Hai Hai Re Neva: Poetry!

Nepalese ascetic poet Suresh Kiran is very happy when someone discusses his poem titled 'Thahchhe', his face lights up . He says, "The joy of writing in one's mother tongue is to be able to write words that one knows and understand in a specific sense". And, his 'Thachchhe' tells the story of the distant past of women's role, rights and treatment in Newar society. A Nepali translation of a part of Suresh Kiran's long poem goes like this -

mother! When Anmaer sent me,

I took the garri you gave me

I took my relatives and many materials

If there was anything I didn't take,

I didn't take 'myself'

will be left at home, I don't know that 'self'

Since all my 'self' is left,

that house has become my 'own house'!

But, the question arises - where is the poem in Nepali language so touchy in Nepali literature? Where has the poetry of Nepalese language, which was taken to heaven by poets like Siddhicharan Shrestha and Durgalal Shrestha, taken by the new generation? Is it quietly lost in the poet's diary trapped somewhere in the cage of emotion or is it wandering uninterruptedly, in the heart of the poetry lover? It is called

, if any genre of Nepali language literature can directly compete with the 'mainstream' of Nepali language, it is poetry. Can the next generation of young people move the poetry of Nepali language by touching it?

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Once the entire Kathmandu was called 'Nepal' or 'Nepalmandal'. The Newar language spoken here is called 'Nepalbhasha' from the name 'Nepal'. Ancient records say – 'Nepalbhasha' was also called 'Deshbhasha'. However, 'Nepalmandal' also passed through such days, where there was a dark time for the Nepalese language. The Nepalese language, which was extremely rich until the Malla period, fell into decline during the Rana period. "During the Rana period, by making rules and policies to discourage the Nepali language, writing and publishing seemed like a ban," said Dr. Kamalprakash Malla (Nepalbhashaya Dhwana Safuya Dhalah, Nes. 1099).

Krishna Chandrasingh Pradhan writes in the book 'Newari Language's Some Modern Poems' edited by Indra Mali, 'The medium can be any, but great expression and creative modernism is the pinnacle, where language does not become a hindrance and is the sovereign of human value, freedom and realization. According to Krishnachandrasingh, the same situation, the same environment, the same experience, the same lack, the same social problems and the Nepali people who grew up in them, no matter what language they speak and where they live, their pain, feelings, aspirations, opposition are the same - Found in parallel expressions that sound the same.

Poems are more effective than stories in the Nepali society that grew up reading the verses of the poetic texts 'Shrimad Bhagavad Gita', 'Ramayana', 'Mahabharata', 'Swasthani'. Poetry is also strong in Nepali or Nepali language literature. Be it a bhajan or a folk song - poetry is mixed in our lifestyle, rituals and culture.

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Let's wander to the alleys of history. There is a history of at least 400 years of poetry written in Nepali language. What would be the first poem? The study says - 'Prabhujan Gun Ji Lumani'! The period of composition of this poem is Nepal Samvat 687. According to received history, King Mahindra Malla can be considered as the first poet in Nepali language, who wrote two poems invoking God - 'Kapati Mayan Kyenya He Rama' and 'Mev Madu Jit Chhi Sharan'. The reign of King Mahindra Malla of Kantipur is - Nepal Samvat 680-694. It is said that after Mahindra, there was a wave of poetry writing in the royal families of the valley. Let me make a list of the kings who wrote poetry in Nepali language – Jagatjyoti Malla, Siddhinarsingh Malla, Pratap Malla, Srinivasa Malla, Jagatprakash Malla and Jayaprakash Malla. The subjects of his poetry were - hymns, worship and spirituality! Some poems also included themes of love. Along with those Malla kings, some queens also wrote poems, such as Riddhilakshmi, Bhuvanalakshmi, Vrdilakshmi . Since the beginning of the Shah period, the wave of writing poems in Nepali language reached the people.

Nepali language poetry that reached from the king to the people was limited to Devdevi-Gungan. Later, an original genre of Nepali language-literature began - Bakham-mye, that is, lyrical stories, where stories were told by singing songs with rhythm. The subject of the song was the social life and state system of Ubela. The popularity of folk songs like 'Sitlamaju' and 'Ji Vaya La Lachhi Maduni' is still at its height. "Sitlamaju" tells the black and white history of the time of King Ran Bahadur Shah. The story of that song says – Ran Bahadur cut off the Nepal Mandal from smallpox-stricken children. And, in 'Zi Vaya La Lachhi Maduni', there is a story of a young man who left his new bride and decided to do business. The tradition of Buddhist hymn writing began during the reign of King Rajendra Vikram . The poets of that tradition are – Buddhist Pandit Sundarananda, Swami Abhayananda, Vijayananda, Amritananda, Makshadhwaja and Vishwaharsha . At that time, he wrote in Nepali language - planting songs, humorous songs and many muktaks (400 years long Nepali language poetry journey - work paper 2076, Rajen Manandhar) .

