Dhanesh Kothari : A Garhwali Poet of New Symbols and Sharp Attitude
Bhishma Kukreti
Dhanesh Kothari is new generation Garhwali language poet who uses new symbols and have sharp attitude towards wrong happenings. Kothari believes in criticizing the wrong happenings with sharp words and does not believe in mild criticism.
Dhanesh Kothari was born on 26 December, 1970 in Devprayag, Tihri Garhwal , Himalaya.
He 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 Kothari edited Uttarasth, Awaj and Smaranam too.
Dhanesh Kothari published his poetry collections in 2009 from Dhad Prakashan in the name Jyundal.
From form point of view Dhanesh uses three styles- non-alliterated , conventional rhyme forms and other mix style. Dhanesh Kothari takes subject of common man and is very sensitive about wrong happenings in Garhwal. His poems show his personal experiences in bearing the suppression by unwanted happenings and new changes in his area.
All Garhwali language poets of Garhwal have to choose the subjects from Garhwal. Hence, the subject would be same for all of them . In this circumstances, the intellectual poem has to choose the new words and symbols for creating poems . Dhanesh Kothari should be appreciated for his uses of new symbols, new thinking , new attitude in describing old subjects as he describes migration in the following way:
Myar deram
Ganesh cha chandaro ni
Naren ch pujdao ni
Urkhyali ch kutdaru ni
Jandari ch pisdaru ni
Mankhi chhan bachaldaru ni
Bata chhan hitdaru ni
Danda chhan cheddar ni
Dhanesh Kothari uses sharp words in telling wrong happenings in his area. Kothari does not believes mildness for showing the mistakes off administration . At the same time, Kothari awakens the society with strong words to take the matter in their hands
Teri jato chau thatau chhau
Gangajal man vain
Saun ghatyan chha
Ab agar nata todu
t/mar ek khaidai
His way of creating poetry , definitely shows that Kavita Movement in Garhwali has brought newness and variation in subjects, form, style and attitude . Dhanesh is master of vocabulary and makes words his slave. Since, Dhanesh belongs to Devprayag , he uses dialects of Devprayag area but restrict himself from using core regional dialects for better understanding for readers of all regions of Garhwal.
Creatives as Veerendra Panwar , Tribhuwan Bhatt Hemwanti Bhatt ‘ Hemu’ appreciated his way of telling the poems and his uses of new symbols for describing conventional subjects.
Copyright @ Bhishma Kukreti, Mumbai, India, 2009
उत्तराखंडी ई-पत्रिका
Monday, January 4, 2010
Saturday, December 19, 2009
21 जनवरी 2010, गुरूवार, सायं 7 बजे से
पर्वतीय नाट्य मंच
के तत्वाधान में
ममता भट्ट
द्वारा
समस्त उत्तराखण्डी प्रवासियों के लिए नव वर्ष की सप्रेम भेंट
बीर भड़ माधोसिंह भण्डारी (गीत नाटिका)
और
गीत नाटिका के पार्श्व गायक या पार्श्व गायिका
प्रीतम भरतवाण
मीना राणा
और विरेन्द्र राजपूत, बिक्रम कप्रवाण, जितेन्द्र पंवार,
मंजू सुंदरियाल, दीपा पंत आदि
स्थान ->: श्री षणमुखानंद सभागृह ( किंग्सर्कल स्टेशन समीप)
--
पर्वतीय नाट्य मंच
के तत्वाधान में
ममता भट्ट
द्वारा
समस्त उत्तराखण्डी प्रवासियों के लिए नव वर्ष की सप्रेम भेंट
बीर भड़ माधोसिंह भण्डारी (गीत नाटिका)
और
गीत नाटिका के पार्श्व गायक या पार्श्व गायिका
प्रीतम भरतवाण
मीना राणा
और विरेन्द्र राजपूत, बिक्रम कप्रवाण, जितेन्द्र पंवार,
मंजू सुंदरियाल, दीपा पंत आदि
स्थान ->: श्री षणमुखानंद सभागृह ( किंग्सर्कल स्टेशन समीप)
--
Wednesday, December 2, 2009
नेताओ की पछयाण
नेता बल आम आदमियो से बिलकुल ही अलग हुन्दन अर पछीणे जदिनी ! जन कुतो माँ , खुजली वाल वालू कुता .... दूर बीटी ही पछ्याणे जांद उनी जनता का बीचम वो भी ! ऊकी , चाल- ठाल, उठूणु-बैठूणु, खाणु- पीणु , बुन- बच्याणु , सब , सब से अलग ही हुन्द ! जी हां , अलग ! संस्कृतं एक श्लोक च " लुन्ड़ो ; बिचतरो गती : " अर्थात जन की लुंड माने आवारा किस्म का आदमी की हर कुछ अलग ही हूँ उनी नेताओ की भी !
