(1) Introduction to Poetry
Poetry is a powerful genre of literature. The word 'poetry' is formed by adding the suffix 'ta' to the base word 'poet'. The word poetry means composed by the poet or the work of the poet. Analysts seem to agree that folklore is a precursor to poetry. The Rig Veda, the Mahabharata and the Ramayana in the Eastern literary world and the Iliad and Odyssey in the West are large-scale works of poetry. In ancient times, literature referred to poetry as the past, but in modern literature, poetry refers to prose or metaphorical work.
Poetry has been born and developed with the beginning of human society and civilization. Nowadays, there is a lot of development in the b [i6L angle of looking at poetry. From Acharya Bhamah in the east to Jagannath and in the west from Aristotle to I.A. Scholars up to Richards have tried to define poetry in a variety of ways. Art is related to the external structure of poetry and emotion is related to the internal aspect. A poem is formed by combining these two aspects.
Definition of poetry
In defining poetry, Eastern and Western scholars have expressed different views. Some of these definitions are as follows
1. Poetry is a combination of words and meanings. - Bhamah
2. Poetry is a beautiful meaningful phrase. - Dandi
3. Humorous sentences are poetry. - Vishwanath
4. Poetry is the miraculous meaning of sound. - Anandavardhan
5. Poetry is the semantics that is full of poetic qualities. - Mammoth
6. Poetry is the expression expressed in a crooked and twisted manner. - Kuntak
7. The soul of poetry is ritual or style. - Dwarf
8. Poetry is the word that gives delightful meaning. - Jagannath
9. Poetry is the spontaneous expression of experience. - Wordsworth
10. Poetry is the interpretation of life through imagination and emotion. - Hudson
11. Poetry is the structure of the group. - Johnson
12. Poetry is a critique of life. - Matthew Arnold
13. The intellectual tenderness of emotion is poetry. - Balakrishna Sam
14. The speech of a sweet poem sounds like the speech of a bird. Poetry seems to be captivating the heart with the rhythm of sweetness and charm of effortless poetry. - Laxmi Prasad Devkota
15. Poetry is the unique feeling that comes from being absorbed in words and music, meaning and intent. - Madhav Prasad Ghimire
Looking at the discussion on poetry, scholars from both Eastern and Western sides have emphasized the two aspects of poetry, art and emotion. Poetry can be defined in this way by incorporating the definitions of all, even if the work of identifying poetry is done in different ways - poetry is the gentle, artistic and humorous expression of the poet's self-awareness presented through the medium of language.
(2) Elements of poetry
The elements that make up poetry are called the elements of poetry. The following elements are required to complete the structure of the poem: -
1. Emotions: Emotions are the main object of poetry. This is the main element of a poem as it cannot be a poem without emotion. Emotion means the power inherent in the words of a poem. It is the backbone of poetry. Emotion is based on the theme of the poem. Emotion reveals the meaning of words and overall composition. Poetry flourishes when the creator presents the waves, thoughts, feelings in the mind in an artistic way. Since emotion is the main thing for the readers of poetry, emotion is an essential element in poetry.
2. Title: - The title represents any overall composition. It is concise and symbolic. The subject and title described in the work should be consistent. The title informs what the poem is like.
3. Rhythm: - Rhythm is an important element of poetry. Rhythm is the musical tone that arises during the recitation of a poem. Rhymes, rhymes, etc. used in poetry are the components of rhythm formation. In Padha poetry, feet, verses and verses create rhythm, while in Gadha poetry, rhythm is created through repetition of letters and words and inter-rhymes. The main function of rhythm is to add effectiveness and interest to the taste of poetry. Rhythm is an important element of poetry as it is the main element that makes poetry different from other genres.
4. Language style: - Language is a powerful means of exchanging ideas while style is a form of expression. Language style plays an important role in the expression of emotions. Language style makes poetry rhythmic. Curved expressions are preferred over straight sayings in poetry. It is important to have poetic language in both Gadha and Padha styles. In which images, ornaments and symbols etc. are expressed. Language style makes poetry effective. Styles vary from person to person. Simple, rhetorical, dramatic, descriptive etc. styles are used in poetry.
5. Drishtibindu: - Drishtibindu is the process of expression of poetry. The point of view is determined on the basis of what the poet has done to convey the poem to the reader. In the poem where the first person's point of view is used, I, we and in the poem where the third person's point of view is used, the pronouns he, he, she, he etc. are used.
