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नै नै किताब अख़बार छपे सक्दा
पी. एच. ड़ी करी सक्ददा
अपर्णि बोली भाषा मा |
पर भै …..!
हथ ज्वणया छन …
वू खरडा डाँडो
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Copyright@***विजय कुमार "मधुर"
उत्तराखंडी ई-पत्रिका
Wednesday, January 20, 2010
Tuesday, January 19, 2010
पहाड़ आवा
हमरि पर्यटन कि
दुकानि खुलिगेन
पहाड़ आवा
हमरि चा कि दुकान्यों मा
‘तू कप- टी’ बोली जावा
पहाड़ आवा
हमरा गुमान सिंग रौतेल्लौं
डालर. ध्यल्ला, पैसा दे जावा
पहाड़ आवा
पहाड़ पर घास लौंदी
मनख्यणि कु फ़ोटो खैंचि जावा
पहाड़ आवा
देव धामूं मा द्यब्ता हर्चिगेन
पांच सितारा जिमी जावा
पहाड़ आवा
परर्कीति पर बगच्छट्ट ह्वेकि
कचरा गंदगी फ़ोळी जावा
पहाड़ आवा
हम लमडि छां
बौगि छां
रौड़ि छां/ तुम
कविलासुं मा घिस्सा- रैड़ि
रंगमतु खेलि जावा
पहाड़ आवा
source : Jyundal (A Collection of Garhwali Poems)
कापीराइट : धनेश कोठारी
दुकानि खुलिगेन
पहाड़ आवा
हमरि चा कि दुकान्यों मा
‘तू कप- टी’ बोली जावा
पहाड़ आवा
हमरा गुमान सिंग रौतेल्लौं
डालर. ध्यल्ला, पैसा दे जावा
पहाड़ आवा
पहाड़ पर घास लौंदी
मनख्यणि कु फ़ोटो खैंचि जावा
पहाड़ आवा
देव धामूं मा द्यब्ता हर्चिगेन
पांच सितारा जिमी जावा
पहाड़ आवा
परर्कीति पर बगच्छट्ट ह्वेकि
कचरा गंदगी फ़ोळी जावा
पहाड़ आवा
हम लमडि छां
बौगि छां
रौड़ि छां/ तुम
कविलासुं मा घिस्सा- रैड़ि
रंगमतु खेलि जावा
पहाड़ आवा
source : Jyundal (A Collection of Garhwali Poems)
कापीराइट : धनेश कोठारी
सोरा
सोरा भारा कैका ह्वेन
जैंन माणिं सि बुसेन
कांद लगै उकाळ् चढै़
तब्बि छाळों पर घौ लगैन
दिन तौंकु रात अफ्वु कु
इतगि मा बि मनस्वाग ह्वेन
अपड़ा डामि सी मलास्या
अधिता मन तब्बि नि भरेन
स्याणि मारिन भारा सारिन
निसकौं कु तब्बि भारी ह्वेन
सम्मु हिटिन बालिस्त नापिक
अजाड़ बल नाचि नि जाणि
स्याणि टर्कि रस्याण सौंरि
बाजिदौं उपरि गणेन
source : Jyundal (A Collection of Garhwali Poems)
कापीराइट : धनेश कोठारी
जैंन माणिं सि बुसेन
कांद लगै उकाळ् चढै़
तब्बि छाळों पर घौ लगैन
दिन तौंकु रात अफ्वु कु
इतगि मा बि मनस्वाग ह्वेन
अपड़ा डामि सी मलास्या
अधिता मन तब्बि नि भरेन
स्याणि मारिन भारा सारिन
निसकौं कु तब्बि भारी ह्वेन
सम्मु हिटिन बालिस्त नापिक
अजाड़ बल नाचि नि जाणि
स्याणि टर्कि रस्याण सौंरि
बाजिदौं उपरि गणेन
source : Jyundal (A Collection of Garhwali Poems)
कापीराइट : धनेश कोठारी
मार येक खैड़ै
तिन बोट बि दियाली
तिन नेता बि बणैयाली
अब तेरि नि सुणदु
त मार येक खैड़ै
ब्याळी वु हात ज्वड़दु छौ
आज ताकतवर ह्वेगे
अब त्वै धमकौंणु च
त मार येक खैड़ै
वेंन ही त बोलि छौ
तेरू हळ्ळु गर्ररू ब्वकलु
तु निशफिकरां रै
अब नि सकदु
त मार येक खैड़ै
तेरि जातौ छौ थातौ छौ
गंगाजल मा वेन
सौं घैंट्यै छा
अब अगर नातु तोड़दु
त मार येक खैड़ै
Dhanesh Kothari
18/12/2009
तिन नेता बि बणैयाली
अब तेरि नि सुणदु
त मार येक खैड़ै
ब्याळी वु हात ज्वड़दु छौ
आज ताकतवर ह्वेगे
अब त्वै धमकौंणु च
त मार येक खैड़ै
वेंन ही त बोलि छौ
तेरू हळ्ळु गर्ररू ब्वकलु
तु निशफिकरां रै
अब नि सकदु
त मार येक खैड़ै
तेरि जातौ छौ थातौ छौ
गंगाजल मा वेन
सौं घैंट्यै छा
अब अगर नातु तोड़दु
त मार येक खैड़ै
Dhanesh Kothari
18/12/2009
क्या हूद कबिता ?
कबिता हुन्द ....
स्वीली की पीड़ा
जू हुन्द , बचा थै , पैदा कन से पैली
जू बचा थै, भैर आणों बाटु बतोद !
कबिता हुन्द
धामी का डौर माँ लगाई कटाक
जैसे पैदा हुन्द नाद ( स्वर)
जू नाचाद घ्वाडा थै अपणी ताल माँ !
कबिता हुन्द
बाल जन जिदेर्ये हिगर
जू हिंगर डाली डाली अपणी बात मनोद
जब बात पूरी हवे जाद त खित हंसाद !
कबिता हुन्द
रुडियुमा बाजै जडियुम को ठंडो पाणी
जू बुझोद तिस्लियु की तीस
जै से निकल्द शब्द " जुगराज राया "!
कबिता हुन्द
धार मागे , कुंगुलू घाम सी
जू एहसाह दिलोद तपन की !
कबिता व हुन्द
जू बनू बच्याण की तमीज सिखांद
समझण अर संझानै बात बतोद
आपसमा प्यार प्रेम की भाषा सिखोंद !
`पराशर गौर
१९ जनबरी २०१०
स्वीली की पीड़ा
जू हुन्द , बचा थै , पैदा कन से पैली
जू बचा थै, भैर आणों बाटु बतोद !
कबिता हुन्द
धामी का डौर माँ लगाई कटाक
जैसे पैदा हुन्द नाद ( स्वर)
जू नाचाद घ्वाडा थै अपणी ताल माँ !
कबिता हुन्द
बाल जन जिदेर्ये हिगर
जू हिंगर डाली डाली अपणी बात मनोद
जब बात पूरी हवे जाद त खित हंसाद !
कबिता हुन्द
रुडियुमा बाजै जडियुम को ठंडो पाणी
जू बुझोद तिस्लियु की तीस
जै से निकल्द शब्द " जुगराज राया "!
कबिता हुन्द
धार मागे , कुंगुलू घाम सी
जू एहसाह दिलोद तपन की !
कबिता व हुन्द
जू बनू बच्याण की तमीज सिखांद
समझण अर संझानै बात बतोद
आपसमा प्यार प्रेम की भाषा सिखोंद !
`पराशर गौर
१९ जनबरी २०१०
Monday, January 18, 2010
प्रभु.. आप अपना नाम बदल दो !
बैकुंठ में भगवन नारायण संस्सार की गति बिधिउओ पर नज़र रखते -रखते बहुत थक गए थे ! उन्होंने इ मेल करके सब देवताओ खास कर नारद जी को ये सन्देश लिखा " मै दो दिन के अबकास पर जा रहा हूँ कृपया मुझे डिसड्राबड न किया जाया ! " लेकिन, इसी बीच एक बिचित्र घटना घट गई ! जैसी ही पृथिबी लोक से ख़ास कर हिन्दुस्तान से , ये खबर आई की नारायण ने बहुत बड़ा घपला कर दिया है और वो किसी बड़े काण्ड में फंस गए है ! ये सुनकर नारद बहुत बिचलित हुए ! सोचने लगे की कही सचमुच प्रभु नारायण अबकास मनाने हिदुस्तान गए हो और वहा किसी छली / धोखेबाज ने उन्हें लपेट लिया हो ! फिर सोचा क्योना हिदुस्तान जाकर हालत का जायजा लिया जाये !
जैसे वो हिदुस्तान की ओर जाने लगे रास्ते में सोचते रहे ! मेरे प्रभु श्री नारायण तो ऐसा नहीं कर सकते , तो फिर ये कोंन हो सकता है और उसने येसा क्या किया है जिसकी बजह से ये बरैकिंग न्यूज बन गई ! जैसे नारद वहा पहुंचे उन्होंने नारायण नाम के आदमियों के बारमे खोज खबर की ! पता चाल यहाँ तो नारायण के नाम से कई हजारो में लोग है ! एसे नारायण है ये नारायण नाम शब्द कभी पहले होते है जैसे नारायण राणे , नारायण दत , तो , किसकी का लास्ट में, जैसे , आर के नारायण या फिर बीच है , जैसे में लक्ष्मी नारायण स्वरुप ! नारद जी दुव्हिधा में पड गए अपने नारायण को दुंडू या इन में किस को, की तभी, टेलीबिजन पर न्यूज दिखाई दी ! जिसमे खबर थी ...................
" एक धाकड़ नेता जिनकी उम्र ९० के करीब है और जो इस समय किसी प्रदेश के राज्यपाल है ! . वो सरकार में बिसिष्ट पदों पर रहे जैसे बिदेश मंत्री , उधोग मंत्री , वे भारत के जब से बड़े राज्य के कई बार मुख्यमंत्री , हाल में बना नया राज्य जहा उनके पैत्रिक घर भी है, वो , वाह के भी मुख्यमंत्री भी रहे चुके है ! जिनका नाम भारत के भगबान श्री नारायण से भी मिलता है राज भवन में रास लीला राचाते हुए धरे गए ! " नारद जी ने अपने बगल में खड़े एक सजन से उन्होंने पूछा ' भाई जी ये साब ... ? वो बिना देखे बोल पड़ा ----"अरे, वो एन ड़ी है और कौन ? " नारद जी एन ड़ी का पता पूछते पूछते जा पहुंचे राज भवन !
जब वो वहा पहुंचे तो सब की जुबान पर एक ही चर्चा थी की नारारण को ये नहीं करना चाहिए था ! नारायण तो एक मायने में इस प्रान्त का पिता सामान है ! उसकी रास लीला की वो तस्वीरे, टेलीबिजन में बार बार दिखा दिखाकर और नारद जी देख देखकर बहुत लजित हुए ! भारत में आकर उनका शक तो दूर हो गया था की ये काम उनके नारायण का नहीं है लेकिन उनके नाम रासियों द्वारा किये जा रहे इन सब घपलों व कांडो से वो बहुत चिंतित हो उठे और चल दिए सीधे बैंकुठ को !
प्रभु अपने शेस नाग की शया पर आराम कर रहे थे की नारद जी की के नारायण नारायण के शब्द ने उनकों जगा दिए ! आंख खोलकर उन्होंने उनसे कहा "मै आप का बहुत आभारी हूँ जो आपने मुझे इन दो दिनों में मुझे डिसट्राब्दड नहीं किया ! बरना मेरी वैकिशन की..... , खैर छोड़ , ये बताये की कैसे आना हुआ ! " नारद जी ने प्रणाम करते हुए कहा प्रभो ..., भारत में आप के नाम का खुलकर दुरुपियोग हो रहा` है ! आपके द्वारा की गई रास लीलाओं का जमकर मजाक उड़ाया जा रहा है !
प्रभु बोले ... ". ऐसा ? " एक आद उदाहरन देकर समझाओ तो ?
देखए आप जगत पिता है ! आप को सब की चिंता रहती है ! इसीलिए तो सब आप को नारायण से जानते है, पुकारते है ! लेकन ..?
" लेकिन क्या नाराद जी .." आगे भी तो बोलिए .. क्या किया है नारायण ने !
आपने नहीं ,,, आप के नाम रसियो ने वहा आप का नाम इतना अपवित्र कर दिया है की मुझे नारायण कहने में भी संकोच होने लगता है !
भगवान् थोड़ा अप्रसन होकर नारद से कहने लगे .. " नाराद, अब आप ज्याद ही खीच रहे है सीधे सीधे बात पर आये "
छमा .., प्रभो ..छमा .. जैसे ही आप की इ मेल मिली .. सोचा , चलो आप को थोड़ा बिश्राम तो मिला लेकिन दुसरे दिन मुझे भारत से एक ब्रकिंग न्यूज मिली की नारायण किसी घपले में फंस गए है ! मन बिचलित हो उठा की कही मेरे नारारण .... !
" कैसा घपला , कौन सा घपला .. " जरा खुलकर बताओ मित्र भगवन जी ने उनसे कहा !
वहा पर आपके नाम राशी जिसका नाम भी नारायण है ! लोग उसे नो छमी नारायण के नाम से जानते है ! जो बहुत बहुत ऊँचे 2 आहोद पर रहकर , सता और कुर्शी के मद में रहकर उसने वो वो कारनामे किये ! वो वो काण्ड किये जिसका ब्यान करते मेरी जीभा कलंकित हो जाती है ! प्रभो, उन्होंने आपके नाम पर जो धबा लगाया है, अगर उसे किसी इम्पोरटिड डिटर्जन या केमिकल से भी धोये तो भी वो, साफ़ नही होगा !
पर येसा क्या किया है उसने , हमें पता भी तो चले !
रास लीला प्रभो रास लीला ... नारद ने गिडगिडते कहा ..... //
ओ आई सी ... याने हमरा अनुकरण किया है उसने... !
अनुकरण किया हिया होता तो कोई बात नहीं थी , प्रभो ... ! वो, तो, बांसुरी बजाते बजाते...., कहते कहते नारद जी थोड़ी देर चुप होगये .... उनकी इस चुपी को देखकर नारायण बोले ..." नाराद ,.आप हमरा इम्तिहान ना ले ?" नारद डरते डरते बोले.. " मै, और आप का इम्तिहान ..., तोबा ..तोबा ! मै, तो आप के माते राधे के प्रेम के वे रास लीला के बारेमे सोच रहा था ! प्रभो जब आप रास रचाते थे तो पूरा संसार आपके उस पवित्र लीला का रसास्वादन कर आत्म बिभोर हो जाता था लेकिन वहा तो वे , एक कमरे में बंद डी जी टल कैमरे के आगे ... छी.... छी ...... मुझे तो कहते हए भी ..... !
बीच में प्रभु बोले .. " उन्होंने हमारी रास लीला का उपसाह कर उसे भोग लीला बना दिया है ऐसा क्यों नहीं कहते ? " हा- हा यैसा ही किया ही उन्होंने नारद ने उत्तर दिया ! प्रभो , मुझे इस घ्रणित कार्यकर्म में कोई दिलचस्पी नहीं है लेकिन ... ?
"लेकिन क्या ...????? .. नारद , तुम पहेलियाँ जादा बुझाते हो ! साफ़ साफ़ कहो क्या कहना चाहते हो" प्रभु ने कहा !
मै आपका नाम उस व्यक्क्ति के नाम से जुड़ा होने पर थोडा बिचलित हूँ ! लोग गलियों ,मोहलों अखबारों टी बी पर एक ही बात कर रहे है और उसके उस भोग लीला को बार बार दिखा दिखा कर बस एक ही सवाल पूछ रहे है, और कह रहे है की , किसने किया ये उलटा काम ! तो सब एक ही जुबान से बोलते है " नारायण " ने ! उस नारायण ने अपने पद का दुपयोग जो किया सो किया परन्तु उसने आप के नाम का भी जम कर दुरपयोग किया है ! प्रभो , अगर जीवनदान मिले तो एक सुझाव है ...
"----- क्या .." ?
नारद ने डरते डरते कहा ... आप अपना नाम बदल दो ?
पराशर गौर
जनबरी १६, २०१० ३.४५ पर
जैसे वो हिदुस्तान की ओर जाने लगे रास्ते में सोचते रहे ! मेरे प्रभु श्री नारायण तो ऐसा नहीं कर सकते , तो फिर ये कोंन हो सकता है और उसने येसा क्या किया है जिसकी बजह से ये बरैकिंग न्यूज बन गई ! जैसे नारद वहा पहुंचे उन्होंने नारायण नाम के आदमियों के बारमे खोज खबर की ! पता चाल यहाँ तो नारायण के नाम से कई हजारो में लोग है ! एसे नारायण है ये नारायण नाम शब्द कभी पहले होते है जैसे नारायण राणे , नारायण दत , तो , किसकी का लास्ट में, जैसे , आर के नारायण या फिर बीच है , जैसे में लक्ष्मी नारायण स्वरुप ! नारद जी दुव्हिधा में पड गए अपने नारायण को दुंडू या इन में किस को, की तभी, टेलीबिजन पर न्यूज दिखाई दी ! जिसमे खबर थी ...................
" एक धाकड़ नेता जिनकी उम्र ९० के करीब है और जो इस समय किसी प्रदेश के राज्यपाल है ! . वो सरकार में बिसिष्ट पदों पर रहे जैसे बिदेश मंत्री , उधोग मंत्री , वे भारत के जब से बड़े राज्य के कई बार मुख्यमंत्री , हाल में बना नया राज्य जहा उनके पैत्रिक घर भी है, वो , वाह के भी मुख्यमंत्री भी रहे चुके है ! जिनका नाम भारत के भगबान श्री नारायण से भी मिलता है राज भवन में रास लीला राचाते हुए धरे गए ! " नारद जी ने अपने बगल में खड़े एक सजन से उन्होंने पूछा ' भाई जी ये साब ... ? वो बिना देखे बोल पड़ा ----"अरे, वो एन ड़ी है और कौन ? " नारद जी एन ड़ी का पता पूछते पूछते जा पहुंचे राज भवन !
जब वो वहा पहुंचे तो सब की जुबान पर एक ही चर्चा थी की नारारण को ये नहीं करना चाहिए था ! नारायण तो एक मायने में इस प्रान्त का पिता सामान है ! उसकी रास लीला की वो तस्वीरे, टेलीबिजन में बार बार दिखा दिखाकर और नारद जी देख देखकर बहुत लजित हुए ! भारत में आकर उनका शक तो दूर हो गया था की ये काम उनके नारायण का नहीं है लेकिन उनके नाम रासियों द्वारा किये जा रहे इन सब घपलों व कांडो से वो बहुत चिंतित हो उठे और चल दिए सीधे बैंकुठ को !
प्रभु अपने शेस नाग की शया पर आराम कर रहे थे की नारद जी की के नारायण नारायण के शब्द ने उनकों जगा दिए ! आंख खोलकर उन्होंने उनसे कहा "मै आप का बहुत आभारी हूँ जो आपने मुझे इन दो दिनों में मुझे डिसट्राब्दड नहीं किया ! बरना मेरी वैकिशन की..... , खैर छोड़ , ये बताये की कैसे आना हुआ ! " नारद जी ने प्रणाम करते हुए कहा प्रभो ..., भारत में आप के नाम का खुलकर दुरुपियोग हो रहा` है ! आपके द्वारा की गई रास लीलाओं का जमकर मजाक उड़ाया जा रहा है !
प्रभु बोले ... ". ऐसा ? " एक आद उदाहरन देकर समझाओ तो ?
देखए आप जगत पिता है ! आप को सब की चिंता रहती है ! इसीलिए तो सब आप को नारायण से जानते है, पुकारते है ! लेकन ..?
" लेकिन क्या नाराद जी .." आगे भी तो बोलिए .. क्या किया है नारायण ने !
आपने नहीं ,,, आप के नाम रसियो ने वहा आप का नाम इतना अपवित्र कर दिया है की मुझे नारायण कहने में भी संकोच होने लगता है !
भगवान् थोड़ा अप्रसन होकर नारद से कहने लगे .. " नाराद, अब आप ज्याद ही खीच रहे है सीधे सीधे बात पर आये "
छमा .., प्रभो ..छमा .. जैसे ही आप की इ मेल मिली .. सोचा , चलो आप को थोड़ा बिश्राम तो मिला लेकिन दुसरे दिन मुझे भारत से एक ब्रकिंग न्यूज मिली की नारायण किसी घपले में फंस गए है ! मन बिचलित हो उठा की कही मेरे नारारण .... !
" कैसा घपला , कौन सा घपला .. " जरा खुलकर बताओ मित्र भगवन जी ने उनसे कहा !
वहा पर आपके नाम राशी जिसका नाम भी नारायण है ! लोग उसे नो छमी नारायण के नाम से जानते है ! जो बहुत बहुत ऊँचे 2 आहोद पर रहकर , सता और कुर्शी के मद में रहकर उसने वो वो कारनामे किये ! वो वो काण्ड किये जिसका ब्यान करते मेरी जीभा कलंकित हो जाती है ! प्रभो, उन्होंने आपके नाम पर जो धबा लगाया है, अगर उसे किसी इम्पोरटिड डिटर्जन या केमिकल से भी धोये तो भी वो, साफ़ नही होगा !
पर येसा क्या किया है उसने , हमें पता भी तो चले !
रास लीला प्रभो रास लीला ... नारद ने गिडगिडते कहा ..... //
ओ आई सी ... याने हमरा अनुकरण किया है उसने... !
अनुकरण किया हिया होता तो कोई बात नहीं थी , प्रभो ... ! वो, तो, बांसुरी बजाते बजाते...., कहते कहते नारद जी थोड़ी देर चुप होगये .... उनकी इस चुपी को देखकर नारायण बोले ..." नाराद ,.आप हमरा इम्तिहान ना ले ?" नारद डरते डरते बोले.. " मै, और आप का इम्तिहान ..., तोबा ..तोबा ! मै, तो आप के माते राधे के प्रेम के वे रास लीला के बारेमे सोच रहा था ! प्रभो जब आप रास रचाते थे तो पूरा संसार आपके उस पवित्र लीला का रसास्वादन कर आत्म बिभोर हो जाता था लेकिन वहा तो वे , एक कमरे में बंद डी जी टल कैमरे के आगे ... छी.... छी ...... मुझे तो कहते हए भी ..... !
बीच में प्रभु बोले .. " उन्होंने हमारी रास लीला का उपसाह कर उसे भोग लीला बना दिया है ऐसा क्यों नहीं कहते ? " हा- हा यैसा ही किया ही उन्होंने नारद ने उत्तर दिया ! प्रभो , मुझे इस घ्रणित कार्यकर्म में कोई दिलचस्पी नहीं है लेकिन ... ?
"लेकिन क्या ...????? .. नारद , तुम पहेलियाँ जादा बुझाते हो ! साफ़ साफ़ कहो क्या कहना चाहते हो" प्रभु ने कहा !
मै आपका नाम उस व्यक्क्ति के नाम से जुड़ा होने पर थोडा बिचलित हूँ ! लोग गलियों ,मोहलों अखबारों टी बी पर एक ही बात कर रहे है और उसके उस भोग लीला को बार बार दिखा दिखा कर बस एक ही सवाल पूछ रहे है, और कह रहे है की , किसने किया ये उलटा काम ! तो सब एक ही जुबान से बोलते है " नारायण " ने ! उस नारायण ने अपने पद का दुपयोग जो किया सो किया परन्तु उसने आप के नाम का भी जम कर दुरपयोग किया है ! प्रभो , अगर जीवनदान मिले तो एक सुझाव है ...
"----- क्या .." ?
नारद ने डरते डरते कहा ... आप अपना नाम बदल दो ?
पराशर गौर
जनबरी १६, २०१० ३.४५ पर
Thursday, January 14, 2010
विधानसभा
हे दीदी चला......
कख........?
देहरादून.
क्यांखु
झिंडा मैला
द्याखानाखु तेन?
न...न...
त क्यांखु?
विधानसभा
घ्यारंखु......
य विधानसभा
होंदी क्या छ?
स्यू बाघ से बी ....................
ज्यादा खतरनाक..................
के कै की मवशी
घाम लगे वेन?
जब इतगा
खतरनाक च
य विधानसभा
त भूली इन करा
हमुतै न....
तौं मर्द नमनुतै
करा कठा
लेकितै
बड़ा - बड़ा लट्ठा
घेरी घरी
पखड़ीकी
ल्यावा वेते
अर
छोड़ी द्यावा
अमेली का डाडा|
*****विजय कुमार "मधुर"
कख........?
देहरादून.
क्यांखु
झिंडा मैला
द्याखानाखु तेन?
न...न...
त क्यांखु?
विधानसभा
घ्यारंखु......
य विधानसभा
होंदी क्या छ?
स्यू बाघ से बी ....................
ज्यादा खतरनाक..................
के कै की मवशी
घाम लगे वेन?
जब इतगा
खतरनाक च
य विधानसभा
त भूली इन करा
हमुतै न....
तौं मर्द नमनुतै
करा कठा
लेकितै
बड़ा - बड़ा लट्ठा
घेरी घरी
पखड़ीकी
ल्यावा वेते
अर
छोड़ी द्यावा
अमेली का डाडा|
*****विजय कुमार "मधुर"
Wednesday, January 13, 2010
मी मु टाइम नी ( मकर संक्रांत )
जनी टेलीफोनी घंटी बजी , मनिखी मरा दादिल फोन उठै की बोली .." हां को च ?" हैकि तरफ बीटी आवाज आई ... " मी छो बुनू, मी ...! " मी कु ---उ ?" सरू छो बुनू सरू ..?? कदुड बीटी रिसिबर हटे की वे थाई देखि व बुन बैठी .." य बोई , कदुड नि सुणी होली .." उची आवाज माँ जोर जोर से बुन बैठी .. सरू छो सरू ......उ..... /// समनी बीटी दादी बोली इतगा जोर लगानै क्या जरूरत च ! कनु बैरी छो मी ! .. हां, बोल.. खूब छई ?
हां खूब छो ! माँ बोली .. लाटी , आज मकर संक्राद च .. मी तेरी बाट छो जग्वाल लू ! तेरी सोंज्यडय भी नि ऐनी एसू का साल ! व बोली .. माँ मिमु टाइम नि ! इन कैर की त्वी ऐजा ! मिन टिकट भेजियाली ! पर बाबा .. ब्य्टुला आदा च छा अपना मैत, इनु रिवाज छो आज तक !सरू बोली .. टैम २ बात च बोये ... बगत बदली गे ! बोलियल ना मिमु टैम नी ! त्वी ऐजा बस !
पराशर गौर
सुबह ९.३० पर २०१०
हां खूब छो ! माँ बोली .. लाटी , आज मकर संक्राद च .. मी तेरी बाट छो जग्वाल लू ! तेरी सोंज्यडय भी नि ऐनी एसू का साल ! व बोली .. माँ मिमु टाइम नि ! इन कैर की त्वी ऐजा ! मिन टिकट भेजियाली ! पर बाबा .. ब्य्टुला आदा च छा अपना मैत, इनु रिवाज छो आज तक !सरू बोली .. टैम २ बात च बोये ... बगत बदली गे ! बोलियल ना मिमु टैम नी ! त्वी ऐजा बस !
पराशर गौर
सुबह ९.३० पर २०१०
बड़ा , बडो का, बड़ा काम !