हमरा यख याने गडवाल बीटी वी नेता हूनी , जोन, द्वी -द्वी ब्यो कैनी ! जनकी हेम्वान्ती नदन बहुगुणा, शीबानद नोटियाल , जग मोहन सिह नेगी आदि आदि ! अबत कुमो बीटी भी य पर्था चली आण लगी ! हरीश रावत भी ये लग्यात माँ शामिल ह्वेगीनी ! या सबसे पहली पछयाण नेता हूँण की ! नेता त, कई ह्वनी ! पर, इन जन ना ! .. बाकी त जन बुलदं ना बल " बड गोर बल लूण बुकाऊ , अर छुटा थुबउड़ चाट " वनी !
ऊ बुल्दा कुछ छन अर करदा कुछ .. ! देख नी आपल, आज से १० साल पैली , एक बडो नेताल..., तब जू बुलद छो , की मेरी त अंतर्राष्ट्रीय राजनीत म दखल च ! त फिर मी प्रदेशीय राज्नितिम किलै जो ! मयारू दिमाग खराब च क्या ? है, ..... मि , कै पागल कुत्तो कटियु छो जू मी इनु काम कैरू ! कुई पागल ही ह्वालू जू प्रांतीय राजनीतंम जालू ! उन यख तक भी बोली दे छो की " राज्य ? कनु राज्य ...! अगर राज्य बनालू भी त मेरी लाश पर ????? ,,,,, अर जब राज्य बणीगे ! सया पिच्ल्या दरवाज बीटी राज्य की सब से अहम कुर्सी याने चीफ मिनिस्टर ह्त्येदी ! य दूसरी पछयाण च !
तैला मिल्या खुवाल, त , हमन सुणी भी , अर देखि भी छ ! पर, हर
चुनोमाँ , फिरका परस्ती , जजमानी -बामणी, खा- बा- डा अर बाजा बाज त गड्वाली कुमुनी नि चुकदी ताबा ! ये भै, कुई यूथे पूछा ....... /// तुम त हैरी जीती चली जैल्या .... पर हमत यख यखी रैण ! म्यारा गौ माँ कुई जाज काज होल त बामणलत काना ! कुई मोरी भाजिगे त हमले त हमने त हूँ ना कठा ? हमनै त, उठान ना ..मुरियु मुर्दा ? की ई आला देहरादून बीटी, हमरा गौ माँ मुर्दा उठानु कु ? जबरी यूथे हमरी चाड रैद त, कन घुम्दी, हमरा अग्वाडी पिछाडी लिडा कुकर सी ! अर जब हम थै युकी जरुरत पुडाद त तब पट दरवाज बद कैकी भैरम संतरी जू बितर त भीतर आगन्म तक नी आणि देदु ! युकू कुई मुवार्लुत वख सरकारी सरय मशीन दोडी डोदी ई जाली ! युका आसू पुच्णु बड़ा बड़ा अफसर मंत्री ऐजाला ! ये किक नि हुन्दन ये एक औरी पछ्यण च ! ईनी कै बता ओउरी भी छन !
पराशर गौर
नम्बर १६ दिनम ११.५५ पर
हमरा यख याने गडवाल बीटी वी नेता हूनी , जोन, द्वी -द्वी ब्यो कैनी ! जनकी हेम्वान्ती नदन बहुगुणा, शीबानद नोटियाल , जग मोहन सिह नेगी आदि आदि ! अबत कुमो बीटी भी य पर्था चली आण लगी ! हरीश रावत भी ये लग्यात माँ शामिल ह्वेगीनी ! या सबसे पहली पछयाण नेता हूँण की ! नेता त, कई ह्वनी ! पर, इन जन ना ! .. बाकी त जन बुलदं ना बल " बड गोर बल लूण बुकाऊ , अर छुटा थुबउड़ चाट " वनी !
