Gumansingh Chamling was born in a period of
great social and political change, while he grew up in a community deeply
rooted in its cultural heritage. He had to go through those tender years of his
childhood which placed immense identity burdens on him both as a member of his
ethnic group and also as a budding intellectual. His parents, especially his
mother, played an important part in shaping his early worldview. While his
father, Gauriganj Chamling, was close to their ethnic origin, his mother was a
source of inspiration because of her strong will.
This means that early education in schools
laid the foundation for Chamling's lifelong love of learning. From a young age,
he showed aptitude for literature and language; his intellectual curiosity
pursued him to delve into the depth of Nepali literature and later be
instrumental in its development. All his life, Chamling remained true to the
development of ethnic and literary thought, putting them together in his works
and philosophy.
Literary Contributions
Gumansingh Chamling stands out as one of
the massive and multifarious contributors to Nepali literature. As a poet,
critic, essayist, and editor, he has carved a niche for himself among the most
respected figures in Nepali literary history. He maintained a sharp intellect
and could analyze complex literary works with his X-ray eyesight, hence
becoming an attractive figure in the literary circles.
A. As a Critic
Literary critic is one of his brighter
epithets. His observations on Nepali literature have influenced the outlook of
many with regard to the growth and evolution of thought in the literature of
the region. Notable works in this sphere are his book Moulo (1978), Aristotle
ra Unko Kavyashastra, and Bhanubhakta ko Upadhi ra Adikavitvako Prashna.
His magnum opus, Moulo, earned him the
prestigious Sahitya Akademi Award. In this seminal work, there are nineteen
essays on poetic principles in the East as well as the West. Chamling
interpreted them and developed his own original theories on literature.
Further, he examined in his analysis yugabodh, maanadand ra samalochana, and
rasanubhutik va kavyanand among other things. His essays on classic traditions,
like in Sanskrit Sahityama Gitikavyako Parampara (The Tradition of Lyric Poetry
in Sanskrit Literature), themselves show how he was deeply engrossed with
scholarship in the realm of literature.
Problems in Nepali grammar standardization
and the legacies of great personalities such as Bhanu Bhakta Acharya were also
discussed by Chamling in Moulo. As a matter of fact, his essay Kavita ke ho –
Ek Bhumika (What is Poetry – An Introduction) reflects his philosophical
understanding of poetry as the basic manifestation of human experience. It
shows evidence of delving into literary theory, marked with historical
sensitivity, logical reasoning, and deep understanding of both Eastern and
Western literary traditions.
Literary criticism by Chamling bears the
hallmark of his intellectual acumen. He had questioned the very authenticity of
Nepali literary standard, attempting to trace the roots of Nepali poetry. His
works, in addition, theoretically underlined sound and research-based thinking
that elevated him as a tall figure in the field of literary analysis.
B. As a Poet
No less important was the poetic career of
Chamling. He is considered one of the contemplative poets, the main themes of
whose works were problems of identity, struggle, and hope. He authored four
poetry collections: Jeevan Paridhivitra, 1962 (Within Life's Boundaries),
Antardwandwa, 1965 (Internal Conflicts), Surya Udaunubhanda Pahilyai, 1968
(Before the Sun Rises), and Karagaarbhitra Pratiksha ra Anya Kavita, 1974
(Waiting Inside the Prison and Other Poems).
His poetry personifies the complex
interplay between the private and the public experience, often mapping
socio-political turmoil in his time. He has written with emotional depth,
observing the human condition while maintaining a connection with his cultural
and ethnic roots. A lot of his poems deal with themes of imprisonment-not just
literal confinement but also metaphorical prison through societal conventions
and norms.
C. As a Grammarian
Chamling's sensitivity to language repeats
itself in works on grammar and the theory of language. His essays on the
subject, particularly in Moulo, demonstrate his profound understanding of
linguistic structures and determination to preserve the purity of the Nepali
language. He viewed language as a means of communication that must be tenderly
cared for and used with precision. His understanding of grammar was so that he
could give speeches and write essays with faultless precision, ever upholding
the highest standards of linguistic integrity.