(3) Development of Nepali poetry
Although the beginning of writing Nepali poetry was found with the unification of Nepal by Prithvinarayan Shah, before the Nepali language got its written form, the popular folk songs, folk tales, hymns, balloons etc. were the format of poetry. The practice of singing folk songs, folk tales and entertaining folklore has contributed to the development of Nepali poetry. Nepal UnificationGai Raghunath Bhat, Suvanananda Das, etc. started writing Nepali poetry. The development of Nepali literature has been going on since the eighteenth century. The poets of that time are found to be more influenced by folklore.
The oldest poem ever found in Nepali language is 'Prithvinarayan' by the poet Suvananda Das. This poem is based on the epic. It is believed to have been composed around 1825. The development of Nepali poetry started by Suvananda Das has been divided into three periods mainly by scholars.1. Primary Period - V.S. From 1825 to 1940
Eastern Half (beginning to 1871) - Veer Dhara
The latter half (1872 to 1940) - Bhakti Dhara
2. Secondary period - V.S. From 1941 to 1974
Eastern Hemisphere (1941 to 1974) - Erotic stream
The latter half (from 1975 to 1991) - the classical-sophistical stream
3. Modern times - V.S. 1975 to present
Romantic section (1991 to 2016)
Experimental Section (2017 to 2035)
Contemporary Stream (since 2036)
1. Primary period
The earliest period of Nepali poetry began with Prithvinarayan Shah's Nepal Unification Campaign. Praising the heroism shown by Prithvinarayan Shah, the poem 'Prithvinarayan' written by the poet Suvananda Das became the first poem written in Nepali. The early period is found to have extended till the rise of Motiram Bhatt. Poets like Sundarananda Banda, Radhavallabh Ajryal, Gumani Pant, Veerashali Pant, Vasant Sharma, Hinavyakari Vidyapati, Raghunath Pokhrel, Ram Bhadra Padhya, Bhanubhakta Acharya, Patanjali Gujrayal etc. have emerged during this period. The primary period can also be classified into two parts.
(A) Virdhara period
(B) Devotional period
(A) Veeradhara period (V.S.1825-1871)
At the beginning of the history of Nepali poetry, heroic poems with heroic sentiments were written. This was due to the influence of the then environment. During the time when Prithvinarayan Shah was running the Nepal Unification Campaign, the poets of that time composed heroic poems to increase the self-confidence of the troops participating in that work and to gain something by praising Prithvinarayan Shah. Veeradharakal V.S. The Sugauli Treaty with the British lasted from 1825 BS to 1871 BS. Other poets and poems of this genre which started with Suvananda Das's poem 'Prithvinarayan' include Shaktivallabh Ajryal's' Tanahu Bhakundo ', Udayananda's' Puranu Baatko Arji', Unknown Poet's' Sandhyako Kavit ', Sundarananda Banda's' Triratna Soundarya Gatha', Yadunath Pokharel's' Go , Gumani Pant's 'Dhanya Gorkhali Raja', Ramchandra Padhya's Laxmi Dharma Samvad etc. are notable. The poems of this section describe war as well as national unity and patriotism. Attempts to touch originality towards poetic expression are the main trends of poetry of this period. During this time, poetry was composed at the level of fragmentary poetry as well as fragmentary poetry and epic.
(B) Devotional Period (1872–1940)
During the Nepal Unification Campaign of Prithvinarayan Shah, poems of Birvandana were written, while poems based on devotional style were written after the Sugauli Treaty of Nepal-British War. Poems depicting devotion to God began to be expressed as an expression of the frustration and suffering brought about by war and treaty. Religious texts like Puranas etc. became the basic sources of poetry creation. Descriptions of both the embodied and formless form of God, lack of sophistication in language, poems composed in folk verse and classical verse are the characteristics of devotional poetry.
Devotional period can also be classified into three parts.
1. Krishnabhaktidhara
2. Rambhaktidhara
3. Nirgun bhaktidhara
1. Krishna devotional stream
Poets of Krishna devotion have created poems based on 'Krishna'. Poets who express their feelings by making various aspects related to the life of Lord Krishna the subject fall under this section. Poets like Indiras, Bidhyarna Keshari Ajryal, Vasant Sharma Luitel, Veerashali Pant, Yadunath Pokhrel, Hinavyakarni Bidhyapati, Patanjali Gujrayal etc. are the poets who give poetic expression to this period. The chief and central genius of this section is Vasant Sharma Luitel. In this section, Indira's Gopi's hymn (1884), Bidhyarna Keshari Ajryal's 'Yuggeet', Vasant Sharma Luitel's Shrikrishna Charitra (1882) and Samudra Lahari (1901), Veerashali Pant's 'Vimalbodhanubhav', Yadunath Pokhryal's 'Krishnacharitani' (18). ), 'Geet Govind' (1888), Patanjali Gujryal's Haribhaktamala, Jamini Bharat etc. are famous works of poetry.