Some kings of Shah Khalak also wrote poems in Nepali language at that time. After the rise of the Rana period, there was a complete break in the relationship between rulers and literature. According to historians, during the Rana period, writing/reading in Nepali language became a matter of treason. However, it may not be believed - this is the time, when there was a historical development in the literature of Nepali language, which the writer Rajen Manandhar called 'amazing'. At that time, the wave of writing in Nepali language started. This is the time when the renaissance towards the mother tongue also started among the educated sections of the Newar community. In the meantime, Nepali language writers also suffered punishments ranging from loss of all possessions to life imprisonment. As in the year 1995, in the 'Nepali Vihar' poetry-collection published by Fatte Bahadur Singh, three Nepali language poems of the poet Siddicharan Shrestha were printed - 'National Anthem', 'Varsha' and 'Gangukhusi'. In the poem 'Warsha' there was a line 'Krantibina Than Daimkhu Swachh Shanti' meaning 'without revolution there is no peace here'. He was jailed for a long time because of the revolution of Mukhrit Siddhicharan in this line.

botanist and Nepali language scholar Tirtha Bahadur Shrestha is remembered, 'I like that poem of poet Siddhicharan, how fearlessly he wrote it even in those dark times. However, poetry in Nepali language is not yet mainstream. One of the reasons why poetry in Nepali language has not come into the mainstream is that the Newars themselves stopped speaking Newari at home, it happened because that language was not used. The subject that is used will develop, and that which is not used will disappear.'

Even if it is considered that the Nepali language has been slow to reach the mainstream due to the oppression it has faced, there have been new uses in Nepali language poetry during the period of oppression. With the end of the Rana period, after democracy came to the country, it also had a positive impact on Nepali language literature. Now the themes of social order, revolution and love of language entered Nepal language poetry.

Let's add a reference to the prevalence of the Nepali language. Historian Francis Hamilton came to Nepal in 1802 before the composition of Bhanubhakta. He collected Raithane plants from here and brought them to his country, Britain, in which hundreds of plants have their names in Nepali language. Teerth Bahadur says, 'Based on the Newar language, the scientific name of that plant was given, now it is a plant, but it has no name. Language became extinct before plants became extinct. Let's see an example - Lokta plant is called 'Bholu Swaan' in Newari. Hamilton named it – Dathena Bholua. When Hamilton reached the area where the plant was collected in Thankot and Chitlang, I asked him to show 'Bholu Swaan', but none of the local people could show/recognize 'Bholu Swaan'.'

Tirtha Bahadur has another concern, which is justified and poets should reflect on it. He says, “Many flower names and natures are connected in the poem, but Newar names are not connected. Poetry has been written, but Newar places and local names have not been used in poetry.'

After the Panchayat period adopted the 'one language' policy, it had a direct negative impact on Nepali language literature. It was the time of the single rule of the king. However, even in those days of repression, literary writing did not stop, although some relaxation was seen. A lot of achievements were seen even in the midst of that laxity. Literary movement also took place at that time. Later came the multi-party system, collapsing the panchayat. This is the era of the republic. It is necessary to understand the background of all this history in essence, to understand Nepalese language literature.

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To the Nepalese poets Siddhidas Amatya, Yogveer Kansakar, Vaikuntha Prasad Lakaul, Kedarman Vyathit, Siddhicharan Shrestha, Chittadhar Hriday, Chittaranjan Nepalese who will advance the poetry of Nepali language with modern edge. How can the name of poet Durgalal Shrestha be missed in Nepalese poetry-discussion? He has a unique work, 'Lisam', which means - 'joining'. That work of Durgalal connects the old style of poetry writing in Nepalese literature and the style that has developed since then. Along with Durgalal comes Narayanadevi Shrestha, Nativajra etc. After that, poets Purna Vaidya, Yogendra Pradhan, Dr. Anand Joshi, Girija Prasad Joshi, Buddha Sayami, Bhushan Prasad Shrestha, Shyamsunder Sainju, Sundar Madhikarmi, Narmadeshwar Pradhan, Dr. Keshavman Shakya, Bhagatdas Shrestha, Pratisara Sayami, Pushparatna Tuladhar, Sudan Khusah, Naveen Chitrakar, Suresh Kiran, Rajni Mila, Rajendra Kumar Puta etc .

alone all night long candle

all night not hurt,

He betrays himself

Not letting the light come tomorrow morning

How quickly

He reaches inside my room

But...to the finished candle

Like the blood of a martyr

There is a quiet one-two drops of wax Shaish remain!