बुल्दन बल कि, कै भी , घर, दफ्तर या सरकार थै चलाण का वास्ता एक समझदार ( याने बड़ो ) आदिमे की जरुरत हुन्द ! अर , उ आदिम अपणा कामो से जणे जांद, पछ्याणे जांद ! वेकु अहोदा , वेकु रूतबा सब वे कुर्सी पर निर्भर करद, जेमा उ बैठ्यु रैनद ! कुर्शी अर काम, द्वी वे आदिम थै क्या नि कराइ दिदिनी , इ त, बादम पत् चलद जब वो वी से उत्तर जाद !
हमरा गौ कु पधान , भजरामल जब तक चुनो नि लड़ी छो, वे थै कवी घास ही गिर्दु छो ! जनि वो चुनो लड़ी अर प्रधान बणी ! सबी वेकी जय जैकार करण बैठा ! अबत रोजा कुकड़ी अर बोतल , कभी तिबरिम , त कभी चौक्म , नचण बैठी ! चाटुकारू कु त पुछे ऩा ! अगर वो ( प्रधानजी ) बोल ..., कि , दिनम रात च , त वो बुलिनी ... " हां .. जी .. हां रात ही च ! अर बाजा बाजा त औरी भी वे थै काचा झयडोम धरी बुल्दा छा "
अजी पधान्जी ...... रात ही नी, बल्कि वो....... अफार , गैणा भी छंन चमकाणा " ! अपणा बीरानो कि पो बाहर ! ये दौरान पधान जी थै , उनका ग्राम उठाना का कार्य क्रममा , न जणी कथगा इनाम मैडल यख तक कि उन को नौ पध्म श्ररी तक चली गे छो ! बी डि यो जिला अधिकारी , बिधायक छेत्रिय, प्रांतीय याख्तक सेंटेरल सर्कार्ल उमठी कै अवार्द्ल नवाजी ! पर जनी पधान जी का द्वी साल पूरा हुवेनी , अर, वो उत्तरा
अपणी कुर्शी से ! कुर्शी गे अब पधान्न जी आया कुर्शी का मूड !
ह्या भै... , जब तक वो पधान छो , कैल भी गिचू नि उभारी ! वो , जू , वेका हर कामम दगडा रैनी ! चाहे , रोड कु ठयेका ह्वेनी ! या , डिगी बाणाणे बात रै हो , ! या बाटोमा खडिनचा बिछाण कि बात रै हो ! या फिर, बिलोक बीटी लोंन दीलाणे कि बात हो ,! बुनो मतलब यो च कि, जब तक भजराम पधान छो ! वेंल अपणा पद कु सदपिओग या दूरपिओग खूब कै ! जू भी बुरु काम कै ! वो सब वैक पूठ मूड !
साब..., जनी पधमचारी गे ! लुखुका गिचा उभना शुरू हवे ! कैल बोली कुछ त , कैल बोली कुछ ! कैल कुछ लाछन लगैनी त , कैल माँ बैनी गाली देनी ! सबसे चोंकावाली बात त , मुरखवाली कि बात से ह्वै ! जैन भारी पंचैत माँ , पधान जी पर चरित्र हनन कि बात कै .. " .. रुद रुद, व बोली , ये पधान्ला, ... अब क्या बोलू .. बिलोको कर्जा माफ़ काना वास्ता मी थै अपणा घोर बुलाई अर .......... ये सुणी सब सन ... ! गौम त
जन , व भुच्यालू एगे छो भुच्य्लू ... ! हमारा इलाका क , गौ गौ , पट्टी पट्टी म एक ही छुई. एक ही बात ..अर अखबारों माँ रोज , वेका बारम्म आये दिन एक नयी खबर ! अखबार फुन्डू फुका , जतका गिचा उत्की बात ! अर जैल जनी मिसी की लगै ! भजराम जी थै जनता माँ मुख दिखाणु मुश्किल ह्वैगी ! बात पटवारी, कानून गु से हुन्द हुन्द सरकार तक भी पहुंची ! सब्युन एक स्वर म बोली " जतका अवार्ड्स ,तक्मा छन ,
सब वापस लिए जावा ! " बिचारा क्या कैरू .. बड़ा कामू नतीजा बड़ो ही हुन्द ! अबतक त भीतरी भीतर च ! अब द्याखा , कख वे का उ काम वे थै कख लिजन्दीन !
पराशर गौर
हमरा गौ कु पधान , भजरामल जब तक चुनो नि लड़ी छो, वे थै कवी घास ही गिर्दु छो ! जनि वो चुनो लड़ी अर प्रधान बणी ! सबी वेकी जय जैकार करण बैठा ! अबत रोजा कुकड़ी अर बोतल , कभी तिबरिम , त कभी चौक्म , नचण बैठी ! चाटुकारू कु त पुछे ऩा ! अगर वो ( प्रधानजी ) बोल ..., कि , दिनम रात च , त वो बुलिनी ... " हां .. जी .. हां रात ही च ! अर बाजा बाजा त औरी भी वे थै काचा झयडोम धरी बुल्दा छा "
अजी पधान्जी ...... रात ही नी, बल्कि वो....... अफार , गैणा भी छंन चमकाणा " ! अपणा बीरानो कि पो बाहर ! ये दौरान पधान जी थै , उनका ग्राम उठाना का कार्य क्रममा , न जणी कथगा इनाम मैडल यख तक कि उन को नौ पध्म श्ररी तक चली गे छो ! बी डि यो जिला अधिकारी , बिधायक छेत्रिय, प्रांतीय याख्तक सेंटेरल सर्कार्ल उमठी कै अवार्द्ल नवाजी ! पर जनी पधान जी का द्वी साल पूरा हुवेनी , अर, वो उत्तरा
अपणी कुर्शी से ! कुर्शी गे अब पधान्न जी आया कुर्शी का मूड !
ह्या भै... , जब तक वो पधान छो , कैल भी गिचू नि उभारी ! वो , जू , वेका हर कामम दगडा रैनी ! चाहे , रोड कु ठयेका ह्वेनी ! या , डिगी बाणाणे बात रै हो , ! या बाटोमा खडिनचा बिछाण कि बात रै हो ! या फिर, बिलोक बीटी लोंन दीलाणे कि बात हो ,! बुनो मतलब यो च कि, जब तक भजराम पधान छो ! वेंल अपणा पद कु सदपिओग या दूरपिओग खूब कै ! जू भी बुरु काम कै ! वो सब वैक पूठ मूड !
साब..., जनी पधमचारी गे ! लुखुका गिचा उभना शुरू हवे ! कैल बोली कुछ त , कैल बोली कुछ ! कैल कुछ लाछन लगैनी त , कैल माँ बैनी गाली देनी ! सबसे चोंकावाली बात त , मुरखवाली कि बात से ह्वै ! जैन भारी पंचैत माँ , पधान जी पर चरित्र हनन कि बात कै .. " .. रुद रुद, व बोली , ये पधान्ला, ... अब क्या बोलू .. बिलोको कर्जा माफ़ काना वास्ता मी थै अपणा घोर बुलाई अर .......... ये सुणी सब सन ... ! गौम त
जन , व भुच्यालू एगे छो भुच्य्लू ... ! हमारा इलाका क , गौ गौ , पट्टी पट्टी म एक ही छुई. एक ही बात ..अर अखबारों माँ रोज , वेका बारम्म आये दिन एक नयी खबर ! अखबार फुन्डू फुका , जतका गिचा उत्की बात ! अर जैल जनी मिसी की लगै ! भजराम जी थै जनता माँ मुख दिखाणु मुश्किल ह्वैगी ! बात पटवारी, कानून गु से हुन्द हुन्द सरकार तक भी पहुंची ! सब्युन एक स्वर म बोली " जतका अवार्ड्स ,तक्मा छन ,
सब वापस लिए जावा ! " बिचारा क्या कैरू .. बड़ा कामू नतीजा बड़ो ही हुन्द ! अबतक त भीतरी भीतर च ! अब द्याखा , कख वे का उ काम वे थै कख लिजन्दीन !
पराशर गौर
मेरा गाँव
समुद तट
बनती बिगदती लहरें
कूदती फन्दाती मछलियाँ
दूर एक नांव
कंही नजर नहीं आता
मेरा गाँव......
वही गाँव
जिसके खेतों से
चुराते थे
मटर-मसूर
ठन्क्रों से कख्डीयाँ
पेड़ों से
चकोतरे..... अखरोट..
आदू.....आलूबुखारे..
लाल-लाल नारंगियाँ
दादी......काकी की
मोटी-मोटी गलियां
कभी-कभी खाते मार भी...
बर्शाती कुयेड
रिमझिम बारिश
बन्जरौ में गाय बाछी चुगाना
एक बहाना
क्योंकि इन दिनों
नहीं खेल सकते
कब्बडी... गुली डंडा...
खेल लुका छुपी
न जा सकते गदन
मारने दुबकी
पकड़ने गडयाल
जिन्हें अब
बड़ी मछलियाँ
निगल गयी.
मकान-दूकान
खेत... खलियान
पेड़..पौधे..
धारा.... पंदेरा..
मंदिर..श्मशान
के ऊपर अब
प्रय्तकों से भरी
नावें तैरेंगी....
सुनसान तट पर
जगमगानेगे
आलीशान होटल
थडिया-छोफ्ला
झ्हुमैलो की पैरौदी पर
थिरकेंगी बालाएं....
चारों तरफ रौनक ही रौनक
मिल भी सकती है नौकरी
चला भी सकता हूँ नाव
क्या हुआ अगर
नहीं आता नजर
मेरा गाँव...........
*******विजय कुमार "मधुर"
बनती बिगदती लहरें
कूदती फन्दाती मछलियाँ
दूर एक नांव
कंही नजर नहीं आता
मेरा गाँव......
वही गाँव
जिसके खेतों से
चुराते थे
मटर-मसूर
ठन्क्रों से कख्डीयाँ
पेड़ों से
चकोतरे..... अखरोट..
आदू.....आलूबुखारे..
लाल-लाल नारंगियाँ
दादी......काकी की
मोटी-मोटी गलियां
कभी-कभी खाते मार भी...
बर्शाती कुयेड
रिमझिम बारिश
बन्जरौ में गाय बाछी चुगाना
एक बहाना
क्योंकि इन दिनों
नहीं खेल सकते
कब्बडी... गुली डंडा...
खेल लुका छुपी
न जा सकते गदन
मारने दुबकी
पकड़ने गडयाल
जिन्हें अब
बड़ी मछलियाँ
निगल गयी.
मकान-दूकान
खेत... खलियान
पेड़..पौधे..
धारा.... पंदेरा..
मंदिर..श्मशान
के ऊपर अब
प्रय्तकों से भरी
नावें तैरेंगी....
सुनसान तट पर
जगमगानेगे
आलीशान होटल
थडिया-छोफ्ला
झ्हुमैलो की पैरौदी पर
थिरकेंगी बालाएं....
चारों तरफ रौनक ही रौनक
मिल भी सकती है नौकरी
चला भी सकता हूँ नाव
क्या हुआ अगर
नहीं आता नजर
मेरा गाँव...........
*******विजय कुमार "मधुर"
Sunday, January 10, 2010
उस पार
इस पार
बस रहा है
सेटेलाइट शहर
तेजी के साथ
जिसमें-
रिश्ते-नाते-संस्कार
भाषा-बोली-गीत-संगीत
रीति-रिवाज
और भी बहुत कुछ
बदल रहा है
तेजी के साथ...।
और
उस पार
नदी के किनारे
पहाड़ की तलहटी में-
बसे गांव-घर
खेत-खलिहान
पेड़-पौधे-बूढ़ी नम् आंखें
हो रहे हैं तब्दील खंडहर में
तेजी के साथ...।
जगमोहन "आज़ाद"
बस रहा है
सेटेलाइट शहर
तेजी के साथ
जिसमें-
रिश्ते-नाते-संस्कार
भाषा-बोली-गीत-संगीत
रीति-रिवाज
और भी बहुत कुछ
बदल रहा है
तेजी के साथ...।
और
उस पार
नदी के किनारे
पहाड़ की तलहटी में-
बसे गांव-घर
खेत-खलिहान
पेड़-पौधे-बूढ़ी नम् आंखें
हो रहे हैं तब्दील खंडहर में
तेजी के साथ...।
जगमोहन "आज़ाद"
अनाथ बच्चों के लिए
आवश्यक तो नहीं कि
मेरी-तुम्हारी मां भी एक होती
नालबद्ध होते हम
जुड़वा भाइयों की तरह...
आवश्यक तो नहीं कि...
हमने एक साथ
घुट्टी नहीं पी
इतना कम तो नहीं की...
जब-जब तुम्हारे एकांत में-
खड़ा था मैं-
तुम भी मेरे एकांत में खडे थे।
सुनो भाई...
जितने बहे तुम्हारे आंसू
जितनी-जितनी रातों में तुमने
ढूंढा मां को...
उतनी-उतनी बार
रोया मैं भी
और...रोये मेरे गर्भ में
असंख्य शिशु-
मगर...अब हम आंसुओं को दें देगें...
बादलों को-
ताकि! बरस वह सकें
बंजर धरती पर...।
जगमोहन "आज़ाद"
मेरी-तुम्हारी मां भी एक होती
नालबद्ध होते हम
जुड़वा भाइयों की तरह...
आवश्यक तो नहीं कि...
हमने एक साथ
घुट्टी नहीं पी
इतना कम तो नहीं की...
जब-जब तुम्हारे एकांत में-
खड़ा था मैं-
तुम भी मेरे एकांत में खडे थे।
सुनो भाई...
जितने बहे तुम्हारे आंसू
जितनी-जितनी रातों में तुमने
ढूंढा मां को...
उतनी-उतनी बार
रोया मैं भी
और...रोये मेरे गर्भ में
असंख्य शिशु-
मगर...अब हम आंसुओं को दें देगें...
बादलों को-
ताकि! बरस वह सकें
बंजर धरती पर...।
जगमोहन "आज़ाद"
Thursday, January 7, 2010
नखरा
द,
लुंगी ब्वारी ले नखरा
पुटुग पर बांदी छ क्वे कपड़ा
बुलद
मिथाई पीड उठीगे,
पौड़ी लिकरा ............. !
उफू ...
पोडिगे उबरा
देलिम दे दे धुई
भैर गाडी देनी
गोर बाछुरु डिबरा !
बीकुत कुछ नि ह्वया
अर न हुणु .....
पर सुणम आय कि
भैर भीटर गडद
गोडी गे तुई ...
बियेगी द्वी चार डिबरा ...
द लूगी ब्वारी ले नखरा !
parashar gaur
लुंगी ब्वारी ले नखरा
पुटुग पर बांदी छ क्वे कपड़ा
बुलद
मिथाई पीड उठीगे,
पौड़ी लिकरा ............. !
उफू ...
पोडिगे उबरा
देलिम दे दे धुई
भैर गाडी देनी
गोर बाछुरु डिबरा !
बीकुत कुछ नि ह्वया
अर न हुणु .....
पर सुणम आय कि
भैर भीटर गडद
गोडी गे तुई ...
बियेगी द्वी चार डिबरा ...
द लूगी ब्वारी ले नखरा !
parashar gaur
डिसकबरी !
रूप
और
धूप
कभी भी
ठल सालती है !
देखने वालो की
सोच
और आँख
कभी भी बदल सकती है !
लेकिन ,
रूप और धुप
एक बार ढली तो ..
ढली ...............
लाख जतन करने पर भी
वो , वापस नहीं आयेगी
आकाश ने खोई
डिसकबरी की तरह !
पराशर गौर
jan. 7 2010 raat 8.11 pr
और
धूप
कभी भी
ठल सालती है !
देखने वालो की
सोच
और आँख
कभी भी बदल सकती है !
लेकिन ,
रूप और धुप
एक बार ढली तो ..
ढली ...............
लाख जतन करने पर भी
वो , वापस नहीं आयेगी
आकाश ने खोई
डिसकबरी की तरह !
पराशर गौर
jan. 7 2010 raat 8.11 pr
Monday, January 4, 2010
मरती हस्त लिखित " लिखावट " और गुम होती "स्याही "
मरती हस्त लिखित " लिखावट " और गुम होती "स्याही "
एक चिंता , एक बहस
मेरे कमरे के एक कोने में कई सालो से एक लिफाफा अपने खुलने की नियति का इन्तजार कर रहा था ! आज सफाई करते करते मैंने उसे खोल ही डाला ! जिसमे रखे हुए थे कई पत्र ! जी..., हां पत्र , जिन्हें कभी मुझे मेरे दोस्त, माँ -पापा , बहिन -भाई, प्रेमिका अवम धर्मपत्नी ने भेजे थे ! जब मैंने उसमे से एक लिफाफा निकाला तो वो मेरे बचपन के एक मित्र का था ! उसकी हस्त लिखित " लिखावट " ' कलि स्याही '
से लिखे टेड़े मेडे हर्फ़ जो मुझे मेरे बचपन के अतीत में लेकर चला गया ! इन्ही पत्रों में छुपा था आपस के गिले शिकवे , प्यार-प्रेम सुख -दुःख के छण !
पत्रों में लिखित हस्त लिखावट केवल एक लेखनी ही नहीं थी वह सन्देश के आदान प्रदान का सबसे बड़ा जरिया था ... वो लिखावट जो कभी सब्दो को कागज़ में जोड़ जोड़ कर लिखी जाती रही , वो आज मर रही है ! आज के कंप्यूटर के की बोर्ड के द्वारा !
आज चाहिए बच्चे रत के अंधेरो में अपने कम्प्यूटर के की -बोर्ड पर बे- धडक ,बे झिझक , बिना थामे , बिना रुके अपने उंगुलियों से इस की -बोर्ड के शब्दों से दनादन एसे लिखते है जैसे कोई सिद्ध हस्त हारमोनियम बजने वाला अपने उंगुलियों को चला रहा हो ! लेकिन इन्ही बच्चो को अगर कहा जाय की वो अपनी दादी या नानी को अपनी लिखावट में एक पत्र लिखे तो वो उस पूछने वाले की ओर आश्चर्य चकित नि से एसे
घूरते है जैसे जाने किसी ने उनसे गलत सवाल कर दिया हो !
वही हाथ, वही उंगलिया जो अभी अभी की -बोर्ड पर नाच रही थी वो लिखावट में अपना अशर नहीं दिखा पायेगी क्योंकि हस्त लिखित लिखावट और
की- बोर्ड के द्वारा टाईप किये गए हर्फो में में बहुत अंतर होता है ! एक में स्याही , पैन और कागज के साथ शब्दों के समन्वय की क्रिया है जिसे बड़े सोच समझकर अमल में लाकर कागज़ पर उतारा जाता है ! वही दूसरी ओर कम्पुटर व बिधुतीय करण से की बोर्ड के द्वारा सब कुछ आसान है ! स्क्रीन पर आप जो भी सब्द लिखे, वे जरुर उभरेगे चाहिए वो गलत हो या सही , लेकिन, लिखावट का वो अंदाज वो नहीं
दे पायेगे जो पैन/सही से कागज पर लिखने से आते है !
इस मरती किर्या पर चाहिए हम अफसोश करे या मातम मनाये लेकिन एक बाद तो ये तय है कि जिसे आज हम फॉण्ट कहते है येही हमरी भबिस्य की लेखनी की आधार है ! यही हमारी आने वाली पीड़ी की लेखन की लिखावट की क्रिया भी होगी ! अब बराखडी या सुलेख का हमारे जीवन में कोई महत्वा नहीं होगा ! कई लोग अभी भी ये मान कर चलते है की हस्त लिखित लिखावट वापस आयेगी लेकिन अब वो वापस नहीं आयेगी
यही मानकर चलना श्रेकर होगा ! क्यूंकि इसकी जगह ई मेल ने ले ली है !
जब जब उन्नती हुई तब तब हमें कुछ ना कुछ खोना पडा है सभ्यता के आधार पर या संस्कृति के आधार पर ! सवाल लिखावट का है हस्त लिखित ये लिखावट जिसे एक एक शब्द को जोड़ जोड़ कर लिखा जाता है ! जब ये लिखी जाती है तो उस समय हमारे दिमाग में उसकी एक अलग ही क्रिया बनती है उसकी वो छबी , सब्दो के रूप में आकर लेकर हमरे हाथो की उंगलियों की मदद`से कागज पर उत्तर कर अपना अक्ष उभारती है !
शब्दों को लिखकर लिखना भी एक कला है ! किसी भी इंसान की सुंदर लिखावट पर अन्यास ही मुह से निकल उठता है " ... वाह .. क्या खुबसूरत लिखावट है .." लिखावट शब्दों की सुंदरता ही नहीं बनती बल्कि पड़ने वाले को उनके गहरे अर्थो को भी समझने पर बल देती है ! जिसके प्रभाव में गति व तारतम्य बना रहता है !
मस्तिष्क वाले डाक्टरों का मानना है की दिमाग हमेशा बदलता रहता है ये सब उस ब्यक्ति पर निर्भर रहता की वो उसे कैसे इस्तमाल करे ! आज के कम्प्यूटर की - बोर्ड ने हस्त लिखित लिखावट को पूरी तरह से बदल दिया है इस में दो राय नहीं ! इस की इस क्रिया ने एक नी शेली को जन्म दे दिया है ! जिसने हमरी पुरानी लिखावट को किनारे करके उसे लुप्त होने पर मजबूर कर दिया है !
स्क्रीन पर की-बोर्ड द्वारा लिखे सब्द भले साफ़ सुधरे नजर आये और पड़ने में आसान लगते हो लेकन वो लिखनेवाले की लिखावट के बारे में कुछ नहीं कह सकते की क्या लिखने वाली की लिखावट साफ़- सुथरी है या गन्दी ? उसकी लिखावट के सब्द शीधे है या टेड़े ? ! लिखावट एक मायेने में आदमी जात के चहरे जैसा है जिसे देखकर अंदाजा लगाया जा सकता है की वो कैसा है ! वो सुन्दर है या कुरूप , वो भावुक
है या कठोर ? आदि आदि ! इसके अलावा लिखावट लिखनेवाले की सोच और उसके प्रभाव को भी दर्शाती है जिसे हम "मूड" कहते है ! लिखते वक्त लिखने वाले का मूड क्या था ? वो सब उसकी लिखावट में साफ़ झलकता है ! लिखावट उसके एक एक सब्द और उस समय की गति को कलम बंध करता है की वो , किस मूड में लिख रहा है ! ये ठीक उस न्रत्यागना की मुद्राओं की तरह से होते है जो संगीत की उस रिदम के साथ अपनी भाव बह्गिमा को
प्रदर्सित करती है ! जिसे दर्शक दीर्घा में बैठा दर्शक देख देख कर आत्म बिभोर हो जाता है ! इसी तरह कागज़ पर लिखे गए सब्द व लिखावट भी आदमी को रोमांचित करते है !
ये फांट और की बोर्ड के आने पूर्ब ऋषी मुनी भोजपत्रों में लिखा करते थे ! उनके द्वारा रचित कई महान ग्रन्थ आज भी इसी हस्त लिखित लिखावट में सुरक्षित है ! उनकी वो कलम और स्याही इसी बात की साक्षी है ! कालान्तर से और अब तक आदमी कागज पर लिखकर अपने बिचारो का एक दुसरे से आदान प्रदान करता था ! अपना सुख दुःख सदूर में बैठ अपनों से बंटा करते थे ! चिठिया , हस्त लिखत अखबार ,
हैण्ड-बिल, तब ,ये सब सुचना लेने देने के आधार थे !
मुझे अछी तरह से याद है जब मै पहाड़ में अपने गाऊ की स्कुल में जाकर बुल्ख्या ( सफ़ेद माटी को रखने का ड़ीबा ) और पाटी ( लकड़ी की तख्ती जिस पर दिए के निचे जमे कालिख को निकालकर लगाया जाता था ! जिसे टूटे कांच के गिलास के पेंदे का रगड़ रगड़ कर चमकाया जाता था ) पर हर रोज हिंदी के बर्नमाला का अभ्यास किया करता था ! शुरू शुरू में लिखे शदों के आकार को दीखते बनता था ! वे
लम्बे आड़े तिरछे सब्द अभी भी मेरी जहन में है ! दर्जा चार तक मैंने पाटी पर ही अभ्यास किया ! कशा ५ में जाने की बाद कागज़ पर पहली बार पेंसल से लिखना सुरु किया ! पेन तो अभी दूर की बात थी ! कागज़ , पेंसल और पेन अभ्यास की बात उसका अनुभव ठीक वेसे था जैसे आटा को मलते समय हाथो में आटे चिपकने से निजाद मिलना ! बार बार का अभ्यास रंग लाई ! लिखावट में निखार आया ! वो निखार आज के बचो में कहा
! उनमे अपने लिखावट के प्रति वो स्नेह दिखने को नहीं मिलता !
इस लिखावट के लुप्त होने के कई कारन है ! सबसे बड़ा कारन बचो में शुरवाती दोर में इस के लिए उत्त्साहा का न होना ! अध्यापको का आलसीपन का होना ! हमारे जमाने में सुलेख के अलग से मार्क मिला करते थे ! निबंध इस किर्या में सबसे अहम भूमिका निभाता था ताकि बिद्यार्थी अभ्यास कर कर के अपनी लेखनी को सुंदर बना सके ! लिखावट का महत्वा दिन प्रतिदिन घटता जा रहा है उसकी जगह ले रहा है
आज का की बोर्डं और उससे लिया गया प्रिंट आउट !
हस्त लिखित लेखिनी के गुम होने के कई कारण है अधापक जो बचो को पडाते है वे स्वयं इस बिधा के बारेमे ज्यादा कुछ नहीं जानते और नहीं उन्होंने इसमें काम किया है ! यहाँ भी ओंटारियो के इंस्टिट्यूट ऑफ़ ओंटारियो स्तुदिएस इन एजुकेशन से ट्रेंड हुए अधपको का मानना है की सन ७० के दसक में वो बचो को हफ्ते में कम से कम ३ बार वो बचो को सुलेख लिखावट का अभ्यास करवाते थे अब वो धीरे
२ सब खत्म होते जा रहा है ! अमेरिका में २००६ के सैट के परीक्षा में ये साबित हो गया की १.५ लाख बिधार्थियो ने कालेज में दाखिले के समय प्रश्न पत्र को देते समय १५% ने लिख कर दिए जबकि ८५% ने प्रिंट आउट से हल किया !
ओंटारियो अवम भारत में इस तरह के की सुचना जो हस्त लिखित लिखावट को ट्रैक कर की ये बता सके की क्या हो रहा है और क्यों ? ऐसे एजसिया नहीं है जो इसके गिरते प्रभाव की रिकार्ड कर सके ! शब्दों को जोड़कर लिखने की प्रथा के बारेमे अगर हम जानना चाहिए तो खोजने से पता चलता है की ये ग्रीक व रोमन के जमाने में शुरू हो चुकी थी ! धीरे धीरे जब लोग इसके आदि होगये और इसमें कुछ नया करने या
जोड़ने के बारे में सोचने लगे तो कालान्तर में इस की बिधा ने प्रिंटिंग प्रेस और टाइप रायटर को जन्म दे दिया ! ये दिखने में आता है की बचे शुरू शुरू में लिखने से घबराते है
वे इससे डरकर दूर भागते है ! इसी डर को दूर करने का नया तरीका इजाद करने वाले जान ओल्सेन जिन्होंने ३० साल पहले " हैंड रेटिंग बिदाउट टियर्स " की खोज की , का कहना की अगर बचो को ठीक से लिखना न सिखाया गया तो वे आगे चलकर अपनी सस्त लिखित लिखावट को सही तरीके से न लिखकर एक गाड़ी लिखावट के शिकार हो जायेगे ! उनकी लिखावट न गन्दी होगी ही बल्कि इसका असर उनके लिखते समय के भावों पर
भी पडेगा जो आगे चलकर उनकी लिखने की क्रय की अभिब्यक्ति में बाधक बन सकती है !
