By Bal Krishna Sharma
Amidst the political maelstrom raging in and across the country, the 195th birth anniversary of the great Nepali littérateur Bhanubhakta Acharya was celebrated as usual. If on the one hand, the political parties of the country were making a scene in the capital, the literary aspirants on the other hand were plunged in the aesthetic of poetry recitation singing of the glory of Bhanubhakta who is credited with authoring the first Nepali Ramayana which he wrote in lucid and household lexicons.
While critics differ about the title conferred upon Bhanubhakta as the Premier poet (Adi Kavi) of Nepal, they all venerate him for his contribution to the Nepali literary writings. At the time when Nepal was recovering from the shock of bloody Anglo Nepalese war, Bhanubhakta’s profound literary consciousness sent a ripple of national sensibility among the isolated people of Nepal. His highly acclaimed translated work the Ramayana, an epic that glorifies the rectitude protagonist Rama, contributed in effecting a perfect integration of nation through the lucidity and simplicity of language.
Although the chance encounter of a grass cutter and the self slight that Bhanubhakta feels thereon is a commonly accepted point of departure for his literary initiation, many literary critics question the veracity of this version of the story. The story is said to be fabricated later on to show how great people were inspired by small incidents.
Bhanubhakta’s chief literary expertise lies in his translated magnum opus the Ramayana, a work of art marked for its simple and lucid expression. His Ramayana is a reworking of the already existing story of Rama. Bhanubhakta is said to break away from the devotional trend prevalent at his time because he was not motivated by preaching or divinization. Until his time Rama was portrayed as an inaccessible mythological character. Bhanubhakta dispels such aura and makes him a common man with human attributes. Viewed from this fact Bhanubhakta is regarded as the great innovative poet by many Nepali literary critics.
Bhanubhakata’s Ramayana is not only a thematically inventive variation but also a pioneer illustration of how language can be a potential tool in blending national sentiments and consciousness. By rendering this epic in a very simple and common language, Bhanubhakta forms a solid foundation for Nepali language to emerge later on as a national language. The unique Nepali ambience, local color, and cultural nativity with which he weaves the narration of the Ramayana perhaps justify the claim that Bhanubhakta is the Adi Kavi of Nepali literature.
Besides the Ramayana, Bhanubhakta’s Badhusiksha, Prasnottari, and Bhaktamala also merit a special attention. In addition, he has left behind him a trail of verses and couplets of notable importance. He has also written short poems about the streets and damsels of Kathmandu.
Bhanubhakta’s poems depict different modes and moods. He did not follow the prevalent literary convention. His different poems displayed varied sensibilities. Abhi Subedi groups Bhanubhakata’s poems into three categories- devotional, romantic, and satirical.
Bhanubhakta’s personal life is also fraught with chequered events. Apart from being a literary figure of his time he was also involved in public affairs. He worked as a government employee and became embroiled in accounts bungling. Besides, he was involved in litigation over the boundary of a landed property. While in detention in Kathmandu (he was in the lock-up for a short period on charges of accounts bungling), Bhanubhakta composed a versified petition in a satirical vein to admonish the widespread official procrastination of his time.
Literature is not just a fictional work fed on imagination or fancy. It is also firmly anchored to social phenomena. Literary figures are capable of unifying a people into one strong nation. In this sense what Geoffrey Chaucer is to England Bhanubhakta is to Nepal. The former ushered English literary tradition in a new era by using the relegated Anglo-Saxon language for literary compositions. Similarly, the latter breathed a new life into Nepali literature by making the common language the medium of his literary expression.
The rampant irregularities and complacencies most characteristic of the bureaucracy of the time could not escape Bhanubhakta’s sharp observation. In his veiled and satirical expression, Bhanubhakta has depicted various human foibles in the government machinery. For his ability to expose the corruption and laxity in the administration, Kumar Pradhan terms Bhanubhakta "a social critic". Hence, Bhanubhakta is a highly conscious writer raising socially relevant issues.
From the brief observation above, it is discernible that Bhanubhakta has invariably crowned Nepali literature with a novel direction. There still are arguments over the nomenclature of Adi Kavi, the title bestowed upon Bhanubhakta. However, he is greatly applauded for his celebrated work Ramayan written in an exclusive Nepali tone. As a social critic, Bhanubhakta also points out the evils in the government department. Above all, his contribution in making the Ramayana accessible to the common rustic through simple language stands out most prominently.
Litterateurs are the advocate of humanity. A country is reflected in its physical monuments, cultural documents and heritages. It is aesthetically conceived in the minds of its writers and is commemorated in the treasures of its books and literature. Hence, it does not suffice that we celebrate a poet’s anniversary for its own sake. We should make a concerted effort not only to preserve our rich literary heritage but also to communicate poet’s universal message of compassion and inclusiveness to the society. Let us hope that the forthcoming constitution will create a new clause with a provision to bring to book those who demolish the statue of our literary heritages and to convict them with the charge of sedition. (from:The Kathamandu Post)