सीताराम अधिकारी नेपाली साहित्यका बहुमुखी प्रतिभा हुन् । उनको परिचय साहित्यसागरको माधव घिमिरे विशेषाङ्कका साथै अघिल्ला अंकमा समेटिइसकेको छ । उनी सिर्जना, समीक्षा र अनुवादका त्रैत सामथ्र्यमा सक्रिय प्रतिभा हुन् । उनका अनुदित कविताहरु साहित्यसागरका प्रायः अंकमा समेटिँदै आएका छन् । साहित्यसागरको प्रस्तुत शृङ्खलामा उनको देवकोटाको नेपाली र अंग्रेजी शाकुन्तल महाकाव्यका केन्द्रीयतामा उनको महाकाव्यकारिताको सारभूत मूल्यांकन गरिएको छ । प्रस्तुत समीक्षामा देवकोटाका शाकुन्तल महाकाव्यका केही प्रमुख अंशहरुमा चन्चु प्रवेश गरी समीक्षात्मक टिप्पणी गरिएको छ । यो समीक्षाले देवकोटा विशेषाङ्क अंग्रेजी भाषी पाठकका लागि पनि केही पाठ्यसागम्री होस् भन्ने कामनाका साथ यहाँ प्रस्तुत गरिएको छ ।
-सम्पा
Laxmi Prasad Devakota (1966-2016) was born at Dillibazazar in Kathmandu. He was the third son of his parents and had learnt Sanskrit language and literature from his father who was a great scholar of his time. He graduated from Trichandra College and in course of time he became a university teacher and taught Nepali and English literature in the same college. He was an eloquent speaker and had a fluent command of English as well.
Much of Devakota’s life was in bitter struggle to support his family, a struggle intensified by his generosity of money. He suffered the hard ship and adversity of people by by donating whatever he could or through writing. He had talent for nature. He was a great poet and essayist, though he has written short stories, a novel and criticism. His poems range from a four-line rhyming stanza to the great epic called Shakuntal (1946), Mahrana Pratap, Vanakusum, Prometheus (1951) are his other epics. Besides these epics, he has written many other poetry books like Munamadan. His short poems had already given him poetic recognition, and the epics added loftiness to his fame. Actively engaged in the creation of works of literature, Devakota lends a fresh and a unique eye to his readers.
To begin with, it is better to look at what the epic is and how the occidental and the oriental followed the epic tradition. “An epic is a long and formal narrative poem written in elevated style that recounts the adventure of a hero of almost mythic proportions: the hero often embodies the traits of a nation or people” (Murfin and Ray1950).
Epics share a wide variety of characteristics (1) the protagonist is a hero of a great stature and significance with traditional virtues of bravery and wisdom, (2) the setting of the poem is on grand and vast style, and may be worldwide, or even larger, (3) the action requires noble, fantastic even superhuman actions; God and other supernatural beings involve themselves in these great actions, (4) the entire epic is written in an elevated style which is deliberately designed to complete and brighten the mythic proportions of the characters and their actions. Apart from these characteristics, there are other widely used epic conventions: (a) the narrator invokes a muse while stating the epic theme and his argument, (b) the narrative starts in medias res, that is in the middle of things, (c) the narrator introduces a roster of characters in a formal manner and gives them particular speeches, revealing their principal characteristics and attitudes, and (d) the narrator uses epic simile.
This is general agreement about the growth of epic s, yet critics have often raised questions about specific details of their development. Consequently, epics are divided into folk epic also called “primary epic” or “primitive epic” and the “literary epic” also called “secondary epic” or “art epic”.
We come to now Devakota’s Shakuntal Mahakavya . He has written the same epic in English also. No doubt, the English version is beautiful and possesses most widely accepted features of epics, yet his Nepali Shakunta is far better than the English one. He took three months to complete to complete Nepali Shakuntal and 10 days for Sulochana. This definitely proves Laxi Prasad Devakota’s extraordinary talent for poetry. Devekota had red both classical and Sanskrit epics. He was fully aware of the widely accepted epic characteristics of the East and the West. Devakota was not an anarchist; however he has often been out of the connections of literature. He has thus, added newness and originality to the epic connection. The upsurge of poetic emotion and social responsibility can be observed in Devakota’s works. He makes clear several of the elements of poetry: imagery, metaphor, irony, rhyme, meter, form, symbol and myth. Devakota was not merely a scholarly poet: he had spontaneity which impelled him all the times to create novelties.