His contribution to Nepali grammar goes
beyond mere technical knowledge since he looked upon the language as part of
the cultural identity. Effort for the promotion and preservation of the Nepali
language is reflected in his writings, where grammatical correctness and
clarity in spoken and written forms are accentuated.
D. As an Editor
Besides the works in literature and
grammar, the skill of Chamling as an editor endures. His editorial works on the
journals and books published in Nepali languages gave strength and quality to
Nepali literature. Very serious about the work being published, he barely let
any low-grade work be published if it failed to meet his high standard of
quality. The first editorial work that his contribution was associated with was
the publication of Sahitya Sangam, a respected literary journal, while he was
still a student. It was in this journal that Indra Bahadur Rai's first short
story, Rajbhari Huri Chalyo (The Storm Raged All Night), was published.
He also edited Aawaj, a fortnightly
publication, and Manan, an anthology of literary essays. His assiduous
attention to detail and insistence on excellence won him the reputation of
being one of the finest editors of his time. His editorial work contributed
much to the growth of Nepali literature through the nurturing of young writers
into the limelight and heard.
. Political Activism
Besides writing, Gumansingh was also an
ardent political activist. He was deeply involved in the struggle for ethnic
rights and political freedom, primarily in the Gorkha community of Darjeeling.
His political sojourn started in college days when he used to deliver powerful
speeches from Geetangey Hill in Darjeeling on behalf of students' rights and
those of the underprivileged.
Chamling was a whole-time worker for the
Gorkha League and functioned as the party secretary in Darjeeling. He fought
for ethnic liberation and social justice. He often took risks to fight against
something, even if his life was in danger. He was put behind the bars twice for
his political zeal but remained undeterred in the cause of justice.
Even though Chamling was never in the
frontline of political life, one could never bypass his impact on politics. His
oratory skills had attained a legendary status, and his fiery speeches at
Geetangey Hill still linger fresh in many minds. He firmly believed in ethnic
politics and played an important role in sensitizing people to the problems of
the Gorkha community. His writings on politics, published in Aawaj, revealed
his commitment to the cause of political and social emancipation.
Challenges and Health Struggles
Notwithstanding the fantastic service he
did to literature and politics, there came a time in the later part of his life
when everything became quite challenging for Chamling. His health went on
deteriorating day by day, and this made him weaker than before. Sickness
troubled him and ultimately limited the pace at which he used to work. A
dynamic intellectual who was hitherto creating excitement with his speech and
writings got cramped due to his health maladies. However, even when weakened,
Chamling remained idealistic and inspiring to others.
Legacy and Influence
Gumansingh Chamling is the mainstay of
Nepali literature and politics. He is remembered not only as a brilliant
scholar and a thinking critic but also as a man of lofty moral ideals and
dedication. His works, especially on literary criticism, Moulo, are still
extensively read and studied by scholars and common people alike. His
contributions in the fields of poetry, grammar, and politics stand etched on
the psyche of Nepalis forever.
The influence of Chamling does not end with
his published works. All his life, he guided many young writers and activists,
shaping the next generation of Nepali intellectuals. His life remains a tribute
to steadfastness, intellectual curiosity, and the struggle for justice.
He was indeed multitalented, and the
contributions he made to Nepali literature, grammar, and politics are a
continuing legacy. A genuine scholar, ethnic liberator, and visionary,
Gumansingh attempted to bridge the gulf between tradition and modernity. His
life and work continue to inspire those who seek an understanding of the
complexities of Nepali culture, language, and identity.
