्सू कॉरी त्वै मिल्नौ तैं
संग्रहकर्ता ---मालचंद रमोला
प्रस्तुती --भीष्म कुकरेती
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बाजूबंद में खुद (बाजूबंद में विरह वेदना)
Pain of Separation in Folk Songs , Folk Poems of Garhwal , Himalayas
संग्रहकर्ता: मालचंद रमोला
प्रस्तुति ; भीष्म कुकरेती
१६- कुल्लैं को द्वार -- उडान्दू पंछी होन्दु उद्द ओउन्दू त्यारा ध्वार
१७- भित्ति मारी माखी -- फिरडी फिरडी मरयूं सुवा नि मील कखी
१८-पानी उम्लाई ---बिस्र्युं धंदा थौ कै पापीं समलाई
१९-काली चूडी कांच --नेडू लाणु खान्दू रहणु दिन दस पांच
20-दले जाली दाळ --नाक की नथुली बेचुला ना जा सुवा माल
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बाजूबंद काव्य में खुद (बाजूबंद कव्य में विरह वेदना )
Pain of Separation in Garhwali, Uttarakhand Folk Poetry
Collected by Malchand Ramola
Presented by Bhishma Kukreti
२१- साग लाई मेथी - ना जा सुआ मॉल घर ही कमौंला खेती
२२- झगुली को मैल ---तू जांदू मॉल, मैं बी ल्हीजा गैल
२३- घुघता की घोली ---सुत्बिज छोडी tapraandi होली
२४- झगुली कट्ठ्याली---तेरो मायादार मीन देखी रुनु थौ लाठ्याली
२५--थकुली को कांसू -- बांजा बौण्म रोली को फ़ुन्जलो आंसू
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विरहयुक्त बाजूबंद काव्य
Pain of Separation in Folk Songs of Garhwal, Uttrakhand , Himalayas
Collection by : Malchand Ramola
Presented by : Bhishma Kukreti
२६- देवता की मन्दुली-- तू होली दौली मी तेरा गलाकी घन्दुली
२७--डाली का डोका -पैली लाई माया पिछ्वाडी लाई धोका
२८-लाठी लाया मुंद-- उल्यारा प्राण तेरो केन होय कुंद
२९-बांज काटे घास -बारी मास रह्या त्वै मिलने आस
३०-छांछ छोली रौड़ी--दिल का कल्यूर लाये त्योऊ दया नि बौडी
३१-छान्सो को मखन --मिलणु दुर्लभ ह्वै गे देख्णु कखन
३२- सिंदूर की डब्बी - फूल टूटी जुडी जांदी दिल टूटी नि जुड्दो कब्बी
३३- डाली कांत्या फेद -- जाखी लाई माया ताखी नाडी भेद
३४- डाला पक्की आम -- जन्नी कन्नी माया से त बढिया ताप ले घाम
३५- रोटी पकाई लगड़ी--बाटम मिली ज्यू बी ल्ही गे दगडी
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विरह युक्त बाजूबंद काव्य
Pain of Separation in Garhwali, Uttrakhandi Folk Songs
३६- बखरा की सींगी --न ह्वै सेवा सौंली न पछेन्दू रिंगी
३७- माछी मारी ऐन --नजरी संयार ऐजा क्या चितौन कैन
३८- शिकारी को बूर --सच्ची माया होली मिली जुला जरूर
मालचंद रमोला द्वारा संग्रहित
भीष्म कुकरेती की प्रस्तुति
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वाजुबंद काव्य में स्वप्न (गढ़वाल , उत्तराखंड, हिमालय के लोक गीतों में स्वप्न )
Dream in Folk Songs , Folk Poems of Garhwal, Uttarakhand, Himalayas
Collection: Ramchand Ramola
Presented by Bhishma Kukreti
१- मलेऊ की पांत --रातू का सुपिना नि औनु होंदी उकरांत
२- काटी जाली सुपारी --सुपिना की नींद टूटी आंखी ना उफारी
३- कू तोडी बंद --झट दर्शन दे जा सुपिना का धन्द
४- बाखरा की सींगी ---रातु का सुपिनी माँ आयी दिन आंख्युं माँ रीँगी
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बाजूबंद काव्य में उपहार या सौगात
Gifts in Folk Songs of Garhwal, Uttarakhand, Himalayas,
Gifts in Garhwali Love poems
Collection: Malchand Ramola
Presented : By Bhishma Kukreti
१- बिछौनु दरी कु - सौगात दे जा उमर भरी कु
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बाजूबंद काव्य में शकुन
Marvelous Divination in Folk Songs, Folk Poems of Garhwal , Uttarakhand, Himalayas
Marvelous divination in Garhwali, Uttarakhand Folk Songs
Collection: Malchand Ramola
Presented by Bhishma Kukreti
रिन्गाली की माणी --बाँई आंखी फरकि सुआ औन्दु जाणी
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बाजूबंद काव्य में चुम्बन
Kissing in Folk Songs, Folk Poems of Garhwal, Uttarakhand, Himalayas
Kissing in Garhwali Folk Poems
Collection: Malchand Ramola
Presented by Bhishma Kukreti
१- साबुन को फेण--गुदबुदया गिची गुद लेकी पेण
२- खैन्दी च कढाई ---ओंठों पर ओंठो मिलै दान्त्युं ना करी लडाई
३- लोहा गढ़ी छेणी-- रुब्सी ! गिची कै पेण नि दिनी
४- कागजू का तौ - पिंगली galwaadi दान्तूं का घौ
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बाजूबंद काव्य में रूठना (मान)
Coquetry /Anger in Folk Songs , Folk Poetry of Garhwal, Uttarakhand, हिमालायास
Collection: Malchand Ramola
Presented by Bhishma Kukreti
डाली को हरील --- तू रूसे जैली क्या ब्वालाल शरील
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बाजूबंद काव्य में सन्देश (रैबार )
Messages in Folk Songs, Folk Poems of Garhwal, Uttarakhand , हिमालायास
Collection: Malchand Ramola
Presented by Bhishma Kukreti
१- चांदी का बटण --रैबार लीजा खुदन ह्वै गयौं काठी बरण
२- आंखी को रतन --रैबार ल्ही जा की ज्यू रखी जतन
३-घट पिस्या मैन्दी --बाटा को बटोही लहै दी सुआ की सैदी
४- दाथ्डी की धार--कु भग्यान ल्ही जालो मेरो रैबार
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गढ़वाली बाजूबंद काव्य के विविध रंग
Various Colors in Folk Songs of Garhwal, Uttarakhand, Himalayas
Various subjects in Garhwali -Kumaoni Folk Songs, Garhwali, Kumauni Folk Poetry
Collection: Malchand ramola
Presented by Bhishma Kukreti
1- डीला घुरी गोणी--विधाता की लेखी चल चूक नि होणी
२-साग लाई कोया --सदानी नि रौंदा पाख, पख्याडू अर छोया
३-क्याला कु फिरक--गाड गदनुं न सुकी जाण रै जाण सिलवानी निरक
४- छतरी को खोल--मर्दि ज्युंदी संसार कैको आज कैको भोल
५- माछी मारी गैब --दुन्या रूठी साड़ी पर तू ना रूठी दैब
६- सान्दंं की किली - द्वी दिन कु जींनु रेणु हिली मिली
७- पालिंगो को साग --मनखी जौली माया होंदी, पुरुष जौला भाग
८-ओडी जाली खेस - इन लाणी पगडी जो नीम रखो हमेश
९- पोस्तु की अफीम --दुपट्टा बेमान होन्दु टोपी लांदी नीम
१०-बांज काटया गेली --कुछ ह्वैगी लेणी- देणी कुछ लोणा तेली
११- देवता की रोत -डांडू की कुरेडी लोटी ह्वैगे अन्धालोट
१२- सरकाई सुई - परदेसी माँ नी रोणू पट्टी जांदी ख्वी
१३- झांसी को मन्दोल --द्वी बचन बाजूबंद लौला विपदा को दंदोल
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presented by Bhishma Kukreti
Beauty of Lover
1- फुर्कली पौन : छाजा माँ खड़ी ह्वै धार माँ कि सी जोने/जून
२-बांज को बुरीज : धार ह्वै जा दिख्वाली कांठा सी सुरीज
३-भुजेलो गुदयूं : मुखडी उदंकार जोनी कु सी उद्यौ
३-भेसो नि च चाँद : दुनिया घुमु पण कवी न देखी त्वै जन बांद
४- लोहा गढी छेणी: पिंग्लू रंग मुखडी को नथुली नि दिखेणी
५- पानी भरिया सोत : बांदू माँ कि बांद दिया जसी जोत
६- सुतरा कि दौंली : मुखडी बतौन्दी गोरी छे बल सौंली
Courtsey : Malchand Ramola from his book; Bajuband Kavyaa
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नयन बाण (आंख्युं आंख्युं मां सैन )
८- हिसर की गोंदी: आंखी तेरी तुरबन्द कैकी मौ खोंदी
९- दही खाई माखियून : दुन्या खांदी गिच्चन तू खांदी आंखियुन
१०-दाथ्डी की धार : आंखी तेरी फूटी जैन नजर ना मार
११-बाखारा की सींगी : मयालु की माया आंख्युं आंख्युं रिंगी
१२-दरजी की कैंची : मायादार आंखे मै दियाल पैन्छी
Courtsey and collected by : Mal Chand Rramola's book
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केहरी कटी (शेर की कमर या पतली कमर अथवा आकर्षक कमर)
१-आँखों को रतन: पतली कमर हिट्नू जतन
२-पानी भार्या भर :पतली कमर tutnou डर
३-लगुली को मोड़ : पतली कमर टूटी जाली को लगालू जोड़
दंत छटा
१- मांजी जाली छन्नी : रुब्सी दान्त्युन् हंसी दही खतेनी जनी
२-सुतरा कु तार : दान्तु चौक खुली मुखडी उदंकार
केश -पाश
१-दाठुडी दराज : स्युन्द की लटुली छुटी अर मुखडी बिराज
तिल सौंदर्य
१-बन्दुकी कु गज : गल्वाडी कु तिल, मुखडी बिराज
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चाल या हिटन
१- घट को भगवाडी : रुब्सी खुट्योंन तू चल अग्वाडी
२-बन्दूक कु गज : तू चल अग्वाडी मैं देखलू सज
मधुर वाणी
१-केला तोडी फली --- कै जगह सुणेली तेरी मोछंग सी गौल्ली (मोछंग एक वाद्य का नाम है )
२- घुघती को घोल ---गुद-बुद्या गिच्चिन हैक्कू बोल बोल
३-घुघती को घोल--- पाथो रुपया पड़ी जयां तेरी जुबानी को मोल (पाथो --अनाज नापने का लकडी का बर्तन )
४- बाखरी को रान : सौ रुप्यौं की दांती हजार की जुबान
सुकुमारता
१-साग लाई तोर --- नाक -डंडी tutige नथुली का जोर
कुच-कांति अथवा स्तन सौंदर्य
१-धनिया को बीज ----छाती का अनार तेरा तर्सौनिया चीज
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यौवन मद-जवानी की बौल (नशा, मदहोशी )
१- गुलेर कु गारू --- ज्वानी को नशा चढी पिलो फूल की सी दारू
२-साग लाये आलू ---ज्वानी को धध्कारू सौण सी छालू (धध्कारू ---एकदम पकडी आग)
३- कुठारी कु देण -- तरूणाई जवानी तेरी कैक होली देण
४-मोल गाडी भेली ---द्वी दिन की ज्वानी , रणु हंसी खेल
५-साग लाई कोइ --ज्वानी को मडू द्वी दिन को होई
६-डाल्ला पक्या आम --तरूणी जवानी उड़ीगे ऊड्यारी सी घाम (उड्यारी ---गुफा )
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प्रेम (माया )
१--रिंगाली की माणी--जौर न मुंडारु, क्या ह्वै होलू जाणी (जुआ- बुखार, मुडारू -सिरदर्द)
2--नथुली -फूलु- डाल्ली अध्फूलीन दूली भंवर
3--फूली जाली लाई ---तरूणी ज्वानी को सज माया देणी लाई (माया -प्रेम, )
4-माच्छा मारिन ऐन---द्वालेंदू प्राण क्या बिसारी मैन
5- नथुली पंवर-- फूलूँ डाली झकझोर रिंगी जा भंवर
6- सोनू टोली रती - माया को बीज कु-जगा नि खौती
7- लोहा गाडी छेणी --परदेशी की माया पैली जांच लेणी
८- हीरू पिस्या जीरू - इन लाण माया जू पाणी ना छिरू
९- डान्दू मर रीक --त्वै सरीकी जोड़ी पौंदु मांगी खांदी भीक (यदि तेरी सरीखी मिलती तो भीक मांगने में हर्ज न था)
१०- छतरा को तार --त्वै जौंला भाग होंदा छुड़ी छाकदु हार (यदि तुम मिलती तो हर्ष खुसी की कोई सीमा न होती )
Curtsey__ Mal Chand Ramola Ji's Bajuband Kavya
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माया --प्रेम
११- हरिया जौ का कीस--जन जन पे ठंदू पाणी तन तन बड़ी तीस
१२- यकुली को कंसो -माया लाण मन, शूरबीर करदू सान्सू
१३-सोना गढी संकल-- कित ब्यौना जयमाला की त रौलू खन्कल (खन्कल--अविवाहित)
१४-कुठारी कु खाना - अमीरू की माया छोडी फकीरूं बना
१५- कमोली को घ्यू --इन लाणी माया , माछी जन ज्यू
१६--- फूली जालो आरू- गौं पर की माया नजरूं कु सहारू
१७-- बखरा की सींगी ---फूल माथि भौंर बैठ्यूं त क्या करदी रिंगी
१८- सेरा लाई कूल ---रस चूसी भौंर ल्हीगे , रेगे बेरस फूल
१९- पाणी भरी घौडू-- परदेशी भौंरू कबी नि होन्दू अपडू
२०- बाखरा की सींगी - मायालू कु मायादार आंख्युं रिंगी
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भैंस को नाम छ चाँद ---मायालू की मायादार बांदू माँ की बांद
२२- कलम की रेक --बान्दून दुन्या भरीं मेरी मन की तू एक
२३-तिम्ला की पात ---सज्जन को संजोग लम्बी ह्वै जा रात
२४-नथुली पौंर---डाल्यूं डाल्यूं रस लेंदू रस-लोभी भौंर
२५-मालू तोड्या taantee ---घौन् gaon का baatoo नि आणू माया जांदी बाँटीं
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Garhwali Love Poem, Garhwal's Love Poems , Love Poems of Uttarakhand , Folk Love Poems of Garhwal -----
Maya, Prem or True Love
26 --तिमला को पात ----मन मिली माया लाणी, नी poochhnee जात
27---तमाखू की धिन्डी--तराजून तोली ल्योल्या कैकी माया बिंडी
झंगोरा की घाण ---- कैकी माया बिंडी, आंख्यूं माँ पछ्याण
सोना गढी रती ----तेरी माया गला गला मेरी माया कती
कुठार को खाना ---गौं की लाज रूबी तेरी माया का बाना
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Love Poems in Garhwali, Folk Garhwali Love Poems Love Poems of Garhwal, Garhwali Love Poems
Prem Love, Prem, Affection
३१- जडी खौंनी बूटी ----हिलनू मिलनू नी छोडी माया जांदी टूटी
३२--दान्त्यी गढी पाती ---केका सिर्वाना रैली चुदी भरीं हाती
३३--शिकारी का बूर --मायालू की माया क्या न्याडू क्या दूर
३४--पाणी को नरम--ऊंदो करी द्यू कॉल बचन धरम
३५- बखरा कू मॉस -जू करलू धोका विकी ज्वानी कु तमाशू
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Love poems of Garhwal गढ़वाली लोक गीत , Garhwali Folk Song, Folk verses of Uttarakhand
माया (प्रेम, Love)
Collection: Malchand ramola
Prsented by Bhishma Kukreti
३६-चांदी का बटण ---एखारी मायन क्या पूरी पटन
३७- चांदी का बटण ---माया लाणी सौंगी निभानी कठन
३८- थाकुली को कांसू --माया लाण मन शूरों को सांसू
३९- रिंगाली की माणी ---बाली माया त्वैमं लाई तुटली तू जाणी
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खुद, खुदेड़ कविता ( विरह, वियोग, विप्रलंभ श्रृंगार रसयुक्त कवितायेँ ,Poems of Pain of Separation )
Notes by Bhishma Kukreti
Bharat in Natyashashtra (6,45,prose form ) says about the pain of separation
There is another love rapture . In the code of Courteson, there are ten conditions of Separation.
