No. 1 A Chronology of Events*
1811 A.D «villiam Kirkpatrick's An Acoount of the Kingdom of ISELSl* A Mission to that Country in the year 1793 was published.
1814-16 War between Mepal and the Bast India Company. 1816 Ihe -Treaty of Sugauli between Mepal and the Bast India Company was signed.
1833 Brian Hodsoti's appointmoat as British Resident in Mepal. 1850 Jung Bahadur's visit to England as Ambassador to lepal. His reception by the great Duke of Wellington as his equal.
1857 Sana rule's offer to help the British power in India Suppress the Sepoy Munity there.
1893 Madhav Xal Joshi organized 'Aryya Samaj' in Mepal. 1896 Ifedhav Iral Joshi imprisoned, and his two sons, Shukrara^ and Amarraj expelled from Durbar School.
1903 Chandra Sharashere's presence at Delhi Durbar along with the representatives of other independent States such as i?rance, Holland, Portugal, Siam and Afganistan.
1921 'Grorkha League' UJ&s organized in Dehradun under the leadership of Thakur Chandra Singh. -478-
1926 'Oharkha Prochar' was organized by lulsi Meyar after the Gandhian ideals.
1930 'Library Parba' « Under Jogbir Sink's inspiration a public library was opened in Kathmandu* ^The rule crushed it, and penalized rupees one hundred each with forty young intellectuals including Laxiai Prasad Devkota.
1935 'Nepal Praja Parishai" was organized under Tanka Prasad Acharya's leadership. The late King Tribhuyan Bir Bikram Shah Deva (1905-1955) had helped the organiza tion overtly.
1941 Shukra Saj Shastri, Dhanna Bhakta, Dasarath Ghand, and (langa Lai were shot in Kathmandu for working in the Pra^a Parishal.
1946 Hepali iiational Congress was organized under the leadership of the late B.P. Koirala in India.
1947 'Jayatu SanakriLtan Movement' was started by the students of Sanskrit College for the modem education.
1950 The late King Tribhuvan Bir Bikram Shah Deva's self-exile to India with the family members. -479-
1950 Revolution. War started from India 1950 The fall of ihe centuiy-old Hana rule.
* Adopted from Percgval Laudon Mepal (1976), and Balchandra Sharma. Mepalleo Aitihasik Rup-Rekha (2027 VS ) -480-
No. 2
Jouma1s Year at: Plac!l publication 'Goralthiipatra' 1958 v.s. Kathllandu 'Gorkbal1 1 1972 " Benares 'Caudrika' (Monthly) 1974 • Dar3eeling 'Janmabhiimi' { " ) 1979 " Benares 'Gorkhii Sausar' (Weskl,y) 1983 " Dehradun 'Tarun Gorkhi' ( " ) 1980 • Dehradun 'Nepali Sahitya Sammelan
Patrika' (Monthly) 1988 " Darjeeling 'Saradi' ( " ) 1991 " Kathmandu 'Nebula' ( " ) 1992 " Darjeeling 'Udaya' ( " ) 1994 " Benares 'Gorkha' (#eek1Y) 2002 " Be nares 'Utthan' 2004 • Calcutta 'Sahitya-srot' (Monthly) 2004 " Katlunandu 'Yugabani• (Weekly) 2005 " Ben.ares , A.akha, 2005 " Kathmandu 'Bnarati' (Monthly) 2006 • Darjeeling 'Prabhat' 2007 " Calcutta 'Pragati' 2010 Kathmandu 'Dharati' 2013 Kathmandu 'Roop-Rekhii' 2017 Kathmandu ------·- .,., Adopted :Cram (1) Dr. Tara Nath Sharma. Neeali Salli;tzal 1910 V.S. Burbar School established at Thapathali 1957 V.S. Durbar School opened for the common man 1976 V.S. Tri-Chandra College established in Kathmandu subsequently, the following schools were established* Patan School at Patan Bhaktapur School at Bhaktapur Biratnagar High School (Krishna Prasad Koirab's contribution) at Biratnagar Judodaya High School (Sirtha Raj Suwal's cc»itribution) at Kathmandu Birgan High School (Hajari Mai Marwari's contribution) at Birgang Padma Kanya School at Kathmandu 2003 V.S. Adhar School established at Kathmandu- It was largely based on the G-andhian niodaL of education (After 1947, in vi^hich India became independent, many schools and colleges were established in Mepal, some of which were closed down because of the shortage of funds). -482- No. 4 Selected works of laxmi Prasad Devkota for comparison 1. The following poems from ghtl^hari - I. 