2. Rambhaktidhara
Poets who express their feelings by making various aspects related to the life of Shri Ram the subject fall under this section. Bhanubhakta Acharya is considered as the central poet of Ram Bhakti stream. He translated the Ramayana written in Sanskrit into Nepali. Ramayana written in Nepali language is also the first epic of Nepali. Despite the dilemma of translation and originality, Ramayana has a special place in Nepali poetry. Along with this, there are works like Acharya's Bhaktamala (1910), Prashnottar (1910), Ramgita (1925) etc. Another powerful poet of this devotional stream is Raghunath Pokhryal. In 'Sunderkand' composed by him, he has presented an excellent example of Ram Bhakti.
3. Nirguna bhaktidhara
Nirguna bhaktidhara is also an important stream in the development process of Nepali poetry. This section begins with the composition of the saint Josemani. The poets of this section are strongly opposed to social superstitions. The pen of the poets of this section is found to have sharply attacked the Hindu caste system. The main purpose of the saint poets is to oppose racism, oppression, malpractice and to support humanism and to seek liberation. Nirguna bhaktidharakakavis believe in the invisible; The central genius of this section is Gyan Dildas, while other poets include Shashidhar, Agam Dildas, Akhand Dildas etc. Saint Gyan Dildas‘Udayalahari’ (1934), ‘Zhaure’, ‘Tungna Bhajan’ etc. are found to have been composed. In 'Zhaure Bhajan' he writes:
This is the flour of Rumjatar's Koda
Dharma and Karma Gurung are the Brahmins.
Similarly, Shashidhar's 'Vairagambar', Agam Dildas's 'Sixteen Nirgun Kavita', Akhand Dildas's 'Panch Nirgun Bhajan' etc. are other works of this section.
The main feature of the early period of Nepali poetry
- The Early Efforts of Writing Poetry The Beginning of the Writing Age,
- Composition of poems of heroism and devotion
- Praise of the heroism of the then ruler,
-Creating poetry in Nepali based on Sanskrit literature,
- Adequate translation and adaptation based on Puranas, theology, Eastern philosophy,
-Translation oriented towards originality through transformation
-Poetical description of the embodiment and formless form of God,
-Writing poetry without consciously creating a literary environment,
- Tendency to create specific poetic style by singing ballads of heroism and devotion,
-Using folklore and classical verses,
-Hindi, Braj, Maithili mixed tutefuteko use of Nepali language.2. Secondary period
The beginning of the secondary period in the history of Nepali poetry. It is believed to have happened with the arrival of Motiram Bhatt in 1941. The early period of Nepali poetry is called the period of writing and the secondary period is known as the age of printing house. The era of printing of Nepali poetry started in 1941 BS when Motiram Bhatt published 'Sunderkand' of Ramayana written by Bhanubhakta Acharya. Motiram Bhatt was initially influenced by Bharatendu Harishchandra and formed the Moti Mandali and was attracted to write erotic poems and problem solving in Nepali poetry. Erotic poetry has been composed during this period. In the history of Nepal, erotic poems were written for the entertainment and pleasure of the then ruling class.
Motiram's contribution to problem solving, writing biographies, running magazines and writing songs and ghazals as well as encouraging others was remarkable. His Pikdoot, Kamal-Bhramar dialogues, Bhramar songs etc. are prominent. In this period, poets have been inspired to compose more original poems than translations. The period of secondary period is found to be from 1941 BS to 1974 BS.
The secondary period is B.Sc. The period from 1941 to 1960 is the first half of the year. The period from 1961 to 1974 is classified as the latter period. Motiram Bhatt in the first half and Shambhu Prasad Dhungel in the second half are known as prominent people. Shambhu Prasad Dhungel is also called as an erotic poet. She has received erotic compositions like 'Shambhojanmala' and 'Vesyavarnan'. Another genius of this period is Laxmidatta Pant. He has published poems, ghazals etc. in newspapers and magazines.
Other medieval poets like Gopinath Lohani's 'Sangeet Chandrodaya', 'Gafashtak', Tej Bahadur Rana's 'Shlok Sangraha', etc. are notable. Other geniuses of this period include Naradev Pandey and Tirtharaj Pandey. Apart from that, Shikhar Nath Subedi, Laxmidatta Pant, Pahalman Singh Swarn, Kedarnath Khatiwada, Krishna Prasad Regmi, Shambhu Prasad Dhungel, etc. have been found to have enriched the poetry of the secondary period.