ऊ बुल्दा कुछ छन अर करदा कुछ .. ! देख नी आपल, आज से १० साल पैली , एक बडो नेताल..., तब जू बुलद छो , की मेरी त अंतर्राष्ट्रीय राजनीत म दखल च ! त फिर मी प्रदेशीय राज्नितिम किलै जो ! मयारू दिमाग खराब च क्या ? है, ..... मि , कै पागल कुत्तो कटियु छो जू मी इनु काम कैरू ! कुई पागल ही ह्वालू जू प्रांतीय राजनीतंम जालू ! उन यख तक भी बोली दे छो की " राज्य ? कनु राज्य ...! अगर राज्य बनालू भी त मेरी लाश पर ????? ,,,,, अर जब राज्य बणीगे ! सया पिच्ल्या दरवाज बीटी राज्य की सब से अहम कुर्सी याने चीफ मिनिस्टर ह्त्येदी ! य दूसरी पछयाण च !
तैला मिल्या खुवाल, त , हमन सुणी भी , अर देखि भी छ ! पर, हर
चुनोमाँ , फिरका परस्ती , जजमानी -बामणी, खा- बा- डा अर बाजा बाज त गड्वाली कुमुनी नि चुकदी ताबा ! ये भै, कुई यूथे पूछा ....... /// तुम त हैरी जीती चली जैल्या .... पर हमत यख यखी रैण ! म्यारा गौ माँ कुई जाज काज होल त बामणलत काना ! कुई मोरी भाजिगे त हमले त हमने त हूँ ना कठा ? हमनै त, उठान ना ..मुरियु मुर्दा ? की ई आला देहरादून बीटी, हमरा गौ माँ मुर्दा उठानु कु ? जबरी यूथे हमरी चाड रैद त, कन घुम्दी, हमरा अग्वाडी पिछाडी लिडा कुकर सी ! अर जब हम थै युकी जरुरत पुडाद त तब पट दरवाज बद कैकी भैरम संतरी जू बितर त भीतर आगन्म तक नी आणि देदु ! युकू कुई मुवार्लुत वख सरकारी सरय मशीन दोडी डोदी ई जाली ! युका आसू पुच्णु बड़ा बड़ा अफसर मंत्री ऐजाला ! ये किक नि हुन्दन ये एक औरी पछ्यण च ! ईनी कै बता ओउरी भी छन !
पराशर गौर
नम्बर १६ दिनम ११.५५ पर
खंतडी मुडै छुई
रातिकू खाण-पीणा बाद
जनि हम द्वी झाण पवाडा
सुरक ऱजॆ , मुखं धैरी
खुस-पुश - खुश-पुश बच्याण बैठा
किलैकी ...........
भैरम ब्योई छेई सीई !
वा, बोली...............,
यैसुका साल
खेती-पाती बटवालण क बाद
तुमुन क्या सोची ?
मी थै दगडी लिजैल्या
य घारे रो ?
भाग्यानु का , सी छी
कुई खुच्ली पर त,
कुई पीठम छीन झुंटा खीना
मेरी दा , त ............. ,
बिधातल भी पट
आखी बुजिदी !
क्या छा सुचणा ?
कुछ बुल्ल्या भी य इनी ..
छी भै, युका दगड भी
उफ़ .......... ,
कुनस युका भी, जू
गिचु तक नि उफर्दा !
सुणु छो, सुणु छो
दगडा-दगडी सुचुणु भी छो
जू .. त्वे दगडी लिजोलू त
बोई कु क्या ह्वालू ?
इनकारा , की , मि थै छ्वाडा
उथै ही लिजाव इबरी
उकी दों खूब सोची
अर हमरी दा पीठ किलै ?
छई- साथ साल ह्वेगी ब्यो कया
भैका सो , ......,
सुनी डनड्याली अर
खालि भितरी मी , खाणु आन्द !
अरै ...,
नि समझ, नि समझ उलटा
ब्योईल कतका जी बचण
कखी , निरसे -फटगवसे` जालित ?
प्रभात पुछुलू बोई थै
क्या ?
जू ब्याललित , नि लीजो ..
त.... क्या ?
नि लिजोल . औरी क्या ... ? !
दिखादै दिख्द....
बियाणा धारम एगी
व, पाणी की चली गे
अर मी.....खंताडी पर मारी अंग्वाल;
सुचूणु रों , लीजो की, नि लीजो ?
खैर ........बिखुन्दा खाद बगत
बोई ल बोली ' बीटा ..
खेती-पाती संभालेगी
गोर बचुरु नि न
एक काम कैर ......
ब्वारी थै तखूंद ली जा
हवा पाणी भी बदली जालू अर
दिबा दैणी होई जाली त
क्या पता मी नाती कु मुख देखि सैकु ?
मिन वीक तरफ देखी
अर वींन मेरी तरफ
लगद जन बुलिद दिब्ल हमरी
बात सुणी याली छीई !