टोरंटो के सकाईट्रिस्ट व नियारोप्लटिसिती के जानकार डाक्टर नोर्मन डोइड्जी जो अपने आप में एक हस्ती है को डर है की अगर इश्वर ना करे हस्त लिखित लिखावट अगर ग़ुम हो गई, या मर गई तो , वो क्रिया जो हमारे दिमाग में संवेदशील भावनावो व निर्णय लेने की प्रतिक्रिया के क्रिया जो लिखने से ही बनती है वो भी मर जायेगी ! अगर बच्चे हस्त लिखित लिखावट को नहीं लिखते तो उनका
दिमाग में वो इमोशन नहीं आयेगे ! उनका दिमाग एक और ही पैटर्न का जन्म देगा ! और वो कैसा होगा उसके बारे में कुछ कहा नही जा सकता !
कंप्यूटर में जब बचा लिखता है तो वो सब्द को बार बार एक ही रूप से या एक ही अंदाज में स्टोक कर लिखता है और वो अलग अलग होते है जबकि लिखावट में सब्द एक दुसरे के साथ जोड़कर लिखे जाते है ! कंप्यूटर में बचो के लिए लिखने के समय इन्सर्ट , बैकस्पेस , इंटर जैसे की अच्हे दोस्त है उपलब्ध है जो उनका काम आसने से कर देते है जबकि लिखते समय दिमाग कट पेस्ट पहले से ही कम करता रहता है
या यु कहना ठीक होगा की दिमाग व हाथ दोनों का एक दुसरे से समपर्क बराबार बना होता है ! दिमाग आकार व सिक्वेंस को परख कर हाथो की निर्देश देकर एक एक शब्द लिखवाता है इस बहस में और भी इस्तो का कहना है अगर लिखावट गुम हो भी जाती हिया है तो उसे किसी और रुप में फिर से इजाद किया जा सकता है या बदला जा सकता है जैसे हमरे पुर्बजो ने गुफवो में लिखा और लिखकर उसे सभालकर रखा जो बाद में हमने
बदल डाली ! जो भी कोई कहे लेकिन लिखावट का पाना एक अलग मजा है और था और रहेगा !
पराशर गौर
एक चिंता , एक बहस
मेरे कमरे के एक कोने में कई सालो से एक लिफाफा अपने खुलने की नियति का इन्तजार कर रहा था ! आज सफाई करते करते मैंने उसे खोल ही डाला ! जिसमे रखे हुए थे कई पत्र ! जी..., हां पत्र , जिन्हें कभी मुझे मेरे दोस्त, माँ -पापा , बहिन -भाई, प्रेमिका अवम धर्मपत्नी ने भेजे थे ! जब मैंने उसमे से एक लिफाफा निकाला तो वो मेरे बचपन के एक मित्र का था ! उसकी हस्त लिखित " लिखावट " ' कलि स्याही '
से लिखे टेड़े मेडे हर्फ़ जो मुझे मेरे बचपन के अतीत में लेकर चला गया ! इन्ही पत्रों में छुपा था आपस के गिले शिकवे , प्यार-प्रेम सुख -दुःख के छण !
पत्रों में लिखित हस्त लिखावट केवल एक लेखनी ही नहीं थी वह सन्देश के आदान प्रदान का सबसे बड़ा जरिया था ... वो लिखावट जो कभी सब्दो को कागज़ में जोड़ जोड़ कर लिखी जाती रही , वो आज मर रही है ! आज के कंप्यूटर के की बोर्ड के द्वारा !
आज चाहिए बच्चे रत के अंधेरो में अपने कम्प्यूटर के की -बोर्ड पर बे- धडक ,बे झिझक , बिना थामे , बिना रुके अपने उंगुलियों से इस की -बोर्ड के शब्दों से दनादन एसे लिखते है जैसे कोई सिद्ध हस्त हारमोनियम बजने वाला अपने उंगुलियों को चला रहा हो ! लेकिन इन्ही बच्चो को अगर कहा जाय की वो अपनी दादी या नानी को अपनी लिखावट में एक पत्र लिखे तो वो उस पूछने वाले की ओर आश्चर्य चकित नि से एसे
घूरते है जैसे जाने किसी ने उनसे गलत सवाल कर दिया हो !
वही हाथ, वही उंगलिया जो अभी अभी की -बोर्ड पर नाच रही थी वो लिखावट में अपना अशर नहीं दिखा पायेगी क्योंकि हस्त लिखित लिखावट और
की- बोर्ड के द्वारा टाईप किये गए हर्फो में में बहुत अंतर होता है ! एक में स्याही , पैन और कागज के साथ शब्दों के समन्वय की क्रिया है जिसे बड़े सोच समझकर अमल में लाकर कागज़ पर उतारा जाता है ! वही दूसरी ओर कम्पुटर व बिधुतीय करण से की बोर्ड के द्वारा सब कुछ आसान है ! स्क्रीन पर आप जो भी सब्द लिखे, वे जरुर उभरेगे चाहिए वो गलत हो या सही , लेकिन, लिखावट का वो अंदाज वो नहीं
दे पायेगे जो पैन/सही से कागज पर लिखने से आते है !
इस मरती किर्या पर चाहिए हम अफसोश करे या मातम मनाये लेकिन एक बाद तो ये तय है कि जिसे आज हम फॉण्ट कहते है येही हमरी भबिस्य की लेखनी की आधार है ! यही हमारी आने वाली पीड़ी की लेखन की लिखावट की क्रिया भी होगी ! अब बराखडी या सुलेख का हमारे जीवन में कोई महत्वा नहीं होगा ! कई लोग अभी भी ये मान कर चलते है की हस्त लिखित लिखावट वापस आयेगी लेकिन अब वो वापस नहीं आयेगी
यही मानकर चलना श्रेकर होगा ! क्यूंकि इसकी जगह ई मेल ने ले ली है !
जब जब उन्नती हुई तब तब हमें कुछ ना कुछ खोना पडा है सभ्यता के आधार पर या संस्कृति के आधार पर ! सवाल लिखावट का है हस्त लिखित ये लिखावट जिसे एक एक शब्द को जोड़ जोड़ कर लिखा जाता है ! जब ये लिखी जाती है तो उस समय हमारे दिमाग में उसकी एक अलग ही क्रिया बनती है उसकी वो छबी , सब्दो के रूप में आकर लेकर हमरे हाथो की उंगलियों की मदद`से कागज पर उत्तर कर अपना अक्ष उभारती है !
शब्दों को लिखकर लिखना भी एक कला है ! किसी भी इंसान की सुंदर लिखावट पर अन्यास ही मुह से निकल उठता है " ... वाह .. क्या खुबसूरत लिखावट है .." लिखावट शब्दों की सुंदरता ही नहीं बनती बल्कि पड़ने वाले को उनके गहरे अर्थो को भी समझने पर बल देती है ! जिसके प्रभाव में गति व तारतम्य बना रहता है !
मस्तिष्क वाले डाक्टरों का मानना है की दिमाग हमेशा बदलता रहता है ये सब उस ब्यक्ति पर निर्भर रहता की वो उसे कैसे इस्तमाल करे ! आज के कम्प्यूटर की - बोर्ड ने हस्त लिखित लिखावट को पूरी तरह से बदल दिया है इस में दो राय नहीं ! इस की इस क्रिया ने एक नी शेली को जन्म दे दिया है ! जिसने हमरी पुरानी लिखावट को किनारे करके उसे लुप्त होने पर मजबूर कर दिया है !
स्क्रीन पर की-बोर्ड द्वारा लिखे सब्द भले साफ़ सुधरे नजर आये और पड़ने में आसान लगते हो लेकन वो लिखनेवाले की लिखावट के बारे में कुछ नहीं कह सकते की क्या लिखने वाली की लिखावट साफ़- सुथरी है या गन्दी ? उसकी लिखावट के सब्द शीधे है या टेड़े ? ! लिखावट एक मायेने में आदमी जात के चहरे जैसा है जिसे देखकर अंदाजा लगाया जा सकता है की वो कैसा है ! वो सुन्दर है या कुरूप , वो भावुक
है या कठोर ? आदि आदि ! इसके अलावा लिखावट लिखनेवाले की सोच और उसके प्रभाव को भी दर्शाती है जिसे हम "मूड" कहते है ! लिखते वक्त लिखने वाले का मूड क्या था ? वो सब उसकी लिखावट में साफ़ झलकता है ! लिखावट उसके एक एक सब्द और उस समय की गति को कलम बंध करता है की वो , किस मूड में लिख रहा है ! ये ठीक उस न्रत्यागना की मुद्राओं की तरह से होते है जो संगीत की उस रिदम के साथ अपनी भाव बह्गिमा को
प्रदर्सित करती है ! जिसे दर्शक दीर्घा में बैठा दर्शक देख देख कर आत्म बिभोर हो जाता है ! इसी तरह कागज़ पर लिखे गए सब्द व लिखावट भी आदमी को रोमांचित करते है !
ये फांट और की बोर्ड के आने पूर्ब ऋषी मुनी भोजपत्रों में लिखा करते थे ! उनके द्वारा रचित कई महान ग्रन्थ आज भी इसी हस्त लिखित लिखावट में सुरक्षित है ! उनकी वो कलम और स्याही इसी बात की साक्षी है ! कालान्तर से और अब तक आदमी कागज पर लिखकर अपने बिचारो का एक दुसरे से आदान प्रदान करता था ! अपना सुख दुःख सदूर में बैठ अपनों से बंटा करते थे ! चिठिया , हस्त लिखत अखबार ,
हैण्ड-बिल, तब ,ये सब सुचना लेने देने के आधार थे !
मुझे अछी तरह से याद है जब मै पहाड़ में अपने गाऊ की स्कुल में जाकर बुल्ख्या ( सफ़ेद माटी को रखने का ड़ीबा ) और पाटी ( लकड़ी की तख्ती जिस पर दिए के निचे जमे कालिख को निकालकर लगाया जाता था ! जिसे टूटे कांच के गिलास के पेंदे का रगड़ रगड़ कर चमकाया जाता था ) पर हर रोज हिंदी के बर्नमाला का अभ्यास किया करता था ! शुरू शुरू में लिखे शदों के आकार को दीखते बनता था ! वे
लम्बे आड़े तिरछे सब्द अभी भी मेरी जहन में है ! दर्जा चार तक मैंने पाटी पर ही अभ्यास किया ! कशा ५ में जाने की बाद कागज़ पर पहली बार पेंसल से लिखना सुरु किया ! पेन तो अभी दूर की बात थी ! कागज़ , पेंसल और पेन अभ्यास की बात उसका अनुभव ठीक वेसे था जैसे आटा को मलते समय हाथो में आटे चिपकने से निजाद मिलना ! बार बार का अभ्यास रंग लाई ! लिखावट में निखार आया ! वो निखार आज के बचो में कहा
! उनमे अपने लिखावट के प्रति वो स्नेह दिखने को नहीं मिलता !
इस लिखावट के लुप्त होने के कई कारन है ! सबसे बड़ा कारन बचो में शुरवाती दोर में इस के लिए उत्त्साहा का न होना ! अध्यापको का आलसीपन का होना ! हमारे जमाने में सुलेख के अलग से मार्क मिला करते थे ! निबंध इस किर्या में सबसे अहम भूमिका निभाता था ताकि बिद्यार्थी अभ्यास कर कर के अपनी लेखनी को सुंदर बना सके ! लिखावट का महत्वा दिन प्रतिदिन घटता जा रहा है उसकी जगह ले रहा है
आज का की बोर्डं और उससे लिया गया प्रिंट आउट !
हस्त लिखित लेखिनी के गुम होने के कई कारण है अधापक जो बचो को पडाते है वे स्वयं इस बिधा के बारेमे ज्यादा कुछ नहीं जानते और नहीं उन्होंने इसमें काम किया है ! यहाँ भी ओंटारियो के इंस्टिट्यूट ऑफ़ ओंटारियो स्तुदिएस इन एजुकेशन से ट्रेंड हुए अधपको का मानना है की सन ७० के दसक में वो बचो को हफ्ते में कम से कम ३ बार वो बचो को सुलेख लिखावट का अभ्यास करवाते थे अब वो धीरे
२ सब खत्म होते जा रहा है ! अमेरिका में २००६ के सैट के परीक्षा में ये साबित हो गया की १.५ लाख बिधार्थियो ने कालेज में दाखिले के समय प्रश्न पत्र को देते समय १५% ने लिख कर दिए जबकि ८५% ने प्रिंट आउट से हल किया !
ओंटारियो अवम भारत में इस तरह के की सुचना जो हस्त लिखित लिखावट को ट्रैक कर की ये बता सके की क्या हो रहा है और क्यों ? ऐसे एजसिया नहीं है जो इसके गिरते प्रभाव की रिकार्ड कर सके ! शब्दों को जोड़कर लिखने की प्रथा के बारेमे अगर हम जानना चाहिए तो खोजने से पता चलता है की ये ग्रीक व रोमन के जमाने में शुरू हो चुकी थी ! धीरे धीरे जब लोग इसके आदि होगये और इसमें कुछ नया करने या
जोड़ने के बारे में सोचने लगे तो कालान्तर में इस की बिधा ने प्रिंटिंग प्रेस और टाइप रायटर को जन्म दे दिया ! ये दिखने में आता है की बचे शुरू शुरू में लिखने से घबराते है
वे इससे डरकर दूर भागते है ! इसी डर को दूर करने का नया तरीका इजाद करने वाले जान ओल्सेन जिन्होंने ३० साल पहले " हैंड रेटिंग बिदाउट टियर्स " की खोज की , का कहना की अगर बचो को ठीक से लिखना न सिखाया गया तो वे आगे चलकर अपनी सस्त लिखित लिखावट को सही तरीके से न लिखकर एक गाड़ी लिखावट के शिकार हो जायेगे ! उनकी लिखावट न गन्दी होगी ही बल्कि इसका असर उनके लिखते समय के भावों पर
भी पडेगा जो आगे चलकर उनकी लिखने की क्रय की अभिब्यक्ति में बाधक बन सकती है !
टोरंटो के सकाईट्रिस्ट व नियारोप्लटिसिती के जानकार डाक्टर नोर्मन डोइड्जी जो अपने आप में एक हस्ती है को डर है की अगर इश्वर ना करे हस्त लिखित लिखावट अगर ग़ुम हो गई, या मर गई तो , वो क्रिया जो हमारे दिमाग में संवेदशील भावनावो व निर्णय लेने की प्रतिक्रिया के क्रिया जो लिखने से ही बनती है वो भी मर जायेगी ! अगर बच्चे हस्त लिखित लिखावट को नहीं लिखते तो उनका
दिमाग में वो इमोशन नहीं आयेगे ! उनका दिमाग एक और ही पैटर्न का जन्म देगा ! और वो कैसा होगा उसके बारे में कुछ कहा नही जा सकता !
कंप्यूटर में जब बचा लिखता है तो वो सब्द को बार बार एक ही रूप से या एक ही अंदाज में स्टोक कर लिखता है और वो अलग अलग होते है जबकि लिखावट में सब्द एक दुसरे के साथ जोड़कर लिखे जाते है ! कंप्यूटर में बचो के लिए लिखने के समय इन्सर्ट , बैकस्पेस , इंटर जैसे की अच्हे दोस्त है उपलब्ध है जो उनका काम आसने से कर देते है जबकि लिखते समय दिमाग कट पेस्ट पहले से ही कम करता रहता है
या यु कहना ठीक होगा की दिमाग व हाथ दोनों का एक दुसरे से समपर्क बराबार बना होता है ! दिमाग आकार व सिक्वेंस को परख कर हाथो की निर्देश देकर एक एक शब्द लिखवाता है इस बहस में और भी इस्तो का कहना है अगर लिखावट गुम हो भी जाती हिया है तो उसे किसी और रुप में फिर से इजाद किया जा सकता है या बदला जा सकता है जैसे हमरे पुर्बजो ने गुफवो में लिखा और लिखकर उसे सभालकर रखा जो बाद में हमने
बदल डाली ! जो भी कोई कहे लेकिन लिखावट का पाना एक अलग मजा है और था और रहेगा !
पराशर गौर
History of Garhwali , Kumaoni, Nepali Literature , History of Himalayan Literature
History of Garhwali Prose Literature Till 1975----Part-8
Review of Gad Myateki Ganga: a book edited by Abodh Bandhu Bahuguna )
Bhishma Kukreti
Periodicals published Garhwali language literature
Abodh Bandhu Bahuguna along with Durga Prasad Ghildiyala and Sarves Juyal collected the following information about the periodicals which published Garhwali language literature :
1- Purusharth ( 1907)
2-Garhwali Saptahik (1906)
3- Garhwal Samachar (1902)
4- Khsatriya Beer
5-Gadhdesh
6- Himani
7- Vishal Kirti (1913-15)
Bahuguna , Ghildiyal and Juyal provides the list of exclusive Garhwali language periodicals as under :
1- Fyaunli Jai Krishna Uniyal started a monthly magazine in 1946 and closed down due to his acute illness.
2-Ranko by Damodar Thapliyal from Dehradun
3- Garhwal by Shyam Chand negi from Tihri
4-Raibar by Shakunt Joshi from Dehradun (1956)
5- Maiti by Sateshwar Azad from Rudraprayag
Nav bharat Times a Hindi daily published many articles/letters in Garhwali from Delhi
Copyright@ Bhishma Kukreti, Mumbai, India, 2009
Review of Gad Myateki Ganga: a book edited by Abodh Bandhu Bahuguna )
Bhishma Kukreti
Periodicals published Garhwali language literature
Abodh Bandhu Bahuguna along with Durga Prasad Ghildiyala and Sarves Juyal collected the following information about the periodicals which published Garhwali language literature :
1- Purusharth ( 1907)
2-Garhwali Saptahik (1906)
3- Garhwal Samachar (1902)
4- Khsatriya Beer
5-Gadhdesh
6- Himani
7- Vishal Kirti (1913-15)
Bahuguna , Ghildiyal and Juyal provides the list of exclusive Garhwali language periodicals as under :
1- Fyaunli Jai Krishna Uniyal started a monthly magazine in 1946 and closed down due to his acute illness.
2-Ranko by Damodar Thapliyal from Dehradun
3- Garhwal by Shyam Chand negi from Tihri
4-Raibar by Shakunt Joshi from Dehradun (1956)
5- Maiti by Sateshwar Azad from Rudraprayag
Nav bharat Times a Hindi daily published many articles/letters in Garhwali from Delhi
Copyright@ Bhishma Kukreti, Mumbai, India, 2009
History of Garhwali , Kumaoni Nepali Literature , History of Himalayan Literature
History of Garhwali Prose Literature Till 1975---- Part -6
(Review of Gad Myateki Ganga: a book edited by Abodh Bandhu Bahuguna )
Bhishma Kukreti
Second Developmental Phase of Garhwali Prose till 1975
Bahuguna states that Garhwali prose got boosts after 1940. The Garhwali social organizations in Delhi, Lahore, Agra, Dehradun provided immense contributions in developing Garhwali literature.
1- Ram Prasad Bhatt published ‘Rameshwari Garhwali Vyakaran’ in 1940 from Lahore
2- Prof. Baldev Prasad Nautiyal from Lahore edited a Garhwali dictionary in 1942 by the aid of Garhwali Sahitya Parishad Lahore
3-Dr Anand Sharan Raturi published essay collections ‘Manav Adhukar’ from Mussurie in and around 1942
4-Garhwali Jan Sahitya Parishad Dehradun contributed far more than Garhwali Sahitya Mandal Delhi
5- Professor Bhagvati Prasad Panthari published dramas in Garhwali –Adh Patan, bhuton ki Khoh. Panthari also published stories collection ‘Panch Phool’
6-Rama Prasad Ghildiyal ‘Pahadi’ published an autobiography of Chandra Singh Garhwali ‘Bada Bhaiji’ in 1953
7- Baldev Prasad Nautiyal from Lahore published essays as Panch prahari, Nyay Prahari, Ashtagrahi. These are intellectual example of Garhwali prose. He also wrote first Garhwali novel ‘ Byalum Byural’ in 1940
8- Shyam Chand Negi Shyam Chand negi served Garhwali literature through Garhwali jan parishad and by writing articles and essays . his Garhwali is pure Tiryali .
9- Dr Govind Chatak: Dr Govind Chatak published seven dramas in Jangli Phool’, He also published many essays and articles as Kya Gori Kya saunli.
10- Abodh Bandhu Bahuguna: Abodh Bandhu Bahuguna rejuvenated the Garhwali literature by publishing his poetic books. Bahuguna published two dramas ‘Antim Garhwa and Mai Ko Lal in Garhwali language.
11- Dr hari Datt Bhatt ‘Shailesh’ published Naubat drama he edited two Garhwali prose collections ‘ Garhwali Sahitya ki bhumika and Garhwali ko Nayo Kadam’
12- Gopeshwar Kothiyal published many articles, essays and stories in Garhwali published in Yugvani newsletter. He also edited published an essy collections by name ‘ Garhwali Nibandh’
13- Jeet Singh Negi wrote a social drama ‘ Bhari Bhul’
14- Damodar Thapliyal many essays and articles and wrote dramas as Mankhi and aunsi ki rat’ He also edited ‘Ranko’ a Garhwali magazine .
15- Dr Purushottam Dobhal wrote two dramas by names – ‘’buraansh’ and ‘bindara’ apart from many articles in Garhwali
16- Lalit Mohan Thapliyal is famous for his dramas as ‘Khadu Lapata’., Gharjavain’,Anchheryun Tal’ and ‘Ekikaran’.
17- Dr Shiva Nand Nautiyal published many stories in garhwali, a drama ‘Baun ka Phool’ and a wrote a novel .
18- Shakunt Joshi the editor of Raibar magazine will be very much remembered for publicizing, patronizing, Garhwali literature and encouraging new writers for Garhwali literature. Shakunt ‘s editorial articles are marvelous pieces of international standard of his time. He also wrote tens of articles.
19- Nitya NandMaithani wrote and broadcasted his Garhwali radio dramas from Lucknow Radio station.
20 Kanhaya Lal Dandriyal published a couple of stories and a drama as ‘Saput’.
21- Dr Uma Shankar Satish: Dr Uma Shankar brought an essay collection- Samun’,which is the self-experience of the writer about Garhwali geet.
22- Mohan Lal Negi : Advocate Moahn Negi published a story collection book by name ‘Jon par Chhap Kilai’ In 1967. Bahuguna informs that he did complete a novel ‘ Jaubhala’ and there are many stories to be published by him (1975)
23-The editor of Maiti Sateshwar Azad arranged the examinations of Garhwali language and literature for students . Azad wrote many essays and articles in Garhwali
24- Durga Prasad Ghildiyal published more than a dozon stories and his story collection books are Gari, Mwari and Bwari.
25- Surendra Singh Rawat published mant dramas as Adhpad, Angarh Gailya, Kany Bechi, Beman naukar etc.
26- Shri Dhar Jamloki published a drama ‘Seeta Parityag’.
27-Prem Lal Bhatt published many stories and a drama ‘Murti ki Chori’
28-Vishal Mani Sharma published dramas as ‘ Krishna natak’, Bhakt Balak Dhrub’ in 1955.
29- Bahagwati Prasad Chandola wrote a drama ‘ ‘Aj Also chhod Deva’.
30-Govind Ram Pokhariyal published ‘ Bantwara ‘ drama in 1970
31-Keshva nand Naithani Bhauk is the first Garhwali prose maker wrote many articles of historical subjects. His many articles are published in ‘Girish’
32-Sarveshwar juyal published many articles in many periodicals an souvenirs
Apart from the above the following writers published Garhwali prose in periodicals
Shridhara nand Ghildiyal (.essays), Chakradhar Bahuguna (articles), Bhagvati Charan Sharma Nirmohi (Story), Rajendra Dhashmana (Drama), Urbi Datt Upadhyaya ( Articles), Sundar lal Bahuguna (soires), Mathura datt Naithani (stories), Dant Nipodu ( Folk Stories), Veerendra Mohan Raturi (drama), Girdhari Lal Thapliyal ‘kankal’ ( drama), Mohan Lal Dandriyal (drama). Kali Prasad Ghildiyal (drama and stories), Kalamdar ( articles), Sushila Sharma (article), Kamal Bahuguna (stories, articles etc), Govind Ram Nautiyal (articles) , Kailsha panthari (stories), Deep Chand Kukreti (travelogue), Kashiram Pathik (cultural articles), Day Dhar Bamroda, Krishna Datt Joshi (articles), Prakash Rawat (articles), Sohan Lal panthari (articles), Dhanesh Shastri (drama), Pareshwar gaud (drama).
Copyright @ Bhishma kukreti, Mumbai, India
(Review of Gad Myateki Ganga: a book edited by Abodh Bandhu Bahuguna )
Bhishma Kukreti
Second Developmental Phase of Garhwali Prose till 1975
Bahuguna states that Garhwali prose got boosts after 1940. The Garhwali social organizations in Delhi, Lahore, Agra, Dehradun provided immense contributions in developing Garhwali literature.
1- Ram Prasad Bhatt published ‘Rameshwari Garhwali Vyakaran’ in 1940 from Lahore
2- Prof. Baldev Prasad Nautiyal from Lahore edited a Garhwali dictionary in 1942 by the aid of Garhwali Sahitya Parishad Lahore
3-Dr Anand Sharan Raturi published essay collections ‘Manav Adhukar’ from Mussurie in and around 1942
4-Garhwali Jan Sahitya Parishad Dehradun contributed far more than Garhwali Sahitya Mandal Delhi
5- Professor Bhagvati Prasad Panthari published dramas in Garhwali –Adh Patan, bhuton ki Khoh. Panthari also published stories collection ‘Panch Phool’
6-Rama Prasad Ghildiyal ‘Pahadi’ published an autobiography of Chandra Singh Garhwali ‘Bada Bhaiji’ in 1953
7- Baldev Prasad Nautiyal from Lahore published essays as Panch prahari, Nyay Prahari, Ashtagrahi. These are intellectual example of Garhwali prose. He also wrote first Garhwali novel ‘ Byalum Byural’ in 1940
8- Shyam Chand Negi Shyam Chand negi served Garhwali literature through Garhwali jan parishad and by writing articles and essays . his Garhwali is pure Tiryali .
9- Dr Govind Chatak: Dr Govind Chatak published seven dramas in Jangli Phool’, He also published many essays and articles as Kya Gori Kya saunli.
10- Abodh Bandhu Bahuguna: Abodh Bandhu Bahuguna rejuvenated the Garhwali literature by publishing his poetic books. Bahuguna published two dramas ‘Antim Garhwa and Mai Ko Lal in Garhwali language.
11- Dr hari Datt Bhatt ‘Shailesh’ published Naubat drama he edited two Garhwali prose collections ‘ Garhwali Sahitya ki bhumika and Garhwali ko Nayo Kadam’
12- Gopeshwar Kothiyal published many articles, essays and stories in Garhwali published in Yugvani newsletter. He also edited published an essy collections by name ‘ Garhwali Nibandh’
13- Jeet Singh Negi wrote a social drama ‘ Bhari Bhul’
14- Damodar Thapliyal many essays and articles and wrote dramas as Mankhi and aunsi ki rat’ He also edited ‘Ranko’ a Garhwali magazine .