'Garib' II. 'Tinko Ghansia Git* III. 'Kisan' IV. 'Balakhal' Y. 'MSrga' VI. 'Vasanta' VII. cSru VIII. 'Bhikhari ' IX. Badal X Mali XI. Yatri XII. Sandhya 2. Muna - BJadaii (a shorter poem) 3. Sundarijal 4. Hepali Sakimtal IfohaQkavya 5. 'Bighale Bacci Kina Khlncha • 6. 'Prabhudi Malai Bhedo Banau' 7. 'Bhancun. Ki Mero Kalam ' 8. Pahadi Pukar (a shorter poem) 9. Bana-Kusum (an epic poem) -483- 10. MSvabiril Saral (a shorter poem) 11. 'Jhanjabir* 12. 'Pagal' 13. •Jhanjaprati* 14. 'Bhutlai Jhataro 15. Hurlko Git 16. 'Gadha Bolcha' l'^* Praaithas (an epic poem) 18. 'Dal Bhit Duku ' 19. 'Sahajahahko Iceha' 20. 'Ek Sundai Visyaprati' 21. Jvarasamana Prakriti 22. Hami iJepali 23. 'Atithiharu' 24. Paai 25. Kamidai 26. Sarki 27. Pumacaki Suvasani Iferi 28. Jyapu 29. Dakarrai 30. Ek Sundari Oyamenlprati emr vmrr cr^ps i HTT^ ;j?9nra, ^1 '^l*! arrarr, ^tTci*Y ^ ^ffgr^rWl- Titmrr iftt^fT 5^ I Bi# eiafrqift ^ftir tift ^ittn fFft Fwr Wr qil^, Wirr ^Air t^Rifr 151T iprarf ?^ ^i^ wnA^fm*** WT%^^ i T mA Tt^r gtfr i^rraar t^ tr^^ IT f^ i l»=rrarfNnr# j^ ^3CT fNsft tmc IT freftir H I m ajftywn? ^q»1eifii| ^ffer m afhi IWt ^rr rfl-^i^l mft snRit %tJf^ i g??it 0f^ 3wr tJiwfsinnfr mfwm^ -m-^mf^ ^tom vu^ ft^^ wm ^fwA^^fsFs i Wlmrr 3uVed*cii«rt ^ s, «Y eterHitniTliJi arrt ^iST*t«> ?RR?I rr?^, T TP^fs^ I ^3^, awT^era* 3^ iTs^r 3TR JW^ ^t^Fs I t^srrfl"5n-,t»«jrft mmit armrrarf iA(T irraFT j^rrr ^^ri^ i ^ qt Irmr 0wit, "tm^^itiHi MtCTi^ itfjrfJTT ?-l!t^ tUlT- 2* i^ ¥m^ mfwmit pm 3- irtsft irpp^ arwnr Wt j^lmiiT ?fPT5?^ BTRT w^fift rr3*r 4» j^rmt f"i»^KrnfT srre T %^ an^ / ?• ^'fTnt 1^ fjpr Vi^piJr I^HT ftii?it Wt » i ?• araf itnart *iT9 agoT?^ ^ ir^ ^nr arrS^, aft ^ irst-T^rr* «rt^ ^fel 10* iPtiit, it?gt, mmr^ w=?iifr rrfrnit g^r ^rtgar ^TmrraFirr rr?^BP| r rtF Tqt i^r ata ftmnlr y»ftM¥< rp© i )!• MTsi*i ^ItraTxrr it?f?Tpr^rlirft" m qt^i T^ddi m^ ^ mmTmwf \2* t^ mfWTfwlt fTRt t«ltH*1 JITW g^gl-^ldd %^ I ^Tt^ piT -486- arr^ 1 I5* aftmm T ttprirr ?;^ Vjltir irnr^ ^^ifrr KM' >TT?^ I Lekhnath's inspiration (lahari) bas its origins in Sanskrit. But in Devkota the reflection of English Romantic style is yery evident. Many of his poems are filled with exuberant feeling, the worship of beauty, and love of nature. While Lekhnath appears in the guise of a moral teacher giving advice, Devkota, instead of giving advice, is impelled toward in art that touches the heart. He believes that the nature of true art is to touch the heart, and through the heart to fully involve the intellect. In Balkrishna Sama-ji the poetiy comes forth v^ith an effort — the flowers are embroidered with much of the skill of a painter or fine artificer. Devkota's poetry comes flowing forth of itself, without effort ... the poet like a springtime bird pours out his heart's ;joy. He does not have to fashion a meter or count syllables or stop often in his writing. In his style are dash, speed, and power. One is often afraid that, like a rivulet, in the rain it may overflow the banks with an excess of power and break the dikes. And one also fears th&t such a flood, becoming murigr, will turn into mud and dirt and tiny bits of gold. Devkota does not pause to edit, refine or go over a second time, and occasionally the poetry is marked ty lack of clarity, confused grammatical structure, and obscurity (aspastata* -487- duranvava, d^irbodhati)» He