Thus, in the secondary period, the majority of erotic streams are found. Its central figure Motiram Bhatt has helped in the development of poetry by forming a poetic troupe. Biographical writing, the process of critique, writing poetry based on problem solving, etc. are found to have started during this period.
Key features of the medieval period of Nepali poetry
- The beginning of the work of writing poetry collectively
- Continuation of the work of translating from Sanskrit,
- Mainly erotic and secondary, moral, doctrinal and devotional.
- Excess of descriptiveness,
- More emphasis on rhyme, literal frequency and rhyme,
- General effort towards sophistication,
- Sanskrit, Hindi, Urdu, Persian etc. mixed language usage predominance,
- Partly patriotism and ethnic pride song and devotion to God,
- Mutual, personal, racial criticism, praise and praise,
- Collective participation in poetic expression,
- Interest in satirical presentation of epochal environment.
3. Modern times - V.S. 1975 to present
Modern period of Nepali poetry (since 1991)
The modern era in Nepali poetry has started from the Romantic movement which started in 1991 BS. Modernity in Nepali poetry begins when the then Nepali poets Laxmi Prasad Devkota, Siddhicharan Shrestha, Gopal Prasad Rimal, Yuddha Prasad Mishra, etc., sowed the seeds of innovation in poetry by breaking the old tradition of mood, subject, verse, etc. The medieval tendency of the western world in relation to the country, time and environment, Romanticism has emerged as a modern tendency in Nepali. It is a rebellious poetic tendency against the strict bondage of the earlier classicalism or sophistication. Writing self-awareness and the use of the latest style has become a characteristic feature of modernity. In modernity, which has started to oppose the traditional classicalism in Nepali poetry, there is a tendency towards writing self-consciousness, stylistic change, choice of new values, rebellious-revolutionary voice as well as epoch, new aesthetic consciousness, rationality, presentation of scientific point of view etc. After the advent of Devkota and other poets in Nepali poetry, modernity has been gradually increasing since 1991 and seems to have matured in 2017 BS.
The modern period of Nepali poetry is divided into the following three stages according to the trend
(1) Romanticism Section (1991–2016)
Many poets have created a wide range of poems with symbolic, narrative and dramatic structure under the Romantic style of Nepali poetry since 1991. The so-called freedom-loving poems, beginning with Devkota and ending with him, have been written extensively in recent times. Looking at the details of the creation of poetry under the Romantic section of Nepali poetry, it is seen that many poets have contributed significantly to the upliftment and development of Nepali poetry by writing various additional and styled poems during the period of the Romantic section of Nepali poetry. Looking at the poetry of all the poets of this time, human love, youthful desire, aspiration, equality, freedom, motherhood, hope and despair, separation, reunion, separation, patriotism, love of nature, etc. are found free expression.
(2) Experimental section (2017-2035)
The experimentalist trend in Nepali poetry started after the political changes of 2017. The poets of this section, which started with the demise of Devkota and the arrival of Mohan Koirala, originated from situational reasonsNeither inferiority, frustration, dissatisfaction, frustration, etc. are presented poetically in a difficult, complicated, non-communicative way through abstract writing. The poets of this section, who consider life as inconsistent, meaningless, chaotic, void, useless, have made poetry incomprehensible by using many images, symbols and myths as well as the method of conscious flow. Following this trend, various poets seem to have created poetry.
Looking at the poems written during the period of the experimental stream of Nepali poetry as a whole, the creation of Lama poetry with symbolic and subtle narrative structure, symbolic, abstract, intellectual, complex, incomprehensible, difficult and complex expression, surrealist, symbolist, existentialist-anomaly thinking There is a predominance of trends such as depiction of panic, doubt, frustration, etc., narrative and artistic novelty, expansion of disjointed experience, non-traditional and metaphysical slackness and dryness, new linguistic configuration different from tradition. At the same time, some poems have also been written based on the liberal sentiments of different tendencies.
