–रामप्रसाद प्रसाईं ‘आशुतोष आंशु’,
Tomorrow’s battles must be fought today
For today’s battles were lost yesterday
—Nimmo Bassey
The poetics has been entered into the flux of politics and every text into the context. So, every text is contextual or meaning comes out of contexts. Every text brings and bears multidimensional vantage points and pluralistic vistas of life, social times, zeitgeist, epochal realities and zest for life, words and vast and volatile worldly phenomenon.
Cultural studies has played vital role in the field of writings. The issues of identity, identity politics, politics of representation and question of marginality and peripheral portion of humanity are enlisted in the movement of postmodern literature. With globalization of theory and interdisciplinary studies Nepali literature (literatures) cannot remain untouched.
Ethnic and Ecological writing is an integral part and correlative each other in this time. We have to consider between the binary of ‘nature’ and ‘culture’ where the perspective of eco-feminism then the concept of eco-criticism has been interspersed each other. ‘Nature’ has been adversely affected by ‘culture’ as ‘male’ does to ‘female’ respectively in social system and eco-system.
Environment means cultural and natural aspects of our surroundings. Humanity, culture and nature are always on its own flux. The context for the time is reading an eco-poem. Reading the poet of our time Samadarshi Kainla and his recent poem entitled as “चेक्ताकोविनिर्माणपरिवृत्तीयसिँढी” in Nepali. The very poem can be read, reread and interpreted on different levels and layers of critical interpretation. But, here it falls into the category of eco-poem. It has painted the very canvas with the help of the eco-tone, eco-criticism and eco-poetics. The poem has tried to depict an optimum relationship between writing and ecology. Nature and ethnicity are associated with each other since the time of immemorial. The slight variation on their proportion brings troubles in environment and society. The encroachment of their lines of demarcation yields detrimental scenario in relational harmony of balanced eco-system and biosphere.
Our working definition of “eco-poetry” is flexible; it includes not only what might be called nature poetry, and not only poetry that focuses on environmental issues, but
also experimental poetry–poetry that explores language in its relations with the other-than-human.
The term ‘eco-poetry’ has come into recent, popular use as a means of denoting poetry with a strong ecological emphasis or message.Naturally, across the ages, many poets, poems and books of poems have expressed ecological concerns; but it is only relatively recently that the neologism has gained momentum and acceptability. There is now, in English-speaking poetry, a recognizable sub-genre of poetry having a distinctively eco-poetic thrust.
Ethno poetics must necessarily be included in a complete eco-poetics, as humans are an integral part of the ecology. In a sense, eco-poetics is an eco-tone between these disciplines, between ecology, poetry, and ethno poetics; eco-poetics addresses itself to the concerns of the theory and praxis of deliberate earthlings.
On one hand, Samadarshi Kainla, being one of the postmodern poets in our literature, he is talking about ecological and sociopolitical colonization, while on the other, he intimates at a concept that seems central to the discussion: the postmodern sublime. Post-colonialism on ecological basis can be another interpretation to apply in this poem too.
As Kainla goes as:
कार्बाेनडाइ
अक्साइडकोअन्धकूपमा
पारिस्थिकीअभियन्ताकोवक्तव्य
‘साइलेन्टस्प्रिङ‘कोएकउदासिलोबिहान
Kaila’s poem begins with the sense of ecological sensibility. The universe has been filthy filled with CO2.It has been created havoc on the global environmental problem. Environment has a proximal kinship and near attachment with ecology.
Human existence has fallen prey on the hands of chemicals, industrial outcomes and other unwanted hazards. Poetic responsibility for society, culture, nature and human civilization is genuinely appreciated here.
Silent Spring (1962), a book written by Rachel Carson which is widely credited with helping launch the environmental movement. The book argued that uncontrolled and unexamined pesticide use was harming and even killing not only animals and birds, but also humans. Its title was meant to evoke a spring season in which no bird songs could be heard, because they had all vanished as a result of pesticide abuse. Carson’s
Silent Spring, which in 1962 exposed the hazards of the pesticide DDT, eloquently questioned humanity’s faith in technological progress and helped set the stage for the environmental movement. Carson’s
Silent Spring, which in 1962 exposed the hazards of the pesticide DDT, eloquently questioned humanity’s faith in technological progress and helped set the stage for the environmental movement. Ethno poetics must necessarily be included in a complete eco-poetics, as humans are an integral part of the ecology.
The depth of Kainla understands and wisdom has been culminated here. The contribution of
Rachel Carson in the field of environmental preservation and a lesson to humanity has been captured here. The poem is a eulogy to Carson and unfortunately an elegy on the degraded face and fact of environs, flora and fauna. ‘इकोलोजिकलनिस‘मा
निगुरोखोज्नेतिगेनजोङ्ना !
निगुरोकोमुन्टाहरुमान्छेहरुलेखाइसके,
मान्छेहरुलाईबाघलेखाइसक्योरसक्यो
किअबमैलेजङ्गबहादुरलेदेखेकोसेतोबाघलाईखानुपर्दछ
ताकिनिगुरोकोजीवनस्वतन्त्रपरिस्फुरणहुनपाओस्पृथ्वीकोचेपचापमा
मानवेतरस्वायत्तराज्यमा, रचेलकास्रनको‘साइलेन्टस्प्रिङ‘कोएकउदासिलोबिहान !