Separation is related to eagerness and anxiety and anxiety, sigh, lassitude,are characteristics of
Separation, There are ten conditions of love of separion--because of arragnce, envy,disorder or accident or calamity,
use of abusive words or acts, irritation, false pride, depression, death, terror etc
Garhwalis who did not study any thing about principles of Poetry or dramas , they created marvelous love poems by
experiencing emotions :
१- घास कट्या kandaaroo ---कै पापीन करी माया कु मुंडारु
२- खालियानी को दांदो--माया को मुंडारो ज्यू कोरी कोर्रे खांदो
३- दुपट्टा रंग्युं --दुरु की माया बुरी होंदी ज्यू रौंदू tangyoo
४- पाणी भरी मग्गा-- झीट नि देख्नौ ज्यू रौंदू जगा
५- झंगोरा की बाल --तेरा बाट हेरी हेरी आणखी हवाएँ लाल
संग्रहकर्ता --मालचंद रमोला
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खुदेड़ बाजूबंद गीत (विरह श्रृंगारिक कवितायेँ Folk Songs of Separation)
१- तिमली को पट: बाटा हेरी मरयूं ठाडी कपाली हात
२- बखरी बिन्वार : कै पर देखुलू तेरी अन्वार
३- परोठो दूध को : मुखडी को पाणी सुकी तुमारी खुद को
४-चरीजालू भैरो : जादा नि खुदेणु रंग जालो तेरो
५- डाला पकी बेर : आज कु मिलणु ह्वै गे बरसू को फेर
संग्रह कर्ता : मालचंद रमोला
प्रस्तुति: भीष्म कुकरेती
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बाजूबंद काव्य में खुद (गढ़वाली हिमालय लोक गीतों में विरह वेदना )
Rapture of Pain of separation in Folk Love Songs, Poems of Garhwal , हिमालायास
११- सेंदूर की डब्बी --ज्यू जान बचीं रैली मिली जौंला कब्बी
१२-लगोठी का बाद --घडी घडी आन्द तेरी माया की याद
१३- तौलो पाक्यौ भोज ---तुमारी खुदन होई आधी रोटी रोज
१४- डाली बूणी घेरू --औन्दी तेरी याद ज्यू कटेंदू तेरो
१५- अखोड की सांई -- उच्चू डान्दू निस्सू कॉरी त्वै मिल्नौ तैं
संग्रहकर्ता ---मालचंद रमोला
प्रस्तुती --भीष्म कुकरेती
----------------------------------------------------------------------
बाजूबंद में खुद (बाजूबंद में विरह वेदना)
Pain of Separation in Folk Songs , Folk Poems of Garhwal , Himalayas
संग्रहकर्ता: मालचंद रमोला
प्रस्तुति ; भीष्म कुकरेती
१६- कुल्लैं को द्वार -- उडान्दू पंछी होन्दु उद्द ओउन्दू त्यारा ध्वार
१७- भित्ति मारी माखी -- फिरडी फिरडी मरयूं सुवा नि मील कखी
१८-पानी उम्लाई ---बिस्र्युं धंदा थौ कै पापीं समलाई
१९-काली चूडी कांच --नेडू लाणु खान्दू रहणु दिन दस पांच
20-दले जाली दाळ --नाक की नथुली बेचुला ना जा सुवा माल
----------------------------------------------------------------------
बाजूबंद काव्य में खुद (बाजूबंद कव्य में विरह वेदना )
Pain of Separation in Garhwali, Uttarakhand Folk Poetry
Collected by Malchand Ramola
Presented by Bhishma Kukreti
२१- साग लाई मेथी - ना जा सुआ मॉल घर ही कमौंला खेती
२२- झगुली को मैल ---तू जांदू मॉल, मैं बी ल्हीजा गैल
२३- घुघता की घोली ---सुत्बिज छोडी tapraandi होली
२४- झगुली कट्ठ्याली---तेरो मायादार मीन देखी रुनु थौ लाठ्याली
२५--थकुली को कांसू -- बांजा बौण्म रोली को फ़ुन्जलो आंसू
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विरहयुक्त बाजूबंद काव्य
Pain of Separation in Folk Songs of Garhwal, Uttrakhand , Himalayas
Collection by : Malchand Ramola
Presented by : Bhishma Kukreti
२६- देवता की मन्दुली-- तू होली दौली मी तेरा गलाकी घन्दुली
२७--डाली का डोका -पैली लाई माया पिछ्वाडी लाई धोका
२८-लाठी लाया मुंद-- उल्यारा प्राण तेरो केन होय कुंद
२९-बांज काटे घास -बारी मास रह्या त्वै मिलने आस
३०-छांछ छोली रौड़ी--दिल का कल्यूर लाये त्योऊ दया नि बौडी
३१-छान्सो को मखन --मिलणु दुर्लभ ह्वै गे देख्णु कखन
३२- सिंदूर की डब्बी - फूल टूटी जुडी जांदी दिल टूटी नि जुड्दो कब्बी
३३- डाली कांत्या फेद -- जाखी लाई माया ताखी नाडी भेद
३४- डाला पक्की आम -- जन्नी कन्नी माया से त बढिया ताप ले घाम
३५- रोटी पकाई लगड़ी--बाटम मिली ज्यू बी ल्ही गे दगडी
----------------------------------------------------------------------
विरह युक्त बाजूबंद काव्य
Pain of Separation in Garhwali, Uttrakhandi Folk Songs
३६- बखरा की सींगी --न ह्वै सेवा सौंली न पछेन्दू रिंगी
३७- माछी मारी ऐन --नजरी संयार ऐजा क्या चितौन कैन
३८- शिकारी को बूर --सच्ची माया होली मिली जुला जरूर
मालचंद रमोला द्वारा संग्रहित
भीष्म कुकरेती की प्रस्तुति
----------------------------------------------------------------------
वाजुबंद काव्य में स्वप्न (गढ़वाल , उत्तराखंड, हिमालय के लोक गीतों में स्वप्न )
Dream in Folk Songs , Folk Poems of Garhwal, Uttarakhand, Himalayas
Collection: Ramchand Ramola
Presented by Bhishma Kukreti
१- मलेऊ की पांत --रातू का सुपिना नि औनु होंदी उकरांत
२- काटी जाली सुपारी --सुपिना की नींद टूटी आंखी ना उफारी
३- कू तोडी बंद --झट दर्शन दे जा सुपिना का धन्द
४- बाखरा की सींगी ---रातु का सुपिनी माँ आयी दिन आंख्युं माँ रीँगी
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बाजूबंद काव्य में उपहार या सौगात
Gifts in Folk Songs of Garhwal, Uttarakhand, Himalayas,
Gifts in Garhwali Love poems
Collection: Malchand Ramola
Presented : By Bhishma Kukreti
१- बिछौनु दरी कु - सौगात दे जा उमर भरी कु
----------------------------------------------------------------------
बाजूबंद काव्य में शकुन
Marvelous Divination in Folk Songs, Folk Poems of Garhwal , Uttarakhand, Himalayas
Marvelous divination in Garhwali, Uttarakhand Folk Songs
Collection: Malchand Ramola
Presented by Bhishma Kukreti
रिन्गाली की माणी --बाँई आंखी फरकि सुआ औन्दु जाणी
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बाजूबंद काव्य में चुम्बन
Kissing in Folk Songs, Folk Poems of Garhwal, Uttarakhand, Himalayas
Kissing in Garhwali Folk Poems
Collection: Malchand Ramola
Presented by Bhishma Kukreti
१- साबुन को फेण--गुदबुदया गिची गुद लेकी पेण
२- खैन्दी च कढाई ---ओंठों पर ओंठो मिलै दान्त्युं ना करी लडाई
३- लोहा गढ़ी छेणी-- रुब्सी ! गिची कै पेण नि दिनी
४- कागजू का तौ - पिंगली galwaadi दान्तूं का घौ
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बाजूबंद काव्य में रूठना (मान)
Coquetry /Anger in Folk Songs , Folk Poetry of Garhwal, Uttarakhand, हिमालायास
Collection: Malchand Ramola
Presented by Bhishma Kukreti
डाली को हरील --- तू रूसे जैली क्या ब्वालाल शरील
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बाजूबंद काव्य में सन्देश (रैबार )
Messages in Folk Songs, Folk Poems of Garhwal, Uttarakhand , हिमालायास
Collection: Malchand Ramola
Presented by Bhishma Kukreti
१- चांदी का बटण --रैबार लीजा खुदन ह्वै गयौं काठी बरण
२- आंखी को रतन --रैबार ल्ही जा की ज्यू रखी जतन
३-घट पिस्या मैन्दी --बाटा को बटोही लहै दी सुआ की सैदी
४- दाथ्डी की धार--कु भग्यान ल्ही जालो मेरो रैबार
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गढ़वाली बाजूबंद काव्य के विविध रंग
Various Colors in Folk Songs of Garhwal, Uttarakhand, Himalayas
Various subjects in Garhwali -Kumaoni Folk Songs, Garhwali, Kumauni Folk Poetry
Collection: Malchand ramola
Presented by Bhishma Kukreti
1- डीला घुरी गोणी--विधाता की लेखी चल चूक नि होणी
२-साग लाई कोया --सदानी नि रौंदा पाख, पख्याडू अर छोया
३-क्याला कु फिरक--गाड गदनुं न सुकी जाण रै जाण सिलवानी निरक
४- छतरी को खोल--मर्दि ज्युंदी संसार कैको आज कैको भोल
५- माछी मारी गैब --दुन्या रूठी साड़ी पर तू ना रूठी दैब
६- सान्दंं की किली - द्वी दिन कु जींनु रेणु हिली मिली
७- पालिंगो को साग --मनखी जौली माया होंदी, पुरुष जौला भाग
८-ओडी जाली खेस - इन लाणी पगडी जो नीम रखो हमेश
९- पोस्तु की अफीम --दुपट्टा बेमान होन्दु टोपी लांदी नीम
१०-बांज काटया गेली --कुछ ह्वैगी लेणी- देणी कुछ लोणा तेली
११- देवता की रोत -डांडू की कुरेडी लोटी ह्वैगे अन्धालोट
१२- सरकाई सुई - परदेसी माँ नी रोणू पट्टी जांदी ख्वी
१३- झांसी को मन्दोल --द्वी बचन बाजूबंद लौला विपदा को दंदोल
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Emotions in Bajuband Kvya ,Garhwali Folk Love Poems, Uttarakhand Folk Love Verses
Emotions in Bajuband Kvya ,Garhwali Folk Love Poems, Uttarakhand Folk Love Verses, Himalayans Folk Love Rhymes, Garhwali Folk Songs, Uttarakhand Folk Songs. Himalayan Folk Songs
Bhishma Kukreti
After studying above Garhwali Folk poems, Uttarakhand folk verses, Himalayan Garhwali couplets , everybody will agree that the following emotions alone or in groups are found in those Bajuband Poems:
1- Pleasure
2- Laughter
3-Grief
4-Anger
5-Zeal
6-Awe
7-Disgust
8-Surprise
9-Stunning
10-Sweat
11-Thrill
13-Trembling
14-Tears
15-Fainting
16-Detachment
17-Remorse
18-Apperehension
19-Envy
20-Depression
21-Anxiety
22- Delusion
23-Recollection
24- Contentment
25-Agility
26-Shyness
27-Joy
28-Agitation
29-Stupper
30-Dejection
31-Arrogance
32-Slumber
33-Awakening
34-Indignition
35-Dissimulation
36-Resolution
37-Disorder
38-Insanity
39-Terror
40-Deliveration
Copyright @Bhishma Kukreti, Mumbai, India, 2009
Bhishma Kukreti
After studying above Garhwali Folk poems, Uttarakhand folk verses, Himalayan Garhwali couplets , everybody will agree that the following emotions alone or in groups are found in those Bajuband Poems:
1- Pleasure
2- Laughter
3-Grief
4-Anger
5-Zeal
6-Awe
7-Disgust
8-Surprise
9-Stunning
10-Sweat
11-Thrill
13-Trembling
14-Tears
15-Fainting
16-Detachment
17-Remorse
18-Apperehension
19-Envy
20-Depression
21-Anxiety
22- Delusion
23-Recollection
24- Contentment
25-Agility
26-Shyness
27-Joy
28-Agitation
29-Stupper
30-Dejection
31-Arrogance
32-Slumber
33-Awakening
34-Indignition
35-Dissimulation
36-Resolution
37-Disorder
38-Insanity
39-Terror
40-Deliveration
Copyright @Bhishma Kukreti, Mumbai, India, 2009
Garhwali, Himalayan Folk Literature
Characteristics of Folk Poetry: Similarities between English and Garhwali Folk Poetries
Bhishma Kukreti
Human emotions are universally same and that is why there are many similarities of form and emotions among folk songs created in different areas of the world.
The author is providing two similarities between the English Folk Poetries songs of Garhwal, Uttarakhand, Himalayas Folk Poetries .
Meaningless Interjection : in both cases, that is Folk poetries of Britain before mid -age and Garhwali, Himalayan folk poetries, the first stanza is meaningless for the poetry subject but very important for construction of song and for singing by chorus too. Or it may be said that the first meaningless stanza has the importance for choral adequacy as we see in the following folk poems of English and Garhwali languages
Hey , Hey, hey
I will haue the whetston and I may; (Ref-1 )
Po, po, po, po,
Loue brane & so do mo. (Ref-2)
And now Garhwali folk poetr--
Bakhari binvar--sakal dunya ghumi kwee ni mili teri anvar (ref-3)
Amoebaean Style : The critic analyzes in Transition English Song Collections (Ref-4),that questions and answers are another common form in English folk songs of old age . The readers may enjoy this beautifully illustration of a song of the early fourteenth century. The analyzer further says that the song is disposed in recitative, but, relieved of these repetitions:
Maiden in the moor lay
Seven nights full and a day.
“Well, what was her meet?”
“The primrose and the violet.”
“Well, what was her dryng?”
“The chill water of (the) well spring.”
“Well, what was her bower?”
“The rede rose and the lilly flour.”
Now the readers may find the similarities in Garhwali folk songs that Bajuband poetry (refr-5), where questions and answers are common and the meaningless interjection is used for chorus adequacy only :
Fooli jai jai ,
Banj katdari kai gaon ki chhai ?
Babla ki kuchi ,
Kai bi gaon ki holi tu kya kardi puchhi ?
Ganjela ki gaanj ,
Sarkari jangal keku katdee banj ?
Thakula ki thari
Raja kaunku bhare jaun band jangle karee
Dhamkalu ghan tu ini jande chhai t keku ayee baun?……
These two examples show that the primitive Garhwalis and Englishmen used to create songs in somehow in same form and there was similarities in the subjects that invitation is for dance is already there in hidden form or explicit form as well
Reference:
1-. MS, Balliol ff. 226 b, 248 b—Anglia, XXVI, 270.
2- Bodleian MS., Eng. Poet. E. I. f. 29 b—Percy Society, LXXIII, 42.
3-Ramola, Malchand, Bajuband Kavya, Malchand Bhawan, Tihri, India, 1989,pp138
4- Characteristics of Folk-poetry,, XVI. Transition English Song Collections.
The Cambridge History of English and American Literature in 18 Volumes (1907–21).
Volume II. The End of the Middle Ages.
5-Nautiyal, Dr. Sivanand , 1981, Garhwali Nrityageet, Hindi , Sahitya Sammelan, Allahabad, pp279-282
Copyright @ Bhishma Kukreti, Mumbai, India, 2009
Bhishma Kukreti
Human emotions are universally same and that is why there are many similarities of form and emotions among folk songs created in different areas of the world.
The author is providing two similarities between the English Folk Poetries songs of Garhwal, Uttarakhand, Himalayas Folk Poetries .
Meaningless Interjection : in both cases, that is Folk poetries of Britain before mid -age and Garhwali, Himalayan folk poetries, the first stanza is meaningless for the poetry subject but very important for construction of song and for singing by chorus too. Or it may be said that the first meaningless stanza has the importance for choral adequacy as we see in the following folk poems of English and Garhwali languages
Hey , Hey, hey
I will haue the whetston and I may; (Ref-1 )
Po, po, po, po,
Loue brane & so do mo. (Ref-2)
And now Garhwali folk poetr--
Bakhari binvar--sakal dunya ghumi kwee ni mili teri anvar (ref-3)
Amoebaean Style : The critic analyzes in Transition English Song Collections (Ref-4),that questions and answers are another common form in English folk songs of old age . The readers may enjoy this beautifully illustration of a song of the early fourteenth century. The analyzer further says that the song is disposed in recitative, but, relieved of these repetitions:
Maiden in the moor lay
Seven nights full and a day.
“Well, what was her meet?”
“The primrose and the violet.”
“Well, what was her dryng?”
“The chill water of (the) well spring.”
“Well, what was her bower?”
“The rede rose and the lilly flour.”
Now the readers may find the similarities in Garhwali folk songs that Bajuband poetry (refr-5), where questions and answers are common and the meaningless interjection is used for chorus adequacy only :
Fooli jai jai ,
Banj katdari kai gaon ki chhai ?
Babla ki kuchi ,
Kai bi gaon ki holi tu kya kardi puchhi ?
Ganjela ki gaanj ,
Sarkari jangal keku katdee banj ?
Thakula ki thari
Raja kaunku bhare jaun band jangle karee
Dhamkalu ghan tu ini jande chhai t keku ayee baun?……
These two examples show that the primitive Garhwalis and Englishmen used to create songs in somehow in same form and there was similarities in the subjects that invitation is for dance is already there in hidden form or explicit form as well
Reference:
1-. MS, Balliol ff. 226 b, 248 b—Anglia, XXVI, 270.
2- Bodleian MS., Eng. Poet. E. I. f. 29 b—Percy Society, LXXIII, 42.
3-Ramola, Malchand, Bajuband Kavya, Malchand Bhawan, Tihri, India, 1989,pp138
4- Characteristics of Folk-poetry,, XVI. Transition English Song Collections.
The Cambridge History of English and American Literature in 18 Volumes (1907–21).
Volume II. The End of the Middle Ages.
5-Nautiyal, Dr. Sivanand , 1981, Garhwali Nrityageet, Hindi , Sahitya Sammelan, Allahabad, pp279-282
Copyright @ Bhishma Kukreti, Mumbai, India, 2009
Monday, September 21, 2009
Garhwali Poet - Mal Chand Ramola
Mal Chand Ramola : Who Collected Garhwali Bajuband Kavya (Folk Love Poems )
Bhishma Kukreti
There have been many Garhwali folk literature lovers who collected, reviewed the Garhwali Folk Songs, Folk Stories, Folk Arts , Proverbs but the author is witness that there have been only on Garhwali folk poetry lover and his name is Malchand Ramola. Ramola is also famous for creating Garhwali Dictionary, creating modern Garhwali poetry, publishing articles in Garhwali in regional periodicals, reading commentary on various subjects and Garhwali folk poems in All India Radio (Akashvani)
The literature of any language develops when its primitive literature is published and popularized among not only among its inhabitants but to other areas too. Malchand Ramola is credited to collect the primitive forms of Garhwali poetry ( which is still created in rural of Garhwal by its inhabitants) an dmaking it popular among Garhwalis and non-Garhwalis
One of the true and dedicated Garhwali folk literature lovers Malchand Ramola was born on 19th November 1915 in village bangdwara, Patti Dharmandal of Tihri Garhwal, Uttarakhand, India. After passing High School from Pratap Inter College Tihri, he joined Uttar Pradesh government Police services. He retired as Sub Inspector of Uttar Pradesh Police.