– (A poem by Purna Vaidya translated from Nepali language to Nepali entitled 'Ekabihan', from 'Keho modern Kavita ka Newari Bhasha')

Purna Vaidya is a truly unique poet who is said to have started modernism in Nepali language both in terms of style and thought. Then he began to write high-quality poems in prose style. Yes, this is the time, when Nepali language poetry collided with the mainstream literature of Nepali language. And this is the same time, when Bhupi Sherchan was fiercely dominating the Nepali language.

Stopping this essence of history here, this question again - where is the poetry genre of Nepalese language literature now? Where is the young generation? Is he still writing? Is there joy in the poet-school of Nepal language? While pondering over these questions, the names of one or two poets come to mind - Suresh Kiran, Rajni Mila, Rajendra Kumar Puta. "The process of writing is going on, maybe something seems to have stopped," says Suresh. Yes, the writing continues, it is not broken, but only those poets have the impression that 'nothing has been achieved'. In the meantime, modern Nepali language poets have not got the discussion they need? This question is also important. "No, something or the other is happening," says Rameshkaji Sattala, who is closely studying Nepali language literature, "but not everything is going well." Is there a lack of study or hard work? There is a wave going on - to learn something, to teach.' So we can hope - this is a new passion, the 'Renaissance' of poetry in Nepali language.

Rajni Mila and some of her friends run an organization – 'Kavitaya Laiku.' It means, Palace of Poetry. Head of the institution, Dr. Jyotiprabha Tuladhar. The aim of 'Kavitaya Laiku' is to encourage women writers to write poetry. What happens in poetry? teaching that.

'If you want to use a pen in literature, you need theoretical and practical knowledge about it,' says Sattala, 'Recently, Nepali language literature has become lax, meaning that students who speak it as their mother tongue are not able to study in the same language in school. As long as there is no opportunity to study in the mother tongue, such problems will continue to occur. What is happening now in Nepal language poetry is good. Now there is an opportunity to study in the mother tongue, so one should be optimistic about the future.'

The purpose of introducing the poetry of Nepal language to the world - the organization called 'Liz: Nepal Bhasha Kavita Dabu', is now in a slow state. Triratna Shakya, Shriram Shrestha, Narada Vajracharya, Shakya Suren, Saurabh Shakya, Sudhir Khwabi, Ishwarimanya Shrestha, Sneh Sayami, R. Manandhar, Rasha, etc. are also being written by the older generation.

After the generation of Suresh Kiran, the new generation of Nepalese poets are Arjun Nepahmi, Rameshwar Mishal Shrestha, Naveen Prakash Shrestha, Dilip Shahi, Rashmi Napit, Rameshwar Jalan, Agib Banepali, Pradiparatna Shakya, Sunil Vajracharya, Naresh Amatya, Rita Maharjan, Badri Vedana, Tuyu Pun, Daya Khadgi Bechain, Pushpa Munankasmi, Bimal Tamrakar, Kundan Prasad Shrestha. Some of these poet's anthologies have been published, some are about to be published. The expressions of these poets of New Chhimal are also effective. Let's see the Nepali translation of one line of Rameshwar Mishal Shrestha –

These days I often drink

poetry instead of tea

I chew

poetry instead of rice.

Let's read poet Dilip Shahi's anger towards the current situation -

Ah, yesterday I hid you in the house

Today you are coming with a dozer to demolish that house.

Poet Naveen Prakash Shrestha writes about the contemporary times –

The holy water in Bagmati is drying up

The cool breeze in the sky is disappearing

The powerful deity in the temple is disappearing

Love and love are fading in the heart

The most frightening

is dying the hearts of breastfeeding mothers.

Poet Rashmi Napit's expression of love is as follows -

Beg, don't tell me the heart inside me

Yes till my breath remains

Your well of love will be full

Where you from your own point of view

One day tell me The thirst to see

will always be alive!