पराशर गौर
२७ नंबर ०९ ४.३० बजे स्याम
न्यू मार्किट कैनाडा
जनि हम द्वी झाण पवाडा
सुरक ऱजॆ , मुखं धैरी
खुस-पुश - खुश-पुश बच्याण बैठा
किलैकी ...........
भैरम ब्योई छेई सीई !
वा, बोली...............,
यैसुका साल
खेती-पाती बटवालण क बाद
तुमुन क्या सोची ?
मी थै दगडी लिजैल्या
य घारे रो ?
भाग्यानु का , सी छी
कुई खुच्ली पर त,
कुई पीठम छीन झुंटा खीना
मेरी दा , त ............. ,
बिधातल भी पट
आखी बुजिदी !
क्या छा सुचणा ?
कुछ बुल्ल्या भी य इनी ..
छी भै, युका दगड भी
उफ़ .......... ,
कुनस युका भी, जू
गिचु तक नि उफर्दा !
सुणु छो, सुणु छो
दगडा-दगडी सुचुणु भी छो
जू .. त्वे दगडी लिजोलू त
बोई कु क्या ह्वालू ?
इनकारा , की , मि थै छ्वाडा
उथै ही लिजाव इबरी
उकी दों खूब सोची
अर हमरी दा पीठ किलै ?
छई- साथ साल ह्वेगी ब्यो कया
भैका सो , ......,
सुनी डनड्याली अर
खालि भितरी मी , खाणु आन्द !
अरै ...,
नि समझ, नि समझ उलटा
ब्योईल कतका जी बचण
कखी , निरसे -फटगवसे` जालित ?
प्रभात पुछुलू बोई थै
क्या ?
जू ब्याललित , नि लीजो ..
त.... क्या ?
नि लिजोल . औरी क्या ... ? !
दिखादै दिख्द....
बियाणा धारम एगी
व, पाणी की चली गे
अर मी.....खंताडी पर मारी अंग्वाल;
सुचूणु रों , लीजो की, नि लीजो ?
खैर ........बिखुन्दा खाद बगत
बोई ल बोली ' बीटा ..
खेती-पाती संभालेगी
गोर बचुरु नि न
एक काम कैर ......
ब्वारी थै तखूंद ली जा
हवा पाणी भी बदली जालू अर
दिबा दैणी होई जाली त
क्या पता मी नाती कु मुख देखि सैकु ?
मिन वीक तरफ देखी
अर वींन मेरी तरफ
लगद जन बुलिद दिब्ल हमरी
बात सुणी याली छीई !
पराशर गौर
२७ नंबर ०९ ४.३० बजे स्याम
न्यू मार्किट कैनाडा
बाबाओ की दूकान ;
घुप्या जनि पैदा ह्वै , पैदा हुदै वेल बोई खाई दे ! सब्युन वे थै ट्व्का ट्व्का बुलण शुरू कैदी ! बुबा कारू भी त, क्या कारू ... खैर जनि कानी कैकी वेल वे थै पाल्ली पोसी बडो कई ! जनि वेल आठ पास कारी , बबल हाथ खडा कैदिनी य बोली की की " बिटा, अब म्यारा बसों नि राइ तेरी अग्वादी की पदाई को खर्च उठाणु ! इन कैर की ,तू भी त्खुन्द जैकी कुछ ध्यली पैसी कामो ! "
घुप्या अब, करू भी त क्या कारू ! .. कख जो? क्या कैरो ? नादाँ उम्र , पदाई लिखाई भी ज्यादा नि छ ! वो कपाल पर हात लगे की बैटीयु छो की तबरी एक बाब आई, वेसी पुछन लेगी .. " बेटा यहाँ पर रीखनी देबी नेगी का घर कहा पर है .." बाबा के साथ चार पांच चेले चांटा भी छाया ! वेल इशारा ल उंकू घोर बताई ! वो बोली " जरा चल वहा तक हमारे साथ " ? जनी वो वाख पोचिनी , घुप्या क्या दिखदा की रिखणी
बोडी लंप तंप कैकी वे बाबा का खुटो माँ पुड़ी गे ! जू नेगी जी खुणी खाणु त खाणु ,, चा तक नि बाणों दी छई , व, वे बाबो खुणी दाल भात, सब्जी , बन बनी का पकवान बाणोंण लगी ! बाबा पर खासी को रोग छो ! हर बगत खप खप कनु छो ! नेग्यण वेकु खंक्हरू तक चै उठोंण पर लगी जैन नेगी का कपड़ा तक णी उठाया !