15- Dr Purushottam Dobhal wrote two dramas by names – ‘’buraansh’ and ‘bindara’ apart from many articles in Garhwali
16- Lalit Mohan Thapliyal is famous for his dramas as ‘Khadu Lapata’., Gharjavain’,Anchheryun Tal’ and ‘Ekikaran’.
17- Dr Shiva Nand Nautiyal published many stories in garhwali, a drama ‘Baun ka Phool’ and a wrote a novel .
18- Shakunt Joshi the editor of Raibar magazine will be very much remembered for publicizing, patronizing, Garhwali literature and encouraging new writers for Garhwali literature. Shakunt ‘s editorial articles are marvelous pieces of international standard of his time. He also wrote tens of articles.
19- Nitya NandMaithani wrote and broadcasted his Garhwali radio dramas from Lucknow Radio station.
20 Kanhaya Lal Dandriyal published a couple of stories and a drama as ‘Saput’.
21- Dr Uma Shankar Satish: Dr Uma Shankar brought an essay collection- Samun’,which is the self-experience of the writer about Garhwali geet.
22- Mohan Lal Negi : Advocate Moahn Negi published a story collection book by name ‘Jon par Chhap Kilai’ In 1967. Bahuguna informs that he did complete a novel ‘ Jaubhala’ and there are many stories to be published by him (1975)
23-The editor of Maiti Sateshwar Azad arranged the examinations of Garhwali language and literature for students . Azad wrote many essays and articles in Garhwali
24- Durga Prasad Ghildiyal published more than a dozon stories and his story collection books are Gari, Mwari and Bwari.
25- Surendra Singh Rawat published mant dramas as Adhpad, Angarh Gailya, Kany Bechi, Beman naukar etc.
26- Shri Dhar Jamloki published a drama ‘Seeta Parityag’.
27-Prem Lal Bhatt published many stories and a drama ‘Murti ki Chori’
28-Vishal Mani Sharma published dramas as ‘ Krishna natak’, Bhakt Balak Dhrub’ in 1955.
29- Bahagwati Prasad Chandola wrote a drama ‘ ‘Aj Also chhod Deva’.
30-Govind Ram Pokhariyal published ‘ Bantwara ‘ drama in 1970
31-Keshva nand Naithani Bhauk is the first Garhwali prose maker wrote many articles of historical subjects. His many articles are published in ‘Girish’
32-Sarveshwar juyal published many articles in many periodicals an souvenirs
Apart from the above the following writers published Garhwali prose in periodicals
Shridhara nand Ghildiyal (.essays), Chakradhar Bahuguna (articles), Bhagvati Charan Sharma Nirmohi (Story), Rajendra Dhashmana (Drama), Urbi Datt Upadhyaya ( Articles), Sundar lal Bahuguna (soires), Mathura datt Naithani (stories), Dant Nipodu ( Folk Stories), Veerendra Mohan Raturi (drama), Girdhari Lal Thapliyal ‘kankal’ ( drama), Mohan Lal Dandriyal (drama). Kali Prasad Ghildiyal (drama and stories), Kalamdar ( articles), Sushila Sharma (article), Kamal Bahuguna (stories, articles etc), Govind Ram Nautiyal (articles) , Kailsha panthari (stories), Deep Chand Kukreti (travelogue), Kashiram Pathik (cultural articles), Day Dhar Bamroda, Krishna Datt Joshi (articles), Prakash Rawat (articles), Sohan Lal panthari (articles), Dhanesh Shastri (drama), Pareshwar gaud (drama).
Copyright @ Bhishma kukreti, Mumbai, India
History of Garhwali, Kumaoni, Himalayan Literature
Dhanesh Kothari : A Garhwali Poet of New Symbols and Sharp Attitude
Bhishma Kukreti
In terms of poetry movement, Garhwalis will remember Dhanesh Kothari as the poets Pierre Reverdy, Arthur Rembaud, Yves Bonnefoy in French, Cesar Vallejo of Peruvian, Sheema kalbasi of Iranian language, Fernado Pessosa of Portuguese language, Vasko Pops of Seribian, Pablo Neruda of Chilean language for their contributions in keeping poetry movement alive.
Dhanesh Kothari is new generation Garhwali language poet who uses new symbols and have sharp attitude towards wrong happenings. Dhanesh Kothari touched various subject concerns in Garhwal and India . Kothari believes in criticizing the wrong happenings with sharp words and does not believe in mild criticism. It may be said that Dahnesh is multidimensional poet in terms of subject, narration, style and new experimentation.
Dhanesh Kothari was born on 26 December, 1970 in Devprayag, Tihri Garhwal , Himalaya.
Kothari is graduate from Rajkiya Mahavidyalaya Rishikesh and started creating poems from early age. Dhad movement sharpens his ability for fineness and motivated Kothari for creating poetry in Garhwali language.
Dhanesh Kothari created more than two hundred poems in Garhwali language and published in various periodicals as Sahara Samay, Khabar Sar, Chitthi Patri , Rant Raibar, Dandi Kanthi, Yugvani . Akashvani has been broadcasting his poems for many years.
Dhanesh writes stories in Garhwali but believes in focusing in creating poetries.
Jyundal is Garhwali poetry collection book published in 2009 from Dhad Prakashan. The renowed garhwali language critic Veerendra Panwar states that Jyundal is the initiating ritual of creating awareness for humanity among the human beings . The poems of Kothari compel the readers or audience in Kavisammelan for thinking about diminishing the cultural and social values , sharp decline in feelings of responsibilities by the authorities responsible for development of the area concerned . The poems of Dhanesh Kothari are full of agonizes for ecological concerns, ignorance for Garhwali language among Garhwalis and wrongly or dangerous changes taking place in the society and administration .
His satires stir the readers that readers start thinking to avoid wrong happenings in the country and Garhwali society. Many poems are very satiric but at the end those poems create helplessness, actionlessness in the reader’s mind.
His many poems are rebellion in nature and he clearly without mincing the words ask the readers go for revolutions .
Dhanesh create poetries in conventional styles and never hesitates for doing new experiments for adding new dimensional forms to Garhwali but takes care that even the Atukant kavita do not leave the lyrical effect of poetries.
Dhanesh uses all types of symbols that is conventional rural Garhwali symbols and newly born symbols in the modern society and show that poet is aware about changes happenings in linguistic arena of the social circle. Dhanesh created many his own symols too, which suit to the subject and reader’s mental frame. Same way, Dhanesh Kothari is always successful in creating his own intentional images in mind of his readers. The narration style of Kothari and language is simple and well understable by common readers besides intellectual ones. No doubt , subjects, the style and language of Kothari are contemporary but Kothari uses conventional Garhwali proverbs, idioms, sayings , words so effectively that his many poems become the linking poems between the past and present.
Definitely Dhanesh Kothari will earn a name in the Garhwali literature for his subjects, style and uses of symbols, creating intentional images , rebellion poems .
Cpyright @ Bhishma Kukreti, Mumbai, India, 2009
Bhishma Kukreti
In terms of poetry movement, Garhwalis will remember Dhanesh Kothari as the poets Pierre Reverdy, Arthur Rembaud, Yves Bonnefoy in French, Cesar Vallejo of Peruvian, Sheema kalbasi of Iranian language, Fernado Pessosa of Portuguese language, Vasko Pops of Seribian, Pablo Neruda of Chilean language for their contributions in keeping poetry movement alive.
Dhanesh Kothari is new generation Garhwali language poet who uses new symbols and have sharp attitude towards wrong happenings. Dhanesh Kothari touched various subject concerns in Garhwal and India . Kothari believes in criticizing the wrong happenings with sharp words and does not believe in mild criticism. It may be said that Dahnesh is multidimensional poet in terms of subject, narration, style and new experimentation.
Dhanesh Kothari was born on 26 December, 1970 in Devprayag, Tihri Garhwal , Himalaya.
Kothari is graduate from Rajkiya Mahavidyalaya Rishikesh and started creating poems from early age. Dhad movement sharpens his ability for fineness and motivated Kothari for creating poetry in Garhwali language.
Dhanesh Kothari created more than two hundred poems in Garhwali language and published in various periodicals as Sahara Samay, Khabar Sar, Chitthi Patri , Rant Raibar, Dandi Kanthi, Yugvani . Akashvani has been broadcasting his poems for many years.
Dhanesh writes stories in Garhwali but believes in focusing in creating poetries.
Jyundal is Garhwali poetry collection book published in 2009 from Dhad Prakashan. The renowed garhwali language critic Veerendra Panwar states that Jyundal is the initiating ritual of creating awareness for humanity among the human beings . The poems of Kothari compel the readers or audience in Kavisammelan for thinking about diminishing the cultural and social values , sharp decline in feelings of responsibilities by the authorities responsible for development of the area concerned . The poems of Dhanesh Kothari are full of agonizes for ecological concerns, ignorance for Garhwali language among Garhwalis and wrongly or dangerous changes taking place in the society and administration .
His satires stir the readers that readers start thinking to avoid wrong happenings in the country and Garhwali society. Many poems are very satiric but at the end those poems create helplessness, actionlessness in the reader’s mind.
His many poems are rebellion in nature and he clearly without mincing the words ask the readers go for revolutions .
Dhanesh create poetries in conventional styles and never hesitates for doing new experiments for adding new dimensional forms to Garhwali but takes care that even the Atukant kavita do not leave the lyrical effect of poetries.
Dhanesh uses all types of symbols that is conventional rural Garhwali symbols and newly born symbols in the modern society and show that poet is aware about changes happenings in linguistic arena of the social circle. Dhanesh created many his own symols too, which suit to the subject and reader’s mental frame. Same way, Dhanesh Kothari is always successful in creating his own intentional images in mind of his readers. The narration style of Kothari and language is simple and well understable by common readers besides intellectual ones. No doubt , subjects, the style and language of Kothari are contemporary but Kothari uses conventional Garhwali proverbs, idioms, sayings , words so effectively that his many poems become the linking poems between the past and present.
Definitely Dhanesh Kothari will earn a name in the Garhwali literature for his subjects, style and uses of symbols, creating intentional images , rebellion poems .
Cpyright @ Bhishma Kukreti, Mumbai, India, 2009
History of Literature , History of Garhwali Literature , History of Himalayan Literature
History of Garhwali Prose Literature Till 1975----Part-3
(Review of Gad Myateki Ganga: a book edited by Abodh Bandhu Bahuguna )
Bhishma Kukreti
Garhwali Oral Prose Literature
Though, there was no much literature in Garhwali language before eighteenth century but Garhwali has rich oral literature. Bahuguna provides the details of oral Garhwali literature with examples:
1-Folk Sayings (Pakhana or Ana) : After providing examples, Bahuguna offers the details of published collections of proverbs and folk sayings as
A- Garhwali Kahavat Sangrah by Amba Datt Sharma (1931)
B- Garhwali Pakhana by Shaligram Vaishnava (1938)
C- 601 Pakhana in the introductory note in Singnad by Bhajan Singh Singh (1937)
2-Garhwali Proverbs: Dr Govind Chatak is credited for detailing Garhwali proverbs
3- Puzzles (maina): Bahuguna offers examples of 15 Garhwali puzzles.
4- Garhwali Folk Stories: Bahuguna explains about Garhwali folk stories and also provides four five folk stories of Garhwal in the appendix
5- Varta or Oral talks on religious stories
Copyright @ Bhishma kukreti, Mumbai, India 2009
(Review of Gad Myateki Ganga: a book edited by Abodh Bandhu Bahuguna )
Bhishma Kukreti
Garhwali Oral Prose Literature
Though, there was no much literature in Garhwali language before eighteenth century but Garhwali has rich oral literature. Bahuguna provides the details of oral Garhwali literature with examples:
1-Folk Sayings (Pakhana or Ana) : After providing examples, Bahuguna offers the details of published collections of proverbs and folk sayings as
A- Garhwali Kahavat Sangrah by Amba Datt Sharma (1931)
B- Garhwali Pakhana by Shaligram Vaishnava (1938)
C- 601 Pakhana in the introductory note in Singnad by Bhajan Singh Singh (1937)
2-Garhwali Proverbs: Dr Govind Chatak is credited for detailing Garhwali proverbs
3- Puzzles (maina): Bahuguna offers examples of 15 Garhwali puzzles.
4- Garhwali Folk Stories: Bahuguna explains about Garhwali folk stories and also provides four five folk stories of Garhwal in the appendix
5- Varta or Oral talks on religious stories
Copyright @ Bhishma kukreti, Mumbai, India 2009
History of Literature , History of Garhwali Literature
History of Garhwali Prose Literature Till 1975----Part-2
(Review of Gad Myateki Ganga: a book edited by Abodh Bandhu Bahuguna )
Bhishma Kukreti
Primitive Garhwali Prose
Learned Bahuguna states that it is difficult to take the readers to the vary root of Garhwali language . Abodh Bandhu Bahuguna refers the research of Dr. Govind Chatak that Shaurseni Rajasthani is the mother of present Garhwali language.
Bahuguna states that whatever resources are available, he can divide the history of primitive Garhwali prose into three aspects:
1- Garhwali in Stone carvings
2- The state orders of administrators/kings in the Garhwal Kingdom
3- Old letters
4-Oral prose
Bahuguna surprised the readers that we find prose in Garhwali language than poetries as happens in other languages.
Garhwali in Stone Carvings and Donation Declaration on Copperplates
Bahuguna provides the details of following stone carvings and state orders :
1- Stone Carving of Devalgarh at the at the time of Ajaipal (1460)—ajipal ko dharm patho bhadaro karyo, kun
2-Kshetrapal Mandir Devprayag (1608) : Though most of the script is in Sanskrit but many conjunctions and divisions words are of Garhwali .(Source: Manuscript of captain Shurveer Singh Panwar : Uttarakhand Bharati 1:3
3- Lakhsmi Narayan Mandir , Bhaktiyana , Shrinagar (1612): this is about Mahraj Prithipati Shah (Source: Ibid)
4- Keshav Rai Math, Shrinagar (1625)
5- Lakhsmi Narayn Mandir , Maldyul, Tihri Garhwal (1875) (Source, Bhatt, Hari Datt , Vasudhara, Chandigarh, 1965)
6- Donation declaration (danpatra) of Maharaj Jagatpal in Devprayag of 1355 AD (Bhatt:Ibid)
7- A Letter of Prithipati Shah on copperplate in Devprayag Mandir (1664)
8- The state order or donation letter on copperplate from King Fateh Shah to peer Balaknath found in Gorakhnath cave, Shrinagar (1667Ad) (source; captain Shurveer Singh)
9- Sate order of King Lalt Shah of Garhwal (1781)
Abodh Bandhu Bahuguna logically stresses that Garhwali was state language of Garhwal kingdom before British took over Garhwal from Gorkhas.
Spiritual and Philosophical literature
Bahuguna provides the old handwritten Garhwali prose manuscripts (booklets) of spiritual and philosophical literature found in various places collected by various researchers (Bahuguna‘s collection):
1-A manuscript of 1401 (only last two and half page)
2-Ukhel (1792)
3-Samaina (around 1780)
4- Ap Rakchha
5-Mahvidya
6-Saidwali
7- Sunejar ki Vidai
8-Bag Chalvano
9- dhukano
10- Ukhel
11- Shrinath Ji ki Suklais etc
Letters in Garhwali
After providing the glimpse of Garhwali prose in spiritual and philosophical subjects, Bahuguna provides the lettering language in letters :
1- A letter of Vasbanand Bahuguna wrote some parts of Mahbharat with the order from Mahraja Ran jeet Singh (1839) (Lahor Library)
2-A letter of shish Ram Bahuguna (1880): this letter is an example of the effects of Urdu on Vedic Garhwali
Copyright @ Bhishma Kukreti, Mumbai, India, 2009,
(Review of Gad Myateki Ganga: a book edited by Abodh Bandhu Bahuguna )
Bhishma Kukreti
Primitive Garhwali Prose
Learned Bahuguna states that it is difficult to take the readers to the vary root of Garhwali language . Abodh Bandhu Bahuguna refers the research of Dr. Govind Chatak that Shaurseni Rajasthani is the mother of present Garhwali language.
Bahuguna states that whatever resources are available, he can divide the history of primitive Garhwali prose into three aspects:
1- Garhwali in Stone carvings
2- The state orders of administrators/kings in the Garhwal Kingdom
3- Old letters
4-Oral prose
Bahuguna surprised the readers that we find prose in Garhwali language than poetries as happens in other languages.
Garhwali in Stone Carvings and Donation Declaration on Copperplates
Bahuguna provides the details of following stone carvings and state orders :
1- Stone Carving of Devalgarh at the at the time of Ajaipal (1460)—ajipal ko dharm patho bhadaro karyo, kun
2-Kshetrapal Mandir Devprayag (1608) : Though most of the script is in Sanskrit but many conjunctions and divisions words are of Garhwali .(Source: Manuscript of captain Shurveer Singh Panwar : Uttarakhand Bharati 1:3
3- Lakhsmi Narayan Mandir , Bhaktiyana , Shrinagar (1612): this is about Mahraj Prithipati Shah (Source: Ibid)
4- Keshav Rai Math, Shrinagar (1625)
5- Lakhsmi Narayn Mandir , Maldyul, Tihri Garhwal (1875) (Source, Bhatt, Hari Datt , Vasudhara, Chandigarh, 1965)
6- Donation declaration (danpatra) of Maharaj Jagatpal in Devprayag of 1355 AD (Bhatt:Ibid)
7- A Letter of Prithipati Shah on copperplate in Devprayag Mandir (1664)
8- The state order or donation letter on copperplate from King Fateh Shah to peer Balaknath found in Gorakhnath cave, Shrinagar (1667Ad) (source; captain Shurveer Singh)
9- Sate order of King Lalt Shah of Garhwal (1781)
Abodh Bandhu Bahuguna logically stresses that Garhwali was state language of Garhwal kingdom before British took over Garhwal from Gorkhas.
Spiritual and Philosophical literature
Bahuguna provides the old handwritten Garhwali prose manuscripts (booklets) of spiritual and philosophical literature found in various places collected by various researchers (Bahuguna‘s collection):
1-A manuscript of 1401 (only last two and half page)
2-Ukhel (1792)
3-Samaina (around 1780)
4- Ap Rakchha
5-Mahvidya
6-Saidwali
7- Sunejar ki Vidai
8-Bag Chalvano
9- dhukano
10- Ukhel
11- Shrinath Ji ki Suklais etc
Letters in Garhwali
After providing the glimpse of Garhwali prose in spiritual and philosophical subjects, Bahuguna provides the lettering language in letters :
1- A letter of Vasbanand Bahuguna wrote some parts of Mahbharat with the order from Mahraja Ran jeet Singh (1839) (Lahor Library)
2-A letter of shish Ram Bahuguna (1880): this letter is an example of the effects of Urdu on Vedic Garhwali
Copyright @ Bhishma Kukreti, Mumbai, India, 2009,
History of Literature , History of Garhwali Literature
History of Garhwali Prose Literature Till 1975----Part-1
(Review of Gad Myateki Ganga: a book edited by Abodh Bandhu Bahuguna )
Bhishma Kukreti
History of literature , specially history of Garhwali literature will never forget the year 1976, when Swarup Dhoundiyal with the help of Himalaya Kala Sangam Delhi headed by Durga Prasad Ghildiyal published Gad Myateki Ganga edited by Abodh Bandhu Bahuguna. Gad Myateki Ganga has many milestones in the history of literature, specially history of Garhwali literature. Gad Myateki Ganga is supposed be the first collection of Garhwali prose in the history of Garhwali literature and Abodh Bandhu detailed the historical development of Garhwali .prose.
Abodh Bandhu Bahuguna with the great assistance of Durga Prasad Ghildiyal (a renowed Garhwali language story writer) wrote introduction of History of Garhwali prose.
Garhwali is not Dialect but a Language
At first page, Abodh Bandhu shows his annoyence for wrong perception in the linguastic world that Garhwali is a dialect of Hindi or Khari Boli. Abodh accused the political and social situations and Garhwalis for the wrong perception that Garhwali is a dialect of Hindi. Bahuguna logically proved that Garhwali language flourished before Khadi boli flourished in India. Bahuguna accuses Griarson, Suniti Kumar Chatterji for their ignorance and no knowledge of Garhwal and Garhwali language and hey foolishly called Garhwali as the dialect of Hindi. While, according to logical explanations of Chandra Mohan Raturi, Shyam Chand Negi, Dr Hari Datt Bhatt Shailesh, Garhwali developed in Garhwal parallel to Hindi, which developed in some parts of India .
Main Dialects of Garhwali language
Bahuguna followed in dividing Garhwali language Grayson and shows the difference between ten dialects of Garhwali language :
1- Shrinagari
2-Rathi
3-Lohabbya
4- Badhani
5- Dasyola
6-Manjh Kumaya
7-Nagpuriya
8-Salani
9-Gangpuriya or Tiryali
Abodh Bandhu Bahuguna also provided the review of Chakradhar Bahuguna about Grayson’ division of different Garhwali dialects.
Rahul Santyakritan (Hindustan 26th January 1954) states that Garhwali is originated from Marwadi language of Rajasthan.
Baldev Prasad Nautiyal proved that Garhwali is Vedic language as Dhashmana proved.
Continued ……………………..
Copyright @ Bhishma Kukreti, Mumbai, India, 2009
(Review of Gad Myateki Ganga: a book edited by Abodh Bandhu Bahuguna )
Bhishma Kukreti
History of literature , specially history of Garhwali literature will never forget the year 1976, when Swarup Dhoundiyal with the help of Himalaya Kala Sangam Delhi headed by Durga Prasad Ghildiyal published Gad Myateki Ganga edited by Abodh Bandhu Bahuguna. Gad Myateki Ganga has many milestones in the history of literature, specially history of Garhwali literature. Gad Myateki Ganga is supposed be the first collection of Garhwali prose in the history of Garhwali literature and Abodh Bandhu detailed the historical development of Garhwali .prose.
Abodh Bandhu Bahuguna with the great assistance of Durga Prasad Ghildiyal (a renowed Garhwali language story writer) wrote introduction of History of Garhwali prose.
Garhwali is not Dialect but a Language
At first page, Abodh Bandhu shows his annoyence for wrong perception in the linguastic world that Garhwali is a dialect of Hindi or Khari Boli. Abodh accused the political and social situations and Garhwalis for the wrong perception that Garhwali is a dialect of Hindi. Bahuguna logically proved that Garhwali language flourished before Khadi boli flourished in India. Bahuguna accuses Griarson, Suniti Kumar Chatterji for their ignorance and no knowledge of Garhwal and Garhwali language and hey foolishly called Garhwali as the dialect of Hindi. While, according to logical explanations of Chandra Mohan Raturi, Shyam Chand Negi, Dr Hari Datt Bhatt Shailesh, Garhwali developed in Garhwal parallel to Hindi, which developed in some parts of India .
Main Dialects of Garhwali language
Bahuguna followed in dividing Garhwali language Grayson and shows the difference between ten dialects of Garhwali language :
1- Shrinagari
2-Rathi
3-Lohabbya
4- Badhani
5- Dasyola
6-Manjh Kumaya
7-Nagpuriya
8-Salani
9-Gangpuriya or Tiryali
Abodh Bandhu Bahuguna also provided the review of Chakradhar Bahuguna about Grayson’ division of different Garhwali dialects.
Rahul Santyakritan (Hindustan 26th January 1954) states that Garhwali is originated from Marwadi language of Rajasthan.
Baldev Prasad Nautiyal proved that Garhwali is Vedic language as Dhashmana proved.
Continued ……………………..
Copyright @ Bhishma Kukreti, Mumbai, India, 2009
"पहाड़ों पर"
पड़ गई है बर्फ,
जिसकी इंतजारी रहती है,
ह्यूंद के मौसम में,
पर्वतवासियों को.
सुन ली है पुकार,
कालिदास जी के मेघदूतों ने,
पर्वतजनों की,
और मेघों का दिल,
पिघल गया.
उत्तराखंडी प्रवासियों,
खबर आई है पहाड़ से,
बद्रीनाथ, केदारनाथ, गंगोत्री,
यमुनोत्री, हर्षिल, धराली, सुक्कीटॉप,
दयारा, बेलग, हेमकुंड, गौरसौं,
रुद्रनाथ, चोपता, गौरीकुंड,
गरुड़चट्टी, मद्महेश्वर में,
हुई बर्फबारी ने,
पर्वतीय इलाकों को,
अपने आगोश में ले लिया.
पहाड़ पर होने वाली बर्फबारी,
आज भी याद दिलाती है,
पर्वतजनों को,
बीते हुए बचपन की.
ठिठुरन पैदा हो जाती थी,
जब खेलते थे बर्फ से,
एक दूसरे के साथ,
ठिठोली करते हुए,
उत्तराखंड के पहाड़ों पर,
अपने प्यारे गाँव में.
रचनाकार: जगमोहन सिंह जयारा "ज़िग्यांसू"
(सर्वाधिकार सुरक्षित)
ग्राम: बागी-नौसा, चन्द्रबदनी, टेहरी गढ़वाल
E-mail: j_jayara@ yahoo.com
16.१२.२००९
जिसकी इंतजारी रहती है,
ह्यूंद के मौसम में,
पर्वतवासियों को.
सुन ली है पुकार,
कालिदास जी के मेघदूतों ने,
पर्वतजनों की,
और मेघों का दिल,
पिघल गया.
उत्तराखंडी प्रवासियों,
खबर आई है पहाड़ से,
बद्रीनाथ, केदारनाथ, गंगोत्री,
यमुनोत्री, हर्षिल, धराली, सुक्कीटॉप,
दयारा, बेलग, हेमकुंड, गौरसौं,
रुद्रनाथ, चोपता, गौरीकुंड,
गरुड़चट्टी, मद्महेश्वर में,
हुई बर्फबारी ने,
पर्वतीय इलाकों को,
अपने आगोश में ले लिया.
पहाड़ पर होने वाली बर्फबारी,
आज भी याद दिलाती है,
पर्वतजनों को,
बीते हुए बचपन की.
ठिठुरन पैदा हो जाती थी,
जब खेलते थे बर्फ से,
एक दूसरे के साथ,
ठिठोली करते हुए,
उत्तराखंड के पहाड़ों पर,
अपने प्यारे गाँव में.
रचनाकार: जगमोहन सिंह जयारा "ज़िग्यांसू"
(सर्वाधिकार सुरक्षित)
ग्राम: बागी-नौसा, चन्द्रबदनी, टेहरी गढ़वाल
E-mail: j_jayara@ yahoo.com
16.१२.२००९
"तस्वीर"
मेरी देखकर बनी थी वो,
जीवन भर के लिए साथी,
कागज पर नहीं, साक्षात्,
आज याद है उभर आती.
जीवन चलता रहा,
और तस्वीर बदलती रही,
आईने ने मुझसे कहा,
तुम आज नहीं हो वही.
स्वर्गवासी पिता जी की तस्वीर,
निहारता हूँ जब-जब,
फिर ख्याल आता है मन में,
वे मेरी यादों में बसे हैं अब.
एक दिन ऐसा आएगा,
मेरी तस्वीर, लटकी होगी दिवार पर,
खामोश! कुछ नहीं कहेगी,
देखेंगे परिजन और मित्र जीवन भर.