The sources of Shakuntal
The essential elements of Shakuntal Mahakavua were borrowed from Kalidas’s Shakuntalam which is an immortal epic work in Sanskrit language. Devakota followed Kalidasa with a view to describing nature through the epic as it nis the best means to deal with it artistically. He was very much influenced by nature and the ancient civilized culture, especially Vedic culture.
लाएकी वनपुष्पहार हरियो सारी सिंगारीकन
वच्चा ली मृगको घुमेर वनमा सङ्गीतमा दी मन १—११ ।
वच्चा ली मृगको घुमेर वनमा सङ्गीतमा दी मन १—११ ।
Through the epic the poet wants to convey the message that there is unbreakable relationship between nature, human beings and god. He has, therefore, chosen Shakuntala, who is the daughter of nature, for the heroine. She is an appropriate match for Devakota. Though they belong to entirely different worlds, their union later will bring an ideal human world.
Nepali Shakuntal Mahakavya was the first great epic in Nepali literature. The plot is based on the ancient history, yet
यात्री आज बने अतीत युगका सम्झूँ त त्यो भारत
ब्यूँझाउँ त सुषुप्त भाव अघिका पर्दा लगाएँ यता १—९ ।
ब्यूँझाउँ त सुषुप्त भाव अघिका पर्दा लगाएँ यता १—९ ।
Devakota has given a new mode and new horizon. Undoubtedly, its first publication was the beginning of other subsequent epics in Nepali literature.
“Sing, goddess of the sacred book and lyre
Saraswati upon thy snow-white swan
In robes of lily decked, a virgin pure’
Divinely featured, calm prayer thou,
The beads of crystal coil around line arm.”
Prime source of knowledge and wisdom grave keeper of all the golden keys, O sing! Sing.”
Poetic talent is Devakota’s innate quality. It is a blessing on him. He spontaneously flies in imagination and attains the height of a poet. More often he picks up the pearls from the fathom of the sea of poetry and less often he disappears for something unknown. The poet appeals to the reader to distinguish between the soil and its virgin pearls but for this one should open the inner eye.
माटो हो हुनता तथापि गहिरा आँखा हुने सज्जन ।
दाना सुन्दर स्वर्णका झलझली देख्लान् गुडेका कथा ।।
जो आयो तर वर्षिइ घनघटा कालोनिलोबाट यो।
जो जो ल्याउँछ सो बिनी बिनिलिने सौजन्यको सौख हो १—७
दाना सुन्दर स्वर्णका झलझली देख्लान् गुडेका कथा ।।
जो आयो तर वर्षिइ घनघटा कालोनिलोबाट यो।
जो जो ल्याउँछ सो बिनी बिनिलिने सौजन्यको सौख हो १—७
Devakota has included almost all the elements in Shakuntal Mahakavya. Classical meters, ancient tales, myths, ornamental language, grand style, dignified protagonist, lofty imagination and grave actions have given symmetry and the beauty to the epic (Shakuntal). Both the hero and heroine are dignified personalities.
Dusyanta is a king of Kshatria family. He is kind generous, enduring, though he may not have bravery and nobleness as one deserves. The heroine is a perfect creation of nature and Shakuntala is an appropriate name for her. On the other hand, the poet tactfully creates harmony and magnificence in the description of the forests, hills, seasons, mornings and evenings, and days and nights. Devakota never gets tired while describing nature and dealing its aspects in a traditional way. He sees human pressure and personality, peace and harmony in nature. The epic depiction of all the aspects of nature and its harmony with living beings has made the poet the god of riches and regent of poetry.
Shakuntal Makavya is a great epic ever written by a Nepali poet. There are 24 chapters altogether in it. They are all full of poetic creations and novelty. The poet has maintained the discipline of meters, though he has used variations as well. Poetic beauty, tone music taste and touch can be observed in almost all chapters. The story of the epic begins from the hermitage of Vishawmitra and it ends with Shakuntala’s Union with Dushyanta in the hermitage of Kanwa Rishi.Devakota has added newness and novelty to the traditional theme of Shakuntal Makavya.