sees the form of the external world as the reflection of his own inner activity. Or he sees his own profound inner truths shining in the portrayal of nature. For lekhnath-^i nature is a pleasantly painted canvas or background. But for Iiaxmiprasad Devkota nature is seen as a living caapanion or a mine of beauty. In this tendency we find the influence of Wordsworth or Shelley or Keats in him. (The flavor of aiglish literature, particularly Homantic literature, makes a profound and colorful impression in this poet who sucks the Juice of English literature. In Devkota there is the quality of theism, which takes on a quite different philosophical turn in Lekhnath-ji and is not found at all in Balkrishna Sama-ji. He sees a suprone deity as monarch of the world and the soul as monarch of the body. In a word, his flight has always been toward immortality. In "The Beggar", in the form of the man who comes into the courtyard begging, it is as though a god were standing there, who keeps on calling with the human speech of pain to awaken the soul of man, but this god is not found on the road of blind ritual, the tradition of credulity. ... There is no lesson of inactivity in Devkota's dharma. He insists most particularly on service to man« "to the city of the heart I bring a message of service". Also in Devkota, as in the English poets, particularly Wordsworth, one finds the tendency to idealize childhood. He sees in the child Ibe pure aid divine imagination and the life of -488- feeling which it is not possible for man to receive in the grief- shrouded state of adulthood. ... The portrayal of the greatness of the common man, which is a Romantic quality, is also present in Devkota, as in the description of the greatness of the joyful life in the poem called "The Peasant". Devkota's worship of beauty shines in such poems as "Giru'S "Spring", "Evening", and "The Grasscutter". He is an enencr of blind tradition, as in "Pilgrim", ... The duty of his life he understands to be to make the world shine with the outpouring of inner strength. And similarly, he wishes to persuade others of this duty. Devkota's heart is deeply touched by this feeliag of service to man. The holy feeling of the grass- cutter lighting a lamp in the heart of the poet Bhanubhakta and illuminating the development of iJepali literature ^I)evkota_7 wishes that there shall be more just such grasscutters and poets filled with the sentiment of divine service to i^epal. Style* 1. Exuberance and flow. 3. Influence of English Romantic literature. 3. Symbolism — the correspondence of nature and inner truth. 4. Virtue of flow, fault of exaggeration and impetuo«ity. 5. From var:pik verse toward matrik verse. 6. Affecting the emotions first aiad through them the intellect • 7. Vividness of the imagination. -489- 8. Kot holding to rigid end-rhymes (unlike Lekhnath). 9, Word coinages when necessary. 10. Spring-like luxuriance in the earlier poems, later poems color ripened with thought. 11. Barlier poems not complicated, mainly simple, despite Sanskrit; in later poems b«gl'r»S "tlie ^se of too mahy difficult Sanskrit words. 12. Avoidance of repeating Sanskrit dhvani ^~ tone, nuance, allusiveness, resonance,/; the dhvani is of the new age. 13. Deep inner meanings of words must be brought forth — here and there obscure. 14. i<'aults of bad syntax, repetitiouSness. 15. In diverse feeling and images a unity of central feeling. 16. Motion dominant over thought. Quoted and translated by David Hubin in hi a book The Poetry of Xaxmi Prasad Devkota* pp. 161-64.