भन्दछ मानिस—जीवनतर, भन्दछ मानिस— जीवन ! मलाई त लाग्छ अर्कै— कि यो त कुनै मुटु भएको सबमेरिन हो । हजारन् शेलहरू लिई यो बढिरहेछ अघि मायाको सागरभित्र–भित्रै संहार गर्न कसैलाई । तर कसलाई ? यो आफैं जान्दैन । आजसम्म बनाउनभन्दा यसले आएको छ बिगार्दै । मायाका प्रबल स्रोतहरू, जो यसलाई पार्न खोजिरहेछन् विध्वस्त बनाइरहेछन् साधन उल्टो यसैले त्यसलाई । तर हेर, आफू यो खोक्रो छ ! यदि भरिए यो अहो ! डुब्छ सधैँलाई । डुब्छ सधैँलाई यसैले त हेर यहाँ, यो त्यहीदेखि वञ्चित छ; जसमा निर्भर छ यो । तर, भन्दछ मानिस—जीवन । मलाई त लाग्छ अर्कै— कि यो त कुनै मुटु भएको सबमेरिन हो । |
जीउँदो लाशयो हो जीउँदो लाश ! यद्यपि कि छ यसमा सास, सेन्ट र अत्तरले गन्ध लुकाई छरिरहेछ यो बतास ! यो हो जीउँदो लाश !! सद्दे जीउँदो लाश !!! जसलाई बेह्रन हजारौं यहाँ मिल खुले : यो प्रगतिको प्रतीक । रूस र अमेरिकाले सहायता दिए : यो प्रेमको प्रतीक ! जसको बेह्राइले तर यसभित्रका कयौं कहानी आज त्यसै छिपे । छोपिएका छन्, छिपिएका छन्— भित्र त्यसमा वास्तविक जो छन् रूप, घाम–पानीको पनि स्पर्शानुभव हुन सकेको छ, या छैन, भन्न सकिन्न । यद्यपि कि छ यसमा सास ! यो हो जीउँदो लाश !! सद्दे जीउँदो लाश !!! बाबु यसको विज्ञान, तर आमा उही प्रकृति, सत्यानाश ! कृत्रिम प्रजननले जन्माएको यो आधुनिक सभ्यताको गर्वाभास ? मिल्क पाउडरले हुर्काएको हेर, कति उदास ! यद्यपि कि छ यसमा सास !! यो हो जीउँदो लाश !!! शरीर यसको विनिर्मित— ढाली साँचोमा ः जनमनको निवास । आजको सरकार जस्तै वैयक्तिकताको उपहास । कत्रो यसको विकास ! सिद्धान्त यसको—नवनीत, परिभाषा होइन—अतीत, कत्रो यसको साहस ! यद्यपि कि छ यो— बीच यही धरती–आकाश ! यो हो जीउँदो लाश !! सद्दे जीउँदो लाश !!! |
वर्षौँ माया मैले गरेकोवर्षौं माया मैले गरेको उसले आएर मलाई भनी– ‘म तिमीलाई माया गर्दिनँ।’ ‘तिमीलाई माया नै पो कल्ले गरेको छ ?’ जवावमा मैले भनें, ऊ त्यहाँबाट हिँडी। ऊ अर्कै भई, म अर्कै टाढियौं त्यसपछि दुवै। तर वाक्य त्यो गुन्जन छाडेको छैन अझै। इच्छा नै प्रयत्न भएर सायद भेट हाम्रो फेरि भो, तर निःशब्दता अझ दुवैको। दुब्लाएकी थिई ऊ चाया नै होलान् परेछन्, तर आँखा भने रसिला झन्। पोल हाल्यो आँखाले मलाई सिउँदोमा सिन्दुर, ऊ हाँसी हाँसो मेरा हराएछन्। झर्किएर भनिदिएँ मैले वास्तै कसैको नगरी, ‘तमीलाई माया नै पो कल्ले गरेको छ ?’ वर्षौं माया मैले गरेको उसले आएर अहिले भनी, ‘सत्ते तिमीलाई म माया गर्छु।’ |