तस्वीर(शरीर) तो तस्वीर होती है,
एक दिन मिटटी में मिल जाती है,
उसमें बसा इंसान चला जाता है,
उसकी अदाओं की याद आती है.
कवि:जगमोहन सिंह जयारा "ज़िग्यांसू"
(सर्वाधिकार सुरक्षित)
१३.१२.०९
जीवन भर के लिए साथी,
कागज पर नहीं, साक्षात्,
आज याद है उभर आती.
जीवन चलता रहा,
और तस्वीर बदलती रही,
आईने ने मुझसे कहा,
तुम आज नहीं हो वही.
स्वर्गवासी पिता जी की तस्वीर,
निहारता हूँ जब-जब,
फिर ख्याल आता है मन में,
वे मेरी यादों में बसे हैं अब.
एक दिन ऐसा आएगा,
मेरी तस्वीर, लटकी होगी दिवार पर,
खामोश! कुछ नहीं कहेगी,
देखेंगे परिजन और मित्र जीवन भर.
तस्वीर(शरीर) तो तस्वीर होती है,
एक दिन मिटटी में मिल जाती है,
उसमें बसा इंसान चला जाता है,
उसकी अदाओं की याद आती है.
कवि:जगमोहन सिंह जयारा "ज़िग्यांसू"
(सर्वाधिकार सुरक्षित)
१३.१२.०९
Garhwali Literature
Garhwali is Language and not Dialect
(Review of Garhwali Bhasha Hai Boli Nahin , a Book by Dr Nandkishor Dhoundiyal )
Bhishma Kukreti
From the time Grison and Suniti Kumar Chatterji wrote about comments of garhwali language, there has been debate that whether Garhwali, Kumaoni, Himachali are languages or dialects of Hindi. The non-Garhwali and Garhwali Hindi lovers of did harm to Garhwali by stating that Garhwali is dialects of Hindi (hindi ki boli ya upboli) Hindi never been a language of any Kingdom before independence but Garhwali had been the state language of Garhwal kingdom from the time the kingdom came in existence in Garhwal. There is no doubt that as happened with the development of other language, the old Garhwali took many shapes and shades with the time for becoming today’s Garhwali. The eminent scholar of Hindi and Garhwali Dr Nand Kishor Dhoundiyal logically proved that Garhwali is a language and not dialect as wrongly perceived by not only common men but linguistic scholars too in his recently published book Garhwali Bhasha Hai Boli Nahin .
A web site (1) defines the characteristics of language as “ language is a system: it has different linguistic levels (phonological, related to phonemes, intonation and rhythm; lexical semantic, which have to do with lexis, that is, the words, and their meaning (semantics); syntactical, that is, the rules of grammar; discourse, written language; conversation, that is, the characteristics of spoken discourse (turn-taking, use of words, etc.); sociolinguistic (social factors, such as educational level, age, ethnic, sex, etc.).” The same web site further states that the language is always dynamic and changes continuously even the meaning of word may change from one generation to second generation. The sociolect language means language social variation vary depending upon the class of speaker and same way the language of each speaker varies (voice quality, pitch, speech rhythm) .
Wikipedia (Ref-2) states that spoken language is ten thousand is ten thousand years predate than the written language .
Dr Nand Kishor Dhoundiyal provided evidences from the above unversal norms of a language that Garhwali is a language and not the dialects as wrongly perceived by those scholars who never tried to study the characteristics of Garhwali language and the history of Garhwal.
Learned scholar Dr Dhoundiyal accuses in ’Garhwali ek bhasha hai boli nahin’ chapter that those Garhwali writers who write in Hindi and these writers never provide any importance to their mother tongue because these Garhwali (Hindi creative writer ) foolishly state that Garhwali is dialects of Hindi . Dhoundiyal proved that Hindi was never been language before 1850 0r so.
Dr Dhoundiyal also supports the theory of dr Chatak that the origin of Garhwali language is Shursheni Apbhransh. It means Garhwali is originated from Sanskrit. Dr Nand Kishor proves brilliantly that Garhwali language is much richer than Hindi in terms of confusion less grammar.
Dr Dhoundiyal presents the quote of another brilliant scholar Dr Pitamber Datt Barthwal that Garhwali language has the capacity to convert any foreign words for making that foreign word as original Garhwali word as Khud word of Urdu became very original Garhwali word, which means emotional memorizing/remembrance of the beloved one . Dr Dhoundiyal also provides the logical proofs provided by Dr Babulakar, Dr haridatt Bhatt Shailesh, Dr Guna Nand Juyal and Abodh Bandhu Bahuguna that Garhwali is a language and not a dialect. .
Samridh Sahitya or Rich Literature
Dr Nand Kishor Dhoundiyal divides the chapter Samridh Sahitya (Rich Literature ) into two parts I.e. Folk Literature (Lok Sahitya ) and Modern Literature (Maulik Sahitya)
Folk Literature
The language expert Dr Nand Kishor Dhoundiyal under whom more than ten researchers got Ph D degree from Hemwati Nandan Bahuguna Garhwal University in Garhwali language related subject briefed the readers about rich Folk Garhwali literature . He classified folk literature into Lok Geet (Folk Songs), Lok Gathayen (Folklores), Folk Stories, Lokoktiyan Sayings) , Lok Muhavare (Folk Proverbs and Idioms) Lok Paheliyan (Folk Puzzles) Lok Vartayen (Folk Philosophical and Spiritual Literature ), Lok Mantra ( Hocus-pocus Literature ) . Dr Dhoundiyal divided each above title into various sub subjects. His detailing proves that Garhwali language is one of the richest language in the world in terms of folk literature. The readers can judge the richness that there are thirteen thousands proverbs and idioms in Garhwali language.
Modern literature
Dr Nand Kishor Dhoundiyal provided us details of modern Garhwali literature created by modern literature creative from 1900. Dhoundiyal lists the details of modern Garhwali poetry, prose, drama and other literature such as translation of Sanskrit classics in Garhwali language by eminent Garhwali creative. Here too, Nand Kishor divides Garhwali the modern literature according to time frame and names them as Garhwali era, Panthari era, Singh era etc.
Script
Devnagari is the script for Garhwali language . However, Dr Dhoundiyal had been suggesting separate script for Garhwali language. However, most of the learned personalities of Garhwali literature do not agree with Dr Dhoundiyal that Garhwali needs separate script. T
Characteristics of Garhwali Words
Dr Dhoundiyal lists the different types of words found in Garhwali language as words from Prakrit, Sanskrit, Vedas, Pali, Urdu, Marathi, Gujrati, Rajashthani, and foreign languages specially form English .
Garhwali as State Language
Nand Kishor Dhoundiyal provided many proofs about Garhwali being a state language of sovereign Garhwali kingdom for more than fifteen hundred years.
The subject is not new but Dr Dhoundiyal integrated all the subject in one book for proving that Garhwali is a language and not dialects and Dhoundiyal is succeful in proving the richness of Garhwali language
All praises for Dr Dhoundiyal for bringing such useful book.
Garhwali Bhasha hai Boli Nahin
Binsar Publishing Company
First Floor
120 Dispensary Road
Dehradun -248001, Uttarakhand
Telephone 0135-3294463
Reference :
1- What are the characteristics of language ? http://answers.yahoo.com/question/index?qid=20070607041815AAM2LTF
2- Language , http://en.wikipedia.org/wiki/Language
Copyright @ Bhishma Kukreti, Mumbai, India
(Review of Garhwali Bhasha Hai Boli Nahin , a Book by Dr Nandkishor Dhoundiyal )
Bhishma Kukreti
From the time Grison and Suniti Kumar Chatterji wrote about comments of garhwali language, there has been debate that whether Garhwali, Kumaoni, Himachali are languages or dialects of Hindi. The non-Garhwali and Garhwali Hindi lovers of did harm to Garhwali by stating that Garhwali is dialects of Hindi (hindi ki boli ya upboli) Hindi never been a language of any Kingdom before independence but Garhwali had been the state language of Garhwal kingdom from the time the kingdom came in existence in Garhwal. There is no doubt that as happened with the development of other language, the old Garhwali took many shapes and shades with the time for becoming today’s Garhwali. The eminent scholar of Hindi and Garhwali Dr Nand Kishor Dhoundiyal logically proved that Garhwali is a language and not dialect as wrongly perceived by not only common men but linguistic scholars too in his recently published book Garhwali Bhasha Hai Boli Nahin .
A web site (1) defines the characteristics of language as “ language is a system: it has different linguistic levels (phonological, related to phonemes, intonation and rhythm; lexical semantic, which have to do with lexis, that is, the words, and their meaning (semantics); syntactical, that is, the rules of grammar; discourse, written language; conversation, that is, the characteristics of spoken discourse (turn-taking, use of words, etc.); sociolinguistic (social factors, such as educational level, age, ethnic, sex, etc.).” The same web site further states that the language is always dynamic and changes continuously even the meaning of word may change from one generation to second generation. The sociolect language means language social variation vary depending upon the class of speaker and same way the language of each speaker varies (voice quality, pitch, speech rhythm) .
Wikipedia (Ref-2) states that spoken language is ten thousand is ten thousand years predate than the written language .
Dr Nand Kishor Dhoundiyal provided evidences from the above unversal norms of a language that Garhwali is a language and not the dialects as wrongly perceived by those scholars who never tried to study the characteristics of Garhwali language and the history of Garhwal.
Learned scholar Dr Dhoundiyal accuses in ’Garhwali ek bhasha hai boli nahin’ chapter that those Garhwali writers who write in Hindi and these writers never provide any importance to their mother tongue because these Garhwali (Hindi creative writer ) foolishly state that Garhwali is dialects of Hindi . Dhoundiyal proved that Hindi was never been language before 1850 0r so.
Dr Dhoundiyal also supports the theory of dr Chatak that the origin of Garhwali language is Shursheni Apbhransh. It means Garhwali is originated from Sanskrit. Dr Nand Kishor proves brilliantly that Garhwali language is much richer than Hindi in terms of confusion less grammar.
Dr Dhoundiyal presents the quote of another brilliant scholar Dr Pitamber Datt Barthwal that Garhwali language has the capacity to convert any foreign words for making that foreign word as original Garhwali word as Khud word of Urdu became very original Garhwali word, which means emotional memorizing/remembrance of the beloved one . Dr Dhoundiyal also provides the logical proofs provided by Dr Babulakar, Dr haridatt Bhatt Shailesh, Dr Guna Nand Juyal and Abodh Bandhu Bahuguna that Garhwali is a language and not a dialect. .
Samridh Sahitya or Rich Literature
Dr Nand Kishor Dhoundiyal divides the chapter Samridh Sahitya (Rich Literature ) into two parts I.e. Folk Literature (Lok Sahitya ) and Modern Literature (Maulik Sahitya)
Folk Literature
The language expert Dr Nand Kishor Dhoundiyal under whom more than ten researchers got Ph D degree from Hemwati Nandan Bahuguna Garhwal University in Garhwali language related subject briefed the readers about rich Folk Garhwali literature . He classified folk literature into Lok Geet (Folk Songs), Lok Gathayen (Folklores), Folk Stories, Lokoktiyan Sayings) , Lok Muhavare (Folk Proverbs and Idioms) Lok Paheliyan (Folk Puzzles) Lok Vartayen (Folk Philosophical and Spiritual Literature ), Lok Mantra ( Hocus-pocus Literature ) . Dr Dhoundiyal divided each above title into various sub subjects. His detailing proves that Garhwali language is one of the richest language in the world in terms of folk literature. The readers can judge the richness that there are thirteen thousands proverbs and idioms in Garhwali language.
Modern literature
Dr Nand Kishor Dhoundiyal provided us details of modern Garhwali literature created by modern literature creative from 1900. Dhoundiyal lists the details of modern Garhwali poetry, prose, drama and other literature such as translation of Sanskrit classics in Garhwali language by eminent Garhwali creative. Here too, Nand Kishor divides Garhwali the modern literature according to time frame and names them as Garhwali era, Panthari era, Singh era etc.
Script
Devnagari is the script for Garhwali language . However, Dr Dhoundiyal had been suggesting separate script for Garhwali language. However, most of the learned personalities of Garhwali literature do not agree with Dr Dhoundiyal that Garhwali needs separate script. T
Characteristics of Garhwali Words
Dr Dhoundiyal lists the different types of words found in Garhwali language as words from Prakrit, Sanskrit, Vedas, Pali, Urdu, Marathi, Gujrati, Rajashthani, and foreign languages specially form English .
Garhwali as State Language
Nand Kishor Dhoundiyal provided many proofs about Garhwali being a state language of sovereign Garhwali kingdom for more than fifteen hundred years.
The subject is not new but Dr Dhoundiyal integrated all the subject in one book for proving that Garhwali is a language and not dialects and Dhoundiyal is succeful in proving the richness of Garhwali language
All praises for Dr Dhoundiyal for bringing such useful book.
Garhwali Bhasha hai Boli Nahin
Binsar Publishing Company
First Floor
120 Dispensary Road
Dehradun -248001, Uttarakhand
Telephone 0135-3294463
Reference :
1- What are the characteristics of language ? http://answers.yahoo.com/question/index?qid=20070607041815AAM2LTF
2- Language , http://en.wikipedia.org/wiki/Language
Copyright @ Bhishma Kukreti, Mumbai, India
History of Garhwali, Kumaoni, Himalayan Literature
Garhwali Language in Written Form Before Twentieth Century
Bhishma Kukreti
According to Rama Prasad Pahadi , Garhwali language is one of the oldest language of India . Rama Prasad Pahadi wrote to this author in personal letter and wrote in many his articles in Hilans magazine and other regional periodicals that Garhwali has been there from Mahabharata era and its origin place is around Kankhal Haridwar or the area of Dhangu and Uday Pur . Rama Prasad stated that there is influence of Garhwali language on the script of Kalsi Lat or pillar of great Ashok era near Danda Lakhaund, Dehradun . There is no doubt that Garhwal have been an important area for Indians (Jambudweep) as pilgrim place and the place of creating /writing manuscript from the Mahabharata time. It means that there was a specific regional language in Garhwal area which later on transformed into modern Garhwali language Dhasmana supports that the origin of Garhwali is originated from Vedic language .While , Dr Govind Chatak supports that Shaurseni Rajasthan is the mother of present Garhwali. However, it is a known fact that Garhwal as kingdom have been a sovereign nation even in the time of Mogul and only British as foreign ruler ruled Garhwal after 1812 Ad. Therefore, it is also clear that a single language of Garhwal had been there from Mahabharata time and definitely that language was transforming time to time due to migration of people from other parts of India and Tibet and China. Since, there had been political stability in Garhwal kingdom (600 AD is supposed to be initial year) for more than thirteen hundred years after is supposed be the establishment of Garhwali kingdom) became the king of Garhwal, the language was stable .
Vishambar Datt Chandola wrote in his write up ‘ Garhwali Sahitya ki Shurwat’ (2) that The main communication medium among Garhwalis before British was oral Garhwali language and Sanskrit was the language of elite. Literature creative and for ritual activities . The tantra, mantra, jantra were created in Garhwali . Same way, Garhwali is very rich in terms of its folk literature. Always, the state language had been Garhwali even before Panwar Destiny (1).
Accordingly, there were four states of written forms in Garhwali language
1- Tantra, Mantra and Jantra : This philosophical, spiritual and religious literature is available in manuscripts . Many manuscripts are now published , many manuscripts require publishers.
2-Carving on stone or copper/metal. Temple and building pillars and on cooper shields.
3- State language in state orders or sanad: Garhwali had been state language of Garhwali King Shrinagar Garhwal and then Tihri. Therefore, the orders of king or its ministerial decisions were written in Garhwali. The orders were always handwritten before Gorkhali took over Garhwal. The handwritten orders or sand is available in many museums specially of Vikram Shardul the younger brother of Manvendr Shah the ex- ruler of Tihri Garhwal.
4- Literature available in the form of letters.
There is a carving in Devalgarh temple stone of 1460 AD in Garhwali language (3) :
Ajaipal ki dharma patho bhandari karaun; ku
Sabari granth: This is a handwritten manuscript and t is in old form of Garhwali . This manuscript describes that Ajeypal ruled from 1440-1519 AD or 1500 to 1558 Samvat Sabdri Granth is about Jantra and mantra. There is complete detail of ‘ Ajaipal Jantra’ and ‘Salinam Jantra’ in Sabri Granth
There is a carved copper plate in Raghunath Mandir Devprayag of 1495 Ad, which describes in garhwali language about the king Jagtipal, Ramchandra Math, Bhumi, Bandto, etc.
The carving on the door temple of Khsetrapal, of 1604, there is description in Garhwali language about Maharaja Sahajpal ,Maharaja Manshahi (1608), and maharaja Prithwisha (1664)
There is description in Garhwali language on the stone carving n the door of Mahadev temple, Devprayag about construction of Raguhnath ji Bhandar, and Tijoriin the year 1610 AD
A letter of Maharaja Pradeepshah of 1757 was found in Kedarnath temple Yul, Tihri wherein there state stamp ‘Badrinath Vijayate and Shri with garhwali description .
Garhwali had been the state language of sovereign nation Garhwal and there are state orders in Garhwali which are available with Vikram Shardul Shah. There are many letters available about Devprayagpuri from 1495 to 1856 (1).
There are letters (1746) available from state authorities to all Syana ( village authority) about penalty for not paying the tax in the form of Ghee by villagers .
There is a state letter in Garhwali available (1796) toa person Chaturbhuj, wherein state authorties accepted about a Dahrmapatra (letter about religious matter) from Panch (village councilors) ( Reference-Babulakar 1990)
There are many letters are published in the book ‘Devparayagi Prakash’ about Devprayagpuri as request letter to pardon the Jhallar tax (1794), to pardon tax of 1791 and the Dasodh tax of 1800. There are sixty one letters in Garhwali language published in Devprayag Prakash , which are proof that before 1815, the state language of Garhwal was Garhwali and the state used to post the letters in Garhwali for day to day activities and informing necessary information to the subject (Babulakar, 1990)
Bahuguna (1976) provided the scripts of stone carving of Devalgarh 1460), and all the stone carving found in Devprayag in his historical book Gad Matyeki Ganga
Bahuguna (1976) provided an example of Garhwali prose from a hand written book ‘ Samaina ‘ written around 1780
Bahuguna (1976) provided us many old letters written before 1900 AD as letter of Basbanand Bahuguna and Shishram Bahuguna.
Brahma Nand Thapliyal (1913), Dr Pitambar Datt Barthwal Bahuguna(1955), Babulkar (1986), Anuragi (1986), Dr Vichardas (2009), and many more provided that there is garhwali language in the following published and unpublished philosophical antipathy books :
1- Dhol Sagar
2- Damau Sagar
3-Ukhail
4-Bairi Binash
5- Jogeshwari Sakhi
6-Ghat Staphana
7-Nadbud
8-Chaudiyabeer Masan
9-Samain
10-Indrajal
11-Kamrup jap
12-Saidwali
13-Mahavidya
14-Narsingh ki Chauki
15-Ath Hanmant
16- Bhairavali
17-Narsingwali
18-Chhidrawali
19- Anchharwali
20-Mochwali
21- Rakhwali
22-Maimda Rakhwali
23-Kali Rakhwali
24-Kalua Rakhvali
25-Dain Rakhwali
26-Jur Todi archival
27-Mantrawali
28-Fodibayali
29-Kurmastak
30-Ganit Prakash
31-Sankracharj bidhi
32-Dariyau
33-Olyachar
34-Bhavuna Beer
35-Mantra Goril kai
36-Panchmukhi Hanuman
37-Bhairvastak
38-Dadiya Mantra
39-Saub Jadu Ukhel
40-Sabdiyan
41-Ap Raksha
42-Chudamantra
43-Chudail ko Mantar
44-Dakhan Disha
45-Lochda ki Baidai
46-Hauri mantar
47- Guru Paduka
48-Shrinath ko Suklesh
49-Nath nighantu
50-Daint sanghar
The above detail is proof that Garhwali had been the only language of communication for more than fifteen hundreds years in Garhwal among common men and elite. Sanskrit was the language of elite only
Reference
1-Babulakar, Mohan (editor) 1990 , Garhwali Lok Bhasha ki Likhit Parampara, in the book- Garhwal ki Jeevit Bhibhtiyan aurGarhwal ka Vaishishthya, Mukhchyali, Dev Prayag, Page 165 to 170
2-Bahuguna , Abodh Bandhu, 1976), Gad matyaeki Ganga’ Alaknanda Prakashan, Delhi, India, pp20.
3- Bahuguna, Abodh Bandhu, 1955, Garhwali ke Gorakhpanthi Granth, Girish, Garhwal Sahitya Mandal Delhi, page 28
4- Babulkar, Mohan, 1986, Dhol Sagar par mere Sunjhav, Barrister Mukandi Lal Smiriti Granth, Smriti Granth Samiti, Kotdwara, Dehradun, pp354
5- Anuragi, Keshava, 1986, Gorakhpanth ke Paripex men Dhol Sagar,Barrister Mukandi Lal Smiriti Granth, Smriti Granth Samiti, Kotdwara, Dehradun, pp 329
6- Kukreti, Vishnu Datt, 1986, Nathpanth aur Garhwal, Garhwal ki Jeevit Bhibhtiyan aurGarhwal ka Vaishishthya, Mukhchyali, Dev Prayag, Page 226 to 235
7-Dr Vichar Das, 2009, Dhol Sagar, Series of Articles in Shailvani, Kotdwara
Copyright @ Bhishma Kukreti, Mumbai, India, 2009
Bhishma Kukreti
According to Rama Prasad Pahadi , Garhwali language is one of the oldest language of India . Rama Prasad Pahadi wrote to this author in personal letter and wrote in many his articles in Hilans magazine and other regional periodicals that Garhwali has been there from Mahabharata era and its origin place is around Kankhal Haridwar or the area of Dhangu and Uday Pur . Rama Prasad stated that there is influence of Garhwali language on the script of Kalsi Lat or pillar of great Ashok era near Danda Lakhaund, Dehradun . There is no doubt that Garhwal have been an important area for Indians (Jambudweep) as pilgrim place and the place of creating /writing manuscript from the Mahabharata time. It means that there was a specific regional language in Garhwal area which later on transformed into modern Garhwali language Dhasmana supports that the origin of Garhwali is originated from Vedic language .While , Dr Govind Chatak supports that Shaurseni Rajasthan is the mother of present Garhwali. However, it is a known fact that Garhwal as kingdom have been a sovereign nation even in the time of Mogul and only British as foreign ruler ruled Garhwal after 1812 Ad. Therefore, it is also clear that a single language of Garhwal had been there from Mahabharata time and definitely that language was transforming time to time due to migration of people from other parts of India and Tibet and China. Since, there had been political stability in Garhwal kingdom (600 AD is supposed to be initial year) for more than thirteen hundred years after is supposed be the establishment of Garhwali kingdom) became the king of Garhwal, the language was stable .
Vishambar Datt Chandola wrote in his write up ‘ Garhwali Sahitya ki Shurwat’ (2) that The main communication medium among Garhwalis before British was oral Garhwali language and Sanskrit was the language of elite. Literature creative and for ritual activities . The tantra, mantra, jantra were created in Garhwali . Same way, Garhwali is very rich in terms of its folk literature. Always, the state language had been Garhwali even before Panwar Destiny (1).
Accordingly, there were four states of written forms in Garhwali language
1- Tantra, Mantra and Jantra : This philosophical, spiritual and religious literature is available in manuscripts . Many manuscripts are now published , many manuscripts require publishers.
2-Carving on stone or copper/metal. Temple and building pillars and on cooper shields.
3- State language in state orders or sanad: Garhwali had been state language of Garhwali King Shrinagar Garhwal and then Tihri. Therefore, the orders of king or its ministerial decisions were written in Garhwali. The orders were always handwritten before Gorkhali took over Garhwal. The handwritten orders or sand is available in many museums specially of Vikram Shardul the younger brother of Manvendr Shah the ex- ruler of Tihri Garhwal.
4- Literature available in the form of letters.
There is a carving in Devalgarh temple stone of 1460 AD in Garhwali language (3) :
Ajaipal ki dharma patho bhandari karaun; ku
Sabari granth: This is a handwritten manuscript and t is in old form of Garhwali . This manuscript describes that Ajeypal ruled from 1440-1519 AD or 1500 to 1558 Samvat Sabdri Granth is about Jantra and mantra. There is complete detail of ‘ Ajaipal Jantra’ and ‘Salinam Jantra’ in Sabri Granth
There is a carved copper plate in Raghunath Mandir Devprayag of 1495 Ad, which describes in garhwali language about the king Jagtipal, Ramchandra Math, Bhumi, Bandto, etc.
The carving on the door temple of Khsetrapal, of 1604, there is description in Garhwali language about Maharaja Sahajpal ,Maharaja Manshahi (1608), and maharaja Prithwisha (1664)
There is description in Garhwali language on the stone carving n the door of Mahadev temple, Devprayag about construction of Raguhnath ji Bhandar, and Tijoriin the year 1610 AD
A letter of Maharaja Pradeepshah of 1757 was found in Kedarnath temple Yul, Tihri wherein there state stamp ‘Badrinath Vijayate and Shri with garhwali description .
Garhwali had been the state language of sovereign nation Garhwal and there are state orders in Garhwali which are available with Vikram Shardul Shah. There are many letters available about Devprayagpuri from 1495 to 1856 (1).
There are letters (1746) available from state authorities to all Syana ( village authority) about penalty for not paying the tax in the form of Ghee by villagers .
There is a state letter in Garhwali available (1796) toa person Chaturbhuj, wherein state authorties accepted about a Dahrmapatra (letter about religious matter) from Panch (village councilors) ( Reference-Babulakar 1990)
There are many letters are published in the book ‘Devparayagi Prakash’ about Devprayagpuri as request letter to pardon the Jhallar tax (1794), to pardon tax of 1791 and the Dasodh tax of 1800. There are sixty one letters in Garhwali language published in Devprayag Prakash , which are proof that before 1815, the state language of Garhwal was Garhwali and the state used to post the letters in Garhwali for day to day activities and informing necessary information to the subject (Babulakar, 1990)
Bahuguna (1976) provided the scripts of stone carving of Devalgarh 1460), and all the stone carving found in Devprayag in his historical book Gad Matyeki Ganga
Bahuguna (1976) provided an example of Garhwali prose from a hand written book ‘ Samaina ‘ written around 1780
Bahuguna (1976) provided us many old letters written before 1900 AD as letter of Basbanand Bahuguna and Shishram Bahuguna.