Shakuntal: a sublime epic
The epic is rich in poetic expression. The language, tone and imagination have animated nature, thus nature is beautiful and lively. Several verses in each chapter move the reader’s heart. The moisture of emotion and imagination has given the epic the sensuousness of beauty. The epic has unique tone, spontaneity and musical quality. The poet has skillfully exploited several of the figures of speech to give special meaning to the epic. As he is emotional and in the fight, he disappears in the epic and sometimes his readers may suffer from the fog he created in the race. The more the readers try to reach the depth of the epic, the more suitable figures of speech, symbols, rhyme and rhythm, pun, poetical fancy they can observe. His new technique of employing poetic elements to the epic has made it sublime and meaningful.
सुमनका मनका रस सारका
ऋधरका कलिला धरका थिए
महक भै महको महकी भनी
भुनभुनाउँथ्यो भमरो बरो १२—५३ ।।
ऋधरका कलिला धरका थिए
महक भै महको महकी भनी
भुनभुनाउँथ्यो भमरो बरो १२—५३ ।।
Shakuntal Makavya is a supreme example of Devakota’s literary work by employing all the epic elements and his own art; he has made it sublime and immortal. His emotion and imagination upsurge with his spontaneous emerging verse; he has used different meters and stanzas of various numbers of lines: sometimes a stanza of four lines and sometimes a stanza of twenty lines. His creation becomes as precious as gold, especially in the arrival of Menaka.
सुन बादल भो सुन सूर्य भए ।
सुनद्वार खुल्यो सुनको नभमा ।।
सुनको भव भो सुनको जलले ।
सुन तार बजाउँछ कल्कलले ।। ३—९
सुनद्वार खुल्यो सुनको नभमा ।।
सुनको भव भो सुनको जलले ।
सुन तार बजाउँछ कल्कलले ।। ३—९
Devakota has displayed his free play of imagination in all epics and other poems. By the use of symbols and figurative language the poet has been successful to visualize everything he deals with in the epic. Devakota himself has admitted that Shakuntal Makavya bounds with Sanskrit words. Besides, Hindi and Urdu words also occur to some places, Yet, the verses convey his mind and heart in a natural way. The surroundings speak with the poet and he sees life innocent, safe and virgin only in the lap of nature.
यिनसँग नखराको नक्कली भाव छैन ।
छलकपट सुधाको जिन्दगी नै हुँदैन।।
सरस सरल वार्ता गर्दछन् मिष्टभाषी ।
वन ह्दय बनेझैँ ओठ रङ्गी सुवसी ।। १५—९४ ।।
छलकपट सुधाको जिन्दगी नै हुँदैन।।
सरस सरल वार्ता गर्दछन् मिष्टभाषी ।
वन ह्दय बनेझैँ ओठ रङ्गी सुवसी ।। १५—९४ ।।
On the other hand the life of the city people is empty and complex,; it is artificial, unhappy and peaceless.
मह छ खल्लो छट्टुको राज्य जस्ता।
रङहरू जति चङका पैररेछन् चाल सस्ता ।।
ीिझलिमिलि बोका बैँस यहााका ।
सुमन मृदु खिरीला डााठमा छन् यहााका ।। ६—४।।
रङहरू जति चङका पैररेछन् चाल सस्ता ।।
ीिझलिमिलि बोका बैँस यहााका ।
सुमन मृदु खिरीला डााठमा छन् यहााका ।। ६—४।।
The eightneth chapter of Shakuntal Makavya is full of beauty and significance. The poet seems sensitive and solemn. Shakuntala becomes gloomy as she is leaving her place, plants and trees and other beings. [i] [1] Is happy to go to her husband’s house on one hand but feels distress to be away from the friends and homely surroundings of her childhood. Her voice shudders and eyes are welled up with tears. Thus the daughter of nature looks around with distress and agitation, and utters the following words:
”वल्ली फुल्ली पिकहरू पूल डक्लान् रङीन ।
हल्ली हल्ली मलय तरुमा नृत् गर्लान् नवीन ।।
मेरा प्यारा सखी विपिनका वल्लरी वृक्ष सारा।
जो जो बढ्थ्यौ मसँग सुखमा जिन्दगीका सहारा ।।
बाँडी मेरो सुख दुख भरी भाव सम्झे मलाई ।
तिम्रो प्यारो दिलसँग रुँदै लिन्छु मैले बिदाइ ।६७ ।।
The poet has not blindly imitated the myths and history. H e is fully conscious of his surroundings situations.The poet cannot neglect his social responsibility as well, though he has suffered throughout his life. He skillfully deals with the problems that arise by the despotism of dictator and the discarded state of symbolic Shakuntala in the epic. This is symbolic as the poet has dealt with the problem in a metaphorical way. Thus it can be reduced to our life and situation. The dispute between Dushyanta and Shakuntala , the argument between Dushyanta and Sarangarab, and the celestial plot to disturb Vishwamitra from his meditation, and Shakuntala’s simplicity and innocence has been vividly depicted in order to knock at ourselves and situation.