घुप्या घर ग्या वेल अपना बा से बोली " बुबा ण त मिल अगनै पणई आर ना ही नौकरी कने ! " बबल जब य सुणी त, वेसे बुन बैठी " त क्या करिलू ..
चोरी च्पोरी ?
न -- न -- मी बाबा बनुलू बाबा .. !
त जोगी बणिली .. है ? बबल पूछी !
बड़े प्यार से वेल बाबा थे समझीइ ' अचा एक बात बतो .. ज्यादा पैडी लेखी की , ज्याद से ज्याद ३ ४ लाख साल का मिल्ला ना ? आर जू मी एक ही दिनम
इतका कामे दयुल त ...? बबबॆ की सम्झ्मा बात नि आई
घुप्या रात झणी कबरी सटक .. आज पट २० २५ साल हवे गीनी वे थे हर्च्या ! बुबा बिचरू आदा जाड़ों रैद पुचुणु की कहकी तुमल मेरु घुप्या भी देखि
घुप्या दिखया आज बाबा घुप्यानाथ बणी छ माल लुटूणु ! च्याला चान्तो की मोज ही मोज ! अर अफु क्या टाट बाट .. आबत वेल बाय्कैदा बाबा बाण नै की एक इंस्टीटुयुशंन भी खी याल जख हर साल एक ना की बाबा निकल दी !
पराशर गौर
नमम्बर २८ ०९ सुबह १०.२३
घुप्या अब, करू भी त क्या कारू ! .. कख जो? क्या कैरो ? नादाँ उम्र , पदाई लिखाई भी ज्यादा नि छ ! वो कपाल पर हात लगे की बैटीयु छो की तबरी एक बाब आई, वेसी पुछन लेगी .. " बेटा यहाँ पर रीखनी देबी नेगी का घर कहा पर है .." बाबा के साथ चार पांच चेले चांटा भी छाया ! वेल इशारा ल उंकू घोर बताई ! वो बोली " जरा चल वहा तक हमारे साथ " ? जनी वो वाख पोचिनी , घुप्या क्या दिखदा की रिखणी
बोडी लंप तंप कैकी वे बाबा का खुटो माँ पुड़ी गे ! जू नेगी जी खुणी खाणु त खाणु ,, चा तक नि बाणों दी छई , व, वे बाबो खुणी दाल भात, सब्जी , बन बनी का पकवान बाणोंण लगी ! बाबा पर खासी को रोग छो ! हर बगत खप खप कनु छो ! नेग्यण वेकु खंक्हरू तक चै उठोंण पर लगी जैन नेगी का कपड़ा तक णी उठाया !
घुप्या घर ग्या वेल अपना बा से बोली " बुबा ण त मिल अगनै पणई आर ना ही नौकरी कने ! " बबल जब य सुणी त, वेसे बुन बैठी " त क्या करिलू ..
चोरी च्पोरी ?
न -- न -- मी बाबा बनुलू बाबा .. !
त जोगी बणिली .. है ? बबल पूछी !
बड़े प्यार से वेल बाबा थे समझीइ ' अचा एक बात बतो .. ज्यादा पैडी लेखी की , ज्याद से ज्याद ३ ४ लाख साल का मिल्ला ना ? आर जू मी एक ही दिनम
इतका कामे दयुल त ...? बबबॆ की सम्झ्मा बात नि आई
घुप्या रात झणी कबरी सटक .. आज पट २० २५ साल हवे गीनी वे थे हर्च्या ! बुबा बिचरू आदा जाड़ों रैद पुचुणु की कहकी तुमल मेरु घुप्या भी देखि
घुप्या दिखया आज बाबा घुप्यानाथ बणी छ माल लुटूणु ! च्याला चान्तो की मोज ही मोज ! अर अफु क्या टाट बाट .. आबत वेल बाय्कैदा बाबा बाण नै की एक इंस्टीटुयुशंन भी खी याल जख हर साल एक ना की बाबा निकल दी !
पराशर गौर
नमम्बर २८ ०९ सुबह १०.२३
Critical History of Garhwali , Kumaoni, Himalayan Literature
Epic Uttarayan : A History of Civilization, Philosophy, and Spirituality
(Commentary of Dr. Shiva Nand Nautiyal on Uttarayan an Epic by Prem lal Bhatt)
Translation: Bhishma Kukreti
Uttarayan is a History, a philosophy of human life, but on top of it , it is poetry. The poet Prem Lal Bhatt used the imagination but there is total realism in the story. The epic is about philosophy but is not beyond common men.. One of the great poets of Garhwali language Prem lal Bhat took clue from Purans but took those stories, which are needed for proving humanity as the supreme power or force. The ’Narayan’ of Uttarayan is as old as his wife ‘Laxmi’ who is ‘Chanchala’ . Other name of ‘Laxmi’ is ‘Vasana’ the desire, yearning, craving, want, wish and so on. And whole earth moves around desire .