Brahma Nand Thapliyal (1913), Dr Pitambar Datt Barthwal Bahuguna(1955), Babulkar (1986), Anuragi (1986), Dr Vichardas (2009), and many more provided that there is garhwali language in the following published and unpublished philosophical antipathy books :
1- Dhol Sagar
2- Damau Sagar
3-Ukhail
4-Bairi Binash
5- Jogeshwari Sakhi
6-Ghat Staphana
7-Nadbud
8-Chaudiyabeer Masan
9-Samain
10-Indrajal
11-Kamrup jap
12-Saidwali
13-Mahavidya
14-Narsingh ki Chauki
15-Ath Hanmant
16- Bhairavali
17-Narsingwali
18-Chhidrawali
19- Anchharwali
20-Mochwali
21- Rakhwali
22-Maimda Rakhwali
23-Kali Rakhwali
24-Kalua Rakhvali
25-Dain Rakhwali
26-Jur Todi archival
27-Mantrawali
28-Fodibayali
29-Kurmastak
30-Ganit Prakash
31-Sankracharj bidhi
32-Dariyau
33-Olyachar
34-Bhavuna Beer
35-Mantra Goril kai
36-Panchmukhi Hanuman
37-Bhairvastak
38-Dadiya Mantra
39-Saub Jadu Ukhel
40-Sabdiyan
41-Ap Raksha
42-Chudamantra
43-Chudail ko Mantar
44-Dakhan Disha
45-Lochda ki Baidai
46-Hauri mantar
47- Guru Paduka
48-Shrinath ko Suklesh
49-Nath nighantu
50-Daint sanghar
The above detail is proof that Garhwali had been the only language of communication for more than fifteen hundreds years in Garhwal among common men and elite. Sanskrit was the language of elite only
Reference
1-Babulakar, Mohan (editor) 1990 , Garhwali Lok Bhasha ki Likhit Parampara, in the book- Garhwal ki Jeevit Bhibhtiyan aurGarhwal ka Vaishishthya, Mukhchyali, Dev Prayag, Page 165 to 170
2-Bahuguna , Abodh Bandhu, 1976), Gad matyaeki Ganga’ Alaknanda Prakashan, Delhi, India, pp20.
3- Bahuguna, Abodh Bandhu, 1955, Garhwali ke Gorakhpanthi Granth, Girish, Garhwal Sahitya Mandal Delhi, page 28
4- Babulkar, Mohan, 1986, Dhol Sagar par mere Sunjhav, Barrister Mukandi Lal Smiriti Granth, Smriti Granth Samiti, Kotdwara, Dehradun, pp354
5- Anuragi, Keshava, 1986, Gorakhpanth ke Paripex men Dhol Sagar,Barrister Mukandi Lal Smiriti Granth, Smriti Granth Samiti, Kotdwara, Dehradun, pp 329
6- Kukreti, Vishnu Datt, 1986, Nathpanth aur Garhwal, Garhwal ki Jeevit Bhibhtiyan aurGarhwal ka Vaishishthya, Mukhchyali, Dev Prayag, Page 226 to 235
7-Dr Vichar Das, 2009, Dhol Sagar, Series of Articles in Shailvani, Kotdwara
Copyright @ Bhishma Kukreti, Mumbai, India, 2009
"पहाड़ से पलायन"
आजादी से पहले से जारी है,
आज भी वही लाचारी है,
क्योंकि, रोजगार की तलाश में,
भागते लोगों के लिए,
संपर्क सड़कों का बनना,
अपने उत्तराखंड में जारी है.
अतीत में कोसों पैदल चलकर,
जाते थे प्रवासी,
बाल बच्चों सहित,
अपने पैत्रिक गाँव,
बदल गए हैं मन सभी के,
अब नहीं बढ़ते हैं पाँव.
कसूर उन अध्यापकों का भी है,
जिन्होंने हमें पहाड़ में पढाया,
पढ़े लिखे युवकों ने पहाड़ से,
पलायन का मन बनाया.
आज पहाड़ में पढाई के लिए,
खुल गए हैं कई संस्थान,
पढेंगे, तकनिकी शिक्षा लेंगे,
फिर भागेंगे वे भगवान.
अपने ही उसे छोड़कर,
दूर भाग रहे हैं भगवान,
देखो कितना मतलबी है,
आज हर इंसान.
जख नाक छ, सोनू निछ,
जख सोनू छ, निछ नाक,
शिक्षित छन पहाड़ मा,
पूँजी, उद्योग की बस बात .
Poet: Jagmohan Singh Jayara "zigyansu"
(Reight reserved)
j_jayara@yahoo.com
आज भी वही लाचारी है,
क्योंकि, रोजगार की तलाश में,
भागते लोगों के लिए,
संपर्क सड़कों का बनना,
अपने उत्तराखंड में जारी है.
अतीत में कोसों पैदल चलकर,
जाते थे प्रवासी,
बाल बच्चों सहित,
अपने पैत्रिक गाँव,
बदल गए हैं मन सभी के,
अब नहीं बढ़ते हैं पाँव.
कसूर उन अध्यापकों का भी है,
जिन्होंने हमें पहाड़ में पढाया,
पढ़े लिखे युवकों ने पहाड़ से,
पलायन का मन बनाया.
आज पहाड़ में पढाई के लिए,
खुल गए हैं कई संस्थान,
पढेंगे, तकनिकी शिक्षा लेंगे,
फिर भागेंगे वे भगवान.
अपने ही उसे छोड़कर,
दूर भाग रहे हैं भगवान,
देखो कितना मतलबी है,
आज हर इंसान.
जख नाक छ, सोनू निछ,
जख सोनू छ, निछ नाक,
शिक्षित छन पहाड़ मा,
पूँजी, उद्योग की बस बात .
Poet: Jagmohan Singh Jayara "zigyansu"
(Reight reserved)
j_jayara@yahoo.com
"उत्तराखंड के मुख्यमंत्री होते"
बन जाता जो अगर मैं, कवि सम्मलेन करवाता,
कवि मित्र जैसा कहते, वैसा विकास करवाता.
गंगाजल बोतल बंद करके, पूरे देश में भिजवाता,
पीते लोग ख़ुशी ख़ुशी, उत्तराखंड का राजस्व बढ्वाता.
गाँव गाँव में फल,संतरे, मौसमी के, सघन बाग़ लगवाता,
छोड़ों शीतल पेय पीना, फलों का रस उपलब्ध करवाता.
जो राजस्व आता तो, प्रकृति सरंक्षन्न में लगाता,
केंद्र से जल, जंगल सरक्षण हेतु, राजस्व स्वीकृत करवाता.
प्राकृतिक मिजाज उत्तराखंड का, अगर जो ठीक रहेगा,
आएगा जो भी प्रकृति प्रेमी, कैसा सुन्दर है कहेगा?
उत्तराखंड के प्राकृतिक स्रोतों का, पूरा देश है लाभ लेता,
सोचा है कभी आपने, प्रदूसन्न के सिवा क्या है देता.
आज हिमालय पिघल रहा है, सूख रहा है पानी,
बढ़ रहा है ताप पहाड़ों में, हो गई है भारी नादानी.
उत्तराखंड बना था इस सोच से, रूकेगी वहां जवानी और पानी,
तीव्र सतत विकास पहाड़ में होगा, रुकेगी गांवों की वीरानी.
पहाड़ की जनता जो चाहती, वैसे विकास के काम मैं करता,
ईमानदारी का पालन करते हुए, बद्रीविशाल जी का नाम जपता.
यथार्थ यही है मित्रों,
जैसा पार्टी चाहती, वैसे हँसते और रोते,
घर आई गंगा में, अपने दोनों हाथ धोते,
क्योंकि नेता ऐसा ही करते हैं.....
रचनाकार: जगमोहन सिंह जयारा "ज़िग्यांसू"
(सर्वाधिकार सुरक्षित)
ग्राम: बागी-नौसा, चन्द्रबदनी, टेहरी गढ़वाल
E-mail: j_jayara@ yahoo.com
10.१२.२००९
कवि मित्र जैसा कहते, वैसा विकास करवाता.
गंगाजल बोतल बंद करके, पूरे देश में भिजवाता,
पीते लोग ख़ुशी ख़ुशी, उत्तराखंड का राजस्व बढ्वाता.
गाँव गाँव में फल,संतरे, मौसमी के, सघन बाग़ लगवाता,
छोड़ों शीतल पेय पीना, फलों का रस उपलब्ध करवाता.
जो राजस्व आता तो, प्रकृति सरंक्षन्न में लगाता,
केंद्र से जल, जंगल सरक्षण हेतु, राजस्व स्वीकृत करवाता.
प्राकृतिक मिजाज उत्तराखंड का, अगर जो ठीक रहेगा,
आएगा जो भी प्रकृति प्रेमी, कैसा सुन्दर है कहेगा?
उत्तराखंड के प्राकृतिक स्रोतों का, पूरा देश है लाभ लेता,
सोचा है कभी आपने, प्रदूसन्न के सिवा क्या है देता.
आज हिमालय पिघल रहा है, सूख रहा है पानी,
बढ़ रहा है ताप पहाड़ों में, हो गई है भारी नादानी.
उत्तराखंड बना था इस सोच से, रूकेगी वहां जवानी और पानी,
तीव्र सतत विकास पहाड़ में होगा, रुकेगी गांवों की वीरानी.
पहाड़ की जनता जो चाहती, वैसे विकास के काम मैं करता,
ईमानदारी का पालन करते हुए, बद्रीविशाल जी का नाम जपता.
यथार्थ यही है मित्रों,
जैसा पार्टी चाहती, वैसे हँसते और रोते,
घर आई गंगा में, अपने दोनों हाथ धोते,
क्योंकि नेता ऐसा ही करते हैं.....
रचनाकार: जगमोहन सिंह जयारा "ज़िग्यांसू"
(सर्वाधिकार सुरक्षित)
ग्राम: बागी-नौसा, चन्द्रबदनी, टेहरी गढ़वाल
E-mail: j_jayara@ yahoo.com
10.१२.२००९
Garhwali, Kumaoni, Himalayan Literature
Glimpse of History of Modern Garhwali Poetry in Shailvani …Part---9
Bhishma Kukreti
Poets Contributed for Shailvani (1981)
The following poets contributed for Shailvani edited by Abodh Bandhu Bahuguna :
Name of Poet Number of Poems
1- Harsh Puri Gusain 2
2-Leela Datt Kotnala 3
3-Harikrishna Daurgadatti Rudola 2
4-Atma Ram Gairola 2
5-Shashishekhranand Saklani 3
6-Bhawani Datt Thapliyal 2
7-Satyasharan Raturi 2
8-Tara Datt Gairola 2
9-Chandra Mohan Raturi 3
10-Yogendra Puri 3
11-Shiv Narayan Singh Bisht 2
12-Keshva Nand Kainthola 2
13-Totakriashna Gairola 1
14-Baldev Prasad Nautiyal 1
15-Sada Nand Jakhmola 1
16- Bhola Datt Devrani 2
17- Chakradhar Bahuguna 2
18-Bhajan Singh Singh 2
19- Kamal Sahityalankar 3
20- Bhagwati Charan Nirmohi 3
21-Tara Datt Lakheda ‘Naxatra’ 2
22-Sarvesh Juyal 2
23-Amar Nath Sharma 1
24-Murli Manohar Sati ‘Garhwali ’ 1
25- Vasundhara Dobhal 2
26-Uma Datt Naithani 1
27- Shridhar Jamloki 2
28- Jeeva Nand Shriyal 1
29-Kula Nand Bhartiya 1
30-Dr Purushotam Dobhal 2
31-Parush Ram Thapliyal ‘Buransh’ 2
32- Jeet Singh Negi 2
33- Abodh Bandhu Bahuguna 3
34- Mahima Nand Sundriyal 3
35-Girdhari Lal Thapliyal ‘Kankal’ 2
36-Sachidanand Kandpal 2
37- Prem Lal Bhatt 1
38-Sudama Prasad Dabral ‘Premi’ 2
39-Ram Prasad Gairola ‘Vinayi’ 1
40- jagdish Kiran 3
41- Bhagwan Singh Rawat ‘Akela’ 2
42-Shivanand Pandey ‘Premesh’ 2
43-Dr Govind Chatak 2
44- Kanhayalal Dandriyal 3
45- Nityanand Maithani 2
46-Sher singh gaddeshi 2
47-Dr Parth Sarthi Dabral 2
48-Dharma Nand Pathik 3
49-Dr Umashankar Satish 2
50 ghanshyam Raturi 2
51-Jaggu Naudiyal 1
52-lalt Mohan Keshwan 2
53- Pareshwar Gaud 2
54- Lokesh Navani 1
Abodh Bandhu Bahuguna also briefed about the short life sketches of the above poets
There is only one poem of these poets
55- Sadanand Kukreti
56-Ratnambar Chandola
57-Mahaveer Prasad Lakheda
58-Mahaveer Prasad Gairola
59-Vidyavati Dobhal
60-Dr Shivanand Nautiyal
61-Laxmi Prasad Painyuli
62-Sateshwar Azad
63-Dakshyani Datt Chandola
64-Keshva Nand Dhyani
65-Guna Nand Thapliyal
66-Yogesh Panthri
67-Jaya Nand Khugsal ‘Baulya’
68-Mahesh Tiwadi
69- Dr Chandra Mohan Chamoli
70-Chandra Singh Rahi
71-Durga Prasad Ghildiyal
72- Vinod Uniyal
73- Puran Pant ‘Pathik’
74-Netra Singh Aswal
75-Sain Singh Rawat
76-Ansuya Prasad Upadhyaya
77-Prakash Chand Purohit ‘Jaideep’
78-Jagdish Bijlwan
Primitive Poem (Adi Kavita ) -Daint Sanghar and Saidwali
Shailvani is milestone in many ways. Abodh Bahuguna collected the poems of seventy eight poets and wrote about eighty nine poets. Bahuguna also briefed the chronological history of Garhwali poetry.
Copyright@ Bhishma Kukreti , Mumbai, India, 2009
Bhishma Kukreti
Poets Contributed for Shailvani (1981)
The following poets contributed for Shailvani edited by Abodh Bandhu Bahuguna :
Name of Poet Number of Poems
1- Harsh Puri Gusain 2
2-Leela Datt Kotnala 3
3-Harikrishna Daurgadatti Rudola 2
4-Atma Ram Gairola 2
5-Shashishekhranand Saklani 3
6-Bhawani Datt Thapliyal 2
7-Satyasharan Raturi 2
8-Tara Datt Gairola 2
9-Chandra Mohan Raturi 3
10-Yogendra Puri 3
11-Shiv Narayan Singh Bisht 2
12-Keshva Nand Kainthola 2
13-Totakriashna Gairola 1
14-Baldev Prasad Nautiyal 1
15-Sada Nand Jakhmola 1
16- Bhola Datt Devrani 2
17- Chakradhar Bahuguna 2
18-Bhajan Singh Singh 2
19- Kamal Sahityalankar 3
20- Bhagwati Charan Nirmohi 3
21-Tara Datt Lakheda ‘Naxatra’ 2
22-Sarvesh Juyal 2
23-Amar Nath Sharma 1
24-Murli Manohar Sati ‘Garhwali ’ 1
25- Vasundhara Dobhal 2
26-Uma Datt Naithani 1
27- Shridhar Jamloki 2
28- Jeeva Nand Shriyal 1
29-Kula Nand Bhartiya 1
30-Dr Purushotam Dobhal 2
31-Parush Ram Thapliyal ‘Buransh’ 2
32- Jeet Singh Negi 2
33- Abodh Bandhu Bahuguna 3
34- Mahima Nand Sundriyal 3
35-Girdhari Lal Thapliyal ‘Kankal’ 2
36-Sachidanand Kandpal 2
37- Prem Lal Bhatt 1
38-Sudama Prasad Dabral ‘Premi’ 2
39-Ram Prasad Gairola ‘Vinayi’ 1
40- jagdish Kiran 3
41- Bhagwan Singh Rawat ‘Akela’ 2
42-Shivanand Pandey ‘Premesh’ 2
43-Dr Govind Chatak 2
44- Kanhayalal Dandriyal 3
45- Nityanand Maithani 2
46-Sher singh gaddeshi 2
47-Dr Parth Sarthi Dabral 2
48-Dharma Nand Pathik 3
49-Dr Umashankar Satish 2
50 ghanshyam Raturi 2
51-Jaggu Naudiyal 1
52-lalt Mohan Keshwan 2
53- Pareshwar Gaud 2
54- Lokesh Navani 1
Abodh Bandhu Bahuguna also briefed about the short life sketches of the above poets
There is only one poem of these poets
55- Sadanand Kukreti
56-Ratnambar Chandola
57-Mahaveer Prasad Lakheda
58-Mahaveer Prasad Gairola
59-Vidyavati Dobhal
60-Dr Shivanand Nautiyal
61-Laxmi Prasad Painyuli
62-Sateshwar Azad
63-Dakshyani Datt Chandola
64-Keshva Nand Dhyani
65-Guna Nand Thapliyal
66-Yogesh Panthri
67-Jaya Nand Khugsal ‘Baulya’
68-Mahesh Tiwadi
69- Dr Chandra Mohan Chamoli
70-Chandra Singh Rahi
71-Durga Prasad Ghildiyal
72- Vinod Uniyal
73- Puran Pant ‘Pathik’
74-Netra Singh Aswal
75-Sain Singh Rawat
76-Ansuya Prasad Upadhyaya
77-Prakash Chand Purohit ‘Jaideep’
78-Jagdish Bijlwan
Primitive Poem (Adi Kavita ) -Daint Sanghar and Saidwali
Shailvani is milestone in many ways. Abodh Bahuguna collected the poems of seventy eight poets and wrote about eighty nine poets. Bahuguna also briefed the chronological history of Garhwali poetry.
Copyright@ Bhishma Kukreti , Mumbai, India, 2009
Garhwali, Kumaoni, Himalayan Literature
Glimpse of History of Modern Garhwali Poetry in Shailvani ..Part--8
Bhishma Kukreti
Fourth Developmental Stage of Garhwali Poetry (1976-1981)
Literature is the mirror of society and Abodh Bandhu Bahuguna states that the changes in the society, the cultural and materialistic development in India also transformed the thinking of Garhwali poets and readers could witness the transformation in Garhwali poetry . Human sensuality, humanity, emotional values , national and international thinking came on the surface in the poems of this period (1976-1981). ‘Ghol’ poetry collection of Abodh Bandhu Bahuguna is an example of expression of experiences in Garhwali poetry world of this time. Garhwali Poets of new generation and old generation too realized that realism is the main path for creating poetry and thus realism began to be with Garhwali poetries.
Bahuguna states in Shailvani (pp26) tha the year 1977 is the year to celebrate for Garhwali poetic field. Abodh Bandhu Bahuguna published ‘Bhumyal’ the first ever epic in Garhwali language. The epic ‘Bhumyla shows the amalgam of scientific reality, great imagination in poem, expression of emotions, and with inspirational values.
Lokesh Navani brought his first poetry collection ‘Phanchi’ in 1977. Phanchi is about to show anger for non-economical growth in Garhwal and the poet is successful in showing gap between haves and haves not.
Bahuguna praises poetry collection of neo generation poet Deen Dayal Banduni for his collection ‘Himla Ko Desh’. Deen Dayal is successful in showing the hard works of farmers and their families and adverse conditions in Garhwal. Bhagwati Charan Nirmohi published new edition of ‘Hilans’ with adding a few more new poems in the old version.
Gokula nand Kimothi published his poetry collection ‘ Pitarun Tarpan’. The Ganga jamuna ka Mait bati (1977 a poetry collection)’ is dedicated to chipko movement .
Bhagwan Singh Rawat Akela published his second poetry collection Maya meludi ‘ in 1977.
This is the period when poets as Kanhaya Lal Dandriyal ( Anjwal, 1978) , Prem lal Bhatt (Umal, 1979) Jaggu Nautiyal (samlaun) published their poetry collection.
This is the period when the poetry collection of eight different poets in one volume ‘Dhai’ was also published .
The period of 1975-1981 is in real term the Golden era for Garhwali literature. This period witnessed the publications of many periodicals as Baduli edited by Govind Chatak, gadh Gaurav by Kunwar Singh Karmath, Maiti by Sateshwar sati, Hilans by Arjun Singh Gusain. ‘Shailvani is also published in this period.
This perod (1976-1980) saw many variation in the subjects and styles too. Poets showed their anger for lowering in political world, cutting of jungles and ecological downing in Garhwal, The Garhwali poems inspired people for supporting Chipko Andolan , Jevanand Shriyal and Ghanshyam Raturi are the poets of Chipko Andolan.
Bahuguna never fails to remind us that this period completed hundred years of modern Garhwali poetry or written form of Garhwali poetry. Garhwali poets came out with different subjects and different styles, contemporariness in their poems. Bahuguna stressed that in true sense, this period will be called Golden era for Garhwali Poetry.
Continued------------
Copyright @ Bhishma Kukreti, Mumbai, India, 2009
Bhishma Kukreti
Fourth Developmental Stage of Garhwali Poetry (1976-1981)
Literature is the mirror of society and Abodh Bandhu Bahuguna states that the changes in the society, the cultural and materialistic development in India also transformed the thinking of Garhwali poets and readers could witness the transformation in Garhwali poetry . Human sensuality, humanity, emotional values , national and international thinking came on the surface in the poems of this period (1976-1981). ‘Ghol’ poetry collection of Abodh Bandhu Bahuguna is an example of expression of experiences in Garhwali poetry world of this time. Garhwali Poets of new generation and old generation too realized that realism is the main path for creating poetry and thus realism began to be with Garhwali poetries.
Bahuguna states in Shailvani (pp26) tha the year 1977 is the year to celebrate for Garhwali poetic field. Abodh Bandhu Bahuguna published ‘Bhumyal’ the first ever epic in Garhwali language. The epic ‘Bhumyla shows the amalgam of scientific reality, great imagination in poem, expression of emotions, and with inspirational values.
Lokesh Navani brought his first poetry collection ‘Phanchi’ in 1977. Phanchi is about to show anger for non-economical growth in Garhwal and the poet is successful in showing gap between haves and haves not.
Bahuguna praises poetry collection of neo generation poet Deen Dayal Banduni for his collection ‘Himla Ko Desh’. Deen Dayal is successful in showing the hard works of farmers and their families and adverse conditions in Garhwal. Bhagwati Charan Nirmohi published new edition of ‘Hilans’ with adding a few more new poems in the old version.
Gokula nand Kimothi published his poetry collection ‘ Pitarun Tarpan’. The Ganga jamuna ka Mait bati (1977 a poetry collection)’ is dedicated to chipko movement .
Bhagwan Singh Rawat Akela published his second poetry collection Maya meludi ‘ in 1977.
This is the period when poets as Kanhaya Lal Dandriyal ( Anjwal, 1978) , Prem lal Bhatt (Umal, 1979) Jaggu Nautiyal (samlaun) published their poetry collection.
This is the period when the poetry collection of eight different poets in one volume ‘Dhai’ was also published .
The period of 1975-1981 is in real term the Golden era for Garhwali literature. This period witnessed the publications of many periodicals as Baduli edited by Govind Chatak, gadh Gaurav by Kunwar Singh Karmath, Maiti by Sateshwar sati, Hilans by Arjun Singh Gusain. ‘Shailvani is also published in this period.
This perod (1976-1980) saw many variation in the subjects and styles too. Poets showed their anger for lowering in political world, cutting of jungles and ecological downing in Garhwal, The Garhwali poems inspired people for supporting Chipko Andolan , Jevanand Shriyal and Ghanshyam Raturi are the poets of Chipko Andolan.
Bahuguna never fails to remind us that this period completed hundred years of modern Garhwali poetry or written form of Garhwali poetry. Garhwali poets came out with different subjects and different styles, contemporariness in their poems. Bahuguna stressed that in true sense, this period will be called Golden era for Garhwali Poetry.
Continued------------
Copyright @ Bhishma Kukreti, Mumbai, India, 2009
Garhwali, Kumaoni, Himalayan Literature
Glimpse of History of Modern Garhwali Poetry in Shailvani Part -6
Bhishma Kukreti
Third Expanding Stage of Garhwali Poetry (1951-1975)
This period was the period of free India and Garhwalis were getting educated and they were getting scientific knowledge too. Garhwalis as other Indians started contributing for building new India. Education, free India, scientific knowledge, desire and ambition for building new India affect creativity for Garhwali poetries. There were no problems of division of India, communal non-harmony in Garhwal but there were changes in cultural and social values all over. The changes in cultural and social values and employment problems provided fertile filed for Garhwali language creative. The new situations created two sects among Garhwalis . Those who were in Garhwal busy in conventional agriculture and were doing hard work . This situation was clearly visible in the Garhwali poems:
Bhair ki patbyadi bhadun, bole -bhula buthad
Bhagi t gaine desu sab , ham chhan nirbhagi paad (Tidka-pp-7)
Migrated to plains of other parts of India was another sect of Garhwalis . The pain of migration and memorizing the Garhwal was also clear in Garhwali poems of this period :
Haira haira ghas ka boun failyan ant n par
Launkad saun bhadon keyed dekhan laik bahar
This means in the third expanding period, Garhwali poetic creative started to take the poetries towards hard realism, human sensitivity, human pain and joys. Garhwali poets started expression for contemporary local, regional and national situations. Slowly, slowly, the Garhwali verse makers coming out from limitedness towards national and international panorama.
The folk literature publications also fueled for motivating new creators entering in Garhwali poetic world. Folk poetry collections as Dhunyal of Abodh Bandhu Bahuguna (1954) Dharti ka Phool (1955), Bansuli (1955) and Garhwali Lok geet (1956) of Govind Chatak have been an inspiring factor for expansion of Garhwali poetic world.
Garhwali poetry witnesses the following poetry collections in this very exciting period for Garhwali poetry
Poet Name of Poetry Collection
1- Laxmi Prasad Painyuli Mikhail a long poem (1957)
2- Shail kunj Pundir Jonyali Rat (1960)
3- Ummed Singh Negi Dandi Kanthi (1960)
4- Harsh Pati Raturi ‘Sevak’ Jeewan Sathi (1960)
5- Shiva Nand Pandey Ujyali (1962)
6- Jeet Singh Negi Geet Ganga (1963)
7- Loka Nand Balodi Geeta ka anshu (1954)
8-Ram Prasad Pokhriyal Chhunyal (1963)
9- Shiv Prasad Pokhriyal Jhamka (1963)
10- Jeeva Nand Shriyal Gadh sahitya sopan two parts (1966 and 1970)
11- Ram Prasad Gairola ‘ Vinayi’ Sudyal (1971)
12-Dharma Nand Jamloki Meghdoot Kavya (1971)
13- Puran Pant Pathik Pathik ka Geet (1975)
14- Sachida Nand Kandpal Raibar
15- Murli Manohar Sati Garhwali Jhanki
The following poetry collections of different poets in one volume were also published in this period (1951-10975):
Name of Poetry Collection Editor Remarks
1- Hisar (1955) Buransh Prakashan
2- Bugyal (1960) Ganesh Sharma
3-Buransh (1965) Ganesh Sharma
4-Maulyar (1963) Girdhari Lal kankal
5-Rant Raibar (1963) Govind Chatatk
6-Chham Ghunghru (1964) Shiva Nand Nautiyal
7- Khuded Geet (1964) Shiva Nand Nautiyal
8- Vidyavati Dobhal (1975) Garhwali Geetika
Abodh Bandhu Bahuguna provided list of following new poets who came in light in this third expanding period :
1- Purushottam Dobhal
2- Dr Shiva Nand Nautiyal
3-sarvesh juyal
4-Kailash panthari
5-Uma datt Naithani
6-Jagdish kiran
7-Jaya Nand Khuksal ‘Baulya
8-Keshva Nand Dhyani
9-sher singh Gadhdeshi
10-Harish Chandra Ghildiyal
11-Kali Prasad Ghildiyal
Apart from the above poets Abodh Bandhu Bahuguna details that poets as Keshava Nand Jadli, Guna Nand Pathik, Govind Ram Pokhriyal, Vasundhara Dobhal, Brij Raj Singh Negi, Sateshwar Azad, Sachida Nand Kandpal, Lalt Mohan Keshwan, Mathura Prasad Dobhal, , Mathura Prasad Baichain, Chandra Prakash Dabral, janki Prasad Barthwal, kehhava Anuragi, Keshav Dhyani, Chandra Singh Rahi, Bachram Jamloki, Leela Dhar Jugadi, Raja Khugsal Pareshwar gaur published their poetries in various periodicals. However, Bahuguna for unknown reasons did not mention that Kanhaya lal Dandriyal , Girdhari Lal Kankal published their poetry collections Fur Ghindudi (1959)and Mangtu (1960) respectively in this period only . Same way , Bahuguna forgets to to mention in his introduction of this period as Jaggu Naudiyal etc
Bahuguna mentions that the poems of this period were more varied than past in terms of style, form and poetic creativity . According to Bahuguna , there is satire, romance, suspense, pathos, emotions, patriotism in the Garhwali poems of this era (1951-1975).