As a cop man , Malchand Ramola had to travell various remote areas of Tihri Garhwal and used to come with various types of people and the Garhwali literature lover Malchand took the opportunity for knowing various types of Garhwali folk literature, vocabulary of Garhwali specially poetic verses. Most of the knowledgeable Garhwalis did not take much interest in knowing all about Gbajuband Kavya or Garhwali Folk verse. Ramola took keen interest in Garhwali Bajuband poetries which is normally called Garhwali Love poems. However, Ramola found that the Bajuband poems are not only limited to love poems but the Garhwali folks have been creating Bajuband verses in all fields of subject.
He was influenced by great poet Turudatt who advocated folk poems in the following lines:
Absurd may be the tail I tell
It’ll suited to marching times
I love the lips from which it fell
So let it stand among my rhymes
Malchand Ramola will always be remembered in Garhwali literature for collecting the folk poems called Bajuband kavita and publishing two hundred fifty one such poems and then distributing the book free of cost that people know that Garhwal had a treasure of folk poems , which a re exclusive from common folk songs.
Bajuband poems are couplets and the first part does not have any relation to the second or last line. The last line has meaning in Bajuband verse.
Malchand Ramola not only collected folk poems of Garhwal but he reviewed each Bajuband verse by telling meaning of words and hidden meanings in Hindi,. He also compared each poem with poems of other languages.
Let the author shows one example of his work in reviewing the garhwali folk poems
fulee jaai lai---taruni Javani ko saj maya deni laai
He explained the poetry, compared this poem with a Braj Poem that the poet spent four stanzas in explaining same emotion , similarity with four lined verse of Vidyapati Thakur (Maithali ) , a Couplet of Das of Hindi, correspondenced with ‘Shers or gazals’ of famous Urdu poets Ustad Jauk, and Ustad Shauki, paralleled with the poem of English poet Lord Tennyson , evaluated with the couplets of Kabeer das, and measured with the poems of Raskhan Khan Khana.
The readers may understand the sound work of Malchand for reviewing each couplet of Garhwali Bajuband or Folk poem.
Though, now, Malchand Ramola is no more with us in this world but his contribution has been praised by eminent knowledgeable personalities of Garhwal as captain Shr Beer Singh brother of ex King of Garhwal , Dr Mahavver Prasad Gairola a prominent signature in Garhwali literature, Abodh Bandhu Bahuguna the top most literature creative of garhwali language, Arjun Singh Gusain the editor of Hilans, Ishwari Prasad Uniyal the editor of Garhwali daily paper Gadhaina and many more. Bhishma Kukreti wrote a fine commentary on this book Bajuband Kavya in Gadhaina and Ramola wrote that Bhishma Kukreti understood the urge of Ramola for publishing such a fine book in the history of Garhwali literature
Coyright@ Bhishma Kukreti, Mumbai, India, 2009
Bhishma Kukreti
There have been many Garhwali folk literature lovers who collected, reviewed the Garhwali Folk Songs, Folk Stories, Folk Arts , Proverbs but the author is witness that there have been only on Garhwali folk poetry lover and his name is Malchand Ramola. Ramola is also famous for creating Garhwali Dictionary, creating modern Garhwali poetry, publishing articles in Garhwali in regional periodicals, reading commentary on various subjects and Garhwali folk poems in All India Radio (Akashvani)
The literature of any language develops when its primitive literature is published and popularized among not only among its inhabitants but to other areas too. Malchand Ramola is credited to collect the primitive forms of Garhwali poetry ( which is still created in rural of Garhwal by its inhabitants) an dmaking it popular among Garhwalis and non-Garhwalis
One of the true and dedicated Garhwali folk literature lovers Malchand Ramola was born on 19th November 1915 in village bangdwara, Patti Dharmandal of Tihri Garhwal, Uttarakhand, India. After passing High School from Pratap Inter College Tihri, he joined Uttar Pradesh government Police services. He retired as Sub Inspector of Uttar Pradesh Police.
As a cop man , Malchand Ramola had to travell various remote areas of Tihri Garhwal and used to come with various types of people and the Garhwali literature lover Malchand took the opportunity for knowing various types of Garhwali folk literature, vocabulary of Garhwali specially poetic verses. Most of the knowledgeable Garhwalis did not take much interest in knowing all about Gbajuband Kavya or Garhwali Folk verse. Ramola took keen interest in Garhwali Bajuband poetries which is normally called Garhwali Love poems. However, Ramola found that the Bajuband poems are not only limited to love poems but the Garhwali folks have been creating Bajuband verses in all fields of subject.
He was influenced by great poet Turudatt who advocated folk poems in the following lines:
Absurd may be the tail I tell
It’ll suited to marching times
I love the lips from which it fell
So let it stand among my rhymes
Malchand Ramola will always be remembered in Garhwali literature for collecting the folk poems called Bajuband kavita and publishing two hundred fifty one such poems and then distributing the book free of cost that people know that Garhwal had a treasure of folk poems , which a re exclusive from common folk songs.
Bajuband poems are couplets and the first part does not have any relation to the second or last line. The last line has meaning in Bajuband verse.
Malchand Ramola not only collected folk poems of Garhwal but he reviewed each Bajuband verse by telling meaning of words and hidden meanings in Hindi,. He also compared each poem with poems of other languages.
Let the author shows one example of his work in reviewing the garhwali folk poems
fulee jaai lai---taruni Javani ko saj maya deni laai
He explained the poetry, compared this poem with a Braj Poem that the poet spent four stanzas in explaining same emotion , similarity with four lined verse of Vidyapati Thakur (Maithali ) , a Couplet of Das of Hindi, correspondenced with ‘Shers or gazals’ of famous Urdu poets Ustad Jauk, and Ustad Shauki, paralleled with the poem of English poet Lord Tennyson , evaluated with the couplets of Kabeer das, and measured with the poems of Raskhan Khan Khana.
The readers may understand the sound work of Malchand for reviewing each couplet of Garhwali Bajuband or Folk poem.
Though, now, Malchand Ramola is no more with us in this world but his contribution has been praised by eminent knowledgeable personalities of Garhwal as captain Shr Beer Singh brother of ex King of Garhwal , Dr Mahavver Prasad Gairola a prominent signature in Garhwali literature, Abodh Bandhu Bahuguna the top most literature creative of garhwali language, Arjun Singh Gusain the editor of Hilans, Ishwari Prasad Uniyal the editor of Garhwali daily paper Gadhaina and many more. Bhishma Kukreti wrote a fine commentary on this book Bajuband Kavya in Gadhaina and Ramola wrote that Bhishma Kukreti understood the urge of Ramola for publishing such a fine book in the history of Garhwali literature
Coyright@ Bhishma Kukreti, Mumbai, India, 2009
उत्तराखंडी कवि सम्मलेन"
एक बार कखि उत्तराखंडी कवि सम्मलेन कू आयोजन ह्वै. आयोजनकर्ताओंन विषय रखि "पर्वतीय नारी"...सब्बि कव्यौन सोचि...अपणी धर्मपत्नी भि त पर्वतीय नारी छ, किलै न ऊंका बारा मा ही कविता बोले जौ हास्य रूप मा.
एक कवि:
हमारी पर्वतीय नारी,
ब्याळि वींन मै फर,
स्यूं सग्त,
कर्छुलै की मारी,
खाँदा छैं त खैल्या,
निखाणि होलि तुमारी,
मैकु होयुं छ मुन्डारु,
आज अति भारी.
दूसरा कवि:
हमारी पर्वतीय नारी,
क्या बोन्न,
भग्यान छ भारी,
छोड़दि निछ डिसाणि,
ज्व छ वींकी लाचारी,
कब बणाला चाय मैकु,
करदी छ इंतजारी,
बात माणा जू,
रन्दि खुश भारी.
तीसरा कवि:
हमारी पर्वतीय नारी,
क्या बोन्न,
मिजाज वींका भारी,
वींकी नजर मा,
फुन्ड धोल्युं छौं मैं,
ज्व छ मेरी लाचारी,
कैमा नि बोल्यन,
कन्डाळिन भि,
सपोड़्यु छौं.
चौथा कवि:
हमारी पर्वतीय नारी,
क्या बोन्न,
वीं सनै पसन्द छ,
आलु कू थिन्च्वाणि,
हमारा घौर आऊ क्वी,
नि पिलौण्यां पाणी,
द्वी रोठी ज्यादा खौलु,
मन मा रन्दि,
भारी कणताणी.
पांचवां कवि:
हमारी पर्वतीय नारी,
क्या बोन्न,
प्रचंड वीन्कु रूप छ,
हाथ ध्वैक भूक छ
सैडा गौं का लोखु तैं,
वींकी भारी डौर छ,
मैन क्या बोन्न,
बिराळु बण्युं,
नर्क अपन्णु घौर छ.
(सर्वाधिकार सुरक्षित,उद्धरण, प्रकाशन के लिए कवि,लेखक की अनुमति लेना वांछनीय है)
जगमोहन सिंह जयाड़ा "जिज्ञासू"
ग्राम: बागी नौसा, पट्टी. चन्द्रबदनी,
टेहरी गढ़वाल-२४९१२२
निवास: संगम विहार, नई दिल्ली
17.9.२००९, दूरभास:9868795187
E-Mail: j_jayara@yahoo.com
एक कवि:
हमारी पर्वतीय नारी,
ब्याळि वींन मै फर,
स्यूं सग्त,
कर्छुलै की मारी,
खाँदा छैं त खैल्या,
निखाणि होलि तुमारी,
मैकु होयुं छ मुन्डारु,
आज अति भारी.
दूसरा कवि:
हमारी पर्वतीय नारी,
क्या बोन्न,
भग्यान छ भारी,
छोड़दि निछ डिसाणि,
ज्व छ वींकी लाचारी,
कब बणाला चाय मैकु,
करदी छ इंतजारी,
बात माणा जू,
रन्दि खुश भारी.
तीसरा कवि:
हमारी पर्वतीय नारी,
क्या बोन्न,
मिजाज वींका भारी,
वींकी नजर मा,
फुन्ड धोल्युं छौं मैं,
ज्व छ मेरी लाचारी,
कैमा नि बोल्यन,
कन्डाळिन भि,
सपोड़्यु छौं.
चौथा कवि:
हमारी पर्वतीय नारी,
क्या बोन्न,
वीं सनै पसन्द छ,
आलु कू थिन्च्वाणि,
हमारा घौर आऊ क्वी,
नि पिलौण्यां पाणी,
द्वी रोठी ज्यादा खौलु,
मन मा रन्दि,
भारी कणताणी.
पांचवां कवि:
हमारी पर्वतीय नारी,
क्या बोन्न,
प्रचंड वीन्कु रूप छ,
हाथ ध्वैक भूक छ
सैडा गौं का लोखु तैं,
वींकी भारी डौर छ,
मैन क्या बोन्न,
बिराळु बण्युं,
नर्क अपन्णु घौर छ.
(सर्वाधिकार सुरक्षित,उद्धरण, प्रकाशन के लिए कवि,लेखक की अनुमति लेना वांछनीय है)
जगमोहन सिंह जयाड़ा "जिज्ञासू"
ग्राम: बागी नौसा, पट्टी. चन्द्रबदनी,
टेहरी गढ़वाल-२४९१२२
निवास: संगम विहार, नई दिल्ली
17.9.२००९, दूरभास:9868795187
E-Mail: j_jayara@yahoo.com
इन हुन्द विकास ...
ग्यालू कु नौनु इंजीनियर बणी गौ माँ सबी लोग गयलू थै बधाई दीदा दिंदा थक नी न ! एक बुजर्ग न बोली ' ----- नाती , देश का दगडा - दगडी , गौ , अर सबसे पैली अपणो बिकाश जरुरी च रै लाटा ..."
नातिल दादा की बात गेड्म बाधी दे ! नैकरी भी मिली पी डब्लू डी माँ ! जख एक का चार , कभी कभी ६ ८
मशालू मिलै की बिल्डिग खडी ... अर वेंम ऐंची कमाई पुछ ना .....
पैली दिन वैथै कई की जगह भीजै गे.. फाईल देखी त, वेसे पैलिऊ इंजीनियरल एक कुवा की खुधाई की लम्बी चौडी फाइल वो भी, लाखो रुपया कु खर्च चो दिखयु .. हैका इंजिनीयर की फाइल देखी त, विल भी वे ही कुंआ पर अग्वाडी मरमत का बाना लाखो रुपया खर्चा छो दिखयु वेल सोची .. जरा देखी की औ की कख च अर मरमत कख तक पहुँची .. ?
वो गे , त वख कुई कुवा नी छो , अर, फ़ैल ये लम्बी चौडी अर रुपया..., लाखो माँ ! कुछ देर सुचुणु राई की , क्या कैरू ? फाईल बांध कैरू ..की, काम चालु रखु ? दादा की बात याद आई " देश अर गौ का दगड सबसे पैली अपणु विकाश कैरी " वेल एक हैंकी फाईल खोली ... अर लिखी .......
" गौ का हित अर विकाश थै नजरू माँ रखी मिन वो कुआ .. मटी से भर दे ... जैमा २-३ लाख रुपया कु खर्चा आई ! ये काम से गौ वाला भी खुश मी भी अर सरकार भी ..." फाईल बन्ध ! पैसा किसा हुद ! कागजो माँ विकाश ही विकाश !
पराशर गौर
दिनाक २० सितम्बर ०९ समय सुबर ११.१४ पर
नातिल दादा की बात गेड्म बाधी दे ! नैकरी भी मिली पी डब्लू डी माँ ! जख एक का चार , कभी कभी ६ ८
मशालू मिलै की बिल्डिग खडी ... अर वेंम ऐंची कमाई पुछ ना .....
पैली दिन वैथै कई की जगह भीजै गे.. फाईल देखी त, वेसे पैलिऊ इंजीनियरल एक कुवा की खुधाई की लम्बी चौडी फाइल वो भी, लाखो रुपया कु खर्च चो दिखयु .. हैका इंजिनीयर की फाइल देखी त, विल भी वे ही कुंआ पर अग्वाडी मरमत का बाना लाखो रुपया खर्चा छो दिखयु वेल सोची .. जरा देखी की औ की कख च अर मरमत कख तक पहुँची .. ?
वो गे , त वख कुई कुवा नी छो , अर, फ़ैल ये लम्बी चौडी अर रुपया..., लाखो माँ ! कुछ देर सुचुणु राई की , क्या कैरू ? फाईल बांध कैरू ..की, काम चालु रखु ? दादा की बात याद आई " देश अर गौ का दगड सबसे पैली अपणु विकाश कैरी " वेल एक हैंकी फाईल खोली ... अर लिखी .......
" गौ का हित अर विकाश थै नजरू माँ रखी मिन वो कुआ .. मटी से भर दे ... जैमा २-३ लाख रुपया कु खर्चा आई ! ये काम से गौ वाला भी खुश मी भी अर सरकार भी ..." फाईल बन्ध ! पैसा किसा हुद ! कागजो माँ विकाश ही विकाश !
पराशर गौर
दिनाक २० सितम्बर ०९ समय सुबर ११.१४ पर
Wednesday, September 16, 2009
लाख बहाने
लाख बहाने पास हमारे
सच भूल, झूठ का फैला हर तरफ़ रोग,
जितने रंग न बदलता गिरगिट
उतने रंग बदलते लोग।
नहीं पता कब किसको
किसके आगे रोना-झुकना है,
इस रंग बदलती दुनिया में
कब कितना जीना-मरना है।
नहीं अगर कुछ पास तुम्हारे, तो देखो!
कोई कितना अपना-अपना रह पाता है,
अपनों की भीड़ में तन्हा आदमी
न रो पाता न हँस पाता है।
फेहरिस्त लम्बी है अपनों की
हैं इसका सबको बहुत खूब पता,
पर जब ढूँढ़ो वक्त पर इनको
तो होगा न कहीं अता-पता
होगा न कहीं अता-पता
Copyright@Kavita Rawat, Bhopal
Garhwali Poet::37
Rup Mohan Saklani
Bhishma Kukreti
There are many Garhwali creative who published books on Garhwali literature but they could not get recognition and now we cant get full information about them. One of Garhwali pets Rup Mohan Saklani is such poet who is unknown to my generation and new generation too
Rup Mohan Saklani belongs to Tihri and his family migrated to a village near Tihri from Saklana the original village of Saklanis. Rup Mohan Saklani was a Sanskrit teacher in Pratap High School Tihri.
Rup Mohan Saklani was Sanskrit scholar and was very much influenced by the poetries of Greatest Poet Kali Das. Saklani translated Meghdoot of Kalidas in Garhwali . Rup Mohan also wrote a book on great brave personality of Garhwal ‘Lodi Rikhola ‘ in poetic form.
His writing is in simple Garhwali and dialects are of Tihri area.
(Ref: Garhwali Chitra Shaili Ke Unnayak : Barrister Mukandi Lal edited by Bhakt Darshan)
Copyright @ Bhishma Kukreti
Bhishma Kukreti
There are many Garhwali creative who published books on Garhwali literature but they could not get recognition and now we cant get full information about them. One of Garhwali pets Rup Mohan Saklani is such poet who is unknown to my generation and new generation too
Rup Mohan Saklani belongs to Tihri and his family migrated to a village near Tihri from Saklana the original village of Saklanis. Rup Mohan Saklani was a Sanskrit teacher in Pratap High School Tihri.