What is an interesting scene is that some established poets of Nepali language have started swinging in Nepali language poetry-doubles even though they have turned their poems upside down. Poets Abhay Shrestha, Ramgopal Ashutosh, Rami Priya are in this wave. Poet Vasudev Adhikari also published his poem-book translated into Nepali language 4 years ago. Nepali language poet Biplava Prateek also writes poems/songs in Nepali language. A part of Prateik's song written in Nepali language, the Nepali translation is as follows -

Today is the day to meet you, the day to see your face

But, if it rains every day, dear how can I come

Even the umbrella has a hole, tell me how come on

I just came home, I remember the way to come

But what should I do if I forget the way back after reaching you?

What will I do if the world forgets me as soon as I reach you?

Even the umbrella has a hole, tell me how can I come?

Some Nepalese poets are now active in creating haiku. It is led by modern poet Dr. Anand Joshi is doing it. Joshi is supported by newcomers like Suresh Pradhan, Tuyu Poon.

However, despite this, the series of questions is not completed. By writing poems only in Nepali language, isn't the youth generation away from proper introduction and discussion? Rajni Mila says, “No, not like that. The discussion may have been a little less. However, poetry is not written for discussion, even some people do this. Poetry is also written for self satisfaction and responsibility. We have our own original language, civilization. To make it lively and dynamic, we should keep writing poetry in Nepali language.'

In Rajini's opinion, it is not possible to write in Nepali language and say 'Sanghurine'. "Some poets have won big literary awards even by writing in their mother tongue, the main thing is that the poem itself has to be good," says Rajni, "The happiness that comes from writing in one's mother tongue may not be the same when writing in other languages." Again, among the poets of the Nepali language called Muladhar, where are they all in the news? Suresh Kiran agrees with Rajini. He says, 'The way you can express your thoughts openly in your mother tongue, it may not be possible in other languages. A lot can be said from the mother tongue, that too in a precise sense. Yes, Nepali language literature has been translated, especially poetry, that too in Nepali language, but it is limited. Nepalese language literature is rich in poetry. Many such poems have been written in this language, which need to be translated into Nepali," says Rajni Mila, "Some Nepali poets have also translated themselves. But, its scope is very small.' She wants to carry it forward in a detailed and systematic manner with the same 'Kavitaya Laiku'.

translation will ultimately enrich the Nepali language itself. Some of Purna Vaidya's poems have been translated into Nepali and some are being translated. In Rajni's opinion, the translation will bring enough discussion and introduction to many poets of Nepali language.

There are many writers who contributed to Nepali literature, whose mother tongue is Nepalese, but they wrote equally in both languages. For example the names of Siddhicharan and Durgalal are enough. Suresh Kiran says, 'When the new and young generation of Nepali speakers try to write in Nepali language, it smells like gold. The practice of writing in more than one language is not only in our country, but also elsewhere. As Nepali language is the mother tongue, writing poetry in Nepali gives Newarness in it, the sweetness of which is rare.'

Vijay Malla also wrote in Nepali language, also in Nepali language. His writings were compared to those of Nepali language writers and were criticized by critics. It is considered appropriate here to discuss the writer Dhuswan Saymi. Dhuswan wrote in many languages. If he did not come from the background of Nepali language and culture, 'Ganki' would not have been written and it would not have a special place in Nepali literature. No matter what language

is written in, the first condition is to master that language. It is difficult to even move in the literature with a few words of information. Another condition is that as many languages ​​as there are in the country, the government should respect them properly. In the opinion of poet Durgalal Shrestha, who dedicated himself to poetry and played a leading role in the language movement since seven and a half decades ago, in a multi-caste-multilingual country, literary writing in the languages ​​of different tribes was under oppression, even now there has not been much change in it, but the efforts of contemporary writers are commendable. Durgalal says, 'As the Nepali language writers are struggling for their own language, it is in a more interesting situation than before. Although the state level has not treated the same, they are trying to strengthen their language. As there is an amazing progress in writing poetry in Nepali language, I think that progress is also happening in other languages.'

Singer Om Vikram Bista, who played an important role in making pop popular, sang the first song written in Nepali language by Girija Prasad Joshi - 'Hi Hai Re Thwaya Batcha'. The meaning of the song is 'Aha, how fun it is to go to bed'. Taking the same words of Om Vikram's song, it can be said about Nepalese poetry - 'Hi Hai Re Neva: Kavita' means 'Oh, how good Neva: Kavita!'