(3) Contemporary section (since 2036)
Since the 2030s, when the relationship between poetry and the reader is often severed due to experimental complexity, various poets have started creating simple and intelligible poems. With the announcement of the referendum in 2036 BS, Nepali poetry will take to the streets and street poetry will move forward in the name of revolution. Thus, various campaigns such as street poetry revolution, people's movement poetry, republican poetry, etc. have also appeared in this period which has been continuous since 2036 BS. During this period many Nepali poets have made significant contribution to Nepali poetry by creating poetry. The contemporary section of Nepali poetry has to be divided into two phases, namely, the first half (2036-2046) and the second half (since 2046) on the basis of trend differences. In the poems before 2046 BS, the distortions and anomalies of the then Panchayat system are depicted. Etc. are found. All these tendencies are also found in the poetry of various poets.Key features of modern Nepali poetry
- Revealing the reality of various epochs of the present age
- Easy love, separation, patriotism, love of nature, reformist humanist vision
- Structured in lyrical structure
- Lower class economic deprivation, problems of daily livelihood, minimum basic
- Patriotism, humanitarianism, humanitarian thinking, opposition to injustice and sexual perversion and sexual exploitation.
- Opposition to religious beliefs and patriarchal mentality
- Free expression of human love, youthful desire, aspiration, equality, freedom, motherhood, hopelessness, separation, reunion, chatter, patriotism, love of nature, etc.
(4) Eastern-Western beliefs about poetry
Of the four major genres of literature, poetry, narrative, drama and essay, poetry is considered to be the most prominent, prevalent and ancient genre. What is poetry From the Sanskrit poetic tradition to the present, there have been many debates and reactions on why and for whom. Eastern and Western literary seekers have come up with their own concepts about poetry. Even though the scholars of Sanskrit literature do not define poetry as poetry, it is found that poetry is viewed from the point of view of poetic literature. Sanskrit literary scholars have put poetry under poetry and presented their concepts about the form or characteristics of poetry. Bharatmuni, a scholar of Sanskrit literature, has put forward his concepts in Natyashastra, Bhamaha in Kavyalankara, Dandi in Kavyadarshan and Vedavyas in Agnipurana. In the concept of Eastern poetic literature starting from Bharatmuni, later scholars have been presenting their views by refuting, modifying or modifying the concepts of the earlier scholars. Various poets, critics and thinkers of western literature have defined poetry in different ways since ancient times. The definition of poetry in the West seems more comprehensible than the concept of poetry of the Eastern scholars as literary scholars in the West try to define and interpret poetry only from the overall literary context like the Eastern ones. In this context, Philip Sidney has said that "the art of imitation is literature", while the famous poet John Milton has said that "poetry, though less subtle and subtle, is simpler, more sensible and more emotional". Similarly, William Wordsworth defines poetry as "the spontaneous flow of emotion arising from experiences accumulated in a quiet moment," while Samuel Taylor defines it as "a work of instant gratification, not truth, like science." The great geniuses of Nepali literature Laxmi Prasad Devkota, Bal Krishna Sam, Lekhnath Poudyal and even newcomers are presenting their own concepts and definitions about poetry.
Apart from the traditional concept of Eastern and Western literary scholars, Marx and Friedrich Engels have also presented their own separate concepts about poetry and literature. In the opinion of these scholars, like other genres, poetry has a social and structural character. From the Marxist aesthetic point of view, the presence of some basic elements in the poem seems essential while determining the character of the poem. These essential elements include the source of the poem, the essence of the poem, the social relation of the poem, its propriety, historical sequence, the uniqueness of the artistic beams, the relation of content and form, the socialist realist belief and the presentation of reality and imagination. Those who consider literature as only a crop of imagination have not considered poetry as a combination of social reality and imagination, but have also interpreted poetry as a complex lexical art. Even if the holistic notion of realism, like that of a story or a novel, is not used in poetry, the society in which the poet survives cannot be separated from poetry in terms of its real synthesis and reflection. Thoughts are also found in poetry. Even if the poem is composed motivated by personal emotion, it cannot be socially neutral. In poetry, a person's emotional feelings are expressed by painting them in social colors. That is why Marxist aestheticians have been thinking that poetry is class. Definition of Poetry In the five sub-headings of the title, the introduction of the poem and the definition of the major poems of Sanskrit literature, western literature and Nepali literature have been presented and the conclusion has also been presented. The definition of Eastern-Western poetry has also been systematically organized by selecting representative definitions in a different way from the previous study-analysis and has also included the text of Sanskrit and English of those definitions. This makes it easier for readers to make a comparative study. Mentioning the major poetic definitions of Nepali, the conclusion is defined in its own way and linked to four points, which is confirmed by the interpretation of those points.