The cultural history of human beings is the history of ups and downs brought by power (Indriya- sensational organs) and desire (Vsana) .The desire and power together attack first on the devotion and faith.
Upnishad and Purans described ‘Shradha’ (devotion) with many names and forms. The eldest wife of Dharma or Vishwash (Faith) is Shradha among his thirteen wives. Shradha is the eldest daughter of Prajapati (the creator) . Prem Lal Bhatt took this clue only - Shradha and Vishwash because Shankar and Parvati are the form of belief (faith) and trust. If, the Shradha (trust) of Kamayani epic by Jai Shankar Prasad , along with Manu ( Focused thinking) develops humanity; the Shadha of Uttarayan cooperates with faith/belief and culture the humanity. The name of son of Faith (Dharma ) and Trust (Shradha ) is Shubh (auspicious or beneficial) in Uttarayan. Both Dharma (Faith) and Shradha ( Trust) .
For some time, for protecting their existence , Shradha and Dharma had to escape away from the kingdom of Narayan and Laxmi to Aryamandal. However, in Arymandal too, the people are divided between believers and non believers,. Here too Narayan and Laxmi (Power and desire) are ruling to people. Dharma and Shradha start to unite them and try to free the people from the bad effect of power and desire. Here, both happen to to meet Deena (Poverty) and her daughter Bhakti (extreme Devotion) . Bhakti tells the story of her struggle in life to Shradha.
Deena (Poverty) is the real fact of this earth. Karma (Acts ) always been deceiving Deena (Poverty). And those who who do not accept this immutable fact that he does not understand Karma (Act) and Karmic (Doer). The imaginary wives - Kinchana (Having) and Kinshasa (Not having or Deprived) of Karma in Puran are objective oriented. Deena is human being who is in pain and her husband Prabhu (The God) don’t hug her but Deena is always devoted to Parmeshwar (The God). The people exploited by Laxmi (wealthy and powerful) come under the banner of Vishwash and this ignites the Class -War in Aryamandal.
The Class war between haves and Haves not is the central point of Uttarayan, where Shakti is essential and Shakti is also exploiter of humanity . Prem lal Bhat proves his genius in describing the Class War , which is always there from the initiating point of human being taking birth in this earth.
Deena (Deprived) is representative of human sensitivity and her revolution against Power and Endless- Desire is the struggle for existence in Aryamandal. Shradha and Vishwash help to unite individual struggles of deprived class and help the humanity. Eradication of poverty is the main objective of humanity and for that the unity among deprived ones is essential ingredient.
The imagination of Swarg (heaven) above the earth is wishful thinking . Full of aspirated person becomes weightless and goes to Shunya (heaven) and reaches in devious position . Desire or wsh throws the human into wandering position. Narayan under the influence of Laxmi falls in wandering position. But Bhakti brings him down in the reality that is in the earth. Humanity and Bhakti protects His deity characteristics.
From today’s point of view, there is nothing wrong if learned people perceive the consumerism as the real face of Laxmi and East India Company as human face of Laxmi too. Indian people revolt against British ia nothing but the combined struggle of Faith and devotion for saving humanity. The Indian freedom fight is the repetition of Dev- Asur Sangram (War between Demons and Deities) .
The two attitudes Shadha and Vishwas (Trust and Faith) struggled against the Shakti and Bhogvadi Pravirti (Power and Consumerism) and got success. However, the prime objective of Shradha and Vishwash is not success but the amin aim is equality among all human beings and providing highest position to humanity in this galaxy. This war is never ending and the exploiters/terrorists and humanitarians will always clash with each other.