Ecological niche brings a point of equilibrium and balance of different series and aspects of an ecosphere. It prepares a level of reconciliatory co-existence. It describes
the relational position of a species or population in its ecosystem to each other; e.g. a dolphin could potentially be in another ecological niche from one that travels in a different pod if the members of these pods utilize significantly different food resources and foraging methods.A shorthand definition of niche is how an organism makes a living. The ecological niche describes how an organism or population responds to the distribution of resources and competitors (e.g., by growing when resources are abundant, and when predators, parasites and pathogens are scarce) and how it in turn alters those same factors (e.g., limiting access to resources by other organisms, acting as a food source for predators and a consumer of prey. One of the poems written by Basanta Lohani sounds meaningful here.
“Nature seeks balance
In the golden mean
The fittest survive
And the weakest die.”
भीरमौरीकोमह
खोज्नेचेपाङबाजे !
मौरीहरुलाईमान्छेहरुलेधपाइसके,
मान्छेहरुलाई जडत्वकोअरिङ्गाललेधपाइसके,’
”मअबठेकीआरीबनाएरयत्रोपरिवारपाल्नसक्दिन”
किअबमैलेजडत्वकोअरिङ्गाललाईधपाउनुपर्दछ
ताकिभीरैभीरकोरङ्गमामौरीहरुमनमाफिकरजाइँगर्नपाओस् !
The eco-poem must connect to the culture and society that it inhabits. Culture is a product of evolution; it is a product of non-human nature, yet we recognize it as our own, human product. The eco-poem must contend with this paradox; it must connect here. Culture means Non-human nature. It is around these indissoluble differences that eco-poetics searches for the transitional phases, the eco-tones, the shifting boundaries that yield language, insight, struggle. We are natural beings building cities as naturally as bees build hives. Unlike the bee, however, we are aware of the hives we build, why we built them, how they connect, intellectually, to other hives, other people. Also unlike the bee, when we look to other creatures, we understand that we cannot know them. Thus, the differences swirl back up to surround us and the search for poetry begins again.
Ecology, ecological colonialism, postcolonial concepts are prevalent here. Chepang baje and Bhir Mauri are integral parts of nature and its balanced eco-system. They are parts of our society, politics, policies, culture, and ethnic identification. The poem has spoken silent revolution and mild revolt against essentialism, puritanical tradition and scholastic colonialism through thematised vivacity and vibrancy.
काठकाठेकीभाँडाहरु
बेच्नेचुनारेकाइँला !
जङ्ललाई मान्छेहरुलेमासिसके,
मान्छेहरुलाईअनावृष्टिलेमासिसक्यो,
”मअबचिउरीकोबोट छोरीबेटीलाईदाइजोदिनसक्दिन”
किअबमैलेअनावृष्टिलाईमास्नुपर्दछताकिरुखहरुनाभो
रुखहरुनाङ्गोपाखापर्वतभरि सार्वभौमसत्तासम्पन्नभएरउमि्रयोस् !
पोथ्रापोथ्रीहरुमा
चराकोगुँडखोज्ने
स्कूलेभुराभुरीहरु ! हाँस,चातक
रबकुल्लाचराहरुलेभीरकोछेउमा
आत्महत्यागरिसके,चराहरुलाईमान्छेहरुले
सिकारगरिसके,मान्छेलाईपर्यावरणीयइतरसंचेतनाले
सिकारगरिक्योरसक्योकिअबमैलेपर्यावरणीयइतर
संचेतनालाईसिकारगर्नुपर्दछताकिपारिस्थितिकप्रणालीसहरा मरुभूमिको
अनिमधेसपहाडरसिमसारकोपनिसमानान्तर /सहअस्तित्व/ सहस्राब्दीहुनसकोस् !
दुवालीथापेर
विषादि हालेर
माछामार्नेपाराङदाइ !
खोलासुक्दैसुक्दैगएकोछ,
गाउँलाईनिर्जलनभएकोछ,
पृथ्वीकोआतनैसुकिसकेको‘बापतको
भान‘कोबेलाआजकालमेरोसपनामासधैं– सधंै
नित्सेरुन्छ, कराउँछ मसितआएरघाप्सेहालेरभन्छ–
”धर्तीलेनैमलाईजन्मदियो,मरेपछिपनिधर्तीमैफर्केरआरामगर्न
चाहान्छु,यसैलेसाथीहरुहो ! मेरालागिपनियोधरतीलाईमायागर्नुहोला”सालसालै
सुक्दैगएकोनिबुखोलाकोपरिघोषलेमौनभाषामायहीभन्छमलाईओइलिदैगएको
भीरकोकापकापमाफुलेकासुनाखरीकासुकुमारीफूलहरुलेयसैभन्छन्मलाईमिक्चिरीका
वनफूलहरुलेमलाईपनिस्वागतम्कोमालालगाइदिनआतुरछन्साइलेन्टस्प्रिङकोएकबिहान !
The poet has become the genuine mouthpiece of nature, ecology, ethnicity, civilizational continuum. The awareness to culture and nature has been highly admired through this poem.
“Love to ecology. Love to ecosystem. Relationship between two in harmonious way.” It could be the motto of this poem.
कार्बाेनडाइ
अक्साइडकोअन्धकूपमा
पारिस्थिकीअभियन्ताकोवक्तव्य
‘साइलेन्टस्प्रिङ‘कोएकउदासिलोबिहान!
The repetition (refrain) of first and last stanza has emphasized the internal and external harmony of ecology, economy and sociopolitical aspects.
नोभेम्बर८सन्२०१०
कालीखोला–२(तेम्बोक), ताप्लेजुङ्ग, नेपाल
अबुधाबीश्रमशिविरबाट।
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