कारागारभित्र प्रतीक्षा त्यो अन्तिम फैसलाकोहो, महाकालको अनन्तता पनि सम्झाउँदै यहाँ फेरि अहिले घण्टी लाग्यो : महाकाशको असीमता पनि बिर्साउँदै झुण्झ्याइएको तर्लङ्ग त्यहाँ फाटकमा विकृत भइसकेको घाइते (आफ्नै प्रतिरूप) त्यो पारिएको फलामे घण्टीलाई तर नपारिएको खुकुरीले सन्तरीको सबभन्दा धेरै प्रहार पर्यो, अनि त सँगसँगै यो रातको निस्तब्धता एकाएक कहाली उठ्यो - टङ् टङ.... टङ् टङ.... बाह्र ! (यो आधारातमा) बल्ल एक दिन काटियो। बेस भयो! यहाँ तर, जीवन फाटकको त्यो पारिएको फलामे घण्टी नै हो, --- तर्लङ्ग, विकृत र कठोर घाइते अचानो; अनि समय काटिइने यही थोक ! यो कारागार न हो, अनि राखिएको छु म भित्र । यो साँधमा तेर्सिन पुर्याइएछु कस्तरी म हिजो र आजको! जो छु हिजो छँदैछ, जो हुनेछु आज हुन्यैछ। नभन्दै बाँच्नु छ यहाँ वर्तमानमा बेह्रिएर आफ्नै तन्तुले कोया आफूलाई लार्वा तुल्याएर, वा महाकालको यो अथाह पोखरीमा चक्राकार तरङ्ग ––साँध यो बनाएर म तैन्तलास । सापेक्ष्यको कुरो न जो, मैले कहिल्यै बुझ पचाएको छैन । मेरो हिजो मेरो आफ्नै थियो (इतिहासको पहुँच भएदेखि यसो) भए पनि पसीना, आँसु र रगतको : यो पसीना धरतीको सीताको, यो आँसु प्राणीको गौतम बुद्धको, यो रगत मनुष्यको भीमसेन थापाको; नितान्त मानवीय! तर हो कि चरम ट्रेजेडी यो संसारको ? कस्तै साँधले पनि छेकारो हाल्न नसकेको मेरो हिजो तर स्वयं आज साँध बनेर म बीच भएर (फाटकको त्यो पारिएको फलामे घण्टीमा) यसरी तेसिन पुर्याइएछु । यो साँधमा तेसिन पुर्याइएछु- ज्ञान अनि अज्ञानको, सत्य अनि मिथ्याको. जन्म अनि मृत्युको; यो जीवनको! (कुनचाहिँ हो कुन्नि यस्तो आधारातमा पनि सोर खोलेर कति ढुक्कै गाइरहेछ - "दार्जेलिङको दार्जेलिङको सीमाना बताउँछु म, पूर्व-पश्चिम, उत्तर-दक्खिन सीमाना बताउँछु म !" गीतले भन्दैछ - तँ सानो हुँदा स्कूलमा गाएको यो अहिले मै तँलाई गाइरहेछु !) हो, मेरो हिजो - उब्रिएको होइन जागटी हो साँचिएको हो उपलब्धि यो नभई नहुने जो पछिलाई पनि (-------- यो आजलाई अनि अहिलेलाई) बासी त हुने नै भयो, परिरक्षित छ तर यो पूर्णतया पिरामिडको डब्बामा राखिएका ममी में यो मानव-संस्कृति ! आमाको दूध दुहेर तुल्याइएको कन्डेन्स्ड मिल्क यहाँ जस्तो भए पनि खान्छु जबकि मै भतेर म खान्छु मेरो लागि अरूले त्यस्तरी खाइदिएर हुन्छ कतै ? दह्रो आँत जे भए पनि मैले पार्नु छ दह्रो मुटु ! हर्दम – लड्नु यी लड़ाई लड़ाई यी जित्नु जित्नु यी बाँच्नु । हुनुको लड़ाई नहुनुको बिरुद्ध । विरुद्धदेखि बच्नु तर्किनु मात्र, नहुनु भएर पनि। अनि बच्नु केवल -नबाँच्नु टार्न खोज्नु खालि यहाँ मृत्युलाई पनि ! नपाइने छ यहाँ के? निहुँ नै कारण, विना कारण पनि कारण । मात्र कार्य होइन, म नै एउटा कारण। म नै एउटा निहुँ – सर्वत्र खोजिएको, खोजिरहेको, खोजिइने । म स्वयं मित्र आफ्नै शत्रु स्वयं शुभ अशुभको, अशुभ शुभको; अकारण कार्यको, अकार्य कारणको। विकासको क्रममा यो युद्ध ! अड़ेको निहित मर्मस्थलमा धर्मसंस्थापनार्थ स्वयं श्रीकृष्णद्वारा निरस्त्र कर्णमाथि शस्त्र म कस्तरी चलाउन लाइएछु ! विकासको क्रममा यो म्युटेशन ! मुक्तः परमाणु ऊर्जाबाट उत्पन्न विकिरणहरू यिनैद्वारा मेरो आज अपहरणको लागि यस्तरी प्रयोग गराइएछु ! मेरो आज मेरो आफ्नै छैन: म यहीं छु र पनि यहीं म छैन, मेरा सबै छन् र पनि मेरो कोही छैन, मेरा सबै थोक छन् र पनि मेरो केही छैन, म सबैको लागि छ र पनि म कसैको लागि छैन, सबै मेरा लागि छन् र पनि मेरो लागि कोही छैन, म छ र पनि म छैन ! म छैन? साँच्चै मेरो म-को यहाँ अस्तित्वै छैन ? अपहृत मेरो आज अनि अनिँदो अनुहार लिएर नितान्त असहाय म यस्तरी एक्लिन पुर्याइएछु । यो साँधमा तेर्सिन पुर्याइएछु कस्तरी म अघि र अहिलेको! यहाँ तर, जीवन फाटकको त्यो पारिएको फलामे घण्टी नै हो, तर्लङ्ग, विकृत र कठोर घाइते अचानो, अनि समय काटिइने यही थोक ! यो कारागार न हो, अनि राखिएको छु म भित्र । अब सुत्नु पनि पर्ला..... रात म जस्ताको लागि सुतिदिनुलाई नै त हो! जुत्ता भए पनि विचार फुकालेर पर ओछयान पस्थेँ, छट्पटिएर हुन्छ यहाँ कतै ? मस्त निदाउन, सुखद सपना देख्नै पर्छ सुत्दा भन्ने पनि के छ! मैले त यहाँ सपनामा आफ्नै लाशलाई काँध लाएर श्मशान-घाटमा आगो समेत लगाइदिएको छ, आफ्नै दिवंगत आत्माको शान्तिको लागि मौनता धारण गरिसकेको छु (लम्बिन्छ' रे यो आयु!) सपनामा मैले सपने पनि देखेको छु, कति त ब्यूँझनासाथै बिर्सिपठाएको छु। विपनै भोगिरहेछु यहाँ ट्रेजेडी जीवनको : सताउँछ हर्दम आफैँले खुच्चिउँ मच्चाउँछु, अनि जाइलाग्छु आफैँमाथि । जुन नाटकको प्रोततागोनिष्ट अर्को को हुन्छ? आफ्नो आफे होइन्छ ! जीवनको त्रास र मृत्युको आशमा पनि हमर्तिआ म--- लड्नु यी लड़ाई लड़ाई यी जित्नु, जित्नु यी बाँच्नु, थिएँ, छु-ले नपुग्नु, हुनेछु-का निमित्त। अनि त जाग्रतावस्था वा स्वप्नावस्थाभन्दा पनि उच्चावस्थामा