Scientific researches never believe that blood or flesh is living matter but for scientist blood is a matter only. In Uttarayan, the poet imagined the wealthy and powerful become ‘Shila’ (Stone or heartless)
When there will be struggle/clashes between the two opposite attitudes, then only the humanity will get heist position in this earth . Pralayntar or after revolution, humanity will definitely win
Curtsey and Copyright Shri Prem lal Bhatt for permitting translation
Uttarayan:
A Garhwali language Epic
Poet : Prem Lal Bhatt
Publisher : Sahta Sahitya Bhandar 57-B Pocket a Phase-II
Ashok Vihar New Delhi
Internet copyright Prem Lal Bhatt, New Delhi, 2009
(Commentary of Dr. Shiva Nand Nautiyal on Uttarayan an Epic by Prem lal Bhatt)
Translation: Bhishma Kukreti
Uttarayan is a History, a philosophy of human life, but on top of it , it is poetry. The poet Prem Lal Bhatt used the imagination but there is total realism in the story. The epic is about philosophy but is not beyond common men.. One of the great poets of Garhwali language Prem lal Bhat took clue from Purans but took those stories, which are needed for proving humanity as the supreme power or force. The ’Narayan’ of Uttarayan is as old as his wife ‘Laxmi’ who is ‘Chanchala’ . Other name of ‘Laxmi’ is ‘Vasana’ the desire, yearning, craving, want, wish and so on. And whole earth moves around desire .
The cultural history of human beings is the history of ups and downs brought by power (Indriya- sensational organs) and desire (Vsana) .The desire and power together attack first on the devotion and faith.
Upnishad and Purans described ‘Shradha’ (devotion) with many names and forms. The eldest wife of Dharma or Vishwash (Faith) is Shradha among his thirteen wives. Shradha is the eldest daughter of Prajapati (the creator) . Prem Lal Bhatt took this clue only - Shradha and Vishwash because Shankar and Parvati are the form of belief (faith) and trust. If, the Shradha (trust) of Kamayani epic by Jai Shankar Prasad , along with Manu ( Focused thinking) develops humanity; the Shadha of Uttarayan cooperates with faith/belief and culture the humanity. The name of son of Faith (Dharma ) and Trust (Shradha ) is Shubh (auspicious or beneficial) in Uttarayan. Both Dharma (Faith) and Shradha ( Trust) .
For some time, for protecting their existence , Shradha and Dharma had to escape away from the kingdom of Narayan and Laxmi to Aryamandal. However, in Arymandal too, the people are divided between believers and non believers,. Here too Narayan and Laxmi (Power and desire) are ruling to people. Dharma and Shradha start to unite them and try to free the people from the bad effect of power and desire. Here, both happen to to meet Deena (Poverty) and her daughter Bhakti (extreme Devotion) . Bhakti tells the story of her struggle in life to Shradha.
Deena (Poverty) is the real fact of this earth. Karma (Acts ) always been deceiving Deena (Poverty). And those who who do not accept this immutable fact that he does not understand Karma (Act) and Karmic (Doer). The imaginary wives - Kinchana (Having) and Kinshasa (Not having or Deprived) of Karma in Puran are objective oriented. Deena is human being who is in pain and her husband Prabhu (The God) don’t hug her but Deena is always devoted to Parmeshwar (The God). The people exploited by Laxmi (wealthy and powerful) come under the banner of Vishwash and this ignites the Class -War in Aryamandal.
The Class war between haves and Haves not is the central point of Uttarayan, where Shakti is essential and Shakti is also exploiter of humanity . Prem lal Bhat proves his genius in describing the Class War , which is always there from the initiating point of human being taking birth in this earth.
Deena (Deprived) is representative of human sensitivity and her revolution against Power and Endless- Desire is the struggle for existence in Aryamandal. Shradha and Vishwash help to unite individual struggles of deprived class and help the humanity. Eradication of poverty is the main objective of humanity and for that the unity among deprived ones is essential ingredient.
The imagination of Swarg (heaven) above the earth is wishful thinking . Full of aspirated person becomes weightless and goes to Shunya (heaven) and reaches in devious position . Desire or wsh throws the human into wandering position. Narayan under the influence of Laxmi falls in wandering position. But Bhakti brings him down in the reality that is in the earth. Humanity and Bhakti protects His deity characteristics.
From today’s point of view, there is nothing wrong if learned people perceive the consumerism as the real face of Laxmi and East India Company as human face of Laxmi too. Indian people revolt against British ia nothing but the combined struggle of Faith and devotion for saving humanity. The Indian freedom fight is the repetition of Dev- Asur Sangram (War between Demons and Deities) .
The two attitudes Shadha and Vishwas (Trust and Faith) struggled against the Shakti and Bhogvadi Pravirti (Power and Consumerism) and got success. However, the prime objective of Shradha and Vishwash is not success but the amin aim is equality among all human beings and providing highest position to humanity in this galaxy. This war is never ending and the exploiters/terrorists and humanitarians will always clash with each other.