Rup Mohan Saklani was Sanskrit scholar and was very much influenced by the poetries of Greatest Poet Kali Das. Saklani translated Meghdoot of Kalidas in Garhwali . Rup Mohan also wrote a book on great brave personality of Garhwal ‘Lodi Rikhola ‘ in poetic form.
His writing is in simple Garhwali and dialects are of Tihri area.
(Ref: Garhwali Chitra Shaili Ke Unnayak : Barrister Mukandi Lal edited by Bhakt Darshan)
Copyright @ Bhishma Kukreti
"ज्वानि का बाद"
औजि ब्वडा कू ढोल बजि,
तब पैटि थै बारात,
लगि लंगट्यार, पौणौं की,
ज्वानि की छ या बात....
बामण दादान मंत्र पढिन,
तब ह्वै थान फेरा,
ब्योलि कू थौ, मुक्क ढ़कैयुं,
खुशि थै मन मा मेरा.....
दगड़्यौन खाई दारू माशु,
ब्यो का दिन की बात,
ब्योलिन लिनि बचन मैसि,
निभौणु होलु साथ......
जिंदगी की, गाड़ी अग्वाड़ि,
ज्वानि कू जोश,
कुजाणि कब, बितिगी सारी,
अब औणि छ होश....
बितिगी अब, सुणा हे दगड़्यौं,
अब छ गधा चाल,
भारी छ बितणी,
"जिज्ञासू" कू कवि मन,
पौंछ्युं छ, वे छबीला गढ़वाल....
(सर्वाधिकार सुरक्षित,उद्धरण, प्रकाशन के लिए कवि,लेखक की अनुमति लेना वांछनीय है)
जगमोहन सिंह जयाड़ा "जिज्ञासू"
ग्राम: बागी नौसा, पट्टी. चन्द्रबदनी,
टेहरी गढ़वाल-२४९१२२
निवास: संगम विहार, नई दिल्ली
13.9.२००९, दूरभास:9868795187
E-Mail: j_jayara@yahoo.com
तब पैटि थै बारात,
लगि लंगट्यार, पौणौं की,
ज्वानि की छ या बात....
बामण दादान मंत्र पढिन,
तब ह्वै थान फेरा,
ब्योलि कू थौ, मुक्क ढ़कैयुं,
खुशि थै मन मा मेरा.....
दगड़्यौन खाई दारू माशु,
ब्यो का दिन की बात,
ब्योलिन लिनि बचन मैसि,
निभौणु होलु साथ......
जिंदगी की, गाड़ी अग्वाड़ि,
ज्वानि कू जोश,
कुजाणि कब, बितिगी सारी,
अब औणि छ होश....
बितिगी अब, सुणा हे दगड़्यौं,
अब छ गधा चाल,
भारी छ बितणी,
"जिज्ञासू" कू कवि मन,
पौंछ्युं छ, वे छबीला गढ़वाल....
(सर्वाधिकार सुरक्षित,उद्धरण, प्रकाशन के लिए कवि,लेखक की अनुमति लेना वांछनीय है)
जगमोहन सिंह जयाड़ा "जिज्ञासू"
ग्राम: बागी नौसा, पट्टी. चन्द्रबदनी,
टेहरी गढ़वाल-२४९१२२
निवास: संगम विहार, नई दिल्ली
13.9.२००९, दूरभास:9868795187
E-Mail: j_jayara@yahoo.com
बगत बगतै बात !
एक गौम एक लाटु रेंदु छो ! वाखा नाना तिना , बडा बूढा, जनना सब , जैल भी बुलाई लाटु कैकी ही बुलाई ! अर वो बिना हां बोली, उकी एक आवाज पर हैन्सी मुंड खुजलैकी देख रैन्द रा ! समान का नो पर केवल त्रिस्कार का सिवा वेल कुछ देखू ही नी ! जैल भी ,जब भी चाह लाटु बोली दुत्कारु ही च ! सम्मान क्या हुन्द वी थै भीतरी भितार सन पत् छो ! इजत क्या हुन्द वी थै मालुम छो !
एक दिन गौ का मर्द नमान सब खेतो माँ चली गिनी अर जनना घासों ! उ दिनों , पटवारी अर कानन गु को , गौ माँ आणू , अपणा आप माँ एक भारी बात माने जादी छै ! अर उंसे बात कानी त भारी बात ! वे दिन गौं माँ कुवी नि छो! गुरबाटा ( चोंराहे ) माँ वे लाटु कु जाणु ... अर समणी बीटी घ्सेरू कु आणू अर गौ का लुखो भी दिनों खाणु टाइम पर घोर आणू ..... क्या दिख्दी , की , पट्टी कु पटवारी वे लाटु से कुछ चा पुचणु ... जनि जननानो अर मर्द्लू पटवारी अर लाटा थै बात करद क्या देखी , सब एक त डै रै मारी , सबी जख्या तखी छा खडा हुया छा झणी , क्या बात च धो आज पटवारीजी अचाण्चकी अर गौमा खैर, पटवारीजी कुछ देरका बाद चलिग्या ! अब सबी जानना मर्द वे लाटा का अग्वादी पिछाडी लगया रिट्णा ....
एक बोली " ------ रै लटा .. बातो त साईं ,, पटवारी जी क्या छा त्वै पुछ्णा .?."
" वो चुप्प ... "
एक जननं पूछी .. " लाटा बातो त सै, क्या छा पटवारी जी पुछ्णा ? "
"वो फिर भी चुप्प ...!"
कत्कै लूखल जणै की कोशिश कारी , पर , मजाल जू , लाटु कुछ बुनू तयार ......!!!!!
जब पधान जी न पूछी " अरे , लाटा क्या छा पुछ्णा ? "
वो बोली "-------- जै गिचाल पटवारी दगड बात कारी , वी गिच्ल तुम दगड क्या बात कन ." . बोली सीधा सारी जनि चली गे !
पराशर गौड़
दिनाक १३ सितम्बर २००९,रात ०.४५ पर
एक दिन गौ का मर्द नमान सब खेतो माँ चली गिनी अर जनना घासों ! उ दिनों , पटवारी अर कानन गु को , गौ माँ आणू , अपणा आप माँ एक भारी बात माने जादी छै ! अर उंसे बात कानी त भारी बात ! वे दिन गौं माँ कुवी नि छो! गुरबाटा ( चोंराहे ) माँ वे लाटु कु जाणु ... अर समणी बीटी घ्सेरू कु आणू अर गौ का लुखो भी दिनों खाणु टाइम पर घोर आणू ..... क्या दिख्दी , की , पट्टी कु पटवारी वे लाटु से कुछ चा पुचणु ... जनि जननानो अर मर्द्लू पटवारी अर लाटा थै बात करद क्या देखी , सब एक त डै रै मारी , सबी जख्या तखी छा खडा हुया छा झणी , क्या बात च धो आज पटवारीजी अचाण्चकी अर गौमा खैर, पटवारीजी कुछ देरका बाद चलिग्या ! अब सबी जानना मर्द वे लाटा का अग्वादी पिछाडी लगया रिट्णा ....
एक बोली " ------ रै लटा .. बातो त साईं ,, पटवारी जी क्या छा त्वै पुछ्णा .?."
" वो चुप्प ... "
एक जननं पूछी .. " लाटा बातो त सै, क्या छा पटवारी जी पुछ्णा ? "
"वो फिर भी चुप्प ...!"
कत्कै लूखल जणै की कोशिश कारी , पर , मजाल जू , लाटु कुछ बुनू तयार ......!!!!!
जब पधान जी न पूछी " अरे , लाटा क्या छा पुछ्णा ? "
वो बोली "-------- जै गिचाल पटवारी दगड बात कारी , वी गिच्ल तुम दगड क्या बात कन ." . बोली सीधा सारी जनि चली गे !
पराशर गौड़
दिनाक १३ सितम्बर २००९,रात ०.४५ पर
Great Garhwali Personality: 28
Govind Ram Ghildiyal : First Garhwali Graduate
Bhishma Kukreti
Govind Prasad ghildiyal has many distinctions in Garhwal and among Garhwalis. Govind Prasad was first Garhwali who passed Intermediate and Govind Prasad Ghildiyal is also first Garhwali who became Graduate .
Rai Bahadur Govind Prasad Ghildiyal is the first Garhwali who became Deputy Collector .
Govind Ghildiyal was born in Dang , near Shrnagr , Pauri Garhwal, Uttarakhand on 24th May, 1870.
Govind Ghildiyal was also first Garhwali personality who published book in Garhwali and George Griyerson referred the work of Ghildiyal in famous his work in ‘Linguistic survey of India’ .
Govind Ghildiyal is the first Garhwali who published translation of Hitopadesh in Garhwali, which means he is the first person who initiated Garhwali language prose.
Govind Ram Ghildiyal published the translation of thwe works of Shakespeare (Othello) and Goldsmith (Hermit) in Hindi. He also published a fine commentary book ‘ Garhwali Rajputon aur Brahmanon ki Sainik Seva’
Govind Ram Ghildiyal expired on 19th July, 1922 in Lansdowne.
Bhishma Kukreti
Govind Prasad ghildiyal has many distinctions in Garhwal and among Garhwalis. Govind Prasad was first Garhwali who passed Intermediate and Govind Prasad Ghildiyal is also first Garhwali who became Graduate .
Rai Bahadur Govind Prasad Ghildiyal is the first Garhwali who became Deputy Collector .
Govind Ghildiyal was born in Dang , near Shrnagr , Pauri Garhwal, Uttarakhand on 24th May, 1870.
Govind Ghildiyal was also first Garhwali personality who published book in Garhwali and George Griyerson referred the work of Ghildiyal in famous his work in ‘Linguistic survey of India’ .
Govind Ghildiyal is the first Garhwali who published translation of Hitopadesh in Garhwali, which means he is the first person who initiated Garhwali language prose.
Govind Ram Ghildiyal published the translation of thwe works of Shakespeare (Othello) and Goldsmith (Hermit) in Hindi. He also published a fine commentary book ‘ Garhwali Rajputon aur Brahmanon ki Sainik Seva’
Govind Ram Ghildiyal expired on 19th July, 1922 in Lansdowne.
Garhwali literature :54
Baldev Prasad Nautiyal: Philologist, Poet and Prose maker
Bhishma Kukreti
Professor Baldev Prasad Nautiyal is famous for his article writing, writing about aspects of philology of Garhwali , and creating poetry in Garhwali . He got fame in Sanskrit literature creation and was a writer of Hindi language too.
Baldev Prasad Nautiyal was born in 1895, in Kadakot, Gagwadsyun of Pauri Garhwal. He passed M .A in Sanskrit from Lahor University , Lahor and started his career as Sanskrit lecturer in Lahor College.
Very soon, Baldev Prasad Nautiyal became expert of training to teachers, creating new style of Sanskrit study in schools and colleges, and syllabus making for Sanskrit language in Lahor. Apart from publishing many books for college studies in Sanskrit language, his book “Dwitiya Pathy Pustakam’ in Sanskrit became the most famous syllabus book for colleges.
After partition, he spent some times in Chamoli as Principal in Eastmain . Later on he shifted to Delhi.
He created a Garhwali dictionary in Lahor but was lost while escaping from Lahor to Delhi. He rewrote this dictionary in Delhi . This dictionary is more about finding the origin of Garhwali words than the meaning. However, as Kanhayalal Dandriyal could not publish his 45,000 words dictionary, Nautiyal could not publish his works of eminent . There is a sample of his work for Garhwali dictionary published by Garhwali Sahitya Parishad Lahor in 1942, titled as ‘Garhwali Shabd Bhandar’. By studying the sample, any body can guess that the work of Nautiyal is of high research and Nautiyal had deep knowledge of Sanskrit, Pali, Maghadi, Khadi Boli and Garhwali as well.
We have only left a published work in Garhwali language ’ Chhaya Ramayan’ a poetry collection and a novel in Garhwali- Byalmun-Byunral. Respectful researcher late Pitamber Dutt Devrani states that he published his memoir in Hindi and published many essays of philological subject of Garhwal language in Garhwali and Hindi as well.
Professor expired in Delhi at the age of eighty six on 30 June, 1981.
Copyright @ Bhishma Kukreti, Mumbai, India, 2009
Bhishma Kukreti
Professor Baldev Prasad Nautiyal is famous for his article writing, writing about aspects of philology of Garhwali , and creating poetry in Garhwali . He got fame in Sanskrit literature creation and was a writer of Hindi language too.
Baldev Prasad Nautiyal was born in 1895, in Kadakot, Gagwadsyun of Pauri Garhwal. He passed M .A in Sanskrit from Lahor University , Lahor and started his career as Sanskrit lecturer in Lahor College.
Very soon, Baldev Prasad Nautiyal became expert of training to teachers, creating new style of Sanskrit study in schools and colleges, and syllabus making for Sanskrit language in Lahor. Apart from publishing many books for college studies in Sanskrit language, his book “Dwitiya Pathy Pustakam’ in Sanskrit became the most famous syllabus book for colleges.
After partition, he spent some times in Chamoli as Principal in Eastmain . Later on he shifted to Delhi.
He created a Garhwali dictionary in Lahor but was lost while escaping from Lahor to Delhi. He rewrote this dictionary in Delhi . This dictionary is more about finding the origin of Garhwali words than the meaning. However, as Kanhayalal Dandriyal could not publish his 45,000 words dictionary, Nautiyal could not publish his works of eminent . There is a sample of his work for Garhwali dictionary published by Garhwali Sahitya Parishad Lahor in 1942, titled as ‘Garhwali Shabd Bhandar’. By studying the sample, any body can guess that the work of Nautiyal is of high research and Nautiyal had deep knowledge of Sanskrit, Pali, Maghadi, Khadi Boli and Garhwali as well.
We have only left a published work in Garhwali language ’ Chhaya Ramayan’ a poetry collection and a novel in Garhwali- Byalmun-Byunral. Respectful researcher late Pitamber Dutt Devrani states that he published his memoir in Hindi and published many essays of philological subject of Garhwal language in Garhwali and Hindi as well.
Professor expired in Delhi at the age of eighty six on 30 June, 1981.
Copyright @ Bhishma Kukreti, Mumbai, India, 2009
Great Garhwali Personality -27
Baldev Prasad Kukreti ‘Master Ji’ : User of practical means for teaching
Today, the new generation and the generation of post independence will not understand the significance of private tutor before independence. Before independence, in Garhwal the primary schools were in scare and people were aware of consequences of education. In Dhangu region of Gangasalan of Pauri, the private tutors were a medium of providing basic education to the children in those areas where schools were not there. The people of Malla Dhangu and Bichhla Dhangu says that Baldev Prasad Kukreti of Jaspur was one of the couple of tutors who started teaching privately to the children that those children would sit in the examination of forth standard (on that 4th standard was equal to today’s fifth standard).
Baldev Prasad was the first son of Raghuvar Dutt Kukreti and Kunti Devi Kukreti of Jaspur and was born in 1903. Raghuvar Dutt Kukreti was a farmer but was also called a kind revolutionist of his time for a specific reason. He was the first person of Jaspur the original village of Kukreti who initiated to boycott the Punditai of Bahugunas of Jaspur for their discriminating attitude between the Kukreti of jaspur and Gweel villages.
British opened primary school at Tankan (Malaa Dhangu) around early years of twentieth century . Therefore, there was awareness for sending children to schools for education in Malla Dhangu. The villagers of other areas used to send their children for primary education to their relatives in the villages nearby of Tankan as Jaspur, Gweel, Bareth, Saud, Chhatinda .
Baldev Prasad was a very promising and bright student of Tankan school and passed forth standard with distinction. He completed his primary education at the age of eleven and on that time he was the fist student of his area who completed primary education at such an early age. On that time, there was no middle school nearby Jaspur and Pauri , Lainsdown or Dugadda (all far away) were the centers for higher education . Poor Raghubar Dutt was not having any resource for higher education for his brilliant son. Familiy members I.e his father and his Tau Ji Amba Dutt Kukreti sent Baldev Prasad to Dehradun for earning and getting higher education through private means . There he got chance to teach children of officers of forest department. One of the forest officers offered him the service in forest department but Baldev Prasad did choose the job of teaching. By his earning , he could help his family in Jaspur. When he was married , he did not return to Dehradun and started private tuitions in Kandi village of Bichhala Dhangu where there was not any facilities for education. In the mean time, his wife and only son expired due to non availability of medical facilities in the area. He never remarried and spent his life as Brahmchari.
The techniques of teaching of Baldev Prasad was so superb that within no time he became famous tutor and Kandi became a private primary school where around thirty forty children from villages as Amola, Khand, Hatnud, Kuthar started taking basic education. The villagers used to send grains, agro-forest products to Jaspur in return of teaching of Baldev Prasad . Money was not there with villagers to provide his tuition fee. The students used to sit in the exams second, third or forth standard in Tankan school or other schools. The government teachers were knowing the ability of Baldev Prasad and teachers p of Tankan used to take advice of Baldev Prasad alias ‘ Master Ji’.
Baldev Prasad taught in Kandi till 1951, when his younger brother’s first son was born (this author) . Around that time, Indian government established two three primary schools in Bchhala Dhangu too.
After returning to his village Baldev Prasad started to teach children in Jaspur only. The parents would prefer to send their children to Baldev Prasad than sending Tankan because his way of teaching was unique and practical that children used to pick up subject easily. Depending upon the their capability, the students used to sit in the exams of second standard in Talkan school. There were exceptions for a couple of students who directly sat in the exams of third standard too. Ram Charan Kukreti and this author sat in the exam of third standard and both got distinctions too. For a couple of years, he taught in Kathud Bada of Malla Dhangu too.
His way of teaching was practical. For example , he used to use leave for teaching division by first cutting leave into two parts, then three, then four and like that he used to teach division by cutting leave. For counting, multiplication, addition or subtraction , he used pebbles. For essay writing, Baldev used to take children near to caw, bull, field and used to ask them describe the things as they are.