Devakota is a lover of mankind. Munamadan , Garic, Vikharib and many of his other poems deal with the theme of humanity. In Munamadan he says, æMan is great not because of his cast but because of heart.Æ Shakuntal Mahakavya has presented human ideals. The ideals of mother Menaka, and Kanwa who becomes Shakuntala’s father, and Shakuntal, and Gautami have been guarded safely in the epic. In reality, it is a reflection of our own society.
The real affection among human beings comes fron the bottom of the heart. After fulfilling her motherly duty. Menaka leaves Shakuntala in the forest, but her separation from Shakuntala causes her great sorrow.
”बच्ची छौ सुन सुन्दरी चुस तिमी यी दूध मीठा स्तन
आमातुल्य दयावती प्रकृतिका खाए सबै व्यञ्जन ।।
मेरो आशिषसाथ दिव्य सुषमा पाई बढे फूलझैँ ।
आफ्नो चाह चुसी हवा र वनमा राम्रो फुले फूलझैँ ।।५—२०।।
आमातुल्य दयावती प्रकृतिका खाए सबै व्यञ्जन ।।
मेरो आशिषसाथ दिव्य सुषमा पाई बढे फूलझैँ ।
आफ्नो चाह चुसी हवा र वनमा राम्रो फुले फूलझैँ ।।५—२०।।
Devakota writes and advocates for human rights and freedom. He cannot endure the tyranny of anny type. He cannot see the exploitation of humble people. Thus Sharangarab his feelings against the king:
तिमी राजा भन्दै सब जन थिची न्याय रहित ।
गरौला रज्यै क्यै ? बुझ अब छ गम्ने सुखसित ।।
फुटून् किल्ला—काला अनृत पथमा ठक्कर मिलोस्।
करौँतीले खाऊन् ह्दय छलका दन्तहरुले ।।१९—९१
गरौला रज्यै क्यै ? बुझ अब छ गम्ने सुखसित ।।
फुटून् किल्ला—काला अनृत पथमा ठक्कर मिलोस्।
करौँतीले खाऊन् ह्दय छलका दन्तहरुले ।।१९—९१
Shakuntal Mahakavya is a towering epic which deals with not only the eastern philosophy based on the principle of value, succors and sacrifice but also the ideals of human world. The horizon of the epic is rest. The epic ends with Shakuntala’s union with Dushyanta which suggests further posterity and prosperous world:
United thus the royal pair returned,
To hearth and home, where loyal multitudes with great rejoicing and warm welcome cheered,
Dushyanta, Bharat, and Shakuntala.
References
Devakota, Laxmi Prasad. Nepali Shakuntal Maxakavya
Devakota, Laxmi Prasad. Manoranjana, An Anthology of Poems (2024).
Hutt, Micheal. Devakota’s Munamadan (Translation) (1996)
Risal, Rammani. Nepali Kavi ra Kavya (2039)
Abram, M.H. A Glossary of Literary Terms (1993)
Cuddon, J.A. A Dictionary of Literary Terms (1982).
Murfin Ross, Suprya M. Ray The Bedford Glossary of Critical and Literary Terms (1998).