The Traditional Classification of Poetry The three sub-headings within the original heading have been extensively presented to the classification of Eastern and Western literature. The modern classification of poetry, on the basis of its symbolic, narrative and dramatic structure, has been categorized into three types, namely symbolic poetry, narrative poetry and dramatic poetry, and its distinctive features have been presented as conclusions. Similarly, before the structure of the poemThe structural configuration is presented by introducing the structure and poetry structure in the sub-headings within the Chan title. A particularly notable aspect of this work is the new concept of the syntax of the poem.
Structural Components of Poetry In various sub-headings of the title, it has been explained by mentioning the short structural components or elements of the poem. In the context of which even the conscious readers are confused due to the diversity of the constituent elements or components of the poem, the various elements under it are explained by considering the objects, participants, environment, purpose, point of view and language style as the six basic constituent elements. It is not an exaggeration to say that standard, systematic, holistic and objective study-analysis of poetry can be found only in this text.
(5) Departmental form and income of poetry
The rhythmic feature of the poetic literature is a departmental distinction that includes the free rhythm near the border of the ass and the foot. At least three thousand years old tradition of poetry genre can be found in relation to two epic poems of Vedic Sanskrit Poetry, Balmiki Ramayana and Vyasakrit Mahabharata (Arsh Mahakavya) and Pashchatya (Greek) of Vedic and Sanskrit literature. It is found that poetry has been created in writing after the development of language form from the tradition of symbols and signs. Similarly, the minor forms of poetry and short (retail poetry) category to medium category fragmentary epic to the largest and largest category artistic or fine epic and developing epic and departmental form is found. It is found to be smiling.
Among the visual and audio genres, literature is the genre that is expressed through language in various genres of fine arts and poetry is one of the various sub-genres of literature. The whole form of poetry (from Muktak to Mahakavya) differs in the verses, ornaments and styles that appear through expression, while the narrative form in the emotional expansion is the state under the sub-genre.
From the point of view of dimension, looking at the world poetic form, there are many differences between the Eastern poetic tradition and the Western poetic tradition. In the Eastern Sanskrit poetic tradition, the finer forms of poetry (which we call as short and short) can be found from the time of Baidhik, such as Ddhipaddhi, Tripaddhi, Chatushpadi. As this process continues, the same form appears in the Sanskrit tradition in a particular period. That is to say, with the beginning of the secular Sanskrit tradition, only the quatrain form of poetry has appeared. In the meantime, according to the views put forward by the phonologists Acharya Anandvardhan and Abhinav Gupta, there are five categories from Muktak to Kulak, Khandakavya, Artistic - Developmentally up to two epics and Taravali and Ratnavali in two. In this, from Muktak to Kulak and Taravali and Ratnavali, up to nine verses can be subdivided into four categories, and the entire poetry-dimension of Sanskrit tradition from Paryavandh to Sargabandha can be broadly divided into four categories: Muktak, Futkar, Khandakavya and Mahakavya (including Lalit and Arsh Mahakavya).
On the one hand, if we forget the subtle analysis, the dimension classification of the Western world seems to be more authoritative than that of the Eastern poetic world, and it is correct to keep the Eastern classification as small, medium and large. Under the short, the poetic form can be taken from Muktak to Lama but before taking the shape of Khandakavya. Before taking the form of a fine epic under the medium, the poetic boundary can be taken up to the Khandakavya. By taking the narrative form under the broad, the whole cycle of events from birth to death of life and the scenario of the world under which it falls can be assimilated. The form of Khandakavya may contain a complete narrative and may only contain a crude narrative. Since this churna narrative can only be included in the lama kavita, and if it is to replace the churna narrative with khandakavya, then the division of lama kavita is unnecessary. In the Western literary world, however, there are basically only two forms of poetry - sporadic and large. In this context, looking at Nepali poetry, small, medium and large in terms of presentation, structure and dimension seem to be universally accepted. Some of these three distinctions also refer to the five distinctions of "short" and "short QM" and large. The short QM includes free poems with only pure expressions from one verse to ten, twelve lines, that is, not even narrative. Under the larger one comes the developing epic. In fact, although the theoretical criteria of developing epics are classified, the writing of pure original epics other than Mahabharata is not found in Nepali literature.
Thus, after discussing the basis of the form of poetry, including Eastern / Western / Nepali, we can classify it into the following points.