His pupil never forgot his contribution for providing education when schools were not their areas. When the pupils used to get chance in coming Jaspur they used to pay visit to him. Many pupils used to send gifts when they used to come Garhwal from Desh.
The people of Bichhala Dhangu and Malla Dhangu will never forget the services of Baldev Prasad Kukreti ‘Master Ji’ for teaching on that time when education facilities was in scare. If this author is became a writer, it is because of the inspiration and teaching of late Baldev Prasad Kukreti’ Maser Ji’. There are many Dhangwals in Mumbai ,who were his students and meet me. they definitely talk about the contribution of Baldev Prasad Kukreti and his brilliant way of teaching.
Baldev Prasad was an Aryasamji and he expired in 1970
Today, the new generation and the generation of post independence will not understand the significance of private tutor before independence. Before independence, in Garhwal the primary schools were in scare and people were aware of consequences of education. In Dhangu region of Gangasalan of Pauri, the private tutors were a medium of providing basic education to the children in those areas where schools were not there. The people of Malla Dhangu and Bichhla Dhangu says that Baldev Prasad Kukreti of Jaspur was one of the couple of tutors who started teaching privately to the children that those children would sit in the examination of forth standard (on that 4th standard was equal to today’s fifth standard).
Baldev Prasad was the first son of Raghuvar Dutt Kukreti and Kunti Devi Kukreti of Jaspur and was born in 1903. Raghuvar Dutt Kukreti was a farmer but was also called a kind revolutionist of his time for a specific reason. He was the first person of Jaspur the original village of Kukreti who initiated to boycott the Punditai of Bahugunas of Jaspur for their discriminating attitude between the Kukreti of jaspur and Gweel villages.
British opened primary school at Tankan (Malaa Dhangu) around early years of twentieth century . Therefore, there was awareness for sending children to schools for education in Malla Dhangu. The villagers of other areas used to send their children for primary education to their relatives in the villages nearby of Tankan as Jaspur, Gweel, Bareth, Saud, Chhatinda .
Baldev Prasad was a very promising and bright student of Tankan school and passed forth standard with distinction. He completed his primary education at the age of eleven and on that time he was the fist student of his area who completed primary education at such an early age. On that time, there was no middle school nearby Jaspur and Pauri , Lainsdown or Dugadda (all far away) were the centers for higher education . Poor Raghubar Dutt was not having any resource for higher education for his brilliant son. Familiy members I.e his father and his Tau Ji Amba Dutt Kukreti sent Baldev Prasad to Dehradun for earning and getting higher education through private means . There he got chance to teach children of officers of forest department. One of the forest officers offered him the service in forest department but Baldev Prasad did choose the job of teaching. By his earning , he could help his family in Jaspur. When he was married , he did not return to Dehradun and started private tuitions in Kandi village of Bichhala Dhangu where there was not any facilities for education. In the mean time, his wife and only son expired due to non availability of medical facilities in the area. He never remarried and spent his life as Brahmchari.
The techniques of teaching of Baldev Prasad was so superb that within no time he became famous tutor and Kandi became a private primary school where around thirty forty children from villages as Amola, Khand, Hatnud, Kuthar started taking basic education. The villagers used to send grains, agro-forest products to Jaspur in return of teaching of Baldev Prasad . Money was not there with villagers to provide his tuition fee. The students used to sit in the exams second, third or forth standard in Tankan school or other schools. The government teachers were knowing the ability of Baldev Prasad and teachers p of Tankan used to take advice of Baldev Prasad alias ‘ Master Ji’.
Baldev Prasad taught in Kandi till 1951, when his younger brother’s first son was born (this author) . Around that time, Indian government established two three primary schools in Bchhala Dhangu too.
After returning to his village Baldev Prasad started to teach children in Jaspur only. The parents would prefer to send their children to Baldev Prasad than sending Tankan because his way of teaching was unique and practical that children used to pick up subject easily. Depending upon the their capability, the students used to sit in the exams of second standard in Talkan school. There were exceptions for a couple of students who directly sat in the exams of third standard too. Ram Charan Kukreti and this author sat in the exam of third standard and both got distinctions too. For a couple of years, he taught in Kathud Bada of Malla Dhangu too.
His way of teaching was practical. For example , he used to use leave for teaching division by first cutting leave into two parts, then three, then four and like that he used to teach division by cutting leave. For counting, multiplication, addition or subtraction , he used pebbles. For essay writing, Baldev used to take children near to caw, bull, field and used to ask them describe the things as they are.
His pupil never forgot his contribution for providing education when schools were not their areas. When the pupils used to get chance in coming Jaspur they used to pay visit to him. Many pupils used to send gifts when they used to come Garhwal from Desh.
The people of Bichhala Dhangu and Malla Dhangu will never forget the services of Baldev Prasad Kukreti ‘Master Ji’ for teaching on that time when education facilities was in scare. If this author is became a writer, it is because of the inspiration and teaching of late Baldev Prasad Kukreti’ Maser Ji’. There are many Dhangwals in Mumbai ,who were his students and meet me. they definitely talk about the contribution of Baldev Prasad Kukreti and his brilliant way of teaching.
Baldev Prasad was an Aryasamji and he expired in 1970
Garhwali Poet-36
Adityaram Dudhpudi : A Freedom Fighter, an Ideal Teacher and Great Garhwali Poet
Bhishma Kukreti
Adityaram Dudhpudi will be remembered in Garhwali language literature for providing inspiring, neeti-gat, life on wise conducts, spiritual methodology, mythological subjects. In society, he was famous for as Gandhian but innovative and revolutionary freedom fighter, a simple person but stick on hs principle and a teacher.
Adityaram was in Sainj Malla, Sheela Patti of Pauri Garhwali in 1914
Political activist: he joined Congress for participating in freedom movement in 1930 and established Congress Committee of Dadamandi , Sheela patti. He was so active in Congress work that he was provided the responsibility of general secretary of Garhwal congress committee in 1938. He was prisioned by British government in 1941 and later on relesed. He came in contact with revolutionary wing member of congress and established “ Yudh Samiti Dadamandi’ at the time of Bharat Chhod aandolan. and became busy in distributing revolutionary literature and inspiring people to go on the pth of Bhagat Singh and company. In 1942, he was gains prisioned by Brish government with other activists as Paripurna nand Painuli, Bhairav dutt Dhulia, Chhwana Singh, Mayaram barthwal and many more and put in Bareli and Lucknow jail . We may get full knowledge of British official torturing him jail in his memoir book “ Jail ke sansmaran”
After independence, he became busy in social work and assisted many works such as establishing Kanyapathshala Amarkhet, Laxman Jhula- Dugadda motor road, anti-alcohol movement, Harijnaodhar movement, Sirai Joli potable water wroks etc
He translated the work of Pandurang Shashtri and tatwgyan from Gujrati to hindi as tatwadeep
In garhwali literature , his contribution is very innovative and memorable. He translated Geeta in Garhwali language as Garhgeeta. His translation of twenty four Upanishad is one of the mile stone in Garhwali literature. He is also famous for translating the stories of Panchatantra in Garhwali and also translated and published the stories of Ramayan and Mahbharat. GarJagar a fortnightly magazine have been republishing his works of translation of stories from Pancha tantra and Mahbharat to pay tribute Adityaram Dudpudi
His work is innovative that when people were inclining towards materialism he inspire people not to forget spirituality.
He expired in 2003
Copyright @ Bhishma Kukreti, Mumbai, India, 2009
Bhishma Kukreti
Adityaram Dudhpudi will be remembered in Garhwali language literature for providing inspiring, neeti-gat, life on wise conducts, spiritual methodology, mythological subjects. In society, he was famous for as Gandhian but innovative and revolutionary freedom fighter, a simple person but stick on hs principle and a teacher.
Adityaram was in Sainj Malla, Sheela Patti of Pauri Garhwali in 1914
Political activist: he joined Congress for participating in freedom movement in 1930 and established Congress Committee of Dadamandi , Sheela patti. He was so active in Congress work that he was provided the responsibility of general secretary of Garhwal congress committee in 1938. He was prisioned by British government in 1941 and later on relesed. He came in contact with revolutionary wing member of congress and established “ Yudh Samiti Dadamandi’ at the time of Bharat Chhod aandolan. and became busy in distributing revolutionary literature and inspiring people to go on the pth of Bhagat Singh and company. In 1942, he was gains prisioned by Brish government with other activists as Paripurna nand Painuli, Bhairav dutt Dhulia, Chhwana Singh, Mayaram barthwal and many more and put in Bareli and Lucknow jail . We may get full knowledge of British official torturing him jail in his memoir book “ Jail ke sansmaran”
After independence, he became busy in social work and assisted many works such as establishing Kanyapathshala Amarkhet, Laxman Jhula- Dugadda motor road, anti-alcohol movement, Harijnaodhar movement, Sirai Joli potable water wroks etc
He translated the work of Pandurang Shashtri and tatwgyan from Gujrati to hindi as tatwadeep
In garhwali literature , his contribution is very innovative and memorable. He translated Geeta in Garhwali language as Garhgeeta. His translation of twenty four Upanishad is one of the mile stone in Garhwali literature. He is also famous for translating the stories of Panchatantra in Garhwali and also translated and published the stories of Ramayan and Mahbharat. GarJagar a fortnightly magazine have been republishing his works of translation of stories from Pancha tantra and Mahbharat to pay tribute Adityaram Dudpudi
His work is innovative that when people were inclining towards materialism he inspire people not to forget spirituality.
He expired in 2003
Copyright @ Bhishma Kukreti, Mumbai, India, 2009
Garhwali prose maker-1
Mohan Lal Negi :Great Garhwali Language Story teller
Bhishma Kukreti
It is not possible to describe the history of Garhwali language story writing without mentioning the name of Mohan Lal Negi. His contribution in Garhwali language modern story writing is remembered for accelerating the pace in Garhwali prose creation.
Born in 1930, Mohan lal Negi belongs to village Belgaon, Patti Athur of Tihri Garhwal. After graduation he completed L.L.b and started his practice as advocate in Tihri . He started to write in Hindi and published stories like ‘Tihri ke Ghataghar’ and ‘Naukar’ but after the influence of dr Mahaveer Gairola , he started to write in Garhwali .
Mohan Lal Negi assisted Dr Mahaveer Gairola in editing, writing articles, publishing and distribution of ‘Naitiki’ magazine a quarterly magazine from Tihri.
He published his first collection of modern Garhwali language stories in 1967. Critics appreciated his work and called his work as mile stone in modern Garhwali language story world. He published his second modern story collection ‘ Burans ki Peed’. no doubt his stories are more of preaching and happy ending but there we find wit, reality and can see the historical happenings in Garhwal in his stories. ‘Dola Palaki’ is one example wherein he takes us the resistance shown by upper class against the Harijan using Dola Palki in their marriage procession. This story shows his capability to use reality and at the same time to hook the readers by his language, story telling style, creating tension because of conflicting situation or self interests of two individuals or classes , uses of common proverb for providing speed to story and common dialogues of his area.
His main specialty is to retain the dialects of Tihri area in his writing . He also wrote a novel ‘Jaumala’. He was influenced by Dr Mahaveer Gairola, therefore, the stories are having touch for dreaming equality in the human society and at the same time shows the importance of spirituality too. Dr Mahaveer Gairola is firm believer that if Communism should be deeply rooted in India communism should aquire Indian spirituality in its principles.
He was awarded for his writing by Jaishree Samman’ by Garhwali Bhasha Parishad , Dehradun. Jay Shri Samman and Navani Puruskar provided by private organizations but these two awards are equal to Padma award in Garhwali li literature.
He also carved the pictures of Gandhi, Lenin, Radhakrishnan, Meerabai on copper plates an d was appreciated by art collectors and art lovers.
Mohan Lal Negi will be remembered for his stories publication when there was a strong wave of creating poetries in Garhwali language specially in Delhi (in sixties to nineties Delhi was also capital of Garhwali language creativity) and for insisting regional dialects in Garhwali literature.
Copyright@ Bhishma Kukreti, Mumbai, India, 2009
Bhishma Kukreti
It is not possible to describe the history of Garhwali language story writing without mentioning the name of Mohan Lal Negi. His contribution in Garhwali language modern story writing is remembered for accelerating the pace in Garhwali prose creation.
Born in 1930, Mohan lal Negi belongs to village Belgaon, Patti Athur of Tihri Garhwal. After graduation he completed L.L.b and started his practice as advocate in Tihri . He started to write in Hindi and published stories like ‘Tihri ke Ghataghar’ and ‘Naukar’ but after the influence of dr Mahaveer Gairola , he started to write in Garhwali .
Mohan Lal Negi assisted Dr Mahaveer Gairola in editing, writing articles, publishing and distribution of ‘Naitiki’ magazine a quarterly magazine from Tihri.
He published his first collection of modern Garhwali language stories in 1967. Critics appreciated his work and called his work as mile stone in modern Garhwali language story world. He published his second modern story collection ‘ Burans ki Peed’. no doubt his stories are more of preaching and happy ending but there we find wit, reality and can see the historical happenings in Garhwal in his stories. ‘Dola Palaki’ is one example wherein he takes us the resistance shown by upper class against the Harijan using Dola Palki in their marriage procession. This story shows his capability to use reality and at the same time to hook the readers by his language, story telling style, creating tension because of conflicting situation or self interests of two individuals or classes , uses of common proverb for providing speed to story and common dialogues of his area.
His main specialty is to retain the dialects of Tihri area in his writing . He also wrote a novel ‘Jaumala’. He was influenced by Dr Mahaveer Gairola, therefore, the stories are having touch for dreaming equality in the human society and at the same time shows the importance of spirituality too. Dr Mahaveer Gairola is firm believer that if Communism should be deeply rooted in India communism should aquire Indian spirituality in its principles.
He was awarded for his writing by Jaishree Samman’ by Garhwali Bhasha Parishad , Dehradun. Jay Shri Samman and Navani Puruskar provided by private organizations but these two awards are equal to Padma award in Garhwali li literature.
He also carved the pictures of Gandhi, Lenin, Radhakrishnan, Meerabai on copper plates an d was appreciated by art collectors and art lovers.
Mohan Lal Negi will be remembered for his stories publication when there was a strong wave of creating poetries in Garhwali language specially in Delhi (in sixties to nineties Delhi was also capital of Garhwali language creativity) and for insisting regional dialects in Garhwali literature.
Copyright@ Bhishma Kukreti, Mumbai, India, 2009
"बरखा तूने"
पर्वतवासियौं, शहरवासियौं,
ग्रामवासियौं, कृषकों को,
पहले बिन बरसे,
खूब तरसाया,
उड़ गई नींद,
सत्तासीन सरकार की,
खूब छकाया,
क्या अहमियत है मेरी?
यह भी बताया,
और अब इंतज़ार के बाद,
प्यासी धरती को,
प्यासे पर्वतों को,
सभी को, खूब हर्षाया,
बूँद-बूँद बचाओ मेरी,
सबक लेकर सभी,
अपना सन्देश बताया.
लेकिन!
अपने शहर दिल्ली में,
"जिज्ञासु" और मित्रों को,
बरस कर भी सताया,
बरखा तूने.
(सर्वाधिकार सुरक्षित,उद्धरण, प्रकाशन के लिए कवि,लेखक की अनुमति लेना वांछनीय है)
जगमोहन सिंह जयाड़ा "जिज्ञासू"
ग्राम: बागी नौसा, पट्टी. चन्द्रबदनी,
टेहरी गढ़वाल-२४९१२२
निवास: संगम विहार, नई दिल्ली
11.9.२००९, दूरभास:9868795187
E-Mail: j_jayara@yahoo.com
ग्रामवासियौं, कृषकों को,
पहले बिन बरसे,
खूब तरसाया,
उड़ गई नींद,
सत्तासीन सरकार की,
खूब छकाया,
क्या अहमियत है मेरी?
यह भी बताया,
और अब इंतज़ार के बाद,
प्यासी धरती को,
प्यासे पर्वतों को,
सभी को, खूब हर्षाया,
बूँद-बूँद बचाओ मेरी,
सबक लेकर सभी,
अपना सन्देश बताया.
लेकिन!
अपने शहर दिल्ली में,
"जिज्ञासु" और मित्रों को,
बरस कर भी सताया,
बरखा तूने.
(सर्वाधिकार सुरक्षित,उद्धरण, प्रकाशन के लिए कवि,लेखक की अनुमति लेना वांछनीय है)
जगमोहन सिंह जयाड़ा "जिज्ञासू"
ग्राम: बागी नौसा, पट्टी. चन्द्रबदनी,
टेहरी गढ़वाल-२४९१२२
निवास: संगम विहार, नई दिल्ली
11.9.२००९, दूरभास:9868795187
E-Mail: j_jayara@yahoo.com
Thursday, September 10, 2009
Garhwali Poets-35
Sarvesh Juyal : A versatile personality in Garhwali Literature
Bhishma Kukreti
Sarvesh Juyal was born in 1905, village Sujgaon, Rawatsyun, Pauri Garhwal of Uttarakhand. His contribution to Garhwali language literature is of two ways in Delhi. Apart from creating literature he is famous for networking and creating organizations as Garhwal Sahityik Mandal and Himalaya Kala Sangam in Delhi. He was also connected to Gadh Bharati another Garhwali literature organization. Sarvesh Juyal till a couple of years back was very much active in calling meetings of Garhwali creative and helping them in publishing Garhwali literature. Once, Delhi was called the literature capital of Garhwali language and Sarvesh was one of the factor for motivating Garhwal language creative for collective wisdom and for performing in collective way.
He wrote more than fifty poems in Garhwali and tens of Hindi poems. He has also written Garhwali prose published in Gad Myateki Ganga, Girish, Shailvani, Satyapath, Maulyar and other regional papers of Garhwal.