Copyright @ Bhishma Kukreti, Mumbai, India, 2009
Bhishma Kukreti
Third Expanding Stage of Garhwali Poetry (1951-1975)
This period was the period of free India and Garhwalis were getting educated and they were getting scientific knowledge too. Garhwalis as other Indians started contributing for building new India. Education, free India, scientific knowledge, desire and ambition for building new India affect creativity for Garhwali poetries. There were no problems of division of India, communal non-harmony in Garhwal but there were changes in cultural and social values all over. The changes in cultural and social values and employment problems provided fertile filed for Garhwali language creative. The new situations created two sects among Garhwalis . Those who were in Garhwal busy in conventional agriculture and were doing hard work . This situation was clearly visible in the Garhwali poems:
Bhair ki patbyadi bhadun, bole -bhula buthad
Bhagi t gaine desu sab , ham chhan nirbhagi paad (Tidka-pp-7)
Migrated to plains of other parts of India was another sect of Garhwalis . The pain of migration and memorizing the Garhwal was also clear in Garhwali poems of this period :
Haira haira ghas ka boun failyan ant n par
Launkad saun bhadon keyed dekhan laik bahar
This means in the third expanding period, Garhwali poetic creative started to take the poetries towards hard realism, human sensitivity, human pain and joys. Garhwali poets started expression for contemporary local, regional and national situations. Slowly, slowly, the Garhwali verse makers coming out from limitedness towards national and international panorama.
The folk literature publications also fueled for motivating new creators entering in Garhwali poetic world. Folk poetry collections as Dhunyal of Abodh Bandhu Bahuguna (1954) Dharti ka Phool (1955), Bansuli (1955) and Garhwali Lok geet (1956) of Govind Chatak have been an inspiring factor for expansion of Garhwali poetic world.
Garhwali poetry witnesses the following poetry collections in this very exciting period for Garhwali poetry
Poet Name of Poetry Collection
1- Laxmi Prasad Painyuli Mikhail a long poem (1957)
2- Shail kunj Pundir Jonyali Rat (1960)
3- Ummed Singh Negi Dandi Kanthi (1960)
4- Harsh Pati Raturi ‘Sevak’ Jeewan Sathi (1960)
5- Shiva Nand Pandey Ujyali (1962)
6- Jeet Singh Negi Geet Ganga (1963)
7- Loka Nand Balodi Geeta ka anshu (1954)
8-Ram Prasad Pokhriyal Chhunyal (1963)
9- Shiv Prasad Pokhriyal Jhamka (1963)
10- Jeeva Nand Shriyal Gadh sahitya sopan two parts (1966 and 1970)
11- Ram Prasad Gairola ‘ Vinayi’ Sudyal (1971)
12-Dharma Nand Jamloki Meghdoot Kavya (1971)
13- Puran Pant Pathik Pathik ka Geet (1975)
14- Sachida Nand Kandpal Raibar
15- Murli Manohar Sati Garhwali Jhanki
The following poetry collections of different poets in one volume were also published in this period (1951-10975):
Name of Poetry Collection Editor Remarks
1- Hisar (1955) Buransh Prakashan
2- Bugyal (1960) Ganesh Sharma
3-Buransh (1965) Ganesh Sharma
4-Maulyar (1963) Girdhari Lal kankal
5-Rant Raibar (1963) Govind Chatatk
6-Chham Ghunghru (1964) Shiva Nand Nautiyal
7- Khuded Geet (1964) Shiva Nand Nautiyal
8- Vidyavati Dobhal (1975) Garhwali Geetika
Abodh Bandhu Bahuguna provided list of following new poets who came in light in this third expanding period :
1- Purushottam Dobhal
2- Dr Shiva Nand Nautiyal
3-sarvesh juyal
4-Kailash panthari
5-Uma datt Naithani
6-Jagdish kiran
7-Jaya Nand Khuksal ‘Baulya
8-Keshva Nand Dhyani
9-sher singh Gadhdeshi
10-Harish Chandra Ghildiyal
11-Kali Prasad Ghildiyal
Apart from the above poets Abodh Bandhu Bahuguna details that poets as Keshava Nand Jadli, Guna Nand Pathik, Govind Ram Pokhriyal, Vasundhara Dobhal, Brij Raj Singh Negi, Sateshwar Azad, Sachida Nand Kandpal, Lalt Mohan Keshwan, Mathura Prasad Dobhal, , Mathura Prasad Baichain, Chandra Prakash Dabral, janki Prasad Barthwal, kehhava Anuragi, Keshav Dhyani, Chandra Singh Rahi, Bachram Jamloki, Leela Dhar Jugadi, Raja Khugsal Pareshwar gaur published their poetries in various periodicals. However, Bahuguna for unknown reasons did not mention that Kanhaya lal Dandriyal , Girdhari Lal Kankal published their poetry collections Fur Ghindudi (1959)and Mangtu (1960) respectively in this period only . Same way , Bahuguna forgets to to mention in his introduction of this period as Jaggu Naudiyal etc
Bahuguna mentions that the poems of this period were more varied than past in terms of style, form and poetic creativity . According to Bahuguna , there is satire, romance, suspense, pathos, emotions, patriotism in the Garhwali poems of this era (1951-1975).
Copyright @ Bhishma Kukreti, Mumbai, India, 2009
Garhwali, Kumaoni, Himalayan Literature
Glimpse of History of Modern Garhwali Poetry in Shailvani --Part -6
Bhishma Kukreti
Second Developmental Stage of Garhwali Poetry (1926-1950)
Abodh Bandhu Bahuguna provided details of poets and their poetries for the second developmental stage of modern Garhwali poetry in brief as :
From 1926 0nward, the Garhwali poetry history saw new dimension in the poetic world. In term of content and style, variation started in Garhwali poetic world in this growth oriented period.
In this period, the following poets published following poetry collections or poems
Name of Poets Poetry collections
1- Totakrishn Gairola Premi Pathik
2- Yogendra Puri Fulkandi
3- Chakradhar Bahuguna Mochhang
4-Keshva Nand Kainthola Man Tarang
5-Bhajan Singh ‘Singh’ Singhnad
6- Tara Datt Lakheda Naxatra ki Virahani Bala
7-Bhola Datt Devrani Juo ar Janani
8-Sada Nand Jakhmola Raibar
9- Bhagwati Charan Nirmohi Hilans
10-Shaligram Shashtri Neeti Prakash
11- Kamal Sahityaalankar Jamuna and Kartavyabodh
12- Baldev Prasad Nautiyal Chaya ramayan (Translation of Valmiki Ramayan)
13-Rup mohan Saklani Meghdoot (Translation of Kalidas’s Meghdoot)
14- Tula Ram Sharma Karmayog geeta (Translation)
Vishal Mani Sharma edited and publisheda poetry collection of different poets in one volume naming ‘Veer Garhwa’ in 1950 . There are poems of Bhavani Datt Thapliyal and Baldev Prasad Sharma ‘Deen’ in this second volume of Garhwali poetry collection of its own type that is collection of different poets,
The following poets published their poems here and there
15- Lalta Prasad Uniyal Lalam Sasubwari
16- Satya Prasad Raturi
17-Ratnambar Chandola
18-Keshva Nand Jadli
19-Daya Dhar Bhatt
20- Dharmadhikari
The poets of this period paid attention on inspiring the readers and social benefits nation- building, Garhwali society growth , freedom were main subject of this period in Garhwali poetry. The poets choose old legendary stories as well their own imagery creation for creating such inspirational, teaching/preaching oriented poems in Garhwali language Most of the poems are simple in terms of rhetoric rules. Poets started following originality in style, form and poetic subjects. Garhwali poetry field witnesses new creative geniuses .
Bhishma Kukreti
Second Developmental Stage of Garhwali Poetry (1926-1950)
Abodh Bandhu Bahuguna provided details of poets and their poetries for the second developmental stage of modern Garhwali poetry in brief as :
From 1926 0nward, the Garhwali poetry history saw new dimension in the poetic world. In term of content and style, variation started in Garhwali poetic world in this growth oriented period.
In this period, the following poets published following poetry collections or poems
Name of Poets Poetry collections
1- Totakrishn Gairola Premi Pathik
2- Yogendra Puri Fulkandi
3- Chakradhar Bahuguna Mochhang
4-Keshva Nand Kainthola Man Tarang
5-Bhajan Singh ‘Singh’ Singhnad
6- Tara Datt Lakheda Naxatra ki Virahani Bala
7-Bhola Datt Devrani Juo ar Janani
8-Sada Nand Jakhmola Raibar
9- Bhagwati Charan Nirmohi Hilans
10-Shaligram Shashtri Neeti Prakash
11- Kamal Sahityaalankar Jamuna and Kartavyabodh
12- Baldev Prasad Nautiyal Chaya ramayan (Translation of Valmiki Ramayan)
13-Rup mohan Saklani Meghdoot (Translation of Kalidas’s Meghdoot)
14- Tula Ram Sharma Karmayog geeta (Translation)
Vishal Mani Sharma edited and publisheda poetry collection of different poets in one volume naming ‘Veer Garhwa’ in 1950 . There are poems of Bhavani Datt Thapliyal and Baldev Prasad Sharma ‘Deen’ in this second volume of Garhwali poetry collection of its own type that is collection of different poets,
The following poets published their poems here and there
15- Lalta Prasad Uniyal Lalam Sasubwari
16- Satya Prasad Raturi
17-Ratnambar Chandola
18-Keshva Nand Jadli
19-Daya Dhar Bhatt
20- Dharmadhikari
The poets of this period paid attention on inspiring the readers and social benefits nation- building, Garhwali society growth , freedom were main subject of this period in Garhwali poetry. The poets choose old legendary stories as well their own imagery creation for creating such inspirational, teaching/preaching oriented poems in Garhwali language Most of the poems are simple in terms of rhetoric rules. Poets started following originality in style, form and poetic subjects. Garhwali poetry field witnesses new creative geniuses .
Garhwali, Kumaoni, Himalayan Literature
Glimpse of History of Modern Garhwali Poetry in Shailvani Part-5
Bhishma Kukreti
Initiating Developmental Stage of Garhwali Poetry (1900-1925)
Abodh Bandhu provides details that the modern Garhwali literature started with the publication of Garhwali news paper in 1905. Garhwali newspaper influenced Hindi readers of Garhwali origin to consider Garhwali as complete language and attracted for creating literature in Garhwali language. Atma Ram Gairola, Satya Sharan Raturi, Bhavani Datt Thapliyal, Tara Datt Gairola, Sada Nand Kukreti and Chandra Mohan Raturi were main stalwarts . ‘Sarswati’ a prominent Hindi magazine used to publish the Hindi poetries of Satya Sharan Raturi and Tar Datt Gairola had got fame as English writer after publishing ‘ The Songs of Dadu’ and ‘ Himalayan Folklores‘ and Chandra Mohan Ratuir could write fluently in Sanskrit or Hindi . However, Raturis and Gairola choose to serve Garhwali ,
Bahuguna mentioned that Garhwali newspaper ‘Garhwali ’ published the poems of following poets
Poet Poetry
1- Shashi Shekhra Nand Saklani : Shiksha
2- Sanatan Nand Saklani ‘Satkavidas’: Swarth Saptak
3- Devendra Datt Raturi of Tihri : Daridrastak
4- Girija Datt Naithani : Madystak
5-Mathura Datt Naithani : Swadesh Prem
6- Sur Datt Saklani Umanath Ji Ki Stuti, Chetwani
7- Ambika Datt Sharma : Shri Ram Chandra Vandana Varnan
8-Kanauji : Ham Padhan at Kyun Padhan
9-Ratnambar Chandola ‘Ratna’ : Matribhumi, Ainsu ki rood, Bamtali
10-D evendra Saklani : Karuna
11- Dayanand Bahuguna : Kumbh ko Melo
12- Sada Nand Kukreti Jatiya Bhajan
Later on daughter in law of Shashi Shekhra Nand Saklani published his poetry collection as ‘ Puspanjali’.
Vishambar Chandola published first Garhwali poetry collection as ‘Garhwali Kavitawali’ wherein the poems of above twelve poets were published along with poems of other creators. ‘ Garhwali Kavitawali’ is a mile stone in the history of Garhwali poetry.
Bahuguna mentioned about the poem Rami Bauraani by Baldev Prasad Sharma ‘ Deen’ (Bamsu, Tihri)
Baldev Prasad Sharma ‘ Deen’ created lyrical poem ‘Rami Baurani’ which is still very popular today. He published another popular poem ‘Jasi’ in 1927
However, this author does not understand the mentality of Abodh Bahuguna who should have written much about Rami Baurani because Rami Baurani is the first modern Garhwali poetry which attracted not only common Garhwalis but Kumaonis too to sing this poem or Geet. Though, in one context this author opposes Rami Baurani but he also says that no body can deny the importance of Rami Baurani. Today, most of the Garhwalis and Kumaonis presume that Rami Baurani is folk song but in reality , this song is the best example of modern Garhwali poetry who could attract the Garhwali Kumaoni psych because of its subject and lyrical value.
In this period, Ram Prasad Khanduri of Margun, Rawatsyun published many poems in periodicals and later on published in poetry collection form. His poems ‘ France ka Judh’ and Khaudo’ poems became very popular.
Bahuguna further writes that this is the period when Giridhari Lal Dobhal of Ghidi, Banelsyun, Pauri Garhwal, created many affectionate and memorable poems . His poem ‘ Kakh holi meri dandi kanthi’ is still popular . Later on, his daughter Vimala Barthwal (dalodi, Gagwadsyun) published his poetry collection.
Copyright @ Bhishma Kukreti, Mumbai, India, 2009
Bhishma Kukreti
Initiating Developmental Stage of Garhwali Poetry (1900-1925)
Abodh Bandhu provides details that the modern Garhwali literature started with the publication of Garhwali news paper in 1905. Garhwali newspaper influenced Hindi readers of Garhwali origin to consider Garhwali as complete language and attracted for creating literature in Garhwali language. Atma Ram Gairola, Satya Sharan Raturi, Bhavani Datt Thapliyal, Tara Datt Gairola, Sada Nand Kukreti and Chandra Mohan Raturi were main stalwarts . ‘Sarswati’ a prominent Hindi magazine used to publish the Hindi poetries of Satya Sharan Raturi and Tar Datt Gairola had got fame as English writer after publishing ‘ The Songs of Dadu’ and ‘ Himalayan Folklores‘ and Chandra Mohan Ratuir could write fluently in Sanskrit or Hindi . However, Raturis and Gairola choose to serve Garhwali ,
Bahuguna mentioned that Garhwali newspaper ‘Garhwali ’ published the poems of following poets
Poet Poetry
1- Shashi Shekhra Nand Saklani : Shiksha
2- Sanatan Nand Saklani ‘Satkavidas’: Swarth Saptak
3- Devendra Datt Raturi of Tihri : Daridrastak
4- Girija Datt Naithani : Madystak
5-Mathura Datt Naithani : Swadesh Prem
6- Sur Datt Saklani Umanath Ji Ki Stuti, Chetwani
7- Ambika Datt Sharma : Shri Ram Chandra Vandana Varnan
8-Kanauji : Ham Padhan at Kyun Padhan
9-Ratnambar Chandola ‘Ratna’ : Matribhumi, Ainsu ki rood, Bamtali
10-D evendra Saklani : Karuna
11- Dayanand Bahuguna : Kumbh ko Melo
12- Sada Nand Kukreti Jatiya Bhajan
Later on daughter in law of Shashi Shekhra Nand Saklani published his poetry collection as ‘ Puspanjali’.
Vishambar Chandola published first Garhwali poetry collection as ‘Garhwali Kavitawali’ wherein the poems of above twelve poets were published along with poems of other creators. ‘ Garhwali Kavitawali’ is a mile stone in the history of Garhwali poetry.
Bahuguna mentioned about the poem Rami Bauraani by Baldev Prasad Sharma ‘ Deen’ (Bamsu, Tihri)
Baldev Prasad Sharma ‘ Deen’ created lyrical poem ‘Rami Baurani’ which is still very popular today. He published another popular poem ‘Jasi’ in 1927
However, this author does not understand the mentality of Abodh Bahuguna who should have written much about Rami Baurani because Rami Baurani is the first modern Garhwali poetry which attracted not only common Garhwalis but Kumaonis too to sing this poem or Geet. Though, in one context this author opposes Rami Baurani but he also says that no body can deny the importance of Rami Baurani. Today, most of the Garhwalis and Kumaonis presume that Rami Baurani is folk song but in reality , this song is the best example of modern Garhwali poetry who could attract the Garhwali Kumaoni psych because of its subject and lyrical value.
In this period, Ram Prasad Khanduri of Margun, Rawatsyun published many poems in periodicals and later on published in poetry collection form. His poems ‘ France ka Judh’ and Khaudo’ poems became very popular.
Bahuguna further writes that this is the period when Giridhari Lal Dobhal of Ghidi, Banelsyun, Pauri Garhwal, created many affectionate and memorable poems . His poem ‘ Kakh holi meri dandi kanthi’ is still popular . Later on, his daughter Vimala Barthwal (dalodi, Gagwadsyun) published his poetry collection.
Copyright @ Bhishma Kukreti, Mumbai, India, 2009
Garhwali, Kumaoni, Himalayan Literature
Glimpse of History of Modern Garhwali Poetry in Shailvani , Part 4
Bhishma Kukreti
Developmental Stages of Modern Garhwali Poetries
Foundation Stage:
Though, in real term, the modern Garhwali poetry started from 1900 but before this time, Pundit Hari Krishna Daurgadatti Rudola, Pundit Leela Datt Kotnala and Mahant Harsh Puri Gusain of Shri Nagar Pauri Garhwali put the foundation for modern Garhwali poetries. The campaign started from 1875
Pundit Harikrishna Daurgadatti Rudola created poetries as ganga panchak, Chetawani, Shiksha etc , which are of inspirational ones.
Pundit Leela Datt Kotnala (1846-1926) created poems supporting Lord Ripen’s laws to demolish racism and supported British Raj by creating poem ‘Lord Ripen’. Kotnala published a poetry collection by name - Garhwali Chhandmala’ in 1918. Virah and Holi poems are marvelous pieces of poetries in Garhwali Chhandmala. Kotnala created Garh-Geeta, Leela prem Sagar, and Garhwali Prastawawali too.
Mahant Harsh Puri Gusain (1820-1905) created many poems and ‘Rajneesh ‘ and Buro Sang’ poems are affectionate and with pathos.
Pundit Jakrishna Daurgadatti Rudola created poem as ‘ Vedant Sandesh’ and these poems are modern as modern today’s poems. An example of his poems is here :
Kya chhenthadaa sadak ma kakhim ni milda?
Kya dallying harle apnee suchhaya ?
Kya suki gen nad nal sabhi jagatma ?
Abodh Bandhu Bahuguna divided the development of written form of Garhwali poetries according to time
1- First initiating Stage (1901- 1925)
2- Second Developmental Stage (1926-1950)
3-Third Developmental Stage (1951-1975)
Continued……..
Copyright@ Bhishma Kukreti, Mumbai, India, 2009
Bhishma Kukreti
Developmental Stages of Modern Garhwali Poetries
Foundation Stage:
Though, in real term, the modern Garhwali poetry started from 1900 but before this time, Pundit Hari Krishna Daurgadatti Rudola, Pundit Leela Datt Kotnala and Mahant Harsh Puri Gusain of Shri Nagar Pauri Garhwali put the foundation for modern Garhwali poetries. The campaign started from 1875
Pundit Harikrishna Daurgadatti Rudola created poetries as ganga panchak, Chetawani, Shiksha etc , which are of inspirational ones.
Pundit Leela Datt Kotnala (1846-1926) created poems supporting Lord Ripen’s laws to demolish racism and supported British Raj by creating poem ‘Lord Ripen’. Kotnala published a poetry collection by name - Garhwali Chhandmala’ in 1918. Virah and Holi poems are marvelous pieces of poetries in Garhwali Chhandmala. Kotnala created Garh-Geeta, Leela prem Sagar, and Garhwali Prastawawali too.
Mahant Harsh Puri Gusain (1820-1905) created many poems and ‘Rajneesh ‘ and Buro Sang’ poems are affectionate and with pathos.
Pundit Jakrishna Daurgadatti Rudola created poem as ‘ Vedant Sandesh’ and these poems are modern as modern today’s poems. An example of his poems is here :
Kya chhenthadaa sadak ma kakhim ni milda?
Kya dallying harle apnee suchhaya ?
Kya suki gen nad nal sabhi jagatma ?
Abodh Bandhu Bahuguna divided the development of written form of Garhwali poetries according to time
1- First initiating Stage (1901- 1925)
2- Second Developmental Stage (1926-1950)
3-Third Developmental Stage (1951-1975)
Continued……..
Copyright@ Bhishma Kukreti, Mumbai, India, 2009
Garhwali, Kumaoni, Himalayan Literature
Glimpse of History of Modern Garhwali Poetry in Shailvani Part-2
Bhishma Kukreti
Garhwali in Gorakhpanth Literature
Gorakhpanth has influenced the whole psych of Garhwalis . There has been Gorakhnath panthi literature for more than eight hundred years in Garhwal. Bahuguna provides proof that Kashuraj Jaichand wrote poetry in apbhrans language and we may find Garhwali in poems created around thirteenth century as
Je kajjiya ghala jnnu nikhala , bhotant pitant chale
Or, the poem of 1350 is as:
Dharti agas feranta chale, ayana chale, sapna chale, , mar mar karanto maimanda chale
There is priest crowning in Devalgarh which was initiated by famous Sidh Gorakhnath pupil Satyanath .
Gorakhvani literature as Dhol Sagar, Damau Sagar, Indrajal, Ghat Stahapana, Shrinath ji ko Suklais, Samaina is nothing but primitive Garhwali.
Iasan basan dand kamandal u dhyan lagaunti
Jogi jugeta mery mekhla tirsuli adhari
Bhishma Kukreti
Garhwali in Gorakhpanth Literature
Gorakhpanth has influenced the whole psych of Garhwalis . There has been Gorakhnath panthi literature for more than eight hundred years in Garhwal. Bahuguna provides proof that Kashuraj Jaichand wrote poetry in apbhrans language and we may find Garhwali in poems created around thirteenth century as
Je kajjiya ghala jnnu nikhala , bhotant pitant chale
Or, the poem of 1350 is as:
Dharti agas feranta chale, ayana chale, sapna chale, , mar mar karanto maimanda chale
There is priest crowning in Devalgarh which was initiated by famous Sidh Gorakhnath pupil Satyanath .
Gorakhvani literature as Dhol Sagar, Damau Sagar, Indrajal, Ghat Stahapana, Shrinath ji ko Suklais, Samaina is nothing but primitive Garhwali.
Iasan basan dand kamandal u dhyan lagaunti
Jogi jugeta mery mekhla tirsuli adhari
Garhwali, Kumaoni, Himalayan Literature
Glimpse of History of Modern Garhwali Poetry in Shailvani Part --III
Bhishma Kukreti
Collection and Publishing of Garhwali Oral Poetries
Bahuguna (1981) writes in Shailvani that Garhwal is fortunate to have all types of folk literature specially in poetry. ‘Daint Sanhar’ is available and there may be possible of many such manuscripts of oral literature. There are tens of ballads in Garhwali and those ballads started from Mahabharata time. Bahuguna provides the proof that there are chivalry, love and pathos raptures in Garhwali ballads as in Mahabharata. It is important to mention about proverbs and sayings . Pundit Tara Datt Gairola published ‘ Himalayan Folklores’ in English and included a few sayings/proverbs. Shiv Narayan Singh Bisht published the list of Garhwali proverbs/sayings/legendary stories in ‘Gadh Sumyal’ in Garhwali language in 1929. Abodh Bandhu Bahuguna published some part of famous folklores as Jeetu Bagdwal, Hari Hindwan, Ranu Jhanku, in Dhunyal, in 1954. Bhajan Singh ‘Singh’ published ‘the folklore ‘ Surj Kaunl’. Moahan Babulkar published the analysis of Garhwali folk poetries in Garhwali Lok Geeton Ka Vivechanatmak Adhyayan’. Dr Chatak also published Garhwali Folklores. Dr Haridatt Bhatt Shailesh included above folklores and more folk poetries in Garhwali Bhasha aur uska Sahitya ‘ in 1976.
Poetries of Mangal (auspicious folk lyrics ) are the symbols of agriculture culture of any area. Girija Datt Naithani published many lyrics of Magal in 1908. Tara Datt Gairola published poetries of Mangal in transformed form as ‘ Meri Ladli’ and ‘Fyunli Rauteli’. Bhajan Singh ‘Singh’ included folk poetries as ‘ Govind Fulari’ , ‘Raghuvanshi Ghodi’ etc along with other modern poetries in ’Singh Nad’. Chakradhar Bahuguna mentioned the old Garhwali poetry ‘ Paxi Samhar’ created by Pundit Jaidev Bahuguna around 1750 . Dr Hari Datt Bhatt ‘Shailesh’ published Garhwali folk poetries as Dyul, Nagelo, Garudasan, Nirankar, Uma Maheshwar, Gauri Shankar Leela, Ram Leela, Krishna Leela, Kunti Mata, Moti Dhango, Ram Gaindi (Chetak) in his famous book ‘ Garhwali Bhasha aur Uska Sahitya’.
Continued ……..
Copyright@ Bhishma Kukreti, Mumbai, India, 2009
Bhishma Kukreti
Collection and Publishing of Garhwali Oral Poetries
Bahuguna (1981) writes in Shailvani that Garhwal is fortunate to have all types of folk literature specially in poetry. ‘Daint Sanhar’ is available and there may be possible of many such manuscripts of oral literature. There are tens of ballads in Garhwali and those ballads started from Mahabharata time. Bahuguna provides the proof that there are chivalry, love and pathos raptures in Garhwali ballads as in Mahabharata. It is important to mention about proverbs and sayings . Pundit Tara Datt Gairola published ‘ Himalayan Folklores’ in English and included a few sayings/proverbs. Shiv Narayan Singh Bisht published the list of Garhwali proverbs/sayings/legendary stories in ‘Gadh Sumyal’ in Garhwali language in 1929. Abodh Bandhu Bahuguna published some part of famous folklores as Jeetu Bagdwal, Hari Hindwan, Ranu Jhanku, in Dhunyal, in 1954. Bhajan Singh ‘Singh’ published ‘the folklore ‘ Surj Kaunl’. Moahan Babulkar published the analysis of Garhwali folk poetries in Garhwali Lok Geeton Ka Vivechanatmak Adhyayan’. Dr Chatak also published Garhwali Folklores. Dr Haridatt Bhatt Shailesh included above folklores and more folk poetries in Garhwali Bhasha aur uska Sahitya ‘ in 1976.