Scientific researches never believe that blood or flesh is living matter but for scientist blood is a matter only. In Uttarayan, the poet imagined the wealthy and powerful become ‘Shila’ (Stone or heartless)
When there will be struggle/clashes between the two opposite attitudes, then only the humanity will get heist position in this earth . Pralayntar or after revolution, humanity will definitely win
Curtsey and Copyright Shri Prem lal Bhatt for permitting translation
Uttarayan:
A Garhwali language Epic
Poet : Prem Lal Bhatt
Publisher : Sahta Sahitya Bhandar 57-B Pocket a Phase-II
Ashok Vihar New Delhi
Internet copyright Prem Lal Bhatt, New Delhi, 2009
History of Garhwali, Kumaoni, Himalayan Literature
Sidhi Lal Vidyarthi : A Garhwali Poet of Dalit Consciousness
Bhishma Kukreti
Sidhi Lal Vidyarthi comes in the category of Ram Prakash Bagchhat , Surendra Pal who experienced the bitterness of class discrimination in our society and wrote about the discrimination against Dalit community .
Sidhi Lal was born in a remote village Chweecha , Pauri Garhwal on 20th May 1946. After passing Intermediate from St Mesmer College Pauri, Sidhi Lal joined arm force and retired from there as assistant commander in 2003.
Hindi story writer and translator Late Mohan Lal Thapliyal inspire young Siddhi Lal to take interest in literature and members of Dhah organization in Dehradun motivated Sidhi Lal Vidyarthi for creating poetry in Garhwali language
Sidhi Lal Vidyarthi wrote tens of poems in Garhwali and published in local periodicals.
Though Sidhi Lal Vidyarthi created poems on various subjects but the poems related to social discrimination aginst Dalits, women and girl child are more effective and sharp than his other subject poems.
His poem Niradhari ko Adhar is true representative of Dalit Consciousness, where in Sidhi Lal expresses that the poverty is bearable but social differences are always unbearable :
Bhuku pyasu raiki bagat kate hi jalu
Pan samajik dhutkar ku dank kankaik jhyale jalu
His Takrar poem also shows us the pain and frustration of social differences :
Kudrat ki taraf se sabi barabari ka hissed chhan
Hamari hi ulkani soch se bani kwee uncha neecha chhan
Sidh Lal Vidyarthi also expresses his annoyance against girl child killing, girl embryonic killing ,
Most of the poems of Sidhi Lal Vidyarthi shows the man made differences in the society. The poems are conventional ones in terms of body and tones.
Garhwali literature will remember Sidhi Lal Vidyarthi as the poet of Dalit consciousness in Garhwali literature .
Copyright @ Bhishma Kukreti, Mumbai, India, 2009
Bhishma Kukreti
Sidhi Lal Vidyarthi comes in the category of Ram Prakash Bagchhat , Surendra Pal who experienced the bitterness of class discrimination in our society and wrote about the discrimination against Dalit community .
Sidhi Lal was born in a remote village Chweecha , Pauri Garhwal on 20th May 1946. After passing Intermediate from St Mesmer College Pauri, Sidhi Lal joined arm force and retired from there as assistant commander in 2003.
Hindi story writer and translator Late Mohan Lal Thapliyal inspire young Siddhi Lal to take interest in literature and members of Dhah organization in Dehradun motivated Sidhi Lal Vidyarthi for creating poetry in Garhwali language
Sidhi Lal Vidyarthi wrote tens of poems in Garhwali and published in local periodicals.
Though Sidhi Lal Vidyarthi created poems on various subjects but the poems related to social discrimination aginst Dalits, women and girl child are more effective and sharp than his other subject poems.
His poem Niradhari ko Adhar is true representative of Dalit Consciousness, where in Sidhi Lal expresses that the poverty is bearable but social differences are always unbearable :
Bhuku pyasu raiki bagat kate hi jalu
Pan samajik dhutkar ku dank kankaik jhyale jalu
His Takrar poem also shows us the pain and frustration of social differences :
Kudrat ki taraf se sabi barabari ka hissed chhan
Hamari hi ulkani soch se bani kwee uncha neecha chhan
Sidh Lal Vidyarthi also expresses his annoyance against girl child killing, girl embryonic killing ,
Most of the poems of Sidhi Lal Vidyarthi shows the man made differences in the society. The poems are conventional ones in terms of body and tones.
Garhwali literature will remember Sidhi Lal Vidyarthi as the poet of Dalit consciousness in Garhwali literature .
Copyright @ Bhishma Kukreti, Mumbai, India, 2009
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