His main contribution is appreciated by literature creative for organizing mini conferences of Garhwali creative of various field. At 94, he is still active and takes part in local social works in Delhi
Copyright@Bhishma Kukreti, Mumbai, India, 2009
Bhishma Kukreti
Sarvesh Juyal was born in 1905, village Sujgaon, Rawatsyun, Pauri Garhwal of Uttarakhand. His contribution to Garhwali language literature is of two ways in Delhi. Apart from creating literature he is famous for networking and creating organizations as Garhwal Sahityik Mandal and Himalaya Kala Sangam in Delhi. He was also connected to Gadh Bharati another Garhwali literature organization. Sarvesh Juyal till a couple of years back was very much active in calling meetings of Garhwali creative and helping them in publishing Garhwali literature. Once, Delhi was called the literature capital of Garhwali language and Sarvesh was one of the factor for motivating Garhwal language creative for collective wisdom and for performing in collective way.
He wrote more than fifty poems in Garhwali and tens of Hindi poems. He has also written Garhwali prose published in Gad Myateki Ganga, Girish, Shailvani, Satyapath, Maulyar and other regional papers of Garhwal.
His main contribution is appreciated by literature creative for organizing mini conferences of Garhwali creative of various field. At 94, he is still active and takes part in local social works in Delhi
Copyright@Bhishma Kukreti, Mumbai, India, 2009
काश पर्दा नि खुल्दु
हमारा इलाक माँ एक गह्ढ़वाली नाटक मंडलील कई नाटक करिनि ! कुछ त धार्मिक छाया त कुछ सामाजिक ! रावत जी वेका डारेक्टर छाया जोंका निर्देशन माँ कई नाटक खेले गिनी ! लुखमा उको बडो मान सन्मान छो ! वो बडा तह दिल से आर बडी लग्न का साथ काम करदा रिंदा छा ! पिछला साल बीटी उमा, अर , सह निर्देशक खुग्साल जी माँ थोड तना तनी छनी छै ! ये समय उन गोड़ जी कु नाटक काना की सोची कारण यु नाटक लीग से हटीक छो .. याने , यु नाटक करण वाला अर खिन वल्लो पर एक कटाक्ष .. कटाक्ष बोले तो .. जबर्दस्त .. रिहर्शल हुन से पैली अर नाटक हुन हुन तक ! यु द्वीयुक बीच कन खिरतु जुड्यु छो , इनुकी जन बुलद द्वी बागियु क बीच खिर्तु जुडुद खिर्तु ...
जनी नाटक शुरू क्या होई उनी युमा भी ..झगडा .. बड़ी मुश्किल से पैलू शीन होई .. बाद माँ रावत जी स्तागेम आनी अर अपनी मज़बूरी बताई की नाटक थोडा बिलम्ब से शरू करला !
पर्दा पैथर स्टेज माँ घ्प्रोल चनु छो ..
रावत जी खुगासाल की तरफ इशारा कैकी छा बुना ..." मी सब ज्ञण्दु कुछ लोग मेरा खिलाफ साजिश छ्न रचणा "
खुगासाल जी छा बुना .. जू आदिम हमपर लाछन लागाणु च वो , पैली अपणा गरेबान माँ छाकी देखा की कोच साजिस कनु ... हे भै , जुमा जुमा चार नाटक क्या खेलिनी की भयम नि नजर .. रावत जी गुस्स्म बोलिनी ..." न .. न्न्न्न , त तू क्या करली "
- मी.. .. मी... क्या करुलू ... तभी कैल बीच बचाऊ कने कोशिश काई ! वो बोली .. ' अजी खुगासाल आप चुप हवे जाओ दी .... तभी रावत बोलिनी......
" हां .. हां क्या करली बता ?
" खुगासाल बोल '-------एक नई संस्था खडी करुलू होरी क्या " तुमरी ई संस्था का अग्वादी न्यू सब्द जोड़ी की .. "न्यू ड्रामा मड्ळी " जेमा सब कुछ न्यु होलू जानकी डारेक्टर , .... तभी पर्दा खुली ! लुखुल द्वी थाई देखि जू एक हैका क कालर पकडी छा झंझोड़ना !
पराशर गौड़
सितम्बर १०, २००९ स्याम ५.०५
जनी नाटक शुरू क्या होई उनी युमा भी ..झगडा .. बड़ी मुश्किल से पैलू शीन होई .. बाद माँ रावत जी स्तागेम आनी अर अपनी मज़बूरी बताई की नाटक थोडा बिलम्ब से शरू करला !
पर्दा पैथर स्टेज माँ घ्प्रोल चनु छो ..
रावत जी खुगासाल की तरफ इशारा कैकी छा बुना ..." मी सब ज्ञण्दु कुछ लोग मेरा खिलाफ साजिश छ्न रचणा "
खुगासाल जी छा बुना .. जू आदिम हमपर लाछन लागाणु च वो , पैली अपणा गरेबान माँ छाकी देखा की कोच साजिस कनु ... हे भै , जुमा जुमा चार नाटक क्या खेलिनी की भयम नि नजर .. रावत जी गुस्स्म बोलिनी ..." न .. न्न्न्न , त तू क्या करली "
- मी.. .. मी... क्या करुलू ... तभी कैल बीच बचाऊ कने कोशिश काई ! वो बोली .. ' अजी खुगासाल आप चुप हवे जाओ दी .... तभी रावत बोलिनी......
" हां .. हां क्या करली बता ?
" खुगासाल बोल '-------एक नई संस्था खडी करुलू होरी क्या " तुमरी ई संस्था का अग्वादी न्यू सब्द जोड़ी की .. "न्यू ड्रामा मड्ळी " जेमा सब कुछ न्यु होलू जानकी डारेक्टर , .... तभी पर्दा खुली ! लुखुल द्वी थाई देखि जू एक हैका क कालर पकडी छा झंझोड़ना !
पराशर गौड़
सितम्बर १०, २००९ स्याम ५.०५
Wednesday, September 9, 2009
ससुराल मेरे पार्लियामेन्ट !
बगत बगत चुनाओम हैरी , मेरी घरवाली मी से तंग ऐगी ! जनि पार्लियामेंट का चुनाव की घोषणा होई , त , मेरा पेटा जुनका फिर खडा हूँ बैठा ! मेरी पत्निल जनी देखि की , कि , मी हरकत म आन बैठी गेउ . वा बोली ...
" वी निर्भगी पार्लियामेंटो कु मोह अभी तक नि गे है ..., मेरी ख्याल से मुरूद मुरूद थाई की जालू स्यु किडू ... "
मिन भी सोची , काश..., मुरूद मुरूद सिर्फ एक दाऊ .. एक दौ वख पहुँच सकदु त , मी सम्झुदु की मी बैतरणी पार होईग्यु , पर हे राम .. कख छो बल जोगी हुना भाग !
स्यु साब ..., वख त की जायालू पर , हम भी पका छा पका ... ३६ ना सै ,कम से कम १५ २० नेता जी का गुण त छाई छी हम पर ! आखिर हम भी , नेता ह्या ना नेता ! हम थै , यु ख़याल आई , अर सोची ..., कि पार्लियामेंट ना .. त .. ना सै , अब अर आज बिटि हमरी पार्लियामेंट हमरी ससुराल होली .. जख हम अपणा मन कि हीक निकाल सकदा !` सासुराल रूपी ई संसद माँ वो सब कुछ च, जू वी, संसद म च .... . मान सन्मान ,रॉब रुतबा , आवा भगत एक आलवा बनी बनी का बिभाग छन ! कुल मिली की ये सब हमरा रहमो कर्मो पर टिक्या छन ! हमरा इशारों पर जिंदा छन ! बन बनी का बिभाग छन !` कुलमिलैकी ई सब हमरा नाज-नखरो पर जिदा छी ! हम ई संसद का नीर बिरोध अध्यक्ष/ प्रधान मंत्री जो बोलो उ छा ! मजाल कुवी ना नुकर या टी टा कै दया ! हमरी आवा भगतं २४ घंटा सब एक खुटा पर खडा रंदी ! जन संसद म ७५० एम् पी अपणा पार्टी का मुख्या प्रधान मंत्री का अग्वादी पिछाडी रंडी रिट्णा बस उनी मेरा ससुराल का हर एक प्राणी चाहिए वो सास -ससुर , स्याला - सयाली ,अर गौं का रिश्तेदार हो सबी रैन्द म्यारा अग्वादी पिछाडी रिट्णा ! न हवा कखी जवाई जी की अवा भागतं कमी रैजा , अर वो , नाराज होई जावन ! हमल भी नाड पकडी च ! ससुराल वालो से सुधी सुधी मालकी जाणु , ख्माखा नाराज हवाई जाणु ताकि ईयू पर प्रभाऊ बणियु रा !
ससुराल की ई पार्लियामेंट माँ , उन त कई महत्वा पूर्ण बिभाग छन , पर , रक्षा अर बित बिभाग का इंचार्ज ससुरा जी छन ! साल भरै या पञ्च बर्षीय जानी योजना का अलावा बीच बीचम राहत जन कार्यो पर खर्चो का वास्ता धन भी यु से ही मिल्द ! एक अलावा रोज मरा की खर्चे की सूची यूके अग्वादी पडी रैन्द ! मजाल च जू यूँ कभी असमर्थता प्रकट कै होली उलटा ये बडी सूझ बुझ का दगड हर झटको थै झेली भी मुस्कराणा रंदिनी जन हवाई जहाज की एयर होस्टेज तरह चाहिए बुखार हो या पेट दर्द पर यात्री का अग्वादी बस चेहरे पर हसी हूँ चैद उनी बिचारा मेरा ससुरा जी भी रंदीन ! उकु ये अदम्य साहस सूझ बुझ थै देखी मी बहुत ही प्रभावित हुई गियु !
अब देखा ना , जब भी मिन अपनी पत्नी से थोडा शिकैत कारी नि , की वा बात , एक डम ससुरा जी का पास पहुँची जांद मर्द का बच्चा अपनी गैणी तकीद गिरबी रखी भी मेरी फरमाइश पूरा कर दी जन की मुख्या मंत्री व वेका चमचा करोंदीन वेका जन्म दिन पर पिस एकटा ! मयारू बुनो मतलब च बाना बस बाना कैकी, कै भी तरह से अपणी इछा थै पूरी काना रंदीन ! खुशी ई बात की च की मिन कभी उनका मुख पर उदासी की कुई लकीर देखी हो ! ख्वाला गिच्ल सदान हैस्णै लगया रदीन ! वो ई पार्लियमिन्ट का सबसे मजबूत, अडिग सख्त खम्बा छन ! पत नी मेरी ई बार बार की मांगो से वो हिला भी छी य ना यु मी थै पत नी !
दुसरा महत्वा पूर्ण बिभाग मेरी सासू जी का पास छन जनकी होम बाणिज्य सुचना ,रख रखाव , आदि आदि ! कै थै क्या दीण ? कैसे क्या लीण ? कखम क्या कन, क्या बुन याने पुरी पुरी दखल च युकी ! अपणी प्यारी बेटी याने हमरी धर्मपत्नी पर युकी ज्यादै कृपा रैन्द याने मोह बोला मोह.. बस मीथै जनी पत लगी या उकी कमजोरी च मिन वेकु पुरु पुरु फैदा उठाणु शुरू कैदी ! संसद माँ प्रश्न का दौओरान बिना रोक टोका जन एक एम् पी अपणा इलाका बारमा बताद की उख यु च इथा पैस्सा चिंदन ताकि वो लोग दो जून की रुवाटी खै सकला.. उनी मी भी अपणी श्रीमती थै अग्वादी कैकी अपणी डिमांड की एक लम्बी चौडी चठी ससस जी की समणी रख देदु अगर बात नि बण्दि दिखेद त श्रीमती थै झट अग्वादी कैकी अपणी फरमायश थै पुरी करवा देदु ! ये खुला अधिवेशन माँ सासू जी की जुबान अर मेरी फर्माशो की ताल मेल दिखन लेक रैन्द ! मेरा दोरों की रूप रेखा अर आवश्कताओं की लम्बी सूची सासू जी का दिल्लो दिमाग म २४ घंटा फिट बैठी रंदन ! मजाल की कोई युकी बात काट दया ! जवाई आया छन त ये बैर क्या दीण ! कलेउ या लठु या दूण कंडी या बक्र्री, कलोड ये सब निर्णय स्सासु जी का ऊपर निर्भर रैन्द ! चोरी छिपी मिसे कोइ औरी डिमांड पूच्णी, ये हमरी गुप्त बिभाग की एक बडी खशियत च ! उन देखी जा त , मी कभी कभी अपणी अंडर टबेल वल्ली दिमान्डो थै , यूँकै माध्यम से पूरा करदू !
प्लानिग कमिशन की चाबी दद्या स्सासु जी के हाथ में है वो मेरे और अपणी नातनी की कोइ भी इछा पर बेझिझक अपणी मोहर लगान माँ कैकी इजाजत नि जरुरी समझादन ना ससुरा जी की और नहीं स्सासु जी की ! स्याल और सयलु थै चता मुता बिभाग छन दिया अआवा भगत का मंत्रयालया युमा छन !
मेरी य पार्लियामेंट जब बिटि शुरू होए , ई माँ चुनौ कु त कुई प्र्बिधान नि ! ई संसदम्, आज तक न त, कुई लडाई - झगडा होए , ना कुई जुत पत्रम्, ना कुई हो- हला ! द्वी बिभाग मिल जान बुझी अपणी श्रीमती थै दिया ना १- रुनु २ -..गंग्जाणु , ताकि वो अपणा माँ बापू पर एकु असर ड़ाल साक ! ये दुवी बिभाग बहुत छन ई पार्लियामेंट थै हिलाना वास्ता !
पराशर गौड़
स्याम ७.५० पर ९ अगस्त ०९
" वी निर्भगी पार्लियामेंटो कु मोह अभी तक नि गे है ..., मेरी ख्याल से मुरूद मुरूद थाई की जालू स्यु किडू ... "
मिन भी सोची , काश..., मुरूद मुरूद सिर्फ एक दाऊ .. एक दौ वख पहुँच सकदु त , मी सम्झुदु की मी बैतरणी पार होईग्यु , पर हे राम .. कख छो बल जोगी हुना भाग !
स्यु साब ..., वख त की जायालू पर , हम भी पका छा पका ... ३६ ना सै ,कम से कम १५ २० नेता जी का गुण त छाई छी हम पर ! आखिर हम भी , नेता ह्या ना नेता ! हम थै , यु ख़याल आई , अर सोची ..., कि पार्लियामेंट ना .. त .. ना सै , अब अर आज बिटि हमरी पार्लियामेंट हमरी ससुराल होली .. जख हम अपणा मन कि हीक निकाल सकदा !` सासुराल रूपी ई संसद माँ वो सब कुछ च, जू वी, संसद म च .... . मान सन्मान ,रॉब रुतबा , आवा भगत एक आलवा बनी बनी का बिभाग छन ! कुल मिली की ये सब हमरा रहमो कर्मो पर टिक्या छन ! हमरा इशारों पर जिंदा छन ! बन बनी का बिभाग छन !` कुलमिलैकी ई सब हमरा नाज-नखरो पर जिदा छी ! हम ई संसद का नीर बिरोध अध्यक्ष/ प्रधान मंत्री जो बोलो उ छा ! मजाल कुवी ना नुकर या टी टा कै दया ! हमरी आवा भगतं २४ घंटा सब एक खुटा पर खडा रंदी ! जन संसद म ७५० एम् पी अपणा पार्टी का मुख्या प्रधान मंत्री का अग्वादी पिछाडी रंडी रिट्णा बस उनी मेरा ससुराल का हर एक प्राणी चाहिए वो सास -ससुर , स्याला - सयाली ,अर गौं का रिश्तेदार हो सबी रैन्द म्यारा अग्वादी पिछाडी रिट्णा ! न हवा कखी जवाई जी की अवा भागतं कमी रैजा , अर वो , नाराज होई जावन ! हमल भी नाड पकडी च ! ससुराल वालो से सुधी सुधी मालकी जाणु , ख्माखा नाराज हवाई जाणु ताकि ईयू पर प्रभाऊ बणियु रा !
ससुराल की ई पार्लियामेंट माँ , उन त कई महत्वा पूर्ण बिभाग छन , पर , रक्षा अर बित बिभाग का इंचार्ज ससुरा जी छन ! साल भरै या पञ्च बर्षीय जानी योजना का अलावा बीच बीचम राहत जन कार्यो पर खर्चो का वास्ता धन भी यु से ही मिल्द ! एक अलावा रोज मरा की खर्चे की सूची यूके अग्वादी पडी रैन्द ! मजाल च जू यूँ कभी असमर्थता प्रकट कै होली उलटा ये बडी सूझ बुझ का दगड हर झटको थै झेली भी मुस्कराणा रंदिनी जन हवाई जहाज की एयर होस्टेज तरह चाहिए बुखार हो या पेट दर्द पर यात्री का अग्वादी बस चेहरे पर हसी हूँ चैद उनी बिचारा मेरा ससुरा जी भी रंदीन ! उकु ये अदम्य साहस सूझ बुझ थै देखी मी बहुत ही प्रभावित हुई गियु !
अब देखा ना , जब भी मिन अपनी पत्नी से थोडा शिकैत कारी नि , की वा बात , एक डम ससुरा जी का पास पहुँची जांद मर्द का बच्चा अपनी गैणी तकीद गिरबी रखी भी मेरी फरमाइश पूरा कर दी जन की मुख्या मंत्री व वेका चमचा करोंदीन वेका जन्म दिन पर पिस एकटा ! मयारू बुनो मतलब च बाना बस बाना कैकी, कै भी तरह से अपणी इछा थै पूरी काना रंदीन ! खुशी ई बात की च की मिन कभी उनका मुख पर उदासी की कुई लकीर देखी हो ! ख्वाला गिच्ल सदान हैस्णै लगया रदीन ! वो ई पार्लियमिन्ट का सबसे मजबूत, अडिग सख्त खम्बा छन ! पत नी मेरी ई बार बार की मांगो से वो हिला भी छी य ना यु मी थै पत नी !