1) Shortest form - Muktak (Poems from four to ten left lines)
2) Laghurup - (Short Poem)
3) Medium - (Narrative Poem)
4) Vrihatta Rupa - Epic of Art
5) Epic of Growth
Even today, the genre of poetry is considered as the oldest genre. Language, mood, rhythm, music - including consciousnessScholars of Nepali criticism do not want to call it the first donkey poem due to lack of poetic consciousness and wide range of philosophical ideas. However, there are those who believe that Devkota's "copy" poem is the best form of donkey-poetry writing. According to Keshav Prasad Upadhyaya, Devkota is considered as the creator of Gadhamaya poetry and Rimal is considered as the promoter of Gadhaka poetry.
I asked Odar - "Where are the people" Odar
Odar said - "I only know that there is a downhill."
People don't even know themselves! I started to say - which one are you?
Critics have come to the conclusion that Gopal Singh, the columnist of these lines, himself is against donkey-poetry and even the present line has revealed only the beautiful form of short story. Haddhay Chandra Singh Pradhan, on the other hand, has expressed contradictory views and has either considered Gopal Singh as the "promoter" of donkey poetry and has only described him as a "goreto maker". Before the publication of "Kaviko Gaan", Gopal Prasad Rimal's poem titled "Prati" (1992, Sarada, Marg-Poush) has been published. Let's keep all these controversies in place and try to sketch the following donkey-poem. After Rimal's famous first donkey poem, Bhavani Bhikshu's "Viyog Ratri" (December 1993) appears. It is considered by some critics as the second donkey poem. Immediately after this, many donkey poems of Rimal started to be published one after another - "Viluna" v. August 1995, Asoj), "Kurlinghat" B.Sc. Chait 1995), "Death" B.Sc. Asar 1995), "Question" V.S. August 1999), "Mother's Dream" B.Sc. Rimal's poems like Kartik 2000) have brought a great revolutionary movement in Nepali donkey poetry. After this Janardhan Samle B.Sc. In the year 2002, a donkey-poem titled "Samjhana" was published. V.S. In the year 2003, the great poet Laxmi Prasad Devkota, who had become well-known in the field of poetry writing till then, appeared consciously towards writing donkey poetry by publishing satirical poems like "Sandhe". Devkota's other poems - "Prabhuji! Make a sheep. ” 2004), "Break My Pen" Asar 2004), "Junakiri" V.S. This area became the center of attraction day by day after the publication of poems like Devkota began to run the flood of Romantic ass writing poetry. As a result, he dominated in this area as well. He is trying to represent the era from this area as well. Romantic poets emphasize on emotional intensity, linguistic spontaneity, wide-ranging depiction of the vast nature, intense anger towards urban civilization, inclination towards village civilization, orientation towards natural beauty legislation, heartfelt sensitivity. The great poet Laxmi Prasad Devkota did not confine himself to writing short poems but also composed epic poems like "Mayavinisarsi" as well as epic poems based on powerful, sublime and Greek mythology like "Prometheus".
Giving ample indications that the fascination with verse has been broken from the very beginning, the poet Bal Krishna Sam, who has advanced in the field of poetry writing, wrote "Ishwar" in B.C. He published a poem titled "Kartik 2004" consciously in Muktalaya. After Sam published this poem, the sophisticationist sentimentality began in the centrality of the romanticist sentimentality of writing donkey poetry. Sophisticated poets who believe in omnipotence expect miracles even in expression. Sophisticated poets seem to be more inclined towards the aristocratic civic civilization than the spontaneous exaltation of natural depiction. These features can be seen sharply in the form of contemporary phutkar c donkey-poems to epics. Donkey poems like "Heaven and God, My Bathroom, Expression after Death, Mon" are examples of poetic excellence. Poet Balkrishna Sam, who took the lead in the practice of donkey poetry writing after the retail poems, wrote "Fire and Water" in B.C. 2011) In addition to Khandakavya, "Chiso Chulho" B.S. By giving the form of an epic like 2015, Mahima Pandit also demonstrated his intellect within tenderness.
Timeliness and other collective activities also seem to be helpful in the development and expansion of donkey poetry writing. V.S. After the Kathmandu "Great Poet Conference" held in 2004, this field was found to have the instinct to become more fertile. Along with the political revolution of 2007, many undeclared but important revolutionary changes began to appear in Nepali literature. In literature, new crafts, styles, ideas and arguments are seen as a test, one after the other, while the verses or verses that have been dominated for a long time have reached the competitive average and it has been found that it has laid the foundation of a vigorous self-existence. Powerful poets like Vijay Malla and Bhupi Sherchan, who appeared after this, ascended to the pinnacle of existence from the womb of donkey poetry writing.