दुर्घटना होला भयङ्कर वा हत्या होला भयानक अनि होला पनि गर्भपात यहाँ कति प्रेक्षकको (जान्दाजान्दै पनि तमाशा सम्झने गर्भिणी भएर पनि) अरू के होला, ऐठन त होला वा स्वप्नदोष ! बस मैले सुतिदिनुछ, आउँदो बिहानीलाई त यहाँ निदाएरै कुरिदिनुपर्छ; यो अनिँदो अनुहार लिएर कसरी स्वागत गर्ने मैले ? ---“असतो मा सद्गमय, तमसो मा ज्योतिर्गमय ।" तर मात्र यही पुनरावृत्ति हो भने त्यो बिहानी कहिल्यै नहोस्, बरु मेरो भोलि कहिल्यै नहोस् ! त्यो भोलि पनि -- चुँडालिनु आजदेखि, स्वीकार गरिदिनु सबै थोक, अनि हुनु केवल स्थिति-अनुकूल मात्र गृहीत भइदिनु यहाँ यो जीवन ? लिएर यही -- अपहृत आज अनि अनिँदो अनुहार ग्रहण गरिदिनु त्यो अन्तिम फैसला --- यहाँ मृत्यु-दण्ड ! यो कारागार न हो, अनि राखिएको छु म भित्र । मेरो आज मेरो आफ्नै छैन यहाँ। कस्तरी अपहृत छ यो, अनि बुझाउन मेरै मूल्यहरू जीवनका चाप परिरहेछन् यस्तरी ममाथि । खोसिएका छन् यहाँ सबै मेरा -- मौलिक अधिकारहरू धरि। सिजोफेनिआग्रस्त अहो यो आपत्काल ! यो साँधमा तेर्सिन पुयाइएछु -- न्याय अनि अन्यायको, समानता अनि असमानताको, जन्म अनि मृत्युको, यो संसारको! शून्यता यो कहाली उठ्छ गुहार ! .. ... लेसे फेयर ! लेसे फेयर !! लेसे फेयर !!! अहँ, थुरिँदैन कहीँ, सुनिदैन कसैलाई अनि त यो निष्पट्ट अन्धकारमा (म यीः राम्रै थाहा पाइरहेछ ) खुल्ला बलात्कार हरे, न्याय र अधिकारको कानूनद्वारै ! थमाइदेऊ मलाई, मान्छे भएर यहाँ जन्मेको सजायको एउटा भुत्ते नै भए पनि खुकुरी, सहन सक्दछु म आत्महत्या रेटेर, अँह, तर सहन सक्दिनँ यो म खप्न सक्दिनँ मौनता यो – ---कमसे कम भाषाको, व्यक्त नभई रहन सक्दिनँ ---कमसे कम यी अक्षरमा ! बैना मारेको हो यो मेरो आज (जो अपहृत छ तर मैबाट) समयलाई हिजोले, प्रतिष्ठापित गरिन यहाँ ---समानाधिकार, न्याय र सत्यलाई साँचोरूपमा । अनि कत्रो अनिकाल पर्न गएको छ जसको! जो पुयाउनै सकेन यो हाम्रो दैवले, उफः, कति काटिरहने त्यही बाली ---यहाँ यातना र पीड़ाको! अब मान्छेले आफैँ ऊबाट खोसेर लिन सक्नुपर्दछ, - नत्र चोरेरे होस् सही ---प्रमेथिअसले आगो जस्तै । आगो : न्याय ---अन्तिम परीक्षा! न्याय डढ्दैन है ज्वालाले यहाँ ---सीता जस्तै, तर मर्नचाहिँ भने सक्छ -- सती जस्तै; अनि त ताण्डव-नृत्य हुनैपर्दछ यहाँ त्यो हलाहल पिउने शिवको (डिम् डिम्, डिम् डिम...... ) ---"शिवोऽह' शिवोह !" . |
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