दुसरा महत्वा पूर्ण बिभाग मेरी सासू जी का पास छन जनकी होम बाणिज्य सुचना ,रख रखाव , आदि आदि ! कै थै क्या दीण ? कैसे क्या लीण ? कखम क्या कन, क्या बुन याने पुरी पुरी दखल च युकी ! अपणी प्यारी बेटी याने हमरी धर्मपत्नी पर युकी ज्यादै कृपा रैन्द याने मोह बोला मोह.. बस मीथै जनी पत लगी या उकी कमजोरी च मिन वेकु पुरु पुरु फैदा उठाणु शुरू कैदी ! संसद माँ प्रश्न का दौओरान बिना रोक टोका जन एक एम् पी अपणा इलाका बारमा बताद की उख यु च इथा पैस्सा चिंदन ताकि वो लोग दो जून की रुवाटी खै सकला.. उनी मी भी अपणी श्रीमती थै अग्वादी कैकी अपणी डिमांड की एक लम्बी चौडी चठी ससस जी की समणी रख देदु अगर बात नि बण्दि दिखेद त श्रीमती थै झट अग्वादी कैकी अपणी फरमायश थै पुरी करवा देदु ! ये खुला अधिवेशन माँ सासू जी की जुबान अर मेरी फर्माशो की ताल मेल दिखन लेक रैन्द ! मेरा दोरों की रूप रेखा अर आवश्कताओं की लम्बी सूची सासू जी का दिल्लो दिमाग म २४ घंटा फिट बैठी रंदन ! मजाल की कोई युकी बात काट दया ! जवाई आया छन त ये बैर क्या दीण ! कलेउ या लठु या दूण कंडी या बक्र्री, कलोड ये सब निर्णय स्सासु जी का ऊपर निर्भर रैन्द ! चोरी छिपी मिसे कोइ औरी डिमांड पूच्णी, ये हमरी गुप्त बिभाग की एक बडी खशियत च ! उन देखी जा त , मी कभी कभी अपणी अंडर टबेल वल्ली दिमान्डो थै , यूँकै माध्यम से पूरा करदू !
प्लानिग कमिशन की चाबी दद्या स्सासु जी के हाथ में है वो मेरे और अपणी नातनी की कोइ भी इछा पर बेझिझक अपणी मोहर लगान माँ कैकी इजाजत नि जरुरी समझादन ना ससुरा जी की और नहीं स्सासु जी की ! स्याल और सयलु थै चता मुता बिभाग छन दिया अआवा भगत का मंत्रयालया युमा छन !
मेरी य पार्लियामेंट जब बिटि शुरू होए , ई माँ चुनौ कु त कुई प्र्बिधान नि ! ई संसदम्, आज तक न त, कुई लडाई - झगडा होए , ना कुई जुत पत्रम्, ना कुई हो- हला ! द्वी बिभाग मिल जान बुझी अपणी श्रीमती थै दिया ना १- रुनु २ -..गंग्जाणु , ताकि वो अपणा माँ बापू पर एकु असर ड़ाल साक ! ये दुवी बिभाग बहुत छन ई पार्लियामेंट थै हिलाना वास्ता !
पराशर गौड़
स्याम ७.५० पर ९ अगस्त ०९
Tuesday, September 8, 2009
कहीं एक कोने में
यह कविता उन परिवारों को सपर्पित है जो भरे-पूरे परिवार में होने के बाद भी हमेशा बेवसी, रूखापन और भय के माहौल से घिरे रहते हैं. यह देखकर मन को बेहद पीडा होती है की क्यों आज भी हमारे समाज के कुछ परिवारों के कुछ लोग तानाशाह बन बैठते हैं और अच्छे भले परिवार को नारकीय जीवन जीने को मजबूर करते हैं. अपने ही परिवार के साथ अनजानों सा व्यवहार और उनकी भावनाओं से कुठाराघात करना कहाँ तक उचित है. जिन माँ बाप ने उनकी खातिर अपनी सारी खुशियों की बलि दे दी उनकी भावनाओं से खेलकर उन्ही दुःख पहुँचाना क्यों यैसे लोगों को अच्छा लगता है. समझ से परे है. अपने परिवार को दुखी कर बाहर उधर-उधर भटकते-फिरते है और बाहर शांति के नाम पर अपने घर में अशांति का माहौल बनाये रखते है! जब भी एसे परिवार मिलते हैं तो मन विचारमग्न हो जाता है और सोचती हूँ कि ...............
भरा-पूरा परिवार होने के बावजूद
जब कभी किसी की बेवसी, बेचारगी
सिमटी-सिमटी खुशियाँ दिखती हैं
तो दिल को पहुँचती है गहरी ठेस
और मन सोचने को होता है मजबूर
कि क्यों कोई अपने ही परिवार में
बन जाता है तानाशाह
सबको नाचता है अपनी अँगुलियों पर
हांकता है मार-कूट कर
निरीह प्राणी की तरह
डराता-धमकता है दुश्मन समझकर
अपनी ख़ुशी चाहता है
परिवार की ख़ुशी में अपनी ख़ुशी नहीं देखता
दर-ब-दर भटकता फिरता है
अपनी खुशियाँ तलाशता हुआ
परिवारों में जहर घोलता है
अपनेपन का ढोंग रचकर
माना कि कोई भी स्वतंत्र है
अपनी जिंदगी जीने के लिए
बेरोक-टोक घूमने -फिरने के लिए
कहीं भी कुछ भी खाने-पीने के लिए
या गिरते- पड़ते, लुदुकते, भटकते हुए
देर-सबेर अपने घर लौटने के लिए
लेकिन इससे पहले
क्यूँ वह यह भूल जाता है
कि दरवाजे पर भूखी-प्यासी पत्नी
बेचैनी से इन्तजार में खड़ी होगी
बच्चे भी दिन भर की पढ़ाई, मस्ती के बाद
अपनी आपस की बाते सुनाने के लिए
उत्तावाले होकर जल्दी-जल्दी अपना होमवर्क कर
अपनी मन पसंद चीज़ आने की प्रतीक्षा में
खुसुर-फुसर कर बार-बार दरवाजे की ओर
मासूमियत से देख रहे होंगे
और बूढे माँ-बाप बेसब्री से आज भी
शंका-आशंकाओं से घिरे
मोह ममतावस, निरीह आखों से
एक मासूम सा बच्चा समझ
दुनिया की भीड़ में भटकने का डर
अपनी बूढी, लाचार साँसों में समाये हुए
तेज होती धडकनों को रोक
बेचैन होकर राह ताक रहे होंगे
मत भूलो कि सिर्फ अपनी ख़ुशी चाहने वाले
जिंदगी में कभी सुखी नहीं रह पाए है
वे अपने ही परिवार, समाज में एक दिन
धिक्कार दिए जाते हैं
और सबके द्वारा छोड़ दिए जाते हैं
लावारिश की तरह
इधर-उधर भटकने के लिए
या कोई जिन्दा लाश की तरह
सड़ने-पड़ने की लिए
कहीं एक कोने में
Copyright @Kavita Rawat, Bhopal, 1 Sept, 2009
इससे पहले कि ....................
आज जहाँ लोग कहते हैं की समय नहीं मिल पाता है वहीँ यह भी देखा जाता है कि लोग किस तरह से अपना टाइम पास करते रहते हैं. अपने परिवार वालों के लिए भले ही टाइम न हो लेकिन बाहर घंटों मोबाइल या फ़ोन पर बतियाते फिरते है, इतना कि आस पास कि सुध भी नहीं रहती है. इन्टरनेट को ही ले लीजिये इसमें इतनी अच्छी जानकारी होने के बाद भी आज की युवा पीढ़ी जिस तरह से अपना समय आपस में बर्बाद करते दिखते हैं, उससे उनकी सोच कुंद होती दिखाई देती है. जिस तरह से इन्टरनेट का दुरपयोग हो रहा है, यह देखकर दुःख होता है कि क्यूँ कोई अपना कीमती समय फालतू कामों या बातों में लगाकर कहता है कि समय नहीं मिलता, जबकि सत्य तो यही है कि ऐसे लोगों के पास वास्तव में अच्छे कामों के लिए समय कि कमी है. जरा अगर अपने घर परिवार, अपने बारे मैं कभी गौर से देखें तो उन्हें पीछे पछताने कि जरुरत नहीं होगी, बस इससे पहले उन्हें अपना मूल्यांकन खुद करना होगा कि उन्हें क्या करना चाहिए और वे क्या कर रहे हैं. इसी के सन्दर्भ में कुछ पंक्तियाँ प्रस्तुत हैं....
इससे पहले कि कोई आप से तुम और तुम से तू पर आकर
अपनी कोई दिल बहलाने की चीज़ समझ बैठे
संभल जाना
इससे पहले कि कोई अपनी मीठी बातों में उलझा कर
गलत राह पर चलने को मजबूर करने लगे
नीयत समझ लेना
इससे पहले कि कोई घर में गलत इरादों से घुसकर
आपस में फूट डालने की बातें करने लगे
परख कर देखना
इससे पहले कि घर में कोई भेदिया बनकर घुस जाय
सूझ-बूझ से काम लेना
इससे पहले कि किसी की कोई बात बुरी लगने लगे
बातों पर अपनी ध्यान देना
इससे पहले कि कोई अपमान करने पर तुल जाय
सबका मान रखना
इससे पहले कि कोई टाइम पास पीस समझ बैठे
समय देख चलना
इससे पहले कि कोई परिवार से अलग करने कि सोचे
परिवार पर ध्यान देना
इससे पहले कि हर कोई कतरा के चलने लगे
अभिमान न करना
इससे पहले कि भीड़ का हिस्सा मात्र बन बैठे
अलग पहचान रखना
इससे पहले कि जिंदगी उलझनों से घिर जाय
जिंदगी आसान रखना
इससे पहले कि कोई नफरत भरी निगाहों से देखें
प्यार में संभल कर चलना
इससे पहले कि कोई मंजिल की राह से भटका दे
आंखे खुली रखना
इससे पहले कि दुनिया में कहीं बदनाम न हो जायं
हरतरफ नज़र रखना
इससे पहले कि कभी अपनी ही नज़रों में गिर जायं
फ़ूक -फूक कर कदम रखना
Copyright @Kavita Rawat, Bhopal, 25 Aug, 2009
इससे पहले कि कोई आप से तुम और तुम से तू पर आकर
अपनी कोई दिल बहलाने की चीज़ समझ बैठे
संभल जाना
इससे पहले कि कोई अपनी मीठी बातों में उलझा कर
गलत राह पर चलने को मजबूर करने लगे
नीयत समझ लेना
इससे पहले कि कोई घर में गलत इरादों से घुसकर
आपस में फूट डालने की बातें करने लगे
परख कर देखना
इससे पहले कि घर में कोई भेदिया बनकर घुस जाय
सूझ-बूझ से काम लेना
इससे पहले कि किसी की कोई बात बुरी लगने लगे
बातों पर अपनी ध्यान देना
इससे पहले कि कोई अपमान करने पर तुल जाय
सबका मान रखना
इससे पहले कि कोई टाइम पास पीस समझ बैठे
समय देख चलना
इससे पहले कि कोई परिवार से अलग करने कि सोचे
परिवार पर ध्यान देना
इससे पहले कि हर कोई कतरा के चलने लगे
अभिमान न करना
इससे पहले कि भीड़ का हिस्सा मात्र बन बैठे
अलग पहचान रखना
इससे पहले कि जिंदगी उलझनों से घिर जाय
जिंदगी आसान रखना
इससे पहले कि कोई नफरत भरी निगाहों से देखें
प्यार में संभल कर चलना
इससे पहले कि कोई मंजिल की राह से भटका दे
आंखे खुली रखना
इससे पहले कि दुनिया में कहीं बदनाम न हो जायं
हरतरफ नज़र रखना
इससे पहले कि कभी अपनी ही नज़रों में गिर जायं
फ़ूक -फूक कर कदम रखना
Copyright @Kavita Rawat, Bhopal, 25 Aug, 2009
Garhwali Poet-34
Netra Singh Aswal: The poet of Neo-Modernism in Garhwali
Bhishma Kukreti
Along with Vindod Uniyal, Kanhaya lal Dandariyal, Pareshwar Gaud , Prem Lal Bhatt, Lolkesh Navani, Netra Singh Aswal provided new temperament , new disposition to Garhwali poetry world. Natra singh Aswal is the poet of that era when we saw the new wave in Garhwali poetry and poets tried to connect poetry with the life of common man or the life of contemporary time. These poets left the preaching and teaching practices as their predecessors used to acting as ‘Master Sir’ in creating Garhwali poetry.
No doubt, Netra Singh wrote very less but whatever he wrote that became witnessing to give new direction to Garhwali poems.
Aswal shown his expertise in providing new form to Garhwali language I.e ghazal form which was new to Garhwali poetry. Apart from geet, conventional poetry, Netra Singh also create Garhwali poetry in prose form too.
Aswal was born in Tachhwad, Jaitulsyun of Pauri Garhwal (Uttarakhand ) in 1958. After completing his junior school education he came to Delhi and completed graduation here . His inclination to poetic field brought him nearer to Vinod Uniyal another Garhwali poet famous for neo-modernity movement in Garhwali poetry.. Aswal assisted Uniyal in editing a magazine Burans (1978-1980) and later on Mandan a Garhwali monthly periodical.
He joined a central government service and is still there .
Netra Singh published first poetry in 1977 in Badrinath Express and later on one poetry was published in a poetry collection of GarhBharati
Hilans monthly edited by Arjun Gusain published his more than twenty poems regularly.
The first and last poetry collection of Aswal was published in 1988.His poetries are not limited to garhwal or garhwalis but to the nation and essence of nation too
Though, Aswal published around forty poems but no body can deny his power of influencing poetries and are heritage for Garhwali language because these poems were the source of bringing new modernism in Garhwali poetry world
Aswal describes himself in one poetry:
Sukin dauni galwadi udyar, min chhaun garhwali marad
Lhi ni jau kwee chilangun chyan, kavita hafrol kardu
Copyright@Bhishma Kukreti, Mumbai, India, 2009
Bhishma Kukreti
Along with Vindod Uniyal, Kanhaya lal Dandariyal, Pareshwar Gaud , Prem Lal Bhatt, Lolkesh Navani, Netra Singh Aswal provided new temperament , new disposition to Garhwali poetry world. Natra singh Aswal is the poet of that era when we saw the new wave in Garhwali poetry and poets tried to connect poetry with the life of common man or the life of contemporary time. These poets left the preaching and teaching practices as their predecessors used to acting as ‘Master Sir’ in creating Garhwali poetry.
No doubt, Netra Singh wrote very less but whatever he wrote that became witnessing to give new direction to Garhwali poems.
Aswal shown his expertise in providing new form to Garhwali language I.e ghazal form which was new to Garhwali poetry. Apart from geet, conventional poetry, Netra Singh also create Garhwali poetry in prose form too.
Aswal was born in Tachhwad, Jaitulsyun of Pauri Garhwal (Uttarakhand ) in 1958. After completing his junior school education he came to Delhi and completed graduation here . His inclination to poetic field brought him nearer to Vinod Uniyal another Garhwali poet famous for neo-modernity movement in Garhwali poetry.. Aswal assisted Uniyal in editing a magazine Burans (1978-1980) and later on Mandan a Garhwali monthly periodical.
He joined a central government service and is still there .
Netra Singh published first poetry in 1977 in Badrinath Express and later on one poetry was published in a poetry collection of GarhBharati
Hilans monthly edited by Arjun Gusain published his more than twenty poems regularly.
The first and last poetry collection of Aswal was published in 1988.His poetries are not limited to garhwal or garhwalis but to the nation and essence of nation too
Though, Aswal published around forty poems but no body can deny his power of influencing poetries and are heritage for Garhwali language because these poems were the source of bringing new modernism in Garhwali poetry world
Aswal describes himself in one poetry:
Sukin dauni galwadi udyar, min chhaun garhwali marad
Lhi ni jau kwee chilangun chyan, kavita hafrol kardu
Copyright@Bhishma Kukreti, Mumbai, India, 2009
Great Garhwali Personality-25
Mohan Babulkar : Profound Expert of Garhwali Folk Literature, Writer and Editor
Bhishma Kukreti
There are four pillars of collecting and analyzing Garhwali Folk literature-Govind Chatak, Mohan Babulkar, Hari Dutt Bhatta Shailesh and Dr Shiva Nand Nautiyal who are referred for each and every aspect of folk literature in Garhwali language. However, other three paid attention more on Garhwali folk songs and dance by Shiva Nand Nautiyal, Mohan Babulkar analyzed Garhwali folk stories, their characteristics and classify them scientifically. He is referred more on characteristics of folk stories in Hindi critic world.
Mohan Babulkar was born in 1931 in the family of Panda in Devprayag. After completing his post graduation he perused his Ph.D degree on Garhwali folks. He served in education department of Uttar Pradesh
Till date, he has published more than three hundred articles related to Garhwal, Garhwali personality and Garhwali language.
He is famous for following books on the folk literature of garhwali language:
1- Garhwali Lok Sahitya ka Vivechanatmak Adhyayan
2-Garhwal ki Lok Dharmi Kala
3-Paschami Pahadi ki Upboli ka Loksahitya aur Kala
He also published following books:
4- Jamuna se Ganga
5-Himalaya men Matmatantar
6-He wrote twelve books for Uttar Pradesh education department
He also edited following books
1-Dev Prayag Sanskritik Sammelan
2-Padya calamari
3-Pundit Vrindavan Dhyani Smiriti Grantha
4-Acharya Chakradhar Joshi Smriti Granth
5-Pratap Singh Mehta Smriti granth
6-Parvatiya Sahityakar Kosh
He also edited Vasudhara, Sarhadi Saptahik and many such periodicals
Dr Babulkar was also on the borad of Mukandi Lal Smriti Granth.