Diversifying again. Since the beginning of experimental poetry writing in 2017, Gadhakavita has not only established its complete dominance in Nepali literature, but also created a situation where verse poetry has to start a war for the continuity of its existence. Unexpected changes brought by the rising tide of science and technology, unimaginable human horrors, diverse complexities and problems of life, the resulting pessimistic life vision and abstract donkey writing have been explored by experimental poets using new images, symbols and lines and symbols to open new horizons.Are found doing. We have already mentioned the names of such poets in the course of "Development of Nepali Poetry".
It seems necessary to say something about the development process of donkey poetry by extracting the above material and including the remaining material. Even taking the poetic writing of Suvanandadas as a sign of rehearsal, B.Sc. The donkey used in Bal Krishna Sam's "Heartache" published in 1986 must be considered as an indicator of the near future. Probably a factor as to why they're doing so poorly. Controversial Gopal Singh's "Kalpana" donkey collection "Nepali" published in 1991. This error appears not in the author Singh himself but in the Nepali Language Publishing Committee. In the second part of "Nepali Poetry Collection" published by this committee, the composition titled "Illusion" within this collection has been collected as poetry. The language used in it is considered as an unknown sign near Muktalaya because its author seems to be against donkey poetry even after the publication of this book. Shortly afterwards, B.S. Laxminandan Chalise's work titled "Kalmi" has been published in the month of Falgun in the year 1992. Although it appears to be more like a donkey poem near Muktalaya, scholars do not agree to call it a poem due to lack of heart sensitivity. After this, Devkota's "copy" appears in a more sophisticated but unannounced form and a three-line poem titled "That" is published unannounced along with many experimental poems of Bal Krishna's time. Gopal Prasad Rimal, the editor of "Sarada" magazine, seems to be expressing his commitment to poetry writing with the announcement of the transition point of this diverse experiment / experiment. This commitment and proclamation is aimed at contemporary experimentation. He writes in the editorial of "Sharda" magazine -
"Many people have the illusion that only a sentence composed of rhyme and rhythm is considered as a poem and its author as a poet. Rhymes (rhymes) and rhythms (verses) are the things of the underworld. If these two are combined, then the proverb of fragrance "over gold" becomes characteristic. Even if there is no match, gold is gold, it is not counted in any other metal. The sweetness that is found in alliteration in Barulaya is considered to be the sweetness of the poem, otherwise in other ordinary cases, if the fragments and rhythms are removed, the utterance of the human heart can remain. With this ideological proclamation, Rimal Mann, Vachan, Karma, leaning towards the writing of donkey poems and immediately going against all the rules of tradition, today's popular donkey poem "Kaviko Gaan" has been published. So we can look at the whole experiment before this point by point.
1) Suvananda and the appearance of the poet Balkrishna Sam are pre-signs.
2) The various ideological declarations made in the style of the poet Bal Krishna Sam and the various ideological declarations made by "Sharda" magazine to break the illusion that verse is only poetry.
3) The efforts of Mahakavi Devkota and Gopal Singh "Nepali" are new indicators of transitional Gadhakavita writing.
4) Eyewitness Rimal of Laxminandan Chalise Traditional interest but failed previous attempts.
5) Immediately after the ideological declaration as an eyewitness of all the new experiments, the corresponding poem "Kaviko Gaan" was also published.
(7) Choice of donkey poetry in creative writing
Life itself is a source of great potential. There are plenty of ups and downs of ups and downs and ups and downs, joys and sorrows, joys and sorrows that can appear in front of life. On the one hand, the external social phenomena come to a standstill in the middle of the endless jungle of life barriers that are moving fast towards the straight line, while on the other hand, one has to wave in the beautiful dreamy dream of inter-aspiration. With the help of external struggle, a person reaches a certain conclusion from the pressure received from the social context. It is not a difficult obstacle, and the attainment of a solution, even if only for a momentary ostentatious pleasure - is never possible with the attainment of long-term "self-sufficiency". Some people think that they are not even an inch higher than Jangbhavita. It is a bitter truth that there is another implication in the twists and turns of life's journey which is the standard for distinguishing between good and bad of human life. The life lived by expressing it with truth is immaculate in worldly behavior and the life of the inner journey is getting closer to the truth. This is the only way to purify the mind. It is said that the common man survives without being able to satisfy even one-tenth of the asana, while the true creator is living a glorious life in the satisfaction of the new-born ashana, and if he is the communicative creator, he can raise others to this height through his creation. Such creative genres include poetry, stories, plays, novels, etc. Even under the poem, there are two distinctions between donkey poem written in Muktalaya Angali and verse written in Baddhalaya Angali.
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