Poetries of Mangal (auspicious folk lyrics ) are the symbols of agriculture culture of any area. Girija Datt Naithani published many lyrics of Magal in 1908. Tara Datt Gairola published poetries of Mangal in transformed form as ‘ Meri Ladli’ and ‘Fyunli Rauteli’. Bhajan Singh ‘Singh’ included folk poetries as ‘ Govind Fulari’ , ‘Raghuvanshi Ghodi’ etc along with other modern poetries in ’Singh Nad’. Chakradhar Bahuguna mentioned the old Garhwali poetry ‘ Paxi Samhar’ created by Pundit Jaidev Bahuguna around 1750 . Dr Hari Datt Bhatt ‘Shailesh’ published Garhwali folk poetries as Dyul, Nagelo, Garudasan, Nirankar, Uma Maheshwar, Gauri Shankar Leela, Ram Leela, Krishna Leela, Kunti Mata, Moti Dhango, Ram Gaindi (Chetak) in his famous book ‘ Garhwali Bhasha aur Uska Sahitya’.
Continued ……..
Copyright@ Bhishma Kukreti, Mumbai, India, 2009
Garhwali, Kumaoni, Himalayan Literature
Glimpse of History of Modern Garhwali Poetry in Shailvani Part------1
Bhishma Kukreti
Shailvani a poetry collection of eighty Garhwali poets is a mile stone in the history of Garhwali literature. Abodh Bandhu Bahuguna did hard research and edited this remarkable book and Himalaya Kala Sangam published Shailvani in 1981. Dr Govind Chatak wrote the introductory note for the book and president of Himalaya Kala Sangam Lalt Mohan Keshwan wrote the objective of the book.
Apart from poetries of eighty poets, Abodh Bandhu Bahuguna wrote a small history of Garhwali poetry upto 1980 as ‘Bhumika’
Sanskrit Literature Creators :
In his introduction, Bahuguna mentioned Kalidas the legendary Sanskrit poet as a Garhwal born person. Sadanand Jakhmola, Lalita Prasad Naithani, Dr Shiva Nand Nautiyal and many scholars support with enough proof that Kalidas was born in Kaviltha Chamoli Garhwal. Logically, these learned scholars are right that unless and until your childhood is not spent in Garhwal Himalaya you can not describe so finely, minutely, about Himalaya and its life as Kalidas describes Himalaya in Abhigyan Shakuntalam , Meghdoot or Kumar Sambhav. The intention of Bahuguna mentioning Kalidas is clear that creation of poetry is not new in Garhwal are but the legacy goes beyond Kalidas. in this respect Abodh Bandhu Bahuguna is right that creation of poetry have there in Garhwal more than five thousand years. This author says that it is no secret that Vyas created Mahabharat in Garhwal . Sage Vyasa in Mahbharat mentioned elaborately about Kankhal, Tapovan, Badrikasharam, and Bhrigukhal and sage Bhrigu. It may be possible that Bhrigu sage might have created Bhrigu Samhita in Bhrig Shringi (Bhrigukhal, Udaypur patti) too.
Further Bahuguna mentioned that there had been Garhwalis creating Sanskrit poetry or literature as Bharat Jyotik Rai, Meghakar Bahuguna, Haridatt Nautiyal, Sadanand Ghildiyal, Balkrishna Bhatt and many more created various types of Sanskrit literature.
Braj and Khadi Boli Literature by Garhwalis :
Bahuguna does not forget mentioning the creators of Braj/Khadi Boli literature from Garhwal. Bahuguna briefs the readers about the works of Swaami Shashtra , Maularam and Chandrakumwar Bartwal in Braj and Khadi boli (Hindi). All created marvelous poetries and all used many garhwali words in their poetries
The Tihri king Sudarsan Shah (1825) created poems in Braj language and his poetry collection book ‘Sabhasar’ is appreciated by scholars for various reasons. Sudarshan Shah provided extract of each his Braj verse in Garhwali as
Ishwaran jakh rup dine takh samajh ni dini
Jakh samajh dine takh dhan ni deenyau
The famous Khadi Boli poet of Pithora Garh, Gumani Pant (1780-1846) spent some period in the Garhwal kingdom at the time of king Sudarshan Shah. Gumani Pant will be remembered in Sanskrit, Hindi , Garhwali, Kumaoni , Nepali, Himalayan literature for creating peculiar poetry. He used to write poems in Sanskrit but the last part of stanza would be in Garhwali , Kumaoni or Nepali as:
Uttam dhamk padanti, madhyam cha turatari
Nish dam farak padanti , kachhedi ma ch Tukituki II
Vadhurlok beerasya lamkeshwarasya , prasrmedhanadasya maydays
Rate devar hant mandodari sa, hwai rand nari gai laj sari
Continued ..........
Copyright @ Bhishma kukreti, Mumbai, India, 2009
Bhishma Kukreti
Shailvani a poetry collection of eighty Garhwali poets is a mile stone in the history of Garhwali literature. Abodh Bandhu Bahuguna did hard research and edited this remarkable book and Himalaya Kala Sangam published Shailvani in 1981. Dr Govind Chatak wrote the introductory note for the book and president of Himalaya Kala Sangam Lalt Mohan Keshwan wrote the objective of the book.
Apart from poetries of eighty poets, Abodh Bandhu Bahuguna wrote a small history of Garhwali poetry upto 1980 as ‘Bhumika’
Sanskrit Literature Creators :
In his introduction, Bahuguna mentioned Kalidas the legendary Sanskrit poet as a Garhwal born person. Sadanand Jakhmola, Lalita Prasad Naithani, Dr Shiva Nand Nautiyal and many scholars support with enough proof that Kalidas was born in Kaviltha Chamoli Garhwal. Logically, these learned scholars are right that unless and until your childhood is not spent in Garhwal Himalaya you can not describe so finely, minutely, about Himalaya and its life as Kalidas describes Himalaya in Abhigyan Shakuntalam , Meghdoot or Kumar Sambhav. The intention of Bahuguna mentioning Kalidas is clear that creation of poetry is not new in Garhwal are but the legacy goes beyond Kalidas. in this respect Abodh Bandhu Bahuguna is right that creation of poetry have there in Garhwal more than five thousand years. This author says that it is no secret that Vyas created Mahabharat in Garhwal . Sage Vyasa in Mahbharat mentioned elaborately about Kankhal, Tapovan, Badrikasharam, and Bhrigukhal and sage Bhrigu. It may be possible that Bhrigu sage might have created Bhrigu Samhita in Bhrig Shringi (Bhrigukhal, Udaypur patti) too.
Further Bahuguna mentioned that there had been Garhwalis creating Sanskrit poetry or literature as Bharat Jyotik Rai, Meghakar Bahuguna, Haridatt Nautiyal, Sadanand Ghildiyal, Balkrishna Bhatt and many more created various types of Sanskrit literature.
Braj and Khadi Boli Literature by Garhwalis :
Bahuguna does not forget mentioning the creators of Braj/Khadi Boli literature from Garhwal. Bahuguna briefs the readers about the works of Swaami Shashtra , Maularam and Chandrakumwar Bartwal in Braj and Khadi boli (Hindi). All created marvelous poetries and all used many garhwali words in their poetries
The Tihri king Sudarsan Shah (1825) created poems in Braj language and his poetry collection book ‘Sabhasar’ is appreciated by scholars for various reasons. Sudarshan Shah provided extract of each his Braj verse in Garhwali as
Ishwaran jakh rup dine takh samajh ni dini
Jakh samajh dine takh dhan ni deenyau
The famous Khadi Boli poet of Pithora Garh, Gumani Pant (1780-1846) spent some period in the Garhwal kingdom at the time of king Sudarshan Shah. Gumani Pant will be remembered in Sanskrit, Hindi , Garhwali, Kumaoni , Nepali, Himalayan literature for creating peculiar poetry. He used to write poems in Sanskrit but the last part of stanza would be in Garhwali , Kumaoni or Nepali as:
Uttam dhamk padanti, madhyam cha turatari
Nish dam farak padanti , kachhedi ma ch Tukituki II
Vadhurlok beerasya lamkeshwarasya , prasrmedhanadasya maydays
Rate devar hant mandodari sa, hwai rand nari gai laj sari
Continued ..........
Copyright @ Bhishma kukreti, Mumbai, India, 2009
History of Garhwali, Kumaoni, Himalayan Literature
Brief Notes on Poetry Collections of Different Poets in One Book
Bhishma Kukreti
The publication of Garhwali language poetry collection of various poets in one book started from 1932 and till date, eleven such volumes of poetry collection have been published.
1- Garhwali Kavitavali : Vishwambhar Datt Chandola edited this poetry collection and published in 1932. There are poems of poets as Shashishekranand Sakalni, Sanatanand Saklani, Devendra Datt Raturi, Girija Datt Naithani, Mathura Datt Naithani, Sur Datt Saklani, Ambika Datt Sharma, Ratnambar Chandola, Devendra Datt Saklani, Daya nand Bahuguna and Sada Nand Kukreti in this first volume of Garhwali poetry collection of various poets.
2- Veer Garhwal (1950) : Pundit Vishal Mani Sharma edited this second collection of various Garhwali poets in one volume in the name Veer Garhwali in 1950. There are poems of Baldev Prasad Deen, Bhawani Datt Thapliyal and others .
3- Hisar (1955): Buransh Prakashan Dehradun published this volume of Garhwali verses of various poets .
4- Bugyal (1960) : Ganesh Sharma published Bugyal from Garhwali Sahitya Mandal, Delhi in 1960.
5- Maulyar (1960) Girdhari Lal Thapliyal ‘Kankal’ edited and published Maulyar in 1960
Rant Raibar (1963) Dr Govind Chatak edited Rant Raibar
6- Chham Ghunghuru Bajla (1964) : dr shiva Nand edited and published Chham Ghughuru Bajla through Shyam Book Depot Dehradun in 1964
7- Sar (1964): Dr Shiva Nand Nautiyal edited this volume of Garhwali sad poems (khuded Geet) from Shyam Book Depot in 1964.
8- Buransh (1965): Ganesh Sharma edited this volume of four Garhwali poets - Kanhaya lal Dandriyal, Jaya Nand Khugsal ‘Baulya’, Sher Singh ‘Gadhdeshi’, and Jagdish Bahuguna ‘Kiran.
9- Shailvani (1981): Shailvani is a mile stone in the history of Garhwali, Himalayan literature. Abodh Bandhu Bahuguna edited the collection of more than hundred poets and he also wrote historical, critical details of Garhwali poetry. Himalaya Kala Sangam Delhi published this historical timeless volume in 1981.
10- Gwathni Gaun Bate (2002) : Madan Duklan edited Gathwani Gaun Bate (2002) . Girish Sundriyal is associate editor of this volume. There are poems of Narendra Singh Negi, Madan mohan Duklan, Chinmay Sayar, Beena Baijwal, Devendra Prasad Joshi, Preetam Apachhyan Veena Pani Joshi, Girish Sundriyal, Niranjan Suyal, Balbir Singh Rawat, Harish Juyal ‘Kutz’, Neeta Kukreti, Sanjay Sundriyal, Shashi Bhusan ‘Raja’, Sukhdev ‘Dard’, Hemvati Nandan bhatt, Ganesh Khugsal ‘Gani’ and Ashish Sundriyal. All the poems are of high standard . Samay Saxya, Dehradun published this volume
10-Biji Gyayee Kavita (2004): Madhusudan Thapliyal edited this volume of poems of eighteen poets. There are poems of Tota Ram Dhundiyal, Khyat Singh Chauhan, Om Prakash Semwal, Vishwa Prakash Baudai, Satish Balodi, Veerendra Panwar, Girish Pant, Devesh Joshi, darshan singh Bisht ‘Rangeela’. Shiv Dayal ‘Shailej’. Sukhdev Dard, Mayaram Dhoundiyal ‘Vikal’. Leela Nand Raturi, Ramesh Chandra Santoshi, Ashok Uniyal, Gajendra Nautiyal, Mahendra Dhyani, Hemvati Nandan Bhatt . Dhad Prakashan published this volume of poem collection.
11- Gwai: Gwai has a specific place in Garhwali literature. The poets are related to a specific area Syunsi Baijrao. The poets are either born in that area or they were serving in that are. There are poems of Shakuntala Inshtwal, Vishwa Prakash Baudai, Dr Rajendra Prasad Bhatt, Govind Singh Rawat, Shiv Dayal Shailaj, Bachi Ram Baudai, Sanjay Dhoundiyal, Chitra Singh Kandari, Anil Kumar Shailani, Ranveer Datt Chandan, Sushil Chandra, Ashok Uniyal ‘Agya’, in this volume of poems. Dhad -Syunsi Baijaron published this volume .
Copyright@ Bhishma Kukreti, Mumbai, India, 2009
Bhishma Kukreti
The publication of Garhwali language poetry collection of various poets in one book started from 1932 and till date, eleven such volumes of poetry collection have been published.
1- Garhwali Kavitavali : Vishwambhar Datt Chandola edited this poetry collection and published in 1932. There are poems of poets as Shashishekranand Sakalni, Sanatanand Saklani, Devendra Datt Raturi, Girija Datt Naithani, Mathura Datt Naithani, Sur Datt Saklani, Ambika Datt Sharma, Ratnambar Chandola, Devendra Datt Saklani, Daya nand Bahuguna and Sada Nand Kukreti in this first volume of Garhwali poetry collection of various poets.
2- Veer Garhwal (1950) : Pundit Vishal Mani Sharma edited this second collection of various Garhwali poets in one volume in the name Veer Garhwali in 1950. There are poems of Baldev Prasad Deen, Bhawani Datt Thapliyal and others .
3- Hisar (1955): Buransh Prakashan Dehradun published this volume of Garhwali verses of various poets .
4- Bugyal (1960) : Ganesh Sharma published Bugyal from Garhwali Sahitya Mandal, Delhi in 1960.
5- Maulyar (1960) Girdhari Lal Thapliyal ‘Kankal’ edited and published Maulyar in 1960
Rant Raibar (1963) Dr Govind Chatak edited Rant Raibar
6- Chham Ghunghuru Bajla (1964) : dr shiva Nand edited and published Chham Ghughuru Bajla through Shyam Book Depot Dehradun in 1964
7- Sar (1964): Dr Shiva Nand Nautiyal edited this volume of Garhwali sad poems (khuded Geet) from Shyam Book Depot in 1964.
8- Buransh (1965): Ganesh Sharma edited this volume of four Garhwali poets - Kanhaya lal Dandriyal, Jaya Nand Khugsal ‘Baulya’, Sher Singh ‘Gadhdeshi’, and Jagdish Bahuguna ‘Kiran.
9- Shailvani (1981): Shailvani is a mile stone in the history of Garhwali, Himalayan literature. Abodh Bandhu Bahuguna edited the collection of more than hundred poets and he also wrote historical, critical details of Garhwali poetry. Himalaya Kala Sangam Delhi published this historical timeless volume in 1981.
10- Gwathni Gaun Bate (2002) : Madan Duklan edited Gathwani Gaun Bate (2002) . Girish Sundriyal is associate editor of this volume. There are poems of Narendra Singh Negi, Madan mohan Duklan, Chinmay Sayar, Beena Baijwal, Devendra Prasad Joshi, Preetam Apachhyan Veena Pani Joshi, Girish Sundriyal, Niranjan Suyal, Balbir Singh Rawat, Harish Juyal ‘Kutz’, Neeta Kukreti, Sanjay Sundriyal, Shashi Bhusan ‘Raja’, Sukhdev ‘Dard’, Hemvati Nandan bhatt, Ganesh Khugsal ‘Gani’ and Ashish Sundriyal. All the poems are of high standard . Samay Saxya, Dehradun published this volume
10-Biji Gyayee Kavita (2004): Madhusudan Thapliyal edited this volume of poems of eighteen poets. There are poems of Tota Ram Dhundiyal, Khyat Singh Chauhan, Om Prakash Semwal, Vishwa Prakash Baudai, Satish Balodi, Veerendra Panwar, Girish Pant, Devesh Joshi, darshan singh Bisht ‘Rangeela’. Shiv Dayal ‘Shailej’. Sukhdev Dard, Mayaram Dhoundiyal ‘Vikal’. Leela Nand Raturi, Ramesh Chandra Santoshi, Ashok Uniyal, Gajendra Nautiyal, Mahendra Dhyani, Hemvati Nandan Bhatt . Dhad Prakashan published this volume of poem collection.
11- Gwai: Gwai has a specific place in Garhwali literature. The poets are related to a specific area Syunsi Baijrao. The poets are either born in that area or they were serving in that are. There are poems of Shakuntala Inshtwal, Vishwa Prakash Baudai, Dr Rajendra Prasad Bhatt, Govind Singh Rawat, Shiv Dayal Shailaj, Bachi Ram Baudai, Sanjay Dhoundiyal, Chitra Singh Kandari, Anil Kumar Shailani, Ranveer Datt Chandan, Sushil Chandra, Ashok Uniyal ‘Agya’, in this volume of poems. Dhad -Syunsi Baijaron published this volume .
Copyright@ Bhishma Kukreti, Mumbai, India, 2009
"पर्वतीय महिलाएं"
आज भी दम तोड़ती हैं,
घास काटते हुए'
जब फिसल जाता है पैर,
पहाड़ी ढलान पर,
और गिर जाती हैं,
गहरी खाई में.
जंगलों में,
जंगली जानवरों के हमले से,
विषैले सांपों के काटने से,
पेड़ों की टहनी काटते हुए,
पेड़ से गिरने से,
कहीं पेड़ों को छूते,
बिजली के तारों द्वारा,
करंट लगने के कारण,
हो जाती है अकाल मृत्यु,
पर्वतीय महिलाओं की.
प्रसव पीड़ा में,
घायल अवस्था में,
अस्वस्थ होने पर,
उत्तराखंड सरकार की,
१०८ एम्बुलेंस सेवा,
राहत प्रदान करती है,
जो एक सार्थक प्रयास है,
पर्वतीय महिलाओं और,
सभी के लिए.
रचनाकार: जगमोहन सिंह जयारा "ज़िग्यांसू"
(सर्वाधिकार सुरक्षित)
ग्राम: बागी-नौसा, चन्द्रबदनी, टेहरी गढ़वाल
E-mail: j_jayara@ yahoo.com
७.१२.२००९
घास काटते हुए'
जब फिसल जाता है पैर,
पहाड़ी ढलान पर,
और गिर जाती हैं,
गहरी खाई में.
जंगलों में,
जंगली जानवरों के हमले से,
विषैले सांपों के काटने से,
पेड़ों की टहनी काटते हुए,
पेड़ से गिरने से,
कहीं पेड़ों को छूते,
बिजली के तारों द्वारा,
करंट लगने के कारण,
हो जाती है अकाल मृत्यु,
पर्वतीय महिलाओं की.
प्रसव पीड़ा में,
घायल अवस्था में,
अस्वस्थ होने पर,
उत्तराखंड सरकार की,
१०८ एम्बुलेंस सेवा,
राहत प्रदान करती है,
जो एक सार्थक प्रयास है,
पर्वतीय महिलाओं और,
सभी के लिए.
रचनाकार: जगमोहन सिंह जयारा "ज़िग्यांसू"
(सर्वाधिकार सुरक्षित)
ग्राम: बागी-नौसा, चन्द्रबदनी, टेहरी गढ़वाल
E-mail: j_jayara@ yahoo.com
७.१२.२००९
History of Garhwali, Kumaoni, Himalayan Literature
Pithai Pairalo Buransh : The Poems of Himalayan Concerns
( Commentary of Dr Govind Chatak on poetry Collection Pithai Puralo Buransh by Veena Pani Joshi)
Translation : Bhishma Kukreti
The poems of Veena Pani Joshi in Garhwali language poem collection Pithai Pairalo Buransh are the verses of a deep thinker, super sensitive to the society and environment, and conscious poetess. Today, wherein , many Garhwali poets are busy in creating poems of jokes and attracting audience in Kavisammelan for a while just by wordings without depth in the subjects; Veena Pani Joshi created poems on the real issues and happenings in Garhwal, India and around the world. The poems of Veena Pani Joshi are not limited to Garhwal but they are related to humanity and international panorama. At one ploe, Veena Pani tells about conventional culture of her motherland Garhwal that is the beneficial wordings of Rishis or sages and at another side, she narrates the pains, joys of new era too. She is conscious about the changes taking place around us specially the emergence of ugly non-humanitarian culture. She is the poetess of big panorama. The is auspiciousness , beneficial demand in her each poem as she demands from goddess Sarswati -- chitan ko diyo banaulun/sardha ko runwan bati chadhoulu/khairi pahad ki ansdari tel jot jagaulun/daina human.
The poems related to Garhwali women are the verses of of mother’s affection and rebellions . The Garhwali women are busy always in hard work and are the axis of Garhwal’s economy and social struture. Veena Pani sees Leonard de Vinci’s Mona Lisa in their hard works. Veena Pani Joshi does not show pity on women’s condition in Garhwal but she tries to make them aware about their super potential in the society.---teen jandari thame/gagri thame/ ganjyali gari thame/tin atp pise/ pani sare/ satti kutani rai/ utth beej-beej siyeen ni rai
Veena Pani Joshi reminds the women that there is tender Bugyal (flower beds) on the steep ascending path. Veena appreciates for never ending hard works of Garhwali women and pleas that she requires Kutali and kalam too (hoe and pen). Whole of Garhwal and himalayn area is facing a gigantic problem. There is problem of girl’s better education but more than that is after education, women are leaving the agriculture . Speedy migration is biggest dilemma in rural Himalaya and the poetess is worried and says---mund mathi bharu ni cha/thanda chullon kharu nee chh/ktali dathi harchi gen /gauna pata harchi gen
The poetess has immense affection for each part of Himalaya , all flora and fauna. In her poems, there is buransh flower ( Rhododendron flower) fuenli flowers colour the land yellow; there are kingoda, hisar, kakadi, gudadi….. There are animals as sensual, gaureya, ghughtee and there are kafu, hilans, kafal in her poems.
The poetess Veena Pani Joshi is super sensitive about wrong ecological changes by the people in Himalayan region and says if there is no water how come frogs will voice? The readers may feel if there is shradh in village the crows will never come in the village , without bride going to her sasural, kaffu bird will never be messenger. Veena Pani Joshi shows the deep relationship between the Himalayan people and flora/fauna of their area. This aspect of sensitivity is new to poetry.
Veena Pani is also insightful for changing happenings around the glob specially in Himalayan society. She narrates the loosing culture , beneficial culture and she also shows us the new benefits of changes but Veena weeps on wrong changes which are dangerous not only for Himalayan people but perilous for whole of humanity too.
In many verses, Veena Pani Joshi shows her ambiguity and shocks for the new unheard, unseen political perplexities and social turmoil by new changes very effectively and those poems are capable for stirring the readers . Veena Pani is shocked the readers when she shows in her poems that that the responsible authorities for Ganges Cleaning Project search for bottled mineral water near the bank of Ganges.
It is always dangerous to write on contemporary subjects because the creative becomes the enemy of authorities and atrocious commanders of society and religions. However, Veena Pani does not hesitate to pen down the contemporary paradoxes of politics, society and religions. Her writings show that she is super susceptible for the society and environment .
There is rhythm, there is complete poetic form, sensitivity, simplicity to understand the meanings, beauty, harmony in her poems as her father late Chakradhar Bahuguna had in his poems.
Pithai Pairalo Buransh is a remarkable collection of Garhwali language poems and is very excellent sign for Himalayan concern and Himalayan languages literature .
Copyright @ Bhishma Kukreti, Mumbai, India
( Commentary of Dr Govind Chatak on poetry Collection Pithai Puralo Buransh by Veena Pani Joshi)
Translation : Bhishma Kukreti
The poems of Veena Pani Joshi in Garhwali language poem collection Pithai Pairalo Buransh are the verses of a deep thinker, super sensitive to the society and environment, and conscious poetess. Today, wherein , many Garhwali poets are busy in creating poems of jokes and attracting audience in Kavisammelan for a while just by wordings without depth in the subjects; Veena Pani Joshi created poems on the real issues and happenings in Garhwal, India and around the world. The poems of Veena Pani Joshi are not limited to Garhwal but they are related to humanity and international panorama. At one ploe, Veena Pani tells about conventional culture of her motherland Garhwal that is the beneficial wordings of Rishis or sages and at another side, she narrates the pains, joys of new era too. She is conscious about the changes taking place around us specially the emergence of ugly non-humanitarian culture. She is the poetess of big panorama. The is auspiciousness , beneficial demand in her each poem as she demands from goddess Sarswati -- chitan ko diyo banaulun/sardha ko runwan bati chadhoulu/khairi pahad ki ansdari tel jot jagaulun/daina human.
The poems related to Garhwali women are the verses of of mother’s affection and rebellions . The Garhwali women are busy always in hard work and are the axis of Garhwal’s economy and social struture. Veena Pani sees Leonard de Vinci’s Mona Lisa in their hard works. Veena Pani Joshi does not show pity on women’s condition in Garhwal but she tries to make them aware about their super potential in the society.---teen jandari thame/gagri thame/ ganjyali gari thame/tin atp pise/ pani sare/ satti kutani rai/ utth beej-beej siyeen ni rai
Veena Pani Joshi reminds the women that there is tender Bugyal (flower beds) on the steep ascending path. Veena appreciates for never ending hard works of Garhwali women and pleas that she requires Kutali and kalam too (hoe and pen). Whole of Garhwal and himalayn area is facing a gigantic problem. There is problem of girl’s better education but more than that is after education, women are leaving the agriculture . Speedy migration is biggest dilemma in rural Himalaya and the poetess is worried and says---mund mathi bharu ni cha/thanda chullon kharu nee chh/ktali dathi harchi gen /gauna pata harchi gen
The poetess has immense affection for each part of Himalaya , all flora and fauna. In her poems, there is buransh flower ( Rhododendron flower) fuenli flowers colour the land yellow; there are kingoda, hisar, kakadi, gudadi….. There are animals as sensual, gaureya, ghughtee and there are kafu, hilans, kafal in her poems.
The poetess Veena Pani Joshi is super sensitive about wrong ecological changes by the people in Himalayan region and says if there is no water how come frogs will voice? The readers may feel if there is shradh in village the crows will never come in the village , without bride going to her sasural, kaffu bird will never be messenger. Veena Pani Joshi shows the deep relationship between the Himalayan people and flora/fauna of their area. This aspect of sensitivity is new to poetry.
Veena Pani is also insightful for changing happenings around the glob specially in Himalayan society. She narrates the loosing culture , beneficial culture and she also shows us the new benefits of changes but Veena weeps on wrong changes which are dangerous not only for Himalayan people but perilous for whole of humanity too.
In many verses, Veena Pani Joshi shows her ambiguity and shocks for the new unheard, unseen political perplexities and social turmoil by new changes very effectively and those poems are capable for stirring the readers . Veena Pani is shocked the readers when she shows in her poems that that the responsible authorities for Ganges Cleaning Project search for bottled mineral water near the bank of Ganges.
It is always dangerous to write on contemporary subjects because the creative becomes the enemy of authorities and atrocious commanders of society and religions. However, Veena Pani does not hesitate to pen down the contemporary paradoxes of politics, society and religions. Her writings show that she is super susceptible for the society and environment .
There is rhythm, there is complete poetic form, sensitivity, simplicity to understand the meanings, beauty, harmony in her poems as her father late Chakradhar Bahuguna had in his poems.
Pithai Pairalo Buransh is a remarkable collection of Garhwali language poems and is very excellent sign for Himalayan concern and Himalayan languages literature .
Copyright @ Bhishma Kukreti, Mumbai, India
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