7-Garhwal ki Jeewit Vibhutiyan aur Garhwal ka Vaishihthya: His another major contribution is editing and publishing the life sketches of amous Garhwali personalities in 1981
Standardization of Garhwali language and Confrontation with Bhishma Kukreti: Hew as the strongest supporter of Shrinagarya dialect as the standard for Garhwali writing. He wrote a write up in Hilans that editor Arjun Singh ji should not publish such Garhwali, which is not Shrinagarya or standard. In retaliation, Bhishma Kukreti published ‘Cha Chha Tau’, ‘Been Barpbar Garhwali’ and ‘Asli Nakali Garhwali’ in Dhad magazine. In satiric and provocative style, Bhishma Kukreti argued inhis article’ Asli Nakli Garhwali’ . that if at standardization is necessary, Salani should be the standard Garhwali . Dr Mohan Babulkar criticized all the three articles. Babulakr is still support Shrinagarya as standard Garhwali and Bhishma Kukreti still supports that each Garhwali writer should write on her/his won regional dialects for enriching Garhwali language.
Dr Baublakr loves his motherland and after retirement, he is settled in Kankhal Haridwar
Copyright@ Bhishma Kukreti, Muumbai, India, 2009
Bhishma Kukreti
There are four pillars of collecting and analyzing Garhwali Folk literature-Govind Chatak, Mohan Babulkar, Hari Dutt Bhatta Shailesh and Dr Shiva Nand Nautiyal who are referred for each and every aspect of folk literature in Garhwali language. However, other three paid attention more on Garhwali folk songs and dance by Shiva Nand Nautiyal, Mohan Babulkar analyzed Garhwali folk stories, their characteristics and classify them scientifically. He is referred more on characteristics of folk stories in Hindi critic world.
Mohan Babulkar was born in 1931 in the family of Panda in Devprayag. After completing his post graduation he perused his Ph.D degree on Garhwali folks. He served in education department of Uttar Pradesh
Till date, he has published more than three hundred articles related to Garhwal, Garhwali personality and Garhwali language.
He is famous for following books on the folk literature of garhwali language:
1- Garhwali Lok Sahitya ka Vivechanatmak Adhyayan
2-Garhwal ki Lok Dharmi Kala
3-Paschami Pahadi ki Upboli ka Loksahitya aur Kala
He also published following books:
4- Jamuna se Ganga
5-Himalaya men Matmatantar
6-He wrote twelve books for Uttar Pradesh education department
He also edited following books
1-Dev Prayag Sanskritik Sammelan
2-Padya calamari
3-Pundit Vrindavan Dhyani Smiriti Grantha
4-Acharya Chakradhar Joshi Smriti Granth
5-Pratap Singh Mehta Smriti granth
6-Parvatiya Sahityakar Kosh
He also edited Vasudhara, Sarhadi Saptahik and many such periodicals
Dr Babulkar was also on the borad of Mukandi Lal Smriti Granth.
7-Garhwal ki Jeewit Vibhutiyan aur Garhwal ka Vaishihthya: His another major contribution is editing and publishing the life sketches of amous Garhwali personalities in 1981
Standardization of Garhwali language and Confrontation with Bhishma Kukreti: Hew as the strongest supporter of Shrinagarya dialect as the standard for Garhwali writing. He wrote a write up in Hilans that editor Arjun Singh ji should not publish such Garhwali, which is not Shrinagarya or standard. In retaliation, Bhishma Kukreti published ‘Cha Chha Tau’, ‘Been Barpbar Garhwali’ and ‘Asli Nakali Garhwali’ in Dhad magazine. In satiric and provocative style, Bhishma Kukreti argued inhis article’ Asli Nakli Garhwali’ . that if at standardization is necessary, Salani should be the standard Garhwali . Dr Mohan Babulkar criticized all the three articles. Babulakr is still support Shrinagarya as standard Garhwali and Bhishma Kukreti still supports that each Garhwali writer should write on her/his won regional dialects for enriching Garhwali language.
Dr Baublakr loves his motherland and after retirement, he is settled in Kankhal Haridwar
Copyright@ Bhishma Kukreti, Muumbai, India, 2009
"गितांग का गीतुन"
गितांग दिदा का गीतु सुणिक,
लगि मैकु कुत्ग्याळि,
याद आई मैकु, मेरा मुल्क की,
जाण छ मैं सोच्यालि.......
बिराणा मुल्क, सदानी रन्दिन,
सब्बि धाणी की स्याणी,
बांज बुरांश की, डाळी नि छन,
छोया ढ़ुंग्यौं की पाणी......
घौर बिटि चिठ्ठी, अयिं छ ब्वै की,
कैन हौळ लगाण,
ऐजा बेटा तू, घौर बोड़िक,
मेरु खुदयुं छ पराण.......
ब्यो करि त्वैकु, ब्वारि भि ल्हयौं,
भागिगी बौग मारिक
अब सोचणु छौं, क्या पाई मैन,
त्वै नौना पाळिक......
गितांग दिदा का, गीतु मा छन,
बानी बानी की गाणी,
कुत्ग्याळि सी, लगणी छ मन मा,
आज कू सच बताणी....
गितांग दिदा का गीतु सुणिक,
लगि मैकु कुत्ग्याळि,
मन मा ऊमाळ, ऐगि मेरा,
जाण छ मैन सोच्यालि....
Copyright@Jagmohan Singh Jayara"Zigyansu"......6.9.09
E-Mail: j_jayara@yahoo.com, (M)9868795187
लगि मैकु कुत्ग्याळि,
याद आई मैकु, मेरा मुल्क की,
जाण छ मैं सोच्यालि.......
बिराणा मुल्क, सदानी रन्दिन,
सब्बि धाणी की स्याणी,
बांज बुरांश की, डाळी नि छन,
छोया ढ़ुंग्यौं की पाणी......
घौर बिटि चिठ्ठी, अयिं छ ब्वै की,
कैन हौळ लगाण,
ऐजा बेटा तू, घौर बोड़िक,
मेरु खुदयुं छ पराण.......
ब्यो करि त्वैकु, ब्वारि भि ल्हयौं,
भागिगी बौग मारिक
अब सोचणु छौं, क्या पाई मैन,
त्वै नौना पाळिक......
गितांग दिदा का, गीतु मा छन,
बानी बानी की गाणी,
कुत्ग्याळि सी, लगणी छ मन मा,
आज कू सच बताणी....
गितांग दिदा का गीतु सुणिक,
लगि मैकु कुत्ग्याळि,
मन मा ऊमाळ, ऐगि मेरा,
जाण छ मैन सोच्यालि....
Copyright@Jagmohan Singh Jayara"Zigyansu"......6.9.09
E-Mail: j_jayara@yahoo.com, (M)9868795187
Garhwali Folk Literature-8
Classification of Garhwali Folk Songs: A discussion
Bhishma Kukreti
Garhwali folk songs are so varied and are in such numbers that there had been debates and discussions for classifying Garhwali folk songs
The credit goes to the city of Dehradun that most of the important works on collection of Garhwali folk songs and publishing was done in Dehradun except the work of Abodh Bandhu Bahuguna, Bhajan Singh Singh and the works of analysts of modern time . Garhwali a periodical (1905) used to publish the Garhwali folk songs regularly. ‘Sadei’by Tara Dutt Gairola is the first collection of folk songs published from Dehradun.
Out of ten twelve scholars, there are five research scholars -Dr Govind Chatak , Dr Shiva Nand Nautiyal, Dr Mohan Babulkar and Dr Hari Dutt Bhatt ‘Shalies’ and Abodh Bandhu Bahuguna who did thorough study and classified them scientifically. Bhajan Singh , Keshav Anuragi also collected folk songs but thet either did not classify them scientifically or as Keshav Anuragi who focused more on Dhol Sagar and its music. Today, we have many scholars who studied Garhwali folk songs but the works of five scholars is always referred for discussion.
Let us find out how these scholars classified the folk songs of Garhwal
Taxonomy by Abodh Bandhu Augean (1954): Analysis of Garhwali folk songs started by Abodh Bandhu Bahuguna: Dhunyal (1954) is first work of analyzing and classifying the Garhwali Folk Song . Abodh Bandhu Bahuguna classified Garhwali Folk Songs on the following types:
1- Mangal (auspicious songs)
2-Kula char (Introducing and description of family tree)
3-Panwada (praising achievers)
4-Khuded (sad song)
5-Jagar (Awakening songs sung in Ghadela)
6-Tantra Mantra
7-Hori (Humrous and sung at Holi time)
8-Chakhulya (Personification of animals)
9-Naya Geet (New)
The main flow on this classification is that it is not analyzed on scientific basis but on conventional basis .
Classification by Dr Govind Chatak: Dr Chatak (1956): Dr Chatak is credited for doing depth research , study in collection and analyzing Garhwali folk songs . Dr Chatak classified Garhwali songs on the basis of local names as he accepted in introduction of his classic book ‘Garhwali Lok Geet’ and he classified the Garhwali folk songs on the following divisions:
1-Puja Geet (prayer and worshiping of deities/goddesses)
2-Mangal (Auspicious)
3-Prem, Roop, Ras (Love songs)
4-Chhopati
5-laman
6-Vasanti (Spring)
7-Bajuband
8-Dampatya Jeewn ( Family life)
9-Khuded
10-Chhuda
11-Samajik Geet
12-Vividh Geet
Classification by Dr Mohan Babulakar: Dr Babular (1967) classified Garhwal Folk Song as below in his famous boo ‘ Garhwali Lok Sahitya ka Vivechanatmak Adhyayan’ :
1-Sanskaron ke geet
2-Devi Devta stuti , Tyoharon ke Geet
3-Khuded geet
4-Ritu (season) and Virah (pain of separation)
5-samuhik Gey geet (group or community songs)
6-Tantra Mantra Geet
7-Laghu geet (short songs)
8-jatiyon ke geet (songs created and sung by specific class)
Classification by Dr Hari Datt Bhatt ‘Shalilesh: In his book ‘Garhwali Bhasa aur uska Sahitya’ , (1964)D Bhatt bifurcated the folk songs of Garhwal into following categories:
1-Mangal: k-Awhahan Geet. Kh-Puja geet, G-Vivah Geet, H-Loriyan (very rare),
2-Jhumailo: (sad and Love songs): K-Jhumailo, Kh-Chhopati, G-Laman
3-Thadya ya Vasanti geet 1- Vasnti 2-Hori
4-Bajuband (Rhymical dialogues)
5-Chaufala ( Achieving right objectives, ambitions, economical benefits and final solutions)
6-Khded geet
7-Kulachar
8-Chaumasa (Songs of rainy season)
9-Baramasa (songs for every season)
10-par Updeshatmak (Inspirational)
11- Samayik (Songs of contemporary subject or happenings by Badis)
12-Rashtriya geet (Patriotic songs)
Classification by Dr Shiva Nand Nautiyal: Dr shiva nand Nautiyal had been also collecting Garhwali folk songs and his edited books are
A-Garhwal ke Lok Geet (1964)
B-6-Garhwal ke Khuded Geet (1965)
C--Chham Ghugharu Bajala (1964)
D-Garhwali Baramasa
Dr Shiva Nand Nautiyal never thought of analyzing Garhwali Folk Songs as his above contemporary scholars were classifying songs. Only, in 1979, dr Shiva Nand classifed Garhwali folk Songs in Garhwali Manas (1979, page 52) and surprising ly his classification is more scientific, more subtle, more clear than his contemporary researchers. He divided following songs and dances together as follows:
1-Mangal Geet: K-Awhahan Puja geet, Kh-Puja Geet, G-Vivah geet
2-Jagar : Narsingh, , Ngarja, Devi, Hantya, Pandav, Bhairon etc
3-Panwade (Chivalry songs ): Historical and non -historical
4-Tantra Mantra
5-Thadya
6-Chaufula
7-Khuded
8-Baramasa
9-Kulachar
10-Pasara
11-Vasanti
12-Hori
13-Bajuband
14-Laman
15-Chhopati
16-Lori geet
17-Patkhai men Chhuda
18-Naunyali
19-Chaumasa
20-duda
21-Samayik
By the above analysis we may state that dr Shiva nand Nautiyal’s classification is appreciable in terms of terminology and subtle .
Copyright@ Bhishma Kukreti
Bhishma Kukreti
Garhwali folk songs are so varied and are in such numbers that there had been debates and discussions for classifying Garhwali folk songs
The credit goes to the city of Dehradun that most of the important works on collection of Garhwali folk songs and publishing was done in Dehradun except the work of Abodh Bandhu Bahuguna, Bhajan Singh Singh and the works of analysts of modern time . Garhwali a periodical (1905) used to publish the Garhwali folk songs regularly. ‘Sadei’by Tara Dutt Gairola is the first collection of folk songs published from Dehradun.
Out of ten twelve scholars, there are five research scholars -Dr Govind Chatak , Dr Shiva Nand Nautiyal, Dr Mohan Babulkar and Dr Hari Dutt Bhatt ‘Shalies’ and Abodh Bandhu Bahuguna who did thorough study and classified them scientifically. Bhajan Singh , Keshav Anuragi also collected folk songs but thet either did not classify them scientifically or as Keshav Anuragi who focused more on Dhol Sagar and its music. Today, we have many scholars who studied Garhwali folk songs but the works of five scholars is always referred for discussion.
Let us find out how these scholars classified the folk songs of Garhwal
Taxonomy by Abodh Bandhu Augean (1954): Analysis of Garhwali folk songs started by Abodh Bandhu Bahuguna: Dhunyal (1954) is first work of analyzing and classifying the Garhwali Folk Song . Abodh Bandhu Bahuguna classified Garhwali Folk Songs on the following types:
1- Mangal (auspicious songs)
2-Kula char (Introducing and description of family tree)
3-Panwada (praising achievers)
4-Khuded (sad song)
5-Jagar (Awakening songs sung in Ghadela)
6-Tantra Mantra
7-Hori (Humrous and sung at Holi time)
8-Chakhulya (Personification of animals)
9-Naya Geet (New)
The main flow on this classification is that it is not analyzed on scientific basis but on conventional basis .
Classification by Dr Govind Chatak: Dr Chatak (1956): Dr Chatak is credited for doing depth research , study in collection and analyzing Garhwali folk songs . Dr Chatak classified Garhwali songs on the basis of local names as he accepted in introduction of his classic book ‘Garhwali Lok Geet’ and he classified the Garhwali folk songs on the following divisions:
1-Puja Geet (prayer and worshiping of deities/goddesses)
2-Mangal (Auspicious)
3-Prem, Roop, Ras (Love songs)
4-Chhopati
5-laman
6-Vasanti (Spring)
7-Bajuband
8-Dampatya Jeewn ( Family life)
9-Khuded
10-Chhuda
11-Samajik Geet
12-Vividh Geet
Classification by Dr Mohan Babulakar: Dr Babular (1967) classified Garhwal Folk Song as below in his famous boo ‘ Garhwali Lok Sahitya ka Vivechanatmak Adhyayan’ :
1-Sanskaron ke geet
2-Devi Devta stuti , Tyoharon ke Geet
3-Khuded geet
4-Ritu (season) and Virah (pain of separation)
5-samuhik Gey geet (group or community songs)
6-Tantra Mantra Geet
7-Laghu geet (short songs)
8-jatiyon ke geet (songs created and sung by specific class)
Classification by Dr Hari Datt Bhatt ‘Shalilesh: In his book ‘Garhwali Bhasa aur uska Sahitya’ , (1964)D Bhatt bifurcated the folk songs of Garhwal into following categories:
1-Mangal: k-Awhahan Geet. Kh-Puja geet, G-Vivah Geet, H-Loriyan (very rare),
2-Jhumailo: (sad and Love songs): K-Jhumailo, Kh-Chhopati, G-Laman
3-Thadya ya Vasanti geet 1- Vasnti 2-Hori
4-Bajuband (Rhymical dialogues)
5-Chaufala ( Achieving right objectives, ambitions, economical benefits and final solutions)
6-Khded geet
7-Kulachar
8-Chaumasa (Songs of rainy season)
9-Baramasa (songs for every season)
10-par Updeshatmak (Inspirational)
11- Samayik (Songs of contemporary subject or happenings by Badis)
12-Rashtriya geet (Patriotic songs)
Classification by Dr Shiva Nand Nautiyal: Dr shiva nand Nautiyal had been also collecting Garhwali folk songs and his edited books are
A-Garhwal ke Lok Geet (1964)
B-6-Garhwal ke Khuded Geet (1965)
C--Chham Ghugharu Bajala (1964)
D-Garhwali Baramasa
Dr Shiva Nand Nautiyal never thought of analyzing Garhwali Folk Songs as his above contemporary scholars were classifying songs. Only, in 1979, dr Shiva Nand classifed Garhwali folk Songs in Garhwali Manas (1979, page 52) and surprising ly his classification is more scientific, more subtle, more clear than his contemporary researchers. He divided following songs and dances together as follows:
1-Mangal Geet: K-Awhahan Puja geet, Kh-Puja Geet, G-Vivah geet
2-Jagar : Narsingh, , Ngarja, Devi, Hantya, Pandav, Bhairon etc
3-Panwade (Chivalry songs ): Historical and non -historical
4-Tantra Mantra
5-Thadya
6-Chaufula
7-Khuded
8-Baramasa
9-Kulachar
10-Pasara
11-Vasanti
12-Hori
13-Bajuband
14-Laman
15-Chhopati
16-Lori geet
17-Patkhai men Chhuda
18-Naunyali
19-Chaumasa
20-duda
21-Samayik
By the above analysis we may state that dr Shiva nand Nautiyal’s classification is appreciable in terms of terminology and subtle .
Copyright@ Bhishma Kukreti
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